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12 Stones

Beneath The Scars

Relatively unknown even to those in the know 12 Stones resided on the Wind-up label for nearly a decade and vocalist Paul McCoy is even now still better known as “that bloke who sung on that Evanescence song”. Despite the fact that McCoy was paid a pittance for his involvement in the multi-million selling ‘Bring me to Life’ he has nevertheless remained loyal to his first love 12 Stones. The band has enjoyed limited success from its three albums with ‘Potters Field’ perhaps being the high point….until now!
The fourth album sees a move away from the label and although Skidd Mills still undertakes production duties-as he did on ‘Anthem For The Underdog-this album really does take the band to another level. The band has slowly morphed from an aggressive young band into a more mature mainstream modern rock one. This album is as good a modern rock album as you are likely to hear and although it doesn’t perhaps reach the giddy heights of Shinedown’s ‘Amaryllis’ it has many of the elements that made that album so popular. ‘That Changes Everything’ and the superb ‘Bury Me’ (a close cousin of ‘Photograph’ from the ‘Potters Field’ album) are good example, yet this is far from an album that merely copies the jewel in Atlantic’s rock crown. On occasions McCoy’s voice-which is excellent throughout-brings to mind Skillet’s John Cooper on the hard edged ‘The One Thing’ or ‘Someone Like You’. Elsewhere the highlights come thick and fast in the form of the Tyler Connolly penned ‘Blind’, a song so good that it’s a mystery why Theory of a Deadman didn’t ever use it, the riff orientated ‘Bulletproof’, the Snow Patrol influenced ‘For The Night’ or modern rock gem ‘Worlds Collide’. Together with the heavy rock of ‘Psycho’ and the commercial hook heavy ‘Only Human’ these songs make up an album that is of a consistently high quality throughout, rare for any album these days let alone an album from a band that hasn’t put out an album for five years


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