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Articles Home » 2017 Articles » Satin - 2017 It's About Time
Satin - 2017 It's About Time

ALBUM: It's About Time
LABEL: Verum Music
YEAR: 2017


LINEUP: Tom Satin - all vocals, all instruments, mixing, production

TRACK LISTING:? 01 Look Up In The Sky * 02 I'll Never Let You Down * 03 Waiting For Someone * 04 Use It Or Lose It * 05 The Damage Got Done * 06 This Time * 07 Heading For A Fall * 08 Who You Are * 09 True Love * 10 Lying Eyes


WEBLINKS: Official Website | FB Page

This new CD was officially released last week, and is making inroads quickly. He is the Norwegian one-band Satin (or Tom Satin to the rest of us). He might be a new name to most of us, but he's been around for a decade or more. If you are a member of the KISS Army, you'll likely remember his name from a bunch of Kiss covers he put online back in 2005. He became a bit of an underground hero as a result. Moving forward in time, Satin's debut album came out in 2014, and flew under the radar it would seem; not many melodic rock websites giving him a mention, including us. Until now that is. His second one 'It's About Time' is aptly named, and if you enjoyed an album like Bryan Cole's CD from last year, then Satin is templated from the same design. I slapped this on, and I'm into it. Let's study each song in detail.

The Songs
'Look Up In The Sky' - This one just lands on the speakers and takes over like a boss. Great keys, vocals and tough riffs. Hell, great everything!

'I'll Never Let You Down' - The thrills from the opener troll into track two. Familiar strands of AOR along with chant-a-long chorus brings the listening audience into play.

'Waiting For Someone' - This starts out as a ballad, with an ambient piano taking the lead. But by the one-minute mark, the song surges into powerful anthem territory for the chorus. The piano returns for the verses and from this point, we see alternating patterns of ebb/flow.

'Use It Or Lose It' - A well worn AOR derived pattern introduces this one, again straight from the 80's. The mid-section is the song's change-up moment and provides contrast in tempo and style change.

'The Damage Got Done' - It's hard to describe this one. It gallops along upon a racy arrangement. It seems to be more pop-based. though the guitars spruce it up somewhat.

'This Time' - There's a Bon Jovi vocal happening on this one, the drum pattern is not a traditional one, and give this one a point of difference.

'Heading For A Fall' - This track is the bonafide ballad of the album. You'd have to wind the clock back to the 80's to find the quality of such a track located on hundreds of rare LP's long since forgotten. It's a good thing Mr Satin hasn't forgotten!

'Who You Are' - A track full of interesting synth parts, which sits besides some tough guitar parts. Another track with a killer chorus too.

'True Love' - This is a genuine 80's rocker with atypical guitar runs from our favourite era of rock.

'Lying Eyes' - The album closer, love those spicy synths on the verses, and this rocks out to the end. The vocal harmonies and chorus are highlights.

In Summary
Though this is a Norwegian effort, I didn't hear any similarities to other countrymen like Stage Dolls, On The Rise, or Stoneflower. Tom recorded, mixed and produced the whole thing, so he's a talent in the making, no doubt we'll be seeing his name in neon lights before long. I'm thinking that if you are an 80's fan of Stan Bush, Rick Springfield, Michael Morales and Bon Jovi, then Tom Satin is a name that just might stick to the wall looking into the years ahead. Grab this with GDM's total recommendation.

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#1 | swazi on December 23 2017 12:31:16
Awesome release!! music
#2 | jeffrey343 on February 13 2018 15:43:56
Is it me, or could this be a long-lost REO Speedwagon album? I think Satin has sort of a Kevin Cronin vibe about his vocal delivery, and several of these songs are in the vein of REO. I feel like the style of the album has an abrupt change during 'Use It Or Lose It' that threw me off the first few times I played it. It took me a few listens to really adjust after that. I'm not sure whether I should count this as a 2017 or 2018 album, as it is a February 2018 release in the U.S., although I got it in early January as an import. I'll count it as a 2018 for my purposes and see if it can make it to my top ten.
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