Birth Of Joy
Make Things Happen - Single

I'm writing this first review by considering a group which, I want to clarify from the outset to justify my possible "flattery", I have had the honor of listening to live multiple times.

Currently, the Band offers a still sparse discography (an EP/single and only one full-length) as they have been active for a short time. Therefore, I take into account their very first work (but not primitive from a musical point of view), entitled "Make Things Happen - Single", composed of a short tracklist, but sufficiently crafted to thoroughly demonstrate all the potential offered by this Dutch trio in a genre defined as "Sixties On Steroids / Psychedelic Organ Rock&Roll".

"Make Things Happen", the opening track, confirms the previous stylistic description: simple yet decisive 4/4 drum beats, irresistible and engaging organ riff (Philicorda, for passionate keyboardists - an instrument used for the famous "Funky Town") that persistently insists throughout the entire track, vocals that inevitably remind of the Doors' "Break On Through", a suitably edgy guitar to render the sound far more aggressive, yet without abandoning purely 60's reminiscences. A track that, in my opinion, can be enjoyable upon first listen but tends to become saturated over time.
"Code Red" is what most completes the musical offering proposed by the "Doors of Leiden" (a statement not full of modesty, but purely descriptive).
The style that was well-developed in the first track is now combined with a prog-rock that greatly reminds one of the early Black Sabbath. A sinister, menacing, insolent, and violent organ riff. This dualism of genres chases through the development of the entire track, which, in my view, could have individually been presented in a separate EP, given its completeness and effectiveness of the proposal. The best track of the demo, in my opinion.
"Don't Know Where To Run" closes the record, reaffirming everything that had already been heard in the previous tracks: "bluesy" riffs, acid-rock explosions, a sharp voice (so much so that at one point it blends with a guitar harmonic), and drums that give the impression of being a cannon-loaded metronome.

The Birth Of Joy, therefore, can be recommended both to those who, out of nostalgia, cannot do without those typical bluesy rounds that haven't been heard in this style for a long time, and to those who would appreciate observing how, in our days, it is possible to propose in a current manner (experimentation, especially live, is never lacking) a genre that, if one may say, has fallen into oblivion after the '70s.

The 4-star rating is justified by the fact that, given the limited number of tracks, it is not possible to decide whether in a full-length the group's musical proposal may become boring or if they are capable of managing a larger quantity of songs.