Ivan Mihaljevic & Side Effects - Counterclockwise

If you ever wanted to make a list of Ivan Mihaljevic’s achievements, you’d need at least half a dozen post-it notes. From opening for The Scorpions and The Cult with (hard rockers) Hard Time and sharing the stage with Les Paul in New York, to working on instructional ‘how to play’ guitar videos and a job in musical theatre, to say he’s been busy would be a huge understatement.

Somehow, he’s found time for a third full-length outing with power rock trio Ivan Mihaljevic & Side Effects, completed by Majkl Jagunic and Alen Frljak on bass and drum duties, respectively. Can it be added to that ever-growing list of merits?

On the surface, it may not be reinventing or twisting any of rock’s golden rules, but this isn’t an issue as it isn’t trying to. Counterclockwise is fully aware of its ballsy influences and respects these, whilst leaving room for some atmospheric vocal hooks.

The well-rounded tone of ‘Too Much Is Not Enough’ is initially comforting, but this quickly melts into the rifftastic groove of ‘Build Your Destiny’ and the record kicks off. By sheer contrast, closing track ‘I Am’ feels like the end of something, with its lyrical stance on individualism and eye on both the past and future.

The keyword - for the album’s first half at least - is balance. Mihaljevic can shred at rocket-speed, but he knows where to place this within a greater melodic frame and holds back when necessary. Jagunic and Frljak know they can explore audacious paths, but they’re also able to maintain the rhythmic unity that drives each song.

Indeed, A lot of the time, the music literally does the talking. The band indulge in extended musical passages for lengthy durations, but this is where the musicianship flourishes.

The exotic verve of ‘Driving Force’ is bound to get heads bopping, whereas the hypnotic click track on ‘Gilded Cage’ creates intimacy. The music never fails to produce ambiance that captures one’s mentality.

‘Eclipse’ is undoubtedly the record’s standout track. The inclusion of a string section brings an air of fantasy and mystique, but when the vocals enter it’s dragged to a level field with the album’s other tracks. That said, it’s not hard to feel immersed in the music and it’s the kind of rock that you’ve always imagined yourself playing. Just not for 12 minutes.

Counterclockwise’s vast instrumentality and stratospheric vocals are ideal supplements for long journeys and those times when we need to feel bigger than ourselves. Encouraging but with a firm grip on its own identity, it’s sure to mesmerise lovers of rock music and make a great addition to their collections.
Greg Henley

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