Marilyn Manson - London Review

I am now half way through my big weekend away and I am planning to have a fairly quiet day in London today before heading out again for another night of live music. Later on I will travelling across from Acton to Kentish Town for Green Lung and Unto Others' show at the O2 Forum - but for now I need to write about last night's trip to the Eventim Apollo in Hammersmith. Following a rather uneventful train journey across from Bristol, and a quick trip to a Notting Hill record shop, I checked into my Acton Travelodge ready for what promised to be another great night. The reason for the trip was Marilyn Manson - someone I have liked since my teenage years but had never seen live before. I am not quite sure why I did not see him back then, but I am assuming that a sensible opportunity to do so did not present itself, but in recent years it always seemed like he had dropped off in terms of quality when it came to his performances. I actually think that his albums throughout the 2010s were generally pretty good, but the reports from his live shows were often less than positive - and judging from some of the footage I have seen over the years it is hard to disagree. As such, I was quite content with not seeing him live - but when his tour with Five Finger Death Punch in America kicked off last year the reviews were flooding in regarding how good he was again. Whilst not exactly a return to his late 1990s/early 2000s best, there was certainly the sense that Manson had got his mojo, and his voice, back. Following years of being overweight and struggling to sound powerful, Manson was once again looking like his old lanky self - and sounding strong despite his voice still showing natural signs of age. At the time I was not necessarily expecting a European tour to follow, but it was not long before a new album was announced and some European tour dates were booked which included a handful of UK shows. If I was to see him live, then, I felt that this was the best chance to do so. Following his enforced break from touring due to a myriad of legal issues, some of which do not seem to be resolved as of yet, this tour felt like something of a comeback for him. He was hungry and somewhat had something to prove again - so I felt as if those lacklustre shows of the past would not be what Europe were treated to - particularly if he carried over his form from that US tour last year. It also helped that his latest album, One Assassination Under God - Chapter 1 (which I reviewed here), was also very strong - which later validated my decision to pick up a ticket for the tour. As I said, though, I do not think that his recorded output significantly saw a drop off in quality - but I do think that One Assassination Under God - Chapter 1 felt a little more inspired than perhaps his last album, and the shades of 1998's Mechanical Animals were particularly welcome. Of the few shows UK announced, the one in London made the most sense. The Eventim Apollo is always a great place to see bands - and it also fitted in alongside some other plans I had.

The venue opened at 7pm, but by the time I had got to the front of the long, snaking queue and inside it was probably around 7:20pm. Nothing started until 8pm, so there was not too long to wait, and the sold out venue soon filled up. There was only support act, the French rockers The Blackmordia, and their half an hour set flew by but never really made much of an impact. In truth I did have to spend some of it answering a call of nature - but the synth-driven glam rockers felt a little lightweight opening up for Manson despite some good ideas and a few decent choruses. The main issue the band came up against, though, was the sound. Sadly, the lead singer's voice was generally very low in the mix - which meant that the choruses, which generally sounded decent, did not have much of a chance to hit home. He did not have the most powerful of voices, either, instead having more of a poppy tone which perhaps did not help. The crowd did not really seem all that interested, either. The last song of the set saw a little bit of interaction in terms of phone lights being held aloft - but the cheers between each song were muted at best, and The Blackmordia failed to generate any sort of significant reaction. I somewhat felt sorry for them, as they seem like they could be quite an interesting band with a strong mix of 1970s-esque glam rock and synth driven pop rock - but neither side of their sound really was able to shine through last night. In truth, they were probably the wrong band for this tour. Whilst Manson has never fully been associated with the metal scene, he is nevertheless a generally pretty heavy artist - so something heavier would have likely worked better. There were a few chunky riffs in The Blackmordia's set, but nothing approaching Manson levels of heaviness - and I think that sadly quite a few people were bored. In the right context and with a better sound mix they might be a band that can excel and impress - but they did not leave much of an impression last night despite having some interesting ideas.

Around half an hour following The Blackmordia's set the lights went down again and Manson and his band took their places on the stage behind a curtain - which dropped during the opening bass strains of opener Nod if You Understand. For his first UK headline show since 2017, Manson struck a fine balance between new material and old favourites. Over half of the new album was featured throughout the night, which was a wise move in my opinion, but plenty of classic tracks were also included. Generally, much of the set was pretty heavy, too, although there were a few slower, more atmospheric moments. The first three songs were all up-tempo, though, with the riff-heavy Disposable Teens and the groovy Angel with the Scabbed Wings following the aforementioned opener. Manson's band for this tour features some old returning faces and some new names, with Tyler Bates (guitar/vocals) and Gil Sharone (drums) back in the fold and Reba Myers (guitar/vocals) and Piggy D. (bass guitar/vocals) coming on board. The band were tight and allowed Manson to shine, with D. in particular standing out. The bass has always been a huge part of Manson's sound, possibly more important than the guitars at times, and he nailed all of the classic grooves whilst Bates and Myers riffed away and laid down atmospheric and discordant leads. Torniquet proved to be an early chance for some atmosphere to be injected into the evening - with Manson's classic croon filling the venue. Vocally, I thought he sounded strong for the most part. Whilst not exactly back to his best, he sounded strong and confident throughout, with even the big screams sounding venomous, whilst between songs he chatted with the crowd more than I expected him to. He seemed very happy to be back out on the road and the crowd was really into the show from the off - singing along to all the songs played, old and new. It was the old favourites that really struck a chord, though, with This Is the New Shit and mOBSCENE both coming about half way through the set to really kick things into the next gear. The amount of jumping and movement down at the front for the latter was impressive to see from my vantage point near the back - but the pulsing Meet Me in Purgatory earlier on had still gone down well. The latter portion of the main set was a bit more subdued and groovy, with tracks like Great Big White World and As Sick as the Secrets Within showcasing a creepier, more atmospheric sound, whilst the glam rock stomp of The Dope Show was full of D.'s bass and Manson's snarled, sarcastic vocals. This atmospheric sound was continued on with his famous cover of Sweet Dreams (Are Made of This) before the main set came to a close with the riff-heavy and anthemic The Beautiful People. The main set was a bit shorter than average, but that seems to be typical of Manson's approach, but he came back for two one-song encores before the night was done. The title track from the latest album proved to be a real winner, and maybe the best of the new songs live, before the soaring ballad Coma White saw the evening come to a close. The setlist was:

Nod if You Understand

Disposable Teens

Angel with the Scabbed Wings

Torniquet

Meet Me in Purgatory

This Is the New Shit

Death Is Not a Costume

mOBSCENE

Great Big White World

The Dope Show

As Sick as the Secrets Within

Sweet Dreams (Are Made of This) [Eurythmics cover]

The Beautiful People

-

One Assassination Under God

-

Coma White

Despite all the positive vibes leading up to the show, I still was not sure how things would turn out. Manson has not really been known for his live shows for some time now, so it could have been a disappointment - but I really enjoyed my time at the Eventim Apollo last night. Manson put on a powerful show and the atmosphere in the room was excellent. Seeing him feels like a big tick off the list of those artists I have not seen live - and it is good to have a positive experience of him rather than having seen him previously and likely coming away disappointed.

Uriah Heep - Bristol Review

I am not sure that I can remember a start to a calendar year being so busy when it comes to gigging. Generally, I find the spring and autumn to be the busiest times of the year - but following my first show of the year in January things have barely let up. In truth, both March and April are much quieter, before May gets busy again, but January and February 2025 have been packed full of gigs. I had a rare weekend at home last weekend, even though much of Saturday morning was taken up with travelling back from Bristol, but I am now in the midst of what is likely to be my busiest gigging weekend of the whole year - as I am taking in four gigs in four days in three cities. As I write this I am currently in London, having travelled up from Bristol this morning, and am looking forward to seeing Marilyn Manson for the first time shortly, but this post is about last night's excellent show in Bristol - where I saw Uriah Heep rock a packed Beacon at the start of their long goodbye. Dubbed The Magician's Farewell, the band's current tour is stated to be their last extensive globe-trotting affair. The band have not ruled out festival appearances and the odd shorter jaunt following the conclusion of this lengthy trek, which is likely to take two or three years, but in terms of an all-encompassing and traditional tour this appears to be it. Given that the band formed back in 1969, though, this want to slow down is not a surprise. Considering all of the talk surrounding Black Sabbath's recently-announced farewell show, and how much an ailing Ozzy Osbourne will be able to contribute, the fact that Uriah Heep can even contemplate such a lengthy tour is impressive. Admittedly, only Mick Box (guitar/vocals) remains from the band's founding - but some of the 'newer' members are not exactly young so it is great that much of the world will get at least one last chance to see Uriah Heep live. Since I first saw the band at the 2009 iteration of the Cambridge Rock Festival, I have been a big fan. Including last night, I have now seen them live nine times - and each night has been memorable. Whether it was the most recent show, where I saw them deliver a short set opening for Judas Priest last year, or the most memorable show, a lengthy set in 2022 belatedly celebrating the band's 50^th anniversary, Uriah Heep always deliver. It helps that the current line-up is long-solidified now, with newest member Dave Rimmer (bass guitar/vocals) having been in the band since 2013, and also that they have stayed creative - putting out a number of strong albums this century. I was always going to get to a farewell tour, then, and luckily the Bristol show slotted in nicely alongside other pre-existing plans. It was also my first visit to the Beacon since its lengthy closure and re-brand - and only my second ever visit to the once-legendary venue. When I went in 2018 I thought it looked very tired, but last night it was clear that a lot was done during its closure - and given that I will be visiting the venue a few more times in the near future this facelift is a welcome one.

There was plenty of good stuff to come before Uriah Heep's set, though, as the crowd were treated to a couple of support acts before things got underway. The crowd was pretty large, too, and even when Tyketto took to the stage at 7:15pm there was already a healthy number of people in. I have seen Tyketto many times, and they are always a great live band. I have travelled all over the country to see them previously, so seeing them open for another band I like relatively close to home was something of a treat. I had previously seen them in Bristol, on board the Thekla back in 2017, a gig which frontman Danny Vaughn referenced from the stage, so it was nice to see them on a bigger stage - even if they only had a limited time allotted to them. They managed to make a strong impression during their seven-song set, though, and all of the power of Tyketto as a live band shone through despite the crowd not always seeming that receptive. The set was largely made up of anthems from the past, but the newer Reach kicked things off, with Vaughn armed with his acoustic guitar for the smoother verses as Ged Rylands (keyboards/vocals) laid down a big synth hook. Tyketto have weathered many storms in terms of line-up changes, with Vaughn the only original left standing, but the current line-up is as good as any from the past - with Harry Scott Elliott (guitar) nailing all of the key riffs and solos. This was evident during an early double-salvo of Wings and Rescue Me, which upped the tempo following the mid-paced smoothness of Reach - and, with the exception of one song, the band generally rocked pretty hard. Johnny Dee (drums/vocals) has also slotted in nicely over the last couple of years, and the returning Chris Childs (bass guitar/vocals) just meshes everything together with his years of experience. He even got to show off during a pretty shreddy bass solo during Lay Your Body Down - but before this Vaughn managed to whip up a bit of a sing-a-long during the muscular and bluesy Strength in Numbers. Despite the crowd being a bit on the stand-offish side at times, both of these songs did attract a bit of singing during the chorus - but given how upbeat and easy on the ear Tyketto are it was a shame that more did not join in. The band still rocked, though, but did slow it down one song from the end with the gorgeous ballad Standing Alone - which is generally the centre piece of any Tyketto show. Vaughn always sings the song with real emotion and last night was no different - and Elliott later nailed the distinctive and flowing solo to take things to the next level. Sadly there was only time for one more at this point, but Forever Young always works well as a set-closing anthem - with the mid-paced rocker's huge chorus soon filling the venue thanks to Vaughn's voice which has lost little of its power over the years. The band certainly got the evening off to a flying start, but there was still plenty more to come. The setlist was:

Reach

Wings

Rescue Me

Strength in Numbers

Lay Your Body Down

Standing Alone

Forever Young

Following a brief changeover, the lights went down again and the four members of the Canadian hard rockers April Wine took to the stage. Whilst I am not hugely familiar with them, I have heard some of their late 1970s/early 1980s albums and enjoyed them - but I would not say that I went into this set with huge expectations. April Wine are now one of a growing numbers of older bands with no original members - although Brian Greenway (vocals/guitar) has been in the band since 1977 and was therefore part of their classic era. Their founder and driving force Myles Goodwyn died in 2023, but Greenway has kept things going with Marc Parent (vocals/guitar) taking Goodwyn's place. As such, Parent was largely the focal point of the evening - and his bluesy guitar playing and strong voice helped bring I Like to Rock to life (which, of course, featured on the official Monsters of Rock LP following the band's appearance at the first ever Monsters of Rock in 1980). April Wine seemingly had a brief love affair with the UK back in 1980 and 1981, but this current tour marks their first return to these shores since. Only Greenway remains from those days, but the meat and potatoes rockers still delivered an enjoyable set - even if they lacked the flair and star power of Tyketto. Tyketto are often hard to follow, as H.E.A.T found out last summer at Chepstow Castle, but April Wine had enough straight forward riffs and decent choruses to make it work. I knew some of the songs played, with I Like to Rock working well an opener - but during the set we also got to hear snappy tracks like Crash and Burn and the more expansive Before the Dawn, which was sung by Greenway. He sang a couple of tracks, but generally Parent did the singing - with anthems like Big City Girls certainly enjoyable. Greenway did much of the talking between the songs, though, and he made reference to the band's long absence from the UK. The band even played the same venue back in 1981, so the night must have held some nostalgia, but like Tyketto the band were generally only afforded a polite reception. Things did pick up somewhat as the set went on, though, with minor hit Just Between You and Me seeing a bit more of a reaction - as did the harder rocking Sign of the Gypsy Queen which morphed into a bit of a wig out with both Parent and Greenway soloing. It was left to the bluesy hard rock of Roller to see thing out, then, and it capped off what had been an enjoyable set. April Wine were not a band I was desperate to see, but I am glad I have had the opportunity to given their lack of recent visits to the UK - and I will need to revisit those few albums of theirs I have and delve a little deeper into their vast catalogue.

Following a slightly longer changeover, Uriah Heep hit the stage at just after 9:15pm and for the next 90 or so minutes rocked the house with a set that largely consisted of their best-known songs. The more expansive set from a few years ago, which featured a lengthy acoustic portion to kick things off, was filled with deeper cuts - but the setlist for this tour feels like a celebration of the band's best work throughout the years. A couple of deeper cuts were included, alongside some newer material, but generally the set was a sing-a-long affair based in their 1970s heyday. Despite this, though, three newer songs kicked things off - with Rimmer's two compositions for the band, Grazed by Heaven and Save Me Tonight, opening the set in furious fashion. There were slower moments during the evening, but generally Uriah Heep's set was a high-octane one - with plenty of wah-drenched soloing from Box and roaring Hammond organ from Phil Lanzon (keyboards/vocals). The sound mix was generally pretty good, too, although frontman Bernie Shaw was occasionally a little low in the balance - but he still sounded as powerful as ever, with the band's trademark harmonies bring the bombastic 2008 anthem Overload to life. The track is one of my favourite recent cuts so it was great to hear it live again - and it capped off this opening salvo of recent material perfectly. Bar a couple of other new songs, though, the rest of the evening was very much rooted in the past. A rare outing for the lengthy and progressive Shadows of Grief was up next, with spooky vocal harmonies and a lengthy instrumental mid-section which saw the band really giving it their all. The crowd had not exactly covered themselves in glory during either support band, but the atmosphere throughout was still decent. Uriah Heep received a warm reception throughout the show - but the sing-a-longs were a bit poor, with Stealin' not raising the roof as it should. Seated shows often sap away at an atmosphere and whilst some did stand there were plenty of others rooted to their seats not joining in. This was a shame, and is often the case when seeing legacy bands, but there was enough singing to let the band know that there was a crowd out there. The remaining newer songs, Hurricane and Hail the Sunrise, both felt at home in a set full of classics - and a later juxtaposition of the acoustic-based The Wizard and the party anthem Sweet Lorraine showcased both sides of the band's diverse sound. The rollocking Free 'n' Easy also showed the band's likely influence on the NWOBHM movement which would follow a few short years after the song's 1977 release - but the set was then turned over to one of the two big epics played: the deeper cut The Magician's Birthday. I had not seen the song done live before, and it was a progressive rock epic - with Box taking a lengthy solo in the middle accompanied only by drummer Russell Gilbrook. There was not too much time left at this point, but a hard-hitting take on the proto-metal of Gypsy and the lengthy July Morning, with plenty of Hammond from Lanzon, saw the main set come to a close. Following a brief step off stage, though, the band were back for a two-song encore. The cinematic and harmony-filled Sunrise was up first, before the band's signature track Easy Livin' brought the curtain down on another great night of live music. The setlist was:

Grazed by Heaven

Save Me Tonight

Overload

Shadows of Grief

Stealin'

Hurricane

The Wizard

Sweet Lorraine

Hail the Sunrise

Free 'n' Easy

The Magician's Birthday

Gypsy

July Morning

-

Sunrise

Easy Livin'

Given that this UK tour is the start of the band's wider farewell tour, I may have just seen Uriah Heep live for the last time. Hopefully they will be back, as they have not ruled out further UK shows, short tours, and festival appearances - but given the age of the band it makes sense for them to start winding down whilst they can still deliver a world-wide tour with the power they are known for. If last night was it then they certainly went out on a high - and I am glad that I got to see the band quite a few times over the years.

Dream Theater's 'Parasomnia' - Album Review

I think that it is fair to say that one of the biggest pieces of news in 2023, at least in the heavy metal world, was Mike Portnoy returning to the American progressive metal legends Dream Theater following a 13 year absence. Portnoy helped to found the band in 1985, and became one of their main driving forces alongside fellow founder and guitarist John Petrucci, but the drummer left rather dramatically in 2010 - citing a want to pursue other projects and burnout from constant Dream Theater-related activity. It later transpired that he had wanted the band to take something of a break, but the other four members did not agree with this idea - so Portnoy left and spent the next 13 years working with a diverse selection of bands and projects including Avenged Sevenfold, Transatlantic, and Sons of Apollo. Mike Mangini was brought in to replace Portnoy, and Dream Theater essentially carried on as normal - releasing a further five albums. I first starting listening to Dream Theater in around 2008, which means that 2009's Black Clouds & Silver Linings, the last album before Portnoy's departure, was one of my first Dream Theater albums. As such, I do not think I appreciated at the time how big a change this was for the band. I have since realised that they did well to navigate the change as well as they did, but at the time I was just keen for more Dream Theater - and I saw the band live for the first time in 2011 (with Mangini) and absolutely loved A Dramatic Turn of Events when it dropped later the same year. My Dream Theater fandom never wavered, then, and I have continued to love everything the band have released since. Even 2016's mammoth concept album The Astonishing (which I reviewed here), which is much maligned, is something I return to every so often - and I enjoyed seeing the band each time they returned to the UK. Clearly my Dream Theater knowledge is much greater now, though, so when Portnoy announced his return I realised just how big this news would be. Whilst Dream Theater remained a big band without him, I definitely started to notice a bit of a stagnation in terms of turnout at their live shows - and I know that not everyone shares my view on the overall quality of the Mangini era albums. Portnoy returning was clearly big business for all involved, then, and last year's tour of Europe saw the band playing larger venues than they had done for a while. It is clear that Portnoy's return brought some lapsed fans back on board - which is both a shame and understandable. Those lapsed fans missed out on some strong years, and contributed to that stagnation, but Portnoy was always more than just the band's drummer - and seeing them live with him last year in London made it clear how much of a boost he gives them. Mangini could never hope to replicate that natural understanding formed over years of friendship, despite likely being the better player, and it seems that the decision to bring Portnoy back was the right one. Could they recapture the magic in the studio again, though? That was the big question - and it was answered earlier this month when Parasomnia, the band's sixteenth album, was released. The band's first since 2021's A View from the Top of the World (which I reviewed here), Parasomnia certainly has a lot weighing on it - so does it live up to the expectations?

In my opinion, yes. It should be reiterated, though, that I liked the Mangini era, plus I never thought that the first Portnoy era significantly dropped off in quality. Essentially, then, I like every Dream Theater album - so I had no hopes that Parasomnia would be some magical return to form. I just wanted it to be more of the Dream Theater I love - and Parasomnia certainly is that. I must admit, though, that it is a treat to hear Portnoy's drumming on another Dream Theater album. His drum sound is so distinct and his style is instantly recognisable - so there is something of a nostalgia about Parasomnia. It is easily the heaviest album the band have done since he was last in the band, too, with shades of 2003's Train of Thought, 2007's Systematic Chaos, and the aforementioned Black Clouds & Silver Linings present throughout. There remains some of the smoothness of their most recent releases, too, so Parasomnia still feels like a natural continuation despite the twinge of nostalgia. The album opens in relatively rare fashion, though, with an instrumental piece. The band have done this before, but they do not often have scene-setters on their albums - which is essentially what In the Arms of Morpheus is. In true Dream Theater style, though, it is no brief intro - and is instead a weighty and riffy full-bodied instrumental which re-introduces that heaviness from the mid-2000s. It takes a little while to get going, though, with atmospheric sounds such as traffic and footsteps setting a realistic tone - before a distant piano melody is heard. There is a loose concept running throughout the album relating to sleep disorders, so the ticking and the eventual brash alarm clock help to create this vibe - with the latter accompanying the first big riff of the album. By this point the piano has faded away, following a creepy twist, and Petrucci crashes in with a muscular mid-paced riff - which Portnoy backs up with some busy tom fills and a bass drum pattern which is reminiscent of A Nightmare to Remember. There is something overture-esque about the piece, though, and it moves through a few different riffs before Jordan Rudess' keyboards take on a more prominent role - adding growling organ before he launches into a lengthy synth solo, the first real instrumental workout of the album. This then morphs into a melodic guitar solo, over a much more expansive and lighter backing. This solo really shines, in classic Petrucci fashion, and it carries the latter portion of the album opener to new heights - perfectly setting the tone for some of the more cinematic moments to follow.

The next big riff marks the transition into Night Terror - the album's first song proper. This song was released before the reunion tour kicked off last year, and was featured in the setlist, so the fans are familiar with it by now. Its slow-burning opening is slightly doomy and more mid-paced than much of the song, with hanging riffs and lengthy drum fills - but the song kicks off proper once Petrucci's riffing speeds up to create a headbanging pattern. This riff forms the basis of the verse, with a simplified version sitting behind frontman James LaBrie's voice - whilst Rudess again utilises some organ for depth. LaBrie sounds great throughout the album. He might not have the range he used to but his tone is still intact - and the later chorus is a real earworm thanks to his melodies, Rudess' busy piano, and Portnoy's distinctive backing vocals. As is typical of the band, though, the song takes many twists and turns. An off-kilter version of the main riff later takes over for a different verse arrangement, which allows Portnoy to throw in a few interesting grooves - and there is a really groovy riff which kicks in after the second chorus which sees the band change tack immediately. This riff feels like it could have come from one of the band's more recent albums - and it is great to see the overall sound still reflecting their recent work. Parasomnia is not a pure throwback, then, but I think when it comes to the approach to drum fills it is. Portnoy loves to throw in chaotic and lengthy drum fills - and that is very much evident during the song's lengthy solo section, which is packed with some of Petrucci's fastest shredding, Rudess' excellent synth work, and a later bluesy guitar solo which showcases something a bit different. All of these sections are filled with intense drum fills - and it is very much clear that Portnoy is back just by listening to this part of the song. The discordant opening to A Broken Man also feels very Portnoy. He was often behind many of the band's heaviest moments in the past, and the intense riffing and drumming during the opening seconds of this second vocal-led piece do not sound like they could have sat on the last few albums. Despite this opening, though, the song as a whole probably reins in some of the more overt heaviness of the previous track - and actually, ironically, ends up sounding like something from the recent albums. The lengthy instrumental intro feels a bit more cinematic overall following the chaos subsiding, with strings and subtle keyboards backing Petrucci's riffing-come-melodic playing which dominates early on. LaBrie gets to really showcase some of his vocal power and diversity on this track, too. The less intense arrangement gives him plenty of space in the mix to breathe - and the verses feature a mix of more melodic singing and a more urgent delivery which sees his range being pushed. The chorus here is not as strong as it could be melodically, particularly following the previous earworm and some which are to follow, but the song has grown on me quite a bit despite it being one of my least favourites at first. The cinematic approach is welcome, showcasing that this is not just an all-out metal album, and the later solo section is one of the most bombastic on the album - with Rudess delivering a great organ solo and the band then moving through some different vaudeville-esque grooves.

Dead Asleep is the album's second longest song and one of two that breaches the 10 minute mark. Its opening returns to the ambient noises from the album's intro - before some distant piano melodies and what sounds like a mournful violin fade in, creating an unsettling tone. This vibe continues on for a minute or so, but it is not long before Petrucci takes over with another big riff - which is thunderous, mid-paced, and one of the heaviest on the album. Parts of the album may feel faster and more chaotic, but the opening riff to Dead Asleep is pure heavy metal goodness - and there is nothing to really spice it up groove-wise as nothing is needed. The song moves onto other vibes as it progresses, but this Black Sabbath-esque opening is a big nod in the direction of their metal fans - before Petrucci changes tack entirely and launches into another lengthy, floaty guitar solo against a spacey backdrop. This sees the band turn and nod to their prog fans - and this track is one that scratches both itches. It retains plenty of weight, with the verses featuring a repurposed version of the intro riff, Deep Purple-esque organ, and LaBrie's gritty vocals - before piano joins the fray for a pretty memorable chorus which sees LaBrie sounding a little smoother and aided by some subtle harmonies. Those who prefer something a little more retro-sounding will love a later instrumental section, which sees Petrucci soloing without a rhythm guitar backing. John Myung's bass playing really shines here, as he backs Petrucci's 1970s-esque fluid leads - and there is also some more organ from Rudess to add depth. This raw instrumental section feels different from many of the other solos here which tend to sit against big riffs - and normal service soon resumes once Rudess starts to lay down a busy and flashy keyboard solo with another big riff in the background. This instrumental section is pretty lengthy, though, with both Petrucci and Rudess really stretching out - but no time appears to have passed before LaBrie returns with another reprise of the song's chorus and the track then closes out on a lengthy riff-led workout which takes on a slightly gothic edge. Midnight Messiah is easily the heaviest song here, despite the piano-led intro and the haunting clean guitar melodies which open things up. It might take a little while to build fully to the heaviness, but an early spiky riff and some discordant passages create some tension - before a groovy and driving riff takes over the song never looks back. This is Dream Theater showcasing their Metallica influence during some of the muscular passages here - and LaBrie also goes for a gritter approach throughout. The song could have easily sat on Train of Thought and it rarely lets up. There is some piano added to the pre-chorus which does add a lighter touch, but the riffing still remains - and the chorus ups the pace and goes all-out for a thrash approach. This is one of the fastest and most potent sections on the whole album - and LaBrie delivers Portnoy's lyrics with real venom. He has not sounded this snarling on a Dream Theater album for quite some time, and the chorus is one of the album's best and most memorable moments. Funnily enough the later soloing is not as high-octane as it could have been - but the grooves remain and there is still plenty of melodic shredding. Due to its energy and thrashy riffing, this song is sure to become a real live favourite going forward.

Following the true metal of Midnight Messiah, the album then follows its heaviest cut with its mellowest. The brief, atmospheric Are We Dreaming? essentially acts as an extended intro for the song which follows - and the interlude again returns to some of those real-world noises from before. Chiming clocktower bells add to the album's overall themes, before some dense horn-like synths, which could have come from a Roger Waters album, create this low-key soundscape as whispering creeps around the edges of the speakers. Once Petrucci's clean guitars join in, though, Bend the Clock starts - and the album's ballad gets underway. Dream Theater have often written great ballads in the past and Bend the Clock is no different. In fact, this is likely their best ballad for quite some time - and it is an overall album highlight for a number of reasons. The main reason, though, is LaBrie and his fantastic vocal performance. His performances are always under so much scrutiny, and he has come in for quite a lot of unfair criticism over the years for just getting older - but there is no-one else out there who could sing Bend the Clock with the emotion and control that he does. The first verse and chorus are quite low key, and are filled with that breathy, floaty vocal style which characterises his ballad delivery - but the track does grow in stature as it moves along which necessitates a more full-bodied delivery. By the time the second chorus is reached, then, LaBrie is singing in a different way - and the second chorus hits with a different sort of power. It helps that the vocal hooks during the chorus are real earworms. It is easily the best chorus on the album overall, behind the thrash snappiness of Midnight Messiah, and it is a truly classic Dream Theater moment - which is later built on by Petrucci's heroic guitar solo which is packed full of melody. He solos a couple of times during the song, but the main one is my favourite due to its real focus on melody - with the second one being much lengthier and acts, David Gilmour-esque, as a closing motif.

The album then comes to a close with the 19 minute-plus epic The Shadow Man Incident - which does not stand on ceremony and opens with a memorable mid-paced riff which repeats whilst it is subtly changed and different drum accents are utilised. Marching drums then take over, and Rudess creates a few different soundscapes - but the song then really feels like it gets going with a snappier riff that follows and another lengthy, cinematic guitar solo. Despite the song's length, many of the vocal-led sections throughout are actually quite low key. It is a few minutes before LaBrie starts to sing, but following three big riffs and a lengthy solo the heaviness drops away and LaBrie once again utilises that breathy vocal delivery during a slow-burning verse filled with atmospheric guitars and occasionally creepy, effects-heavy vocal additions. Unlike many of the band's epics, though, this one feels like it evolves more organically. It is not as bombastic as many longer Dream Theater cuts, then, which gives the song a slow-burning feel - but this makes it interesting in my opinion. Given how heavy much of this album is, and how the song starts, the plentiful slower moments, spoken word interjections, and more plaintive overall feel work well - and the chorus which reappears a few times throughout is a rare moment of urgency in a song which feels more interwoven and expansive than ever. It is not a song which reveals all at first, then, but over repeated listens I feel that I have a good handle on it - despite it remaining the song here I am the least familiar with. Despite what I have said, though, it is not a 19 minute ballad. There is noticeably a lot of atmosphere here but there are still heavy moments. The instrumental moments really stretch out, too, with one around the 11 minute mark seeing plenty of guitar and keyboard back and forth before Portnoy lays into his double bass pedals and the heaviness returns with some high-octane shredding. In fact, this instrumental section is easily the album's longest and its most progressive expression - and by the time LaBrie returns to sing an expansive last few lines the song is almost over. This last vocal section perfectly caps off the song's themes, though - and it is left to Petrucci to close things out definitively with one last soaring solo, coming full circle with atmospheric noises and an alarm clock the last things heard. To circle back around, then, for me Parasomnia very much lives up my expectations. It looks to the past and the present, fusing some the band's older heaviness with their more recent approach - and the songwriting is tight despite the lengthy arrangements. Some of the band's best choruses for a while are here and the riffing throughout is some of Petrucci's heaviest to date. Portnoy sounds great back in the saddle, too, and it is clear that this era of the band is just getting started - so I imagine there is only more to follow.

The album was released on 7th February 2025 via InsideOut Music. Below is the band's promotional video for Night Terror.

Queensrÿche - Bristol Review

Following a quiet weekend after two on the road, last night it was time, once again, for gigging. It kicked off what will be rather a chaotic second half of February, which includes five more gigs before the month is out, and, so far, it is my busiest period of the year. It will likely be a very tiring, but entertaining, couple of weeks, then, but last night's show was a one-off - a night in Bristol with the Seattle-based progressive metal legends Queensrÿche. Whilst it was my seventh time seeing the band overall, it was my first Queensrÿche concert since 2019. I saw the band twice in 2019, firstly at Bloodstock Open Air, where they put on a stellar performance in the special guest spot, blowing away the Scorpions, and secondly in Manchester towards the end of the year where they disappointed somewhat due to illness to frontman Todd La Torre and a much truncated setlist compared to the rest of the tour which omitted many of the deeper cuts and newer material I was really looking forward to hearing. The show was still enjoyable, but La Torre was clearly struggling - so it paled in comparison to Queensrÿche shows of the past. Following the pandemic it took the band quite a long time to book some European shows. They have been very busy, releasing Digital Noise Alliance (which I reviewed here) back in 2022, and touring throughout America heavily - sometimes opening for Judas Priest - but for a while it seemed that they had forgotten about Europe. It was frustrating seeing US tour after US tour get announced and Europe seemingly ignored, as the band had always been pretty regular visitors in the past, but last summer what European Queensrÿche fans had long been waiting for happened - as a fairly lengthy European tour was announced, which included a few UK shows. Of the shows announced, Bristol on a Friday night made the most sense. I had not seen the band in Bristol before, so it was nice to not have to travel as far as I sometimes have in the past - and it was also an opportunity to return to The Marble Factory, a venue I had not been to for a few years. Rather than tour in support of Digital Noise Alliance, though, the band decided to bring their on-going The Origins Tour to Europe, which has seen the band playing both their self-titled EP from 1982 and debut album The Warning from 1984 live in full. For a long-time Queensrÿche fan this was certainly an exciting prospect, as I had not seen the band do too many of the songs from both releases live before. A few of them were brought back for the show I caught in 2013, my first time seeing the band live with La Torre, but generally since then only a couple of real staples have been played live. This was very much not a tour for the casual, then, but the band's earlier, heavier material has often been held in high regard - so there were likely plenty of fans who were really up for it. Following a morning's work, then, I got the train to Bristol and, following dinner in Wetherspoons and a brief stop over at my hotel, made the semi-familiar walk through a less salubrious part of Bristol to The Marble Factory.

At first it looked as if the turnout was going to be pretty poor, but this was likely due to the 6pm doors. Due to the venue operating as a night club, there was a 10pm curfew - meaning that the evening's sole support act, Night Demon, hit the stage at 7pm. By the time they started their set, though, there was a pretty healthy crowd in - and the final turnout was decent. I recently saw Night Demon opening for, and then later forming half of, Cirith Ungol in London. I enjoyed the band's set that night, so I was looking forward to seeing them again, but I think I actually enjoyed them more this second time. The setlist was exactly the same, but the sound mix was better overall - and the larger stage allowed the band to make better use of the space and really rock out. The crowd seemed pretty into them overall, too, and there was plenty of energy coming from the stage despite how cold it was in the venue. Kicking off with the title track of 2023's Outsider (which I reviewed here), the band really went for it from the off. They might not be the most original band, as they very much are NWOBHM worship, but their songwriting is generally pretty strong - and Jarvis Leatherby (vocals/bass guitar) has a strong voice and commanding stage presence. Armand John Anthony (guitar/vocals) is a very capable player, too, and his riffing generally drove the 10-song set. I generally think that the band excel when they just go for it. Songs like Screams in the Night and Dawn Rider early on were packed with anthemic chorus hooks and headbanging riffs which the crowd latched onto - and the punchy drumming of Brian Wilson kept the band moving. I am a bit less convinced by the band when they try a more atmospheric sound, but I feel that those songs came across much better live this time. The clear sound mix helped, and it really showcased how much Leatherby was doing with his bass during these songs - as often he was leading things with some fluid and melodic playing. This was apparent during a mid-section of the set which featured slower tracks like Beyond the Grave and The Wrath, both from Outsider - showcasing the slightly more progressive and conceptual sound the band went for on their last album. The band picked up the pace again towards the end, though, and really went for it during the home straight with some galloping old-school metal anthems. Welcome to the Night was one such cut, but as was the case last time it was the two closing songs from the band's self-titled EP which impressed the most - with the melodic The Chalice and their self-titled track bringing a powerful and high-energy set to a close. The setlist was:

Prelude

Outsider

Screams in the Night

Escape from Beyond

Dawn Rider

The Howling Man

Beyond the Grave

The Wrath

Welcome to the Night

The Chalice

Night Demon

The lights soon went down again and the members of Queensrÿche took to the stage - opening with the high-octane Queen of the Reich. I think the band have played the song live each time I have seen them since La Torre joined - but the power metal anthem always works particularly well as an opener, and it was clear from the opening big scream that La Torre was really up for the show. He was struggling through illness when I last saw them, and at some other shows he had adopted a rougher approach, but he was really back to his best last night and he was easily the star of the show. He never once pulled out of a big scream and he worked the crowd well. It took the crowd a few numbers to get fully on board - but the atmosphere was strong in no time, which was likely helped by the band barely coming up for air. The four songs from the EP were rattled out one after the other - with Blinded and the dense ballad The Lady Wore Black really standing out as songs I had not seen the band do live before. This was also my first time seeing the band with Mike Stone (guitar/vocals) - who re-joined in 2021 after previously being in the band between 2003 and 2008. He was perhaps not as flashy as his predecessor, with Michael Wilton (guitar) taking back some of the solos, but he was tight none-the-less and often teamed up well with Wilton for the set's many harmony guitar solos. The EP portion of the set was soon over, then, and the rest of it was then dedicated to The Warning - with the melodic title track opening this part of the night. The Warning has become a real favourite of mine over the years. Queensrÿche would rarely be as heavy nor as primal again following its release. They became better songwriters and experimented more with production techniques - but in terms of pure metal power The Warning is hard to beat, as anthemic tracks like En Force and the rarely played Deliverance showed. Wilton seemed particularly keen to be playing the latter again, since it was one of his compositions on the album, but the whole band seemed fired up. Even the laid back Eddie Jackson (bass guitar/vocals) seemed more animated than usual - and he was often singing along even when he was not harmonising with La Torre. Drummer Casey Grillo also deserves a shoutout for perfectly recreating all of the off-kilter drum fills which helped Queensrÿche to stand out early on - with snappy pieces like NM 156 really benefitting from his drumming. La Torre took an opportunity to talk with the crowd half way through, outlining the reason for the tour - and also conducting a bit of a sing-a-long during the intro of Take Hold of the Flame. By this point everyone was on board, too, seeing deep cuts like Before the Storm and Child of Fire hit home, with the latter being a particular standout - before the lengthy Roads to Madness rounded out the main set. This song showcased that Queensrÿche were progressive from the off and it was a great way to end the main set. Following some cheers the band came back out for a four-song encore of songs from other albums. It seems the encores are being changed up a little each night - and Bristol was treated to four fan-favourites which kicked off with Walk in the Shadows. Empire allowed La Torre to introduce the band during the instrumental mid-section before Wilton's big solo, whilst the industrial Screaming in Digital saw Stone solo. The night came to an end with a rousing Eyes of a Stranger, which always works well as a full stop - and the band took their bows to plenty of cheers. The setlist was:

Queen of the Reich

Nightrider

Blinded

The Lady Wore Black

Warning

En Force

Deliverance

No Sanctuary

NM 156

Take Hold of the Flame

Before the Storm

Child of Fire

Roads to Madness

-

Walk in the Shadows

Empire

Screaming in Digital

Eyes of a Stranger

I have always enjoyed seeing Queensrÿche live, with even the Manchester show in 2019 being enjoyable, but in terms of setlist and performance this show was one of the best. It was likely not quite as special as that first show with La Torre in Nottingham back in 2013, but it was up there in terms of vibe and how the band seemed really up for it. It was nice to see the band in Bristol, too, and hopefully it will not be another five-plus years before the band return to the UK.

The Night Flight Orchestra's 'Give Us the Moon' - Album Review

It is strange to think that, before last month, it had been well over two years since Björn 'Speed' Strid released an album. As the frontman of both Soilwork and The Night Flight Orchestra, as well as a few other less active projects, for a few years it seemed like something new from him was dropping yearly. Since Soilwork's last album, 2022's Övergivenheten (which I reviewed here), Strid has been fairly quiet on the new music front. Both bands have toured in that time, but such lengthy runs of productivity tend to run their course - so a bit of a break from writing and recording likely allowed Strid to recharge. The other reason for the gap, though, is much more sad - and that is the death of David Andersson not long after Övergivenheten's release. Andersson had been Strid's right hand man in both Soilwork and The Night Flight Orchestra for a number of years, the latter since the start, and he also had become the lead songwriter for both bands. Strid, and others, chipped in, but Andersson essentially drove both bands creatively since 2012 - which is when The Night Flight Orchestra released their debut album Internal Affairs (his first album with Soilwork, the epic double The Living Infinite, followed a year later). I imagine that Strid was not sure where to take things following Andersson's death. Soilwork has always been his band, and existed long before Andersson came aboard, but The Night Flight Orchestra always felt like Andersson's baby - so I imagine that most would have understood if Strid decided to put the band to bed following Andersson's death. The band decided to carry on, though, bringing Rasmus Ehrnborn (Soilwork) in to replace Andersson - keeping things in the family. Andersson had rarely toured with either band in recent years, with Ehrnborn having filled in for him live at The Night Flight Orchestra's shows previously - so having him join the band full-time made sense. Andersson's songwriting prowess was always going to be hard to replace, though, as he seemed to be extremely prolific and consistent - but Strid and the rest of the band seem to have stepped up on that front and last month their first post-Andersson album Give Us the Moon dropped - their seventh overall and their first since 2021's Aeromantic II (which I reviewed here). Strid has written plenty of big songs for the band before, but he has become the main songwriter on this album for the first time really - ably assisted by a Ehrnborn and guitarist Sebastian Forslund. Forslund has been something of a secondary songwriter for the band for a number of years, but on this album he has really stepped up - collaborating with Strid on a handful of songs and even writing alone. Sound-wise, too, the band's trademark sound is ever-present. The band's usual mix of AOR, pomp, and yacht rock is very much present and correct - and there is perhaps even more of a Toto vibe than ever during portions of the album. The album also marks the debut of backing singer Åsa Lundman in the studio with the band - who replaced Anna-Mia Bonde in 2022.

Laying heavily into the band's flying theme, the short spoken intro Final Call (Intro) recreates an airport announcement, calling the band to their flight, before the first song proper Stratus kicks in. One of two tracks co-written by Erhnborn, the band's new lead guitarist makes his presence felt from the off - although it is perhaps keyboard player John Lönnmyr who shines the brightest at first. His flashy opening keyboard melody and later Survivor-esque synth pulses really drive the song - although the guitar crunch of Erhnborn and Forslund give the track plenty of weight. The Night Flight Orchestra never forget to rock out despite their re-creation of 1980s melodic rock - and this track showcases the band's harder rock credentials at times. The riffing is always crunchy, despite the keyboard presence, whilst the bass of Sharlee D'Angelo really underpins everything. What always makes the band's songs stand out, though, are Strid's vocal melodies. The verses here are catchy, with a stop-start feel and some big drum fills from Jonas Källsbäck, whilst the chorus has more of an urgency and some soulful Toto-esque melodies - with Lundman and fellow backing singer Anna Brygård adding plenty of depth behind Strid. Erhnborn makes his mark with a fluid and hooky guitar solo, which sits nicely atop some pulsing electric piano, and it is safe to say that the band's core sound is very much present and correct. Lead single Shooting Velvet follows - which is a very poppy track from Strid. It is one of a few songs here which showcases a bit of a disco edge - something which the band have often flirted with before. The song somewhat feels like this album's take on Divinyls - albeit a little tougher overall. The keyboards drive everything, a warm synth lead the main hook, whilst the verses feature Nile Rodgers-esque clean guitar chords and rhythms. The chorus is similar, albeit a bit rockier overall - and it is one of those choruses which really benefits from an unexpected melodic twist towards the end to elevate it further. A busy, harmony guitar solo is later thrown in, too, and the track is one which is sure to stick in the brain from the off. Like the Beating of a Heart is notable in the sense that it is the only song here written by Andersson. Whether there are others which will feature on other albums or whether this will end up being his last song for the band remains to be seen - but it is nice to have something by him on this album. It is a slightly moodier song than is sometimes typical for the band, but there is a strong percussive underpinning - with Forslund adding his congas to Källsbäck's drum groove. The song is still very memorable, and the chorus feels a bit more explosive than the rest of the song, but it is not as bombastic as the band can often be - which gives it a relatively downbeat feel. The band have done songs like this before, though, and I like the space in the mix which allows D'Angelo's bass to sound massive - whilst keyboard flourishes and the backing vocals give the track a hint of class.

Melbourne, May I? is the first of four songs here which Forslund contributed to (although he is also credited for the album's intro). As mentioned earlier, he has often been something of a secondary songwriter for the band, keeping things varied, and he has stepped up here to contribute some more in Andersson's absence. His writing in the past has generally shown the band taking a slightly different direction, and that is certainly true of some of his later efforts, but Melbourne, May I? is very much typical The Night Flight Orchestra thanks to its driving synth hooks and hard rock grounding. It picks up the pace following the more downbeat previous song - going instead for a snappier overall feel, particularly during the chorus. Generally the band, and melodic rock acts in general, tend to slow down for choruses, to allow the vocal hooks to really breathe, but this song accelerates during the chorus - with fast-paced vocal melodies from Strid and lots of body added by the ladies. Strid unleashes one of his high-pitched screams to lead into a later instrumental section, which features plenty of soloing from the keyboards and the guitars. Miraculous is the second track here co-written by Erhnborn - and it is another very classic-sounding track for the band, showing that he has already bedded in nicely. As with his previous writing effort, the main musical hook comes from the keyboards - but the guitar riffing throughout the intro is very snaking and groovy. Whilst the verses are a bit more stripped back, with a synth backing and the bass forming a smooth backing for Strid's voice, the instrumental sections and the chorus feel much bigger - with pulsing electric piano melodies cutting through whilst the aforementioned snaking riffing adds a slight heaviness. The chorus is another with some pretty snappy vocal hooks, too, and it manages to stick in the brain despite the mix feeling pretty busy during these parts of the song. Spacey keyboard melodies and guitar harmonies fill a later instrumental section - and the song ends proving that Erhnborn was the right choice to replace Andersson. Strid then returns to the spotlight with the power ballad Paloma. Given the type of music that The Night Flight Orchestra play, and the era they clearly love so much, power ballads are a surprising rarity on their albums. Given the metal backgrounds of many of those involved in the band perhaps this should not be such a big surprise, but nevertheless I would have expected to have heard more of them by now. Paloma is a great addition to the band's catalogue, though, with a mournful synth hook leading the initial verse - before the song explodes into a powerful chorus which is led nicely by Strid's rich vocals. Even though the song feels like a ballad, it still rocks pretty hard - and Källsbäck's drumming during the chorus even creates a disco feel. It is another track with a bit of a downbeat feel, though, and it is a welcome change of pace from much of the bombast and pomp found elsewhere on the album.

Changing things up somewhat, though, is Forslund's Cosmic Tide. It is the first song he has written for the band alone - and it certainly feels quite different when compared to the band's usual sound. It feels a bit more progressive overall and there is something of a psychedelic feel throughout thanks to some ever-present electric piano melodies, busy guitar rhythms, and a percussive feel due to some relatively complex drumming for a pop-centric piece. I have always felt that Toto are likely the band's biggest influence and this song certainly channels some of Toto's more bonkers pieces - with a massive chorus that cuts through the slight chaos found elsewhere to really hook the listener in. This song has been a real grower for me. I saw the band play the song live a couple of weeks ago, and it did not really hit home then as there is a lot going on throughout - but having heard the album a number of times now I feel that I get it, and the slightly jazzy guitar solo is the icing on the cake of what is something new and fresh-sounding for the band. Returning to something more typical, then, the album's title track is an anthemic mid-paced piece which is not as rocking as some of the band's songs - instead feeling somewhat more atmospheric and groovy overall. D'Angelo's bass is ever-present in the mix, with the verses really leaping out of the speakers thanks to his rumbling playing, whilst Källsbäck's drumming does a lot of the heavy lifting thanks to the groove in his playing. Lots of the song is actually pretty spacious in terms of the mix. The synths generally create a warmth throughout, despite the occasional melody, whilst the guitars take more of a backseat - only really kicking in in a big way during the chorus and to lay down the occasional lead. The solo section reinforces this overall feel, too. The guitar solo is very much a slow-burner, with some Pink Floyd-esque guitar tones on display - whilst the spacey synths also take on more of a role during this section, too. A Paris Point of View picks up the pace again, following the hooky but more mid-paced title track, and it also goes for a slightly quirky vibe. This is another Forslund-penned piece, so this slight point of difference should not be a surprise. The chorus is very much classic The Night Flight Orchestra, though, with a faster overall pace and plenty of disco-esque vibes - but the verses and main musical hooks feel a little staccato and out there, with a bit of a Supertramp feel to some of the grooves as well as the zany grandness of Dream Police-era Cheap Trick. It is another song which has really grown on me since first hearing it. I think that this is often the case with Forslund's songs, and I imagine if I looked back at the band's other albums I would agree, but he has a way of wrapping his melodies up in slightly quirky and different arrangements - whilst writing songs which still very much sit within the band's core sound. He is a great asset for a band like this as without the variety things could get stale.

He also co-wrote Runaways, his last contribution to the album, but this song is very much typical of the band's core sound - and it boasts one of the album's best choruses in my opinion. I have to say, though, the opening spoken word bit it pretty cheesy, and I could do without it, but once the song proper gets going it reveals itself to bit a staccato and groovy mid-paced rocker - which is very much Toto in style, particularly the verses and the pre-chorus pomp. The driving, off-kilter piano is very much out of the David Paich songbook - but the chorus feels a little different, with more prominent guitars and Survivor-esque melodies. The chorus really reminds me of another song, though, but I just cannot work out which one. The overall melody is very similar to something I know that I know well - but at the time of writing I have not been able to work it out. I am sure that it will hit me at some point - but this does not take anything away from the bombast and heroic melodies that chorus lays down. The guitar solo even manages to ape the feel of the chorus somehow. The instrumental sections are strange, too, as there is one which feels very atmospheric - before the aforementioned solo kicks in and adds plenty of groove. Another of the album's lead singles is up next, with the penultimate track being the up-tempo and disco-inspired Way to Spend the Night. Whilst some of the songs here have gone for a slightly more complex overall approach, this song feels like one which was written just to be packed full of melodies - and like many melodic rock classics of the past it really feels like a vehicle for its chorus. The pulsing synths and bass create that disco feel, with the guitars generally feeling less prominent this time, and the ladies contribute a lot throughout with their backing vocals and harmonies. This is very much a song which is all about its chorus, then, and luckily it is another of the album's best. It has a great carefree pop feel throughout - and it sticks in the brain after only a couple of listens. There is a flashy synth solo later, which is a lot of fun, but musically this song is less interesting than most of the others here - with the track's aim of being a catchy single achieved thanks to the chorus. The album then comes to a close with the slightly longer Stewardess, Empress, Hot Mess (and the Captain of Pain) - which is really the only song here that has not really grabbed me yet. It opens in a subtle manner, with some gentle piano melodies - but the song soon morphs into a pretty typical one for the band. Its longer arrangement does allow it to stretch out somewhat - but for me it is lacking some of the big hooks the band is known for. It is a song that I enjoy whilst it is playing, but none of the melodies really stick with me when it finishes. Every other song here is built around a big chorus, but this one lacks the standout melodies which come elsewhere - and the longer arrangement does give it the feeling sometimes of being a few different ideas stitched together without a coherent hook to pull everything together. There is nothing to dislike about the song, but compared to everything else here it is easily the album's weakest moment. It is a shame, as they clearly were trying to end on a more epic tune - but they left out the killer chorus which would have made it such. Despite this blip, though, Give Us the Moon remains a stellar album. The band have navigated losing Andersson really well - and have managed to carry on his sound throughout the album's 13 tracks, creating many excellent memories throughout. It certainly stacks up with the best of the past - and hopefully this band can continue writing anthems for many more years to come.

The album was released on 31st January 2025 via Napalm Records. Below is the band's promotional video for Shooting Velvet.

Labyrinth's 'In the Vanishing Echoes of Goodbye' - Album Review

Despite not being as involved with the Italian power metal scene as I probably should be, there are certain bands which have come out of Italy over the years that I really like. Most power and symphonic metal fans will certainly be aware of Rhapsody and all of its spin-offs/rebrands, and they are easily the kings of the Italian power metal scene, but I think it is fair to say that Labyrinth are not far behind. They may have never reached the commercial heights and international recognition that Rhapsody did, but in terms of the quality of their output I think that Labyrinth are similarly important - and they are well-respected in the power and progressive metal scenes as a result of their bombastic, melodic, and, at times, complex songwriting. There is a link, too, as long-time Rhapsody frontman Fabio Lione sang on Labyrinth's 1996 debut album No Limits - but was replaced the following year by Roberto Tiranti who has been the definitive face of Labyrinth ever since. 1998's Return to Heaven Denied is often seen as a real classic of the 1990s power metal scene - and 2000's Sons of Thunder which followed is another strong effort. The departure of guitarist Olaf Thörsen in 2002 so that he could focus on his other band Vision Divine led to a change of direction - and the next three albums saw the band take on a much tougher, more progressive sound. Italian power metal is often characterised by a somewhat romantic overall approach, with sweeping melodies, plenty of acoustic guitar interludes, and heartfelt ballads - but the band's mid-2000s output generally eschewed such for a riffier and crunchier sound. Thörsen returned in 2009, teaming up again with fellow guitarist Andrea Cantarelli, and Labyrinth returned to their classic sound - releasing Return to Heaven Denied - Part II: A Midnight Autumn's Dream in 2010. Following a few quiet years, during which time Tiranti was briefly out of the band, Labyrinth signed to Frontiers Records - and their current era got underway proper. With a new line-up built around Tiranti, Thörsen, and Cantarelli, the band released Architecture of a God (which I reviewed here) in 2017 and Welcome to the Absurd Circus (which I also reviewed here) in 2021. Whilst perhaps neither were as deliberate a hark back to the past as the 2010 release had been, both of the Frontiers-era albums had plenty of hallmarks of the band's classic sound - albeit with a bit of a heavier edge at times. Both are albums I listened to a lot when they were released, and reviewed positively, so when the news was released last year that a new Labyrinth album, the band's tenth overall, would be released in January 2025 I was happy to jump back aboard the train. I had not listened to the band much since Welcome to the Absurd Circus, so it has been great to reacquaint myself with Labyrinth over the past couple of weeks with In the Vanishing Echoes of Goodbye, the new album. Sound-wise, it is not all that different from the last two - but the arrangements are perhaps a little more straightforward. It feels less progressive, but it is still heavier overall than the band's classic work - despite plenty of classic Italian power metal tropes throughout.

It is the band's second album with the current line-up, too, with everyone from Welcome to the Absurd Circus returning. The lack of any kind of build up showcases the album's overall heaviness, and Welcome Twilight gets underway with a bit of a drum barrage - over which a mid-paced riff that could easily sit on a thrash album is soon added, before Oleg Smirnoff lays down a warm keyboard melody. The mixture of classic synth leads, smooth vocals, and crunchy riffs is a big part of this album - and Welcome Twilight is very much typical of the album's wider feel. Keyboard and guitar shredding fills the latter part of the song's intro, before drummer Matt Peruzzi starts to lay into his double bass drums and the first verse gets underway. The rest of the song is generally fast-paced, with both the verses and the chorus feeling high-octane in that classic power metal fashion. Tiranti sings in his typically theatrical manner, though, adding some smoothness to the fast-paced riffing beneath him. He sounds as good as ever here. He perhaps does not go for as many high notes as he used to, but this romantic tone and sense of melody remains - and the song's chorus is packed with classic power metal hooks despite the fast pace. Not everything here is as fast, but this opening song is very much a classic power metal rager - and this is build on later with plenty of shredding guitar soloing by Thörsen and Cantarelli. Latin lyrics sung in a choral fashion later add some symphonic metal flair - but this moment is fleeting and the overall tone does not shift that significantly. Accept the Changes is somewhat similar - opening with a strident mid-paced riff and some shredded guitar leads, all while some dense keyboards add plenty of depth. This track is not as consistently fast as the opening cut, though, but there remains plenty of fast double bass playing early on - and the verses are similarly speedy. Some of the riffing early on feels a bit groovier than Labyrinth's core sound, which reminds me somewhat of their mid-2000s albums, but the track is much more dynamic overall - with slower sections which are filled with acoustic guitars, floaty keyboards, and Tiranti's romantic approach to singing. The chorus is fast, too, but the strong keyboard presence strips away some of the heaviness and there are plenty of sweet vocal harmonies - which build on the more acoustic-based pre-chorus. There is a lot of the band's classic sound here, then, despite some groovier riffing - and Tiranti really comes into his own with some smooth vocal melodies and the occasional high-pitched scream. Out of Place opens in a much slower manner, with acoustic guitar arpeggios and aching guitar leads - over which Tiranti soon starts to sing. Slower song openings like this are a real staple of the Italian power metal scene - and following two faster tracks something a bit more slow-burning is welcome. There is still plenty of crunch, with the chorus morphing the song into a mid-paced track with a strident guitar backing and heroic vocals - but generally the song feels a bit more power ballad-esque with a more atmospheric approach thanks to the acoustic guitars and synth backing. Songs like this always bring the best out of Tiranti as he gets plenty of space in the mix to showcase his warmth - whilst the chorus is still powerful. An emotional guitar solo is later included, too, which caps things off nicely.

At the Rainbow's End returns to the faster pace of the opening couple of songs, but the warmth of the previous song is also retained. The riffing does not feel as furious overall, with the slight thrash and groove elements reduced, and a more traditional power metal sound is instead established. There is a lot more keyboard in the mix this time, which likely helps with this aim. There is always a synth backing throughout this album, but there are keyboard leads and melodies this time - with the verses feeling bulked out with some flashy keyboard runs and the chorus backed by strong synths. The chorus is one of the smoothest and hookiest on the album overall in my opinion - and there is a great bridge section later on which reintroduces some of the acoustic guitars from the previous song, before launching into a precise and melodic guitar solo. It is a song which is very typical of the band's classic sound, then, and it could have sat nicely on any of their 1990s albums. The Right Side of This World is somewhat similar overall, although there is something of a classic rock strut throughout which helps to set it apart. The main guitar hook is very much classic power metal in sound - but the riffing here feels a bit more 1970s inspired. Peruzzi's drumming is a bit more restrained here, with less reliance on his double bass drums and more straightforward beats to match the rhythm guitars - despite plenty of lengthy and busy fills. The relatively simpler arrangement allows Nik Mazzucconi's bass playing to feel a bit more prominent, too, and his rumble underpins the crunch of the while track - whilst the Smirnoff provides plenty of counter-melodies with his string patches, particularly during the chorus. The more straight ahead arrangement allows for plenty of space in the mix for Tiranti's vocals, too, and he soars during the chorus - whilst the two guitarists trade leads during the later solo section. The Healing slows things down again, opening with acoustic guitars and a strange percussive loop - before a soaring guitar lead kicks in and a memorable intro section is filled with emotional playing. There are similarities here with Out of Place and the song feels like another power ballad at times - although there is perhaps a little more weight here, with the chorus feeling a little bigger and the presence of plenty of guitar leads is welcome. The verses are more acoustic-based, though, with some busy bass playing to add depth, so the song is another strong representation of that classic Italian sound. There is a bit of a heavier instrumental section later on - but even that does not meet the thrashy heights of parts of the album. Heading for Nowhere does return to a much heavier sound, though, despite some flashy synths, and parts of this song are the heaviest the album have sounded up to this point. There is a fast, thrashy riff early on which sounds like early Megadeth, which sees Peruzzi going all out, but the song is not consistently such - as the verses feel a bit more restrained before things speed up again for a faster chorus which is filled with flashy synth additions. The contrasts between all of the different sections help to create a dynamic and interesting song - which seems to take little bits from each era of the band. I really like the heavier riffing here, but the smoother chorus and Smirnoff's busy lead playing throughout is classic Labyrinth - so the song is a real highlight for me.

Mass Distraction reins in some of the speed of the previous track, with the band instead going for more of a mid-paced, strident power metal sound. The drumming is less busy here, but the verses are packed with more complex bass playing to keep the arrangement interesting. Like The Right Side of This World, there is something of a classic rock feel to some of the riffing and grooves - whilst some of the short bursts of double bass drumming utilised feel like double bass rolls from the early 1980s. The song has a real old-school feel, then, despite plenty of crunch remaining. The chorus is very melodic, packed with plenty of Tiranti's usual feel, but there is perhaps something of an AOR bent to some of the melodies which help to set the song apart. The overall feel is not hugely different - but the chorus certainly feels more blatant than is sometimes the case for Labyrinth. It is one that sticks in the brain, then, and there is plenty of prominent keyboard playing throughout to help add to this overtly melodic sound. The album's penultimate song, To the Son I Never Had, is another which slows things down somewhat. The acoustic guitars remain and the opening guitar lead really soars in a manner similar to many of the band's best slower tracks of the past. It is the third power ballad-esque track on the album and like the previous two there is plenty of emotional weight throughout. Tiranti really delivers the lyrics with passion here - and that has always been one of Labyrinth's big selling points. It is quite typical in the Italian power metal scene, but Labyrinth have always been the best at creating these emotional vibes in their slower songs - with the romantic acoustic guitars and delicate piano melodies sitting nicely alongside heavier guitars and massive vocal hooks. There are riffier moments here, and an instrumental section later on feels a little more symphonic thanks to some dramatic keyboards - but this soon gives way to a great guitar solo which plays around with some of the vocal melodies to really add to the song's emotional weight. It helps that the chorus here is another winner and the song is another overall highlight for me. The album then comes to a close with Inhuman Race, a track opens with quite a lengthy instrumental section - setting the scene with crunchy riffs and quite lengthy keyboard and solos. The song is not as heavy as some of the tracks here, but it is certainly quite a potent one - with Dream Theater-esque riffing at times during the lengthy intro and a snappy verse which has an urgency to it and plenty of double bass drumming. There is something pretty heroic about the whole thing, too. Tiranti's vocal melodies generally feel pretty anthemic, particularly during the chorus, and the headbanging riffing just gives the song a hooky feel which is a bit different from the band's usual approach to such. It is a bombastic track, then, with lots of additional keyboard melodies - and towards the end there is some spoken word relating to the war in Ukraine which further sets the song apart from Labyrinth's usual themes. The tougher yet melodic song ends the album on a high, though, and, overall, the quality here is high. Labyrinth might not be one of the biggest bands but the quality of their output is high - and In the Vanishing Echoes of Goodbye is no different. It is a great addition to the band's canon and it mixes elements of all of their eras together nicely whilst maintaining a classic Italian sheen throughout. Memorable songwriting and fiery solos are what the album offers - and all power metal fans should check it out.

The album was released on 24th January 2025 via Frontiers Records. Below is the band's promotional video for Welcome Twilight.

Toto - Birmingham Review

Despite having had a great couple of days in London with a couple of melodic rock bands, particularly H.E.A.T who really delivered at the Islington Assembly Hall on Friday night, my recent long weekend away was always likely to peak as it was coming to an end. This was because, following seeing two of the newer faces on the melodic rock scene, it was time to see one of the originals and, still, one of the very best - as the legendary American rockers Toto were making their first visit to the UK since 2019. Given the other shows, it made the most sense to see Toto in Birmingham - at the BP Pulse Live which is part of the NEC complex by the city's airport. I last saw Toto live in 2018, when they brought their 40th anniversary tour to the Royal Albert Hall. Since then, however, Toto's history has been somewhat rocky. The band's founding member and key driving force David Paich has essentially had to retire from active duty for health reasons - and they also found themselves in a rather messy legal battle with the estate of late drummer Jeff Porcaro which ended up costing them a lot of money. This drama and family strain also saw Steve Porcaro leave the band, which left Steve Lukather (vocals/guitar) as the only original member left standing. Following a brief hiatus to regroup, though, Lukather and long-time frontman Joseph Williams decided to put Toto back on the road, with support from Paich behind the scenes - and since the pandemic the band have been pretty busy with a number of top-class session players coming and going from the line-up. Sadly it looks like we will never see any new music from Toto due to the legal issues, but Lukather and Williams seem determined to keep touring - and the first proper run of UK shows since 2018 was a very exciting prospect to a die-hard Toto fan like me, even if the great core of original/long-time members which were present at the shows I saw in 2015 and 2018 had broken apart. Along with Paich, Lukather has always been Toto's co-driving force - and Williams is the band's only classic-era frontman who is still up to the task. The two have a real bond at this point, too, which has really come to the fore over the past few years. Following a couple of nights in London, then, it was time to head to Birmingham, via a slow train due to strikes - but I got to the country's second city in plenty of time for a late lunch before checking into my hotel for a bit of a nap. The BP Pulse Live is not my favourite venue as it requires getting a train to and from which can lead to clock-watching throughout gigs there - but it is a good venue and I have had a number of memorable nights there over the years. I got there around 45 minutes before the music started and found that I had good seats. The venue had been set up to appear much smaller than usual, with the stage further forward - which created a relatively intimate atmosphere despite the few thousand likely still in attendance.

The previous times I had seen Toto they did not have a support act - but this time the crowd were treated to around 45 minutes of smooth music from the yacht rock pioneer Christopher Cross. Cross is not someone that I am hugely familiar with, but his 1979 debut album is an all-time classic - so I was looking forward to checking him out further and exploring beyond those obvious few hits. Whilst his support slot was largely based around the hits, though, I had a great time watching him and his masterful band delivering some legendary songs and a few deeper cuts with ease. At 73, Cross looks to have barely aged at all. His voice has held up really well over the years, and his guitar playing is always much more fiery than I remember. It helped, too, that his backing band were really tight. All of the musicians were excellent, but special mention needs to go to Andy Suzuki (saxophone/keyboards) and Francis Amaud (drums). So many of Cross' songs had big saxophone hooks, and Suzuki's solos were masterful, whilst Amaud's grooves were tight and full of energy despite the largely more sedate nature of Cross' work. The trio of backing singers also added a lot to the sound, too, harmonising well with Cross throughout and even taking the lead during parts of some songs. Cross still sang well, though, and his tone has remained intact - and he took quite a few opportunities to talk to the crowd to introduce the songs. Many of the songs played did come from that famous debut, including Never Be the Same and I Really Don't Know Anymore early on - but the opening track All Right came from his second album and there were also deeper cuts played. He seems a man very at ease with his legacy. He knew that he had to include most of the hits as a support act, but his willingness to dip into his catalogue was welcome - with the relatively newer Dreamers being a mid-set highlight which followed the smash-hit Sailing. It was also great that he received a strong reception from the crowd throughout. In fact, the atmosphere was pretty good throughout the whole night, with most into everything played, and Cross seemed pleased with the warmth he received. With anthems like The Light Is On, though, it is easy to see why his set went down well - but support acts at arena shows, especially opening for older bands, can sometimes run into a wall of nothing. This was not the case, though, and by the time his set came to a close with Ride Like the Wind everyone was certainly good and warmed up for Toto. The setlist was:

All Right

Never Be the Same

I Really Don't Know Anymore

Alibi

Sailing

Dreamers

Arthur's Theme (Best That You Can Do)

The Light Is On

Ride Like the Wind

There were about 40 minutes between the two sets, but this meant that there was time to stretch the legs and use the facilities before the long weekend's finale - and by the time 9pm rolled around I was really ready. Toto are a real favourite these days and this was only my third time seeing them live. They tend to switch up the setlist between each tour, too, so I was looking forward to hearing a number of tracks live for the first time - alongside all of the mandatory hits. There is never any pomp with Toto, either. The do not have fancy screens or stage sets - and in front of a simple backdrop they rocked hard for the best part of two hours, delivering masterful melodic rock to a receptive crowd. As it had been for Cross, too, the sound throughout was essentially perfect. Everything was audible and the overall balance was great - meaning that the band's tight vocal harmonies shone. It was an instrumental which kicked everything off, though, with Child's Anthem getting the show on the road. The driving keyboards of both Greg Phillinganes and Dennis Atlas gave the song its synth-edged majesty - whilst Lukather's searing guitar leads set the tone for what was to come. The band generally played the songs straight, although often outros were stretched out with extended soloing - and there were slight changes to the vocal arrangements at times. With most in the band singing lead at least once during the set, the vocal power was immense. Clearly Williams did the most of the singing and Lukather had a customary few numbers - but the biggest surprise was the newest recruit Atlas, who sang quite a lot, too. His powerful voice can hit those old Bobby Kimball and Fergie Frederiksen highs of the past - and he showcased this duetting with Williams during Carmen, which followed Child's Anthem. Carmen has long been a favourite of mine, so it was a real treat to hear that bombastic chorus live - and the whole room came to their feet during Rosanna which followed. The jazzy anthem was sung loudly by the crowd, with Lukather and Williams duetting - but the instrumental outro was full of bluster, including a lengthy guitar solo, plenty of keyboard action, and some saxophone from Warren Ham (vocals/saxophone/flute/harmonica/percussion). There were a few deep cuts included, too. Carmen counts as one I think, but the real treat early on was the second ever live performance of Mindfields - which featured Williams, Atlas, and Ham all sharing the lead vocals throughout. It might not be a classic, but it is a powerful and underrated song that sounded at home in the set. It was followed by a sing-a-long in the form of ballad I Will Remember, though, which likely got some of the casuals back on side - although I did think that Lukather was not in the best form vocally. Everything else about the set sounded great, but Lukather's voice was showing signs of age at times. He ended up duetting I Won't Hold You Back with Williams later, which suggests that maybe he is aware of his limitations - but this should take nothing away from his guitar playing which was as great as ever.

I have always preferred the more bombastic tracks than the ones Lukather tends to take the lead on in any case - which is why Angel Don't Cry was a big highlight for me. Williams and Atlas shared the vocals on this one, too, and there was a moment where I had to laugh which saw Atlas returning to his keyboards after venturing out to act as a frontman for a bit to casually rip into the mid-song synth duel with Phillinganes as if it was nothing - before heading back out to sing. Everything from the band seemed so effortless and that moment really summed that feeling up for me. The second half of the show generally contained more well-known tracks - but there were still a few I had not seen live before. The big ballad I'll Be Over You was one, surprisingly, but it was great to hear the anthemic White Sister live again, which Williams owned - before Atlas and he smashed through the funky I'll Supply the Love like it was nothing. This was another song which was was dragged out somewhat towards the end - with the closing instrumental section elongated to include plenty of powerful guitar soloing from Lukather. A pretty potent drum solo from Shannon Forrest followed, which included lots of tight grooves and tom rolls (this followed keyboard spots for both Phillinganes and Atlas earlier in the set) - which then led into a hard rocking performance of the more soulful and bluesy Don't Chain My Heart, another overall highlight. Lukather actually sounded pretty strong vocally during it, too, which was likely as the song was more of a rocker than a ballad, and the soulful harmonies during the chorus were on point. Sadly, there was not too much time left by this point. Lukather made sure to introduce all of the musicians on stage, though, giving us some history for each one - including that John Pierce (bass guitar) was in one of his high school bands back in the day. Many of these musicians have known each other for many years despite some of them being fairly new to Toto - but the quality of the line-up showed that Paich, Lukather, and Williams have found the best people for the job. It was left to three big singles to finish things off, with Stop Loving You seeing plenty of singing from the crowd - before Phillinganes reeled off the famous piano intro of Hold the Line and the place really went wild. Everyone was on their feet by this point and the Hold the Line chorus rang around the venue with ease - before Forrest and Ham teamed up for the percussive intro of Africa which turned out to be the night's last song. Williams sang the song in place of Paich, bringing it to life nicely, whilst the pulsing keyboards and tribal grooves saw plenty of dancing in the crowd. It was stretched out somewhat, too, with a bit more soloing and by Williams conducting a sing-a-long with the crowd. It was a great way to end to show - and there was no need for a silly encore. The band had played for the best part of two hours by this point - so took their bows to huge cheers. The setlist was:

Child's Anthem

Carmen

Rosanna

Mindfields

I Will Remember

Pamela

Keyboard Solo

I Won't Hold You Back

Angel Don't Cry

Georgy Porgy

Keyboard Solo

White Sister

I'll Be Over You

I'll Supply the Love

Drum Solo

Don't Chain My Heart

Stop Loving You

Hold the Line

Africa

Alongside Cross' excellent set, Toto put on a masterful showing in Birmingham this past weekend. It was up there with the 2015 show I saw in London, which was the best of the previous two - and it was great to hear some real favourite cuts live for the first time. The previous shows might have contained more 'legitimate' line-ups, but the current version of Toto is packed with quality - and the vocal power and variety in particular really stood out. Everything sounded tight but with enough groove and spontaneity to allow that classic Toto approach to shine - and I hope that they return to the UK again fairly soon, as I need more of Toto live in my life.