The Wildhearts' 'Satanic Rites of the Wildhearts' - Album Review

A few years ago it looked like The Wildhearts were dead and buried - again. Whilst I cannot claim to be completely au fait with the band's long and messy history, I know enough to know that the band has often been a turbulent force - breaking up a few times previously and coming very close to doing so on many other occasions. The band's last break-up came in 2022, when the line-up which is generally considered to be the band's classic line-up of Ginger Wildheart, CJ Wildheart, Danny McCormack, and Ritch Battersby came to a crashing halt - following a rather fraught few months on the road and their first run of shows since the pandemic. I saw the band in Exeter in 2021, very early on in the touring cycle for 2021's caustic 21st Century Love Songs (which I reviewed here), and it was memorable for all the wrong reasons. The show started off well, but it soon became clear that Ginger had no desire to be on tour at that particular moment - and some tech issues a few songs into the set only worsened his mood. The show became quite an uncomfortable experience after that - and it concluded with Ginger throwing his guitar with real force at the barrier between the band and the crowd. Unsurprisingly, no encore followed - and the writing was on the wall from that point on. A few months later, the band was over - and Ginger seemed to indicate that it was for good this time. The rest of 2022 for Ginger was largely then dedicated to his heartland rock-esque project Ginger Wildheart & The Sinners - before that band also crashed and burned due to an incident which happened at one of their concerts and a huge public spat on X which followed. I am not 100% clear on the timelines, but I think this incident prompted Ginger to seek help - and he spent some time receiving treatment for his well-documented mental health issues. He has always been very open about his struggles, and it was clear that 2021 and 2022 were particularly poor years for him on that front. Since seeking help, though, he seems to be in a much better place. He took some time away from the road and recorded some digital-only acoustic albums - before seemingly turning his gaze back towards The Wildhearts. I think it was in 2023 that Ginger started to record a new Wildhearts album with a new-look line-up - but it was last year that the band was officially re-launched with the returning Jon Poole on bass guitar, alongside new members guitarist Ben Marsden (The Spangles; The Warner E. Hodges Band; Grand Theft Audio) and drummer Pontus Snibb (Bonafide; Jason & The Scorchers). I think that the album was recorded before the new-look The Wildhearts were fully formed, though, and I am not sure if Snibb is even still in the band as he is currently not on tour with them, but the band's eleventh album Satanic Rites of the Wildhearts still ticks all of the band's trademark boxes despite this. The core band throughout the 10 songs here is Ginger, Poole (contributing to his first Wildhearts album despite having had numerous stints in the band previously), and drummer Dudge (Gong; North Sea Radio Orchestra). Dudge is not playing live with the band either, so likely just recorded the album on a session basis, but also playing additional guitars throughout the album are Marsden and Kavus Torabi (Cardiacs; North Sea Radio Orchestra; Knifeworld; Gong; The Utopia Strong).

Unlike the last album, which was pretty heavy and a bit of a hard listen at times, Satanic Rites of the Wildhearts is a bit more upbeat (in relative terms) and melodic. It certainly feels like an album which is trying to recapture some of the band's early accessibility whilst also writing knotty and heavy songs - with the album cover clearly being a homage to 1993's classic debut Earth vs the Wildhearts. There are some songs here which evoke that anthemic album's overall vibe - but there are also other flavours here, despite Ginger's songwriting tropes being evident. The album is around 45 minutes long, with the 10 tracks generally being short and to-the-point, but it is bookended by longer pieces. Opening cut Eventually, like knottier tracks such as Inglorious before it, is more stretched out than many Wildhearts tracks - with plenty of different riffs and sections coming together to form an impressive whole. Opening with a screeching guitar lead, a riff which recalls early 1990s Metallica soon kicks in. The song is generally a mid-paced hard rocker despite the toughness of some of the riffing, but there is plenty of groove throughout, too, with staccato stabs early on creating something of a hypnotic guitar pattern - before the bass takes on more of a role and the verse proper gets underway. Ginger utilises a number of vocal styles throughout the album - and he sounds pretty aggressive early on here. A few harsher barks are his first introduction, before the first verse is screamed with punk/hardcore-esque energy - and he sounds heavier than usual vocally here, which suits the percussive backing and some of the big riffs which are introduced here. His more melodic, and typical, delivery is reserved for the chorus, though, and the chorus here is extremely hooky. It feels pretty anthemic, with sing-a-long hooks and a real fists-in-the-air vibe which harks back to the debut album. Spacey interludes with clean guitar melodies and laid back leads punctuate parts of the song, adding breaks in between the riffing, with one such moment being stretched out later on to allow for a foray into a more atmospheric vibe. This instrumental section lasts for quite a while, too, getting heavier as it moves along - culminating in a pretty high-octane and shredded guitar solo. It is a song which hooked me in from the off thanks to its big chorus, but over repeated listens it has grown further - and it gets the album underway in fine fashion. Scared of Glass reins things in somewhat arrangement-wise, but the song is another pretty riffy and mid-paced rocker - very typical of the band's classic sound. There is always a strong punk feel to the band, and that is evident throughout this track, with gang vocals during a bouncy chorus latching on from the first listen - although the riffing throughout is always a bit more technical and classic rock inspired. The song's main riff is busier than it seems, which rewards repeated listens, whilst Ginger's pleasing North East delivery vocally helps to add a folky/heartland rock edge which, again, has often characterised the band's approach. It is a memorable song, which generally rocks pretty hard - and there is another fairly lengthy instrumental section here, too.

The more straight ahead Troubadour Moon, which acted as one of the album's singles, feels like melodic Wildhearts 101 - recalling the vibe of 2003's The Wildhearts Must Be Destroyed somewhat. It is a song which was written to be catchy, with Ginger singing in a very melodic and accessible way throughout - and the whole song is built around a poppy and bouncy chorus with a slight pop-punk edge that is another which sticks in the brain from the off. Despite this, though, there is a slight southern rock feel to parts of the song. Similar to the bits of Ginger Wildheart & The Sinners I have heard, there is a more organic feel to the guitar playing throughout. The riffing is not as intense this time, with more twin lead guitar melodies and the occasional slide lick adding a bluesy and southern rock feel. These melodic guitar leads sit nicely alongside the bounce of the chorus - and the song is very easy on the ears as a result. Fire in the Cheap Seats is very different, as it ups the heaviness and goes for a pretty abrasive and chaotic sound overall - with plenty of metal and punk thrown into the mix. Similar to some of the more feral moments on the last album, alongside some of the more listenable parts of 1997's Endless, Nameless, the track is angular and unpredictable - particularly as the song opens with crackling clean guitars and distant vocals. The song's main riff, when it kicks in, is hard to compute - as it does not follow conventional rhythms and patterns, with the strange, light touch drumming behind it still managing to sound heavy. Discordant clean guitars, pulsing bass, and some of Ginger's most tortured vocals to date later characterise the song's verses - whilst the chorus is a little more conventional, with poppier hooks and cleaner vocals. I am not sure that all of the song's disparate elements all hang together, but it is certainly a listening experience for those who prefer their Wildhearts to be more challenging. Kunce leans heavily into the punk side of the band's writing style. It is the shortest song on the album, and it moves along at a fair pace - although it retains a strong 1970s punk vibe throughout. This is not some break-neck piece of hardcore punk - as it is very traditional in its scope, but the typical rhythms and vocal patterns, with gang backing vocals, is very pleasing overall. It is a very knowing song. It knows that its quite cliché in terms of its arrangement and use of tropes - but the lyrics are cutting in that typical Ginger fashion, and the band ensure that the grooves remain infectious. Maintain Radio Silence is one of the few songs here which has not grabbed me all that much. Whilst I may not like Fire in the Cheap Seats all that much, it remains a striking and memorable song, but Maintain Radio Silence is just a bit weak overall - and does little to really stand out. Ginger generally sings the song using the rougher end of his voice, so there is a heaviness throughout, but the riffing is not that memorable in my opinion. I do like the prominence of the bass throughout, which gives the song a real pulsing feel, but the 1960s-esque pop vocal refrains used during parts of the song feel a bit out of place - and the chorus does not really draw me in.

Blue Moon Over Brinkburn is much better, though. It is not a track which really stood out to me at first, but over repeated listens it has grown on me. I am not sure why it took a few listens to open up, as it is quite a straight ahead punky rocker, but perhaps the slightly jerky rhythm throughout put me off a little at first. The chorus is one of the album's best in my opinion, with a strong pop rock feel pushing through distorted guitars and crashing drums, whilst the verses feel a bit more staccato with jerky guitar stabs which feel punky, albeit slightly offbeat - which nicely suit the machine gun pace of Ginger's vocal delivery. The chorus and the verses are perhaps at odds with each other, then, but it does all manage to hang together in my opinion. Hurt People Hurt People is the album's only ballad, and it is a surprisingly melancholic, yet hopeful, song which sees Ginger really detailing his recent struggles and reaching out to others who feel similar. It is quite a positive song, then, despite what may be expected - and it is great that Ginger really seems to be in a much better place than he was just a couple of years ago. He seemed to be spiralling at the time, but this song is him saying that he got throughout it - and others can too. It is quite atmospheric, too, with bluesy guitar leads and ringing clean guitar chords - whilst Dudge's drumming is quite percussive and Ginger's heavily-accented vocal delivery really helps to ground the piece and ensure that it sounds authentic. I'll Be Your Monster, another of the album's singles, gets back onto firmer ground in terms of typical Wildhearts fare - and the track is another pretty hard rocking mid-paced anthem with a strong, gang vocal-led chorus and riffing. Poole's bass generally fills the verses, though, alongside some shuffling drums, but occasional stabs of guitar add heaviness - whilst squalls of saxophone from Jørgen Munkeby (Jaga Jazzist; Shining) add a different vibe. There is a saxophone solo later on, too, which is fun - as well as a jazzy outro with more. The album then comes to a close with the relatively lengthy Failure Is the Mother of Success - the first song from the album which was released. Arrangement-wise, it is quite similar to how the album opened. The song is made up from a few different parts, which are all based around a strong riff, and the overall pace is pretty high-octane throughout. The vocals throughout feature those classic Wildhearts vocal harmonies, which are not as prevalent generally here due to CJ's absence, which really help to ground this track in particular - whilst the main riff is another Metallica-adjacent moment with double kick drumming and a hard-driving feel. The chorus maintains this heaviness, with call-and-response vocals being shouted from different sides of the speakers in a jerky, yet hooky, manner, whilst other moments of the song feel much more atmospheric - with spacey guitar leads making a return during a few more stripped back sections. It seems like a strange song to kick off a promotion campaign with given its length and multiple parts, but The Wildhearts have rarely been conventional - and the song is another which has grown on a me a lot. The quieter moments feel quite heartfelt, whilst the heavier bulk of the track packs a real punch. It ends the album on a real high - and overall Satanic Rites of the Wildhearts is a winner. The more esoteric moments do not do a lot for me, which is generally the case with their albums, but the big anthems and the riffing throughout keep me coming back. Given the drama and the fresh band line-up it is just great to see Ginger in such rude form - and the album ticks a lot of boxes that the fans would expect.

The album was released on 7th March 2025 via Snakefarm Records. Below is the band's promotional video for Troubadour Moon.

Avantasia - London Review

Before yesterday, it had been essentially a whole week since I last went to a gig. That sort of sitting around and doing nothing just will not do - but given how often I seem to be getting to gigs at the moment this 'dry patch' came to an end yesterday evening, as I travelled up to London to catch a relatively rare UK headline show from the power metal/rock opera supergroup Avantasia. Those who have read some of my power metal gig reviews in the past will know that the UK has never really been a hotbed for such. Sometimes power metal tours just miss the UK out altogether, but generally a sole London show is included. This can be frustrating to those of us who do not live in London - but I have got used to travelling up to the capital over the years for bands of all descriptions, including power metal. When Avantasia come to the UK, then, it is London that they head for. Their first UK appearance actually came at the 2013 iteration of Bloodstock Open Air - but their subsequent three have all been in London. I saw the band for the first time at the O2 Forum in Kentish Town back in 2016 - and I remember the show being fantastic. With no support act, the band performed for the best part of three hours - with plenty of material from career highpoint Ghostlights (which I reviewed here) included in the setlist. It is one of those gigs that always sticks in the memory due to how good the performance and the setlist was. I was gutted, then, to miss the band's next London show in 2019 - but I can only assume that it clashed with other plans or work commitments got in the way. My job is very flexible when it comes to taking annual leave, but occasionally it is not possible for whatever reason - so the 2019 Avantasia show fell by the wayside. Until last night, that was the last time the band visited the UK. I do not think that 2022's A Paranormal Evening with the Moonflower Society (which I reviewed here) was supported by a proper European tour - so it took the band releasing their tenth studio album Here Be Dragons (which I reviewed here) to get them back on the road in Europe. The 2022 album was supported by some touring, but the activity seemed stripped back. Avantasia requires a lot of schedules to combine neatly - and in 2022 I imagine that most of those who would have been involved were out with their own bands following the pandemic. 2025 is Avantasia's big return, then. Here Be Dragons is their best album since Ghostlights in my opinion - so it was fitting that its tour saw the band return to the UK, and at the larger Roundhouse this time. Leader and frontman Tobias Sammet had also promised that this tour would be the band's biggest and best yet. Even without taking to account any stage set, the sheer talent involved in the touring party seemed impressive - with Sammet joined by long-time vocal collaborators like Pretty Maids' Ronnie Atkins and Mr. Big's Eric Martin; alongside some newer faces like Kamelot's Tommy Karevik and H.E.A.T's Kenny Leckremo. This version of Avantasia looked a bit different from the 2016 iteration, then, with past tour regulars like Michael Kiske and Jørn Lande absent - but the current crop of vocal talent, whilst perhaps less established in Avantasia lore at this point, is nevertheless a force to be reckoned with.

The Roundhouse is a good venue, but it really seems to struggle with large crowds. I have been stuck in long queues at the venue before, despite arriving with time to spare, and last night was no different. I was in the venue long before the music started, but the band were asked to delay starting their set due to not everyone being in the venue by 8pm. The delay was only around 10 minutes, but it nevertheless looked pretty unprofessional on the venue's part - given that they must have to deal with crowds of this size on a regular basis. Regardless of this frustration - all was forgotten once the curtain dropped and Sammet was stood in the centre of the stage surveying all in front of him, with the musicians that make up Avantasia as a live act filling the stage. Stage set-wise, the performance felt bigger than the 2016 show - with gothic fencing around the stage, whilst various images from the band's albums were shown on a screen at the back of the stage. Despite these touches, it was the music that did the talking. Opening with the short single from the latest album, the punchy Creepshow got the show underway perfectly. There were much more epic songs to follow, but the hooky anthem worked well as an intro - and saw Sammet in fine voice. Whilst he did leave the stage for a few numbers, giving some of the other singers a chance to shine, he was on stage for well over two hours of the near three hour show - and his voice held up really well. Clearly he had plenty of help, with a three-strong choir essentially singing throughout the whole set to provide depth, but given the number of shows and the length of each it is clear that Sammet has real stamina. He shared the stage with at least one other singer during most of the songs, though, and Seven Spires' Adrienne Cowan was up first - lending her soaring voice to the old-school power metal of Reach Out for the Light. Cowan was also part of the choir, alongside Firewind's Herbie Langhans and Moonlight Haze's Chiara Tricarico, so she sang an awful lot throughout the night - but was allowed to really let rip during this second number. 22 songs were played in all, covering most of the band's catalogue - although, interesting, nothing from the two albums preceding Here Be Dragons were played. Perhaps Sammet agrees with me that they represent the weaker end of Avantasia - but with over half of the new album included there was a lot of focus on the now, with Karevik then taking the stage for the gothic melodrama of The Witch. Given the ensemble nature of Avantasia, it was interesting to see how the vocal arrangements played out live. Some of the songs were essentially as performed on the original album, with the relevant singer present, but other songs were shaken up somewhat depending the vocal talent available. Karevik later duetted with Sammet on Here Be Dragons in place of Geoff Tate, giving the song a floatier edge, whilst Langhans often performed songs previously performed by Lande - with both Devil in the Belfry and Let the Storm Descend Upon You benefitting from his raspy power.

Atkins also picked up some of Lande's parts, as was later showcased during the pulsating Promised Land - but he also shined on songs written for him, such as the new Phantasmagoria and whilst duetting with Langhans on the aforementioned Let the Storm Descend Upon You. The lengthy epic was one of the highlights of the set, but there were a couple of other big moments which came before it. Martin's voice is certainly not what it was, although he sounded better last night than when I saw him with Mr. Big last year, but the warm ballad What's Left of Me always sounds good when he brings it to life - and he is such a character on stage that he added to the overall vibe. He later formed a surprise duo with Atkins for both Promised Land and Twisted Mind - but perhaps the biggest cheers of the night were reserved for Bob Catley. The Magnum frontman, so often a mainstay of Avantasia live, was unable to participate in this tour due to a recent operation - but he was able to make it down to London as a one-off. Sammet seemed genuinely emotional watching Catley sing the Magnum-esque The Story Ain't Over, an Avantasia live favourite, and the latter also added his warm voice to Shelter from the Rain later in the set. Catley's contribution to the night might have been brief, but it was clear to everyone on stage how much it meant to them that he made it to London - and there was a lot of love for him in the room. Playing festival shows with Avantasia last year likely helped Catley heal following the death of his long-time Magnum bandmate Tony Clarkin - so seeing him take the stage again following the brief Magnum tribute tour in January was special. There were plenty of highlights towards the back end of the set, too, as this was when some of the more epic tracks where wheeled out. Sammet was sometimes absent during this numbers, but the other singers more than held their own. Sammet did shine during the creepy The Toy Master, though, but perhaps the overall highlight during this part of the show was Karvik and Leckremo giving The Wicked Symphony an epic makeover - the two contrasting vocalists delivering two of the performances of the night. A lot of big favourites, alongside the epics, were included during this part of the night, too, with Tricarico getting a moment to shine during the soaring ballad Farewell - before Sammet and Atkins duetted with real power during the folk metal epic The Scarecrow. Guitarists Sascha Paeth and Arne Wiegand were on fire all evening, but perhaps it was during The Scarecrow where their soloing really shone. There was a lot of great lead playing throughout, then, alongside some fluid soloing from Michael 'Miro' Rodenberg (keyboards/vocals) - with the bombast of the the musicians further bringing the songs to life. It was then left to the heavier and creeping Death Is Just a Feeling to round out the main set - after which the lights went down and a piano was wheeled onto the stage. The encore then followed, with Sammet leading the band through a re-arranged version of Lucifer, initially from behind the piano, before the band's trademark closing medley of Sign of the Cross and The Seven Angels brought the curtain down on what had nearly been three hours of music at this point - with all of the singers on the stage at the end. The setlist was:

Creepshow

Reach Out for the Light

The Witch

Devil in the Belfry

Phantasmagoria

What's Left of Me

Dying for an Angel

Against the Wind

Here Be Dragons

The Story Ain't Over

Avalon

Let the Storm Descend Upon You

Promised Land

The Toy Master

Twisted Mind

The Wicked Symphony

Shelter from the Rain

Farewell

The Scarecrow

Death Is Just a Feeling

-

Lucifer

Sign of the Cross/The Seven Angels

I really enjoyed seeing Avantasia back in 2016 and I really enjoyed seeing them again last night. Seeing a band like this with so many moving parts pull of a show seemingly effortlessly is always impressive - but the way the songs were brought to life by all involved was a joy to behold. The atmosphere in the room was great, with everyone singing along throughout, and thankfully the live sound mix throughout the venue was very clear. All of the vocalists really shone, then, and the show was another really memorable one in a year which has already produced a few.

Perfect Plan's 'Heart of a Lion' - Album Review

As much as I love plenty of classic AOR bands, and the genre as a whole is one of the most joyous out there, it can sometimes be hard to find new acts playing such music which are genuinely worth my time. I have been burnt many times by Frontiers Records' love of cookie-cutter AOR projects, many of which were nothing more than serviceable, but a few have stood out over the years - with many of them coming from Sweden. For a country with a population of just over 10 million people, the number of excellent bands from Sweden, covering many genres, is just staggering. I listen to so many bands from the country - and one of the very best AOR acts of the modern age, H.E.A.T, hail from there. We are not talking about H.E.A.T today, although they are releasing a new album in April so expect a review of that in the coming months, but we are instead discussing the fourth album from another Swedish AOR band - the more traditional-sounding Perfect Plan. I remember being aware of the band when their 2018 debut album All Rise came out, as I remember the reviews being positive, but it was not until 2020's Time for a Miracle (which I reviewed here) came out that I started to listen to them. It would not surprise me at all if I listened to more music during 2020 than I have done during any other calendar. The pandemic and the response to such ensured that many of the things I like to do in my free time were not possible - so, along with video games, listening to music at home took on an even more of an important role. As I was not going to and reviewing concerts, I ended up reviewing a lot more albums during 2020 than I usually would - and Time for a Miracle was one of them. I was even more open to hearing new music in 2020 than usual, as it gave me something to do, and I listened to Time for a Miracle quite a bit - enjoying it even after reviewing it. Perfect Plan's brand of AOR is very traditional. The Swedish five-piece have done nothing to modernise the sound or do something starkly different - but their songwriting and performances help them stand out as one of the better newer AOR bands on Frontiers Records. None of the band members look to be especially young, either, so I imagine that they have all been knocking around in various bands over the years and have used all of that experience to really push Perfect Plan in the right direction. The easiest comparison to make is to Survivor - and this is largely due to frontman Kent Hilli's similarity to the late Jimi Jamison. Hilli also fronts Giant these days, so is very much an in-demand voice, but Perfect Plan seem to be a true band with all five members contributing towards the songwriting and arrangements. Despite enjoying Time for a Miracle, though, I did not pick up 2022's Brace for Impact until recently. I am not sure why I did not get it at the time - but I can only imagine it came out during a busy time for new releases. I have caught up since, though, with the band's whole catalogue - and Heart of a Lion is very much the album I expected from Perfect Plan at this point. There are strong hooks throughout - with soaring choruses the band's bread and butter.

I am not sure that any of the band's other albums quite live up to Time for a Miracle, but they are all very enjoyable - and this one is no different. It gets underway with its anthemic title track, which was the song that made me realise I had not been keeping up with the band after 2020, and it is one of the best cuts here. Opening with some sparkling synths from Leif Ehlin, alongside some spacey guitar leads from Rolf Nordström, the song sets an atmospheric tone early on - but this vibe is short lived, as soon Nordström transitions to a big riff, and the song becomes a mid-paced rocker. The thing I like about Perfect Plan is that there is always a good balance between the guitars and the keyboards. Some AOR acts can drown their songs in synths, but this is not the case with Perfect Plan. There is great keyboard playing throughout this album, but there is also plenty of guitar crunch - and this is showcased by the song's opening riff and smouldering verses which are backed by a tricky little melody. The arrangements are generally strong, then, but all of the songs are written to really showcase the voice of Hilli. He one of the best modern AOR vocalists in my opinion, despite his similarity to Jamison, and he oozes class during the verse - before letting rip during a stadium-ready chorus that is packed with call-and-response vocal harmonies and powerful keyboards. Nordström's later guitar solo is very melodic, too, using more traditional blues-based phrasing rather than letting rip - which helps to retain the song's core melodic and mid-paced feel. The song is a strident anthem that is sure to stick in the brain - and in a just world it would be a big hit. We Are Heroes opens a little more slowly, with a hypnotic synth melody and ringing clean guitar chords creating an atmospheric backing for Hilli's slightly sultry vocal delivery. Less of a hard rock anthem than the previous song, this track instead goes for a much more cinematic approach. Ehlin's keyboards play a huge role throughout, then, his motifs the song's main hooks, whilst the rhythm section stay out of the way during some parts of the song before adding a real rock drive during others. The song never feels like a true ballad, but it is certainly a slower number - with a chorus that sounds like something U2 may have written if they were turning their hand to AOR. The cinematic sound is infectious and the chorus has staying power after a few listens - whilst Nordström later elevates things further with a lengthy and busy solo. All Night returns to more of an overt harder rock sound - albeit this time with much more pomp coming from Ehlin's keyboards. The opening synth hook is right out of the classic 1980s AOR playbook, but there is still plenty of weight from the guitars throughout - with some Bon Jovi-esque riffing during the verses that evolve nicely from the driving opening synths. Unlike some modern AOR acts, though, Perfect Plan just make all of this sound natural - and a later pre-chorus section never feels overly cheesy despite the pulsing synths. It helps that the chorus which follows is massive. The band really have a knack for a chorus hook - and Hilli really delivers here, delivering sumptuous melodies that immediately latch on. The guitar solo could have been a bit longer - but overall the song is another winner.

Turn Up Your Radio turns the spotlight back on the guitars following a couple of more synth-heavy tracks - and the mid-paced rocker is built around a groovy riff which kicks in following a brief tease of the later chorus. The main riff is a bit of a headbanger, but it still sits nicely within the band's smooth core sound - and the verses, which are a little stripped back, retain a strong groove thanks to Fredrik Forsberg's tight drumming. Hilli sounds more like Jamison than ever during the verses, so much so that any future Survivor activity should involve him, whilst the chorus sees him pushing his voice a little more - but the smooth hooks and a more subtle use of vocal harmonies this time add to the song's overall slightly harder rock feel. A later bridge feels a bit riffy, too, and the track overall just feels suitably upbeat despite essentially being another mid-paced rocker. AOR albums always have to include ballads, and My Unsung Hero is the first example of such here. Opening with a dancing keyboard melody, the slow-burning song feels suitably emotional - and it acts as a great showcase, yet again, for Hilli's vocal talents. The rest of Perfect Plan are all great musicians, but it is Hilli that pushes them to the next level in my opinion. His voice is perfect for this sort of music - and the shimmering verses here are brought to life by his bluesy power, before the drums kick in properly and the chorus feels bigger again, with chiming guitar melodies and lots of choral vocal harmonies. There is a power and majesty to the song despite its slow-burning vibe - and it is a welcome inclusion here. Ready to Break gets back to a much more harder rocking sound, though, with a dancing synth melody early on which soon gives way to another big guitar riff which sounds like it could have sat on a early Bon Jovi album. Nordström sometimes has a bluesy feel to his riffing which reminds me a bit of Richie Sambora. Perfect Plan never really sound like Bon Jovi, though, there are just similarities in the riffs - and the slightly paired back verses here have a strong chugging undercurrent which feed off the earlier riff nicely. Pulsing synths herald the approach to the chorus, with a sparkling pre-chorus acting as a bridge, with the eventual chorus being another strong moment filled with hooks. The guitar solo is a winner, too, and it is filled with lots of faster lead runs which sit nicely within this higher energy piece. Too Tough is similarly upbeat, this time with more of a keyboard presence early on - with a pulsing synth hook sitting nicely on top of some crunchy guitars. The vibe continues on through the verses, which mix smoother segments to allow the vocals breathe and punctuation moments which are riffier. I like how the verses are put together, then, as they still rock despite delivering a strong AOR vibe, whilst the chorus rocks things up a little more with a punchier sound overall and a bit more pace. It is perhaps not the strongest chorus, though. It is memorable but compared to some of the others here it falls a little short.

Lady Mysterious is a little heavier overall, with Ehlin opting to use some Hammond organ throughout, and the song channels some early Whitesnake a little - particularly during the intro and parts of the verses. There is a much bluesier feel throughout the song, both in the riffing and in Hilli's delivery, but the band's core AOR sound is still retained. Mats Byström's pulsing bass really keeps the verses ticking, which feel more grounded then usual and a little dirtier, but as the chorus is approached the band's core sound comes to the fore again - with synths replacing the Hammond and plenty of big vocal melodies filling what is another pretty groovy chorus. Perfect Plan have written songs like this before, and it is nice to hear something a bit different from them every so often. They do this heavier, bluesy rock sound well - and the song allows Nordström to cut loose somewhat during his solo spot. One Touch is a much smoother track overall and is packed with lots of classic 1980s AOR tropes. It has that slightly crunchy mid-paced harder rock feel that so many sultry AOR classics have - with rhythm guitars forming the basis of the verses, whilst the presence of the synths slowly grows and hitting its peak just as the chorus explodes. The chorus is another strong earworm, with the appropriate amount of pulsing synths and keyboard melodies - whilst still retaining some crunch thanks to the guitars. The hooks are easy on the ear, too, which makes the song another enjoyable addition. Danger on the Loose opens with a big drum barrage from Forsberg, with the album's penultimate track being another somewhat heavier rocker - although the organ of Lady Mysterious is replaced instead with darker synths, which mesh nicely with the hard-hitting riffing of Nordström throughout. This tougher overall sound mixed with the band's love of a hook is a winning combination, though, and the song is one of the back end of the album's best cuts. The riffy verses are full of power, but it is the chorus where the song really comes alive. It is one of the most stadium-ready moments on the album and it is packed with hooks - with Hilli's strident vocal delivery turning the song into a real winner. It is left to At Your Stone to close things out, with the track being another pretty typical AOR anthem. Opening with a fast-paced riff, the song soon settles into more of a mid-paced groove - with cinematic verses filled with clean guitar melodies and plenty of keyboards. It is not as hard-hitting as the previous song, but the moments of faster riffing do help the track to stand out somewhat - and the mix of more atmospheric moments with clean guitars and the faster, harder chorus acts as a nice contrast. It is another hooky chorus, too, with the album's closer leaving a strong impression thanks to Hilli's big melodies during the chorus - as well as another excellent solo from Nordström. The album ends on a high, then, with one last big chorus to remember. For those who love quality AOR, then, Heart of a Lion is one not to miss. Most of the songs here are really memorable and even the less interesting tracks generally still have something about them to enjoy. The first half of the album in particular is very strong - and Hilli once again showcases throughout why he should be seen as one of the best voices in rock at the moment.

The album was released on 28th February 2025 via Frontiers Records. Below is the band's promotional video for Heart of a Lion.

Avantasia's 'Here Be Dragons' - Album Review

I must not have been getting enough Jim Steinman-esque power metal in my diet recently. Next week I will be going to see Avantasia live in London on what is a rare UK visit, whilst at the back end of last month the project, led by singer and songwriter Tobias Sammet, released their tenth studio album Here Be Dragons. The doctor will be pleased, as there are plenty of Avantasia-related greens being consumed currently - as I have been listening to the whole Avantasia catalogue over the past couple of weeks in readiness for the gig, whilst also ensuring to squeeze in plenty of listens to this latest release. He has dropped down in my estimations somewhat in more recent times, but at one point I think Sammet was one of my favourite songwriters in metal. He was certainly one of the most consistent, and during the back end of the 2000s and much of the 2010s his music was on regular rotation in my house. It helped that he was hugely prolific - and between his 'main' band Edguy and Avantasia there was generally something new on the horizon. I also saw Edguy twice and Avantasia once during this time - which only reinforced my love of Sammet's work. With Edguy on ice now, though, and all of Sammet's focus on Avantasia, I have felt his high standards slipping somewhat. It has been over a decade since Edguy last released an album, not including a handful of new tracks recorded for a compilation album, and Sammet has instead ploughed all of his attentions into his more sprawling project. I can understand why, as Avantasia are a bigger pull live and allow Sammet total creative control, but I am not sure that it has always worked well as a main focus. Avantasia albums generally felt more special when they were a bit more spread out, in between the more straight ahead Edguy albums and tours for comparison, whereas now they are treated as more bread and butter releases. They lack something of a sparkle as a result - and it does not help that the last couple have underwhelmed. I actually enjoyed 2019's Moonglow (which I reviewed here) much more than I had previously when I heard it again recently for the first time in many years, even though it still suffers from quite a significant drop in quality around two-thirds of the way through, but 2022's A Paranormal Evening with the Moonflower Society (which I reviewed here), which I enjoyed more at the time, did not hold up that well outside of a handful of standout cuts. 2016's Ghostlights (which I reviewed here) is still very much Sammet's high point in my opinion, then, and it marked the end of that excellent run of albums over the decade-plus which preceded it. Despite being disappointed with the past two albums, though, I will always look forward to a new Sammet-related release - so it was with excitement that I listened to Here Be Dragons when my copy arrived. From the off, I enjoyed it more than I have enjoyed the last two - and it has continued to grow on me further. Another relatively punchy album like the last one, Here Be Dragons is just so much more upbeat and memorable. I believe it is the first non-concept album in the Avantasia canon, and it just feels like Sammet focused more on strong melodies and riffs this time - with some songs sounding more like Edguy with guest singers than the sweeping epics of Avantasia past. This is no bad thing in my opinion - and a few different guest singers help to shake things up, alongside some returning familiar faces.

There is still plenty of bombast here, though, but it all just feels a bit more natural. Sammet has the tendency to go big just for the sake of it - and I think that is what holds Moonglow back somewhat for me. A Paranormal Evening at the Moonflower Society seemed like a reaction against that, but the songwriting was not as strong. Here Be Dragons seems manage to tread the line between the two sounds pretty well, though, and there is a good mix here of catchy songwriting and power metal bombast. It helps that the opening cut Creepshow is a real earworm. It is one of two songs here that Sammet sings alone - and it is short by Avantasia's standards at just over three minutes. It genuinely feels like an Edguy song but with a bit more of a synth presence - so it was unsurprisingly the album's first single. As always, producer Sascha Paeth handles the guitars and Sammet's Edguy bandmate Felix Bohnke plays the drums - with Sammet himself on bass guitar and keyboard duties. Following a brief spooky intro, Paeth lays down a slightly juddering riff - over which Sammet immediately lays down a paired back version of the song's chorus. There is really no standing on ceremony here, then, and a driving 1980s hard rock riff soon gives way to a verse which starts a little more restrained - before it grows towards a first rendition of the chorus proper, which is packed with snappy vocal hooks and plenty of harmonies. Instrumentally, the song never really gets a chance to breathe. The riffing is mostly all sung over, although Paeth does lay down a snappy and melodic guitar solo later on, but this is a song all about Sammet and his knack for a hook. It is the sort of song which sticks in the brain from the off - and it has been an earworm since I first heard the album. The title track, which follows, is more typical of Avantasia's sprawling sound. It is the only real 'epic' on the album, though, at just under nine minutes, but it covers a lot of ground - taking a more melancholic mood early on. The opening clean guitars are immediately different from the opening song, setting a darker tone, and the song overall feels a bit more morose - although there is still plenty of bombast. The chorus, which is first reached after a couple of minutes, is one of the album's best symphonic moments in my opinion, backed by Michael 'Miro' Rodenberg's orchestrations - but the verses leading up to it tread a number of different vibes, from moody ballad-esque vibes to modern hard rock. With the exception of two songs here, Sammet is joined by a different guest vocalist on each track - and Here Be Dragons features the reformed talents of Geoff Tate (Queensrÿche; Operation: Mindcrime; Sweet Oblivion). Much of Tate's best work in recent years has come on Avantasia albums - and he fits this more progressive and moody track perfectly, whilst still having gravitas for when something more bombastic is needed. He might not be the singer he once was, but his tone is still chillingly unique - and some of the quieter moments here when he croons in a lower register smoulder with power. Sammet does most of the heavy lifting chorus-wise, but Tate remains a class act. Like many of Avantasia's longer songs, and The Scarecrow comes to mind, it does not quite always hang together - but there is enough good here to make it a strong effort.

Changing tack again, The Moorlands at Twilight is a fast-paced power metal anthem - going for that smoother, neo-classical power metal sound which was all the rage throughout the late 1990s/early 2000s. Paeth's opening guitar leads would not have sounded out of place on a classic Stratovarius album thanks to the neo-classic approach taken - but the song itself just sounds very much Avantasia through and through. The original The Metal Opera duo of albums were packed with soaring, double bass-led power metal like this - and it is fitting that Michael Kiske (Helloween; Place Vendrome; Unisonic) is the one to join Sammet to sing this one. Sammet probably needs to be credited with bringing Kiske back into the metal fold, which eventually led to him re-joining Helloween, and an Avantasia album would be strange without the still-rich voice of Kiske belting out a smooth, galloping power metal anthem. This one is probably not as hooky as some, but there is still a strong chorus and both singers sound great - whilst there is a blistering and lengthy guitar solo section which sees Paeth trading leads and shredding with Arne Wiegand who has filled the second guitar spot live with the Avantasia in recent years. As if wanting to showcase Sammet's diversity, The Witch changes pace yet again. It is another more moody track, similar in tone to parts of Where Be Dragons, but this one feels tailor made for the singer who joins Sammet here - with the synth hooks and gothic melodrama perfect for Tommy Karevik's (Seventh Wonder; Kamelot) warm tones. Despite the main synth hook feeling quite jaunty, the song's verses are so similar to Kamelot's last few albums in tone that only Karevik could have pulled off the vibe successfully. Sometimes Avantasia does feel a bit like wish-fulfilment for Sammet, and this song is so Kamelot-esque at times that it is a bit on the nose, but thankfully the chorus does change things up quite a bit - with a soaring, power metal chorus feeling more classic Avantasia in sound. The mix of a more gothic approach and the big hooks of the chorus works well, though, and Sammet's synth solo, in place of a more traditional guitar solo, also provides a point of difference. Returning to Sammet's core sound, though, Phantasmagoria feels like the sort of song he has been writing for Avantasia for years. There are also hints of mid-period Edguy throughout, but the bombast and plentiful vocal harmonies set the two bands apart - and the flashy synth hook which sits over Paeth's crunchy guitars as the song kicks in is full of energy. The gruffer voice of Ronnie Atkins (Pretty Maids; Nordic Union) is another regularly heard on Avantasia's albums, and he adds plenty of heaviness throughout the song. It is a pretty tough-sounding song anyway, despite the synth hooks, but the rasp of Atkins meshes nicely with the crunchy guitars - and the snappy chorus soars thanks to the two vocalists adding their power.

Opening slowly, with warm keyboards and orchestrations, Bring on the Night is another classic-sounding Avantasia piece - this time at the sweeping, more majestic end of Sammet's writing. At first it seems as if the song could be a ballad, with elder statesman and one of Sammet's heroes Bob Catley (Magnum; Hard Rain) crooning the opening lyrics in his warm, inimitable manner, but the track soon morphs into a pretty grand-sounding mid-paced rocker - with a subtle guitar crunch and plenty of keyboard depth. Both Sammet and Catley are well suited to songs like this, and they sound powerful duetting here without having to keep up with the pace of many of the other songs on the album - with the choral approach during the chorus sounding as big as ever. Paeth's guitar solo is more restrained, but it is still packed with melody - and it just suits the overall feel that the song is attempting. An Avantasia album without Catley at this point would not feel right - and it is great that Sammet keeps bringing him back. Hearing Catley sing Sammet's songs always makes me hope that one day Sammet will write a solo album for Catley - which I would like to hear even more than ever now that it is extremely unlikely that there will be any more Magnum albums. Unleash the Kraken ups the pace again and it is the only other song here alongside Creepshow which does not feature a guest singer. Sammet gets all of the song to himself, then, and it showcases him really pushing himself vocally at times. The opening riff is fast-paced and heavy, and this riff later forms the basis of parts of the chorus. I like Sammet's voice but he does not have always have the true range of some of his peers - but he really goes for it during the chorus, and generally pulls it off. He lays down some pretty high-pitched screams during the chorus, and there are some which are actually quite rough around the edges which has a pleasing impact given the song's overall heaviness. Paeth's later guitar solo is suitably busy, too, and there are even some pretty thrashy riffs and drum beats during an instrumental section which follows the solo. Unleash the Kraken is easily the heaviest song on the album, then, but it is full of power and bombast as a result - showcasing something a bit different. The following track Avalon feels a little tame in comparison, but it still impresses - and it feels like a song from Avantasia's past. The folk metal melodies and the overall mid-paced feel place the track in The Scarecrow era in my opinion - but there is plenty of bombast, too. Paeth's guitar leads throughout are packed full of melody, whilst the choir is used to dramatic effect during the strident chorus, and Adrienne Cowan (Seven Spires; Light & Shade; FirstBourne; Winds of Plague; Sascha Paeth's Master of Ceremony) is a perfect fit for this sort of grand, folky anthem with her symphonic metal background and smooth delivery. It is nice to see that, on more recent albums, Sammet has finally allowed women to sing songs which are not ballads - and Cowan is the latest in a long line of ladies to bring a lot of class to Sammet's compositions. Paeth's guitar solo is suitably folky, too, and the song is one of the album's biggest growers in my opinion.

The penultimate track here is the album's last fast-paced power metal anthem - with Against the Wind being another that races out of the traps and never really lets up. Sitting somewhere between the neo-classical smoothness of The Moorlands at Twilight and the thrashy Unleash the Kraken, Against the Wind is hard-driving power metal with crunchy riffing and plenty of double bass drumming. The chorus certainly leans more towards the smoother end of power metal, though, with Sammet unleashing lots of long-held notes to bring the theatrical chorus to life. Sammet's vocal partner this time is Kenny Leckremo (H.E.A.T) - and it is great to hear him singing something much heavier than he is generally known for. H.E.A.T are one of the best modern AOR bands, and they can rock out when they need - but nothing H.E.A.T have done has allowed Leckremo to let rip like he does here. He has always been a great singer, but his power really shines through here - and him and Sammet actually sound quite similar at times. They have comparable vocal tones I think, which allows their harmonies to mesh nicely - whilst a brief piano break later in the song allows for a moment of calm in what is otherwise a fast-paced and epic slab of classic power metal. The album then comes to a close with Everybody's Here Until the End, a much more melancholic song which is the only cut here that could really be called a ballad. The chorus is pretty bombastic, though, and perhaps a bit too theatrical to be considered a true ballad, but the verses are slow-burners - with delicate piano melodies and a simple drum pattern. Roy Khan (Conception; Kamelot) contributes to his second Avantasia song here, but I feel that his talents are pretty underused. He sings the second verse with all of the delicate power he is known for, alongside something of a later bridge, but he never gets to really let rip - so that gothic, semi-operatic delivery that he is largely known for is not present. This is a real shame, as he definitely still has it in him, but he adds a touch of class to the more sombre moments of the song - and it is fun to hear Kamelot's two best-known singers appearing on the same album (Sammet should have tried to get Mark Vanderbilt to complete the trio, if he even still sings that is). It is certainly not a bad song, and the chorus is memorable, but it is probably my least favourite here due to Khan's underuse. Despite ending on a slight low note, though, Here Be Dragons is easily my favourite thing from Sammet since Ghostlights. Moonglow certainly has individual songs which are up there in quality - but from start to finish this latest release eclipses both Moonglow and A Paranormal Evening with the Moonflower Society. I was pretty positive about the latter at the time but it is probably now my least favourite Avantasia album - and Here Be Dragons feels like the album it was trying to be. It shows that Sammet can still write punchy songs without the need for endless epics - and I can only see my opinion on it improving as the hooks sink deeper and deeper in. I imagine I will hear quite a few of the songs played live next week, too, and I am looking forward to the spectacle which is to come.

The album was released on 28th February 2025 via Napalm Records. Below is the band's promotional video for Creepshow.

The Temperance Movement - Bristol Review

I am sure that we are all fans of bands which we consider should have been huge. We always lament the fact that our favourite bands are not more well known, but when it comes to The Temperance Movement they really, really should have been huge - and I am not saying purely from the position of being a fan. Objectively, the band had everything: great songs, a modern image that did not make the band look like a retro act, a captivating stage presence, and a strong work ethic. Their accessible songwriting, which fused bluesy hard rock, emotional ballads, and occasional hints of country, should appeal to most people on some level - and the band would have felt as at home opening for The Black Crowes as they did for Oasis. They were a hard rock band for the Britpop and indie loving crowd, then, but a lot of more traditional rock fans also liked them - so they had a sweeping reach which pulled in fans from various walks of life. From their 2011 genesis until probably 2018, too, the band went from strength to strength. Their headline tours got bigger and bigger and they continued to latch onto bigger tours to further widen their reach - releasing three studio albums along the way. All of the band's albums are excellent, too, even if I was a little disappointed with 2016's White Bear (which I reviewed here) at the time, and they generally excelled live. I saw the band live at both ends of their career - from a stunning set at the 2013 Cambridge Rock Festival a couple of months before their self-titled debut album (which I reviewed here) dropped, through to the band opening for Blue Öyster Cult in 2019. Sadly, though, 2019 would be the last year that the band were active. I enjoyed their set opening for Blue Öyster Cult, but looking back they were more subdued than usual. It is clear now that all was not well in the band at the time - and things came to a head at that year's Planet Rockstock where they delivered a reportedly less than stellar performance. Frontman Phil Campbell was out of the band a month or so later - and The Temperance Movement essentially came to an end. Whilst a couple of archival releases were later put out by the band, there was no news related to any new activity until late last year. Following a few years flirting with other bands and a solo career, Campbell became a lot more active on social media again last year - and recorded a podcast series about the history of The Temperance Movement following a stint in rehab, in a desire to take accountability for his part in the band's demise and to try and look back on things in a more positive light. He initially stated as part of the series that the band were not getting back together - but clearly the air clearing and honesty led to some conversations behind the scenes, and a few months later it was announced that the band would embark on their first tour since 2019, with Campbell back on board and original guitarist Luke Potashnick also returning. Unsurprisingly, the clamour for tickets was great - and many of the shows sold out very quickly. I was lucky to get a ticket for the Bristol show - which was soon upgraded from the Exchange to the Trinity Centre. Many of the shows were also upgraded to larger venues, showing that there was still very much a demand to see the band live - despite the few years away.

The Trinity Centre was a new venue for me - and the converted church turned out to be quite a bit smaller on the inside than it appeared to be from the outside. Still, it was larger and more suitable for a band like The Temperance Movement than the Exchange would have been - and the larger room still sold out. Following getting to the front of a very slow-moving queue, I finally got into the venue and took my place towards the front of the venue - fairly close to the stage. The place ended up being packed to pretty much the back of the room, and the large turnout led to a great atmosphere, but before The Temperance Movement performed the crowd was treated to half an hour of music from Sam Palladio. Palladio, who seems to be better known as an actor than as a musician owing to his starring role in ABC's Nashville, was an unknown quantity to me - but the Englishman's short set ended up being pretty enjoyable. Backed by what was likely quite a stripped down band and relying on additional backing tracks, Palladio's music was accessible from the off - presenting as a form of poppy rock with modern country and occasional indie rock flavours. Vocally strong and clearly a capable songwriter, Palladio also came across well on stage. He spoke to the crowd quite a lot, told the stories behind some of the songs, and generally came across as a likeable artist - and his heartfelt songs backed up this view. Nashville is a musical drama, so Palladio was always likely a singer as well an actor - and is therefore not one of these actors-turned-singers who capitalise on their fame to sell average albums. His songs, whilst not always 100% my thing, were all very genuine - and there were a number of choruses played which I can still remember a day later despite only having heard each song once. There was a tasteful approach to guitar playing throughout his set, too, with a couple of surprisingly big guitar solos included - alongside plenty of melodic playing throughout the songs themselves. Palladio himself stuck to acoustic guitar throughout, though, and cut quite a figure at the front of the stage - likely winning over quite a few in attendance as he did so. He only played for 30 minutes and, in truth, I would not have minded hearing a couple more of his songs. This is always a good sign I think, and I will have to give Palladio's music more of a listen in due course.

By the time The Temperance Movement took to the stage a little later the place was packed. Those in attendance were clearly out to have a good time - and with this show being The Temperance Movement's first since that ill-fated Planet Rockstock appearance there was an uncertainty over how things would pan out. Even with this admission, I doubt that many expected the show to start in the manner which it did. The band all walked to the front of the stage, with only Paul Sayer (guitar/vocals) armed with an acoustic guitar - who started playing the opening notes of Chinese Lanterns. Campbell then sung the delicate ballad backed only by the lone acoustic guitar - with the rest of the band harmonising with him during the chorus. It was a real show of togetherness given the drama which tore the band apart for a while - and it was a hugely emotional way to kick off what turned out to be a truly fantastic evening of live music. Much of the set was culled from the excellent debut, although the other two albums were represented by four cuts each, and the next 90 or so minutes flew by. Following the melancholy start, the band immediately upped the energy levels with a raucous Only Friend. Signs of ring rust were few and far between and it was as if the band had never been away. They were clearly carried by the crowd through the first couple of numbers, though, with the crowd often taking over from Campbell during Only Friend - with the singer only able to look on in wonder. With the exception of the opening, and one later inclusion, the set was largely as I expected it to be. It essentially showcased many of the band's very best songs, ranging from hard rockers to ballads, and the performance was up there with the best of the past. Campbell seemed reenergised, his voice and stage moves still perfectly intact, whilst the guitar duo of Potashnick and Sayer sounded rawer than ever - with plenty of solos from both throughout the night. Most of the songs were stretched out somehow, with lots of jamming and grooves from the rhythm section, but nothing outstayed its welcome - and with 18 songs played the crowd got their money's worth. Early highlights were the massive sing-a-long choruses of newer cuts Built-In Forgetter and Caught in the Middle. This was also the case later on in the set when the southern rock-esque grooves of Be Lucky filled the venue - and by this point the band were well and truly back. Campbell addressed the crowd occasionally, but generally this was a night all about the music - and the band clearly felt like they had something to prove again. This mindset let to some blistering performances - such as a centrepiece version of Another Spiral which, like it often had in the past, became a real vehicle for Sayer's soloing. This led into a last third of the set which was packed with power, including a barnstorming Ain't No Telling and the lengthy Smouldering getting an airing after having been out of the set for quite a while. The music just kept on coming, too, with a raucous Battle Lines perhaps seeming like the main set closer - before Campbell picked up an acoustic guitar and it was clear that the real closer would be a very emotional A Deeper Cut. Following a brief step off the stage, the band came back for a three-song encore, which opened with a surprise take on Have You Ever Seen the Rain, before, back on firmer ground, the hard-hitting early single Midnight Black packed up a punch as it always did. It was left to a shimmering and emotional Serenity to round out the evening - with the first album's closer really bringing the curtain down on an excellent night. The setlist was:

Chinese Lanterns

Only Friend
Take It Back

Built-In Forgetter

Caught in the Middle

Pride

Get Yourself Free

Be Lucky

Another Spiral

Oh Lorraine

Ain't No Telling

Magnify

Smouldering

Battle Lines

A Deeper Cut

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Have You Ever Seen the Rain [Creedence Clearwater Revival cover]

Midnight Black

Serenity

At this stage, it is unclear what the endgame of The Temperance Movement's reunion tour is. Is this just a proper goodbye after what came before or will it be the start of a new era. The truth is that even the band probably do not know yet - but I really hope it is the latter. Regardless as to what happens next, I am just glad that I got to see the band live at least one more time. If all of the rest of the shows on this tour as good as last night in Bristol then I can only imagine that the band will be inspired to keep going - so I am keen to find out what the future holds.

Mostly Autumn's 'Seawater' - Album Review

No band has been featured more on this blog than the York-based progressive rockers Mostly Autumn. This is largely down to the sheer amount of times I have managed to see them live, and I am only two shows away from my 50th Mostly Autumn concert, but they have also released quite a few albums since I started reviewing new releases on this blog. My music collection is vast, and there are a number of bands which I would consider true favourites, but, when it comes down to it, Mostly Autumn probably hold that number one spot. Them and Marillion would have to fight for it, at least, and I always consider the two progressive rock acts the pinnacle of my music collection - which seems strange on reflection given how much I love harder and heavier music. Both bands just speak to me on a different level I think, so I have been lucky to be able to follow both closely - particularly Mostly Autumn. From that first show at The Wharf in Tavistock back in 2006, I have now seen the band live 48 times - including festival sets and support slots. The Quireboys are the band I have seen live the second most - but you would need to double the number of Quireboys shows I have been to to reach Mostly Autumn's current total. It helps that they play in Tavistock essentially every year (and have also played locally in both Penzance and Exeter in the past) and were fixtures at the Cambridge Rock Festival which I also used to go to annually - but I have travelled all over to see Mostly Autumn live, with memorable nights coming to mind in places as diverse as Gloucester, Bilston, and Leamington Spa. I will never tire of the band, so whenever a new album from them drops it is a real event in my musical year. Due to the manner in which the band utilise social media (i.e. poorly) and the internet more broadly, listening to a new Mostly Autumn for the first time is probably a close as I will ever come to hearing a new album for the first time back in the day. These days, half of each new album has generally been released as streaming singles before the album itself comes out - but when it comes to Mostly Autumn, that first full listen is everything. This is especially the case for those of us who always pre-order the special edition of each album directly from the band, which are generally sent out in advance of the album being released and anything hitting streaming sites, whereby removing the CD from the envelope it was delivered in is sometimes even the first time seeing the song titles - let alone knowing how it sounds. Mostly Autumn could leverage the internet so much more successfully, but this ritual with each new album is one I enjoy - and back in February I went through it again with the latest release Seawater. The band's first album since 2021's pandemic-inspired Graveyard Star (which I reviewed here), Seawater comes following the longest gap between albums in the band's history. A four year gap is not that long in truth, but Mostly Autumn tend to be pretty prolific - with two or three year gaps more the norm. I knew that whatever eventually came would likely be worth the wait, though, and thankfully, as is often the case, Seawater proved me right.

I really like Graveyard Star but, in retrospect, it was a bit of a step down from the three albums which preceded it. Some of the band's best ever work came on those three albums, and the pandemic-related themes of Graveyard Star really place it in the time it came out. Whilst Mostly Autumn's core, organic progressive rock sound has largely remained the same over the years, there are shifts from album to album - and Seawater is quite different in tone to Graveyard Star. Much of Graveyard Star was dark, for obvious reasons, but Seawater has more of a mixture of emotions and vibes - which reflect the band at different stages in their career. Some of the band's folkiest work for some time is featured here, which gives flautist Angela Gordon more of a presence than has often been the case of late, whilst organic harder rock, plaintive ballads, and soaring longer numbers pack the album's 10 songs with variety. Band founder and principal songwriter Bryan Josh has written a number of really memorable songs for this album, with frontwoman Olivia Sparnenn-Josh also chipping in with some important writing contributions. Songwriting credit-wise, though, Seawater is less varied than has generally been the case of late - with keyboard player Iain Jennings and guitarist Chris Johnson both conspicuous by their absence songwriting-wise. This is a shame, as both often add a lot with their contributions (particularly as Johnson does not sing any lead vocals on this album, either) - but Josh and Sparnenn-Josh clearly felt that they had all they needed themselves this time around, although Jennings is credited with co-writing one of the songs on the special edition's bonus disc which I will not be covering here. Like the band's other recent albums, though, Seawater is long - and it opens with Let's Take a Walk, which is just under 10 minutes long. Birdsong and other nature sounds fill the speakers initially, over which Josh soon adds some delicate clean guitar melodies. The overall opening vibe is similar to how 2019's White Rainbow (which I reviewed here) started, and musical layers are added slowly, with heavier guitar chords soon backing the clean guitar melodies - and regular guest Troy Donockley (Iona; Nightwish; Auri) then adds some uilleann pipes. The song takes a little while to get going, but this is typical of the band's style - and when Josh starts to sing against this rumbling guitar backing the song changes tack, with subtle percussive pulses and harmonies from Sparnenn-Josh. Continuing to build, the song transitions into being a true melodic rocker following a sparse first pass throughout the chorus. Henry Rogers aids the transition with a big drum fill, and from this point on the song is generally a pretty zippy rocker - with Josh leading the charge vocally, Sparnenn-Josh adding plenty of Fleetwood Mac-esque depth with her harmonies, and Jennings' Hammond organ doing a lot of heavy lifting. Later chorus renditions feel massive, and they provide the first real melodic hook on the album. It is a chorus which gets stuck in the brain, and later Donockley reprises some of the melodies on his pipes - adding to the folky feel which often pervades the album. There is a lot of acoustic guitar depth throughout the album, too, and that is also the case with this song. A few acoustic breaks are taken to rein in the more rocking overall feel, but the acoustic guitar is generally present throughout in any case - filling little cracks in the sound.

The opening song has already become a real favourite of mine, and I hope that the band play it live, but the album is just getting going - and the transition to the folkier Why Do We Remember All the Rain marks a change in tone. The song is easily the folkiest song that the band have released for many years and it really harks back to their original trio of album albums from the late 1990s/early 2000s which featured many more acoustic-based pieces and folky instrumentals. Acoustic guitar and Gordon's playful flute melodies open the song up - and Sparnenn-Josh soon starts singing against this acoustic guitar backing, under which Rogers adds some sparse, percussive drumming. It feels paired back for the modern Mostly Autumn sound, but it nevertheless feels part of the band's wider canon - and the rest of the band do kick in for a powerful chorus which rocks a little harder. Washes of brash Hammond organ elevate the chorus, whilst big harmonies make use of the band's multitude of vocal talent. Josh dominated the opening song vocally, but this track is all about Sparnenn-Josh - her voice going from delicate to powerful depending on the part of the song being sung at time, but Josh still makes his presence felt with a laid back guitar solo which is packed full of classic Joshisms. There are plenty of big solos on this album, and one closed out the opening number, but this one is a bit more restrained than some of them - although he does cut loose a bit more towards the end of the song, during a proper folk rock wig out which acts as an instrumental closing segment. Josh's guitar and the organ do their part, but Gordon leads the charge with her fast-paced flute playing - again reinforcing that old-school folk sound. Be Something changes tack again, although the acoustic base is retained initially. Josh takes the lead again on this one, and the track is the latest in a loose series of songs which feel like slightly brash, organic rockers led by him. They are perhaps less subtle and interesting than most of the band's songs, but they generally end up growing on me - and Be Something has grown on me more than similar tracks like Something Better and Shadows from the past. It does build up in a more interesting manner, I think, with the acoustic guitars dominating early on. The bluesy feel of the song helps to set it apart, too, and I quite like the sparse acoustic guitars during the first couple of verses and chorus - whilst Josh's rugged vocals are packed full of character. Sparnenn-Josh adds chorus harmonies, which are welcome, but, for me, song really gets going when a later chorus rendition takes off with a Hammond organ backing - and from this point on the song rocks harder, with another fluid guitar solo and a final, more anthemic, chorus. This transition elevates the song beyond the other similar, slightly lumpy, rockers of the band's previous albums - and it really showcases the best of Josh vocally, who probably sings more on this album than he has done for a while. The bonus disc contains a synth-heavy alternative take on this song, which is interesting to listen to, but I think the band made the right choice by including the version they did on the album proper.

Another song which has grown on me a lot since first hearing it is When We Ran. Another lengthy piece, at first the song's elements did not quite all hang together for me - but over repeated listens everything has largely fallen into place, and it has become a bit of a favourite. The song opens slowly, with Josh singing against some simple piano melodies - and this vibe dominates the first minute or two of the track. Josh's voice is full of emotion, and the piano introduces something different for the album up to this point, with the piano-based intro almost standing alone as a brief little ballad - before a brief pause then introduces some sparkling synths, and the track transforms into something much larger. It essentially becomes another mid-paced rocker, although some ballad-esque vibes are retained, and comparisons can be made with the vibes of the album's opening song - albeit with synths and more electronic keyboard textures rather than the organ which has dominated up to this point. The synths do help to set the song apart from many of the others here, but there is still a strong organic feel throughout. Acoustic guitars are still heard throughout the song, even given the dominance of the synths and Rogers' pulsing drum grooves, whilst the vocal interplay between Josh and Sparnenn-Josh really brings the song to life. There are a lot of parts on this album which see the two singing together and this track really benefits from that approach - with the melodic chorus a real earworm thanks to these ever-present harmonies. Josh indulges himself with a couple of quite lengthy guitar solos, with the latter of the two being a real trademark moment. It dominates the last section of the song, carrying the track to a close as Josh has shown over the years just how adept he is at doing. Long-time fans will also recognise the melodies played by Josh and Gordon as the song closes from The Spirit of Autumn Past - Part 2 - a signature melody from the band which has been used a few times throughout their career. If Only for a Day turns the spotlight back onto Sparnenn-Josh, and it is one of her now trademark soaring ballads. Like the previous song, this track opens with rumbling piano chords - over which Sparnenn-Josh starts to sing, and she soon makes full use of her impressive range. The verses are generally sung in quite a delicate manner, utilising the lower end of her range, but the choruses are delivered in a much more powerful way - with soaring and siren-like melodies atop the rumbling piano. Even when the rest of the band join in later on, adding a sombre drum beat and dense guitar chords, the piano is retained as the main focal point - and the later choruses feel more powerful thanks to this more morose depth. Josh's brief guitar solo elevates the song's emotional pull further, too, and the song continues to slowly morph as it moves along - with later chorus renditions featuring an additional twinkling keyboard melody as well as the piano, whilst another guitar solo then closes things out, ringing yet more emotion from the song.

Transitioning to the album's second half, When Nations Collide is somewhat similar to the previous track - but it never quite reaches the same emotional heights. Opening with clean guitar melodies instead of piano, the track immediately feels more restrained - and Sparnenn-Josh sings the song in a different manner, adopting a more breathy, folky approach that nicely suits the song's more organic feel. Whilst the song opens with electric guitar melodies, acoustic guitars soon become the dominant force - particularly during a fuller sounding chorus which harks back to some of the folkier moments heard earlier on the album, albeit with less of a rock backing. Rogers does add his drumming to parts of the song, but generally he is quite restrained throughout - adding simple percussion and backing some of the verses with a slow-burning beat. Despite the song's simplicity, though, it does grow as it moves along. Later chorus renditions feature a gorgeous and plaintive flute motif which repeats throughout - and when Josh launches into his customary guitar solo the song suddenly feels much bigger. Gordon accompanies Josh's solo with her flute, which adds a twists and a huge amount of depth to the song, whilst Hammond organ later adds some rumble - leading the last portion of the song to feel much more powerful, climaxing the excellent way things have morphed as it has progressed. The next two songs on the album are probably the weakest offerings here in my opinion, but neither are bad. They are just the least interesting - but both have grown on me somewhat since hearing the album for the first time. My Home is a pretty simple track which Josh takes the lead on vocally - and it is quite a straight forward poppy rocker which opens slowly and builds towards a decent chorus. Acoustic guitars, simple drumming, and strange keyboard melodies back Josh during the slow-burning verses - whereas the rest of the band really kick in during the chorus, which again features Sparnann-Josh singing alongside Josh whilst big Hammond organ washes keep the song feeling at home on the album. There are some bluegrass-esque guitar melodies during the chorus, which are a bit different, and during Josh's later guitar solo there is a very Bruce Springsteen-esque use of ringing piano notes which brings Bobby Jean to mind. These flourishes do give the song an identity, even if it is not a standout cut here. I have a similar reaction to Mars, although the song is less organic in feel and much more atmospheric. Dense keyboards form the bed for Josh's initial vocal lines, which again harks back to the band's early days somewhat, and the song is sparse for quite a while. Occasional Sparnenn-Josh vocal harmonies are utilised, and some quiet drumming later creates a pulse, but the bulk of the early part of the song is very simple. This changes when Sparnenn-Josh takes over - her soaring voice given more of a harder base with proper drumming, heavier guitars and even more synths. Parts of Josh's guitar solo feel a bit different from the norm, too, with some squealing high notes adding to the overall atmospheric feel nicely.

If the previous two songs were the album's weakest offerings, then what follows is one of the best. Future Is a Child stood out to me from the off, and the multi-part piece has only sounded better with each repeated listen. It is classic modern Mostly Autumn in tone and it mixes organic instrumentation, an anthemic feel at times, and soaring hooks to create something which really sticks in the brain. The verses are very stripped back, with dark acoustic guitar chords over which Josh sings in quite a downbeat manner. Later verses feel a bit deeper, with vocal harmonies and more of a drum depth, but generally the acoustic guitars and subtle keyboard dominate - and the song really comes alive when Sparnenn-Josh takes over for a chorus which is the most siren-like moment on the album. Rumbling Hammond organ and soaring vocals make for the hookiest chorus here and it really brings the best out of Sparnenn-Josh on one of the three songs here she co-wrote. Mostly Autumn have often made the most of effective bridge sections in the past, with Winter Mountain immediately springing to mind, and there is another here - with a really emotional, percussive section that features some delicate vocals, before Josh lays down a precise acoustic guitar solo and the final reprise of the chorus kicks in. This is not it, though. As the song seems to be fading out, Gordon comes in with a warm flute melody, which acts as the link between the song proper and Josh's huge guitar solo. It is easily his best solo on the album and, Evergreen-esque, it takes the piece to the next level and showcases all of his talents as a songwriter and a guitarist - with the lengthy solo being packed full of memorable hooks. In fact, Future Is a Child feels like a modern take on Evergreen - and it deserves to become a live staple much like the latter was for many years. The album the comes to a close with its title track, which is just over 19 minutes long. It feels like something of a spiritual sequel to White Rainbow, and there are motifs from that song reused here. I do not think that it reaches the heights of White Rainbow, but it is nevertheless impressive - with the early few minutes dominated by piano. Josh initially sings, but the song really gets going when Sparnenn-Josh takes over, and there is more of a band feel behind the piano melodies. This part, closed out by a big guitar solo, might be my favourite individual piece of the song - which comes to an end with some sounds of the sea and a distant accordion playing sea shanties. This atmospheric period lasts for a while, with organ slowing swirling around, before punchy guitar and drum stabs introduce a keyboard pattern taken from White Rainbow - although when Sparnenn-Josh starts singing again the vibe shifts to something more dynamic and hard rocking. Something of a chorus is later utilised, wish Josh adding his gruff voice to boost Sparnenn-Josh's power - the song here flirting with a more symphonic sound. This chorus is hooky, dominating this middle part of the song, and another standout moment here is a synth solo from Jennings - which also later bleeds into a later rendition of the chorus. Another change of tack then sees Josh taking over vocally, to deliver a strange semi-spoken word section, Pink Floyd-esque, against a pacy backing which adds nicely to the song's slightly creepy overall vibe. By this point there is only a few minutes left and, following some more weather noises, the slow vibe of the song's intro, this time with acoustic guitars, and melodies reprised from When Nations Collide, create a closing, slow-burning vocal section - before a lengthy symphonic outro features dancing keyboard melodies, a subtle guitar underpinning, and a closing piano melody. Mostly Autumn rarely disappoint and Seawater is no different. Like most of the band's albums it really grows over repeated listens and some of the songs here rival some of their best recent work. For me it is certainly up there with the trio of releases which preceded Graveyard Star and the harks back to the band's early days are welcome in seeing this album as something of a full circle release - something which the band have not really done for a while.

The album was released on 28th February 2025 via Mostly Autumn Records.

Phil Campbell and the Bastard Sons - Exeter Review

Following an extremely busy February, which included eight concerts, March has been quite a bit slower. I have to say, though, that the break following those last couple of weeks in February was welcome - but I was ready to rock again following the rest, and headed up to Exeter last night to catch the ever-excellent Phil Campbell and the Bastard Sons on their latest UK tour at the Phoenix. I will be getting to two more shows this month, which seems quiet but is still likely significantly more than most people's average, and 2025 in general is another extremely busy year when it comes to live concerts. I am sure I will slow down one day, but 2025 is clearly not the time for such - and it shows just how much of a staple on the UK touring circuit Phil Campbell and the Bastard Sons have become, as last night was my ninth show of theirs. That does include festival appearances and support slots, but it nevertheless shows how often the band come around - and those of us in the South West are lucky that they seem to always come down this way on their tours, and the Phoenix in Exeter has become their South West venue of choice in recent years. I last saw the band live, also in Exeter, in 2023 - as part of their tour to support their third album Kings of the Asylum (which I reviewed here). As much as I enjoyed that show, as I always enjoy the band's shows, I remember that it came at the end of a very busy month of gigs, so I was very tired, and that the journey up to Exeter from Plymouth was uncharacteristically fraught - so it has not stuck in my brain as a particular standout. They delivered as always so it was more me than them I think, but I was keen to catch them live again right that slight wrong. The band's 2025 UK promised to be different to the norm, too, which made it an exciting prospect. Phil Campbell (guitar/vocals) is, of course known for being the guitarist of Motörhead between 1984 and the band's demise in 2015 following the death of founder Lemmy. Whilst Phil was not in the band from the beginning, he was the second-longest servant of Motörhead behind only Lemmy himself - and contributed to 16 of the band's 23 studio albums, alongside numerous live releases. Motörhead have not existed for a decade at this point and, sadly, not many of the band's key alumni are still alive. All three of the 'classic' line-up are sadly no longer with us - along with Würzel who was Phil's guitar partner in the band between 1984 and 1995. With the exception of long-time final drummer Mikkey Dee, who now plays with the Scorpions, the only other living members of Motörhead were only briefly associated with the band - which leaves Phil and Dee as the de facto keepers of the band's legacy. Dee occasionally gets up and plays Motörhead songs with other bands, but Phil always includes a few Motörhead favourites in his sets with The Bastard Sons - so is the only Motörhead member that still regularly plays the band's songs live. Given that Motörhead formed back in 1975, then, 2025 is the band's 50th anniversary - so Phil and the band decided to drop all of their originals this year and give the fans a full set of Motörhead songs from throughout the years. The band have occasionally done such sets at festivals, but this is their first full UK tour of this nature - and each show was sure to be a nostalgic night for long-time Motörhead fans.

It was announced earlier in the day that there were only 10 tickets for the show left. Even if those 10 tickets did not sell, the venue was essentially sold out - and there were plenty packed into the Phoenix by the time that the evening's sole support act King Creature took to the stage. I had seen the Cornish four-piece live a couple of times before, with my last rendezvous with the band coming back in 2021 when they opened for Orange Goblin in London. I also saw them with Phil Campbell and the Bastard Sons in 2019, too, so this show was something of a repeat of that night - with the grungy metal of King Creature soon filling the room. I have always enjoyed seeing the band live, but their albums never seem to grab me when I listen to them at home. They seem to be one of those bands that have not managed to yet capture their live power on record, then, but their set last night was another enjoyable affair. Mixing bluesy, Zakk Wylde-esque riffs with barked vocals and Alice in Chains-esque vocal harmonies, King Creature have an easily identifiable sound - which is anthemic and powerful at its best and still enjoyable at other times. There were a few strong choruses throughout, some of which managed to whip up a bit of excitement in the crowd, whilst the riffing throughout from Matt Vincent (guitar/vocals) and Mike Stennett (guitar) was generally powerful - with the contrasting soloing styles of the two guitarists ensuring for a varied approach throughout. Dave Kellaway (vocals/bass guitar) has an engaging voice, too. He might not be the most unique or dynamic of vocalists, but his powerful, barked style generally suits the band's riffy material - whilst the crooning harmonies of Vincent help to give the band something of a USP. I recognised a couple of the songs played from the album of theirs I picked up a number of years ago, but a few songs in the set were new ones. I assume that means that a third album is on the horizon at some point - and the new tracks in particular stood out, with one opening with some excellent twin lead guitar melodies which was something a bit different for the band. It was nice to catch up with the band again after a few years and if there is indeed a new album on the way then perhaps it will be the one to finally draw me in properly.

It did not seem too long following King Creature's set that the lights went down again and Phil Campbell and the Bastard Sons took to the stage. As set out before, this set was very different to others I have seen from the band before - and it was packed full of treats from Motörhead's past. I did see Motörhead a couple of times before they ended, so I had seen some of the songs done live before - but there were a few which I had not, and, in any case, it was great to hear Phil and the band run through so many classics. Joined as always by his sons: guitarist Todd Campbell, bassist Tyler Campbell, and drummer Dane Campbell; alongside singer Joel Peters; Phil ensured that the Motörhead legacy was kept alive in the right way - with two golden oldies in the form of Iron Fist and Damage Case kicking off the 19-song set. Given that many of Motörhead's songs are short, the set really flew by. Many of the songs were real fan-favourites, but there were a few deeper cuts played, too, and there was a good mix of material from throughout the years - both before and after Phil's 1984 arrival. Given Motörhead's high-energy sound, too, there was little standing on ceremony. Both Phil and Peters addressed the crowd throughout the night, but the introductions were generally kept to a minimum - with the songs doing the talking. Songs like Going to Brazil and Rock Out are ones which Phil and his band tend to play quite a lot anyway, so have been granted new leases of life as a result, so things like the more grinding Orgasmatron felt more special - with the slow-burning yet heavy track hitting the spot nicely early on. Peters did a great job throughout, but sounded particularly venomous during Orgasmatron - with the bluesier Metropolis later on being another slightly more restrained track which allowed his vocals more of a chance to breathe. A genuine deep cut in the form of Smiling Like a Killer was certainly later a treat for the long-time fans, and it was sandwiched in between two real anthems in Born to Raise Hell and the perennial classic (We Are) the Road Crew whilst still feeling at home. The former is another regular in Phil's setlists and it always gets the crowd going - with plenty of chanting heard during the big chorus. The latter part of the main set was much more classics-filled, though, with the exception of the slower Lost Woman Blues. Early 1980s anthems like The Chase Is Better Than the Catch and the ever-present Ace of Spades saw plenty of movement from the crowd, before another more mid-paced anthem Killed by Death also saw plenty of chanting during the big chorus. The main set was then rounded out by Motörhead's take on David Bowie's "Heroes" - a song I never need to hear again in truth. The band briefly left the stage following it, but were soon back for a four-song encore. The acoustic-based Whorehouse Blues was a real change of pace, with Todd adding plenty of harmonica throughout, whilst the three songs which followed were bona fide classics - with Bomber and Motörhead returning to a faster overall sound. A stretched-out rendition of Overkill was left to round out the night - which brought the best out of Dane and saw plenty of soloing from Phil and Todd. The setlist was (N.B. all of the songs below, unless otherwise noted, are Motörhead songs):

Iron Fist

Damage Case

Going to Brazil

Orgasmatron

Rock Out

Metropolis

Born to Raise Hell

Smiling Like a Killer

(We Are) the Road Crew

Lost Woman Blues

R.A.M.O.N.E.S.

The Chase Is Better Than the Catch

Ace of Spades

Killed by Death

"Heroes" [David Bowie cover]

-

Whorehouse Blues

Bomber

Motörhead

Overkill

I always enjoy seeing Phil Campbell and the Bastard Sons live, so it was great seeing them do something a bit different by fully paying tribute to the legacy of Motörhead. Phil helps to keep Lemmy's songs alive, and this large UK tour is surely a treat for the legions of Motörhead fans across the country who really miss being able to see the band live. I am sure that Phil Campbell and the Bastard Sons will be back again in the South West before too long, maybe even with a new album in tow, and I will surely be there when they do.