Stone Sour's 'Hydrograd' - Album Review

In the modern world of big, arena-filling hard rock bands, Stone Sour are one of the bigger names of the genre. Stone Sour are of course famous for being the 'other' band of nu-metal pioneers Slipknot's frontman Corey Taylor, but Stone Sour's genesis actually pre-dates his joining the Slipknot family. Stone Sour was formed in 1992 by Taylor, but was placed on a hiatus without releasing any material when Taylor joined Slipknot and that band started to gain traction. The songs written during this initial period of Stone Sour's history were eventually expanded upon and released on the band's self-titled debut album in 2002. The grunge-based alternative rock was significantly different to Taylor (and, at the time, guitarist Jim Root's) work with Slipknot; and Stone Sour allowed Taylor to show off a different side to his songwriting and vocal talents. Despite Stone Sour's success, they have always had to play second fiddle to Slipknot's heavy touring schedule. This was especially true during the early 2000s when Slipknot were at their real commercial peak, but Stone Sour's second album, 2006's Come What(ever) May, really made people sit up and take notice. Come What(ever) May introduced a more streamlined hard rock sound that, despite still containing influences from metal and grunge, managed to attract a large new fanbase. People like me who never got into Slipknot were exposed to a whole new side of Taylor and his melodic songwriting style. Since the success of Come What(ever) May, Taylor has dedicated roughly equal time to both Slipknot and Stone Sour, with Stone Sour releasing three more studio albums since which have all received critical acclaim. The band's most recent couple of albums, the two-part House of Gold & Bones albums that were released separately in 2012 and 2013, in particular were well-received. The band's songwriting matured greatly on those albums, and the concept running between the two really helped them feel like one complete work. Much is made of Taylor and his songwriting for the band, but Stone Sour is much more than just Taylor. Since the House of Gold & Bones albums however, Stone Sour has undergone some fairly major line-up changes. Root, who was seen as one of the main songwriters alongside Taylor, left the band in 2013 to focus on writing songs for Slipknot and was replaced by Christian Martucci - a relative unknown who had played guitar for Dee Dee Ramone during the early 2000s. Johny Chow (Cavalera Conspiracy) is Stone Sour's other newest recruit, having joined the band in 2012 for the House of Gold & Bones touring cycle. Despite both Martucci and Chow playing with the band for a few years now, and appearing on the two Burbank cover EPs, the band's latest album Hydrograd is the first full-length effort to feature both of their musical and songwriting talents. Hydrograd is the band's sixth overall album and carries on the grungy hard rock sound the band have been working on throughout the last 15 or so years. The melodic songwriting style of the band's recent efforts remain, and this is an album that continues their impressive legacy.

The album gets underway with the instrumental intro YSIF, which is largely built around a strident chord pattern played on the guitar, but some Japanese-esque melodies swirl around underneath to give the piece a unique feel. The atmospherics build up as the piece moves along and soon explodes into Taipei Person/Allah Tea - the album's first true song. The song is built around a riff that sounds like something a NWOBHM band might have come up with in the early 1980s, and Martucci makes his presence instantly felt with a doomy guitar lead. Taylor mostly uses his clean vocals on Stone Sour's songs, but this one makes use of his rougher edge at times as he barks through the energetic verses, which are backed by some unconventional drumming from Roy Mayorga. Big choruses are often a part of Stone Sour's identity, and there are a few on this album. This one soars with strong melodies, before Martucci launches into his first shredded solo on the album. He is joined in his venture by fellow guitarist Josh Rand, who has been a part of the band since the re-activation in the early 2000s, and he makes a rare appearance on lead guitar here sharing the stage with Martucci. Knievel has Landed is a less interesting number, but opens with a strong bass riff from Chow. There are definitely some strong musical moments throughout the song, with a tough guitar riff that resurfaces often throughout the verses, but the chorus is a little weak for the band's usual standards and this fails to let the song really take off. Some of the rawer moments, like the pre-chorus sections, are a little too much akin to Slipknot's style for my liking which hampers my enjoyment of the song somewhat. The album's title track follows, and showcases some of the band's grunge influences nicely with a raw, booming drum sound and sludgy guitar riffs that make their impact through slow power. While Taylor still sings in his usual anthemic style, and does not adopt the usual drawl that is key to that genre's sound, his strong vocal performance shines through and sits well with the heavier riffing. The song is chorus-less, which works quite well with with the main guitar riffs taking centre stage. The guitar playing throughout is strong too, with another big solo from Martucci towards the end that showcases his shredding style. Song #3 is one of the album's singles, and features soaring melodies and a more accessible overall sound. Fans of the bigger anthems on Come What(ever) May will lap this song up, as it is built around a strong vocal performance from Taylor, with the music purely serving as a backing for the lyrics. The chorus is one of the album's best, with a 1980s stadium rock feel as he belts out the lyrics. A small guitar solo provides the one flash of musical virtuosity in the song, but this is definitely one made for hearing and having the crowd sing along passionately. Despite some heavier riffs, Fabuless is another song that is built around a big chorus that is sure to become a live favourite. Taylor's harsh vocals are brought out more here, and there are some sections that benefit from a large gang vocal choir for extra power. While Stone Sour's songs are mostly slightly lighter than this song in tone, it is good when they break into heavier territory once in a while to give their albums extra weight. The Witness Trees is another slower, grungy song with ringing clean guitar melodies that sit nicely atop a snaking bassline. The chorus sees the song ramp up somewhat, and the melodies are quite strong, but mostly this song has a more restrained tone than most of the rest of the album. There's an expressive solo from Martucci too that works well in the slower context of the song.

Rose Red Violent Blue (This Song is Dumb & So Am I), despite having some really interesting guitar passages, is probably one of the album's least interesting moments. The slower verses have a slightly strange rhythm, but this clashes with the punky energy the rest of the song seems to want to promote. It just comes across as a bad mix, with the song's two elements not really meshing well together. Thank God It's Over is a mid-paced rocker with a great in-your-face guitar riff that moves along at a bouncy pace and acts as a strong backing for Taylor's vocals. Despite the relatively simple nature of the song, it still manages to create a really strong groove that carries the song throughout and gives it a slightly addictive feeling with the consistency of the song's rhythms. St. Marie is a ballad, and has a bit of a country feel with some lap steel provided by Joel Martin which creates a floaty atmosphere throughout as the bands two guitarists strum their acoustic guitars. This is a song which is definitely different to the norm for Stone Sour, but it works really well and Taylor's emotional vocal delivery helps to give the song the band's signature sound. The addition of the lap steel playing really adds a lot here. Most bands would have probably added a subtle piano backing instead, but I like the country feel the lap steel gives the song as the lengthy note slides cut through the mix. Mercy is a strong up tempo rocker and this works well when coming straight after the album's gentlest number. The riffing throughout is also pretty strong here, and contains another very singable chorus that is sure to be a hit live if the band choose to play it. It also contains a pretty technical guitar from Martucci that starts off with some basic shred but moves through a few almost neo-classical licks before a heavier riff kicks in and it is not long before the song's chorus is once again taking centre stage. A piano intro gives the listener the impression that Whiplash Pants might be another slower song, but it is quite the opposite and soon takes off at a fast pace with a hard-hitting riff and vocals from Taylor which boarder on a harsh delivery in places. The decent chorus is the song's most melodic part, but mostly this is a heavier piece which definitely takes a lot from early 2000s nu-metal, with some almost Machine Head-esque parts at times. It is quite an enjoyable song, but the nu-metal elements may put some people off. Friday Knights starts off with a chaotic main riff, but soon descends into a murky verse with chiming clean guitars and a mournful vocal delivery. The song is strange one, with lots of different vibes crammed into a short space of time, but it actually works quite well with a good mix of heavier riffs and more sparse clean sections. It shows that Stone Sour have quite a broad writing style and do not wish to always restrict themselves to the same basic song structures or templates. Somebody Stole my Eyes is another faster, heavier song which definitely takes influence from the more melodic end of Slipknot's more recent material. This works well in this song, and it manages to create quite a bit of power as the album winds down towards the final song. That final song is another slower number, When the Fever Broke, with murky piano lines and a subtle string section that adds colour throughout. Despite this extra instrumentation, it is quite a sparse song but this helps to pack quite an emotional weight and is a great contrast the frantic previous number. Stone Sour have done better ballads in the past, but this is still a fitting end to this varied album. Overall, Hydrograd is a another really enjoyable album from Stone Sour that throws a few new sounds into the band's established template. While it could have done with having a bit of the fat trimmed, as it is probably a couple of songs too long, it still contains plenty of very good songs that will satisfy the band's large fanbase.

The album was released on 30th June 2017 via Roadrunner Records. Below is the band's promotional video for Song #3.

Styx's 'The Mission' - Album Review

During the late 1970s and the early 1980s, American rockers Styx were ever-present features of radio stations across the world. While many bands become big stars after only a couple of big singles, Styx are one of those bands that built their reputation up over years of touring and regular album releases. Styx's early 1970s sound definitely took a lot of influence from progressive rock, but as time went on they moved towards a more streamlined hard rock sound that had an accessible and theatrical sound. The arrival of singer, guitarist, and songwriter Tommy Shaw in 1975 proved to be a turning point for the band and their sixth album, released the following year as Crystal Ball, was the start of the Styx we know today. Shaw's smooth melodic rock compositions mixed well with the diverse songwriting styles of the band's two founders James Young and Dennis DeYoung, and the pomp rock sound that the band became known for was born. The run of albums released 1976 and 1983 is a very strong one, and contains the two bona fide classics The Grand Illusion and Pieces of Eight. Styx then broke up in 1985 following the tumultuous tour following 1983's divisive rock opera Kilroy Was Here. Luckily for rock fans, the band reunited five years later for a brief spell, and then permanently in 1995. There has been a version of Styx out on tour ever since and, despite quite a few major line-up changes in this time, they still remain a popular live act. Guitarists Young and Shaw remain from the band's classic era, and they are joined by keyboardist and vocalist Lawrence Gowan (who replaced DeYoung in 1999), drummer Todd Sucherman (who has been with Styx since the 1995 reunion), and bassist Ricky Phillips (who has been in the band since 2003). Despite being maintaining a heavy touring schedule over recent years, the last new Styx album of original material was released in 2003. The patchy and fairly forgettable Cyclorama never really took hold, and recently the band have been content to tour the nostalgia circuit playing their most well-known songs to crowds all over the world. This all seemed to change a couple of years ago and the band began writing and recording a new album in secret. This new album was announced earlier this year as The Mission, and the band promised a return to their classic sound; mixing some of their early progressive rock influences with their trademark pomp rock sound. I have to admit I was not expecting a new Styx album to be released this year, but it was a welcome surprise. Shaw remains a fantastic songwriter and it seemed a shame for this talent to be put onto the back-burner, and Gowan has never really had a chance to make his mark on the band's catalogue with only a limited role in the Cyclorama songwriting. The Mission, a concept album about a mission to Mars, really makes the best of Shaw and Gowan's talents. With a story line written by Shaw and producer Will Evankovich, Shaw and Gowan's songs (as well as contributions by Young) really come to life and make The Mission the most interesting thing Styx have put their name to for quite some time.

To set the scene for this epic tale of space adventures, the mostly-instrumental Overture really digs back into Styx history for inspiration with Gowan's flurry of retro-sounding keyboard melodies and a few effect-heavy vocal sections. It is quite short, but segues perfectly into Gone Gone Gone, the album's first true song. Gowan takes the vocals on this song as the song is driven by Shaw and Young's tough guitar rhythms and the odd burst of progressive organ playing from Gowan himself. One thing that is clear right away is how similar the sound of this song is to the band's classic late 1970s sound. The vocal harmonies in the chorus are spot on, with plenty of high notes, and the 'pomp rock fused with progressive influences' sound sound as fresh as it did when The Grand Illusion came out in 1977. Gone Gone Gone is a short but explosive piece, but it really makes it mark. Hundred Million Miles from Home is sung by Shaw, and is a more mid-paced affair with Beatle-esque vocal melodies and a snaking groove throughout which is partly provided by founding member Chuck Panozzo's bassline. Panozzo has not been a full member of the band now for quite a few years for health reasons, but his talents are used well on this song and it is great to see that he can still cut it. The song's chorus is another catchy moment, but is less overt than the previous number. It is no less powerful however, and is a strong effort. Young takes the lead on Trouble at the Big Show which has a Hendrix-esque main riff that is drenched in wah and attitude. Young has always been the weakest vocalist of the band for me, but he does well here with his low voice which contrasts well with Gowan's soaring backing vocals during the atmospheric chorus. The lead guitar work, presumably also courtesy of Young, is great too and really cuts through Sucherman's bluesy shuffle with ease. Locomotive is another Shaw number and it really takes the listener back to the 1970s with an atmospheric intro with lots of retro-sounding keyboards and a prominent acoustic guitar pattern. Shaw's voice has not deteriorated at all throughout the years and he sounds as great as he did when he first joined the band. Many singers' voices suffer over the years, but Shaw sounds as clear as he always did. The song gradually builds up over it's five minute length and slowly adds layers with tougher bursts of bluesy guitar riffing and Hammond organ. The guitar solo is excellent too, and has real classic prog feel to it with lots of carefully constructed phrases and emotional note-bends. This song draws comparisons with the Styx oldie Man in the Wilderness, and it is easy to see why. If any listener was not already convinced that this new Styx album was a winner, then the awesome Radio Silence should be all that is required for someone to form that view. Shaw takes the lead again, and the song starts out slowly with spacey keyboards and a somewhat mournful vocal performance that gradually builds up towards a stratospheric chorus with some of the band's trademark vocal harmonies. The mix of acoustic and electric guitars throughout is also something that Styx employed a lot in the past, so this touch really helps to turn the clocks back. Towards the end the song moves into a tougher hard rock section with a earth-shaking Hammond organ backing and some Queen-esque lead guitars. A final reprise of the chorus really hits home just how good the song is, and this could well be the best individual song the band have done since the efforts on 1978's Pieces of Eight.

The Greater Good is a duet between Gowan and Shaw, and the former gets things off to a good start with a theatrical piano line and effortless vocals. Gowan has the rockier voice of the two, with a slightly gravelly tone, so he can conjure up more power, but the contrast between his voice and Shaw's lighter more melodic tone works well here with the two alternating parts throughout as the piano constantly providing a strong musical backing. There is another great guitar solo here too that really explodes out of nowhere and hits the spot. The album's second half has more of a progressive feel with little musical interludes and a more spacey feel. Time May Bend and Ten Thousand Ways seem to morph into one song, with Gowan singing the former in his melodramatic way as Sucherman's drums crash around him and he lays into his retro-sounding synths for a huge sound. A schizophrenic guitar solo adds to this feel perfectly, which sits atop the odd drum pattern to create a great contrast with the song's decent chorus. Ten Thousand Ways acts as a coda to Time May Bend, and is dominated by rolling piano and a repeated vocal line which is sung by the group in harmony. Red Storm is the album's progressive epic at just over six minutes in length. Shaw once again takes the lead and his songwriting style really shines through here with lots of tricky acoustic guitar melodies early on with a chiming piano backing. The band's progressive influences really shine through here as the song is much heavier on atmosphere and feel than riffing. The acoustic guitars are a constant presence, and Shaw's vocals constantly shine with his clean, high singing style suiting the song's vibe perfectly. Plenty of the Styx harmonies are used throughout, especially during the small choruses, but mostly Shaw is left to sing alone. The drumming towards the song's second half is excellent, with a section that almost includes a drum solo under the music before the song launches into a slightly heavier section that includes a dual-guitar solo and Phillips' rumbling bassline. Styx have not sounded this inspired for a while, and as the song fades out during Gowan's keyboard solo you really have to marvel at the band's sudden burst of creativity. All System's Stable is a tiny interlude which leads into Gowan's piano showcase Khedive which is a chance for him to show off his classically-influenced playing. The song is mostly instrumental, save for a few effects-heavy vocal lines, and is largely focused on Gowan. Some more of the Queen-esque guitar lines come in towards the end however, but this appearance is only fleeting and it is soon back to the rolling piano melodies which come to abrupt halt before the album moves into the penultimate song The Outpost. This is Gowan's last vocal effort on the album and again builds up slowly with his keyboards dominating, but soon the guitars kick in for what is probably my favourite chorus on the album. Styx have always written great choruses but this is a real winner with a triumphant feel and plenty of big vocal harmonies. Some of the heavier riffs here even have a bit of a Dream Theater vibe, which is fleeting but very fun. Shaw takes the lead on the album's closing number Mission to Mars which again makes good use of Beatle-esque melodies and plenty of acoustic guitars. Given the more atmospheric pieces that have filled the latter part of this album, this more carefree piece seems to make the come full circle which works really nicely. Overall, The Mission is easily the best Styx album for decades. No-one was expecting a new album from Styx after all these years and even when it was announced I doubt many were expecting it to be this good. It is quite rare that I am this surprised by new music, but this is one of my favourite releases of the year already and I can see myself playing this one to death!

The album was released on 16th June 2017 via Universal Music Enterprises. Below is the band's promotional video for Gone Gone Gone.

Iced Earth's 'Incorruptible' - Album Review

Iced Earth are definitely one of the most dependable and consistent bands in the metal world. Since forming in 1985, and especially since releasing their self-titled debut album in 1990, Iced Earth have been one of the standard bearers of traditional heavy metal. While elements of thrash, power, and even progressive metal have been woven into the band's core sound at various points throughout their 30-plus year career, Iced Earth have mostly stuck to the same musical template on each of their previous eleven studio albums. Famed for having a lengthy list of former band members, this consistency is down to the songwriting style of band leader, guitarist, and lead-songwriter Jon Schaffer. While many other excellent musicians have added their magic to the band over the years, it is Schaffer that has written the lion's share of the band's back catalogue and who's instantly recognisable riffing style defines the band's sound. In my opinion, Schaffer is the best rhythm guitarist is metal, and is certainly one of the best riff-writers in the genre. It will surprise no-one then to learn that the band's latest effort, which is titled Incorruptible, is another classic Iced Earth release that is backed with a good mix of faster, thrash-inspired numbers and more emotionally-charged mid-paced rockers. Even given the band's heritage, it is fair to say that Iced Earth have been on a real run of form of late. The band's current (and fifth overall) frontman Stu Block joined the band in 2011 and Iced Earth have been a reborn force since. Dystopia, released in the same year as Block's arrival, is a real modern classic and is one of my favourite Iced Earth releases. The lengthy world tour that followed was the longest the band had undertaken for quite some time and made up for a few quiet years previously. The follow-up album, released in 2014 as Plagues of Babylon (which I reviewed here), was not quite as strong but still contained plenty of winning numbers. Another lengthy tour followed that year with the band really re-cementing their status as a fantastic live act. A couple of quieter years followed while Schaffer recovered from some much-needed surgery and the band worked on the building of their new headquarters and studio Independence Hall. The songwriting for this new album took place during this downtime too and the album was recorded at the new HQ towards the back end of last year. Being an Iced Earth album there is of course some new blood represented on Incorruptible. Schaffer, Block, and bassist Luke Appleton all return from the previous album, and they are rejoined by long-time drummer Brent Smedley, for his fourth stint in the band, who sat out of the previous album cycle because of family reasons. Long-time lead guitarist Troy Seele left the band last year due to pressures taking care of his autistic son, and was replaced by Jake Dreyer (White Wizzard; Witherfall) who has contributed many memorable leads and solos throughout this album. Schaffer's compositions once again dominate the material here (the past couple of albums have been some of the more collaborative in the band's history) but Block and Appleton have also made choice songwriting contributions here to help diversify the album.

While not packing quite the same punch as the opening numbers of the band's past couple of releases, Great Heathen Army gets Incorruptible off to a strong start. The song builds up slowly over the course of an atmospheric intro, which makes good use of a Gregorian-style choir, as a orchestral and percussive backing creates somewhat of a gothic feel. It is not long however before a stomping guitar pattern kicks in which leads into a thrashy riff with some high-pitched vocal screams from Block and the first shredded lead from Dreyer. The song is a pretty fast effort, with lots of Smedley's trademark double bass drumming and an impassioned vocal performance as Block delivers his Viking-inspired lyrics. While the chorus is not as powerful as it probably should be, the harmony guitars make it stand out and Dreyer impresses immediately afterwards with his first proper solo. Block shows here that he is constantly improving as a vocalist and continues to forge his own sound within the band. A section after the first solo that focuses on his falsetto is extremely powerful and contrasts well with his deeper vocal stylings elsewhere. Black Flag, the first of two songs co-written by Appleton, is a tale of swashbuckling piracy. This is not packed with Alestorm's humour however, but is instead a true Iced Earth classic packed full of high-energy riffs and guitar melodies. The bass-heavy intro is somewhat reminiscent of the Iced Earth oldie Damien; and the Iron Maiden-esque twin guitar harmonies that follow show that Schaffer often still wears his influences on his sleeve. The song is at first a bit of a slower-paced chug, but soon speeds up following a scream from Block. While the song builds towards a chorus that never really comes, the song proves to a be a grower with a few distinct sections and some folky guitar leads that fit in with the lyrical themes. While Iced Earth have always done the faster, heavier songs well; I believe it is their more mid-paced emotional songs that they are the most known for. Raven Wing is one of those, and is a great example of a style which has served the band well. From the acoustic intro to the heavier choruses, this is a song that brings back memories of the band's classic Something Wicked This Way Comes era and allows Block to inject some real emotion into his vocals. While he is still prone to unleashing his best Matt Barlow (who is, of course, the band's most well-known frontman) impression on these kinds of songs, he still manages to sound convincing and this allows the band to carry on one of their traditions. Dreyer also really impresses here, with lots of great guitar playing, including a gorgeous bluesy solo that sits atop Schaffers' acoustic playing. This the explodes into a heavier, faster solo which shows the diversity of the man's playing and the talent he brings to the band. The Veil is a similar song with some vocal parts from Block which almost sound like pure cries of anguish. While Raven Wing has it's heavier, faster moments; this song mostly moves along at a much slower pace with plenty of Schaffer's chiming clean guitar arpeggios and Appleton's prominent bass playing. After two slower numbers, Seven Headed Whore ensures the album does not get too bogged down in the darker emotions of these songs with three minutes of pure thrash. Block turns in possibly his best vocal performance on an Iced Earth song to date, with some banshee screams that rival the style of the other famous former Iced Earth frontman Tim 'Ripper' Owens. This is an instantly catchy song, with an anthemic chorus and a hard-hitting pre-chorus with Block's falsetto vocals and Smedley's extremely fast footwork. Dreyer's extremely fast bursts of shred in the middle of the song are the icing on the cake, and help to round out one of the band's most energetic efforts yet.

The Relic - Part 1 is another mid-paced number with a really hypnotic rhythm guitar melody throughout and some great bluesy leads from Dreyer. This song is one of Block's lyrical efforts, and given the it's title it seems this could be the first part of a new epic song sequence. Iced Earth has always done concepts and lyrics bridges between albums very well, and this song could easily be the start of another saga. While there are certainly stronger songs here, the relentless, hard-hitting style keeps the song interesting despite a lack of any real stand-out melodies. The atmospheric closing section is excellent however, and I really hope the themes explored here are expanded upon in the future as the song's title would suggest. Ghost Dance (Awaken the Ancestors), a lengthy instrumental piece, is easily the album's weakest cut for me. Iced Earth have never been one to excel at instrumental pieces, as they lack the virtuoso players to truly make them work, and this effort is no different. It goes on for a good couple of minutes longer than it should and is made up of riffs which really are not any of Schaffer's best. I do like the quieter sections which make use of traditional Native American pan-pipes however, as this is something the band has not really explored previously, but overall I feel this the one real blemish on what is an otherwise strong album. Despite a deceivingly mellow intro, Brothers turns out to be a real anthem and is the antidote the lengthy instrumental that preceded it. Schaffer's crunching power chords really drive the meat of the song, and the chorus is one of the album's best with Block's lyrics of camaraderie and unity. I can see this song becoming a real live staple with it's unifying message and singable melodies. The riffing is a little simplistic compared to the band's usual style, but it works well in this instance to create a great headbanging rhythm and a true traditional heavy metal feel. The guitar solo echoes this too and does not rely on the shredded speed that many of the other solos here utilise, instead opting for more old-school phrasing. Defiance, which is Appleton's other songwriting contribution, opens with a burst of neo-classical shredding before a weighty riff kicks in that sounds a little different to anything the band have done before. Despite this, the song is mostly classic Iced Earth that grows over multiple listens as the subtle melodies and slightly downbeat chorus really sink in. I like it that Appleton has made some strong songwriting contributions on both his studio outings with the band now. While I love Schaffer's songwriting, it is always great when other members of the band take up some of slack as this helps to keep things fresh. While Dreyer joined the band after the bulk of the songwriting for this album was complete, I hope he sticks around long enough to contribute to the next album as I imagine his efforts will be as strong as Appleton's. The album's final song, Clear the Way (December 13th, 1862), is a nine-minute plus epic and the first lengthy song the band have done in while. Iced Earth have always excelled at longer, more progressive efforts and this one is a real winner with a great gang-vocal led chorus, atmospheric sections, and a lengthy folky instrumental mid-section that often recalls Thin Lizzy's Black Rose. The song tells the bloody story of the Irish Brigde at the Battle Of Fredericksburg in the American Civil War. Schaffer has always been a real student of American military history and his passion for that really shines through in songs like this. Comparisons can obviously be drawn to the Gettysburg trilogy on 2004's The Glorious Burden, but this is less progressive and more out-and-out heavy metal. It is a real future classic than ensure the album ends on a true high. Overall, Incorruptible is a really strong album from a band that have been delivering the goods now for many years. Iced Earth's style is instantly recognisable and this album proves again why they are held in such high regard across the globe.

The album was released on 16th June 2017 via Century Media Records. Below is the band's promotional lyric video for Seven Headed Whore.

Lindsey Buckingham & Christine McVie's 'Lindsey Buckingham Christine McVie' - Album Review

Since the much-loved singer/songwriter Christine McVie rejoined British rock pioneers Fleetwood Mac in 2014, fans have been crying out for a new album. Her addition to the band completed the band's classic Rumours-era line-up which was active between 1974 and 1987 and recorded five studio albums that sold a staggering amount of copies. While a hugely successful world tour followed, and reports of recording sessions reported in the press, the alleged new material never surfaced. Both McVie and Lindsey Buckingham spoke fairly regularly about their desire to write and record together once again, but it seemed that Stevie Nicks was against the idea and would not commit to writing songs for the project or setting time aside for work in the studio. Fleetwood Mac have not really been a recording act for a while now, with their last full length studio album, the lengthy and patchy Say You Will, being released in 2003 (not including 2013's digital EP Extended Play). With Nicks once again ensconced in her solo career following the conclusion of Fleetwood Mac's latest tour, Buckingham and McVie decided to expand on some of their early demos and create their own album of new songs. This album was finally released last month under the simple moniker Lindsey Buckingham Christine McVie and saw the duo return to the sound that gave them so much success in the 1970s and 1980s. While this album was advertised as an album of duets, that is not strictly true as Buckingham and McVie take turns at singing lead throughout and each front five of the album's ten songs. The Rumours-era line-up of Fleetwood Mac was always the product of three solo artists, with each songwriter having an instantly recognisable style that complimented each other perfectly. Buckingham's edgy, rawer pop-rock provided some bite to the band; Nicks' romantic, bohemian fairy tales provided the magic; and McVie's smooth pop compositions were the calming element with a more straight-ahead and melodic approach. Of course Nicks' elements are missing from this new album, but Buckingham and McVie compensate for that and pick up where they left off on 1987's Tango in the Night - the last Fleetwood Mac album they both expressly worked on together. For help with this new album Buckingham and McVie called in the help of the Fleetwood Mac rhythm section of bassist John McVie and drummer Mick Fleetwood. With Buckingham also credited as having performed bass and drums on the album their exact contributions are unclear, but their inclusion here is another sign that many of these songs were originally meant to be Fleetwood Mac numbers. Both Buckingham and McVie handle the album's keyboards, along with Mitchell Froom who co-produced the album along with Buckingham and Mark Needham. Everything is wrapped up by Buckingham's unique and instantly recognisable guitar playing, and his off-kilter styles are all over this album.

The album opens with the Buckingham-led track Sleeping Around the Corner, which started life as an iTunes-exclusive bonus track on his 2011 solo album Seeds We Sow. This is a new version of the song with McVie's contributions, but it has all the hallmarks of a classic Buckingham pop/rock number. Jangly guitar chords and percussion open the song up, before Buckingham's breathy vocals join the fray in his classic style. The song does not take long to get going, and it soon explodes into a fiery chorus with frantic drumming and strong vocal melodies which sees Buckingham and McVie harmonising well together. Buckingham certainly has an idiosyncratic songwriting style, and this song fits perfectly in his usual mould with catchy melodies and a slightly off-kilter edge. Feel About You is McVie's first contribution and it is clear from the outset that her vocal ability has certainly diminished during her years away from Fleetwood Mac. Her once crystal clear voice has fogged up somewhat, but this is something that happens with age and you soon get used to her new smokier tones. The glockenspiel-led intro soon leads into a upbeat poppy number with another strong chorus, with some catchy wordless vocal sections, and driving drum beat that definitely sounds like one of Fleetwood's contributions with his staccato and leaden style. McVie's keyboards sparkle throughout the song as they did throughout many of her best Fleetwood Mac contributions, and it is great to see her back writing new material. In My World is one of the best songs on the album and is a real gem from Buckingham that definitely could have appeared on Tango in the Night thirty years ago. The slightly floaty feel that many of the classic Fleetwood Mac songs had is back here with McVie's keyboard presence and a driving bassline helps to add weight. Buckingham has not suffered from the same vocal deterioration as McVie sadly seems to have, and he sounds great here - especially during the melodic chorus which is packed full of poppy sensibilities which clash with the somewhat abrasive guitar playing throughout. There are even breathy wordless sections which recall the classic single Big Love. Red Sun makes good use of McVie's deeper voice with a slightly dark vibe throughout, despite the song's poppy overall feel. Buckingham really cuts loose with his guitar here too with lots of subtle little leads during the verses that are something out of the ordinary for him. There is also a traditional guitar solo from him, which again is not something that he makes use of too often in his songwriting. Like many of the songs here there is a strong chorus and McVie's keyboards really dominate with uplifting feel-good vibe that is contrast to the murkier verses. Love is Here to Stay opens with one of Buckingham's busy guitar melodies, which is something that has really characterised his playing over the years. I have always thought that he is one of the most underrated guitarists out there, and his ear for melody and strange rhythms are what make him so great. This song is a little more atmospheric and uses his guitar to create a hypnotic melody before a percussive chorus comes in with layers of keyboards and ethereal backing vocals.

McVie's contributions to the Fleetwood Mac canon were often gentle ballads, but Too Far Gone is a funky upbeat rocker with another strong guitar riff and driving drum pattern which is probably one of Fleetwood's contributions. There is a somewhat tribal-esque drum instrumental section too which really feels like his playing, and that really makes this song feel like a lost Fleetwood Mac classic. McVie's somewhat gravelly voice helps to give his song a real bite, and the funky chorus is one of the album's catchiest moments with a dancey bassline and a spiky guitar riff. Lay Down for Free seems like another lost Fleetwood Mac classic and some of the backing vocals during the chorus really sound like something Nicks would have done if she had actually committed to recording with the band. The pop sheen of this number really recalls the band's classic Rumours sound with shimmering keyboards and understated guitar rhythms that drive the song with a slightly bouncy feel without ever really dominating the mix. Buckingham is still a great singer and this is one of his best performances vocally on the album with a good mix of whimsical emotion and power - something which always characterised his songwriting. In many ways, McVie's Game of Pretend is the song on this album which is closest to her signature style from the past. The piano-led ballad makes the most of her knack for mournful but surprisingly catchy melodies and packs a surprising emotional punch. While subtle percussion and acoustic guitars do join the mix as the song moves along, it is always her piano that is the dominant instrumental throughout. Buckingham's effects-heavy backing vocals during the chorus really helps to add some quirkiness, but overall this is a very traditional piano ballad which adds some variety during this fairly upbeat pop/rock album. On with the Show, which was the name of Fleetwood Mac's big reunion tour during 2014 and 2015 (which is more evidence that many of these songs were written to be Fleetwood Mac songs), returns to the pop/rock feel of the rest of the album with big acoustic guitar chords and a slightly funky bassline. While not particularly an upbeat number, the song contains many of those classic Buckingham hallmarks and probably contains his best vocal performance of the album. He has a way of conveying subtle emotions in his vocal performances effortlessly and this is made obvious here with a understated and enveloping vocal display. The album's last song is one of McVie's and Carnival Begin is a slightly bluesy number that moves along at quite a slow pace with very deliberate guitar picking and a murky bassline. The chorus picks up on the melody front however with chiming keyboard lines that mix in well with the guitars for a shiny feel that really sounds great. The bluesy feel is cemented with a soaring Buckingham guitar solo that really helps to close the album out on a high as the aching runs of notes continue during the song's fade out. Overall, Lindsey Buckingham Christine McVie is an album that shows the two Fleetwood Mac members can still write strong material. While nothing here will ever be as good as their all-time classic songs from the past, there is still a lot to enjoy here and is a worthy addition to their respective canons.

The album was released on 9th June 2017 via East West Records. Below is the duo's promotional sound clip of In My World.

Anathema's 'The Optimist' - Album Review

While I had been a casual fan of Liverpool's dynamic rockers Anathema for some time, it has only been during the past couple of years that I really came to love them. I picked their ninth studio album, 2012's Weather Systems, on a bit of a whim after reading plenty of rave reviews of it online. I enjoyed it from the off, but it was not an album that I turned to often at first. It took some time for the band's unique mix of dense progressive rock and almost-poppy alternative rock, which is all intertwined with somewhat gothic atmospherics, to resonate with me fully, but once I was hooked it was hard to go back. I would say I became fully hooked sometime during 2015, probably following witnessing an excellent acoustic show from the band in Exeter's beautiful cathedral early that year. It is certainly one of the most memorable concerts I have ever been to, and the band's grand music - even in the sparser acoustic arrangements that were showcased that night - really fitted the grand setting. It was around this time that their tenth album, 2014's Distant Satellites, really began to click with me too. For some reason I did not get that album as soon as it was released so I never had the chance to review it properly (although I did say a few words about it here). I love the album now however and, while I have since gone back and purchased the vast majority of the band's discography, I still consider Weather Systems and Distant Satellites to be my favourite Anathema albums. I was not going to make the same mistake twice so I made sure I pre-ordered their latest album well before it's release and it became one of my most anticipated releases of the year. A frankly stunning show in Cardiff last November, which saw the band preview some of the material that ended up on this new album, definitely heightened my interest; so I was very excited when my copy of The Optimist finally arrived. Anathema are a band that have a career you can split into distinct sections, and I believe they are currently in their fourth main chapter which started with We're Here Because We're Here back in 2010. The band's current sound is typified by mournful piano lines, repeating melodies that often cause the song to build towards an emotional crescendo, and the increased vocal presence of Lee Douglas. The Optimist almost feels like the ultimate conclusion of the sound the band have been crafting over the past three albums and I feel like this might end up being one of the band's career-defining releases. Unlike the rest of the band's more recent work however, Anathema have dipped back into their past somewhat with The Optimist, which is conceptually a sequel to 2001's A Fine Day to Exit and continues the story of that album's protagonist. This leads to a few darker, more overtly 'rock' orientated numbers here which mix in well with the soaring melodies that characterise Anathema's current sound. The electronic sounds that were experimented with on a few numbers on Distant Satellites return here too and are greatly expanded upon with founding drummer-turned-all-round-musician John Douglas making the most of his arsenal of electronic percussion. Songwriting as always is dominated here by guitarist and pianist Danny Cavanagh, but a few choice contributions by John Douglas and frontman Vincent Cavanagh help to diversity the album's sounds. Production here was handled by Tony Doogan, in his first collaboration with the band, who's work with post-rock bands like Mogwai may have influenced the more experimental elements of The Optimist.

The album's opening piece, the short soundscape 32.63N 117.14W (the co-ordinates to the beach on the cover artwork of A Fine Day to Exit and the starting point for this album's story), follows the album's protagonist out of the sea and back into his car. The car's radio is heard before the man settles for some skittish electronic beats that lead nicely into the album's first proper song Leaving it Behind which opens with sub-Nine Inch Nails grooves before a a dark, chiming guitar melody kicks in and Vincent Cavanagh's trademark howling and raw vocals begin to croon over the top. Jamie Cavanagh's (twin to Vincent and younger brother to Danny) melodic bass playing acts to create subtle depth, before the song explodes into a frantic and dense rocker with punchy drumming and swirling guitar melodies. Drumming duties on the album are split between John Douglas and and Daniel Cardoso, with the former also contributing keyboards and various percussion. The song is centred around a strong chorus with Vincent Cavanagh's distinct vocal melodies which manages to sink in after only a few listens. In many ways, Leaving it Behind harks back somewhat to the band's earlier days, in particular 1998's Alternative 4, but the next song Endless Ways is very much in the modern Anathema mould and focuses on Lee Douglas' stunning vocals and Danny Cavanagh's sparse piano playing. While Vincent Cavanagh will always be the band's frontman, vocal duties are more or less split evenly between himself and Lee Douglas now, and this gives the former chance to expand his guitar and keyboard playing too. In classic Anathema fashion, the song starts out slowly with just vocals and the piano backing, but the gradually builds up adding layers of keyboards and choppy guitar rhythms while never losing the basic beauty of the initial melodies. Vincent and Danny Cavanagh have become quite a guitar duo over the years and have a way of being able to mix rhythms and chord progressions together to make for a deep but melodic sound. This approach is also used on the album's title track, but sees Vincent Cavanagh once again taking the lead with his fragile falsetto vocals resting upon a bed of chiming piano lines. Lee Douglas adds sweet harmonies throughout, but this song really allows Vincent Cavanagh to show his emotional side with a gorgeous vocal display. The song gets more overtly 'rock' as it moves along, and a strong guitar-led instrumental section towards the end showcases one of the only true moments of lead guitar prowess on the album with a hypnotic melody that really gets under the skin. The electronic elements of the opening couple of numbers return on the piano-heavy instrumental piece San Francisco. While the piece goes on for a minute or so too long, there is no denying the beauty of the piano playing and the retro synth sounds that are used throughout too for extra spacey melodies. It leads into Springfield, a piece which is largely instrumental and features only a couple of lines of lyrics repeated over and over by Lee Douglas while the song builds around her with guitars, piano, and synths all acting in unison for a huge enveloping sound that oozes with subtle power. This song really typifies Anathema's modern sound, and would be a great gateway song for potential new fans of the band. The guitar soundscapes that define the band's sound are very present here, and that is what makes the song so powerful.

After the emotional climax to Springfield, Ghosts definitely tones things down a little with Lee Douglas' ethereal vocals backed by a doomy piano melody and a more traditional string section. The heady orchestral arrangements help the emotional punch of the album to be retained however, and their simple but powerful melodies really make the song what it is. Unlike many of the band's other songs, this one never really builds up to a big climax, instead opting to stay simple with a relaxing drum rhythm and Lee Douglas' exemplary vocal performance. Can't Let Go is almost the antithesis of Ghosts with an upbeat rock feel, somewhat poppy melodies, and Vincent Cavanagh's vocals instead of Lee Douglas'. The chiming guitar lines and punchy drums help to inject some much-needed energy into an album which is often happy to move along at quite a slow pace. This is no bad thing, but the odd burst of higher-energy rock really helps to give the album a more dynamic feel and stops things from becoming too samey. While the main riffs and rhythms of the song remain throughout it's duration, there are subtle changes throughout which give the song a complete feel. Abrasive lead guitar lines arrive towards the second half of the song and this adds a little discordant feel that clashes nicely with the song's more upbeat vibe. Close Your Eyes is Lee Douglas territory once again, and the rumbling piano backing and cello lines really help to bring the best out of a vocal performance that takes on a rather smokey - almost bluesy - feel. This bluesy feel continues during an instrumental section later on in the song with a solitary trumpet melody that sits atop the sparse drumming and piano lines. The Miles Davis/Louie Armstrong feel with the horns is something new for the band, and it really helps to add a new dimension to this album and makes this little song stand out from some of the more 'traditional' numbers here. Wildfires sees Danny Cavanagh take the lead vocally in a rare outing in that context for him and his deeper voice works well with the heavy effects that are put on it. At first he mostly repeats the album's title over an electronic and piano-led backing but this soon morphs into a more heavy piece with crashing piano chords and distorted guitar notes that are probably the most abrasive heard on an Anathema album for sometime. While nowhere near as heavy as the band's death/doom roots, it is good to see that the band can still rock with the best of them when it is required and this is something that I would like to see the band expand on more in the future. The album's final piece, the lengthy Back to the Start, is definitely very representative of the band's current sound however although the sparse acoustic guitar intro creates something a little different initially before the familiar piano sounds and restrained drumming comes in to back Vincent Cavanagh's mournful, dark vocals. Songs like this really show why Anathema are one of the best modern progressive rock bands, and take things that bands like Marillion and Radiohead do and put their own stamp on them with their unique and instantly recognisable sound. The closing parts of the song, characterised by a soaring orchestral score and Vincent Cavanagh and Lee Douglas howling the song's title with raw emotion, is a perfect ending to an album that is a true journey - both in a literal concept sense and a musical sense - and one that really manages to capture the imagination. I wondered after Distant Satellites were the band would go from there and whether or not their current sound could be expanded upon over another fresh-sounding album. Well, the answer to that is yes and The Optimist is a real gem and one that will more than likely be in my Albums of the Year list come December.

The album was released on 9th June 2017 via Kscope. Below is the band's promotional video for Springfield.

Secret Sphere's 'The Nature of Time' - Album Review

While Italy has always been a hot bed of power metal, and I am big fan of Labyrinth and all of the variations of Rhapsody, I must admit that Secret Sphere eluded me until very recently. Power metal was a very important part of my musical development in my teens, but these days is a much smaller part of a wider scope of genres that I enjoy. That being said, I do return to it fairly often always like making new discoveries. Secret Sphere was one of those new discoveries, and I purchased their 2012 album Portrait of a Dying Heart a few months ago after finding out that former Vision Divine frontman and current Whitesnake keyboardist Michele Luppi was the band's current singer. I first heard of Luppi when he was announced as Whitesnake's latest keyboardist, and was impressed with his performance during the show I saw on their tour supporting The Purple Album. His strong harmony vocals really helped the ageing David Coverdale, and was interested to hear more from him. I enjoyed my time with Portrait of a Dying Heart, but it did not blow me away. The performances were strong but I felt the songwriting was not as good as it could have been. Not long after I heard that album however, I saw an announcement that Secret Sphere's eighth album, The Nature of Time, was imminent and was immediately pulled in by the lead single The Calling. Italian power metal bands have a distinct sound that other European power metal bands just do not have. The romantic feel that these bands utilise leads to a less-heavy and urgent sound as many of the other big names in the power metal world. Keyboards always play a big role in the Italian power metal and help to create a floaty atmosphere that form a great backing to the strong guitar riffing and dreamy vocals. Luppi proves himself on this new album to be a fantastic vocalist, and he is easily the star here, despite being one of the band's newest recruits. Formed in 1997 by guitarist and songwriter Aldo Lonobile, Secret Sphere have gone through quite a few line-up changes over the years. Fellow original member Andrea Buratto, who plays the bass, has stayed with Lonobile throughout the band's history but the other three current members are all fairly new recruits. Keyboardist Gabriele Ciaccia joined in 2009, Luppi joined in 2012, and drummer Marco Lazzarini joined in 2013. The Nature of Time marks the first studio album that Lazzarini has performed on (not including the re-recording of 2001's A Time Never Come which was released in 2015) and the first that the band have recorded as a five-piece with Lonobile handling all of the album's guitar parts after the departure of long-time rhythm guitarist Marco Pastorino. Former keyboardist and original member Antonio Agate has helped out with some of the songwriting here, but the majority of the material was written by Luppi and Lonobile.

As is typical with melodic metal albums, a cinematic intro piece called Intermission gets the music here underway with subtle strings and a mournful piano line. This is nowhere near as bombastic as might be expected of a metal album, but it helps to set the scene nicely and makes the first true song here, The Calling, crash in with more power after the slow, gradual build up. The Calling has a strong intro riff that is backed up by swirling symphonic elements, but the song overall is somewhat laid back with a mid-paced chugging verse, atmospheric pre-choruses, and an almost-AOR feel during the choruses which makes the most of Luppi's excellent voice. The song is instantly catchy and, after the initially heaviness of the opening riff, is a fairly moderate affair. Lonobile's first guitar solo of the album is not the shred fest you might expect, and he employs a style somewhat reminiscent of Marillion's Steve Rothery with a less-is-more approach. The song does speed up while approaching the final chorus, but overall this an accessible and extremely melodic slab of power metal. The next song, the first part of the album's The Seven Virtues saga, is called Love and opens with a chiming clean guitar melody and a strong percussive feel from Lazzarini's sparse drumming. This is another song that reigns in the heaviness quite a lot and goes for a pseudo-ballad feel with a strong atmosphere and a gorgeous vocal display. The chorus really soars, with more strong guitar lines from Lonobile and layers of harmony vocals to really give the song a big feel. The guitar solo is another real highlight that packs an emotional punch with a great economy of notes that really ooze out of the speakers and compliment the atmosphere created throughout the rest of the song. Courage is the first 'heavy' moment on the album with a great neo-classic guitar riff and plenty of double bass drumming. Despite the emphasis on speed here, the melodies are still pushed to the fore with another stellar performance from Luppi with plenty of harmonies to accent certain lines. The chorus is a bombastic moment, with plenty of keyboard backing and a melodramatic vocal performance that brings to mind bands like Avantasia. A more traditional power metal instrumental break towards the end of the song sees both Lonobile and Ciaccia showing off with fast-paced guitar and keyboard duels. This style is vastly different from that used in the early couple of numbers and helps to add some diversity to the album. After that burst of speed, Kindness returns the album to a slower pace with a gorgeous and lengthy guitar intro that soon leads into a keyboard-heavy verse with Luppi's voice sitting more in his lower register for more of an emotional push. While again not quite a ballad, the song always stays towards the softer end of the band's sound with plenty of chiming guitar chords and a floaty keyboard atmosphere. While the band does the heavier stuff well, they seem to excel more at this emotionally-charged mid-paced sound. Lonobile is definitely more an emotional guitarist than a shredder, and this style also seems to bring the best out of Luppi's voice. Those who would like a little more heaviness however will enjoy Honesty which opens with a muscular staccato riff and the song mostly steams along at a faster pace. Luppi's voice takes on a somewhat gruffer edge here too, which adds a different element to the band's sound. The chorus is more typical of the rest of the album however with soaring melodies and a reliance and keyboard soundscapes.

The slightly darker feel of the previous song is carries over into Faith which open with some dark soundscapes, but a jaunty keyboard line that sits underneath the main guitar riff somewhat dispels this once the song proper gets going. This is another heavier piece however with a grinding riff during the verses and plenty of busy drumming. Lonobile is happy to use clean sounds for his guitar throughout much of the album, so the metallic riffing here is a nice change and shows off his chops nicely. While the riffing is fairly standard, it is not overused here so when he does break out into a heavier riff it packs the punch that it is intended to do. There are plenty of bursts of shredded lead guitar throughout this song too, which again packs a punch as this is something that is not heavily used throughout the album. Lonobile really knows how to play for the song, and knows when to let rip and what to hold back - a virtue that many guitarists lack. Reliance opens with easily the heaviest moment on the album with a prog/thrash riff that just comes out of nowhere with off-kilter rhythms and a real gritty edge with plenty of venom. The song itself is not as heavy as the intro would suggest, with plenty of soaring melodies that sit atop a jaunty mid-paced drum pattern as Lonobile plays some John Petrucci-esque chords underneath. The band seems to relish the opportunity to cut loose a little more here though, and the exuberance in which the heavier riffs are launched into make them stand out but also make them feel right at home in a lighter overall album. Even Buratto, who's bass is often buried in the mix, seems to be more prominent here with a fluid bassline during the heavier moments that adds extra depth. Commitment is an instrumental, and the last of the seven song cycle, and it is one of the few parts of the album that really focuses on virtuoso playing from both Lonobile and Ciaccia. There is definitely a strong Dream Theater vibe here with duelling guitar and keyboard lines, but also jazzy sections that sound like something Toto might try if they were into playing metal. The Awakening is the album's longest song at just under nine minutes in length and it starts with a lengthy symphonic section that builds up towards an explosive section of shredding from Lonobile which then in turn leads into a keyboard run. The second half of this album definitely ramps up the heaviness compared to the earlier numbers, and this song again steams along at a nice pace with a strong drumming performance and a commanding vocal display. While I prefer the band's more concise efforts, they are also capable of writing memorable longer songs and this one does not outstay it's welcome with another memorable chorus and plenty of interesting musical interludes. The song comes to an end as it started, with a symphonic outro although this time with a narration courtesy of Paul Logue (Eden's Curse) who seems to be making quite a little side-job for himself after also contributing some spoken word to Firewind's latest effort earlier in the year. The closing number, The New Beginning, returns to the cleaner sound that dominated the early parts of this album and creates a feeling of going full circle after a few heavier pieces in a row. That being said, the song still does a great job of creating one last burst of energy and you really feel that Luppi is giving the performance of his life as he pours so much of himself emotionally into the lyrics here. It provides an excellent end to what is a great album that is packed full of strong songwriting and soaring melodies. After spending some time with this album over the past month or so, I will definitely have to go back and revisit Portrait of a Dying Heart, and then sample some of their older material as this album is a real winner.

The album was released on 2nd June 2017 via Frontiers Records. Below is the band's promotional video for The Calling.

Roger Waters' 'Is This the Life We Really Want?' - Album Review

I think it is fair to say that Roger Waters' music has really become part of British culture over the years. While his solo work has never really permeated into the mainstream as his work with Pink Floyd has obviously done, he still remains a true superstar and many of his recent tours have been among the highest grossing of recent years. As a founding member of Pink Floyd, arguably 'the' progressive rock band, Waters found success that few can rival. From being a willing participant in the band's songwriting in the band's early days, Waters over time became the band's de facto leader, often single-handedly driving the band's image, themes, and lyrical concepts. Few will argue that the run of four albums released between 1973 and 1979 - which included The Dark Side of the Moon, Wish You Were Here, Animals, and The Wall - is one the greatest runs of albums released by any band, and Waters was a huge part of that greatness. Not to degrade the inputs of the other three members of Pink Floyd, particularly guitarist David Gilmour who to me was just as important to the overall Pink Floyd sound as Waters was, but it was Waters' concepts, songwriting, and lyrics that really made those albums such complete pieces of work with flawless concepts and themes. It is also fair to say however that Waters and Gilmour never really saw eye to eye and their eventual split was inevitable. Pink Floyd's twelfth album, 1983's The Final Cut, was in truth the start of Waters' solo career and the album sits better with his solo catalogue than the rest of the Pink Floyd canon. The sparser, more lyrically-driven style would come to define Waters' studio output during the rest of the 1980s and onward. Sadly however, for me at least, it has been diminishing returns from Waters ever since. He got away with the sparser style on The Final Cut due to the excellent guitar work of Gilmour, but 1984's The Pros and Cons of Hitch Hiking and 1987's Radio K.A.O.S. both suffer from having little changes in style and are both fairly dreary. While I do enjoy The Pros and Cons of Hitch Hiking on occasion, I find Radio K.A.O.S. to be nothing but a dirge and it is not an album I can see myself reaching for again any time soon. He hit gold again in 1992 however with the release of the truly excellent Amused to Death, an album which should be seen as a classic in the same light as some of those masterful Pink Floyd albums. Since then however, Waters has been content with long breaks of semi-retirement punctuated with nostalgia tours featuring mostly Pink Floyd material. Fans have been calling for a new album for years and, last month, twenty five years after the release of Amused to Death, Waters released his long-awaited fourth solo album Is This the Life We Really Want? (not counting 2005's opera Ça Ira). I was not sure what to expect from him after so long, but it is fair to say that anyone expecting a radical new sound will be disappointed. The album is a return to the sparse sounds of his 1980s output, with acoustic guitars and piano dominating the album's musical make-up. Amused to Death definitely made a few changes to his established sound at the time, and went for a much grander overall style, but Is This the Life We Really Want? really strips everything back again and goes for a raw, lyrically-driven piece that rarely focuses on the music as it merely serves as a backing for the lyrical delivery. It is perhaps telling that Waters' regular musical collaborators, including guitarist Dave Kilminster and keyboardist Jon Carin, are totally absent from this recording; their places instead filled by relatively unknown session musicians. This album is almost 'anti-music', but that is not to say there are no redeeming qualities here also. This album is no classic, and it has certainly received mixed reviews since it's release, but fans of Waters' lyrics and themes will certainly find things to enjoy here.

The opening instrumental piece When We Were Young, with it's ticking clock and overlapping spoken lines, instantly recalls The Dark Side of the Moon. Classic Pink Floyd moments are referenced throughout the album, but Waters' aged voice roots this firmly in the modern day. Seguing directly into Déjà Vu, with a sparse acoustic guitar chord sequence, introduces Waters' singing voice for the first time on record for twenty five years. While allegations of miming sometimes haunt live reviews of his concerts these days, it is clear from his performance here that he still possess a voice which is reminiscent of the glory days. He has always employed a hybrid singing style that almost sounds like talking at times, and that is pushed to the fore here as he croons over the same acoustic guitar passage, which is soon joined by a simple piano arrangement and a dense string section. Jess Wolfe and Holly Laessig, who are co-lead vocalists for the indie band Lucius, harmonise with Waters throughout the album to add extra melody and depth to the vocal arrangements. In classic Waters style, the songs on this album often run into each other, with The Last Refugee opening with a slow-paced drum beat, provided by Joey Waronker, and a suffocating washings of keyboard that create a foreboding atmosphere as snippets of radio broadcasts fill the speakers. Waters sings a little more melodically here, and while cracks do start to appear in his voice, he still manages to convincingly carry the melody and gloomy lyrics. Piano is the song's dominant instrument, but a strong bassline that fits in well with the hypnotic drumming also provides grounding and extra rhythm. The Pink Floyd similarities return in Picture That with spacey keyboard sounds and ringing guitar chords that recall the more discordant sections of The Dark Side of the Moon. Subtle keyboard melodies replace the iconic guitar leads however, and add a more atmospheric overall feeling. The song soon picks up the pace however, with an urgent drum pattern and a multiple layers of keyboards that clash together with good effect. This is one of the songs on the album however that is really crying out for a strong lead guitar presence, and I would have loved to see what Kilminster would have added to it if he was given the chance. The more upbeat rock vibe that is created during the song's mid-section soon drops out again to let Waters' voice sit atop some dry keyboard sounds. It does ramp up again however, and makes excellent use of Wolfe and Laessig's voices with powerful wordless melodies that soon lead into a keyboard-led and bass-heavy instrumental section that even includes a few choice guitar leads that are subtly buried in the mix. Broken Bones returns to the sparse themes established early on with a cutting acoustic guitar pattern that is backed up with some dense strings. String sections have always been a big part of Waters' solo sound, and that is no different here with a gloomy and almost soundtrack-esque feel that is a good backing for the almost-spoken lyrics. The song also acts as a tease on the guitar front, with a few seriously powerful note bends that you feel should launch into a solo but just act as an intro for a line of vocals that sees Waters spitting the lyrics with a venom only he can muster. The album's title track is up next, with a well-placed quote from President Donald Trump to herald it's arrival. A snaking bassline initially drives the song, but a subtle discordant guitar melody soon takes over as the drums rumble away beneath at a heartbeat's pace. Dramatic strings help to add atmosphere, but the song soon descends into a lyrical rant with Waters sounding like a bitter old man mumbling to himself in the corner of a pub. Sadly he has always been prone to those moments, and this album is no different.

The almost-electronic rhythms of Bird in a Gale manages to break the rot that the previous song finds itself in towards the end. A strong drum presence keeps the song interesting and the bass playing, presumably from Waters himself, is extremely melodic and really cuts through the mix with ease as Waters howls the lyrics with some of his old spirit shining through. While not a heavy song, the sound certainly has a 'loud' feel with a few screeching guitar chords and layers of dense keyboards to create an unsettling feeling. There is a part of the song which is almost stolen from the Pink Floyd classic Dogs however, even down to the echo-effect on the vocals, which is a shame. There are a few moments throughout this album where the songs are far too close to things Waters has written in the past and I wish that he had not felt the need to do this. The Most Beautiful Girl is another piano-led piece with a drum pattern that is almost identical to that seen in The Last Refugee. It provides a nice link back to the earlier song, but this song is a much lighter affair without the moody keyboards. The piano playing here is excellent and provides a perfect backing for Waters' aged voice. There are definitely similarities that can be drawn between this song and the quieter songs found on Amused to Death and it definitely has that album's feel for strong melodies - something which is not always the case here. Smell the Roses, which is up next, is basically a re-recording of Pink Floyd's Have a Cigar but with different lyrics and a weaker overall guitar performance. While this might be an over-simplification, there is no doubt that the song's main riff is almost identical to the one found in Have a Cigar and the overall structure is also extremely similar. While the song itself is not bad, it just makes me wish I was listening to Have a Cigar instead. It does make me wonder whether Waters was struggling for ideas for this album at times, or whether his musical vision these days is so narrow that he does not have the will or scope to really try anything new. The album's final three songs almost feel like one long song, without any obvious breaks, as the album returns once again to the tried and tested acoustic guitar and piano combination. I think Waters produces his best vocal performances over these kinds of backings these days, so I can understand why they are so prevalent, but it does create a very samey feel - especially towards the end of the album when this style has already been exploited quite liberally throughout the rest of the material here. Diversity is always part of what makes many of the great albums so good, and this is something that Is This the Life We Really Want? lacks. Oceans Apart is a little bridge, again acoustically dominated, that links the previous song to the album's closing number Part of Me Died. The piano starts to dominate a little more in this final number, and the strings swell up for a bit more of an emotional punch. Unfortunately however, the song never really picks up which means the album falls flat at the end. It does ramp up a little, but this is so short-lived that it almost acts as a negative as the album comes to an abrupt and unsatisfying close. Overall, Is This the Life We Really Want? is an album I have mixed feelings about. The first half in particular is quite strong, and the album overall creates a good atmosphere, but I feel the really runs out of steam towards the end, and resorts to overusing the same ideas and even self-plagiarism. I think I had hoped for more from Waters after twenty five years, but deep down I knew this is exactly what the album was going to sound like. Disappointment aside, I think this is an album that fans of Waters' past work will want to pick up, as there are still a few really good songs that show he can still write powerful and emotional material.

The album was released on 2nd June 2017 via Columbia Records. Below is his promotional video for The Last Refugee.

Jorn's 'Life on Death Road' - Album Review

Norwegian heavy metal singer Jørn Lande has been flying the flag for good old-fashioned heavy metal since the early 1990s. He has fronted many different bands over the years, including Vagabond which featured TNT's guitarist Ronni Le Tekrø and The Snakes which featured Whitesnake founders Bernie Marsden and Micky Moody, but it is probably with the progressive metal acts Ark and Masterplan that he is most known for in the metal community. Ark in particular are a very underrated band, and Lande's powerful vocals are a big part of what makes them so enjoyable. Throughout his career, Lande has been compared to the late great Ronnie James Dio and it is fair to say the two share similarities. It is no secret that Dio is one of Lande's idols, and it is true that throughout much of his career Lande has channelled his inner Dio. While a member of his various bands, Lande has usually been paired with an already-established songwriter which have usually steered the ship, so it is on his solo albums which his love for true unadulterated heavy metal really shines. From his first solo effort, which was called Starfire and released in 2000, Lande has shown his love for artists like Dio, mixed with his love for all things bluesy, in a further seven studio albums. His last true solo album, 2013's Traveller, was certainly no classic. While the album contained a few strong numbers, it definitely failed to live up to some of his great moments of the past, particularly 2006's The Duke and 2008's Lonely are the Brave which are particular favourites of mine. Two years later Lande did redeem himself with the excellent Dracula: Swing of Death (which I reviewed here), a concept album based on Bram Stoker's gothic novel Dracula which was a collaboration with guitarist Trond Holter who at the time was also a part of Lande's solo band 'Jorn'. Last month however, Lande released his first true solo album under the 'Jorn' name since 2013. There was a covers album Heavy Rock Radio released last year, but this album, titled Life on Death Road, is his first solo album of original material since Traveller. Life on Death Road sees Lande working with a whole new bunch of musicians and the results are excellent. His current backing band, which is basically the entity of German hard rockers Voodoo Circle (without their singer for obvious reasons), is made up of guitarist Alex Beyrodt (Silent Force; Sinner; Voodoo Circle; Primal Fear), bassist Mat Sinner (Sinner; Primal Fear; Voodoo Circle; Silent Force), keyboardist Alessandro Del Vecchio (Edge of Forever; Hardline; Eden's Curse; Voodoo Circle; Silent Force); and drummer Francesco Jovino (Edge of Forever; U.D.O.; Hardline; Primal Fear; Voodoo Circle; Sinner). As you can see from the history of these four musicians, there is a lot of shared history here and that familiarity has made this band a tight unit for Lande to work with. Del Vecchio also produced the album with Lande, and acted as his main songwriting partner on the vast majority of the songs found here. Simone Mularoni (DGM; Empyrios) also co-wrote a number of the songs here, and special guests include guitarists Gus G. (Firewind; Dream Evil; Mystic Prophecy; Nightrage; Ozzy Osbourne) and Craig Goldy (Giuffira; Dio; Resurrection Kings). This collection of musicians and songwriters, all fronted by the epic vocals of Lande has made for a really strong album, and one of the best slabs of pure heavy metal you are likely to hear all year.

The album kicks off with the seven minute plus title track, which is classic Jorn and really gets the album off a strong start. A murky clean guitar intro sets the mood, before Beyrodt explodes into a powerful riff as Del Vecchio's keyboards swirl around to create that dark, 1980s metal atmosphere. Lande's solo ventures have never featured keyboards as prominently as they do on this album, and if anything their presence only increases the Dio comparisons! From the outset, it is clear that Lande is really up for this album and his vocal performance is his strongest in years and is drenched with raw emotion and full of grit. The song's chorus really packs a punch, before a lengthy guitar section, featuring licks from Goldy, G., and Beyrodt in an explosive display of virtuosic metal soloing. Any lover of classic heavy metal will instantly fall in love with this track, and it is played with such finesse by the band that it is a perfect tribute to the genre. Hammered to the Cross (The Business) is a slower, heavier piece that recalls Dio-era Black Sabbath perfectly with a dark riff and moody keyboard backing. A strong mid-paced verse follows with chugging power chords from Beyrodt as Lande howls the lyrics with a sense of melodrama that only he can muster up quite so convincingly. The chorus is an extremely catchy one, and incorporates those subtle AOR sensibilities that Lande has always done in his songwriting. Del Vecchio's presence has definitely helped to increase those elements further however, and has made this album one of Lande's most instantly catchy as far as chorus melodies go. Love is the Remedy exemplifies this enhanced AOR feel, and you cannot help but feel Lande was tapping into his love of his Whitesnake while writing this one. The verses are quite heavy, with a great drumming performance from Jovino, but the choruses really shine with strong vocal melodies and a big organ backing from Del Vecchio. G. once again contributes a guitar solo to the song, but this time he takes the spotlight along and unleashes a fluid run of shredding that shows why he is so highly regarded in the metal world these days. After three fairly heavy numbers, Dreamwalker comes along and offers a little bit of respite with a delicate piano intro and a verse that is backed up with acoustic guitars and keyboards. The song does pick up as it goes along, with a heavier pre-chorus and chorus sections, but with a slower pace and the strong keyboard presence the song still feels somewhat like a ballad. Beyrodt throws in lots of bluesy leads throughout to add to the song's emotional weight and helps to make the song a strong one. Lande excels more at the heavier material, but his ballads have always been enjoyable too and this is one of his better efforts. Fire to the Sun, co-written with Beyrodt instead of Del Vecchio, definitely has a strong Voodoo Circle feel (which is unsurprising) and takes its cues from late-era Whitesnake with a strong organ presence and a driving bluesy riff. Jovino really plays his heart out on this song with some excellent double bass drumming throughout that syncs up well with Beyrodt's riffing. A lengthy, shredded solo takes up a fair chunk of the song's section half, and shows what a great guitarist Beyrodt is and why he is so in demand at the moment. The Sabbathy feel is back with Insoluble Maze (Dreams in the Blindness) which has a riff so evil that it could have come from Tony Iommi himself! While the song does pick up the pace somewhat when the verses kick in, the song still retains that devilish feel and you feel this could have sat quite happily on Sabbath's 1992 release Dehumanizer. I particularly like the keyboard-heavy bridge section towards the end, which is the only part of the song that does not sound much like Sabbath, but it works well to add a bit of light to the rest of the song's shade.

The bluesy hard rock of I Walked Away sees Lande once again plundering his love of Whitesnake and the result is an organ-heavy slab of classic rock with another strong guitar performance from Beyrodt that shows him focusing more on leads than titanic riffing. The song is lighter in tone than much of the material on this album, and definitely recalls David Coverdale's band circa 1984's Slide It In. It is one of the only songs here that allows bassist Mat Sinner to show off a little with some playful basslines that are much more audible here than elsewhere. The sparser blues arrangement allows for this, and also allows the organ playing to shine through to create an organic and great retro sound. The Slippery Slope (Hangman's Rope) sounds a bit like a hybrid between Slip of the Tongue-era Whitesnake and early Dio, and shows Lande at his best vocally and the song allows the band to really show off. Jovino in particular really seems to relish his opportunities during the song, with plenty of Tommy Aldridge-esque drum patterns that cut through the keyboard-heavy mix with ease and power. I feel the song has one of the best choruses on the album, and sees Lande channelling his inner Coverdale with suitable power and warmth. A keyboard-heavy instrumental section adds some drama, before Beyrodt launches into another explosive guitar solo backed by Jovino's frantic drumming. Devil You Can Drive is also somewhat bluesy, and features lots of great retro keyboard sounds from Del Vecchio. I have been a bit rude about the Frontiers Records method of churning out lots of 'project' albums with songs written by one of their in-house writers, of which Del Vecchio is one, but when he is part of a true band he really shows what a talent he is. He has co-written all but two of the songs on this album and has laid down a keyboard performance that manages to hold it's own against the pummelling metal assault of the rest of the band. I will never buy into the Frontiers Records projects, but Del Vecchio really is an excellent songwriter, producer, and musician. This song is one of the album's weaker efforts however, but does feature a keyboard solo which makes it stand out somewhat. The Optimist, which was co-written by G., is not the explosive power metal workout you might expect from G.'s guitar. Those expecting a Firewind fronted by Lande style song will be disappointed as the song is slower and features lots of acoustic guitars and sparkly keyboards. The song has more in common with G.'s recent couple of solo albums than with his work with Firewind, but it works well with Lande's voice and allows him a chance to croon over a slower and more delicate piece of music than elsewhere on the album. Unsurprisingly however there is an excellent solo from G., but it is slower than what you might expect from him but is still a classy moment in a song that works better than it probably should. Man of the 80's is one of my favourite songs on the album, and has a strong AOR feel. It has a simple, chugging style throughout and is very focused on Lande's vocal melodies and nostalgic lyrics. Sometimes it feels like the lyrics do not really fit in with the melodies, as Lande seems to have to really rush with some of the lines, but the just love the uplifting vibe the song has with strong synths throughout and a great chorus. The album's final song Blackbirds is another fairly weak number, which is a bit of a shame as the quality has been so high throughout the album. Life on Death Road is a long album, so would have probably been improved by cutting out songs like this and Devil You Can Drive, but unfortunately unecessarily long albums are the norm these days! That said, it is not a horrible song by any means but it just lacks the standout melodies of riffs that make the rest of the album so powerful and enjoyable. Overall, Life on Death Road is a very good album from Lande and his new band and is easily his best work since Lonely are the Brave at least. Trimming some of the fat would have definitely helped it to raise to even great heights, but the album is still a stellar piece of classic heavy metal that will be enjoyed by fans old and new alike.

The album was released on 2nd June 2017 via Frontiers Records. Below is the band's promotional video for Life on Death Road.