Music of 2018 - Part 1

Another year is almost at an end, and the role of any music blogger worth their salt at this time of year is to publish a list of their favourite releases of the year. 2018, as with other recent years, has seen such a glut of new music that keeping on top of it all has been extremely difficult. I have already decided upon my Top 10 Albums of the Year, but you will all have to wait until tomorrow to find out what they are! Those who have been following my blog for a few years will know that I like to round up each year in a two-part post. The second of the two always includes my albums and gigs of the year, but I also like to take the time to shine the spotlight on a handful of albums that I did not get the chance to review 'properly' during the year. This blog has only ever been a hobby for me, and sadly has to fit itself around my full-time job and my part-time MSc course - both of which of course have to take priority. As always I have also managed to fit in quite a few gigs over the course of the year, all of which I like to review, so sometimes the album coverage has to take a bit of a backseat. The last couple of months have been particularly challenging to fit a proper blogging schedule around, as I managed to attend a huge amount of gigs (16 in November and December alone!) and had two fairly substantial Uni deadlines also. This meant that I really had to prioritise the albums that I wanted to cover, so reviewed those which I thought I would have the most to say about. There were many albums throughout the year that I just did not have the chance to review, but the was those albums released from about October onward that really took a hit. I also do not like to write reviews of albums that are a few months old by the time I get the chance to get my thoughts down on paper, as I feel the window of 'hype' has probably closed by this point and there probably not too many people wishing to read coverage of these albums. I shall continue to do these extra 'bonus' mini reviews each year as long as the rock and metal worlds keep throwing up more albums that I realistically have the time to review, as it gives me a chance to get my thoughts down about these albums and give some other worthy releases a shout out!

The first of the five albums I wish to cover here is The Age of Absurdity, the debut album from former Motörhead guitarist Phil Campbell and his backing band The Bastard Sons. This followed their 2016 self-titled EP, but the album expands upon the band's sound and revealed the five-piece to be a strong unit of songwriters and musicians. While The Age of Absurdity is not what you would call original, it is a collection of hard-hitting, melodic, heavy metal anthems that build on the sort of material that Campbell wrote with Motörhead while making use of frontman Neil Starr's more melodic vocals. Anthemic cuts like Get On Your Knees sit nicely side-by-side slower, doomier efforts like Dark Days which showcase the group's dynamics perfectly. A more diverse album than your average Motörhead offering, The Age of Absurdity contains a strong set of songs and is hopefully going to be the start of a second wind for Campbell after the sad end Motörhead met in 2015.

The Canadian progressive/death metal outfit Into Eternity have been around for over twenty years now, but activity in the last decade or slow has been so. Ever since losing their frontman Stu Block to Iced Earth 2011, Into Eternity's progress on their sixth album has been done in fits and starts. Despite recruiting frontwoman Amanda Kiernan on a permanent basis in 2013, it has taken the band five more years to release any new material. Back in October this changed however, and The Sirens was finally released. The eight track album consists of six new songs and two re-recorded stand-alone singles that were released towards the end of Block's tenure with the band, and it contains everything that Into Eternity fans have come to expect. The frenetic songwriting, filled with progressive twists and turns, is back; and Kiernan has proven herself to be a singer capable of fronting such a diverse band. The fact that the album is considerably longer than anything the band has done previously means that it does start to sag somewhat towards the end, and the production is somewhat ropey meaning that Bryan Newbury's drums often end up dominating the mix, but should take nothing away from plenty of genuinely enjoyable moments. All held together by band leader and guitarist Tim Roth's impressive guitar work, The Sirens is an ambitious work that should be checked out by more.

While the Welsh band Panic Room sadly seem to be in limbo at the moment with the recent departures of their guitarist and bassist, frontwoman Anne-Marie Helder and keyboardist Jonathan Edwards have kept themselves busy with their more acoustic-based side project Luna Rossa. The duo released their third album under the Luna Rossa name last month, and it is packed with more of the fragile beauty we have come to expect from the pair. The album is called Atropa, and it is quite possibly the duo's best work yet. It feels a lot more full-bodied than their more stripped-back previous works and this, with the addition of fellow Panic Room bandmate Gavin Griffiths on drums, makes me wonder if some of these songs started out as contenders for Panic Room's long-awaited sixth studio album and then were re-arranged for Luna Rossa following the now-imposed hiatus. Whether this is the case or not is ultimately irrelevant, as Atropa is a fine collection of songs that move from floaty mysticism one minute to a more dark, dense atmosphere the next. Helder and Edwards have always been diverse songwriters and musicians, and this album has allowed them to try out new things and create a body of work that showcases all of their talents and moods.

Before Iced Earth, there was Purgatory. The Florida-based band morphed into Iced Earth in 1988, and bandleader Jon Schaffer has led the band's ever-changing line-up from strength to strength over the following three decades. Clearly feeling nostalgic earlier this year, Schaffer reached out to some of his old Purgatory bandmates and the result of this little session of kissing and making up is Purgatory, the new EP from the band and the first ever official release under the Purgatory name. Despite this being a new release, the five songs here are all old and have existed in demo form for quite some time, but have been given a shiny new coat of paint by Schaffer, frontman Gene Adam, and guitarist Bill Owen - as well as some of Schaffer's regular studio hands. The five songs here certainly sound somewhat primitive compared to the more recent Iced Earth albums, and are more akin to the band's 1990 debut album which Adam was also a part of, but the sound of three old friends having a tonne of fun bashing through their old songs with the experience of years on the road and improved studio techniques. This will probably only interest hardcore Iced Earth fans, but those who take a listen are sure to be drawn in.

The final album that I wish to look at here is Illuminati, the fourteenth album by the ever-reliable British melodic rock act Ten. The band's pomp-based rock sounds as good here as ever, and the Magnum influence is still worn on frontman Gary Hughes and co.'s sleeve. The album's ten song are all enveloped in layers of sparkling keyboards, while the band's three dedicated guitarists trade tough hard rock riffs, gorgeous acoustic passages, and melodic solos throughout. As always however, Illuminati is the Hughes show. As the band's sole songwriter and singer, the songs are all written with his talents in mind, so his warm and melodic voice is always placed right at the front of the mix. This helps the album to flow, and with each song packing a strong chorus it makes Illuminati an easy listen. It becomes hard to review bands like Ten after a while, as their albums are all cut from the same cloth and are very reliable - but they are always worth adding to your collection for when you want a good dose of British melodic rock.

Those are five extra releases from this year which are certainly worth checking out. I wish I had had the time to review them all properly and talk about them in more depth, but sadly there just was not the time! I also like to use this post to highlight my favourite live release of the year, and I shall do that again now. I do not review live albums as a rule, mostly due to time constraints, but I do like to highlight the one which I think is the year's very best offering! That aware this year has to go to Marillion's stunning All One Tonight: Live at the Royal Albert Hall, a perfect representation of one of the best British progressive rock bands at their very best. I was at the band's debut Royal Albert Hall show last October, and it was one of the best concerts that I have ever been to - so to have the entire evening captured in such fantastic quality is a real treat. The near-three hour show contained the whole of the band's most-recent album Fuck Everyone and Run, as well as a whole second set and encore section that featured the band performing with a string section, a flautist, and a French horn player. These additional musicians added a real depth to the band's already-rich sound. Marillion are  a band that really are on top of their game currently, and seem to be reaching far more fans than they have for a very long time. It was fantastic to be able to see one of my favourite bands sell out a prestigious venue like the Royal Albert Hall, and this live release is a fantastic way to re-live that night!

Well that wraps up my additional musical coverage of the year! My Top 10 Albums and favourite gigs list will follow tomorrow, but I would just like to sum up by looking forward to 2019. There are already a number of releases that I am looking forward to - including two that I mentioned last year in the form of Whitesnake's Flesh & Blood (if indeed it does actually get released this year!) and Queensrÿche's The Verdict. Both were promised for last year, but experienced delays so I am looking forward to finally getting my hands on them. 2019 will also see the official release of Mostly Autumn's new opus White Rainbow, so look out for a review of that in the new year! The die-hard fans who pre-ordered directly from the band already have their copies, but it will not be released into the retail market until 2019 so I will be classing it as officially a 2019 album despite having already heard (and enjoyed) it! Other bands that will be releasing new material in the next few months include Soilwork, Dream Theater, and Avantasia (among others) - all of which promise to really deliver given their excellent recent track records. 2019 is set to be another bumper year for music, and I hope you will continue to follow it with me here at WhoIsSamLewis!

Metal Church's 'Damned if You Do' - Album Review

Given the sheer amount of music that there is in the world, especially in the long-living hard rock and heavy metal genres, it is not surprising that even some of the bigger bands in the genre occasionally pass me by. There just, sadly, is not enough time in the world to listen to and appreciate every band - but every so often you just have to force yourself to go back and pick up on one that you have previously missed out on. The American heavy metal act Metal Church is one such band. Metal Church are a band that I have been aware of for quite some time, but have never had the drive or need to really investigate their large back catalogue. Part of me has always wanted to delve into their history, but other bands have always seemed more worthy of my attention. This all changed recently however when the band were announced to be performing at the 2019 edition of Bloodstock Open Air - a festival for which I already had a ticket for. Sometimes things are just meant to happen at specific times, and it seemed that now was the perfect time to jump onto the Metal Church wagon. I purchased the band's 2016 album XI and enjoyed it, but I felt that my 'proper' introduction to the band would be their then-upcoming new album Damned if You Do. I did not have long to wait, and earlier this month I purchased the album and looked forward to getting stuck in. Damned if You Do is the band's twelfth album overall and, as far as I can tell, is a good representation of the band's back-to-basics heavy metal sound. There are occasional hints of things like thrash and US power metal in Metal Church's sound, but overall the band just play good old-fashioned heavy metal in the style of bands like Judas Priest and Accept. Metal Church have had quite a lot of line-up changes over the years, and only guitarist and main songwriter Kurdt Vanderhoof remains from the band's 1980 genesis, but the sound has remained very similar throughout their near forty year career. The band's line-up on Damned if You Do is similar to the one that performed on XI two years ago, with frontman Mike Howe, lead guitarist Rick van Zandt, and bassist Steve Unger once again joining Vanderhoof. The three have history with the band, none more so than Howe who's original stint with the band in the 1980s and early 1990s led to some of their best-received albums. The only new face here is drummer Stet Howland (W.A.S.P.; Belladonna; Lita Ford), a musician of considerable pedigree who has replaced the band's long-time drummer Jeff Plate. Not long after joining the band last year, Howland was diagnosed with cancer. Thankfully however the treatments seem to have been successful, and earlier this year he announced that his cancer was in remission. Damned if You Do is his first bit of studio work since this illness, and his hard hitting style familiar to fans of those underrated 1990s W.A.S.P. albums is on display here in full force.

The album opens up slightly strangely, with some tribal chanting in the form of humming, but when a powerful Vanderhoof guitar riff kicks in you can be reassured that you have put on the right record! The title track is the album's first song, and it is filled with everything that makes Metal Church great. It is a fast-paced track, with Howland's heavy double bass drumming making an instant impact, and Howe's paint stripping vocal delivery sounds fantastic. He is such an unassuming and distinctly un-metal looking guy, but he has the voice of a demon and his slightly harsh high-pitched delivery is reminiscent of Rob Halford in the early 1990s. van Zandt handles the main guitar leads throughout, and adds a slow, deliberate solo part-way through that is quite different that what is expected in a faster piece. It works well however, and adds another side to what would have otherwise been a fairly one-dimensional song. This is not a criticism however, as it kicks off the album in fine fashion and sees the band sounding fresh and hungry. The Black Things follows and opens with some haunting clean guitar melodies, which soon morph into a heavier main riff that keeps the same style. While still a fairly speedy track, it does not feel as fast as the previous effort and maintains a more deliberate pace throughout which allows van Zandt to throw in lots of little guitar leads here and there to compliment Howe's deep vocals. His verse delivery here is in a much lower register than his usual higher-pitched sound, but as he moves towards the melodic chorus he opens up a little to showcase his more usual style. There is even a little bit of King Diamond in his delivery and variation here, and it helps to make the song one of the album's highlights. The chorus is a really catchy moment, and the haunting guitar lines that permeate throughout the song help to create an interesting atmosphere that is different from usual. By the Numbers is one of the album's lead singles, and is more straight-ahead than the previous song - and it packs a huge punch as a result. Vanderhoof's main riff is extremely catchy, but the thing that stands out the most throughout this song is the rumbling bassline from Unger. So often in metal the bass is lost in the mix, here he sounds powerful and full-bodied. I think it helps the song to sound even more powerful and that, mixed with some excellent vocal melodies throughout, is probably why this is one of the album's most instantly-memorable pieces. The chorus is pretty anthemic, and I would not be surprised to see the song becoming a new live staple for the upcoming tour.

Revolution Underway is another slightly more atmospheric piece, but it still packs a punch with a slightly galloping rhythm throughout and the occasional burst of Iron Maiden-esque twin lead guitar harmonies. Metal Church are a more a in-your-face band usually, with Vanderhoof's big riffs driving everything, but this occasional deviation into a more melodic territory is most welcome. As a result, this song is extremely memorable and Howe's vocals are definitely given more of a chance to breathe. He sounds great throughout this album, but I think this song showcases some of his best work because he is not always having to compete with the sledgehammer riffing. He sounds particularly evil during the choruses, with plenty of big harmony vocals to add to his snarling delivery. The song's lengthy instrumental section is also very good, and features some excellent and varied lead work from van Zandt. Again there is little of the traditional metal shredding here, but a more deliberate delivery which suits the song's overall more melodic feeling. Guillotine is heavier, but still maintains a melodic feel with short bursts of lead guitar. Overall however, this song has much more of a thrash influence than many of the other songs here with a big guitar riff driving everything and Howland's drumming never letting up. Songs like this are always enjoyable however, and showcase the band really firing on all cylinders. Howe unleashes some pretty high-pitched vocal screams during the abrasive choruses, and the rest of the band work flat out to keep the song steaming forward. There is a slightly slower section towards the middle of the song which features a strong creeping guitar riff, but it soon ramps back up to the fast pace which works so well. Rot Away is another faster piece, and features a riff that sounds like something Metallica would have come up with in the early days of their career, before a steaming verse kicks again that is driven by a pounding bassline and some razor sharp vocals. It is no secret that bands like Metal Church were very influential on the thrash movement of the mid-1980s, and songs like this showcase why they held such a sway. There is a thrashy attitude here, but it is still perfectly encased in a traditional heavy metal shell. The little ascending guitar leads that surface here and there throughout the song are really memorable too, and add a little bit of flashy melody to what otherwise is a very hard-hitting piece. Into the Fold opens deceivingly slow, but this little bout of clean guitar does not last long before Howland lays into his snare for a big roll and another muscular guitar riff kicks in. This is not as fast-paced as some of the other pieces here though, with more of a powerful mid-paced feel - especially during the choruses. The paces changes throughout however, which makes this one of the most diverse songs on the album, and van Zandt's occasional bursts of shredding make up some of the fastest moments. Much of the soloing throughout this album is a slower, so having some moments of unshackled shredding here makes a welcome change.

Monkey Finger is more of a mid-paced tune that is driven by a deliberate Vanderhoof riff and Unger bassline. It is probably at perfect headbanging tempo, so I can see this one being played live on the band's upcoming tour. It is also this song that makes me realise how well-produced this album is. You can hear everything on the album extremely clearly, with the bass nice and punchy and the drums loud without being overpowering. All of this is wrapped up in an overall sound that is just raw enough to make it feel like a metal record, and polished enough to make it easy on the ear. Vanderhoof has produced the album, so should be congratulated on his efforts. This more mid-paced tune is a perfect representation of the album's sound, and is a great example of how this sort of music should sound. Out of Balance ups the speed again, and is a real late-album highlight for me. The riffs are very catchy here, and Howland's punchy drumming really helps to drive everything forward. It is a tougher sounding piece too, with occasional bursts of gang vocals to add power, and Howe's lead vocals do not often reach his higher registers - instead staying in his tougher mid range. The chorus here is also very catchy in a very basic way. It has an almost AC/DC-esque simplicity about it which makes it very memorable, and another song that I can certainly see the band playing live with an audience really getting behind the gang vocals. Sometimes a simple sing-a-long is all that you need, and this song certainly ticks that box for this album. The album's closing number, The War Electric, is another faster number - but one that has also gone for melody with lots of interesting vocal quirks and snappy riffing that instantly gets into your head. Howe's King Diamond-esque vocals are back, but the song is not as atmospheric as examples early in the album so he does not sound as creepy here - just full of energy. There chorus here is very memorable, with some shrill vocals and driving drums, but it is the song's lengthy guitar solo that is probably the highlight for me. van Zandt starts off slowly, before exploding into a fast-paced shredding run that sounds great. While not the most memorable of songs on the album, it's high energy certainly helps to album to end on a high, and is sure to keep any metalhead headbanging to the end. Overall, Damned if You Do is a strong album from Metal Church and one that has been a good entry point for me in the band's catalogue. I am looking forward to seeing the band live at Bloodstock in August, and in the meantime I shall dive into the band's back catalogue and see what other gems I can unearth.

The album was released on 7th December 2018 via Nuclear Blast Records. Below is the band's promotional video for By the Numbers.

Conception's 'My Dark Symphony' - EP Review

Most years tend to bring with them a couple of musical surprises. I am talking about the albums that you did not expect at all - and their announcement comes as a complete surprise. 2017's best example was Styx's excellent comeback album The Mission, and 2018 has already delivered on that front with Fifth Angel's The Third Secret. The award for the most unexpected release of 2018 however has to go to My Dark Symphony, the new EP from the newly-resurrected Norwegian progressive metal act Conception. As a recording entity, Conception have been dormant since 1997 when they released their fourth album - the well-received Flow - but a couple of years later the band were over and frontman Roy Khan joined the American band Kamelot - a band with which he found considerable success. Guitarist Tore Østby also formed the band Ark with Jørn Lande, meaning that Conception's two driving forces were otherwise occupied and their original band was on ice. Conception briefly reunited in 2005 for a few festival appearances but this was only ever meant to be a short-lived venture, as by this point Khan was regularly touring the world with Kamelot and had become one of the genre's most-loved vocalists. It is no secret however that the band's fans have always wanted Conception to return, but the apparent retirement of Khan in 2011 and his complete withdrawal from the metal scene seemed to be the final nail in the coffin for any sort of reunion. Fans mourned but respected Khan's choice, but there were many of us who hoped that he decided to return to music at some point in the future - in whatever capacity that might be. I do not think that anyone realistically expected him to return to the metal world, which is why when it was announced earlier this year that Conception were re-uniting to record some new material, the fanbase's jaws collectively hit the floor! An EP and a single were announced, and a crowdfunding campaign was set up to fund their creation. The target goal was met almost instantly, and the anticipation of the first new Conception material in over 20 years started to build. The EP, titled My Dark Symphony, was finally released last month and was everything that I as a fan of Conception wanted and more. Soundwise, there are a lot of similarities between My Dark Symphony and the band's classic works, but there was also unsurprisingly a hint of latter day Kamelot to be found. In my mind, My Dark Symphony sounds like a mix of Conception's 1995 release In Your Multitude and Kamelot's moody 2010 album Poetry for the Poisoned - the last album that Khan was involved in before his retirement. Khan and Østby are joined here by the band's other two original members: bassist Ingar Amlien and drummer Arve Heimdal; with keyboard duties shared out between Khan, Østby, and Michael 'Miro' Rodenberg who has contributed to many of Kamelot's albums over the years.

The six-track EP opens with the atmospheric instrumental re:conception which helps to set the tone for the rest of the material. It lacks the depth of the songs to come but creates the same atmosphere with dense, swirling strings and frenetic percussion. Intro pieces of this nature are common in the progressive metal genre, and the EP really gets going when it segues into the mid-paced rocker Grand Again. It opens with a slow, precise guitar riff from Østby that leads into a groove-filled verse. Khan's vocals sound as good as ever and refreshed from his hiatus. The effects used in his voice are similar to those used on Poetry for the Poisoned, increasing the similarity between the two releases, but he still has all of his smouldering power. The song's chorus is evidence of this, as he effortlessly slides into his falsetto during parts of the delivery while Heimdal's intricate drum pattern creates a delicate backing. This is not the heaviest the band can be, but the song still packs a punch. The verses are guitar-driven, while the synths and atmospherics dominate the choruses. Not be outdone by the returning Khan, Østby lays down a fantastic guitar solo part way through the song too - demonstrating why he is one of the most underrated players in the scene. Into the Wild is one of the EP's highlights in my opinion. It is a real slow-burner, and builds up slowly around a Heimdal drum pattern that forms the basis of the verse. The somewhat tribal feel is a little strange, but it provides a different backing for Khan's low, emotional vocal delivery. Everything builds towards the song's chorus, which is packed with subtle melodies and hooks. Khan's vocals here will be very familiar to those who like Poetry for the Poisoned, as the style and use of melody is very similar to that which he employed throughout that album. Shimmering synths once again create a strong atmosphere during the chorus, and Østby's lengthy guitar solo is packed full of Eastern-tinged melodies that suit the tribal drumming featured elsewhere. Again the piece is perhaps less heavy than some may have wished for, but it still contains all the hallmarks of the Conception sound.

Quite Alright is probably the most instantly-memorable song here, as it features the most in-your-face melodies found on the EP and the most bombastic chorus. The verses slowly build up again, with Amlien and Heimdal creating a marching drum and bass pattern for everything else to feed off. Østby's riffing works around the pounding bassline, adding cutting metal riffs for colour, all while Khan croons atop everything with a vocal performance reminiscent of his best work. The chorus really soars, and features almost power metal-esque melodies that work well with the strident rhythms and floating synths. The modern Conception is certainly darker and moodier than the original one, but this chorus is probably the closest the EP comes to sounding like the melodic feast that is 1993's Parallel Minds. That being said, the song still fits perfectly on this new EP and features plenty of darkness of its own. The Moment is the closest thing on the EP to a ballad, and features delicate piano notes early on that are set against a slightly frantic drum beat that sounds a little busy for the overall vibe. I think this was deliberate however, and it works well to create a somewhat unsettling feeling as the mournful piano competes to be heard above a more rock-orientated rhythm. This beat carries through into the more expansive chorus, which features lots of synth work as well as big heavy guitar chords from Østby which helps to create a big wall of sound. The Poetry for the Poisoned comparisons are apt again here, showing that Khan's years fronting Kamelot have influenced this new music with his old band. Østby's guitar solo here is a joy too, filled with subtle bluesy licks that dance with playful abandon atop the same frantic drum pattern. The EP closes with its title track, a symphonic piece that is definitely the most ambitious thing here. It opens with gothic strings that create a dense atmosphere, before a doomy drum and bass combination kicks in just as Khan starts singing. His vocals are deep and operatic here, showcasing that magic that I and others have long been missing, but that takes nothing away from the rest of the band who also do their bit to ensure this closing number is something special. The pace never really picks up, making the piece a bit of a dirge at times, but it is packed so full of atmosphere and eeriness that the slow pace does not act as a deterrent. As with all of the five main tracks here, Østby contributes a guitar solo and the one here is probably the best of the bunch. Strangely, he seems content to take a bit more a backseat throughout this EP to let the atmospherics drive everything - but he makes it count when he launches into one of his solos. The Conception of old was much more guitar-driven, which makes this EP stand out somewhat compared to their back catalogue, but My Dark Symphony seems to suit the band where they are today. Overall, this EP is a strong comeback. I hope this reunion leads to more music in the future, and with a few live dates appearing at festivals throughout 2019, it seems that Conception are here to stay again - at least for now.

The EP was released on 23rd November 2018 via Conception Sound Factory. Below is the band's official sound clip for Grand Again.

Holter's 'Vlad the Impaler' - Album Review

Back in 2015, a heavy/power metal album called Dracula: Swing of Death (which I reviewed here) was released. A concept album, Dracula: Swing of Death was, obviously, inspired by Bram Stoker's famous gothic vampire novel and was packed with dramatic songwriting, subtle symphonic flair, and theatrical movements. It was the brainchild of vocalist Jørn Lande (Ark; Beyond Twilight; Masterplan) and guitarist Trond Holter (Wig Wam; Jorn). Holter at the time was a part of Lande's solo band Jorn, and the two had previously worked together on Lande's 2013 album Traveller. Dracula: Swing of Death was more of a collaborative effort between the pair however, so was released under both their names - separating it apart from the rest of the Jorn catalogue. The pairing did not seem to last long however sadly, as after a couple of live appearances to promote the album, Jorn returned to his solo career with a totally new backing band and began work on his next solo album - as well as finding time to tour with Tobias Sammet's Avantasia. This left Holter with a choice, and he decided to continue on promoting Dracula: Swing of Death with a new singer. In came Nils K. Rue (Pagan's Mind; Eidolon), a singer with a ridiculously good voice who I have been a fan of for quite some time. In my opinion, Pagan's Mind are one of the most underrated progressive metal bands out there, and it is probably only their long periods of inactivity which have stopped them from being huge! Rue's stratospheric voice is one of the main reasons why Pagan's Mind are so good, so learning that he was now also a part of Holter's project was very exciting. Obviously happy with the success of Dracula: Swing of Death, Holter got to work on writing a follow up album with Rue's voice in mind, and the resulting album - titled Vlad the Impaler - was released last month. Based on the real life figure who inspired Stoker to create Count Dracula, Vlad the Impaler is another concept album and the spiritual sequel to the 2015 release. Without Lande's input, Holter has taken it upon himself to write the entire album himself (apart from one co-write) and the result is another dramatic slice of heavy metal that is as enjoyable as the previous effort. Rue's voice is quite different to Lande's however, so it is unsurprising that Vlad the Impaler is heavier and more overtly 'metal' than Dracula: Swing of Death. The theatrical Meat Loaf-esque moments are largely gone, replaced instead with heavier power metal that brings the best out of Rue. Joining Holter and Rue on this album are bassist Bernt Jansen (Wig Wam; Jorn) and drummer Per Morten Bergseth (Blindfold; Sonic Debris; Fracture), who both featured on Dracula: Swing of Death, as well as keyboardist Erling Henanger and vocalist Eva Iselin Erichsen who dominates a couple with her strong vocals.

As with Dracula: Swing of Death, Vlad the Imapler is a no nonsense concept album. It is not packed with narration or interludes, just powerful songs. Worlds on Fire is the first and it gets the album off to a strong start with big power chords that pour out of the speakers, dancing gothic strings, pounding anthemic drums. Rue is the album's main singer, and stamps his authority all over the song with his rough-edged high delivery making the staccato verses powerful, and the smoother choruses melodically pleasing. The previous album was a little more quirky and theatrical, and I think this album does miss these moments at times, but there is still plenty of drama here. Holter's guitar dances with neo-classical string movements part-way through the song before he launches into a shredding solo of his own. The song is not as catchy as it could be, and sometimes Rue's voice gets a little buried in the mix during the choruses which is shame, but it still opens the the album with a bang. Awakened has a chugging rhythm that makes it somewhat slower than the fast-paced opening number, which allows Henanger's keyboards to fill the gaps with lots of atmospherics. The guitars are mostly more restrained here, with doomy chord sequences making up most of the song's style, although flashy leads in the pre-chorus allow Holter to show off a little. The chorus here is much more memorable, with Rue showcasing more of his powerful range. He hits some pretty impressive high notes during it, although he sadly is still buried a little in the mix at times. You can tell that this is an album that was written and a produced by a guitarist, as the vocals have been neglected a little! This does not hide Rue's considerable talents at all however, and he shows why he is one of the genre's best vocalists throughout the album. Drums of Doom is the only song on the album that was co-written, with bassist Jansen sharing credit for the piece. It is another strident mid-paced number with a pounding percussive drum intro which Rue soon adds to with an effects-heavy vocal display that is packed full of attitude. As the song moves forward however the pace increases, with Bergseth laying into his double bass pedals at times to up the energy and Rue using the harsher side of his voice to fit with the heavier tones of the tune. In my opinion, this is one of the album's best pieces because it manages to create a strong atmosphere throughout and showcases the best of the whole band. Rue's performance here is stunning, ranging from pseudo-black metal rasps to an anthemic soaring chorus delivery, and Holter lays down a shredding solo later on in the piece that would rival Yngwie Malmsteen. This is a fabulous piece of modern heavy power metal that is full of attitude and atmosphere.

The Last Generation is the first song on the album to feature Erichsen in a lead vocal role, and she instantly showcases her talents with a moody verse delivery that fits the slow-paced guitar and keyboard trudge before exploding into a heavier chorus. She is a great vocal foil for Rue, and has the range and power to match his talents, but this song is all about her. The chorus is the heaviest moment of the song, and sees her unleash her higher-pitched screams to attack the lyrics. This is a great song to introduce her talents with as it showcases both her calmer side during the verses and her all-out metal attack during the choruses. Holter contributes a folky guitar solo towards the end of the song too which helps to add some additional melodies late on and makes a change from the usual shredding style he employs elsewhere. I'll Die for You is a catchy song that serves as one of the album's singles. The song opens with a symphonic main riff, that soon gives way to a sparse verse that allows Rue to inject a little personality into the piece with an expressive vocal display. While not as over-the-top or melodramatic as Lande, Rue still fills that role well here and as a result this song is probably the closest that this album sounds to the previous one. Erichsen adds the odd line of vocals here and there, but mostly this is Rue's piece and he shines. The chorus is a melodic feast that is sure to impress when played live, and the guitar work is generally much more restrained which allows the vocal melodies to take centre stage. Shadows of Love opens with a chiming clean guitar and keyboard melody, which Erichsen croons over with her smokey, smooth voice. I have not come across Erichsen before, but her performance throughout this album is excellent. I would not be surprised to see her name crop up more and more in the future. While not really a true ballad, this song certainly feels like one and is full of atmospherics and dancing strings - all of which are given space to to breathe thanks to the sparser overall feel. The choruses ramp up in power a little, with Holter's big guitar chords elevating everything, but much of the song is quite basic which allows the vocals to shine. A short guitar solo makes for a brief change of scene, but overall this is a song that is all about Erichsen and her talents. Without You is a short song that opens with a melodic piano line, but as soon as Rue starts singing it morphs in a gothic circus of dramatic guitars, soaring symphonic arrangements, and his vocals. This is another piece that is quite similar to the previous album as it has the quirkiness and attitude of the first album. The rhythm of the song has that circus feel, and the playful guitar melodies that often permeate throughout add little shocks of drama. For a song that is under three minutes in length, there is an awful lot going on here so when it finishes it feels rather premature!

Under My Skin is another song sung by Erichsen, so as with most of her songs it opens slowly and builds towards an explosive chorus. Piano melodies and gothic guitar atmospherics dominate the piece, but the chorus is a powerful metal moment with guitar parts that sound like something from an early Whitesnake album that have been 'metalled' up and a stunning vocal display. However it is possibly the song's instrumental section which is the true highlight of the song. Jansen's bass really powers through the mix, and the lengthy solo that Holter soon launches into is packed full of attitude and smouldering power. It is not a shred-fest, but instead builds up slowly making use of a less-is-more attitude. The album's title track is an instrumental piece, and allows the band's four musicians to showcase their skills. The early parts of the song are dominated by Henanger's keyboards. The drums are used in a more percussive way early on, and this allows the playful keyboard melodies to shine through. It has quite a symphonic approach, and this works well - but when the guitars really kick in and Bergseth starts attacking his drums in a more conventional way the song becomes much heavier and a playground for Holter. He lays down plenty of heavy riffs during the middle part of the song, leaving the leads and more expressive playing to the end. Playful melodies and lightning-fast shredding fill the song's closing moments however, and it feels as if the whole piece was building up to this more explosive section. It helps keep the instrumental piece interesting, and the distinct sections make the song feel like it is a journey rather than a simple collection of notes. Save Me (Part II) is the album's closing piece. It is a sequel to one of the songs on the first album, and is the only piece here to be sung as a true duet between the two featured singers. Rue and Erichsen trade lines during the verses and the two vocalists seem to feed off each other during the process. It is a shame that this is the only song to be sung as a proper duet, as this is something I would have liked to see more of throughout the album. Unsurprisingly, it is one of the best songs here and features one of the best choruses too. The two vocalists sing the chorus together, and their voices mix together really well to create a powerful sound. It is also the album's longest songs, at just under seven minutes in length, so it moves throughout a few different sections before coming to a close. There is a short section that includes a gothic choir for effect, and Holter also lays down one of his best solos here too. It is a fairly slow one, but it is characterised by perfect phrasing. He picks the exact right notes of the piece, and relies far less on the shredding that he employs elsewhere. I am surprised that he is a guitarist that has not featured on more albums throughout his career, as he is clearly a very versatile and strong player, and this album really allows him to show this. His long solo is, fittingly, how the album comes to a close which is a great way to finish his first 'solo' album. Overall, Vlad the Impaler is a strong modern power metal album that balances the heaviness and more melodic moments well. It does lack some of the drama and originality of the first album, but makes up for that with more power and an in-your-face feeling. I will be interested to see is this project will continue further and we will see more albums in the same series.

The album was released on 9th November 2018 via Frontiers Records. Below is the band's promotional video for I'll Die for You.

The Quireboys - Bristol Review

The Quireboys' acoustic shows seem to be becoming my traditional Christmas wind-down. In 2016 I saw the band in Rushden in December, and last year the rockers came down to my home town of Plymouth. Both of these shows were the last of their respective years and, because why change a good thing, that tradition has carried forward in 2018. The Quireboys often perform a run of acoustic shows just before Christmas. While their unplugged sets are not quite as good as a fully-fledged Quireboys rock show, the magic is still very much there. The band perform these shows without a bassist or a drummer, so their songs are stripped right back to the bare bones. Sometimes it is hard to imagine loud rock bands flourishing in an acoustic environment, but The Quireboys have made it work over the years. The band's unplugged shows are loose, fun affairs that at times throw the rule book out of the window and let spontaneity flow. This particular show, which took place at The Fleece in Bristol, was the band's last show of the year. It was my fourth of their acoustic shows, and sixteenth overall, and contained all of the magic that I have come to expect from a Quireboys show. The band are one of my favourite live bands for a reason, and I never need much persuasion to go and see them. While travelling up and back to Bristol a couple of days before Christmas might not have been wise, the trip worked really well. Travel and accommodation were cheap, which made the decision to see The Quireboys for a fifth time this year pretty much a no brainer. You are always guaranteed a great show from frontman Spike and co., and it seemed that many took the opportunity to see the band playing in one of Bristol's finest venues.

Before The Quireboys' set however, the growing crowd was treated to two support acts. Singer-songwriter Steve Mercy was up first, and warmed the crowd up with half an hour or so of pleasant acoustic material. One-man-and-a-guitar acts are not really my favourite type of shows to see, but Mercy was not band and managed to hold my attention throughout his set. While I thought some of his lyrics were a little twee, his songwriting on the whole was pretty strong. It is quite rare for me to enjoy an act of this nature, but Mercy was one of the better ones that I have seen in my time.

The main support came from Bristol-based southern rockers Sons of Liberty who, despite also playing in a stripped down fashion, impressed. Southern rock is not something usually attempted by British bands, but Sons of Liberty seem to have a good understanding of the genre. Despite the riffs being played on acoustic guitars, the groove and boogie of the band's songs still shone through. Frontman Rob Cooksley had just the right demeanour for a southern rock frontman too, with the right mix of grit and soul in his voice - and this allowed him to carry the band's material really well. All throughout the band's half an hour set I was trying to imagine what the band would sound like in full flow. I have a feeling that Sons of Liberty could be a band that I could become quite a big of, so I am going to make an effort to check out the band's recordings soon so I can hear the band plugged in a rocking!

Despite two enjoyable support slots, the band everyone was here to see was still to come. At 9pm the four core members of The Quireboys took to the stage, and what followed was just over 90 minutes of acoustic rock 'n' roll, as well as plenty of laughs and banter. While the setlist was very similar to last year's acoustic set in Plymouth, this was still a very enjoyable show. The band opened with three numbers from their 1990 debut album A Bit of What You Fancy, with the early single There She Goes Again making for a strong opener and allowed the crowd to help the band out vocally early on. I am not sure that Spike sounded quite as strong vocally as he usually does, with the year's long touring schedule seemingly having caught him up, but he still led the band well through a fourteen song set that was filled with many real fan favourites. An early highlight for me was the old non-album track Devil of a Man which always goes down well at the band's acoustic shows, before the more recent offering Mona Lisa Smiled was greeted as warmly as many of the old favourites. Soloing on an acoustic guitar is not always that easy, but Paul Guerin (guitar/vocals) managed to lay down a flurry of notes during the instrumental section. He handled pretty much of the lead guitar throughout the show, with Guy Griffin (guitar/vocals) content to sit back on his stool and strum the songs' chords - and occasionally adding his sarcastic, dry sense of humour into Spike's between-song stories. Another favourite of mine, Beautiful Curse, was another highlight. The song is perfectly suited to the stripped down format, and it was well-received by the crowd despite it not being one of the band's better known pieces. Possibly the moment of the whole evening for me however was a stunning rendition of Late Nite Saturday Call, one of the finest tracks from the Homewreckers & Heartbreakers album which celebrates its tenth anniversary this year. I believe the song actually sounds better in this sparser format than it does on the original album, and Spike's raw voice carried the emotion of the piece perfectly. A couple of songs from the band's famous debut album followed, before Spike whipped out his harmonica for a rousing rendition of their most-famous song 7 O'Clock. This brought the main set to a close, and the large crowd erupted into cheers which eventually brought the band back out for a couple more. Two more older numbers followed, including the beautiful ballad I Don't Love You Anymore, which featured lots of fantastic piano playing from Keith Weir (keyboards/vocals). There was a long instrumental section which allowed him to showcase his skills, and the band even slipped a little section of The Rolling Stones' Fool to Cry into the song. It was left to Sex Party, a song which I had not heard the band do acoustically before, to close the evening out and as expected there was plenty of movement and singing from the crowd. The setlist was:

There She Goes Again
Misled
Roses & Rings
Devil of a Man
Mona Lisa Smiled
Hello
Beautiful Curse
Whippin' Boy
Have a Drink With Me  [Spike solo material]
Late Nite Saturday Call
Sweet Mary Ann
7 O'Clock
-
I Don't Love You Anymore/Fool to Cry [The Rolling Stones cover]
Sex Party

While it would have been nice if the band had shaken up the setlist a little and included a couple of lesser-known tracks for this latest acoustic trek, this show in Bristol was still a fun night out and a great way to close out 2018 as a gigging year. I hope to get to see The Quireboys again next year, and with a new album called Amazing Disgrace on the way it is set to be another busy year for them.

The Struts' 'YOUNG&DANGEROUS' - Album Review

Around four years ago, I discovered a band called The Struts. I cannot remember quite how I discovered them, but I think I may have been looking through a list of upcoming gigs that were taking place in Plymouth and happened to notice their name. They were scheduled to play at the Tiki Bar, a tiny basement venue in the city which is now long gone, and a quick exploration piqued my interest. At the time the band had not released an album, but a few singles were available online. I liked what I heard and decided to go to the Tiki Bar show. While only around 30 other people turned up to the show, I think it is fair to say that we all witnessed something special that night. Not seeming to care that the turnout was poor, The Struts played like they were headlining Wembley Stadium, with their modern take on 1970s glam rock really going down a treat. A few months later and the band's debut album Everybody Wants (which I reviewed here) was released. While certainly not an instant hit, the album has done well for the band since being released. The version of the album that I have is now unavailable, as it was re-released with a different cover and a slightly different track listing in 2016 when the band signed to Interscope Records. I believe that this re-release was also primarily for the band's ever-expanding American market, a country which the vast majority of the band's efforts have been focused on for the past few years. No major UK tours have happened since the tiny venue trek of 2014, with occasional club dates and festival appearances the only bones being thrown to the band's home country. America is clearly where The Struts see themselves however, and the band's ultra-British brand of rock has certainly gone down well over there. Plenty of headline touring, and tours with bands like the Foo Fighters and The Rolling Stones has certainly helped to raise The Struts' profile, but what fans like me had really been waiting for was the band's second album. Then, finally, back in October and over four years after Everybody Wants was released the band's second album YOUNG&DANGEROUS was released into the world. Four years is a long time to wait to release your second album, and would have been career death in the past, but the strategy seems to have worked for The Struts. In America especially the band are quite popular now, so this new-found popularity is sure to have helped boost sales. Soundwise, YOUNG&DANGEROUS is quite similar to Everybody Wants, with the band's mix of 1970s glam rock and modern indie still intact. Shades of Queen, T.Rex, Oasis, and The Libertines are still present, but the theatrical element seems to have been dialled up somewhat. This is a much bigger sounding album than the band's debut, and contains a bit more of a variety of song styles also.

A clicking rhythm and a fuzzy guitar riff heralds the opening of Body Talks, one of the album's songs, which is instantly packed with the dramatic flair the band have become known for. Guitarist Adam Slack alternates between laid back verse grooves and all-out hard rock during the choruses, all while frontman Luke Spiller displays why he is this generation's Freddie Mercury with a diverse and powerful vocal performances. The choruses here show the band on full power, and are packed with real energy. The slow-burning verses only make the choruses hit with more power, and they are extremely catchy - making for a hooky opening to the album. Primadonna Like Me really raises the bar, and opens with a powerful guitar riff from Slack, which is packed full of classic rock grit, before the groovy verses kick in with some snaking playing from bassist Jed Elliott that proves to be a great backing for a theatrical vocal performance. As with the previous song however, it is the chorus where the song really comes alive. The vocal melodies are like a perfect melding of modern indie rowdiness mixed in with glam rock sparkle, and is sure to put a smile on the face of even the most-jaded rocker. Songs like this are hard to ignore, and are sure to get many a foot tapping and a head nodding. In Love With a Camera has a bit more of a modern pop rock sound, with subtle synths adding sparkle to the verses and occasional gang vocals providing melodic hooks. There is little of the band's hard rock sound here, but the song is still packed with energy and comes roaring out the blocks with an infectious groove throughout. Spiller's high vocals in the choruses are extremely impressive, and this is backed by a great party drum beat from drummer Gethin Davies. Slack throws in the occasional fluid guitar lead, but largely this is a very rhythmic song that relies on the sugary vocal melodies and the pounding beats to get by. Bulletproof Baby is somewhat of a weaker effort in my opinion, and seems to take lots of cues from the 1990s Britpop movement. Hollow drums and droning guitars make up the song's main musical form, and it really lacks a hooky riff or melody to latch on. Despite this, Spiller's vocal performance is still strong which shows he could probably sing over just about anything and still impress. This is evident during the foot-stomping chorus which, although somewhat catchy, is just a bit too ham-fisted to really shine. It is is not particularly a bad song, but it certainly lacks the flair of the opening three numbers.

Who Am I? is a bit of a strange song, but is packed full of catchy little melodies that it make enjoyable. The song seems to have taken quite a lot of cues from funk music, with Elliott's bass playing really standing out and the guitars adding jangly chords here and there for effect. This, along with the extremely consistent drum beat throughout, would mean that the song would be a big dancefloor filler in clubs - which also means that the song would probably be great fun live. The band's rock roots are represented with a short, but tasteful, guitar solo - but on the whole this is a song that relies on a big groove to make its point, and it pulls it off. People is another less memorable piece, and seems rely too heavily on synths early on which really lessens its impact. The verses are pretty sparse, with only a distant drum pattern and fairly cold synths backing up an unremarkable vocal performance, and things do not ramp up all that much during the choruses either which turn out to be a bit of a drone with an uninteresting wall of guitars and a sluggish beat. This is certainly one of the album's weaker tracks, and in my opinion it fails to make any kind of impact whatsoever. Fire (Part 1) is a big improvement however, and has a great classic rock vibe that builds up dramatically over the course of the song - all of which culminates in a big chorus that is filled with layers of backing vocals and tremolo guitar leads. Everything missing in the previous song is present here, and sees the band working to their full potential. This is modern anthemic hard rock done well, and the theatrical nature of the band really shows here. Slack also gets a real chance to show off with a fairly lengthy guitar solo that is packed with lots of great little melodies. Somebody New is the album's ballad and mixes acoustic guitar and piano melodies together early on to create a gentle feeling. The band had not really attempted a power ballad before this song, and for a first effort this is a pretty good one. The song picks up the pace a little as it moves along, which certainly reduces the true ballad feel, but mostly things feel fairly sombre and downbeat. Spiller's lyrics are strong here, and he sings them in a convincingly emotional way which is sure to draw the listener in. The chorus still remains a bit of the band's anthemic spirit too, which is interesting to see.

Tatler Magazine really shows the band's Queen influence in a big way, with piano and string melodies dominating early before the song explodes into a theatrical chorus that has a bit of a circus vibe about it. The second verse is pure Queen, with Spiller showing his true vocal range with some somewhat comedic-low vocals that soon give way to his usual expressive style. Those who are a fan of Queen's more playful songs from their first few albums will love this, and Slack even contributes a Brian May-esque guitar solo to the piece which is packed full of quirky little melodies. This is The Struts at their most fun, and it never fails to make me smile. I Do it So Well is a bit of a strange song, and certainly feels like the band attempted to write a hip hop song and had a change of heart half way through and turned it into a rock song. The verses are basically just a big synth beat that features some half spoken/half rapped lyrics (think The Streets), but the choruses features some more traditional rock instrumentation with a decent guitar riff and booming drums. The two pieces do fit well together, but it is just not a style on the whole that I can get behind. Freak Like You is better, and is based around a somewhat familiar-sounding anthemic drum beat which certainly makes it instantly memorable. Playful piano melodies are used occasionally to add some quirkiness, and big acoustic guitar chords are used even when the song really ramps up to add some real depths. The choruses here are powerful and are sure to go down well live due to their catchy nature. The subtle use of gang vocals ensures their power is maintained, and makes for an enjoyable late-album piece. Ashes (Part 2) is the album's closing number, and adds some dramatic flair to the album's end with a mixture of piano-led slower sections and crashing rock sections that feature some of Spiller's best vocals. The rather schizophrenic nature of the song actually ends up working in its favour, as the pieces all knit nicely together to make a dynamic whole. The best moment for me however is Slack's best guitar solo on the album. It is quite lengthy, and packed with lots of fast runs that get the blood pumping. He is clearly a very talented guitarist, so I would like to see him doing more of this in the future! More Struts songs need solos, but it is great that there are a few strong ones throughout this album. Overall, YOUNG&DANGEROUS is a strong second album from The Struts and one that I am sure will help them reach a wider audience. A couple of the experimental tracks do not really work for me, but the songs that focus on the band's core sound really impress. Some versions of the album feature an alternative version of Body Talks with guest vocals from pop singer Kesha, which may also help the band to cross over to a new audience.

The album was released on 26th October 2018 via Interscope Records. Below is the band's promotional video for Primadonna Like Me.

Fifth Angel's 'The Third Secret' - Album Review

When it comes to American progressive/power metal from the 1980s, there are quite a few popular examples to choose from. Queensrÿche, Fates Warning, Crimson Glory, and Dream Theater are some of the main examples and exponents of the genre that instantly come to mind, but there have been plenty more lesser-known bands over the years that have significantly added to that body of work. The Washington State-based outfit Fifth Angel are one such band. While never truly breaking through, the band have a cult following across the world, and the two studio albums that they released in the 1980s are both considered to be minor classics of the progressive/power metal genre. The band's self-titled album from 1986 and their 1989 opus Time Will Tell are both played fairly regularly in my house, and they come out when I want some more straight ahead and hard hitting progressive/power metal. Fifth Angel never had the histrionics or the twists and turns of their more-lauded peers, but had a tough sound that worked for them. It was a real shame that the band's career never truly took off, as by 1990 the band were over with a lack of label support being the main reason for their demise. Incarnations of the band briefly reunited for a few shows in both 2010 and 2017, and the latter couple of live appearances seems to have been the catalyst for a new, more permanent incarnation of Fifth Angel. With live guests helping to bulk the band out at their recent shows, the new permanent Fifth Angel is a three-piece - a big difference to the original five-piece line-ups. Original drummer Ken Mary, who is the most-travelled member of the group having also done turns with Alice Cooper and House of Lords to name but a couple of the acts he has since been involved with, has been joined by long-time members guitarist Kendall Bechtel and bassist John Macko. Bechtel and Macko were both a part of Time Will Tell back in the late 1980s so are a big part of Fifth Angel history. This new core of the band has been working on new material over the past year or so, and the result is The Third Secret, the band's third album and first for 29 years! Original vocalist Ted Pilot has not been involved with the band since the 1980s due to his 'new' career as a dentist, so the vocals during the recent shows have been handled by guest singers. For this new album however, Bechtel has taken the role upon himself and has proved to be more than a capable singer. Pilot was never the most diverse of singers, but was the right fit for the band, and Bechtel has picked up where he left off. At times there is a little bit of Ronnie James Dio in Bechtel's voice, which is high praise indeed, and his vocal style is a big reason why The Third Secret is such a powerful sounding album. He also shares keyboard duties with Mary, and with all three members of the band contributing to the songwriting The Third Secret is a true team effort.

The album opens in fine fashion with Stars are Falling, a fairly fast-paced piece that really sets the tone for the rest of the album. Shredding guitar leads dominate the song's intro, before a strident verse introduces Bechtel as a vocalist. His performance is strong, and opens with a a convincing power metal scream, and it seems he is the man to take Fifth Angel forward. The verses are somewhat standard, but the choruses are very strong. Mary's double bass drumming really brings them to life, and the backing vocals that enhance the melodies sound like something from the 1980s. Being that he now sings as well as handling off the lead guitar parts, Bechtel's contributions to the album really dominate. A soaring, shredded guitar solo finds itself a home in the song, which the icing on the cake of the opening to the band's first album for nearly three decades! We Will Rise is more of a mid-paced tune, with a powerful riff backed up by some more strong drumming from Mary. While not the most explosive of drummers, Mary's style is perfect for the band. The clear, rumbling double bass drum patterns were very popular in the 1980s, and it is great to see them resurrected here. The song sounds like an old Dio track, and includes a strong chorus that sees Bechtel hitting some relatively high notes as well as plenty of melodic guitar leads. In my opinion the song is one of the album's early highlights and shares a lot of the band's past, as well as the great metal of the 1980s in general. Queen of Thieves is a real highlight however. It is the only song on the album over five minutes in length, and it packs all the punch that you would expect from the band. The Dio comparisons are still accurate here, with big power chords cutting through the mix, subtle keyboard textures creating an atmosphere, and Macko's bass really adding some depth. The verses creep with real menace, and sees Bechtel laying down a really mature vocal performance while the music starts and stops around him. The chorus is heavier, with more high pitched vocals, but the real highlight is the neo-classical guitar solo which is packed full of fantastic licks. Some of the runs have a bit of an Eastern flavour to them which really help the song to establish its own character. Dust to Dust picks up the pace a little again, and opens with a power guitar workout that is filled with dual-guitar leads and shredded runs. The energy that permeates from the song is very contagious, with the whole band working together to really drive everything forward. Despite some strong vocals, this really is a song for the guitarists. The shredded intro really sets the tone for the rest of the song, which is filled with guitar trickery. Little leads are thrown in at regular intervals for effect, and the lengthier solo section pulls it all together into one big whole.

Can You Hear Me was the first song to be released from the album online, and it is more of an atmospheric piece with a slow build up that explodes into a classic 1980s heavy metal chorus. Chiming clean guitar lines dominate the verses, and this allows Bechtel to demonstrate the softer side of his voice. While Pilot was a strong singer, I think that Bechtel is actually a more diverse and versatile vocalist. His performance throughout the album is very good, and this song showcases him attempting a few different styles. His guitar solo is also a strong one, and it conveys the emotions of the song perfectly. It is not as fast or reliant on shredded licks as many of the others, instead making careful note choices that really ring out through the speakers. While not a true ballad, it is probably the song on the album that resembles one the closest so it provides a good change of pace. This is War is unsurprisingly heavier, with Mary dominating the piece with a heavy drumming performance and Bechtel's coarser vocals adding a rawer edge. There is a real classic heavy metal feel to the song, with bands like Judas Priest and Accept certainly referenced here -  as well some of the classic thrash acts in some of the riffing and drum parts. This is probably the heaviest piece on the album, and it really helps to ramp the power back up again after the slower previous number. Fatima follows and it has a creepy vibe throughout that is dominated by strange synths and chiming clean guitar melodies. It is another slow song, but again it does not really qualify as a ballad, especially when the heavier instruments come in to add some power late on. It is a short song, but one that does not pass by without a leaving a mark. The overall vibe is extremely strange, but it works well. There is still room for another stunning guitar solo, with some more excellent neo-classical runs, as well as a powerful bass performance from Macko who's playing often cuts throughout the mix. His playing is relatively restrained throughout the album, but there are a few little runs throughout this song that stand out and make his presence known.

The album's title track is one of the main singles, and is another strident mid-paced piece with fairly slow riffing, a bass-led verse, and dramatic vocals from Bechtel. Anthemic is a good word to use to describe the piece, as the simple chorus lends itself to being played live, and the big riff and punchy drums set a perfect headbanging rhythm. It also has fairly prominent keyboards throughout, something which is not that common elsewhere on the album. Gothic choirs are mixed into the background throughout, and the choruses have symphonic flourishes added from the keyboards. In many respect, this is probably one of the album's most defining songs as it really showcases the band working together as a unit, and is sure to stick in the brain after hearing it. Shame on You picks up the pace again, and is possibly the fastest song here, with lots of fast double bass drumming from Mary and some flashy riffing from Bechtel that includes some squealing pinch harmonics added for effect. The pace never really lets up throughout the song, and as a result has a bit of a modern power metal sound, but mixed with a real classic heavy metal vibe. Mary turns in a really strong performance here, with drum patterns that barely let up, but everyone pulls their weight to make the song a powerful one. The chorus could be a little catchier in my opinion, but the speed and power make up for the fairly average melodies. A fast, shredded guitar solo is the icing on the cake, and only helps the song to sound faster and more intense as it moves towards the end. The album's final song, Hearts of Stone, is another faster piece but is reigned in slightly when compared to the previous number. It is much more melodic overall however, with a strong chorus and plenty of little guitar leads that are thrown in to spice things up here and there. The Dio comparisons are back again, there is a lot of Dio's atmosphere and style to found here. The vocals really soar, and it ensures that the album ends on a real high. The energy in the song alone is enough to make the album feel like it closes well, but the strong melodies really add to this feeling. Overall, The Third Secret is a really strong comeback from Fifth Angel and an album that I certainly did not expect to be receiving this year. Since the album has been recorded, original guitarist Ed Archer has rejoined the band, bulking the band's line-up back up to a four-piece. I will be interested to see what the future for Fifth Angel holds, and whether The Third Secret kick starts a second career for the band. I hope so, but even if this album turns out to be a bit of a one-off then it will have still been a success.

The album was released on the 26th October 2018 via Nuclear Blast Records. Below is the band's promotional video for The Third Secret.

Amaranthe's 'Helix' - Album Review

The Swedish six-piece pop metal act Amaranthe are now much more than a simple curio. After bursting onto the scene back in 2011 with their self-titled debut album, the band have become pretty big hitters in the metal world - known chiefly for their unique sound that mixes power and melodic death metal with shiny pop music. On paper this is a combination that probably should not work, but somehow the band have continued to make the mix of genres hold together. Now, seven years after the release of their debut album (which in my opinion is still their best work), the band have unleashed their fifth studio album entitled Helix onto the world. While Helix does not exactly depart far from the band's trademark sound, it does sound fresh. While I have enjoyed the past couple of Amaranthe albums on a more casual basis, both 2014's Massive Addictive (which I reviewed here) and 2016's Maximalism (which I briefly talked about here) felt somewhat stale when compared to the band's first two albums. Both of the recent albums contained strong songs, but overall they just lacked the spark of the band's early work. Ideas were being rehashed, and things were just becoming a bit predictable. It seemed that one of the band's founding members, clean male singer Jake E agreed as he left the band last year and has since started the melodic metal outfit Cyhra. This left Elize Ryd as the only one of the band's original three vocalist still in the band, but Amaranthe soldiered on with Nils Molin (Dynazty) being recruited to replace E. It is this new version of the band which has produced Helix, and it sees the band sounding more vibrant than they have for a few years. It is probably the band's best work since 2013's The Nexus, and sees the band taking their music in a slightly heavier direction. Harsh vocalist Henrik Englund has been a part of the band since 2013, but his role in the band (as was his predecessor's) has always been somewhat tokenistic. His growls were always used sparingly, but it seems that a more conscious effort has been made this time around to make more use of his talents. Englund is even credited with co-writing a couple of the songs here, which has helped to pick up some of the slack left by E who was historically one of the band's main songwriters. Now that burden largely falls to Ryd and guitarist Olof Mörck. Mörck in particular seems to be embracing this slightly heavier sound with some more heavy-handed guitar work throughout, but his synths still make a big impact. As always the ever present bassist Johan Andreassen and drummer Morten Løwe Sørensen round out the band, and both do their bit to make sure that Helix sounds as big as it does.

Opening with The Score, and it's swirling atmospheric and spoken word intro, the album gets off to a fine start with a crushing mid-paced metal riff and juddering synths. Anyone familiar with Amaranthe's sound will instantly recognise all of their tropes here, with the three vocalists all featuring early on - with Ryd taking the lion's share of the spotlight here with a sugary chorus that sees the synths from the intro return. The verses are sometimes a little more sparse than average, with Andreassen's bass dominating the mix, but elsewhere the band's usual wall-of-sound approach is intact. A heavier section late on makes the most of Englund's vocal talents, before Mörck launches into a short guitar solo that is packed full of plenty of little tricks. Lead single 365 is much poppier, with Ryd again dominating vocally and fuzzy synths permeating everything. The guitar riffing is heavier than usual, and does quite a lot of heavy lifting in the background, but the vocals are really pushed to the fore to ensure that the big melodies stand out. The band's trademark mix of heavy riffing and poppy vocals has been emphasised even more than usual here, and takes Amaranthe's sound to new extremes. The chorus is one of the most memorable moments on the album, with Ryd's chirpy, high-pitched vocals carrying the melody perfectly while Englund storms in occasionally with some barks. Much of the riffing here is out of the tech metal school of angular patterns, which is something new for the band but it is a style that seems to fit well into their established sound. Inferno picks up the pace and sounds more something that would have been found on the band's early albums. There is more of a melodic death metal influence here with lots of vocals from Englund and some fast, intricate drumming from Sørensen. While the song is not as catchy as the big hitters found on those early albums, this is still one of the most instantly-memorable songs here. The chorus is packed full of big melodies, and is sure to go down well live, and the longer verses allow for all three vocalists to hold onto the spotlight for a little longer. A crushing instrumental section late on is dominated by some sparking synths, before Mörck adds a little bit of metal shredding for effect. Countdown feels a lot more like Top 40 pop than anything else on the album, but with all the attitude of metal. Ryd's seductive vocals enhance that poppy feel with a sultry delivery, but the chunky riffing adds a certain groove behind her that keeps things fairly heavy. More techy, mechanical riffing can be found in the song, and this shows off Sørensen's skills behind the kit with some stuttering double bass rolls.

The album's title track follows and is more of the band's typical sound, with sparkly synths dominating during the intro and Ryd and Molin duetting perfectly during the verses. Some parts of the verses strip everything back, leaving just a delicate synth backing for the vocals, whereas other parts feature booming, walking basslines from Andreassen that form the perfect mechanical backing for Englund's growls. Everything is wrapped up in a catchy, stadium-worthy chorus which shows just shows how musically diverse Amaranthe can be - especially when one looks beneath the surface. There is a lot going on in this short song, and it is one of the best moments here. Dream slows things down somewhat, and relies on a slow-paced doomy riff to drive the song early on, before a simple synth and drum backing allows for some vocal dominance. Ryd sounds great as always, but I am not sure that Englund's attempt at a half-rapped/half-screamed delivery really works. Rapping, when not done right, can be embarrassing - and while Englund's efforts are not quite on that level, I think it is fair to say that they are not great! The song's chorus, again sung by Ryd, is pretty strong however and sounds like something that your average pop star would include in a ballad with the addition of heavy guitars. It does redeem the song somewhat, but the strange verses mean that this is one of the album's weaker offerings. GG6 is not great either, and features some of the worst lyrics the band have ever written. I am not expecting Chaucer when listening to an Amaranthe album, and most of the band's efforts are fairly inane and/or cheesy, but GG6 is on a whole other level. Musically the song is quite strong, with techy, stop-start riffing and late 90s mu-metal synths creating a trippy and new sound for the band. Englund turns in a strong harsh vocal performance, and dominates the song, but the words coming out of his mouth sound like something a third division rapper would come up with on the spot. A sugary chorus improves things somewhat, but the lyrics are just as bad here - making the song another dud! Breakthrough Starshot is better and returns to more of a mid-paced sound with a strong driving riff from Mörck that keeps everything going. Molin, who has largely been a supporting player up to this point with only a few lines in each song, seems to have been given a bigger role here and tackles the first verse and shows what a strong vocalist he is. The clean male vocalist and harsh vocalist seem to have swapped places here, with Englund getting a lot more screen time than previously and Molin having a much lesser role than E ever did. This suits the album's heavier feel, but means that Molin's voice feels underused. It is great to see him in fuller flight here, and the song's chorus is another winner.

My Haven is another slower-paced song, but the grinding heavy guitars in the background stop it from ever being a ballad. The verses are quite sparse again, with Ryd's vocals standing out early on before Englund takes over as the heavy instrumentation comes crashing back in. This is the second of the two songs that Englund has co-written (the first being GG6) and this one certainly shows that he could become a big contributor to the band going forward. This is a song that sounds a little different from the average Amaranthe song without ever deviating too far from the band's established sound. The grinding, heavier sound works for the band and there are still plenty of chances for the big vocal melodies to shine. A trippy, techy instrumental section shows off a somewhat progressive side to the band also, which helps to make this song another highlight. Iconic picks up the pace again with the thrashiest riff on the album that certainly showcases the band's melodic death metal influences. Molin's vocals here are excellent, and he starts off with a bit of power metal scream that works really well. He and Englund take much of the vocal spots early on, with the parts with the latter also sounding great. They are possibly the heaviest the band have ever sounded, with raw riffing and fast drumming that sounds like something found on an early Arch Enemy album. Ryd joins in for the choruses, which are packed with the band's signature melodies that really stand out and soar - rising the song to even greater heights. Unified is the closest thing on the album to a true ballad, and is a bit of a vocal showcase for Molin who takes the lion's share of the vocals here. Sombre piano melodies mix in with the usual droning heavy guitar lines and punchy drums, but the song still manages to create a strong atmosphere despite this mix of styles. The band have done better ballads in the past, but this song helps to create a bit of a true change of pace at this late stage in the album. There are still some heavier moments however, but these are mostly kept to a minimum to allow the gentler side of the band to shine through. Mörck takes the chance to lay down a slower, more emotional guitar solo here too but sadly it is all too short! The album comes to an end with Momentum which again showcases the band's more typical sound, meaning that the album closes out as it began. All three of the vocalists are featured fairly equally here, with the two clean vocalists often joining forces and Englund adding the occasional growl here and there. It is an instantly-memorable song that ensures that listeners will have the song in their head long after the album has finished, which is sure to encourage repeat listens. Overall, Helix is a strong album from Amaranthe that seems to re-establish them as metal heavyweights after a couple of somewhat lacklustre albums. I like it that the band has taken a few risks here and there, not all of which has paid off, but it ensures that Helix remains consistently interesting and benefits from repeated listens.

The album was released on 19th October 2018 via Spinefarm Records. Below is the band's promotional video for 365.

Uriah Heep - London Review

Very few hard rock band define the sound of the early 1970s like Uriah Heep. While bands like Led Zeppelin, Black Sabbath, and Deep Purple are seen as the true rock royalty of the era, in my opinion Uriah Heep deserve to be mentioned in the same breath. I am not sure why Uriah Heep are not seen as being as important as the aforementioned three bands, but they are probably just as important to the development of the rock and metal music we know today. Unlike those other bands, Uriah Heep have remained creative throughout their career. With the exception of a break of releasing new material during the late 1990s and early 2000s, Uriah Heep have been putting out new albums on a regular basis without ever really compromising on the quality. The latest of these albums, Living the Dream, was released earlier this year to rave reviews. While not exactly doing a lot to change the band's established sound, it was a good representation of the band in the modern day and saw them sounding vibrant and fresh. It was the second studio outing for the band's current incarnation, and it certainly saw all five band members firing on all cylinders again following on from 2014's enjoyable but relatively lacklustre Outsider. With a new album out, of course this meant that the band were going to tour again and this led to Uriah Heep announcing their first run of UK shows for a few years. I missed the band's last UK tour, so it had been four years since I had last seen the band. The venue that night was The Robin 2 in Bilston, but recent years have seen the band once again return to playing slightly bigger venues. A handful of UK dates were announced, with the most convenient for me being at the O2 Shepherd's Bush Empire in London. The Empire has always been a great place to watch bands, and it seemed that many Heep fans agreed with me as the place was packed. It is great to see Uriah Heep playing somewhat bigger venues again now, as places like The Robin 2 seem too small for a band with the stature and influence of Uriah Heep!

Before Uriah Heep took to the stage the growing crowd was treated to a couple of support acts. First up were the Finnish progressive rockers the Von Hertzen Brothers - a band who have been going for some time but have always eluded me. While not exactly desperate to check the band out, I was interested to finally get a chance to see what they were like. The five-piece were quite a bit rockier than I expected, with a guitar-driven hard rock sound that was different from the more spacey progressive rock I had expected. Despite this, the set was still pretty varied, with more upbeat songs mixed in with some slower moments. There was a lengthy song played towards the end of their set which certainly fit in with the 'progressive' tag, with plenty of keyboard and guitar solos for the crowd to enjoy. There were clearly a few of the band's fans already in the crowd by the time they started their set, as overall they were well received. Their last song in particular went down really well and brought a fair amount of clapping and singing from certain portions of the crowd. While I was certainly not blown away by the band, I did enjoy their time on stage and I will probably get around to checking out one of their albums in the future when I can find some time to do so.

The main support act were the Scottish hard rockers Gun who are a band I have run into previously at other shows I have been at. While I would only consider myself a casual fan of theirs, I have grown to enjoy some of their work over the past couple of years so did not mind having to see them again. The band only had around 40 minutes to play with, but they made their time on stage count with an upbeat set packed with a good mix of old and new material. She Knows from their latest album got the evening underway, and the band were rocking from the off. Frontman Dante Gizzi was in fine form and interacted with the crowd well throughout, and sung the numbers old and new well alike. While Gun never truly whipped the crowd up, they still managed to elicit a decent reaction throughout, with the old single Better Days getting more than a few cheers and their famous cover of Word Up! seeing a fair bit of movement down at the front. The great thing about Gun however is the fact that they always look like that they are having a great time. Founding guitarist Jools Gizzi had a smile on his face throughout the set, and new guitarist Tommy Gentry covered most of the stage during the evening peeling off solo after solo with glee. The spiky new number Favourite Pleasures was a late highlight, before the semi-anthemic Shame On You brought their short set to a close. While Gun may be also-rans in the British rock scene, they are certainly a fun band and I enjoyed having another opportunity to catch them live. The setlist was:

She Knows
Don't Say it's Over
Better Days
Take Me Down
Word Up! [Cameo cover]
Favourite Pleasures
Steal Your Fire
Shame On You

There was about half an hour after Gun finished their set before Uriah Heep started, but at around 9:15pm the lights went down the crowd let out a large cheer. What followed was just over an hour and a half of great British classic rock, played by one of the bands who defined the sound - and everyone in attendance seemed to really lap it up! The band stormed onto the stage, brimming with energy, and immediately launched into Grazed by Heaven - the opening number from their new album. The band's new album really dominated the set, with half of it featuring throughout the evening, and what was immediately clear was how powerful these new songs really were. Frontman Bernie Shaw really belted out the song's big chorus, and Phil Lanzon's (keyboards/vocals) Hammond organ really filled the venue with its rumbling power. There was a quick detour to their more AOR-centric 1980s period, with the stadium-worthy Too Scared to Run getting a welcome airing, but most of the show's first half was taken up with the Living the Dream material. The catchy single Take Away My Soul was a real winner, with the while band harmonising well throughout the whole song, and frantic drummer Russell Gilbrook keeping time perfectly while hitting the drums extremely hard! Even the band's first foray into their 1970s classic era material was for the relatively rarely-played Rainbow Demon, a slower moodier piece filled with glorious Hammond organ and a chorus that sounds like Queen before Queen even existed. A couple of newer numbers followed, culminating in the epic Rocks in the Road which is certainly the centrepiece of the new album. The piece is around eight minutes long, and ends with a lengthy and bombastic instrumental section. Both Lanzon and founding member Mick Box (guitar/vocals) both had the chance to solo here, with the two often operating in tandem for a powerful sound. The rest of the set was made up of classic material from their 1970s catalogue, with the stabbing hard rock of Gypsy and an extended version of Look at Yourself sounding as fresh as they did when they were written. Box in particular shone during the latter, which featured a long closing solo from him. This allowed him to really showcase his wah-drenched style perfectly, and the crowd rightly sounded their appreciation. The genuine epic July Morning and the acoustic-based sing-a-long Lady in Black brought the main set to a close, with the latter seeing the band's terminally ill former drummer Lee Kerslake take to the stage to sing the song with Shaw and add some additional percussion throughout. This was a great gesture from the band, and it was great to see Kerslake back up on a stage where he belongs. The band left the stage afterwards to big cheers, and of course this brought them back out for a couple more. The shimmering Sunrise was the first of two more songs played, but it was the fast-paced early single Easy Livin' that really got everyone moving once more. It was a perfect song to end the set on and it ensured that the evening really finished on a high! The setlist was:

Grazed by Heaven
Too Scared to Run
Living the Dream
Take Away My Soul
Rainbow Demon
Waters Flowin'
Rocks in the Road
Gypsy
Look at Yourself
July Morning
Lady in Black [w/ Lee Kerslake]
-
Sunrise
Easy Livin'

Overall, this was a really powerful set from a veteran band who have nothing left to prove. Uriah Heep maintain a busy touring schedule throughout the world, and keep doing it because they truly love it. They are showing no signs of slowing down yet, and I am already looking forward to their next batch of UK shows.

Nightwish - Birmingham Review

Around ten years ago, the Finnish symphonic band Nightwish were one of my very favourite bands. While I certainly do not listen to their albums as often as I did back then, I am still a very big fan of their work and I think that they are one of the most create and enduring 'mainstream' metal acts of recent times. It seems strange to label Nightwish as a mainstream band, but over the past few years their stock has really started to rise here in the UK. In 2015 they sold out a one-off show at the Wembley Arena in London, which I was at, and earlier this year they headlined the Sunday at Bloodstock Open Air and put on a show that just about blew everyone else away! Because I was seeing the band at Bloodstock, I had originally opted to not purchase tickets for one of their three UK shows this year. However, as soon as I got home from festival I knew that I had to see them again as soon as possible, so opted to buy a ticket for the Birmingham show as it somewhat fitted nicely into some plans that I already had. I was initially surprised by the band's choice to schedule three arena shows in the UK, but it seems that their decision has paid off. Pictures from the Wembley show reveal that that venue was once again close to selling out, and there was a large crowd packed into the Arena Birmingham on Monday night. While the venue was not close to selling out, as there were still a fair amount of empty seats around, there were still a lot of people crammed into the venue! With the doors opening at 6pm, and the support band not on until 7:30pm, lots of people made their leisurely way to the venue. This meant that when I got to the venue at just after 6pm there were not too many people already through the doors. This meant that I could walk down to the front, and found myself a couple of rows from the barrier - a position I held for the entire show. Being near the front at an arena show is a rare occurrence for me, so I enjoyed the experience and was extremely grateful that the people around me were well behaved and not constantly pushing back and forward to the bar!

Support came from the Finnish power metal act Beast in Black, who I had seen earlier the year in London supporting Rhapsody. I had enjoyed the band then, but I enjoyed them even more this time around as I have had a chance to get into the band's only album Berserker in the meantime. The band only had around 45 minutes on stage, but they made it count with a powerful set that seemed to engage large portions of the crowd and I am sure that they would have made a few new fans. They opened with their self-titled song, and moved through eight more anthemic pieces of power metal that all struck a chord one way or another. Early highlights were the strident Blood of a Lion, which filled the room with keyboard melodies an anthemic chorus, and the heavier The Fifth Angel which allowed frontman Yannis Papadopoulos to showcase the tougher side of his voice. Papadopoulos has a serious vocal range, and unleashed lots of powerful high-pitched screams throughout the night. He was ably assisted vocally by bandleader Anton Kabanen (guitar/vocals) who also took the lion's share of the guitar solos. He was standing in front of me for most of the night so it was great seeing him tearing up the fret-board. The crowd seemed to get more and more into the show as time passed, with the groovy Crazy, Mad, Insane proving to be a bit of a hit, before the single Blind and Frozen whipped up some more energy. Beast in Black's powerful set came to an end with the heavier End of the World which certainly seemed to go down well, and the band seemed pleased with the crowd's overall response to their set. The setlist was:

Beast in Black
Eternal Fire
Blood of a Lion
The Fifth Angel
Born Again
Ghost in the Rain
Crazy, Mad, Insane
Blind and Frozen
End of the World

Nightwish have been perfecting putting on a stunning show for many years now, but this one opened in a much more gentle fashion than usual as Troy Donockley (vocals/guitar/bouzouki/uilleann pipes/whistles) took to the stage alone to play an instrumental version of the oldie Swanheart. This worked well to ease the crowd into what was over a two hour set, packed with classic numbers and rarely-played deep cuts from throughout the band's twenty year history, which exploded properly with Dark Chest of Wonders. There were fire and explosions aplenty from the start, and when frontwoman Floor Jansen took to the stage the place erupted with cheers. Nightwish singers have come and gone, but Jansen is clearly a real fan-favourite now. Her extremely versatile voice makes her the perfect choice to cover the band's many eras, and this was on display early on with the anthemic rock of Wish I Had an Angel and the gentle pseudo-classical ballad Come Cover Me. An early highlight for me was the bombastic power metal of Gethsemane which featured lots of lead guitar flurries from Emppu Vuorinen and melodic duels between him and Tuomas Holopainen (keyboards). This current tour has been showcasing some of the band's lesser-played songs, which meant the crowd were treated to excellent renditions of songs like Dead Boy's Poem and Elvenpath. The former was packed with emotionally-charged guitar playing and a glorious vocal display, whereas the latter showcased the band's somewhat primitive early sound and allowed drummer Kai Hahto to lay into his double bass drums and Holopainen to crack out some old-school synth patches!

There was still plenty of time for some more well-known songs too, with the newer classic I Want My Tears Back allowing bassist Marco Hietala a chance to shine vocally, and Donockley cracked out his uilleann pipes for the folky instrumental mid-section. Donockley has been a big asset to the band since becoming a full-time member a few years ago, and his skills were further used during The Carpenter where he sang the lead vocal lines originally performed by Holopainen. It is fair to say that The Carpenter is not one of the band's best songs, but it was fun hearing it live after all these years - and Donockley is a much better singer than Holopainen ever was! Hietala's voice has often been a big part of the Nightwish sound too, and he had a chance to tackle Devil & the Deep Dark Ocean late on and turned in a fantastic display. It is another one of the band's bombastic early numbers, but with a much darker edge than many of the others. The last portion of the set was made up of some more well-known pieces, but the true highlight was the last half an hour or so of the show which was made up of just two songs: The Greatest Show on Earth and Ghost Love Score. The former is one of the band's most complex pieces, and really brought the best out of the six people on stage. From Holopainen's classical piano intro to the huge vocal ending, the piece just reeked with class and it was rightly greeted with huge cheers. Ghost Love Score is more of a fan favourite, but it still impresses live and is a real showcase for Jansen and her vocal skills. The wordless operatic section is spine-tingling, and the climatic ending brought huge cheers. The last portion of The Greatest Show on Earth then played over the PA to fade the evening out, and the band took their bows as it did. It was clear by this point that the evening had been a big success and the large Birmingham crowd was going to leave happy! The setlist was:

Swanheart
Dark Chest of Wonders
Wish I Had an Angel
10th Man Down
Come Cover Me
Gethsemane
Élan

Sacrament of Wilderness

Dead Boy's Poem

Elvenjig [Traditional folk song]

Elvenpath

I Want My Tears Back

Last Ride of the Day

The Carpenter 

The Kinslayer

Devil & the Deep Dark Ocean

Nemo

Slaying the Dreamer

The Greatest Show on Earth - Parts I-III

Ghost Love Score

The Greatest Show on Earth - Parts IV-V

Nightwish always put on a stunning show, but this one was one of the best of theirs that I have seen. It certainly wipes memories of their O2 Academy gig in the city from 2012 from my mind, as I was feeling very ill through the set and did not really enjoy it in the way that I should have! This arena show gives me a good Nightwish memory to remember in Birmingham, and I am already looking forward to the band's next tour.