Dynazty's 'Firesign' - Album Review

Despite often going to great efforts to consume as much hard rock and metal music as I possibly can, inevitably there are still bands that fall through the cracks. While I would consider my knowledge of metal music, particular the more melodic end of the spectrum, to be pretty strong, there are still countless bands that I am yet to discover. This is especially the case when it comes to bands that might be considered second and third division acts. That description is not used to be disparaging about those bands, but purely to acknowledge their status in the wider metal world. The bands I am talking about are those which will probably only ever play one UK show at the Camden Underworld as part of their European tours, and even that will struggle to sell out, or the perennial support acts that seem to hit a glass ceiling and never push on to greater things. Many of these bands are great, and deserve a lot more, but there are others which are varying levels of average. It can be hard to separate the wheat from the chaff, so many of these bands are nothing more than names to me. I think it is fair to say that Sweden's Dynazty are one of these bands. While they might have found success elsewhere in Europe, they have certainly not made a real dent here. Dynazty have been a band that I have known about for a while, but it was only when frontman Nils Molin joined Amaranthe last year as a permanent member of their trademark triple vocal attack that I decided to should take more notice of the band he has fronted since 2008. It still took me a while to actually bother to listen to any of their songs however, but when Youtube recommended their then-new single The Grey a couple of months ago I decided to give it a go. I instantly enjoyed what I heard, and decided to pick up the band's new album when it was released in September. That album is Firesign and it was released at the end of last month. It is the band's sixth studio and, as far as I can tell from some brief Youtube exploration of the band's past works, stays true to the Dynazty sound. Firesign is, essentially, a power metal album - but not one that relies on speed and many of the (some would say tired) tropes of the genre. There is a big 1980s hard rock influence in the band's sound, with many of the songs here being more riff and 'strut' based than many modern power metal bands. There are not endless double bass drum-filled verses here, but instead more emphasis on mid-paced songs with strong hooks. It is certainly not a classic album, but there is a lot for fans of melodic metal fans to enjoy here. The choruses are pretty strong, and the use of subtle electronics throughout rather than in-your-face keyboards keeps the album from feeling too sugary and gives it a somewhat heavier feel than your average power metal release.

Breathe With Me gets the album off to a strong start with trippy electronics and a muscular driving riff. The verses, while initially sparse to allow Molin's vocals shine, soon ramp up with chugging guitar rhythms that builds towards an explosive chorus. In my opinion, Dynazty are not the most interesting band musically, but their secret weapon is Molin. His voice is extremely good, and it is him that makes the band worth listening to. The chorus here is a winner, and is packed full of soaring melodies that compliment the dancing electronics and simple riffing. While keyboards a quite a big feature of Dynazty's sound, they are mostly used to compliment and enhance the songs' guitar parts. This is clearly evident here, and the keyboards add a little extra power and melody to the song. The Grey is the album's lead single, and the song that convinced me to buy the album in the first place. Being a single the song is very focused on melody, and I feel it is one of the strongest efforts here. Jonathan Olsson's bass drives the verses, which are largely stripped of the heavier guitars and this allows the choruses to hit harder when the guitars come crashing in. The chorus is a great moment, and includes melodic choices that I would not automatically expect. It is a bit left-field, but Molin's delivery makes it work. A great guitar solo here would have been the icing on the cake, but the song's instrumental section mostly consists of a repeated guitar pattern over and over again which really does not allow the band's guitarists to adequately showcase their skills. In the Arms of a Devil has a heavier overall feel, with the keyboards taking somewhat of a backseat to allow the guitars of Rob Love Magnusson and Mike Lavér to really dominate. The tough riffing here has a lot of weight behind it, and the subtle keyboard textures that are mixed into the background help to enhance the overall atmosphere of the piece. Despite the heavier feel of the song, the chorus is still very catchy with more of Molin's trademark melodies. This song really ups the steaks in the guitar solo department however, with a lengthy melodic shred-fest that is sure to impress any fan of this sort of thing. The mix of all these elements makes this song another highlight, and one that makes an instant impression. My Darkest Hour is a more of a mid-paced cruncher, but with some prominent synth work that helps the song to sparkle. The verses here make little impression, but the chorus is an anthemic one that is sure to go down well live. Little instrumental flourishes, such as a faster section that includes some impressive drumming from George Egg, keep the song interesting - but it is the chorus here that really makes it all come together.

Ascension is one of the album's slightly longer tracks, and opens with a somewhat folky riff that instantly catches the attention. I said earlier that I do not consider Dynazty to be the most interesting band musically, and that is true, but occasionally they write a strong riff that deviates from their usual reliance on crunchy rhythms and synth stabs. In general this song just feels a little more complex and involving than the band's usual sound, and has another really strong chorus. Choruses are definitely the band's strong point, but again I feel this is mainly down to how good a vocalist Molin is. He is very expressive, and his sense of melody is a big part of what makes these choruses flow in the way that they do. The album's title track follows, and this is a feast of big synths and grinding mid-paced riffs. This synth-focused sound is not to dissimilar to that of Amaranthe, and I wonder if that was a reason in Amaranthe hiring Molin as their new clean male singer? In fact, this song as a whole has quite an Amaranthe-esque vibe with a really uplifting, poppy chorus - the only thing missing is the vocal diversity! This emphasis on big poppy melodies is probably the main reason this song is another highlight for me, and the chorus here is possibly one of the album's best. The rest of the song might not be so memorable, but it all hangs perfectly off the chorus which makes it an enjoyable listen. Closing Doors is much less interesting, and based around a main riff that sounds extremely familiar but I cannot put my finger on what other song is really sounds like! Olsson is again allowed to shine during the verses, which once again strips things back to largely just his bass, Egg's drums, and some basic atmospherics. Sadly however this is a song that never really seems to get going. The chorus really lacks the punch and soaring melodies that are present elsewhere, and as a result seems to fall flat. The guitar solo is pretty good however, and features some nice little legato runs that are full of melody. These are a good touch, but the fact that the chorus does not live up to the band's usual standard will ensure this song becomes forgotten quite quickly. Follow Me is punchier, and contains an interesting heavier riff that takes a few twists and turns as it moves along, with the keyboards again providing little melodic flourishes. The chorus makes use of gang vocals, something that is not commonly used through the album, and this helps to maintain the somewhat tougher sound that is created through the heavier riffing. Egg's drumming is punchier overall here too, with more focus on double bass drumming that also helps to set the song apart from the crowd. It is a fairly short song, at just over three and a half minutes long, so it is never in danger of overstaying its welcome.

Let Me Dream Forever opens with dancing synths, but soon slows down a slow bass-led chug which forms the basis of the verse. As elsewhere in the album Molin makes these moments count and uses these quiet moments to really unleash the full extend of his voice. He is easily the most impressive part of the Dynazty set up, and hopefully he will start to get the recognition he deserves through Amaranthe, which might also bring more people to Dynazty's output. That being said however, this is another song that does not do all that much for me. The chorus just does not excite the way that others do, and the somewhat laboured rhythms elsewhere make it less interesting. Starfall is more energetic, and features a good mix of techy riffing and flashy synths to hit the ground running. As with The Grey, this is a song that takes a slightly left field approach to melody that impresses. The chorus is not at all predictable, and explodes with melodies that do not take the approach that I would expect. I always like it when bands do this and manage to pull it off. Predictable choruses are often great, and give the listener what they want - but taking a different direction shows a mature approach to songwriting. The album's last song The Light Inside the Tunnel is another slightly longer piece that uses synths in a pseudo-orchestral way to give the song a dramatic opening. While does not end up being as epic and powerful as the intro suggests, this is still a good closing number. It is certainly a song that represents the band's core sound well, and has a strong chorus to sign out on. I feel more emphasis could have been places on the dramatic string-synths to really make this song hit home. A semi-symphonic metal piece would be a good fit for Dynazty I think, and I feel that more could have been done to make this song a truly epic closer. As it is however, it is still a good song and a memorable final effort here - with some outro wordless vocals from Molin that further go to show his skills! Overall, Firesign is an enjoyable album from Dynazty but not one that has fully converted me into a fully-fledged fan of the band. There are certainly plenty of enjoyable songs here, but I feel that there are other bands who pull this style off more successfully. I will certainly make the effort to check out some of their older work in due course however, as I feel they are a band worth exploring.

The album was released on 28th September 2018 via AFM Records. Below is the band's promotional video for The Grey.

MaYaN's 'Dhyana' - Album Review

While the Dutch symphonic/death/progressive metal collective MaYaN, who were formed back in 2010 by former After Forever bandmates Mark Jansen and Jack Driessen, initially seemed nothing more than a spin-off from the symphonic metal genre-leading band Epica, the project has long since truly taken on a life of its own and stepped out from behind Epica's shadow. It did not help that the early MaYaN line-ups contained so many of the same musicians as Epica, but the current incarnation of the ten-piece only shares two members with Epica - helping to allow MaYaN to finally carve out their own identity. While the aforementioned Jansen, who handles MaYaN's harsh vocals, along with drummer Ariën van Weesenbeek split their time between MaYaN and Epica, the rest of the expansive ranks of MaYaN are now almost-exclusive to the band. While MaYaN has often seemed like a side project, with the release of the band's third studio album Dhyana last month the band now seem to be establishing themselves as a powerful and creative force in their own right. While previous MaYaN albums have basically been the result of collaborations between Jansen, keyboardist Driessen, and guitarist Frank Schiphorst; Dhyana sees the band taking a more collaborative approach. The band's core three have again been responsible for much of the music, but the lyrics - which have traditionally been Jansen's domain - this time around feature contributions from new members Marcela Bovio (Stream of Passion) and Adam Denlinger, among others. This shake up in the songwriting department has allowed MaYaN to create an album that is packed with diversity - but is also full of hooks. Those familiar with Bovio's previous work will know of her ability to craft enchanting vocal melodies, and those skills mixed with the band's heavy progressive metal backing creates some of the album's best moments. There are no fewer than six lead singers credited throughout. Returning vocalists Jansen, soprano Laura Macrì, and the powerhouse German Henning Basse; are joined by Bovio (who did in fact contribute some additional vocals to the band's 2014 outing Antagonise on a session basis), Denlinger, and the veteran growler George Oosthoek (Orphanage). With two male harsh vocalists, two male clean vocalists, and two very different female vocalists; MaYaN's vocal attack is extremely diverse, with multiple styles and vibes present in each of the album's eleven songs. As well as welcoming Bovio, Denlinger, and Oosthoek into the MaYaN fold on Dhyana, the album also marks the debut in the studio of bassist Roel Käller and guitarist Merel Bechtold (Purest of Pain; Delain) - although she sadly only contributed her considerable talents to one of the songs here, presumably due to her heavy touring schedule with her other bands. As with the band's last album, Joost van den Broek handled the production here which ensures the album sounds clear and powerful, while allowing the The City Of Prague Philharmonic Orchestra who are featured throughout to really shine - accentuating the band's heavy metal sound with pure symphonic beauty.

Instead of launching with the symphonic intro piece typical of albums of this type, Dhyana gets off to a bang with the epic The Rhythm of Freedom. Dramatic strings and choral vocals still open the album, but this does not last long before a massive blast beat from van Weesenbeek and a tremolo-picked riff from Schiphorst get the song proper underway. This symphonic black metal-esque opening sets the tone for the piece, as harsh vocals dominate the early parts of the song. Jansen and Oosthoek team up well to deliver the growls, while Basse unleashes his rich, deep cleans to add injections of melody here and there. Sadly Basse has recently stepped down from his duties as a full-time member of MaYaN, but still found time to contribute plenty of strong vocal lines to this album. Despite Basse's heroics in this song however, this is a number that belongs to the harsh vocalists. On the whole this album feels more melodic and somewhat more accessible than the band's previous works, but this song goes for the throat right away with black metal aesthetics, devastating growls, and a furious shredded guitar and keyboard duel that shows off the band members' instrumental prowess. Tornado of Thoughts (I Don't Think, Therefore I Am) is less full on, and is based around a simple, bombastic guitar pattern that is made all the more powerful by van Weesenbeek's fast footwork. Harsh vocals dominate early on again, but the band's two female singers add some choral stabs throughout for injections of gothic melody, while Denlinger handles the power metal-esque chorus. MaYaN seems to be a band where everything goes. Anything that can be shoehorned into the band's sound will be included, and this keeps the listener guessing at every turn. While this song on the whole is more accessible than the opening, there is still a crushingly heavy slow section that sounds like something Paradise Lost might have come up with in the early stages of their career. The shift from orchestral bombast to downtuned anvil-heavy riffing provides a great change of pace that shakes up the entire song. Lead single Saints Don't Die is probably the closest thing here to Jansen's work with Epica. Macrì provides the soaring classical vocals during the song's slow-burning intro, while Basse's powerful delivery makes up much of the verses. If Simone Simons was singing Basse's parts, this song could easily pass as an Epica tune, but the deeper male vocals give the song a different feeling, while Oosthoek's deeper growls adding more weight. The musical arrangements here are far less chaotic and complex, which allows the band's many vocalists to shine. The shorter title track follows, and it is a drastic change of pace from the album up until this point. It is an entirely acoustic song that features the vocal talents of Macrì and Bovio - the former contributing the operatic vocals and the latter delivering the enchanting vocal style she has become known for. The acoustic and string backing really suits the mood, and helps provide a little break from the pummelling metal that the album has been filled with so far.

Rebirth from Despair returns to the album's traditional sound, but with the heavier overtones of the opening song back in full force. Harsh vocal dominate the song, with dark gothic strings really adding to the unsettling atmosphere. Macrì does her part here too, with lots of soprano screeches mixed into the background which really help to compliment the growls happening upfront. The song's chorus is a bit more overly melodic however, with Bovio delivering the hooky melodies with the class and control that defines her style. The band's progressive tendencies are on show here too, with a more mellow breakdown taking pace about half way through which allows Käller to showcase some fluid, melodic bass playing. This does not last for long however, and before long the break-neck metal assault is back! The Power Process opens with a fairly jaunty orchestral riff, before a slow-burning bass-heavy verse takes over with Bovio's vocals really shining against the fairly minimalist backdrop. This minimalism does not set the tone for the whole song however, with moments of explosive symphonic metal fitting in around these more paired-back moments. Despite some harsh vocals here and there, this is a song that belongs to both Bovio and Macrì who constantly trade vocal lines throughout, their distinct vocal styles complimenting each other really well and adding something different to the proceedings in the process. The Illusory Self is the album's longest song at over nine minutes in length, and this is the only song on the album to feature Bechtold who contributes the acoustic guitars here. Given the song's length, it is unsurprising that there is a lot going on here - with all of the band's signature tropes on display. An early highlight is a gorgeous duet between Macrì and Denlinger. The two might be unconventional singing partners, but their voices mix together really nicely which creates a combination that soars above the simple drum pattern and slow-paced acoustic guitar lines. In fact Macrì shines throughout the whole piece, her classically-trained voice adding a real touch of class to the weighty and riff-heavy piece. There is also lots great guitar work here from Schiphorst. While he spends most of time throughout the album laying down tough rhythms and abrasive palm-muted runs, there are also lots of flashes of genius throughout. This song has lots of little lead breaks and progressive turns that allow for his guitar work to take a turn from the norm and come up with something a little more creative. Satori is similar to the album's title track, but is piano-based rather than revolving around acoustic guitars. Driessen provides the main musical backing, while Macrì lays down a dramatic operatic vocal performance atop the dancing strings. She is clearly a true classical singer, unlike many of the pseudo-operatic singers that fill many symphonic metal bands. Her voice may be somewhat hard on the ears for the uninitiated, but she is a big part of the MaYaN sound and this song allows her to fully showcase he talents.

Maya (The Veil of Delusion) ramps up the heaviness again with a rolling drum beat that occasionally strays into black metal blast beat territory again. Macrì's operatics return again here, but with a much heavier backing than previously, but Jansen and Oosthoek team up for the vast majority of the song - trading growled lines with their subtly different styles. As a result of this reliance on harsh vocals, this is probably one of the album's heaviest pieces. There is little respite here, with van Weesenbeek getting an almost-continuous workout behind the drums. Songs like this make MaYaN hard to pigeon hole, and shows them to be more than your average symphonic metal band. There are many songs that are likely to appeal to more of an extreme metal audience than would usually listen to bands like Epica, but then the more melodic moments might prove difficult for those fans. This combination and diversity makes for an acquired taste, but one that is worth getting used to. The Flaming Rage of God features Driessen's keyboards much more prominently than the majority of the songs. While his synths are obviously behind some of the orchestrations, the song features a prominent piano line backing up the main guitar rhythms which really helps to add an extra dimension to the piece. There is also a keyboard solo, but this is contributed by producer van den Broek. It adds a lot to the song however, and injects a spark of melody into what would otherwise be a fairly hectic instrumental section. There is no real dominating vocal force here either which gives the song a diverse sound without ever establishing a true character. Set Me Free is the album's closing piece, and slows the pace down to a bit of a mid-paced grind. Basse is the main vocal force here, and this is a great way to sign off his 'official' years spent with MaYaN. I hope he still continues to contribute to the band's albums and shows when he is able to however, as his rich clean vocals really suit MaYaN's style. Others contribute here of course, but for me this is Basse's song. The chorus sees his voice soar above the harsh vocal backing and the little hint of menace in the vocals really suits the song's somewhat slower pace. That is not to say that there are not moments of speed however, with blast beats once again surfacing during a limited portion of the song to turn things on their head for a brief period. It is a great way to a close out a diverse and bombastic album, and the simpler grind of the piece helps to emphasise the bands power right to the end. Overall, Dhyana is another really strong album from MaYaN that probably contains some of the band's best work yet. It is probably somewhat more accessible than the band's previous work, but in a way that does not compromise the band's core sound and style.

The album was released on 21st September 2018 via Nuclear Blast Records. Below is the band's promotional video for Saints Don't Die.

Slash's 'Living the Dream' - Album Review

While a certain record-breaking reunion has taken up most of guitar vagabond Slash's time over the past couple of years, fans of the top-hatted Les Paul-slinger were pleased when he announced the release of his fourth solo album earlier in the year. While Slash has always been in the public eye, I think it is fair to say that the recent Not in This Lifetime... Tour, the ongoing Guns N' Roses partial-reunion, has raised Slash's stock to even greater heights than it has been previously. The Guns N' Roses shows have been an all-round success, and surely now the logical next step would be for the band to write and record some new material? Maybe that will happen, or maybe it will not, but Slash seems to want to keep being creative either way and has continued to work with his solo band (The Conspirators) and singer Myles Kennedy despite the obvious distractions that have come his way in recent years. Slash's last solo album, World on Fire (which I reviewed here) was released back in 2014 and actually made it into my Top 10 Albums of the Year list for that year. I was initially reluctant to buy it due to the still-obscene amount of songs that fill it, but I was glad as I did as - despite its length - the album is remarkably consistent throughout. A Slash riff is almost always instantly recognisable as such, and World on Fire was packed full of them, along with a sleazy and dynamic vocal performance from Kennedy. The two have been working together for a number of years now, and seem to have struck up a solid writing partnership. With his work with Slash being quite different from his work with Alter Bridge or on his recent solo album Year of the Tiger (which I reviewed here), Kennedy is truly able to channel his inner rock star when fronting Slash's band. He is sometimes just as much of a star as Slash, and the two seem to have a really great chemistry. Not wanting to let this slide, Slash has continued to with write with Kennedy during the Guns N' Roses tour, and he and the band recorded this new album, titled Living the Dream, earlier this year. Living the Dream, not to be confused with the also-recently released Uriah Heep album, continues the sound forged by Slash, Kennedy, and The Conspirators on their last two full band outings. Despite the obvious similarities, I feel that there seems to have been a bigger emphasis placed on the bluesy side of Slash's playing this time around which helps to create a slightly different vibe throughout the twelve songs presented here. I do not find Living the Dream as anthemic as other previous Slash albums, but I have found it growing on me over repeated listens. Joining Slash and Kennedy here as ever are bassist Todd Kerns and drummer Brent Fitz, as well as guitarist Frank Sidoris who makes his debut in the studio with the band here. Sidoris has been touring with the band for quite some time now however, so has fitted into the sound of the album perfectly. Having another guitarist on board probably allowed for a more 'live' production to take place, which could account for a slightly looser feel and bluesy overtones.

A stuttering, bluesy riff heralds the opening of The Call of the Wild, the album's first song and a fast-paced rocker that certainly ensures the energy levels are high from the off and the album picks up from where World on Fire left off. Apart from the opening riff, the song is not packed with particularly memorable musical motifs, but instead is carried by its energy. Fitz sets the pace with his punchy drumming, with the two guitarists locking in for a tight verse rhythm that allows Kennedy's drawling vocals to stand out. The song's chorus is not particularly memorable either in all honesty, but is helped by the continuous propelling energy. While I would have preferred the album's opening to be more hooky than this, it certainly does not fail to pack a punch - and shows the whole band firing on all cylinders from the off. Serve You Right is more of a mid-paced bluesy strut, which sees Kennedy using his lower register during the early part of the song before everything opens out with one of Slash's tasty licks. The song is much more expansive from this point onward, but continues to lay down a powerful groove with Fitz and Kerns continuously locking together perfectly to compliment Slash's snaking guitar rhythms. The chorus is more of what you would expect here, with plenty of vocal harmonies to emphasise Kennedy's melodies. While not as catchy as it could be, it proves to be the first sing-a-long moment of the album which, along with the loose riffs elsewhere, makes for a strong combination. My Antidote ups the quality further, and opens in a slightly grungy way with choppy guitar strikes with murky clean arpeggios to back it up. This is somewhat off-beat for a Slash song, but a huge riff soon kicks to remind you who wrote the piece! It is one of my favourite riffs on the album, and it really harks back to the early Guns N' Roses sound as it has that raw, energetic sound that filled their early work. The choppy guitar work forms the basis of the verses, which are somewhat low key in comparison to the rest of the song, but the chorus soon comes along to give everything a real kick in the behind. Kennedy shows why he is one of the genre's best vocalists here, mixing lower register croons with higher howls to great effect. The chorus is packed full of memorable melodies which, when also combined with the blistering bluesy solo that Slash lays down towards the end, makes My Antidote the best piece on the album so far. Mind Your Manners keeps the quality up, but introduces more energy back into the proceedings. This is a song that never really lets up, and features some simple riffing and plenty of excellent driving bass work from Kerns which really gives the verses their bite. This is an uncomplicated song, but it has another great chorus which throws back to the more direct style established on World on Fire. This is a song made to be played live, and the production style utilised here gives it a perfectly raw edge.

After four tougher rock tracks, the fifth song here Lost Inside the Girl strips things back a little and introduces a murky blues feel throughout. Despite a more powerful chorus that sees Kennedy at his expressive best, this is a song that goes more for feel than power. Slash, unsurprisingly, takes every opportunity here to throw down as many wah-drenched bluesy licks as he can, while Kerns' bass lines add some real depth. While not a true ballad, the song is a definite change of pace when compared to what has come before. Slash is known as a rocker, but he is more than a capable blues player too and songs like this allow him to really showcase that side of his playing. His soloing throughout this song is packed full of feeling and shows why is so highly regarded by rock fans and guitar students alike. It has never been a secret that Slash is a big fan of Jimi Hendrix, and the opening riff Read Between the Lines certainly takes influence from the guitar pioneer's repertoire. The wah-drenched riffing might be sailing a little too close to pastiche to feel like a true classic, but it certainly gets the blood pumping and raises the energy levels again after the somewhat downbeat previous song. This is a song that sees the album rocking again, but also incorporates much of the bluesy influences that were on display previously. The song's solo is a showcase in blues rock lead playing, while the chorus - with its juddering melodies - has a great old school blues rock vibe. Unsurprisingly, Slow Grind is a groove-based piece - but it is not as slow as it might otherwise seem. I was expecting some down and dirty blues with a title like that, but instead the piece is a mid-paced rocker that showcases much of tropes that fill the album. Kerns' bass playing is very important here however, and he shines throughout; including during the opening riff which seems to based around his playing. Despite the great groove that is ever-present throughout the piece, it is not a particularly memorable song melodically. The chorus is lacking any real hooks, and the song eschews big riffing for a continuous groove. This works to an extent, but it also leaves things somewhat lacking at times. The One You Loved is Gone is the album's first, and only, true ballad and is packed full of heartfelt moments that are genuinely moving. Slash has always been good at coming up with guitar pieces for slower songs, and Kennedy's vocal style lends itself to this type of song. There are actually quite a lot of similarities between this song and some of Alter Bridge's ballads, so this really sounds like a song that Kennedy had a big hand in constructing. The guitar solo is excellent here too, and is a great example of the signature Slash sound. His tone is instantly recognisable, and as soon as he launches into the solo here you know it is going to be another classic.

Speaking of Slash's signature tone, the main riff to lead single Driving Rain is full of that typical Slash sound also. This is another riff that sounds like something that could have appeared on an early Guns N' Roses album, and the song is a melodic feast that is one of the album's highlights for me. The chorus is packed full of hooks, and the little leads that Slash throws in here and there really help to spice things up. It was also this song that made me realise how perfect a fit Fitz is for this band. Slash's riffing style has a rolling feel, and Fitz's drumming seems to compliment this perfectly. While what he is playing might not seem that different from the norm, or overly complicated, he really nails the groove here. I think Fitz is a big reason why Slash's solo band tick as much as they do, and his work on this album is a perfect showcase of this. Sugar Cane picks up the pace again and opens with a frantic flurry of notes constructed into a tight riff, and the song continues at a similarly quirky pace from then on. It is not one of the most melodically-memorable pieces here, and it lacks any real hooks, but the slightly off-kilter feeling the riffing and grooves create is pretty memorable. It does not sound too dissimilar to anything else here, but has enough going for it to make it worthy of its inclusion. The Great Pretender slows things down again, and goes for a laid back approach with loose guitar arpeggios and a chorus that has a bit of a country/pop vibe to it. Again, this is not a true ballad but a song that revels in its slower pace and uses this to give Kenendy a bit more breathing space vocally and also allows for some really expressive guitar playing. Slash excels at fast rock solos, but his slower, more emotional, efforts are also very strong. Songs like this allow this side of his playing to shine, and that is always welcome. The album closes with Boulevard of Broken Hearts which opens with a buzzing guitar note, that soon expands into a dark-sounding little riff. While this is quite an expansive rock song, it builds from a fairly low key opening towards a chorus that sounds like something Slash would have come up with during his days with Velvet Revolver. It has that slightly darker feel, but it is not so different from the rest of the album that it feels out of place. As a closing piece I feel it works well, as it has an urgency about it, but also a somewhat more expansive feel that gives the album a more epic send off. It is not the most memorable song here, but I feel it is a fitting number to close the album on. It still has enough melodies to make it memorable, and the darker feeling showcases something else different as the album fades out. Overall, Living the Dream is another strong album from Slash and co. which has grown on me a fair bit over repeated listens. While I feel that stronger songs exist elsewhere in Slash's solo catalogue, this is an album that rewards loyalty, and those who give it time will find plenty of Slash's instantly recognisable guitar playing, as well as passionate performances from the rest of his band.

The album was released on 21st September 2018 via Snakepit Records/Roadrunner Records. Below is the band's promotional video for Driving Rain.

Kamelot - London Review

While Kamelot's trips to the UK are fairly frequent (usually once every couple of years or so), the fact that they are one of my favourite bands makes their concerts 'must see' events for me. As is the case with many European melodic metal acts, the band are not popular enough here in the UK to schedule a proper UK tour, so us fans have to make do with an obligatory one-off show in London. I long for the days when bands like Kamelot feel like it would be worth their while to play in more British cities than just London, but sadly I feel that day is not likely to come any time soon! I am sure there are many out there like me who often find themselves travelling to London to see their favourite bands, and I will certainly continue to do so while I am financially able. This was not the first Kamelot show on British soil this year however, as the band landed a slot at this summer's Bloodstock Open Air festival. Kamelot occupied a slot high-up on the Friday, and were - unsurprisingly - one of the bands of the weekend for me. I had worried that having a band of Kamelot's ilk so high up the bill would have led to a fairly small crowd at a time when the Main Stage arena would usually be packed, but the somewhat conservative Bloodstock crowd did me proud and plenty turned out to see Kamelot's hour on stage. They were excellent that day, and I had been looking forward to seeing this full-length headline show of theirs ever since. The band's last headline show in the UK was back in 2015 at the O2 Academy in Islington. Since then, the band have released two more albums, have changed their drummer, and played loads more shows. 2018's London show came at the end of a fairly lengthy European tour, which has seen the band promote their twelfth album The Shadow Theory which was released back in April of this year. The Shadow Theory is an album that continues to grow on me so I was looking forward to hearing some of the songs performed live alongside some favourites from the band's back catalogue. Originally scheduled to take place at Camden's Koko, the show had to move to the Electric Brixton - a new venue for me - due to some structural issues at the original venue that has led to its temporary closure. The move was a shame, as the Koko is a really nice venue, but the Electric Brixton impressed. It has an old-school vibe inside, and had a big enough stage to take the band's show.

Given that the venue was used as a nightclub after the show, the doors opened at the extremely early time of 5pm to give the night's two support acts and Kamelot chances to play good-length sets. The first band on were Leaves' Eyes, a band who I like a lot and have seen a few times over the years. I last saw them back in April, on their co-headline tour with MaYaN, so was really looking forward to seeing them again. New frontwoman Elina Siirala has really given the band a new injection of energy, and their latest album Sign of the Dragonhead is still getting regular spins in my house. Despite only having 45 minutes to play with, the band treated the show as if it was their own and there seemed to be many in attendance who were already fans. All but one of the songs played came from the band's most recent couple of albums, and things got off to a powerful start with Sign of the Dragonhead and Across the Sea from the new album. Alexander Krull (vocals) still does the vast majority of the between-song talking, and continually works hard making sure the crowd are involved. While sometimes he does go a little overboard trying to get the crowd to clap along etc., his enthusiasm definitely transferred into the crowd who seemed to be really into what Leaves' Eyes were doing. The set was essentially a condensed version of what was played earlier in the year, with the tough duet of Edge of Steel and the fluid folk metal of Riders on the Wind feeling powerful. Stoic guitarist Thorsten Bauer, who along with Krull is the only founding member left in the band, particularly shone during the latter which is full of folky guitar leads and solos. The guitar playing in Leaves' Eyes music is not often that flashy, so it was good to see him getting a chance to cut loose. The highlight of the set for me however was Beowulf, a song which I was not previously familiar with. It was a bonus track on some versions of Sign of the Dragonhead, and it is a pure slice of epic power metal that sees Siirala unleashing her most operatic vocals to great effect. There was one song left after Beowulf however, and the lengthy Blazing Waters, with Krull taking to the stage in full Viking garb, brought everything to a powerful close. He barked his way through the verses, while Siirala handled the choruses with ease. Leaves' Eyes are a band that I already take any opportunity that I can to see them, so it was great to see them again here and playing to a larger crowd than they usually would in the UK. The setlist was:

Sign of the Dragonhead
Across the Sea
Swords in Rock
Edge of Steel
Riders on the Wind
Hell to the Heavens
Beowulf
Blazing Waters
Haraldskvæði

After a quick changeover, the near-capacity crowd was treated to 45 minutes from the Swiss folk metal act Cellar Darling, a band which was formed by three former members of Eluveitie after they were ousted in 2016. The band released their debut album This is the Sound last year, and I have been wanting to check them out since. While I am not a huge fan of the band I think are they extremely original and interesting, so was looking forward to seeing them. The band's nine-song set contained most of their debut album, and it got off to a powerful start with Black Moon. Anna Murphy (vocals/hurdy-gurdy/flute) has a strange voice, but it is an extremely powerful one. It is her that brings to folk to the band's sound, with her vocals having a certain chanting quality to them, and her hurdy-gurdy often providing a more earthy melody, which is often in contrast to the riffing of guitarist Ivo Henzi. His riffing here is much more tech metal-inspired than anything he ever did in Eluveitie, which gives Cellar Darling a modern and dry sound. I am not the biggest fan of tech metal, so some of the band's angular and mechanical riffing does not do much for me, but the combination of this modern metal sound and Murphy's folky trappings is extremely interesting. Despite this, the band's sound is pretty melodic, with most of the songs sporting a strong chorus and folky melodies to latch onto. Hullaballoo was one of the highlights of the set for me, due to its big chorus, and the lengthier, more progressive Six Days also impressed. While I do not think that Cellar Darling will ever become a favourite of mine, it is always good to see something new and different. The fact that the crowd's reaction was often somewhat more muted in comparison to the big cheers that often greeted Leaves' Eyes' songs shows that there are probably others who feel the same, but Cellar Darling are already managing to build themselves a large fanbase, which is great. They are certainly a band I will keep an eye on, and I will be interested to follow their progress. The setlist was:

Black Moon

Hullaballoo

The Hermit

Avalanche

Six Days

Redemption

Starcrusher

Fire, Wind & Earth

Challenge

Despite two strong support sets, it was Kamelot that most were here to see. The stage was cleared pretty quickly, and the lights dropped at just after 8pm to big cheers. A symphonic opening followed, before the band took to the stage and rushed into Phantom Divine (Shadow Empire) from their latest album. It is clear that the fanbase has taken to The Shadow Theory already, as the few songs that were played from it throughout the evening were greeted as warmly as many of the older songs played. Speaking of older songs, it was interesting to note that the vast majority of the songs played (10 out of 16) were from the band's most recent three albums. i.e. the ones featuring current frontman Tommy Karevik. This was good to see, and I am glad the band are confident enough in their newer material to essentially focus on it now live. It was of course great to hear some of the older songs too, and Karevik has really made them his own now. Rule the World was one of the older tunes played early on, with the mechanical riffing and swirling orchestrals getting a strong early reaction from the crowd. My only comment on the choice of older material would be that the band seem to rely on the same few 'classics' from tour to tour. Songs like Rule the World and The Great Pandemonium are excellent, but they have been essentially omnipresent in the set since their releases. It would be great to hear another song from their respective albums instead to help shake up the setlist somewhat.

It was the newer material that really stood out the most for me however, with both Insomnia and Veil of Elysium impressing early on. Both feature fast and powerful guitar riffs from founding member Thomas Youngblood (guitar/vocals), and are true modern Kamelot classics. One thing I noticed during the latter in particular is how good a bassist Sean Tibbetts is. His bass playing is not usually the focus of the band's music, but I was stood basically directly in front of him for most of the night and some of his riffing is a lot more intricate than I realised. Another early highlight was the piano ballad Here's to the Fall, which featured Karevik and Oliver Palotai (keyboards) alone on stage to play the short, heartfelt piece. From then on the set was mostly a hard-hitting romp through some of the band's heavier songs, including the gothic-tinged RavenLight and the old classic Karma. That is not a song that seems to be played live too often these days, so it was great to hear it live again. It has a great chorus, and one of Youngblood's most memorable guitar solos in my opinion. A real favourite song of mine if Sacrimony (Angel of Afterlife) which is a modern classic. It has one of my favourite Kamelot choruses, and this gave Karevik and touring guest vocalist Lauren Hart a chance to let rip with some soaring melodies. The heavy mid-section featuring Hart's harsh vocals was extremely powerful, and this set the tone for the rest of the night - with Burns to Embrace and the old-school Forever rounding out the main set. Forever featured a lot of crowd interaction, with Karevik putting the crowd through their paces, and a sing-a-long of Happy Birthday for Tibbetts who's birthday it was. The band left the stage to big cheers, but came back to perform one more - the heavy Liar Liar (Wasteland Monarchy) from 2015's Haven. The dynamic piece proved to be a great closing number, and the crowd let out a huge cheer as the show came to a close. The setlist was:

Phantom Divine (Shadow Empire)

Rule the World

Insomnia

The Great Pandemonium

When the Lights Are Down

End of Innocence

Veil of Elysium

Here's to the Fall

RavenLight

March of Mephisto

Karma

Amnesiac

Keyboard and Drum solos

Manus Dei

Sacrimony (Angel of Afterlife)

Burns to Embrace

Forever

-

Liar Liar (Wasteland Monarchy)

Ministrium (Shadow Key)

Overall this was, as expected, a great show from the American power/symphonic metal act. This was my fourth time seeing the band live, and they have never disappointed me - always giving everything and putting on a really memorable performance. It was good to see quite a few songs live that I had not seen them do before also, which always makes shows that little bit more memorable. 

Treat's 'Tunguska' - Album Review

While certainly not a household name, Sweden's Treat are a very well-respected band in melodic rock circles. The band were formed back in 1981 by frontman Robert Ernland and guitarist Anders Wikström and found moderate success in Europe throughout the 1980s with their somewhat heavier take on the melodic rock genre. My general knowledge of the band's catalogue is not that good, as many of their albums seem to be extremely hard to track down on any format, but I did manage to acquire a second hand copy of their 1985 debut album Scratch and Bite a couple of years ago. My main introduction to the band however was 2016's Ghost of Graceland (which I reviewed here), a purchase which came about as a result of taking a punt on the video for the album's title track on Youtube. Sometimes it can be hard to sift through all of the projects that Frontiers Records promotes, but it is often worth persevering as every so often you discover something worth exploring further. I purchased the Ghost of Graceland album off the back of enjoying the title track, and it proved to be an entertaining listen. There are lots of bands writing what I would call 'mature' AOR these days, and Ghost of Graceland did little to really stand out from the crowd, but there were certainly a few songs there that stuck with me. I have since gone back and listened to my copy of Scratch and Bite, and was surprised to find that material there to be heavier. There was clearly a big glam metal influence on the band's early work, and Scratch and Bite sounded quite different to the modern Treat sound I had become accustomed to. Sadly, as mentioned earlier, these two albums are my only exposure to the band. Even 2010's come-back album Coup de Grace seems to command ludicrous prices online, as do many earlier Frontiers Records releases - presumably due to small print runs, so I have sadly not been able to listen to what I understand was a very well-received album. However, my collection of Treat albums has now expanded to three - as last month the band's latest album Tunguska was released. According to Wikipedia, the Tunguska Event was a large explosion that happened in Russia in 1908 that destroyed 2000sqkm of forest. While none of the songs on this album seem to reference this event, I assume that this incident must have been the influence for the album's title. Tunguska is the band's eighth studio album, and is the second to feature the band's current line-up. Ernland and Wikström are the band's only remaining original members, but they are joined by long-time members keyboardists Patrick Appelgren and drummer Jamie Borger. Only bassist Pontus Egberg is a relatively new face, but he participated in the recording of Ghost of Graceland and has been touring with the band since.

Opening with atmospheric, swirling keyboards; the album's first number Progenitors builds up nicely from this initial soundscape with some marching drums from Borger and a choppy riff from Wikström that soon gives way to a simple, fairly fast-paced verse which shows Ernland still possess a strong voice. The verse is driven by a fairly powerful riff, which helps the song build towards a big chorus which is packed full of soaring melodies. Given the AOR traits that the band display in their more modern sound, it is unsurprising that this chorus is instantly memorable. While at times throughout the album it sounds as if there is a little autotune on Ernland's voice which can grate a somewhat, he still soars when necessary. This chorus is one such moment, and the layers of harmony vocals added really increase the enjoyment of the piece. While Treat are not exactly a hard-hitting band these days, this is a song that is sure to grab the listener and encourage them to listen further. Always Have, Always Will is more of a mid-paced piece, with a keyboard-heavy pomp rock intro which soon gives way to a muscular verse with Wikström's weighty guitar giving the song a rather strident feel. The mix between the more melodic intro and the heavier verses is a good contrast, and shows a nice amount of diversity in a relatively short space of time. The choruses have a smoother feel however, with Appelgren's keyboards dominating to create a mid-1980s soundscape of synths. While the chorus is not as catchy as the previous song's, it is still one oozes with tight melodies and some great vocals from Ernland. Best of Enemies opens with a frantic keyboard riff, which soon has Ernland singing atop it in a lower register than what he usually employs. A guitar riff that is the heaviest moment of the album so far soon kicks in, and this also later forms the basis of the chorus. The chorus is a bit of a fist-pumping moment, with moments of screaming lead guitar filling the gaps between the vocal lines. I think Treat are at their best when they employ a more AOR-esque sound, but these heavier moments also work well for the band. They still seem to be able to ensure that the melodies are prevalent enough to stop the track feeling like a lumpy metal tune and changing the overall tone of the album. Rose of Jericho is one of my favourite pieces on the album, and employs a more cinematic sound throughout. The main riff here is once again a little tougher, but there is a constant keyboard backing which adds a certain feeling of class. The chorus here is one the album's best in my opinion, with Ernland's simple melodies sitting nicely atop the previously described mix of sounds. While it is not as energetic as some choruses, the melodies really take hold. I do not feel that Treat want to become a true AOR band, and have settled on a somewhat in between sound that mixes tougher bluesy guitar with synths - and this song is probably the best example of the sound.

Heartmath City is less interesting, although it is blessed with a solid chorus that definitely contains its share of memorable melodies. Sadly however, the rest of the song does not really live up to it with a fairly unremarkable main riff and a verse that plods along a little with some fairly laboured drumming. There is a lengthy guitar solo however that does impress. Wikström often takes short lead breaks here and there, but rarely takes the opportunity to cut loose. This song sees a rare moment of over-the-top lead guitar pyrotechnics, with Wikström laying down a selection of bluesy licks part-way through the song, and then once again during the song's extended outro. His playing certainly makes the song more interesting, and saves it from being true filler. Creeps ups the pace, and is mostly built around a simple, driving guitar riff. The keyboards here mostly take a backseat, often providing a simple atmospheric backing, letting the guitar and the bass provide the main meat of the song. As a result, the song has a much simpler feel when compared to many of the other songs on this album. While it might stick out somewhat, I feel that it actually works quite well. It is certainly not the catchiest song here, but the more lo-fi feel of the song helps it to stand out and creates the illusion of changing the overall pace of the album. Build the Love returns to the album's more typical sound, but this time with a greater emphasis on the band's AOR elements. This is an extremely catchy and memorable song, so unsurprisingly it was chosen as the album's first single. Appelgren's keyboards dominate throughout, and instead of laying down tough rock riffs, Wikström's guitar often chips in with fluid, melodic guitar leads which really helps to up the overall feel of the song. The best part of the song however is the chorus, which is probably the most melodically-powerful pieces on the album. Ernland's vocals shine, and the layers of harmonies really transport you back to a time when choruses like this would have filled radio stations around the world. Man Overboard is a little heavier again, with tougher guitar driving the song but with the odd synth lead cutting through the mix to add a different feel. The verses feel very stripped back, with almost no keyboards at all, and they really rely on the crunch of the guitar to keep them going. I do not feel that this works quite as well as it did on Creeps however, and it is relief when the more synth-heavy chorus kicks in. Strangely, given the song's general aversion to prominent keyboards, there is a pretty meaty synth solo from Appelgren which is great, but sounds a little out of place.

Riptide is better, and ups the pace somewhat with a powerful intro and tough bass-heavy verse. This more prominent bass playing allows the guitar to take on a somewhat more colourful role, with clean arpeggios filling the space between the bass and keyboard perfectly. Many of the verses here are driven by guitar chugs, so it is nice to hear something different here, and it really allows Ernland's vocals to stand out more. The chorus, while not as good as some of the others here, is still packed full of enough melodies to make it memorable. Treat seem to have a knack of coming up with choruses that are full of subtle power. They might not be up there with the stadium fillers of the past, but they have enough weight behind them to entice the listener in. Tomorrow Never Comes opens with some fairly mournful piano melodies, something which soon comes to define the overall sound of the piece. This is the album's ballad, and the only song here that really slows the pace down somewhat. It is a rare instance of prominent piano playing on the album, and it proves to be a nice change of pace from the synths and soundscapes that dominate elsewhere. Wikström's guitar is mostly a background instrument here, but he does add a fairly busy solo in towards the end. While a more emotional, bluesy solo might have been more appropriate given the song's slower pace, his more-shredded delivery is still impressive. All Bets are Off ramps the pace back up, and opens with a simple, slightly sleazy riff that really feels like a throwback to the 1980s. In fact the whole piece feels like a tribute to that era, with a poppy chorus that is packed full of catchy wordless vocal melodies and a guitar tone that certainly feels more retro than modern. This is also echoed during a fairly lengthy synth solo that is packed full of sounds that most modern bands would turn their noses up at. I love it however, and it really evokes the style of the 1980s perfectly, further cementing the song in that period. The album's closing number Undefeated has a somewhat more dramatic sound, with a heavy opening riff that is backed by Appelgren's powerful symphonic keyboard stabs. The rest of the song does not quite live up to this grand opening, and sounds like a fairly typical example of the band's sound rather than the heavy symphonic rock that the intro promised. That being said, this is still a strong song and the chorus in particular is a moment that is likely to stay with the listener. The heavier feel of the song makes it a worthy closing piece, but I just wish the symphonic rock style that was debuted in the song's intro was experimented on further. Overall, Tunguska is a solid album by the Swedish band and one that continues the good work of their last album two years ago. It certainly will not set the world on fire, but anyone who enjoys strong melodic rock will find lots to enjoy here.

The album was released on 14th September 2018 via Frontiers Records. Below is the band's promotional video for Build the Love.

Uriah Heep's 'Living the Dream' - Album Review

Considering Uriah Heep are only a year away from their fiftieth anniversary, it may surprise the uninitiated to learn how active the band still are. With fans all over the world, the English hard rock pioneers rarely seem to be off the road. With touring cycles that take in corners of the world that many bands neglect, with a particular focus on Easter Europe which have always welcomed the band with open arms, Uriah Heep are truly a global force. In my opinion they are also one of the most important hard rock bands to have ever existed, and have done a lot over the years to help to create and forward rock music as we know it today. Black Sabbath, Led Zeppelin, and Deep Purple often get all the credit, but Uriah Heep should always be included in any discussions surrounding the formulation of hard rock. Only guitarist Mick Box is left from these genre-defining days, but the Uriah Heep of today are just as vital and as powerful as the original line-ups of the 1970s. Both frontman Bernie Shaw and keyboardist Phil Lanzon have been in the band for over thirty years now, having joined together in 1986, and drummer Russell Gilbrook has given over a decade of service. Only bassist Davey Rimmer is a relatively new face, having joined the band in 2013, but with this particular line-up of the band now having been together for five years they have now grown into a really tight unit. The version of the band made their debut together in the studio back in 2014, and the results of this collaboration was 2014's Outsider (which I reviewed here). Outsider was the third album in what could have been seen as a bit of trilogy of new releases that saw Uriah Heep re-establish themselves as a creative force after a decade of not releasing anything new. 2008's Wake the Sleeper and 2011's Into the Wild were both excellent albums, but Outsider felt somewhat tame in comparison. It is still a fun album, with a few stand-out tracks, but on the whole it fails to live up to the excellence of the previous two efforts. We are now four more years further down the road and, last month, Uriah Heep unleashed their latest opus Living the Dream onto the world. It is amazing to think that it is the band's twenty fouth studio album - which just shows how prolific the band have been at various points throughout their career considering they had a ten year hiatus of releasing anything new between 1998 and 2008! Living the Dream is a hard-hitting album, and instantly makes more of an impact than Outsider. This time around the band elected to work with producer Jay Ruston, who is more known for working with heavier bands such as Anthrax and Stone Sour, who was probably responsible for this album having more weight behind it. Despite this slightly heavier feel at times, Living the Dream is classic Uriah Heep through and through - being packed full of wah-drenched guitar riffs, Lanzon's growling Hammond organ, and the soaring harmony vocals that the band have become known for during their near-fifty year career.

While Box and Lanzon form the band's main songwriting partnership these days, Living the Dream opens with the first Uriah Heep song to have been written by Rimmer. In collaboration with journeyman singer Jeff Scott Soto (Yngwie Malmsteen's Rising Force; Talisman; Axel Rudi Pell; W.E.T.; Sons of Apollo) who wrote the song's lyrics, Rimmer has created a future Uriah Heep classic and shows that he has gained a great understanding of the band's signature style despite his short tenure. Grazed by Heaven is the song, and it kicks off the album in fine fashion - summing up the hard-hitting nature of the disc. A massive organ riff from Lanzon drives the piece, while Shaw showcases why he is the band's longest-serving frontman. The man's voice has not aged a jot, and his powerful - yet melodic - delivery instantly draws in the listener. The modern Uriah Heep sound also owes a lot to drummer Gilbrook, who's style is much heavier than any of the band's previous drummers. This song would not hit quite as hard without him sitting behind the kit, and Gilbrook is one of the reasons I think Uriah Heep sound as fresh as they do in the 21st Century. Everything that is great about Uriah Heep can be found in this song, from the huge chorus filled with harmony vocals to a dynamic instrumental section that sees Box and Lanzon trading solos like the old hands they are. The album's title track follows on from the lead single, and slows things down to a more mid-paced grind which sees Shaw's vocals take on a slightly haunting quality during the sparse verses, before exploding into his usual expressive style during the majestic choruses. Box's simple guitar riffs here create a slightly sinister feel, and this is mirrored by the keyboards that create a dense, atmospheric backing. The choruses are more uplifting however, with more of the harmony vocals the band are known for getting woven around a playful melody. While not as immediate or hard-hitting as the album's opening, this is a song that creeps into your consciousness over time and makes a gradual impact. Take Away My Soul is another more in-your-face piece that opens with the jaunty chorus that is masterfully delivered by Shaw. While David Byron is the most well-known Uriah Heep frontman, I really think that Shaw is my favourite. His vocals are packed with a lot of feeling, and he can still hit some pretty impressive high notes despite having a slightly tougher edge to his delivery. It is this edge that really helps the band to have such a powerful sound, and his vocals mix perfectly with Lanzon's retro keyboard sounds for an all-encompassing sound. Speaking of Lanzon, he lays down an excellent organ solo in this song which really turns the clock back to the 1970s.

The energy does not let up during Knocking at My Door, which marries the band's heaviness and sense of melody perfectly. Gilbrook's drums really propel the piece forward, with his heavy snare hits really jumping out of the speakers, while Box lays down a muscular guitar rhythm that compliments well. That being said, this is not an all-out hard rock attack as at times the song shrinks down to something more low-key that showcases some really melodic bass playing from Rimmer. The chorus is a classic modern Uriah Heep moment, although the vocal harmonies are not as present as they are usually. They are used to create a different effect to usual, but still really fill the song out. Rocks in the Road is an eight minute-plus piece that, for me, is one of the album's highlights. Box and Lanzon team up to provide a melodic main riff which leads into a Hammond-drenched verse that sounds like something the band would have written in the 1970s. While Uriah Heep's modern sound is not that different to their classic sound, for some reason this just sounds more old-school than much of the album. That being said, the piece is still full of the band's modern heaviness with Gilbrook often laying into his twin bass drums to up the ante and really drive the piece forward. I think the reason this song reminds me more of the band's earlier days is the more progressive feeling that this song has. Early Uriah Heep certainly dabbled in progressive rock, and this is something that has largely been absent from their more recent work. This is a multi-phase piece however, with lots of distinct sections that all come together to form a more cohesive whole. The instrumental prowess here is on show in full force, with a lengthy instrumental section that is filled with wonderful Eastern-tinged organ playing from Lanzon, that is underpinned by some fabulous bass playing. This soon morphs into a guitar solo from Box that is filled with the wah-drenched licks that Uriah Heep fans have come to expect from him. I do not think the band have been this overtly-progressive since 1972's The Magician's Birthday, and it is great to see them spreading their wings a little more here. Fittingly, the album's most simple piece Waters Flowin' follows on from the album's most complex piece. Waters Flowin' is a more acoustically-driven piece that feels a little like a spiritual sequel to the band's classic track The Wizard. Box's clean guitars form a wall-of-sound of sparse sounds, while Lanzon opts for a piano over his trusty Hammond (although the Hammond does also make an appearance as the song builds up). The real highlight of the song however is the chorus, which is a feast of folky melodies that allows Shaw to show his gentler side a little more. It's All Been Said is also a little different from the norm. Despite an intro that sounds like classic Uriah Heep with rumbling organs and muscular guitars, the song soon drops away into a gentle verse with gorgeous piano melodies and Shaw's more fragile vocals. This is a song that really enjoys the balancing of light and shade, as at times the song explodes with classic rock bravado only for it to slide back into something altogether more gentle.

Goodbye to Innocence is a great upbeat rocker and sees a rare writing credit for Shaw. Since joining the band Shaw has only had a hand in writing a small handful of the band's songs, so it is great to see him contributing once again here. Gilbrook's drumming gives the song a shuffle feel throughout, and this slight boogie created by the beat ensures the song has a great old-school feel. The energy never lets up throughout, and Shaw and Lanzon continuously share melodies, with the latter often filling in the gaps left by the former. This is an extremely uncomplicated piece, and feels a lot like the rockers that used to fill the band's albums in the 1970s. The chorus is catchy without ever becoming a world beater, and Box gets to show off with a short guitar solo that cuts through the mix in that screaming classic rock style. Falling Under Your Spell is another faster piece, but this one is packed full of great melodies from Box. He seems to want to take every opportunity to show off here, and that means nearly every gap between the song's main riffs and vocal lines is filled with great guitar playing. This works really well, and the slightly folky melodies that Box has chosen suit the upbeat mood of the song. Often Uriah Heep are more known for their keyboard work, be that Lanzon's playing now or Ken Hensley's genre-defining style from the 1970s, and sometimes I feel Box's work gets a little forgotten. This song stops that from being the case however, as he really shines. There is a fairly lengthy solo here too for him to really sink his teeth into and his phrasing showcases why I believe he should be held in much higher regard by rock fans. The album's final track, Dreams of Yesteryear, is a little more stripped back and has the feel of a ballad without ever feeling lightweight. The song moves along at more of a mid-pace, with a big guitar intro and Lanzon's keyboards providing a really strong atmosphere throughout. The real standout performer of this song for me however is Shaw, who's vocals really set the tone. This is a more reflective piece, and here he reigns in some of his more overt classic rock toughness to showcase a gentler, more thoughtful style. Songs like this always work well to close out rock albums for me, as they feel like a bit of a wind down after the barrage of heaviness that has come before. This song does that perfectly, and allows the album to gradually fade out which feels appropriate. Overall, Living the Dream is another really strong entry in the Uriah Heep discography and feels like a big step up from the rather lacklustre Outsider. For a band that has been together nearly fifty years it is a massive achievement to still sound this fresh and vital. I hope that Uriah Heep will be around for many years to come, and that there are more great albums left in the tank.

The album was released on 14th September 2018 via Frontiers Records. Below is the band's promotional video for Grazed by Heaven.

Mark Rowen's 'Radiance' - Album Review

For those who do not know, Mark Rowen is a Yorkshire-based progressive rock guitarist and songwriter who is probably best known for being the guitarist of the short-lived melodic/progressive rock band Breathing Space towards the end of the 2000s. Breathing Space was formed by Mostly Autumn keyboardist Iain Jennings to promote his 2005 solo album of the same name, and the band went on to produce two more well-received albums: 2007's Coming Up for Air and 2009's Below the Radar. Sadly Breathing Space are no more, but the albums they released are still played fairly regularly in my house. Coming Up for Air is a particular favourite, and while Jennings was certainly the main creative driver behind Breathing Space's sound and songwriting, a big part of what makes Coming Up for Air such an enjoyable listen is the tasteful guitar playing of Rowen. While the album certainly has progressive rock tendencies, Rowen's playing is fairly restrained and always for the song. The band were never quite the same after he left in between releases and I have wanted to hear some more of his playing ever since. Well now, more than ten years after Coming Up for Air's release, I finally can! Fans of his have known for a long time that Rowen has been working in a solo album, but work on it was slow and I often wondered whether the album would ever see the light of day! Sadly this is often case for those who do music as a hobby, but the fact that something was in the works was always at the back of my mind. It was great then to finally hold the CD in my hands when it arrived last month, after following it's progress from pretty much the start! I doubted very much that I would be disappointed by the contents of the CD, and I am glad to say that my thoughts were correct. Those who enjoyed Coming Up for Air back in 2007 are sure to love this, as the style is very similar. The mix of melodic and progressive rock that made that album so enjoyable returns here, but with probably a slightly heavier emphasis on the prog this time around. Many of the songs here are quite lengthy, and feature numerous moving parts, but all retain a strong sense of melody. Rowen has authored all of the album's eleven songs, and is joined throughout by a great cast of supporting musicians. Breathing Space fans will remember both bassist Paul Teasdale and drummer Barry Cassells, who both feature throughout the album. This core trio is joined by keyboardist Leigh Perkins and singer Lisa Box - both of whom were unknown to me prior to hearing this album and both impress throughout. Add to this solid band unit a selection of guests including Rob Cottingham (Touchstone; Cairo), Moray MacDonald (Crimson Sky; Godsticks; Ghost Community) and Guy Manning means that this album is a real feast for fans of melodic progressive rock.

The album opens with a short instrumental piece called Opening Move, which will introduce the un-initiated to Rowen's guitar style. The big melodic bends he throws in immediately grab hold, and Perkins adds to this strident opening with a retro synth solo. There is something atmospheric, yet powerful, about the piece and it really helps to set the tone. Things then transition into My Shadow Walks Alone, the first true song here, which is driven by a crunchy guitar rhythm and Cassells' punchy drumming. Much of the album is quite atmospheric, with subtle guitar leads and textures, but this song feels like more of a hard rock statement. The guitars are never quite this 'in-your-face' again, and Box instantly shows how strong a vocalist she is with an understated, yet smooth vocal performance. This is clearly Rowen's album, and I think Box appreciates this by never really attempting to steal his spotlight, but her musical vocals really add to the overall presentation. As this is a guitarist's solo album however, there are unsurprisingly lots of little instrumental flourishes here and there. Leads cut through the mix every so often, and a melodic solo sees the man himself really shining. Following on is Feel Like Letting Go, which is driven by a big organ riff from MacDonald and some loose bluesy playing from Rowen. He co-wrote the song with fellow York-based musician Jimi Anderson who fronts his own AOR act. Unsurprisingly, the song has a bit of an overly melodic rock feel with a soaring stadium-filling chorus which sees Box really come into her own with a dynamic performance. Interestingly, Anderson recorded his own version of the song on his debut album Longtime Comin' which was released last year. The two songs only really share the chorus, so it is really interesting to see how two individuals have taken something which they have clearly created together and then each turned it into their own distinct song. As a big AOR fan, this song really resonates with me. It is easily the most instantly memorable song on the album, and the chorus has barely left my head for the past month! While it probably is not the best representative of the sound of the overall album, it is a great piece of pop rock that will never fail to make me smile! Up next is a version of the Breathing Space oldie On the Blue Horizon which appeared on the Coming Up for Air album back in 2007. This is a stripped-back acoustic version which sees Rowen's subtle acoustic plucking and Box's smokey vocal take what was an expansive rock ballad and turn it into something that you can imagine being sung around a campfire. I really like the song, and this stripped back version is a lovely listen, but I am not sure there was a real need to re-record it. I do miss the bigger arrangements of the original, but crucially the song still works in this new format.

The Reason Why is a bit more upbeat, with a stabbing keyboard rhythm and a fluid, groovy bassline from Teasdale. Despite my comments earlier about this clearly being a guitarist's solo album, Rowen seems to take a bit more of a backseat here. I have listened to a lot of guitarist-led projects over the years, and have sat through some of Yngwie Malmsteen's more self-indulgent recent works where it seems the art of songwriting has long been forgotten, so it is refreshing to see that this album puts quality songwriting above showboating. That said, Rowen still knows when to let rip and explodes into a stunning guitar solo about two thirds of the way through which really showcases his signature style. Time to Leave is somewhat similar, with a jaunty keyboard riff that sounds somewhat Toto-esque, but with more prominent guitar work. The keyboards dominate, but the slightly off-kilter guitar playing really adds to the overall sound. This is another song that really pushes the vocal melodies to the fore, with another infectious chorus. While I do not think that Box is the most diverse of vocalists, she really knows how to create an earworm! There is something instantly likeable about her vocals, and this bouncy chorus is a moment where she really shines. Up next is Lure of the Siren, which easily sees the album at its most progressive. The piece is over 10 minutes long and goes through many movements, opening with a strange vocal loop that soon gives way to a fairly simple acoustic guitar line. Guest vocals here are provided by Donna Maria Bottomley, who's fragile shimmering voice tackles the first two verses; while Box takes over once again when the song ramps up with a meaty guitar riff and a heavier tone. The two often trade vocals throughout the song, and the two singers' styles really compliment each other - giving the song a swirling, haunting quality. Bottomley's voice reminds me a little of former Leaves' Eyes singer Liv Kristine's tones, and in fact some of the more atmospheric pieces of the song remind me a little of that band's sound. The big guitar and synth solos throughout make the piece into a real prog epic, packed with lots of ideas to justify the song's length. Despite this, the song belongs to the two singers in my opinion, who really make the song as good as it is with their stunning performances. Carousel is a more stripped-backed piece, filled with keyboard work by Cottingham. Touchstone fans will know that Cottingham has a great sense of melody in his keyboard and piano work, and that is no different here with the song being based on a relatively simple but instantly memorable piano backing. This is a great backdrop for Box's vocals, while the rhythm section provide a sombre beat. Again, there is not much in the way of prominent guitar work here, instead Rowen lets Cottingham's work shine. There is even a synth solo from Perkins instead of the guitar solo, making this piece a real keyboardist's dream!

Trick of the Light is another melodic feast with a chorus to die for and a great guitar crunch that really drives everything. While this is not a 'heavy' rock album by any means, the occasions that Rowen does break into a somewhat tougher rhythm stand out as a result. It works really well to add some dynamics to the album, which is largely atmospheric in tone, and that really helps to keep things feeling diverse. Radiance is a fairly long album, at over an hour in length, so these subtle changes in tone really help it from getting stale. For me, this song is all about the chorus, with the gorgeous guitar melodies really bringing the best out of Box's vocals. Love is Like a Rock is probably the most truly guitar-driven piece here, with a tough bluesy riff that dominates the song. Despite there being quite a lot of guitar solos throughout the album, this is probably the song that really sees Rowen cutting the loose the most. There is a fairly lengthy instrumental break here that starts off with some tough lone guitar riffing that reminds a little of something you might hear on an early Led Zeppelin piece. This then transitions into a bluesy solo, before turning into something altogether more progressive with Perkins' keyboards joining the mix to allow the two of them to create a sonic tapestry of intricate melodies and soundscapes. As I said previously, this is an album characterised by tight songwriting - so it is nice to see Rowen letting his hair down a little here with an explosive burst of pure inspiration! The album comes to a close with the fairly understated Shine, which features some spoken extracts of W. Somerset Maugham's The Razor's Edge. With all of the big songs having already been and gone, Shine feels like a lovely little cool down piece with simple piano melodies, some last guitar flourishes, and Box's emotionally-charged vocal delivery. In some respects this feels more like an old Breathing Space piece, as the soaring, lengthy guitar solo really sounds like something that would have been found on Coming Up for Air. Fittingly, it is this guitar solo that closes out the album. While Box often feels like the focal point with her excellent vocal contributions, Rowen stamps his ownership on the album and the eleven songs here with this last guitar assault. The melodies pour out of the speakers with ease, and it brings the album to a soaring close. Overall, Radiance is a fantastic debut release from Rowen, who's hard work has more than paid off. Self-released efforts rarely sound this polished and the cast of supporting musicians have really helped him to realise his dream. Hopefully this will not be the last we see of him!

The self-released album was released on 1st September 2018. Below is Rowen's official promotional soundclip for Trick of the Light.