Music of 2019 - Part 1

As another year draws to a close, it is time for music blogs the world over to start running down their Albums of the Year. Many have already posted theirs, but I always like to wait until the very last minute to publish mine. Picking Albums of the Year is always extremely difficult, and this year has been no different. I think that 2019 has been one of the strongest years for new music for a while. The previous years have always been strong, but this year has been something else. My Albums of the Year list, which I will publish tomorrow, contains four albums that all could be my favourite - with the remaining six coming from a pool of tens of possible candidates. Albums have continued to impress me over and over this year, and I am happy that many bands, old and new, are still taking the time to craft excellent new albums in a time that some (wrongly) say that the album as a format is dead. I hope bands will continue to push the album formula further, and there are plenty of new releases already to look forward to in 2020 - a new decade! As always however, there were plenty of albums that I never got a chance to review. This blog is a part-time venture, run for my own enjoyment against the backdrop of a full-time job and, at the moment, a part-time Masters which will certainly dominate the first three months of 2020 while I finish off my dissertation. I will continue to blog when I get the chance, and I will certainly need the occasional break from my studies, but it might be that some of January and February's new albums that I would have otherwise reviewed will drop off the schedule. It is for reasons like this that a few years ago I started doing this preview to my Albums of the Year post to include five mini reviews of albums that I missed out on during the year. There are many reasons for missing out on albums. Some of these I did not get around to picking up until quite a time after their release, and some are ones I only really came to appreciate later on. I am always happy to have the chance to give some additional releases a shout out, as there are plenty more excellent albums out there that I just have not had time to cover!

Up first is an album that, if I had picked it up earlier and reviewed it properly, could have appeared in my Albums of the Year list. Daytrip to Narnia is the third album by British pop rockers Cats in Space, a band I have been aware of for a while but only got into this summer. In my opinion, this is the band's best work yet. It mixes the band's penchant for poppy throwback glam hooks with the occasional burst of progressive songwriting - creating a quirky sound that is both familiar and also fresh. Fans of bands like Queen, Supertramp, and ELO will love Cats in Space, but they are not merely a throwback. There is a real freshness and energy in the band's sound, with the multi-part closing suite The Story of Johnny Rocket really showcasing the extent to which the band is willing to push their sound. Each song has a soaring chorus, the keyboards sound wonderfully vintage, and with great guitar playing throughout from Greg Hart and Dean Howard Daytrip to Narnia is an album that only gets better with each listen. It was also the band's last effort with original frontman Paul Manzi, who left the band earlier in the year. I am looking forward to seeing where the band go next with new singer Mark Pascall.

The second album to feature here is one that suffered from coming out very early in the year, when album prices seem to shoot up everywhere thanks to HMV's threatened closure. Even Amazon really jacked their prices up, so a few albums from January and February got left behind. Inglorious' third album Ride to Nowhere was one of them, but I also was put off picking it up due to the behaviour of frontman Nathan James who lost basically his whole band not long before the album's release and then spent his time filming quite vitriolic videos to spread over social media. This was all rather poor I thought, but I am glad I picked up the album eventually as it is actually rather strong. It sees James and co. pushing their throwback hard rock sound to new heights, with a heavier vibe featured throughout and songs that include a few extra twists and turns. Tracks like Liar showcase the band's new heavy strut, while the beautiful Glory Days shows how an all-acoustic ballad can fit on a hard rock album and not stick out like a sore thumb. In my opinion, Ride to Nowhere is the album were Inglorious came of age, it is just a shame it had to be surrounded by behaviour that did not demonstrate this maturity at all. With a new line-up assembled, I am looking forward to seeing where the band go from here.

The next album is one that I would never have reviewed here properly, because to keep things manageable I do not cover compilation albums, live albums, or collections of re-recordings. I covered Whitesnake's The Purple Album in this mini format in 2015, so it only seems right to include Marillion's excellent With Friends from the Orchestra here too. The album was the accompaniment to their UK tour which saw the band take a string section on the road with them, and featured nine songs from their back catalogue re-worked and re-recorded to feature the classical musicians. Their acoustic album Less is More was very divisive, but this one seems to have been much better received, with fans appreciating the lush arrangements and depth that the strings add to the songs. It helps that many of the band's most epic, fan-favourite pieces have been included here - with This Strange Engine particularly standing out with its new coat of paint. It is certainly not an essential addition to every Marillion fan's collection, but it is a great memento of a fabulous tour and a nice collection of some of the band's best long-form pieces. Marillion are possibly the most-popular that they have been for years again at this point and, with a new album touted for 2020, it is an exciting time to be a fan.

Doom metal has never really been my thing, but earlier this year I picked up the new album from Finland's Swallow the Sun in anticipation of their set at Bloodstock Open Air. The heavy, oppressive, yet beautiful When a Shadow Is Forced into the Light took me by surprise, and it has been an album that over the year I have listened to a fair bit unexpectedly. I still feel that there is a lot for me to discover in the album, but I feel that Swallow the Sun are a band that I could potentially get quite into over the coming years. The band are masters at creating dense soundscapes, with layers of keyboards and oppressive guitars making up the heavy textures - while their secret weapon Mikko Kotamäki sings atop them. I usually find doom to one-paced, but Swallow the Sun have a lot of progressive tendencies in their writing, with lengthy, varied songs making up the eight-track album. Kotamäki is different from your average doom vocalist too, mixing gorgeous floaty cleans with the occasional black metal-esque rasp when things get really heavy. It is his vocals that have really helped me to get into Swallow the Sun, and I look forward to picking up some more of their albums going forward.

Another album I picked up in anticipation of Bloodstock, The Wildhearts' Renaissance Men was something of a hit from the off. I have been a casual fan of the band for some time now, but I have listened to this album a fair bit this year, impressed by its raw punk energy and classic rock strut. The Wildhearts are a band that mix a lot of sounds into their music, but this one feels like one of their most instantly-accessible collections of songs, with lots of big anthemic choruses that take hold after only a couple of listens. That being said, there is still the band's trademark variation and schizophrenic attitude to be found throughout. Opening track Dislocated has something of a crusty extreme metal overtone in places, while the following number Let 'Em Go is possibly the band's catchiest track for years. It is an album that squeezes an awful lot into its 38 minute runtime, and one that shows that main man Ginger has lost none of this venom, anger, or knack for a strong melody in the ten years since the band's last album.

Those are five additional albums from 2019 that you should all check out if you have not already, and they are all albums that I wish I had reviewed properly (with the exception of Marillion due to my self-imposed rules). I picked them all up too late to justify reviewing them, as I do not like to post new reviews several months after the albums have dropped! It has also become tradition during this round up the year to briefly talk about my favourite live release of the year. I do not cover live albums here, but I always like to highlight my favourite - and that accolade this year belongs to Toto's 40 Tours Around the Sun. Featuring a lengthy, career-spanning setlist that would have left the casual fan who turned up just to hear Africa and Hold the Line (the latter of which was thrown to the crowd very early in the set) choking in the dust, 40 Tours Around the Sun showcases Toto at their very best. Jazzy, proggy, poppy, you name it and Toto can do it - and all sides of the band are showcased here. The jazzy instrumental workout that closes out Rosanna is draw-dropping, with Steve Lukather showcasing his guitar talents, while an extract from the Dune soundtrack showcases some great 1980s-style synth playing and the band's progressive credentials. The band's whole career was showcased throughout this current tour, with the band's four core members backed up by a host of excellent session players. Toto have released a lot of excellent live albums over the years, but this one might be their best yet - and with the band having entered into a second hiatus period following the end of the latest leg of tour in October this is the closest thing you will get to a Toto show for a good while!

With my additional musical coverage of the year wrapped up, all that is left to do now is write up my Albums and Gigs of the year lists which will come tomorrow. I wish send out a thank you to anyone who has read, shared, or liked one of my reviews over the year. Reading figures have been up quite a bit compared to average this year, and it feels good that there are at least a few people out there reading what I have to say. There is a lot to come in 2020, studying aside, and I hope you will all continue to follow new music with me. As for 2020, I already have albums from Demons & Wizards, Delain, and Sylosis to look forward - as well as albums from Conception and NeonFly that I pre-ordered a long time ago which should be released sometime during the year. I have no doubts that 2020 will be another excellent year for music and concerts - and it will all be covered here at WhoIsSamLewis.

Tygers of Pan Tang's 'Ritual' - Album Review

While the New Wave of British Heavy Metal (NWOBHM) sound never truly died, it is fair to say that the original 'era' of the genre was well and truly over by about 1985. Many bands had burnt brightly and fast, with only a handful reaching mainstream success, and the history books marked most down as 'also rans'. Many of the bands from the NWOBHM era have become cult favourites over the years, and the past couple of years in particular has seen many of these bands releasing material to rival their classic albums of the 1980s. Last year saw Saxon (one of the genre's big-hitters) and Judas Priest (not truly a NWOBHM band but they grew in stature with the genre's rise) releasing some of their best late-career albums yet, and this year has seen excellent new releases from Diamond Head and Angel Witch - as well as a rare UK tour from Heavy Pettin. Not wanting to miss out on this particular glut of NWOBHM-related activity of late, Whitley Bay's Tygers of Pan Tang recently threw their hat into the ring with the release of their twelfth studio album Ritual. In truth, a new Tygers of Pan Tang should not come as a shock as the five-piece have been releasing new albums every few years since reforming in 1999. While I am not sure that anything the band has put out recently is quite as good as their original run of classic albums, the new Tygers of Pan Tang releases have all been solid slabs of classic-sounding heavy metal and have been consistently enjoyable. Only guitarist Robb Weir remains from the band's original line-ups, but he has been leading various incarnations of Tygers of Pan Tang successfully since the 1999 reunion - with six albums having now been released in that twenty year period. The latest of which, Ritual, is the subject of this piece and it follows hot on the heels of the band's 2016 self-titled album (which I reviewed here). For my money, the best of the recent Tygers of Pan Tang albums is 2012's Ambush, but Tygers of Pan Tang is also very strong. Boosted by the arrival of guitarist Micky Crystal, Tygers of Pan Tang felt more metallic than its predecessor - and that vibe has been carried forward into Ritual. In fact, Ritual sounds extremely similar to Tygers of Pan Tang - which is unsurprising considering the same five people wrote and recorded both albums. Weir and Crystal are once again joined by frontman Jacopo Meille, bassist Gavin Gray, and drummer Craig Ellis. Ellis will be celebrating his twentieth anniversary with the band next year, and Meille has been fronting the band since 2004. Much of this current incarnation of Tygers of Pan Tang has been present for a good number of years now, but interestingly this is the first studio album since 1981's Crazy Nights to feature the same band line-up as its predecessor.

Much of this album is on the slightly faster-paced end of the spectrum, with the opening track Worlds Apart exemplifying this. McCrystal's opening riff would have sat perfectly on one of the band's classic 1980s releases, and it persists through most of the song - driving the uptempo verses, only laying off for the choruses. The song in general is quite old-school sounding, and it is clear to see from the track how Tygers of Pan Tang went on to influence the thrash scene. The NWOBHM certainly had a certain aggression that did not exist in 1970s classic rock and early metal. Those razor-edges found in the genre are present here, and it is only the modern production that stops the track sounding like a long-lost Tygers anthem. Weir mostly sticks to the rhythm guitars throughout, with McCrystal taking on the lion's share of the solos. His solo here is a shredded effort that is packed full of flashy runs - something that occurs often throughout the album. Destiny opens with the sound of a car revving and a distant rendition of the song's chorus, before the song explodes into a fuller version of the chorus. A mid-paced, crunching verse soon takes over, with Weir and McCrystal teaming up for the powerful rhythms while Gray's bass booms out of the speakers. If the album's opening number showcased the band's faster-paced style, then Destiny showcases a more anthemic and stadium-worthy side. Many forget that Def Leppard started out as part of the NWOBHM movement, and this is a track that could have appeared on one of their early releases. Tygers of Pan Tang have always had a knack for a strong melody, and this song showcases this talent with a strong chorus and an anthemic strut throughout. Rescue Me slows the pace down a little more, introducing a strong, heavy groove from the off with what sounds like a bit of talkbox in the background to bulk the song out. Tygers of Pan Tang are a melodic band but sometimes, especially recently, the band like to showcase their tougher side. They had heavy moments in the 1980s, but this side of the band has certainly been expanded upon in recent years - with Ellis' hard-hitting drumming certainly helping the band to explore heavier waters. This is one of Weir's contributions to the album, and it is his big riff that drives everything. With Gray also receiving a co-write, it is clear that the big grooves found throughout the track are down to him - with his bass really bulking out the muscular tune before McCrystal launches into a more controlled solo. Raise Some Hell ups the pace again, and takes the listener back to the album's opening moments with a razor sharp riff and some shredded leads impressing before Meille takes over for the verses. It is a song that never lets up energy-wise throughout, with gang vocals driving the simple chorus and Ellis constantly laying into his kit. It is the only song on the album that see both guitarists solo, with McCrystal taking the shredded first effort, before Weir launches into a more retro-sounding solo with big bends and more of a heavy blues overtone. The two styles work well together, and showcases what both guitarists bring to the band.

Spoils of War opens out in a much more atmospheric way with some dense keyboards before a 1987-era Whitesnake-esque riff kicks in. This feeling is short lived however, as the song soon morphs into a mid-paced chug with simple power chord rhythms from the band's guitarists while Meille croons atop them. He is probably the most diverse singer that the band has ever had. While the two singers the band had throughout the 1980s were great, and perfect for the band at the time, Meille has been a Tyger for a long time now and has done a great job on all of the albums he has been a part of so far. He has quite a range, so can hit some impressive high notes when he needs to, but also has the depth for the heavier and chuggier songs. He sings this track with real power, fitting in perfectly with the overall more-weighty tone. The highlight of the song however is arguably McCrystal's guitar solo, which is slower than his usual style to fit in with the creeping nature of the track. White Lines is the album's lead single, so unsurprisingly the track is pacier with another driving riff and plenty of strong vocals from Meille. Lots of tracks throughout the album are based around strong melodies, and the chorus here is another example of this. This is the sort of track the band has been releasing as a single for the past few albums, and I imagine the track is going to become a live staple going forward. It is a great slab of old-school sounding NWOBHM with some cutting riffing, plenty of driving rhythms, and a powerful chorus. Words Cut Like Knives slows everything down and opens up with some gentle clean guitar melodies. It is something of ballad and, while the song does build up somewhat as it moves along, it never truly moves away from these slower moods. Slower tracks have never particularly been the band's forte in my opinion, but this one is probably the best that they have written for some time. McCrystal's gentle guitar build up sets the mood perfectly, and even when the song becomes much heavier you never feel that a return to this more melancholic vibe is too far away. The solo fits in perfectly too, starting off slowly before exploding into the final reprise of the chorus. Damn You! is heavier, and ups the pace. It is another of Weir's main contributions to the album, and it is clear that he is the main 'metal' writer in the band. His song are always some of the band's heaviest, with some of the toughest riffing and most powerful beats on the album. He also has the ear for a catchy melody too, so there chorus here is simple but powerful. Subtle gang vocals are used throughout the chorus for effect, before his bluesy solo takes the song to the next level. The song is not exactly big or clever, but it is plenty of fun and a great example of the modern Tygers of Pan Tang sound.

Love Will Find a Way is more a mid-paced track, with a strong crunch and a catchy chorus that is possibly one of the album's best. Again, this is not a track that is particularly clever but it is another example of the modern Tygers of Pan Tang doing what they do best. Weir and McCrystal team up again for the song's powerful crunch, although it is actually the riffing during the chorus that impresses me the most. The riff has such a great groove to it and it really helps to bring the chorus to life. It is extremely repetitive lyrically, but the riff and Meille's excellent vocal delivery really make it stand out. It has a real anthemic quality to it, and I imagine it is one that will go over well live if the band choose to play it live. Art of Noise is heavier, so unsurprisingly it is another Weir composition. His riffing drives everything, although it is perhaps Gray's bass that dominates the most. The way the album has been produced often allows his bass to really shine - which is great to see. Great metal often needs great bass to bulk it out, and Gray has become a key member of the band over the past few years. His playing has really allowed the band to become heavier again, and he demonstrates why this is the case throughout the track. Weir also takes the solo here, but it is a very strange one that is different from his usual bluesy style. It has lots of odd effects on it, giving the instrumental section a bit of an experimental vibe. It works somewhat, although it does stick out like a sore thumb as it is so different to anything else on the album - or indeed in the band's catalogue. Sail On is the album's closing track, and it is also the longest song here. The opening guitar lead is quite folky, and it gives the song's opening the sound of a shanty - which is fitting considering the song's title. It is not exactly a progressive track, and progressive is never something that Tygers of Pan Tang have been in any case, but there is certainly a bit more going on here than during the band's average track. Meille does a great job throughout the track, and nails the strutting chorus - while the guitarists manage to conjure up a number of different moods ranging from heavy, folky, and more melancholic. Lots of vibes seem to come together here, and that is why the song manages to fill its longer run time. It is certainly one of the most involved pieces here, but it is also that that makes it one of the album's strongest moments. From fast to slow, this song has it all and it is capped off by a couple of excellent solos from McCrystal - one of which seems to include some rather bluesy slide playing. It is a song that shows off many sides of the band, and it ends the album on a real high. Overall, Ritual is another strong modern offering from Tygers of Pan Tang that picks up where the previous album left off. It is not a world class collection of tracks, but anyone who enjoys strong old-school metal riffing and punchy choruses will find plenty of strong songs here.

The album was released on 22nd November 2019 via Mighty Music/Target. Below is the band's promotional video for White Lines.

Grand Slam's 'Hit the Ground' - Album Review

Grand Slam are one of those interesting small chunks of rock history. After Thin Lizzy came to an end in 1983, vocalist, bassist, and songwriter Phil Lynott put together a new band in an effort to move on from the demise of Thin Lizzy and his own demons. By this point, the Irish musician was heavily dependant on drugs - the use of which was probably part of the reason Thin Lizzy came to a rather abrupt end. The band in general were in a bit of a sorry state by the turn of the decade and, despite a strong closing statement in 1983's Thunder and Lightning, it was probably for the best for all concerned that the band was laid to rest before any true damage to their reputation could be done. Alongside the last few years of Thin Lizzy, Lynott had been undertaking a fairly low-key solo career which resulted in the Solo in Soho and The Philip Lynott Album albums in 1980 and 1982 respectively. It was during a 1983 solo tour, not long before the breakup of Thin Lizzy, that the idea for Lynott's new band was formed - and a year later Grand Slam was born. Formed around the songwriting triumvirate of Lynott, guitarist Laurence Archer (Stampede; UFO), and keyboardist Mark Stanway (Magnum) Grand Slam started to write new material and toured fairly heavily throughout 1984. The band, and the new material, was well-received by the rock world - but Grand Slam failed to really attract any genuine interest from record companies. It is rumoured that Lynott's heavy drug use put many labels off, despite the band's popularity, and following a year of touring the band came to an end at the beginning of 1985. A year later, Lynott died aged 36 so any hope of Grand Slam blossoming into something greater faded away. Over the years, both Archer and Stanway oversaw releases of various demo collections and live recordings of Grand Slam - but it seemed that neither had any real desire to relaunch the band without Lynott. That was so until 2016, when Archer and Stanway put together a new version of Grand Slam to play a handful of live shows. The shows were well-received, but nothing ever really came of that iteration of Grand Slam either. Fast forward three years however, and the first ever Grand Slam album has been unleashed into the world - 34 years after the band's original run came to an end. Now led exclusively by Archer, an all-new Grand Slam recorded Hit the Ground earlier in the year - mixing Grand Slam classics from the 1980s with newly-written songs by the current four-piece. Joining Archer in Grand Slam now is frontman Mike Dyer, bassist Dave Boyce (Samson; The Quireboys), and drummer Benji Reid (Praying Mantis) - with the four collaborating well on the hard-hitting new material and breathing new life into the old forgotten classics. Stanway contributes keyboards to some of Hit the Ground's songs, but is no longer part of the band - which is a shame to see considering he was one of the band's original driving forces.

Considering that half of the album was co-written with Lynott, it is perhaps surprising that the most Thin Lizzy-esque track here is one of the new efforts. Lead single Gone Are The Days kicks the album off with Archer's soaring dual guitar lead, a pure Lizzy homage, before Dyer starts singing the laid back verse. He has a strong voice, with enough soul to do Lynott's songs justice without ever sounding like he is imitating the late musician. He shines throughout this album, and seems to be the perfect voice to take Grand Slam forward - and he teams up perfectly with Archer, the two complimenting each other perfectly. Those who love mid-period Thin Lizzy will also love this track, with Dyer's storytelling vocal style really capturing the spirit of Jailbreak and Johnny the Fox, while Archer's laid back power chord riffing and bursts of lead add to the tale. While the song might sound a little too close to Thin Lizzy for some, especially considering the fact that Grand Slam was originally conceived to be different to Lynott's previous band, it is undeniably a strong lead-off track and those who love great lead guitar and soulful vocals should find plenty to enjoy. 19 is the first of five old tracks here, with Stanway's Hammond organ adding some depth and Archer's machine gun riffing creating weight. The old Grand Slam tracks here show that Lynott wanted to take his music in a slightly heavier direction, perhaps taking cues from the success of Thunder and Lightning, and 19 is a perfect example of this. Archer's guitar playing throughout is much riffier than any previous Thin Lizzy effort, with stuttering power chords appearing throughout and particularly bulking out the verses. The more prominent keyboards add a real depth too, with Stanway's use of the organ really giving the track a retro heaviness. There is a strong 1970s classic rock vibe here, but with plenty of grit and heaviness - with Dyer almost spitting out the repetitive choruses and Archer finding plenty of time to lay down some shredded solos. One of the new songs follows, and it is the album's title track. It follows on from the heaviness of the previous song, and uses the same chugging guitar riffing style throughout - after opening up with a distant-sounding vocal and guitar intro. A few Lizzy-esque guitar harmonies surface throughout, but they are much more in the background and used more sparingly here. Their occasional bursting through the mix is really effective, and they do not dominate as they do during the opening track. I prefer this use of the technique actually, as it helps Grand Slam to retain its tougher approach to hard rock, and stops the overt comparisons to Thin Lizzy. Despite the weight, there is still plenty of melody to be found here, with a strong chorus that brings out the best of Dyer's soulful vocals.

Military Man is an old Grand Slam classic, a version of which Lynott actually sung on Gary Moore's 1985 Run for Cover album not long before his death. The song opens with a marching drum beat before a bass-led riff kicks things off proper - with a staccato verse following. It is a great example of the direction that the original Grand Slam wanted to take, with heavy guitars and droning Hammond organ really dominating. The song has a great groove throughout, with the rhythm section really pulling their weight here. Boyce's bass drives the main rhythms, but Reid's drumming really helps to keep the song interesting. He rarely sticks to one beat for too long here, often breaking into swing-influenced fills that power through the mix and help to break up the heavy verses without sacrificing any of the song's power. While most of the song is fast-paced and heavy, there is a slow-paced mid section that starts out with some simple piano melodies before Archer launches into an emotionally-charged guitar solo that contrasts well against the toughness of the rest of the piece. Crazy keeps up with the pace of the previous track, but reigns in the overt heaviness somewhat with a simple chugging guitar pattern and a punchy drum beat. It is not one of my favourite tracks, but it has a great energy about it that keeps the album moving along nicely. There is a little bit of a punk spirit to be found in the song's simplicity, as it never really deviates far from its early template. The short, main guitar solo is the only real change of pace - with the song instead just existing to whip up a bit of mid-album old-fashioned hard rock energy. Dedication is another old song, a version of which was actually released as a posthumous Thin Lizzy song with overdubbed guitar and drum parts - which led to legal action between Thin Lizzy and Archer. The Thin Lizzy version had a bit of an upbeat disco vibe, but I imagine this version is more in line with how Lynott and Archer originally wrote the piece back in the 1980s. It is much heavier, and a little slower - with strong emphasis placed on Archer's muscular riffing. The vocal melodies, while still catchy, do not grab hold as much as they did on the Thin Lizzy version however. Dyer does a great job still, but I think the way this version has been put together is to emphasis the riffing rather than the melodies. I imagine this is how Lynott originally envisioned the song however, so it is nice to hear it in this state - with the new Grand Slam all pulling together to make the song work. Long Road is the album's only true ballad, and it sticks out somewhat due to its drastically-different style. The song is largely based around a folky acoustic guitar melody, with a subtle string arrangement adding colour throughout. It is not a bad song at all, but it sounds so different from the rest of the album that each time I listen to the album I am thrown a little bit. I do not know why really, as many albums include rare acoustic tracks, but for some reason this one just seems somewhat out of place. Dyer is the star of the show here however, with his soulful vocals really suiting the stripped-back nature of the song.

Of the three songs left by this point, two are Grand Slam classics. The first up, Sisters of Mercy, is the longest track here and easily the band's more epic composition. It opens slowly, with Stanway's piano and some bluesy guitar licks - before Dyer starts crooning over everything. It is a song that builds up very slowly, with Reid occasionally adding some percussion early on - before the whole band kicks in after the first chorus, with some folky guitar harmonies and plenty of heavy rhythms. There is certainly something of Thin Lizzy's Black Rose era here, with heavy folk melodies and tough rhythms really driving everything. When the song ramps up, it never really slows down again and instead keeps powering along with a strong mid-paced beat and plenty of thick bass and keyboards to deepen the sound. The vocal melodies throughout are very memorable, with Dyer doing a great job, but Archer also gets a chance to show off with a melodic, emotional guitar solo that is different from many of the fast-paced efforts found throughout the album. It is easily one of the album's best tracks, and it is a crime that a proper version of the track was never recorded with the original band. Sisters of Mercy is a hard song to follow, and as a result Crime Rate falls a little flat. It is not a bad song, before after the tour-de-force of the previous number the laid back track with slight jazzy overtones feels a little weak by comparison. I like the different approach that the song takes, with Stanway's keyboards placed front and centre, with some jazzy piano melodies throughout as well as some weighty Hammond during the song's heavier chorus. The chorus is typical Grand Slam, but it is the verses where the song differs, with the aforementioned jazz influences dominating as well as Boyce's walking bassline. It is an interesting song, and one that shows how Lynott was experimenting with his songwriting in Grand Slam - but in my opinion it should have come before Sisters of Mercy - as it sounds a bit limp in comparison despite all of the interesting musical ideas found within. The album comes to a close with the self-titled instrumental piece, that is mostly just a showcase for Archer. I am not convinced that it really adds much to the album, and to me it seems like a strange way to close things out - as it is a fairly mid-paced piece without any of the blistering guitar work that you might expect. In my view Sisters of Mercy should have closed out the album, with Crime Rate and maybe a condensed version of this track appearing earlier in the tracklist. As things stand, the album seems to somewhat peter out, which is a shame after so many strong tracks appearing early on. It does not ruin the experience, but in my view the overall experience could be improved by moving things around. Overall, Hit the Ground is a strong and long-overdue album from a band that never really got going originally. It is great to hear proper versions of the old classic Grand Slam songs after so many years, with many of the newly-written tracks also proving to be very enjoyable.

The album was released on 22nd November 2019 via Marshall Records. Below is the band's promotional video for Gone Are The Days.

Cyhra's 'No Halos in Hell' - Album Review

Two years ago, the Swedish heavy metal 'supergroup' Cyhra burst onto the scene with their debut album Letters to Myself (which I reviewed here). Formed principally by former members of Amaranthe and In Flames, Cyhra are a great example of European melodic metal. Amaranthe have became known for their poppy hooks over the past decade, whereas In Flames took the melodic death metal sound to new heights throughout the 1990s and early 2000s, before switching to a more alternative metal sound. In many ways, Cyhra is a perfect mix of Amaranthe's poppy, melodic sound and In Flames' tougher crunch - although leaning more heavily on the former. Letters to Myself perfectly encapsulated this meeting of minds - with the core songwriting duo of frontman Jake E and guitarist Jesper Strömblad churning out a number of memorable tracks filled with strong melodic riffs and hooky choruses. Cyhra might be too lightweight for many In Flames fans, but those who enjoy strong pop metal hooks and European power metal certainly found a lot to enjoy in Letters to Myself. Over the past couple of years, the band has been quite busy touring - supporting a number of other acts and throwing in a few headline shows along the way. These two years however has seen the band's line-up often fluctuate, which has certainly not helped Cyhra to present a consistent and united front to the fans. Original bassist Peter Iwers lasted precisely one show before bowing out of the band, and he has never been replaced - leaving Cyhra without a bassist. Strömblad, who has had a patchy history with substance abuse issues, lasted somewhat longer but has not been a part of the band's live line-up for sometime either. This is a shame, as he is one of the band's core members - but it does not seem that he is going to be returning to live duties any time soon. Even drummer Alex Landenburg has had to sit out of a few shows due to Kamelot-related commitments - leaving E and guitarist Euge Valovirta to really push forward with Cyhra. Valovirta joined the band not long after the release of Letters to Myself after performing many of the album's guitar solos as a session player - but he has become an integral member of Cyhra ever since. The band's second album No Halos in Hell was released last month, and it is clear from looking at the writing credits how important Valovirta has become to the band. The songwriting duo has essentially become a triumvirate, with many of the tracks put together by E, Strömblad, and Valovirta - or a combination of the three. Valovirta's involvement has lessened Strömblad's influence somewhat too, so there is a distinct lack of the big In Flames-esque guitar harmonies that were found on Letters to Myself - which is not necessarily a bad thing as No Halos in Hell sees Cyhra starting to really forge their own sound. This new album is poppier than the band's debut, but the songwriting throughout is largely very strong. Keyboards have been given a greater role here too, with numerous session players such as Elias Holmid (Disdain; Dragonland) and Jonah Weingarten (Pyramaze; Echoterra; We Are Sentinals), as well as Strömblad, contributing keyboard and piano work throughout.

Just as Letters to Myself kicked off with its lead single, No Halos in Hell opens up with Out of My Life - the album's video. The song is an instantly-memorable pop metal anthem that, while not quite hitting as hard as Karma did on the band's debut, gets the album underway in style. A slow guitar lead emerges from a wall of synths, before the song explodes with a tough rhythm and Landenburg's precise drumming. There is a certain crunch throughout the album, but No Halos in Hall is never truly 'heavy'. There is too much of a pop influence here for that, but the melodies throughout help to retain interest. There are plenty of soaring melodies throughout this opening track, with a sparse verse that pushes E's voice to the fore and an anthemic chorus. This is not an album that takes too many risks, so Out of My Life is fairly typical of what is to come - with catchy choruses and pulsing synths truly the order of the day. The album's title track is next, and a little bit of that old In Flames sound is showcased from the off with a tasty mid-paced guitar riff before everything is stripped back for a verse that pushes tinkling piano melodies and a fat bassline to the fore. Valovirta handles the album's bass duties, with his playing really tightening up the verses here before the chorus bulks up once again with E's voice soaring atop something of a mid-paced synth-led drone. Despite being a very poppy album, there are still occasional moments of shredding metal guitar - with Valovirta laying down a fast-paced solo towards the end before a final reprise of the chorus. Battle from Within is one of the album's highlights for me, and it is the first Cyhra track to be solely composed by E. As a result the arrangements are much simpler, but it really works well and it allows his vocals and melodies to really shine. It is only the choruses that really sound as full as the band's usual sound, with guitars and bass joining forces for a slightly gothic vibe - while occasional mournful leads add colour. The verses are quite different, with Landenburg's simple drumming keeping the song moving while swirling synths and dancing orchestrations form the main musical bulk. It is a very simple song, but everything comes together nicely to produce something very memorable. It contains one of E's best vocal performances to date in my opinion too, with a lot of emotion pouring from him throughout. I Am the One is a lot more up-tempo, and certainly more akin to the songs found on the band's debut. It is immediately much heavier with a rolling drum pattern and the dual guitar leads that have become a big part of Strömblad's style over the years. This is one of the most metallic pieces here, with plenty of tough riffing and punchy drumming - although the poppy melodies are still extremely prevalent, with a gang vocal-led chorus instantly sticking in the brain. It is nice to hear Strömblad's influence throughout the track. His time away from the live iteration of Cyhra has certainly seen his influence diminish somewhat, but this track is full of those In Flames-isms and it is all the better for it.

On the other hand, Bye Bye Forever is much poppier with dancey melodies, pulsing synths, and plenty of vocal effects that are more commonly heard on Top 40 tracks than your average metal album. The crunch is largely relegated to the bottom here, although a few guitar leads surface throughout to ground the track. Besides the synths, it is actually the bass that actually stands out the most here - with Valovirta's playing really driving the sparse, groovy verses and providing a strong backing for E's simple vocal melodies. It is a catchy tune, but for me it lacks the strong metal elements that make Cyhra interesting. It is the mix of light and shade that make the band tick, and for me this track has too much of the light and not enough of the shade. Dreams Gone Wrong gets the balance right however, with a slow intro that builds towards a mid-paced explosive guitar riff. The opening guitar lead is very memorable, as is the verse that it gives way to. The verses are some of the album's most muscular with some penetrating bass tones and tough guitar rhythms. Despite being heavier, the track sacrifices nothing on the melodic front however, with one of the album's best choruses and some great keyboard-led instrumental sections. The chorus melodies are extremely memorable, with E delivering a great performance throughout. Amaranthe are certainly missing his knack for a great melody, and it is tracks like this that really showcase his mix of pop hooks and metal riffing perfectly. Lost in Time is the album's ballad, and is a collaboration between E and Mark Mangold (Touch; Drive, She Said) - who also performs the piano throughout. I certainly was not expecting to see a Mangold co-write on this album, but as a big fan of Touch's only album and some of the tracks he co-wrote with Michael Bolton I was excited to hear his contribution to Cyhra. The result is a piano-led ballad that sees E deliver a truly soaring vocal performance while Mangold's piano and orchestrations swirl around him. The first time I heard the song I expected the rest of the band to crash in at some point, but they never do. I think that this is the right decision however, as it means that the song provides a great mid-album break and puts the emphasis on some excellent piano playing. E's vocal performance is another of his best too, and I would love to hear more collaborations between him and Mangold going forward. After some respite via the previous song Kings Tonight feels heavier and sees the band refreshed and rearing to go. It is one of the fasted-paced tracks here, with some excellent drumming throughout from Landenburg and some strong knotty guitar riffing. There is a bit more of a overblown power metal vibe here, with a kinetic energy throughout - recalling the songs Strömblad wrote with HammerFall. The chorus is pure power metal, with dramatic and soaring vocal melodies - before symphonic keyboards kick in for added weight. Even the guitar leads throughout recall those early HammerFall albums, allowing Strömblad a chance to write in a way that he has not for a while.

I Had Your Back is another weighty track, although more akin to the band's typical sound - leaving the power metal trappings behind. Despite this, it is still one of the heaviest tracks here. Landenburg is quick to launch into a double bass drum pattern throughout, with the guitar riffing often beefing itself up to suit the song's overall heaviness. It is another really good mix of light and shade, with E's melodies and moments of piano providing the light, with the shade coming from the two guitarists' riffing. It also contains one of the album's best solos in my opinion, although it is not the shred-fest that might be expected. It does speed up towards the end, but on the whole it is a controlled burst of melody from Valovirta that showcases all of his talents. Blood Brothers continues the heaviness, with some of the most in-your-face drumming of the album and some effective riffing. No Halos in Hell is an album that seems to get heavier as it moves along. Many of the first half of the album focuses on poppy melodies, with those that follow the ballad Lost in Time picking up the pace and showcasing the band's heavier side. It is an album that contains a bit of everything, and Blood Brothers is one of the tracks that the metalheads are more likely to enjoy. There is plenty of strong lead guitar work throughout, with shredded and more-controlled sections appearing throughout - with the poppy melodies on the whole taking a backseat. The chorus is still strong, but this feels like more of a guitarist's song than one for those who love a good pop melody. Hit Me continues the metal vibe of the album's second half with a strong melodic death metal riff and some fast-paced drumming. It is easily the album's heaviest moment, but it soon gives way to a much slower verse with dominant piano melodies and E's sultry vocals. It is a bit of a strange song, but all the elements seem to work well together. It is almost the most extreme example of the band's light and shade, with some of the heaviest moments of the album sitting side-by-side with some of the poppiest. It is almost as if the band were seeing how far they could push their formula with this track, and it all just about holds itself together. The album's closing track Man of Eternal Rain is a really strong one that seems to be taking a bit of everything from the album's other songs and throwing them all together into a blender. There is heaviness, there is melody, there is drama, and there is great guitar work. It all comes together nicely - with a big chorus providing to be the hook that everything is hung off. Gothenburg-esque riffing can be found throughout, upping the heaviness, while a shredded solo appears towards the end for that virtuosic touch. There is a lot of excellent guitar moments throughout the track, and it is another song that seems to be largely for guitarists' - despite a powerful chorus. It brings the album to a strong close, and showcases a bit of everything that makes Cyhra so interesting. Overall, No Halos in Hell is a really strong second album from the Swedish band that builds on their debut album and sees them really starting to formulate their own sound. I think that this album is slightly stronger overall than the first album, with some future melodic metal classics held within.

The album was released on 15th November 2019 via Nuclear Blast Records. Below is the band's promotional video for Out of My Life.

The Dark Element's 'Songs the Night Sings' - Album Review

Regular readers of my blog will know of my general distaste for Frontiers Records' numerous studio-based projects. The Italian label has done a lot of good over the years, both by promoting older rock and metal acts that other labels seem less interested in these days and by championing new talent - particularly in the AOR world. I own lots of Frontiers-released albums, and will probably acquire many more over the coming years, but a lot of their work seems to go into these 'fantasy match-ups' that seemingly randomly put members of different bands together in the studio to record an album - usually recording songs written by one of the label's handful of in-house songwriters. Most of them all sound the same - filled with mid-tier AOR tracks that would have been decent as b-sides to Survivor singles back in the mid-1980s, but lack the hooks to truly stand on their own. I really do not know why the label continues to put so much effort into these projects. I cannot imagine that many of them genuinely sell well, and it must take a lot of time and resources getting all these people together. The ends certainly do not justify the means (for me anyway), and it just seems like wish-fulfilment from Frontiers president Serafino Perugino. That is not to say however that none of these projects are worth the time. There are a few that I have enjoyed over the years, with W.E.T. and Revolution Saints both coming instantly to mind. The difference with these however is that both of these bands feature significant songwriting contributions from those involved and both have gone on to play live. While they might have been initially artificially been constructed by the label, they have gone on to have lives of their own - which elevates them above most of the other Frontiers projects. Another similar example is The Dark Element - a power/symphonic metal band put together by frontwoman Anette Olzon (Alyson Avenue; Nightwish) and guitarist Jari Liimatainen (Sonata Arctica; Altaria; Cain's Offering; Insomnium) in 2016. I think it was Frontiers that put the two together, but that is essentially where the label's involvement ended. No in-house songwriters were involved at all in the making of their self-titled 2017 debut album (which I reviewed here), with Liimatainen handling all of the songwriting and production duties throughout. He also performed all of the album's keyboards and arranged all of the orchestrations - meaning that The Dark Element felt like a bit of a continuation of his Cain's Offering project with a different singer. Fast forward two years, and the band's second album Songs the Night Sings has been released. Soundwise, this new album is extremely similar to the first one - taking a poppy approach to symphonic and power metal to make the most of Olzon's melodic voice. There are plenty of comparisons that can be drawn between the songs here and the singles that she was a part of with Nightwish, which makes the album an extremely pleasing listen. Bassist Jonas Kuhlberg (Paul Di'Anno; Cain's Offering; One Desire) returns from the band's debut album, but on drums this time is Rolf Pilve (Solution .45; Status Minor; Stratovarius).

Not Your Monster gets the album underway with a dancing symphonic intro, before a main riff kicks in that really harks back to Dark Passion Play-era Nightwish. The comparisons are unashamed, and possibly even more obvious than throughout the band's first album, but it is pulled off so well that it hardly seems to matter. In true symphonic metal style, the guitars mostly provide tough rhythms, while the synths and orchestrations provide the main melodies. This is the case throughout the track, with a grand orchestration driving the song - while the verses toughen up a little with the guitars taking on more of a prominent role. Olzon still sounds fantastic vocally, with her somewhat poppy vocal delivery perfect for these lighthearted symphonic metal tunes. A strong chorus is the song's focal point, which ups the heaviness and drama a little but never so much that it gets in the way of the vocal melodies. Not wishing to be outdone, there are plenty of instrumental moments to allow Liimatainen to shine, including a keyboard-led section that quietens everything down somewhat to allow a cute tinkling riff to cut through the mix. The album's title track follows, which builds up slowly from an atmospheric intro. At first it seems as if the song is going to be a bit darker, with the atmospherics giving this indication, but as soon as the main symphonic riff kicks in it is clear that this is going to be another poppy track. It is an extremely upbeat song, with lots of jaunty riffing and symphonics, as well as an anthemic chorus packed with slightly dancey beats and catchy melodies. It is common in symphonic metal for the verses to have a bit of a softer vibe, and that is the case here with the guitars dropping out and leaving Kuhlberg's bass to provide the main rhythm - while the orchestrations add some grandness. Speaking of Kuhlberg, he gets a chance to show off after the song's second chorus with a short bass solo that showcases his playing. Things like this are rare in symphonic metal, and it is a nice burst of progressive songwriting that sets the tone nicely for Liimatainen's controlled guitar solo. It is a catchy track that really makes the best of Olzon's vocal style, and has a chorus that is likely to stick with you for a long time. When It All Comes Down is somewhat heavier, with tougher guitar tones throughout and a much more gothic approach to atmosphere. The orchestrations and synths are much darker here, and the verses have a strong groove thanks to a stop-start guitar pattern and a kinetic Pilve drum beat. After two poppier tracks, it is nice to hear the band turning up the heaviness here - with a chorus that moves away from the anthemic melodies of the previous tracks, instead slowing everything down with droning guitar rhythms and dense atmospherics. Liimatainen has proved as a member of Insomnium that he can do heavier music well, and this track is a great example of it. His Eastern-tinged solo here is great too, and really adds to the song's overall mood.

Silence Between the Words is instantly more melodic, with a somewhat folky melody present during the song's intro and an upbeat verse that is based around a rather jaunty bassline. After the heavier previous track, this song feels much more lighthearted and whimsical as a result - with Olzon showcasing her poppy side perfectly. The heaviness is mostly all gone here, with the guitars mostly just providing a bit of a tough backing - with Liimatainen instead focusing on sparkly keyboards and 1980s-esque synths. It works really well, and I feel it is songs like this where The Dark Element truly shine. I like the heavier moments, but it is these more catchy offerings that bring the best out of everyone. Olzon is much stronger when singing this way, and I always really enjoy hearing all the different keyboard textures and orchestrations throughout. Pills On My Pillow is a little heavier, but the song still retains a strong melodic focus - despite pushing the heavier guitars to the fore. This is Olzon's first writing contribution to The Dark Element too, with her providing the lyrics - which is nice to see. The dancey beats that were present earlier in the album return here during the chorus, which help to provide a bit of a contrast between it and the rest of the track. A bit of everything that makes up The Dark Element's sound is present here, with heavy riffing, bass-led verses, and an upbeat groovy choruses all mixing well together to create a strong overall song. This song is probably one of the best overall representations of the band's sound so far - with a strong guitar solo coming towards the end to top everything off. To Whatever End is the albums first slower track. While Liimatainen plays most of the keyboards throughout, a couple of the songs here feature some piano from session player Jarkko Lahti. The song opens with his playing, while Liimatainen's orchestrations surround it. This forms a great backing for Olzon's melancholic vocals - who tackles the ballad with her usual class. This is not purely a piano ballad however, as the song does increase in scale as it moves along with Pilve's drums adding a slow, yet punchy, beat - and everyone joining in for the slightly weightier choruses. It never feels truly heavy however, just a little weightier which suits how the song emotionally builds up - with Olzon's vocal performance becoming more passionate as the song moves forward. The Pallbearer Walks Alone is heavier than much of the material here, as well as quite a bit faster. The opening riff is full of urgency and pace, with the keyboards backing it up nicely, while Pilve keeps the track going with his quick drumming. While the album sticks to a largely familiar template on the whole, there is still a fair amount of variation the be found within. I like the fact that this track is much more guitar-focused than much of the album, with Liimatainen showcasing some of his razor blade riffing style. He is a very underrated guitarist in my opinion, and it is great to have another album that really showcases his overall musicianship and songwriting abilities. Given the song's overall pace, it is unsurprising that the chorus is a little slower to build on the heaviness and also to give Olzon's voice space to shine.

Get Out of My Head reigns in the heaviness somewhat and ups the poppy melodies. Despite this, the track is not a simple pop song - and in fact manages to whip up quite a bit of an atmosphere during the sparser verses. Kuhlberg's bass once again dominates during the verses, with a mechanical vibe that, along with the synths, helps to create something of an overall dark sound. It is surprisingly effective, and whips up some gothic moods, before the song transitions into an explosive chorus that is full of poppy melodies and a strident Olzon vocal performance. This is another song that manages to cram a lot in, with a fairly lengthy instrumental section towards the end giving Liimatainen a chance to really show off. It starts off with some crazy synths, and then moves through a couple of strong riffs that really keep the song's overall groove going. It is a varied piece that again showcases the best of everyone involved, and shows that The Dark Element are more dynamic than they first appear. If I Had a Heart slows things down once again, and opens quietly with Olzon singing to a synth backing - but the track soon picks up the pace a little with a strong mid-paced guitar riff and rumbling bassline. Despite the strong guitar presence, the track never really feels heavy - instead pushing Olzon's voice to the fore with her melodies overpowering everything else. It works well, and the song in general is a great vehicle for her talents. The Dark Element on the whole is her and Liimatainen's baby, so it should not surprise anyone that her voice is often the main focal point of the songs. This track sees her channelling 1980s-era Ann Wilson somewhat, with a powerful delivery that take the dense backing and elevates it higher - while Liimatainen contributes a searing solo towards the end that includes a number of shredded runs. You Will Learn has a bit of a denser overall feeling, with dominant guitars and a bit of a deeper vocal performance. I enjoy these somewhat heavier deviation from the band, as they provide a change from the band's typical sound. The band do the pop metal thing extremely well, but a whole album of tracks like that would soon get a bit tiresome. These heavier tracks help to space the pop moments out however, and showcase the band doing something different. The synths and orchestrations here are largely in the background, providing a dense backing for the tougher guitars. There are heavier tracks here, but the prominent guitars just give this song a different vibe compared to many of the others. The riffing throughout this strong, and showcases Liimatainen's skill for conjuring up a number of different patterns. I Have to Go is the album's final song, and it closes things out on a low-key piano-led vibe. Lahti's piano dominates the track, while Olzon croons atop it with a somewhat jazzy drum pattern beneath. The song is a very different vibe for the band, as it never really ramps up - instead bringing the album to a delicate close. Liimatainen contributes some occasional bluesy guitar leads throughout, but mostly this a track about Olzon's gorgeous vocal performance and the overall atmosphere created by the piano and orchestrations. It is a bit of a strange end to the album, but it works well and fades things out nicely. Overall, Songs the Night Sings is another very enjoyable album from Olzon and Liimatainen that picks up where their debut left off. There are not really any properly new ideas introduced here, but a few tweaks that help to keep the band's sound interesting. Any fans of simple, poppy symphonic metal should find plenty to enjoy here.

The album was released on 8th November 2019 via Frontiers Records. Below is the band's promotional video for Not Your Monster.

Pretty Maids' 'Undress Your Madness' - Album Review

The Denmark-based hard rock act Pretty Maids are one of those bands that I have been a fan of for quite some time without ever really falling in love with. The band have released plenty of good albums over the years, all of which have largely stuck to the same formula. I have compared the band in the past to a less-heavy version of Saxon, with a greater emphasis on melodic songwriting and keyboards. The band never operate in full-on heavy metal territory, instead taking some of the edge found in 1980s metal and mix it with classic hard rock and the occasional AOR influence. The sound mix is one that is distinctly the band's own, with the melodic yet raspy vocals of frontman Ronnie Atkins holding everything together. Considering that the band have been around since 1981, and released their first album Red, Hot and Heavy in 1984, Pretty Maids have been extremely consistent throughout their career. While I have not heard anywhere near everything that the band has released over the years, I am yet to hear a truly weak Pretty Maids album. They are one of those bands that you know exactly what you are going to get, with each album sticking to established tropes with little real variation. Even the albums the band released throughout the 1990s, a decade famously not kind to many hard rock acts, are held in high regard by the band's die-hard fans. It was with a sense of familiarity then when I first listened to Undress Your Madness, the band's new sixteenth album, when it was released last month. I had been three years since the band's last album Kingmaker (which I reviewed here), so I was ready to hear something new from the Danish band. Kingmaker, due to the band recording the album without a full-time keyboard player, was certainly one of the band's heavier albums. The lack of prominent keyboards meant that guitarist Ken Hammer really drove everything leading to more a straight ahead 1980s heavy metal sound. With Chris Laney (Randy Piper's Animal) joining the band not long after Kingmaker's release however, the band were soon back up to their usual five-piece. Laney is more known for his behind-the-scenes role in the music business as a producer and songwriter, but he seems to have seamlessly slotted into the band - and has even co-written a couple of Undress Your Madness' songs. This new album is his first outing with the band, which is also the case for drummer Allan Sørensen (Royal Hunt; Cornerstone) who joined the band in 2017 replacing Allan Tschicaja. However, not long after recording Undress Your Madness, Sørensen left the band. Pretty Maids are currently without a full-time drummer, although Tschicaja stepped back into the fold earlier this year to fulfil some live commitments - but whether he returns to the band permanently remains to be seen. This album is also tinged in sadness, as not long before its release Atkins announced that he was undergoing treatment for lung cancer - so hopefully he can recover from that and get back to doing what he does best.

The album opens up with a short, keyboard-heavy intro that is typical of the genre. Intros like this do help to set the scene, but they are often interchangeable with one another. While the keyboards are somewhat more prominent there than they were on Kingmaker, Pretty Maids has always been a guitar-focused band. Laney's keyboards add depth throughout, but it is Hammer's riffs that often really drive everything. Serpentine is the album's first true song however, which opens slowly from the intro with Rene Shades' snaking (appropriate) bassline before a somewhat symphonic riff kicks in with Hammer's barraging guitars driving everything forward while the keyboards envelop it. The song is extremely similar to the sound that Pretty Maids have been pursuing for the past decade or so. Somewhat heavier and more modern sounding than their early work, the band's modern sound suits Atkins' ageing voice. He still sounds great however, and shines throughout the song's catchy chorus. Laney's synth melodies further elevate the chorus - and form a counter to Atkins' vocal lines. The song is a strong album opener, and sticks to the mid-pace that the band tends to operate in these days. Some speed is injected with Hammer's solo - but the on the whole the track is characterised by a strong symphonic crunch. Firesoul Fly is very similar, although the symphonic elements are dialled back to create a heavier, more atmospheric sound. The opening riff is a tough one, but the verses are an immediate throwback to the 1980s with some clean guitar melodies and dense synths. As a result, the song sounds more like their earlier albums than many of the tracks here - with big melodies dominating. While the chorus is not as catchy as it could be, the big use of backing vocals really helps to widen out the sound. Despite being a relatively new face in the band, I feel that Laney's influence can immediately be felt throughout the album. He has done a lot of work with glam and sleaze bands in the past, and things like the big use of backing vocals throughout this song seem to come from his overall influence. It does not drastically change the band's sound, as Pretty Maids have been sounding like this since the early 1980s, but there are a few tweaks to be found that just shake things up a little. The album's title track, one of Laney's two co-writes, follows and it is instantly one of the album's heaviest moments with some barrelling double bass drumming from Sørensen and a guitar riff that is heavier than your average Pretty Maids moment. Despite this opening crash, the track does not operate at this pace and tone throughout. The chorus is pretty heavy, with walls of tough guitars, but the verses are a bit more laid back with spooky synths and background chugging guitar rhythm. This is very typical of the modern Pretty Maids sound, and it really allows Atkins to showcase his power. He still sounds excellent, with the raspy side of his voice perfect for these heavier moments.

Will You Still Kiss Me (If I See You in Heaven) is a bit of ballad and, after three relatively upbeat pieces, helps to provide a bit of an early change of pace. It is still a fairly weighty piece however, with Sørensen laying down a punchy beat throughout, but the pace is much slower and the keyboards are much more prominent. The verses are simple, with a hypnotic clean guitar melody and a thick bassline, with the chorus being an explosion of 1980s goodness with Laney's piano and synths really cutting through the mix while the band harmonise with Atkins to give the song a big sound. There are occasional bursts of heaviness, such as a tough riff that kicks in after the first chorus, but on the whole this is a lighter track - with big melodies being pushed to the fore and an appropriately-emotional guitar solo capping everything off. Runaway World is immediately more upbeat with a driving opening guitar pattern and dancing keyboard lead. The song is another throwback to the 1980s, and another that showcases Laney's influence through his prominent keyboards and anthemic chorus. His inclusion seems to seen the band double down on some of these 1980s vibes, taking listeners back to the Red, Hot and Heavy album. None of the band's signature crunch has been lost however, with Hammer and Shades constantly toughening the track up. The keyboards may be providing the main melodies here, but the guitars and bass still keep the edge on the track - and form a perfect backing for Atkins' big chorus vocal melodies. If You Want Peace (Prepare for War) sees the heaviness ramped up again and the result is one of the toughest tracks here. From the opening ominous guitar chug and cold synth riff the track sets a heavy tone - and when Sørensen's drums roll in Hammer switches over to an all-enveloping riff that just smashes through the speakers. Pretty Maids are not a band to do all-out heavy too often, so when they do it really hits the spot. This is a track that never lets up, with Sørensen's drumming keeping up a steaming pace throughout - including plenty of double bass patterns - while Hammer lays down some of the snarliest riffing on the album. Not to be done, Laney's keyboards are still extremely present, often adding unsettling little melodies atop the heavy crunch. This is especially the case during the choruses, which sees a pseudo-symphonic keyboard backing from him that perfectly backs the fast-paced metal of the rest of the band - as well as Atkins' barked vocals. Slavedriver is another heavier track, although the pace is slowed down to more of a mid-pace, with a big keyboard presence once again and plenty of fat bass playing. The verses here are some of the album's heaviest moments however, with Sørensen's tight mechanical drum beat and tough guitar rhythms. Hammer lays a snaking guitar lead atop this cacophony, and Atkins spits out the venomous lyrics with ease. Laney is a multi-instrumentalist and, while he is in the band primarily for his keyboard talents, he also contributes some extra guitar work throughout. During songs like this I imagine him laying down the tough rhythms, which then allows Hammer to cut loose a little with his lead work. Pretty Maids started out as a six-piece, with two guitarists and a keyboard player, but have not have a second guitarist since the early 1990s. Having Laney being able to switch between the two instruments certainly opens up more possibilities for the band, with tracks like this showcasing the benefit of having two guitarists again.

Shadowlands is a bit more lighthearted after a number of heavier tracks, and instantly will transport the listener back to the 1980s with piano cutting through the opening instrumental section and a subtly-chugging verse that features some great longing vocals from Atkins. In fact, the real star of this track is Atkins - who's vocal performance is perfect for the song. He spent the past couple of numbers really pushing the aggressive side of his voice, but here he shows that he can still belt out a soaring AOR melody when required. The chorus of the track is the closest the album comes to AOR, and while Pretty Maids have never been an AOR band they certainly have always taken influence from the more melodic end of rock. This is probably the album's biggest example of that influence, with big soaring backing vocals and plenty of keyboards to add additional melodies. Black Thunder ups the heaviness again, but there is still something of an old-school 1980s vibe throughout with dancing synths in the background and an anthemic chorus that features some powerful gang vocals. It seems to mix the heavier and more melodic sides of the band together perfectly, with plenty of crunch and a punchy drum beat to really keep everything moving. The keyboards however, despite being largely in the background, stop everything from feeling as heavy as some of the other tracks found here as a catchy melody is always just about in ear range. In some ways then, this is a track that really sums up the sound the band have been forging over the past decade or so. The mix of light and heavy is what makes Pretty Maids an enjoyable band to listen to, and this is a great example of that modern sound. The album comes to a close with Strength of a Rose, another somewhat slower song that is not quite a ballad but certainly feels more like one when compared to some of the album's other songs. Clean guitars and synths form the basis much of the song, although the chorus feels a little heavier with Hammer's droning guitar rhythms and Laney's pulsing synths. The modern Pretty Maids sound is characterised by heavier vibes, as previously described, but they also do these slower tracks well. The chorus here really soars with 1980s goodness, and Hammer lays down a melodic solo towards the end that pulls the emotional of the song to new heights. A key-change then follows and the band launch into a final reprise of the chorus that sees the song move to somewhat melancholic close. Overall, Undress Your Madness is another strong album from the Danish band that sees them adding to their already-large catalogue of material with another collection of good songs. I feel that I already prefer this album to Kingmaker due to the more varied sound found here, but in truth Undress Your Madness is another album in a line of solid recent releases from Pretty Maids.

The album was released on 8th November 2019 via Frontiers Records. Below is the band's promotional video for Will You Still Kiss Me (If I See You in Heaven).

Angel Witch's 'Angel of Light' - Album Review

The English heavy metal band Angel Witch are certainly one that embodies missed opportunities. Having formed in 1976, and found their feet during the NWOBHM movement, the band had the potential to really make something of themselves and were poised for greatness. In truth, the same can be said for many of the bands that made up the NWOBHM movement throughout the 1980s, but Angel Witch seem to epitomise the 'burning brightly' nature of that period. Their tale of false starts and modest success is perhaps more surprising than others' experiences however, as Angel Witch were certainly one of the genre's most unique and distinct-sounding bands. Angel Witch were one of the heaviest bands of the NWOBHM, and also the most atmospheric. There was always something spooky about Angel Witch's music. From their horror-themed album covers to their unsettling songs about mythical creatures - Angel Witch essentially started a whole metal sub-genre. Like many of the NWOBHM acts, Angel Witch live on more in their influence than in their records. Many of the bands albums are extremely hard to get these days, and considering the fact that the band's sole founding member Kevin Heybourne seems to hate most of them I doubt we will be seeing reissues any time soon! True success eluded many of the NWOBHM bands for a variety of reasons, but I feel that Angel Witch's lack of success was largely down to themselves. From the off Heybourne; the band's lead singer, guitarist, and main songwriter; has been the sole consistent Angel Witch member with many others coming and going over the years. An unstable line-up, coupled with long periods of inactivity, certainly derailed (and arguably still derails) the band's momentum - especially considering how the band burst onto the scene. The band's 1980 self-titled debut album was something of a hit in the metal world, and is rightly considered to be one of the best NWOBHM albums. The band should have capitalised on this, but it took Heybourne - and various new band members - five years to release a follow-up. Screamin' 'n' Bleedin' was released in 1985, with Frontal Assault following a year later, but not long after the pair dropped the second era of Angel Witch was over with Heybourne once again without a band. Incidentally these are the two albums that he dislikes now, essentially wiping a whole era of the band (and a big chunk of their small discography) out of existence. That discography was increased earlier this year however, as Heybourne released Angel of Light - the band's fifth studio album and first since 2012's As Above, So Below. A seven-year wait for a new album is a blink of an eye in the context of Angel Witch's career, but fans of the band were probably surprised when the new record dropped none the less. Stylistically, Angel of Light is very typical of Angel Witch's previous work (or at least the work I can actually listen to) and it fits perfectly into their existing canon. Spooky melodies, catchy hooks, and slightly progressive songwriting are the order of the day here, and Heybourne and co. seem out to prove that there is still more life in this witch yet.

The eight-track album kicks off with Don't Turn Your Back, a great old-school track that really harks back to the Angel Witch album nearly 40 years ago. With a warm, slightly fuzzy production, the album really recalls the NWOBHM period - and there is certain solace to be found in Heybourne's refusal to move with the times. A spooky guitar melody kicks things off, before a a weighty yet simple guitar riff provides the album's first moment of heaviness. All previous Angel Witch studio albums have been recorded with a single guitarist, but Angel of Light sees Jimmy Martin adding some additional guitar work throughout. Having a dedicated rhythm player this time around really helps to bulk out the songs, with the verses here feeling nice and thick thanks to the presence of two guitars. The heaviness is helped by the solid mid-pace, which mostly endures throughout, with Fredrik Jansson's hollow drumming really keeping everything within a tight groove. The choruses are a little faster, and based around a catchy vocal hook that is easy to recall after only a couple of listens. Heybourne has never been the greatest of singers - but his slightly-strained voice fits in with the eerie sound the band conjures up. Don't Turn Your Back is a strong opening track that should feel instantly familiar to fans of the band, and really captures the classic Angel Witch spirit. Death from Andromeda, for which a video was filmed, ups the pace with some galloping rhythms and the occasional burst of twin lead guitar. The gallop is a key sound of the NWOBHM movement, and its inclusion here perfectly recalls that era - while injecting some real energy into the album's early moments. Bassist Will Palmer, who amazingly is the second longest serving Angel Witch member in the band's entire history, holds everything together with his muscular playing - while Heybourne and Martin weave their six-string magic atop. This is a song that seems to be focused much more on the guitars' riffs and leads than on Heybourne's vocal melodies - although a simple chorus still provides something of a focal point. The way the album has been mixed means that the vocals always feel somewhat quiet. This does help to enhance the spooky vibe, but also means that some of the melodies feel a little buried - which is a shame. It is left to a soaring guitar solo instead to provide some real melodic meat - with a riff-heavy closing portion also adding plenty of weight. We Are Damned opens with some early Iron Maiden-esque (think their debut album) dual guitar leads that really come to dominate the whole feel of the track. Having two guitarists in the band really allows this side of their sound to be expanded - with Heybourne and Martin taking many opportunities throughout the album to team up and lay down some old school melodies. This is another track that really focuses on the guitar playing, although a chorus with a catchy refrain also provides a strong hook. It is a chorus that could have done with bulking out with some powerful backing vocals however in my opinion, as the call-and-response style ends up being a little buried - with a tasty guitar lead clearly given preference in the mix over the vocals. A lengthy Heybourne guitar solo more than makes up for this lack of vocal power however, and showcases his playing style well. He is not the most distinct of players, but has a certain way with phrasing that helps to contribute to the overall atmosphere of the song. There are quite a lot of lengthy instrumental sections here, with the fade out to We Are Damned being one of them.

The Night is Calling is a bit more of a dynamic piece, opening with a melancholic clean guitar pattern that Heybourne soon starts to croon over. I always find that Heybourne has one of those voices that you have to get used to - much like Ghost's Tobias Forge for example - but once you are 'in the zone' you really could not imagine anyone else fronting the band. The somewhat more laid back vibe that much of this song has means that his voice is much more prominent here - although once the song ramps up it returns to its semi-buried state. It is a track that constantly shifts between gentler passages like the opening and heavier sections - which help to create an unsettling vibe. As the song moves on however, the heavier sections begin to dominate with a muscular riff driving everything and a lengthy twin guitar melody that leads into a reprise of the chorus, with Heybourne howling the lyrics - only for the pace to increase suddenly and a shredding solo take its place. Condemned returns to a more consistently heavy sound, and opens with a somewhat doomy riff that definitely channels Black Sabbath. The song is fairly varied pace-wise however, mixing these slower sections with other parts that have more urgency to them. Much of the song is actually fairly pacy however, with an expressive riff driving the verses and a chorus that features one of the biggest vocal hooks of the album - with some subtle harmonies employed to widen the sound. Despite the strong vocal hooks, the song still maintains that classic Angel Witch vibe with many portions of the track seeing Heybourne and Martin linking up once again for some spooky leads - before the former tackles a shredding solo part way through. Those who loved the old-school NWOBHM gallops found throughout Death from Andromeda will also love Window of Despair - which is very similar. Palmer's bass once again shines, keeping the pacy groove up throughout the entire song, but this time the guitars are also really contribute to the gallop - giving the song a fuller and somewhat heavier feel. Nothing found throughout this album is particularly complicated, but there are still lots of strong riffs to be found throughout. There are a more than a handful in this track too, with some razor-sharp moments that really defy the album's production. The fuzzy, old-school production really helps the album to sound great, but it does somewhat take the edges off some of the riffs. That is how things were in the 1980s however, so its use here is entirely appropriate - but there are still a couple of riffs here that are potent enough to defy the fuzz. It really helps the song to stand out, with a furious guitar solo from Heybourne and a fast-paced pseudo-thrash ending section also adding plenty of weight - and showing their influence on other bands that followed.

With two tracks left, the band seem to push for greater heights during the album's home straight. I Am Infamy opens with some of the strangest guitar atmospherics on the album, further enhancing the album's overall mood, before a chunky verse takes over with some of the tightest rhythms of the album. Angel Witch is basically Heybourne and whoever he surrounds himself with at any given time - but the other three members of the band all do their bit to ensure that the album sounds strong. Jansson in particular shines on this track, with a varied performance and style. Old-school production often muffles drums somewhat, and there is sometimes little distinction between the different parts of the kit. That is somewhat the case here, but he still manages to make his presence felt. There is a lot of cymbal work throughout the piece, which really helps to add to the heaviness. It fits in nicely with the heavier guitars, and also helps to add some variation to the somewhat catchy chorus - although I do wish that the vocals were not so buried as the melodies seem to be pretty strong. The album's title track finishes the album off, and it opens with another chiming, unsettling clean guitar melody before some tough rhythms join in. This is the album's longest song, so as a result there is a lot going on. The band's progressive side is on show here, with a few distinct riffs being put on display before the vocals kick in - along with some neo-classical shredding. Producer James Atkinson also contributes some Hammond organ to the song, which adds some depth, but it never really dominates and still allows the band's classic guitar-dominated sound to shine. There are almost as many riffs to be found throughout this song as the throughout the rest of the entire album put together, and it is clear that Heybourne really put a lot of effort into this closing number. The vocal melodies however seem a bit of an afterthought, with no real catchy hooks to latch onto in that regard. This is most certainly a guitarist's piece, with all the riffs that anyone could want as well as a number of distinct solos - all showcasing Heybourne's fast-paced style. It is a pretty heavy track throughout, never really dropping out until the end - with the album finishing on a low-key clean guitar pattern that slowly fades away. It is a strong end to the album, and a song that showcases the skills of all involved. Overall, Angel of Light is another enjoyable album from Angel Witch. It does nothing evolve the band's style, instead sticking to the tried and tested formula that was first exhibited back in 1980. There are no real duds here, but with a few of the songs lacking some real hooks it stops short of being a truly great release. Considering there will probably be another good few years and line-up changes pass before we see another Angel Witch album, this is a release that is sure to keep the band's fans coming back for more.

The album was released on 1st November 2019 via Metal Blade Records. Below is the band's promotional video for Death from Andromeda.

Cats in Space - Tavistock Review

As 2019 draws to a close, I have been thinking over all of the great shows I have been to this year. I am not sure that I got to quite as many as I did last year (last November and December in 2018 in particular were ridiculous) but the quality has almost always been consistently high. I will sum up my favourite gigs of the year in my customary round up of the year posts at the turn of the new year - but it is safe to say that 2019 has been another great year, both for concerts and albums. There always has to be a 'last gig' every year and, for the first time since 2015, it is a band other than The Quireboys that closes 2019 out. I have missed my customary Quireboys acoustic gig to close out the year, but a bombastic display from the British rock act Cats in Space more than made up it! Despite having been around since 2015, Cats in Space are a band that I have only got into recently. I actually saw the band open up for Deep Purple in 2017, and somewhat enjoyed their set, but at the time they did not really grab me. I had somewhat followed the band's progress since then, but really started to take notice earlier in the year when frontman Mark Pascall joined the ranks - replacing the departing Paul Manzi. Pascall lives relatively locally, so I have been running into him in various bands over the years. I think I first saw him in 2008 when his band at the time Morph opened up for someone (I forget who) at the sadly-demolished White Rabbit in Plymouth. I have since seen him in both Empire of Fools and his current band Departed. Departed a band I have become a big fan of over the past couple of years, having seen the band a handful of times supporting various people and picked up copies of both of their EPs. It was his addition to the Cats in Space ranks that made me curious enough to pick up a copy of their most-recent album Daytrip to Narnia in HMV earlier in year - and I have to say I was almost-instantly blown away by the songs. Since then I have become a big fan of the band, and a trip to Tavistock to see the band on their Christmas UK trek was a no-brainer. It does not feel that I have been out to Tavistock as many times this year as I usually do, but I always love visiting the Devon town for live music. We are extremely lucky in the South West to have a venue like Tavistock's The Wharf, as it manages to attract quite a few decent bands down this way each year. I think this was Cats in Space's first visit to the South West, with Pascall clearly managing to tempt the band down to his home county. For a Sunday night, the turnout was pretty good but I thought it could have been better for a band of Cats in Space's rising stature. There were probably a couple of hundred people in attendance, which was decent, but it would have been nicer to have seen a few more faces.

Unusually for shows at The Wharf there was a support act, as former Furyon and Colour of Noise frontman Matt Mitchell took to the stage before Cats in Space to run through around 40 minutes of music from his new album with his new backing band The Coldhearts. I have been casual fans of both Furyon and Colour of Noise over the years, even seeing the latter at the Cambridge Rock Festival a few years, so I was already familiar with Mitchell and his vocal style. Fronting his own band however, he really came alive as a frontman. Throughout the set he channelled his David Coverdale-come-Paul Rogers style, with bluesy class oozing from his voice throughout his time in stage. I had heard The Coldhearts' album a handful of times prior to the show, so was somewhat familiar with most of the material. The songs came across much heavier live, although this partly down to the band's drummer who's kit was far too high in the mix. He was clearly more used to playing metal than bluesy hard rock, and really crashed his way through the set. A more subtle approach would have been more suitable really, but at least his playing kept everything moving at a brisk pace. The live band did not have a keyboard player either, which was a shame as the album has plenty of strong keyboard work throughout. I think the songs certainly lacked a certain edge without the keyboards, so that plus the rather leaden drumming did affect my enjoyment of the set somewhat. That aside however, Mitchell was fantastic. His stage presence and voice were both excellent, and he is clearly an excellent songwriter. I was not familiar enough with the set to keep a proper setlist throughout the show, but he and the band played some of my favourites from the album, including the excellent Dare You to Watch and a fantastic rendition of the riff-heavy Black Diamonds closed out the show. An extended version of Thin Lizzy's The Rocker was also included, which unsurprisingly went down well with the growing crowd - who in general seemed reluctant to warm to Mitchell. With a better sound mix and a keyboard player, Mitchell's set would have been really great - but as it was it was just 'good'. I will certainly keep enjoying his album however, and I hope I get to see him again sometime in the future.

After half an hour or so, the lights went down and Cats in Space took to the stage to Mud's The Cat Crept In - which should tell you all you need to know about the six-piece. It would be harsh to call Cats in Space purely a throwback to British 1970s rock, but there is no doubt that Queen, ELO, Sweet, Mud, Slade etc. are the band's main musical touchstones. The band do not seem to care how obvious the comparisons sometimes can be - and wear their influences proudly on their sleeves. This was obvious from the off, with Andy Stewart (keyboards/vocals) sporting a Mad Hatter-esque outfit and the first song of the night containing a chorus that could have been on a long-lost Sweet album. Johnny Rocket was a great way to open the show, with Pascall getting the chance to show off his voice early on while guitarist Greg Hart and bassist Jeff Brown also sung a few lines of lead. Hart is the band's main songwriter, but most of the solos throughout the show were handled by former T'Pau guitarist Dean Howard who seemed to be overjoyed to be up there shredding away. The main thing that was clear from Cats in Space's set was just how much fun the band seem to have, which is always great to see. Epic stadium-worthy tracks like Too Many Gods and Narnia showcased just how many great choruses and melodies the band have packed into their three existing albums, and even slower tracks like September Rain did not skimp on melody. Pascall seemed to particularly enjoy doing September Rain, and he said it was one of the first songs he ever sang with the band. A newly-recorded version of the song with his vocals was released as a single a few months ago to introduce him to the band's fans - and he already seems to have fit perfectly into the band's ranks. He still seems to be finding his feet somewhat however, with Hart doing some of the in-between song chat with the crowd - but I am sure that Pascall will continue to grow in confidence as he gets more gigs with the band under his belt. It was testament to the band's catalogue that the set contained no weak moments. Even older tracks like Mr. Heartache were great, with the big chorus hooking everyone in, while the more cinematic epics like Jupiter Calling showcased the direction the band has been taking for the past couple of albums. There are occasional moments in Cats in Space's sound that showcase something of a progressive rock influence, and Jupiter Calling is one of the most obvious in that regard with lots of Stewart's spacey synths. The band also shine when doing all-out rock, with the driving Hologram Man being a particular highlight. No matter what style the band are attempting, there is always a big chorus to be found - and that is always sure to keep me entertained. It was a set that kept rocking to the end, with Five Minute Celebrity bringing the main set to a rollicking close. The band left the stage, but it was not long before they were back for a two-song encore. The disco-esque Thunder in the Night kept the party vibe going, before the band's new Christmas single My Kind of Christmas rounded everything off. The song is a great old-school sounding Christmas song, and should be added to playlists with all the other Christmas favourites. It went down well with the crowd, who were covered in 'snow' confetti at the end, and it ensured the evening ended on a real high. The setlist was:

Johnny Rocket
Too Many Gods
The Mad Hatter's Tea Party
Narnia
September Rain
Mr. Heartache
Timebomb
Scars
Jupiter Calling
Silver and Gold
Hologram Man
Greatest Story Never Told
Five Minute Celebrity
-
Thunder in the Night
My Kind of Christmas

It was a fantastic night of rock in Tavistock with Cats in Space, and a night that ended 2019's gigging calendar with a bang. Cats in Space are one of those bands who I will now try and see whenever I can, as their shows are just so fun. I am also interested to see how the band progress with Pascall as their singer - so I look forward to hearing their next album whenever it is ready.