Beast in Black's 'From Hell with Love' - Album Review

Despite only forming in 2015, Finland's Beast in Black are already real rising stars in the metal world. The five-piece power metal act hit big with their debut album Berserker in 2017, but with many seeing Beast in Black as guitarist and songwriter Anton Kabanen continuing the legacy he forged on the first three Battle Beast albums this is not really surprising. In truth Beast in Black never had to start from the bottom like many new bands do, with Kabanen's fanbase automatically aligning themselves with Beast in Black after his acrimonious departure from Battle Beast in 2015. Despite being a Battle Beast fan in 2017, and in fact I reviewed their album of that year Bringer of Pain on this blog (which you can view here), I never got around to checking out Berserker until last year. Sometimes there is just too much new music to consume, and you need a bit of a push in a certain direction to properly give something a chance. I had that push about a year ago when I caught Beast in Black supporting Rhapsody in London. While I would not say that I was blown away, Beast in Black were certainly one of the better support bands that I had seen in around that time. Not too long after the gig I finally got around to picking up Berserker, and enjoyed it a lot. It was almost indistinguishable from those first three Battle Beast albums, with that band's heavy power metal mixed with 1980s melodic/pop rock tropes sound still entirely intact. Considering Kabanen is solely credited for writing every single song on those three albums - as well as on Berserker - the similarity is inevitable. 'More of the same', providing the 'same' is good, is not a bad thing however - and Kabanen's new band is more than up to the task of translating his vision into something tangible. Fast forward two years from Berserker's release, and Kabanen is back with Beast in Black's second album From Hell with Love - and again, nothing much has changed. Kabanen has clearly found his niche and is sticking to it, and those of us who are suckers for this kind of cheesy power metal are certainly happier for it! Style wise, From Hell with Love is exactly what a fan of Kabanen's previous work would expect - but with the 1980s AOR influences more in-your-face than ever. There are still plenty of ripping Painkiller-era Judas Priest-esque speed metal anthems here too, but the band's poppy side is certainly given more space. The same band that Kabanen assembled for Berserker returns on the band's second outing too, with the exception of drummer Sami Hänninen who was replaced last year by Atte Palokangas (Agonizer; Before the Dawn; Among the Prey; Thunderstone). Apart from this line-up change, this new album is certainly business as usual for Kabanen, and is one that I am sure will further cement his reputation as a songwriter and producer.

Perhaps unsurprisingly, given how Berserker got underway, From Hell with Love kicks off furiously with Cry Out for a Hero. Although initially not quite as fast as you might expect, the song is a high-energy piece that showcases everything that makes Beast in Black great. The highly melodic guitar/keyboard combination during the song's intro lays down the formula for the album's sound, before a crunching verse gets underway featuring the high, rasping vocals of Yannis Papadopoulos. Papadopoulos is an extremely versatile singer, and uses his range to great effect throughout the album. This song mostly sees him singing in a tougher style to compliment the crunchier guitar tones, but this does not stop the chorus from truly soaring. Better choruses surface throughout the album, but Cry Out for a Hero certainly does well melodically from the off. The mid-paced rock of the album's title track follows, and showcases a slightly lighter sound with prominent 1980s-esque synths and a pulsing verse that allows Máté Molnár's bass playing to dominate. He is often buried in the mix, but this song showcases his playing a little more, and this adds to the slightly discoy vibe the song has. The keyboards, all played and programmed by Kabanen, also dominate - with the guitars often just providing simple rhythmic backings. Despite this, Kabanen still finds space to lay down a short, shredded guitar solo which then leads into a flashy instrumental section including both guitar and synth leads, with the two often interweaving for a gloriously cheesy sound. It sounds like an old video game soundtrack played by a modern heavy metal, and it is probably the highlight of the song for me - despite a fun, dancy chorus. The album's lead single, Sweet True Lies, is one of my favourite tracks here - and it certainly focuses more on strong vocal melodies with Papadopoulos toning things down a little to sing in a more melodic register, with the rest of the band adding some catchy gang vocals during the verses to add a little grit. This song is a love letter to 1980s melodic rock and AOR, and the sound has been given a modern metal sheen that works very well. The chorus is just ridiculously catchy too, and while it is certainly lighter than much of the band's work so far - it is packed full of killer melodies. I have consumed a lot of AOR over the years, so songs like this just really hit the spot for me. Even the over-the-top shredded guitar solo really fits the mood perfectly, and the key change at the end is the icing on the cake. This is the sort of song that death and black metal fans will secretly find themselves enjoying, to their shame, at metal festivals this summer - you heard it hear first! Repentless ups the pace and reminds me a little of self-titled track from the band's debut with an almost-thrashy rhythm and Papadopoulos' opening high-pitched scream. The keyboards are more prominent however which helps the song to fit into this album's overall sound, but this takes nothing away from the heaviness. Palokangas drives the song with his furious double bass drumming, and the pace certainly reminds the listener that they indeed have a metal album playing despite the sugary single that preceded it!

Die By the Blade is another of the album's singles, and sounds like something that could have graced the soundtrack of a 1980s action film. Think Survivor but heavier and you probably will not be far off! The pulsing keyboard intro is right out of that time period, and the synths never go away, with the guitars mostly just providing a tough backing. Papadopoulos, known for his incredible vocal range, uses his more low-key - almost effeminate - tones during the verses, before building up towards an explosive chorus that sees him unleash his full power. It is one of the album's best choruses, and is certainly worthy of appearing on a big budget soundtrack of the past. It is so catchy, and continues to swirl around my head long after the song has finished. 'Other' guitarist Kasperi Heikkinen provides a suitable melodic guitar solo, and this helps to flesh out what is already an excellent song. Oceandeep is the album's ballad, and opens with a subtle flute melody before acoustic guitars and keyboards take over to allow Papadopoulos to croon his breathy, high-pitched vocals atop. Musically, this reminds me a little of mid-period Nightwish. The floatiness and whimsical nature of the piece certainly reminds me of some of their older ballads, and Papadopoulos' performance is certainly not a million miles away either. At times you almost have to remind yourself that you are listening to a man singing, he is that versatile, and that is a big part of what makes this song enjoyable. Both guitarists are given a chance to solo too, which helps to add some emotional pull to the calmer sections, before the song ramps up towards the end for a couple of heavier reprises of the chorus. This works really well, and helps to move the album back towards to heavier territory for the next song. Unlimited Sin is heavier than the previous song, and opens with a big keyboard-backed riff that sounds extremely grand before moving into a slightly more restrained verse that again allows Molnár's bass to take the lead. This mid-paced brand of power metal seems to be the sort of the music that Beast in Black wish to make going forward, and this song is a strong example. The chorus is simple, but pretty anthemic and is one that is sure to go down well when played live. The faster, heavier songs are great, but I feel this is the sort of music that Kabanen really enjoys writing. It allows him to play with his synths a lot more, and there are lots of layers of keyboards here that really help to make the song sound a lot more interesting. True Believer is similar, and opens with some excellent synth work, before a big power chord riff kicks in that allows the synths to shine even more. Many of the songs on this album see the synth melodies really take the lead, which is a real treat for fans of melodic 1980s rock like me. Lots of things about this song feel like a real throwback too, from the gated tomtom sounds that give the drums that old-school feel, to the layers of melodic harmony vocals during the sugary chorus. It is is not as catchy as many of the other songs here, but it is still an enjoyable piece that ticks many of the right boxes.

This is War is a heavier, more guitar driven piece that features an interesting guitar riff and a tougher overall vocal delivery. The synths are still there but they're pushed more into the background, which allows things to sound much meatier. There are still plenty of melodic moments here however, with a strong chorus and a fluid guitar solo from Kabanen. There is something about this song that reminds me of Sabaton. I think it is the tough mid-paced riffing and the gang vocal end to the chorus which reminds me of the Swedish metal giants - and I like those comparisons. My favourite part of the song however is the last reprise of the chorus which features a fairly ludicrous key change that brings the 1980s elements back to the fore. It is very memorable, and the song is a great late-album highlight. Heart of Steel is the album's penultimate song and is a little sparser at times with a pulsing, bass-led verse that is always full of lots of sparkling synth melodies. As with all the songs here however, things really ramp up for the chorus. The guitars bring the heaviness and Papadopoulos sings in his tougher register, which is a contrast to his gentler verse delivery. This mix of light and shade is certainly a bit of a theme throughout the album, and again is part of the direction I see the band developing further going forward. I do not think that the chorus here is as catchy as many of the others on the album however, so it does not feel as ultimately satisfying as much of the rest of the material on display here. Heikkinen contributes a great guitar solo to the song however, and it showcases his talents perfectly. He is a little overshadowed by Kabanen in Beast in Black, so it is great when he gets to show off a little. The album comes to a close with No Surrender which sounds like a classic Beast in Black song with a pace slightly faster than what you would call mid-pace, pulsing synths, and a strident riff from the two guitarists. This sounds a little more the overall heavier sound that filled Berserker, so fans who have found some of the material on this album a little light should enjoy this song. It never really lets up, and crunchy rhythm follows crunchy rhythm for a tough piece to close the album out on. Papadopoulos unleashes some of his really high-pitched screams throughout the song too, and both guitarists also get a chance to solo. This feels like a deliberate choice to allow everyone to really show off once more before the album comes to a close, and is certainly a song that sums up the band's sound nicely. Catchier songs exist elsewhere, but this is quintessential Beast in Black and a worthy album closer. Overall, From Hell with Love is a strong second album from a band which seems to be moving towards the direction that they really want to be travelling in. The 1980s-esque tropes that are all over this album are clearly the direction Kabanen wants to take his songwriting, so I feel we will see much more of this going forward and much less of the fast, heavier songs that he wrote earlier in his career.

The album was released on 8th February 2019 via Nuclear Blast Records. Below is the band's promotional video for Sweet True Lies.

Blue Öyster Cult - London Review

I have been lucky that, over the past twelve or so years that I have been regularly going to gigs, I have managed to see nearly all of the big-name hard rock and metal bands that it is still possible to see live. There are some notable exceptions, which hopefully one day I will manage to cross of the list, but I have done pretty well over the years. Therefore when an opportunity arises to see one of the 'big names' in rock and metal who I have not seen, and making the concert is logistically and financially possible, it is an opportunity that must be taken. One such opportunity arose last year when the American rockers Blue Öyster Cult announced a UK tour. I have been a casual fan of Blue Öyster Cult for a number of years, without ever really crossing over into actual fandom. I enjoy many of the band's albums, and really appreciate their unique and quirky sound, but have never really had the time to properly immerse myself in their extensive catalogue. Despite still touring a lot in their native America, Blue Öyster Cult have not really made it over to the UK all that often in recent years. I think the band's stock had fallen quite far over here - and a tour shirt I saw in the crowd from 2002 that saw the band playing venues like Bilston's Robin 2 certainly demonstrated this - but they seem to be enjoying a bit of a resurgence of late. A handful of shows in 2016 and 2017 went down well, and drew crowds, so the band went all in and booked a proper UK tour for 2019 that saw them take in some venues that the 2002 Blue Öyster Cult could only dream of while they were sitting backstage in Bilston. I opted for the London show, which was booked into the seemingly ambitious Hammersmith Apollo - a real haven for bands of Blue Öyster Cult's generation. Everyone wanted to play the Apollo (or the Odeon as it was then), and it seems that Blue Öyster Cult wanted to recapture some of that 1970s spirit. I was worried that the venue might have been a bit over-ambitious for the band - that same 2002 tour shirt had them down at the now-demolished Astoria which was much smaller than the Apollo - but my fears were unfounded. While initially the crowd seemed a little thin on the ground, but the time Blue Öyster Cult hit the stage at 9pm the place was pretty much full! This is a testament to the band's pulling power over here at the moment, and it was great to see so many turn out to catch them.

Before Blue Öyster Cult took to the stage however, the growing crowd was treated to 45 minutes of upbeat blues rock from The Temperance Movement - a band I was already a big fan of and had seen live a handful of times previously. In fact Facebook had earlier in the day reminded me that it was a year to the day since I had last seen them live - when they headlined the O2 Academy in Bristol - so I was more than ready for another dose of their feel-good music. Despite suffering from the classic support act muddy sound syndrome, The Temperance Movement put on a high-energy set that seemed to go down well with most of those around me. I thought that a back-to-basic boogie blues rock act was a strange choice to support Blue Öyster Cult's pro-prog/metal stylings, but the combination ended up working. The mid-paced strut of Only Friend was a great opening piece, before Paul Sayer (guitar/vocals) started to whip up a storm with the frantic riff of Caught in the Middle. The band seemed really on fire from this point on and frontman Phil Campbell, who seemed uncharacteristically reserved early on, started his trademark frantic dance moves and shook his tambourine into oblivion. All of the songs played came either from the band's 2013 self-titled debut album or last year's excellent A Deeper Cut, with songs from the latter just about dominating. Older numbers like the furious energy of Take it Back saw a lot of movement down near the front where I was, and the band got to show their gentler side with songs like Another Spiral - although sadly this song was not the vehicle for a lengthy Sayer solo as it had been on the band's own tours last year. The real highlight of the set for me however was the second slower number, the title track of the band's most recent number. A Deeper Cut saw Campbell armed with an acoustic guitar as the rest of the band slowly built up a musical tapestry around him. By this point some of the early sound gremlins had abated a little, and the song was heard clearly throughout the Apollo. It rightly received a large cheer, and this encouraged the band to launch into their final number, the southern rock-esque Built-In Forgetter which just rocked the house and brought the band's short set to a close. The Temperance Movement are a band I have loved since 2013, so getting another chance to catch them live was a real treat - despite it being much shorter than usual. I hope to see the band again soon. The setlist was:

Only Friend
Caught in the Middle
The Way it Was and the Way it is Now
Ain't No Telling
Take it Back
Another Spiral
Midnight Black
A Deeper Cut
Built-In Forgetter

After a half an hour change over, the lights went down and Blue Öyster Cult walked out to huge cheers and the Game of Thrones theme tune blaring over the PA. With relatively little fanfare apart from this, the band immediately launched into the riffy Dr. Music with frontman Eric Bloom (vocals/guitar/keyboards/percussion) taking the lead with his quirky voice and buzzing guitar rhythms. This was a high energy start to the night, and what followed was nearly two hours of the band's trademark rock music, played with the passion and humour you would expect from the band. Bloom and fellow original member Donald 'Buck Dharma' Roeser (vocals/guitar) traded lead vocals throughout the evening, with the latter probably just about having a larger share of the microphone, while the whole band contributed to the chorus harmonies that make up a big part of the band's sound. An early example was the hard-hitting Career of Evil, with Bloom's voice leading the charge while the rest of the band crashed in for the chorus. Despite the first three songs hitting the spot, it was Roeser's Burnin' for You that got the biggest cheer early on. Roeser and Richie Castellano (vocals/guitar/keyboards) teamed up for the iconic intro guitar harmony, and Roeser's subtle voice really carried the song. Castellano is the real unsung hero of the current Blue Öyster Cult line-up, moving between guitar and keyboards (often mid-song) to help flesh out the sound. His Hammond organ playing really bulked out some of the material, and a couple of flashy synth solos showcased his own virtuosity. Much of the material showcased was from the band's 1970s heyday, but there was occasional diversions from this - such as a rare outing for Harvest Moon from 1998's Heaven Forbid and a couple of choice cuts from the 1980s. Harvest Moon and the The Vigil made for a spacey mid-section to the show, before Roeser and Castellano launched into the muscular riff of E.T.I. (Extra Terrestrial Intelligence) which unsurprisingly brought a big cheer as Bloom sung the sci-fi lyrics.

The last third of the set was made up of many of the band's well-known songs, although it did get a little bogged down for a while with some lengthy instrumental pieces. Buck's Boogie has long been Roeser's centrepiece, but to then follow it up with Then Came the Last Days of May which was stretched out to include lengthy guitar solos from Castellano and then Roeser again seemed a little much. Castellano's shredded solo was extremely impressive, but I was quite glad when the set got back onto firmer ground with Flaming Telepaths and then a ever-present Godzilla. Godzilla of course went down a storm, and the crowd helped Bloom out with the vocals as he beamed from behind his shades. Another lengthy guitar solo from Roeser followed, that made use of live looping techniques, before he began to play the iconic guitar intro for (Don't Fear) The Reaper. Of course the place went wild, and Roeser sang the haunting song with ease. It has quite a different vibe from the rest of the band's material, but it proved to be a perfect closing number. It was the song that many were waiting to hear, and they were not disappointed by what they heard. There were calls for the band to come back on stage, and they obliged with a three-song encore that opened with a personal favourite of mine in Joan Crawford. It was a real treat to hear the song live, and this was followed up with Castellano taking the lead vocals on Hot Rails to Hell and Bloom stepping up to take on Cities on Flame With Rock and Roll which brought the show a close. The latter was dragged out with more soloing, but this was the band's victory lap so no-one minded. A huge cheer erupted as the band finished, and the packed out Apollo was pleased with what they had just witnessed. The band seemed really pleased with the reaction too, and posed for a picture with big grins on their faces. The setlist was:

Dr. Music
Before the Kiss, a Redcap
Career of Evil
Burnin' for You
O.D.'d on Life Itself
Harvest Moon
The Vigil
E.T.I. (Extra Terrestrial Intelligence)
Buck's Boogie
Then Came the Last Days of May
Flaming Telepaths
Godzilla
Guitar solo
(Don't Fear) The Reaper
-
Joan Crawford
Hot Rails to Hell
Cities on Flame With Rock and Roll

I had gone into the Apollo a casual Blue Öyster Cult fan, and I left a big fan. I can Blue Öyster Cult's albums featuring a lot in my listening habits going forward, and I am looking forward to expanding my collection and picking up the albums I am missing. I hope this UK tour continues to be a success for the band so that they can return again in the not too distant future.

Departed's 'Tides' - EP Review

Devon's Departed have certainly been making a bit of a name for themselves in the rock world over the past couple of years. The band was formed a few years ago by Mark Pascall (Morph; Empire of Fools) and Ben Brookland (The Treatment), and a self-titled EP was released back in 2016. Pascall and Brookland are the band's core, writing all of the songs and dominating the band's overall sound. In Pascall, the band have a singer who oozes class. He might not have the range of many hard rock singers, but his voice is packed with swagger and soul. He certainly takes a lot of influence from classic rock singer of the 1970s but with elements of 1990s heroes like Chris Cornell also present makes for an impressive delivery. Brookland is the other half of the main pairing, and wields his guitar like a weapon. His riffs are razor sharp, and his solos are packed with melodic phrasing and fast runs. While I liked his work in The Treatment, Departed allows him to express himself much more. The Treatment's formula is quite rigid and fairly formulaic, but Departed have already started to cover more bases. The seven-track self-titled EP covered more ground than simple hard rock throwback, and felt like a well-rounded collection of songs. It has taken three years for follow up, but earlier this month the band unleashed the five-track EP Tides into the world. Over the past couple the years the band have been touring a fair bit, and I even caught them up in Sheffield with Michael Schenker Fest - a prestigious support slot for the band. I also saw the band wow Steelhouse Festival last year, with many of the song that fill Tides featuring on the day, and that performance made me hungry for a new release. Style-wise Tides carries on where Departed left off. The band's core hard rock sound sounds as good as ever, but there are a couple more experiments here that help to keep things interesting. Much like with Departed, Tides feels like a well-rounded experience. It also has a lovely, warm production which helps the songs to shine - with Pascall's voice front and centre, and Brookland's guitar crashing in when required. With the band undergoing a bit of line-up instability of late, it is hard to know who else actually contributed to Tides. Pascall played the bass on the first EP, with former Heaven's Basement drummer Chris Rivers handling the drums on a session basis. This could have been the case again, or it could have been that a combination of the band's recent drummers and bassists played on the EP.

The first of the five tracks here is Come On, a fairly basic hard rocker that moves along at a mid-pace and features an anthemic chorus. The main guitar riff is extremely simple, but it's simplicity really fills the room. Brookland's tones throughout this EP are excellent, and as a result the songs sound huge. The verses have a bit of an AC/DC-esque vibe, but with more of a bluesy feel due to Pascall's more soulful vocal delivery. Where he really shines however is during the choruses, which sees him really soar. I have seen the EP's first three tracks performed live by the band a couple of times now, and this is a song that always managed to get crowds going. It has that infectious nature that goes down well in the live setting, and I can see this one becoming a real centrepiece of the band's sets as they continue to push on and grow. Soul Shaker is a personal favourite, and features a tricky southern/country rock-esque riff that shows Brookland at his best. He would have never been able to play this way in The Treatment, and the groovy little riff just takes the song to the next level. To fit in with the country vibes, and perhaps unsurprising given the song's title, there is more of a soulful feel throughout. The use of backing vocals, while not exactly a gospel choir, has a similar effect and really elevates the chorus. Brookland's guitar solo is excellent too and builds on the style of playing found elsewhere in the song, but also stamps on a strong classic rock representation too. All the Way, another favourite of mine, is possibly the catchiest song on the EP for me and features and excellent chorus that sees Pascall pushed vocally. He rises to the challenge however, and sounds at his very best here. The verses are extremely bass-heavy, with a driving bassline pushing everything forward, while Brookland lays down some very simple Slash-like riffs elsewhere. I just the way Pascall sounds throughout this song, and it reminds me a little of Superstitious - one of my favourite songs from the band's debut EP. This song has that same sultry groove, and shows the band really firing on all cylinders. Let Her Down Easy slows the pace down a little, and tones down the harder rock aspects a little also, to leave us with a fairly laid-back American 1970s rock-sounding track. It is a little bit of a different sound for the band, but it works well. Brookland's guitar sounds a little more jangly here which helps the song to stand out, and the chorus has a very simple melody that is hard to remove from your head. On the whole I prefer Departed when they are rocking harder than this, but this little experiment has paid off. Remedy, the EP's final offering, opens with some bluesy slide guitar, with a gentle acoustic guitar backing, and maintains a much gentler feel throughout. The drums often have a more percussive feel, especially in the instrumental sections, and Pascall really shines without the big rock power chords to compete with. It is not a ballad, but it certainly the most laid back the band have ever sounded. It might have been better to end the EP with one of the harder tracks, but this is another worthy experiment in sound from Departed and sees them adding another string to their bow. Overall, Tides is a really strong release from a band who are beginning to really find their feet. I hope this EP does well for them, as I cannot wait to see where the band go from here.

The self-released EP was released on 2nd February 2019.

Within Temptation's 'Resist' - Album Review

There was a time when the Netherlands' Within Temptation were one of the most vital and important bands in the symphonic metal genre. Albums such as 2000's gothic Mother Earth, and 2004's more accessible The Silent Force were works that really helped to push the genre forward and they remain influential releases. The band's recent works however have been somewhat more mixed, with enjoyable albums sitting side by side with dreary efforts. 2011's The Unforgiving saw the band consciously trying to move away from their well-established sound. While it was quite a big shift in direction towards a more commercial rock sound, the songwriting was strong. The Unforgiving is an album that I still enjoy a lot, despite the change in direction, and shows that Within Temptation can operate outside of the symphonic metal framework. The same cannot be said however for 2014's Hydra (which I reviewed here). Despite a handful of good songs, Hydra cannot really be called anything other than a disappointment. I tolerated the album at the time, but over the years my opinion of it has lessened considerably. There are still a couple of tracks on the album that I enjoy, but otherwise I find it to be a very disposable and unmemorable release. The over-abundance of redundant guest vocal spots combined with extremely mediocre songwriting that was a far cry from The Unforgiving - let alone their earlier works - made for an album that showed that Within Temptation were out of ideas. It seemed that the band knew it too, and took a long break after the end of the Hydra touring cycle. Frontwoman Sharon den Adel has since revealed that writer's block was also a contribution to this extended hiatus, but I also think the band as a whole were taking stock and trying to rediscover themselves. Fast forward five years and Within Temptation have finally showed their hand, with their seventh album Resist being released earlier this month. It was originally scheduled to be released last December, but was delayed for a couple of months for reasons that were never really explained. Is Resist a return to form for Within Temptation? The answer is yes - in some ways in any case. While not exactly the return to their earlier sounds that many would have hoped for, Resist sees the band sounding fresh and energised. It is certainly a big step up from Hydra, and features a darker overall tone while still channelling the poppier sounds that have been present on their more recent work. Some of the issues that plagued Hydra are still present, such as a somewhat pointless over-reliance on guest vocalists who largely add very little to the album, but the songwriting is much stronger this time around. The melodies are much more memorable, and the production is much clearer despite the darker tones.

Opening with what sounds like a synthesised horn sound, lead single The Reckoning gets the album off to a strong start. It features the vocal talents of Jacoby Shaddix (Papa Roach; Fight the Sky) which certainly had me worried when I first read this news, but his contributions are fairly limited and do not have a negative impact on the piece. Three guitarists contribute to the band's studio albums these days and they lay down a murky riff for the song's intro, before everything drops out for the verse leaving Mike Coolen's percussive drumming and some swirling electronics. This allows den Adel's voice to shine, and when the guitars crash back in for the choruses the energy levels shoot up. Shaddix mostly harmonises with den Adel during the choruses, but also takes part of the second verse. His contributions recall Within Temptation guest spots of the past - fairly needless but unobtrusive - but it works well enough. The song is a good representation of the album, with heavy moments mixing in well with more accessible overtones. I think choosing a different lead single would have been beneficial, but the track works well as an album opener and gets things started nicely. Endless War is a bit tougher overall with a slow, muscular riff opening the piece and Martijn Spierenburg's keyboards providing a synth-heavy atmosphere. While much of the song sticks with the band's modern sound, the chorus seems to recall their earlier work a little. den Adel's voice soars, and a gothic choir helps to add that classic symphonic metal flavour. Despite the heaviness throughout this album being fairly one-dimensional, it is good to hear the band introducing some meaty guitar tones back into their sound. The chorus here feels weighty, although the keyboards could have been toned down a little to allow the guitars to cut through a little more. It is another strong song however, and feels like a good mix of the band's styles. Raise Your Banner is one of the album's highlights for me, and sees the band fully channelling their symphonic metal past. The main riff is a driving force, with the orchestral arrangements and Spierenburg's keyboards giving the song that dramatic flair which was missing from the previous album. Anders Fridén (Dark Tranquillity; Ceremonial Oath; In Flames) provides some harsh vocals throughout, which is an obvious throwback to their earlier work, and his contributions work well despite being fairly limited. It would have been nice if the verses were a little heavier to keep the pace of the song going, but when the chorus kicks in it does feel like you are listening to the Within Temptation of 15 or so years ago again. A fairly lengthy guitar solo is also present, something not commonly heard in the band's music, and it is great seeing the band's guitarists letting their hair down.

Supernova is another single, and it is an extremely catchy piece with a sugary chorus and some flashy synth work throughout. Spierenburg, who is usually a big contributor to the band's songwriting, has been absent in that regard this time around but his keyboard work is still a big part of the Within Temptation sound. Dancing synths characterise this song, but it is perhaps the chorus vocal melodies that will stick out the most. den Adel has shown over the years that she can easily craft poppy vocal melodies in a somewhat heavy setting, and that knack has not diminished over the years. The chorus here is worthy of Top 40 pop, and may be too much for some of the band's fans. Within Temptation have been moving in a poppier direction for years now, so songs like this do not really surprise me. A symphonic metal breakdown that features the gothic choir again should pull a few back in, but this is likely to be somewhat of a divisive number overall! Holy Ground opens with a mid-paced heavy riff that could be from the band's early days if it was not for the electronics that accompany it, but overall this is another song that relies heavily on poppy melodies to get by. The verses in particular are extremely poppy, and do not even sound like they are by a supposed metal band! Trippy electronics and percussion back den Adel's vocals, which use melodies borrowed from various big recent pop singles, and the choruses are not much different - albeit with a heavier guitar and drum backing. I do not mind the band's poppier side, but I think this song might be the one that steps too far over that line. There is very little weight to the song, and it sees the first real dip in quality after four strong opening tracks. In Vain, to me anyway, recalls 2007's The Heart of Everything - the album which saw Within Temptation really break through into the mainstream - and features that album's watered down brand of symphonic metal. The guitars often drone away in the background, and den Adel turns in another really strong vocal performance - especially during the sparse verses which see her at her emotional best. This is certainly poppier than that 2007 album, but the vibes given off are quite similar. Firelight, which features the smooth vocals of Jasper Steverlinck (Arid; Guilt Machine), slows everything down and is the album's main ballad. The song is built around a slow drum beat and some dark-sounding electronics, and this is a great backing for den Adel and Steverlinck's interweaving vocals. Most of the band's guest vocalist spots are fairly disposable, but I really like Steverlinck's contributions to the track. His gentle delivery really compliments den Adel's more shrill approach to the song, and the two play off each other and harmonise well. The choruses are a little heavier, but still maintain the overall feel of a ballad. Orchestrations really help it to sound big, and the two vocalists sing the lyrics together to create something that really stands out.

Mad World, which is not a Tears for Fears cover, picks up the pace and is a fairly strong mid-paced rocker with a decent chorus which again recalls The Heart of Everything. The song's main riff is quite energetic, and is backed with a sparking keyboard arrangement that helps it to stand out. My main criticism of this album would be that the guitar work is extremely basic for the most part, but this song sees them used for a bit more than just creating a heavy backing. I would have liked to see more proper 'riffs' here though, especially with three guitarists contributing to the songs! That being said however, this song still manages to whip up some energy and I think would go down well live if the band choose to perform it. It has that bouncy atmosphere that would go down well in the live setting, and it will be interesting to see if the band choose to include it in their setlists going forward. Mercy Mirror is another slower track and opens with some gentle piano melodies before some drums and electronics join in to drive things forward with a little more purpose. It never really ups the pace however, and seems content to move in a fairly laid back way. The pop influences are back here in full force too, with the choruses once again seemingly borrowing heavily from modern Top 40 tropes. den Adel has the voice for these kinds of melodies however, and she helps to make the song work. The chorus is pretty infectious, and I am sure that people are going to struggle getting it out of their head - even if they are not so keen on the overall style. The album comes to a close with Trophy Hunter, a song which feels a little more like the Within Temptation of old with sharp guitar riffs throughout and a more symphonic feeling with big orchestral arrangements and less of an emphasis on the poppy melodies. den Adel even sings in that ever-so-slightly sharp way that she used to sing at times during the band's early days at points during the song, and that helps to bring back memories of the band's old sound. It is a song that sounds quite different to everything else on the album, so it does stick out somewhat at the end, but the heavier feel and the more guitar-based musical approach should please many. It shows that the band can still write this type of music, and might indicate their possible future direction? Overall, Resist is a bit of a return to form for Within Temptation, but is an album album that is certainly going to be divisive. I know there are lots who are not all that keen on the album, but I am glad that I have found so much to enjoy here - especially after Hydra. I do think the band need to freshen things up further going forward however, and I think a break from producer Daniel Gibson might facilitate this. He has produced and co-written every album from The Silent Force onward, and I think a change in mindset might help the band settle in their new style. It worked wonders for Epica, and I think it would have a similar effect for Within Temptation.

The album was released on 1st February 2019 via Vertigo/Universal Music Group. Below is the band's promotional video for The Reckoning.

Evergrey's 'The Atlantic' - Album Review

Evergrey are a band that holds a somewhat unique place in the metal world. The Swedish five-piece's dense, melancholic sound is hard to pigeonhole, so have their feet in many camps as a result. The band's earlier works certainly had a strong dose of power metal, but this was always tempered by a certain darkness that pervaded everything - particularly frontman, and sole original member, Tom S. Englund's lyrics. This power metal influence has certainly dissipated over time, with the band seemingly getting heavier and heavier over time. While never straying close to extreme metal territory, Evergrey's sound has certainly become darker and more intense. The Evergrey of 2019 is characterised by dry, heavy guitar riffs; dense, enveloping keyboard textures; and - of course - the soulful vocal delivery of Englund. Throughout Evergrey's near 25 year career, Englund has eschewed many of the tropes of melodic metal vocalists and carved his own path. With over-the-top histrionics common in the genre, Englund's more restrained approach has certainly made him stand out. While he may not display the range as many of his peers, his delivery is one that is full of emotion and soul. This approach has always complimented his lyric writing, and has really helped to cement the band's more melancholic feel. This style has served the band well, and is no more apparent than on their newly-released tenth studio album The Atlantic, which dropped last month. The band's third effort with the current line-up. The Atlantic is the final part of a somewhat loose conceptual trilogy that started in 2014 with Hymns for the Broken (which I reviewed here) and continued in 2016 with The Storm Within (which I also reviewed here). This pair of albums saw the band feeling refreshed after a small hiatus, which had seen the band take stock after a period of line-up instability and a handful of weaker releases. The break certainly did Evergrey the world of good and, with most of the band's classic-era members reinstated by Englund, they were once again ready to impress. I count Hymns for the Broken as one of my favourite Evergrey releases, along with 2001's excellent In Search of Truth, and while The Storm Within did not quite reach those heights it is still an impressive piece of work. I would rank The Atlantic alongside The Storm Within in terms of quality, and is another strong release from a band who will celebrate 25 years of existence next year. Those who have enjoyed the band's recent efforts will want to pick this one up too, as the sound established on the previous two albums carries over here. The almost-tech metal riffing returns, as does Rikard Zander's suffocating keyboard arrangements. This concise, yet dense, take on progressive metal still sounds fresh despite the familiarity and that is a testament to the current Evergrey line-up's songwriting skills.

The album opens with its longest song, the near-eight minute long A Silent Arc. It starts slowly, with swirling atmospherics and radar beeps, before exploding into a frantic heavy guitar riff backed by some fantastic drumming from Jonas Ekdahl. This riff is one of the heaviest moments in the Evergrey catalogue, and it really sets the tone for how the album will progress. Heavier moments pop up throughout the album, but elsewhere the melancholy pervades as usual. A Silent Arc mixes heavy verses, that make use of Englund and Henrik Danhage's muscular riffing, with slower, more expressive choruses that see sombre strings and Englund's soaring vocals dominate. Englund sounds as great as ever vocally, and this song's chorus is perfect example of his talents. He sings over the band's heavier moments well enough, but it is during the more atmospheric, keyboard-heavy parts where he really shines. About two thirds of the way through the song a crunching mid-paced guitar riff takes over and this allows him to croon over the top to great effect, before everything transitions into the album's first true guitar solo. The song is a great example of the modern Evergrey sound, and would be a great entry point for new fans despite its length. Single Weightless is more overtly melodic, but it still packs a punch. A dry riff drives the song, but things open up when Zander's keyboards join the fray to provide a chiming, pulsing melody that compliments the tech metal-esque riffing well. Being a single, it is unsurprising that Englund's vocals are really pushed to the fore, with a simple verse that allows him to deliver a strong melody unhindered. The song is similar to Evergrey singles of the past, but still fits in with the album's overall mood. Where it really comes alive however is during the chorus. It is probably the album's most instantly memorable moment and is a little bit of a throwback to the band's earlier work with more of an emphasis on powerful melodies. The choppy, tech metal riffing that continues to surface throughout drags the song back into 2019 however, and the big, prominent bass performance given by Johan Niemann adds some serious weight. Singles can sometimes be a little tame, but this is one that really represents the album as a whole while still being fairly accessible. All I Have has some really heavy moments, and opens with a riff that sounds like something Gojira might have come up with for one of their more recent efforts before transitioning into a dark, murky verse that keeps up the grinding guitar and bass work. Sombre piano lines add some emotional weight, but it is the song's chorus that makes the piece a real winner. A far cry from the opening grooves, the pseudo-ballad style of the chorus really allows Englund to shine. Zander's keyboards create an everlasting soundscape, and this helps the lyrics to seemingly take on more meaning. It is another earworm moment, and the emotional guitar solo that follows the second chorus really helps to take things to the next level.

After a keyboard-heavy intro, A Secret Atlantis ups the pace and heaviness of the album with a driving guitar riff and some furious double bass drumming from Ekdahl. Not one to compete vocally with such heaviness, Englund slows things down a little for the verses as the guitars are paired back somewhat to allow the vocal melodies to shine. It still maintains a strong pace however, with lots of intricate drumming patterns and dry riffing that maintains a darkness despite being more in the background. The chorus is more typical of the album's style however, with the keyboards once again ramping up and the overall pace slowing to allow for that more emotional vocal delivery. A stunning keyboard solo from Zander is arguably the highlight of the piece however, and sees him unleashing a flurry of synth notes to great effect. It is moment of pure abandon in a song that feels more measured overall, and it works really well. Following the short, keyboard-heavy instrumental piece The Tidal, End of Silence hits hard with a mid-paced crunching guitar riff that continues into the verses. Englund sings over the heavy riff to great effect, and this helps to give the song a suffocating feeling. That being said, this is not a song that is consistently heavy and in fact the first chorus sees everything paired back to a simple keyboard arrangement to allow for a burst of pure, uninterrupted vocals. Future choruses are more involved and feel heavier, but that simple melody is still there. As with many of the songs on the album, this is one that manages to fit a lot into a fairly short space of time. There is in instrumental section part way through that sees the keyboards take the centre stage, and this provides a bit of a break from the guitar-dominated riffing that fills the rest of the song. Currents seems to hark back a little to the band's earlier work, and opens with a driving guitar and is based around a soaring verse that sees Englund really pushing himself vocally and sounds more like a rock start than usual! The band's early power metal sounds are evident here, with a fairly jaunty keyboard melody overriding everything during a catchy chorus, and guitar riffing that sounds fuller and richer than the dry, tech metal-inspired motifs that have dominated the album up until this point. The shredded guitar solo also helps to enhance this mood, and this is another burst of abandon that is welcome. Sadly the album's liner notes do not credit the guitar solos, so I am not sure if Euglund or Danhage is responsible for this shredding, but it is great to hear something somewhat more energetic in an album that is otherwise very sombre.

Departure slows things down and opens with a powerful, rumbling bassline from Niemann while Zander's sombre piano chimes away in the background. The last few numbers have featured big arrangements, but this one takes a bit more of a less-is-more approach with acoustic guitars filling some of the gaps, and Englund's vocals pushed right to the fore. I made comparisons to Anathema's more modern sound in my review of Hymns for the Broken, and that comparison seems apt once again here. Zander's rolling piano melodies, that often repeat motifs over again, feel like something Anathema might have written, and the overall feel of the song recalls the beautiful desolation that the last few Anathema albums have been filled with. The Atlantic is an album which, on the whole, is rather heavy and this song stands out as more of a moment of calm. There are still moments that feel somewhat 'heavy', such as the bass-heavy intro, but overall this feels like a conscious attempt to write something as an antidote to all the heaviness that is present elsewhere. The Beacon opens slowly, with some effects-heavy spoken word that creates a bit of an unsettling atmosphere, before a synth-heavy riff kicks in that sounds dark, yet extremely catchy. The presence of electronics in this song really helps it to stand out, and really shows what Zander adds to the band. He stuck with Englund throughout all the line-up changes and weaker albums, and he has proven to be an invaluable asset to the band. His keyboard work on this song is excellent, and often steals the show from the guitarists despite some heavy riffing. This is a song that feels like a perfect mix of the band's early sound and their modern efforts, with power metal vibes coming through despite the dark, progressive metal overtones. The chorus has some strong, overt melodies and there is an excellent guitar solo that cuts through the mix with perfect phrasing. The album's closing number, This Ocean, ramps up the heaviness again and opens with a dry riff that would not sound out of place on a TesseracT album before steaming along at a faster pace. This definitely more of a song for guitarists, as the riffing never really lets up throughout. The atmospherics are still present, but they are certainly mixed more into the background to allow the heaviness of the guitars to shine. It is as if the band wanted to end the album as it began, with a real injection of metal. It works well, and acts as a strong bookend to the album after a couple of more atmospheric pieces that focused more on the keyboards than the riffing. The ending in particular is powerful, with Ekdahl laying into his double pace pedals for some of the albums's fastest drumming, before a slower, mechanical riff sees the album come to a discordant close. Overall, The Atlantic sees Evergrey doing what they do best and is a fitting close to this loose trilogy of recent albums. The darkness and melancholy are here in spades, but with probably a few more standout melodies than on the last album which helps to keep things fresh.

The album was released on 25th January 2019 via AFM Records. Below is the band's promotional video for Weightless.

Amorphis/Soilwork - London Review

Throughout the past decade or so, co-headline tours and larger touring packages have become a lot more common. With the live music market somewhat flooded, and ticket prices rising all the time, bands sometimes have to find more inventive ways sell tickets. Co-headline tours have become popular because they often provide fans with excellent value for money. A well-matched pair of artists is likely attract fans from both bands' fanbases, and sharing backline and transport costs can help make the tour more financially viable. The downside is that bands sometimes have to sacrifice some time on stage, with co-headline partners often not having quite as long of a set when compared to their own headline shows, but in my opinion this is a small price to pay. The latest two bands to team up in this fashion were the Finnish progressive/folk metal act Amorphis and the Swedish melodic death metal veterans Soilwork. Both Amorphis and Soilwork have been around for years now and both have large fanbases worldwide. They also, probably, have just enough of a fanbase crossover for this pairing to make sense - with the presence of the 'other' band not likely to put someone off going to the show if they were only a fan of one. The result of this pairing was a fairly lengthy European tour, that included one stop off in the UK - at the Electric Ballroom in Camden, London. I had only been to the Electric Ballroom once previously, and that was back in 2015 to see Queensrÿche headline the day before Bloodstock Open Air kicked off that year. I remember quite liking the venue, so was not disappointed to return. By the time the day of the show rolled around, it was nearly sold out. Adverts on Facebook a few hours before the doors opened stated that only around 20 tickets remained, so I was expecting a big crowd. There was a big turnout, which was great to see on a Monday night, but the place never felt over-full - which is always good! Joining Amorphis and Soilwork on this trek were Jinjer and Nailed to Obscurity, but sadly the former were unable to make the London show due to visa issues. This meant that both Amorphis and Soilwork were able to play slightly longer sets than has been average on this tour so far - something which I doubt too many had any complaints about.

The doors opened at 6pm, and half an hour later the aforementioned German doom metal act Nailed to Obscurity took to the stage for around 45 minutes of slow, heavy music. I had seen the band open the Main Stage at Bloodstock last year, but they did not make much of an impact on me. While I think it is still fair to say that they did not make much of an impact on me this time around either, seeing them in a smaller venue, in the dark, and with better sound certainly helped me appreciate what they do. The occasional bursts of clean vocals were still fairly ropey, but everything else sounded big, heavy, and powerful. Frontman Raimund Ennenga has a great growl on him, and his guttural vocals really went well with the band's slow riffing. The decent sound mix allowed for the intricacies of the guitar playing to shine through in a much more convincing way than it did at Bloodstock too. Many of the songs have beautiful clean guitar passages, which really help to create an atmosphere and add 'light' to the songs in a way that the clean vocals fail to do. This, coupled with the numerous heavy riffs and melodic guitar solos, make for strong, oppressive sound that really filled the room. I would not be surprised if the band made themselves a few new fans with this performance, as they received a strong reception throughout the night. Doom will never really be my thing, but Nailed to Obscurity are a band that are very good at what they do and I would not be surprised to be hearing more about them in the future.

After a 20 minute changeover that flew by, the first of the evening's headliners - Soilwork - took to the stage as the title track of their latest album Verkligheten played over the PA. The six-piece band hit the stage in a flurry of energy and immediately launched into Arrival, the first single from the new album, and what followed was just under 90 minutes of energetic, catchy, and melodic metal music. While the sound mix was certainly not as kind to Soilwork as it was to the other bands on the bill, and sadly things did sound a little mushy at times, the band still managed to put on a powerful display and featured songs from throughout their career. An early highlight was the mid-career offering Nerve, before the future classic Full Moon Shoals slowed things down for some mid-paced crunch. Frontman Björn 'Speed' Strid was on good form vocally throughout the show, and luckily managed to be heard above the rest of the band. Songs like Full Moon Shoals allowed him to showcase his clean vocals more effectively, while older classics like the twin-guitar romp of Like the Average Stalker focused on his screams. Both sides of his voice sounded strong, although I have to say that I was a little disappointed to hear a lot of vocals on the click tracks. Only bassist Rasmus Ehrnborn was providing live backing vocals, so there was a lot of reliance on piped-in vocal 'help'. Strid still sang live however, and sounded great, but I just wish the extra vocals were not so obvious! That aside, there was a lot to like about Soilwork's set. Songs like Rise Above the Sentiment and The Akuma Afterglow had big choruses for the crowd to really get into, and heavier tracks like Bastard Chain allowed the band's two guitarists, Sylvain Coudret and Simon Johansson, to lay down some excellent shredded solos. Johansson is currently filling in for the band's usual guitarist David Andersson on this tour, and acquitted himself very well by nailing all of his solos. Towards the end of the band's set, the more melodic anthems were wheeled out. As We Speak saw a bit a sing along erupt in the crowd, and allowed Sven Karlsson (keyboards) to showcase some of his more melodic playing. A late highlight for me was the band's latest single Witan which includes one of their very best choruses. It went down well with the crowd, before probably the band's best-known track Stabbing the Drama allowed for the biggest sing along of the evening up to that point with the crowd almost downing out Strid during the choruses. It was left to the new tune Stålfågel to bring the eighteen song set to a close, which was met with cheer from the large crowd. I certainly felt that the audience was more Amorphis', but Soilwork still managed to elicit a strong reaction and I really enjoyed their efforts. The setlist was:

Verkligheten
Arrival
The Crestfallen
Nerve
Full Moon Shoals
Death in General
Like the Average Stalker
Rise Above the Sentiment
The Akuma Afterglow
Drowning With Silence
The Phantom
The Nurturing Glance
Bastard Chain
As We Speak
The Ride Majestic
The Living Infinite II
Witan
Stabbing the Drama 
Stålfågel

While I have been a casual Soilwork fan for years, I have been a big Amorphis fan for around the same amount of time. The band's last two albums have been included in my Albums of the Year lists for their respective years, and I was very much looking forward to seeing the band again - with the last time coming back in 2015. Like Soilwork, Amorphis had just under 90 minutes to play with and used the time to showcase six tracks from last year's excellent Queen of Time as well as a selection of other tracks, mostly culled from their other recent efforts. The Bee and The Golden Elk, both from the new album, got their set off to a flying start. I imagine that a few Soilwork fans would have left after their set, so everyone who was left was really embracing what Amorphis were offering. The setlist was almost like a 'Best Of' the Tomi Joutsen (vocals) era, with all-but-one of the songs played coming from his time with the band. The spacey Sky is Mine went down well early on, before the epic melodies of Sacrifice saw lots of singing from the crowd. The sound mix benefited Amorphis, and everything sounded crisp and clear. Esa Holopainen's (guitar) leads and solos all stood out perfectly, and Santeri Kallio's (keyboards) washings of organ and piano melodies had just the right amount of weight. This allowed the band's dense arrangements to really come alive on stage, with the more complex numbers like Message in the Amber shining. This song was one of the highlights of the evening, with Joutsen, Olli-Pekka Laine (bass guitar/vocals), and Tomi Koivusaari (guitar/vocals) all taking a turn vocally. It was particularly fun to hear Koivusaari sing a few lines here and there, considering he was originally the band's lead singer! The simpler songs also sounded great, with The Smoke's melodies really washing over the crowd and the band's latest single Wrong Direction showing that the now long-established Amorphis sound is sounded as crisp and warm as ever. I still get a smile when I hear the intro to Daughter of Hate, as it sounds a lot like Def Leppard's Women but I imagine this is something lost on many Amorphis fans(!), but the real late-set highlight for me was a powerful rendition of Hopeless Days that saw lots of singing from the crowd. Joutsen encouraged the singing, and the chorus brought lots of it. This led nicely into Black Winter Day, the only 'older' number played, and the old-school fans in the crowd certainly enjoyed it. Koivusaari actually handled a few of the vocal lines too which was nice to see, as he sang them on the original album version of the song! This brought the main set to a close, but as Amorphis were closing out the evening they were afforded an encore. The percussive Death of a King was the first of two more songs to follow, before House of Sleep brought everything to a close. It has possibly the band's chorus, and as a result it saw the loudest crowd sing along of the evening. Everything sang their hearts out, and the band seemed happy with the result! It certainly ended things on a high, and brought a great evening of music to a fitting end. The setlist was:

The Bee

The Golden Elk

Sky is Mine

Sacrifice

Message in the Amber

Silver Bride

Bad Blood

The Smoke

Wrong Direction

Daughter of Hate

Heart of the Giant

Hopeless Days

Black Winter Day

-

Death of a King

House of Sleep

Amorphis were the band of the night, but Soilwork also put on a great showing and Nailed to Obscurity enjoyed a strong reception. I was glad to be able to see Amorphis live again after a few years, and to finally catch Soilwork for the first time. I am looking forward to seeing Soilwork again at Bloodstock later in the year, and I hope Amorphis will return to the UK again in the near future.