Grand Magus' 'Wolf God' - Album Review

Sweden's Grand Magus are a bit like a favourite old jumper or a plate of fish and chips. They might not be the most exquisite offering, but they remain extremely satisfying. The three-piece have been churning out albums of their trademark heavy metal sound for nearly twenty years now, and have become the masters of recreating traditional metal that recalls the classics of the 1970s and early 1980s. While the band's early work had a bit of a doomy overtone, since around the release of 2005's Wolf's Return Grand Magus streamlined their sound to focus more on the genre's genesis. Hints of Manowar at their most primitive can be found in Grand Magus' sound, as well as snippets of Ronnie James Dio-era Black Sabbath and early Saxon. These clear influences have been combined with tales of Norse mythology to create the Grand Magus sound - and played with the simplicity and ferocity that this sort of music requires. Grand Magus' albums have never been over-produced, and in fact it is easy to imagine much of what is heard on their albums was recorded live in the studio - with a few overdubs and occasional flourish added here and there. From Ludwig Witt's hollowing-sounding, booming drums to frontman Janne 'JB' Christoffersson's rich, deep voice - Grand Magus are a primal force. This might only be 'meat and potatoes' metal, but they are some of the best meat and potatoes that you have ever tasted - and sometimes the band's no-nonsense approach to traditional metal is exactly what I need to listen to. The band took 2018 off as far as live performances went, after having spent 2016 and 2017 on the road supporting their last album Sword Songs (which I reviewed here). I enjoyed Sword Songs at the time, but it is not an album which I return to too often. In my opinion it was a somewhat weaker entry into the band's canon, especially following 2014's excellent Triumph and Power (which I reviewed here) - which is my favourite offering from the band along with 2012's The Hunt. Sword Songs just lacked the epic edge that those albums had, so unfortunately I often overlook it despite it containing some strong songs. The band's road-free 2018 was clearly spent crafting Wolf God, the band's latest and ninth album - which is an album that has seen the band crank up the heaviness somewhat and, occasionally, return to their doomy roots. JB, Witt, and bassist Mats 'Fox' Skinner seem to have made conscious decision here to create heavier riffs here, and focus more on creating a dense, heavy atmosphere than crafting catchy choruses. In some respects this works in the band's favour, but there are times when a somewhat brighter sound and a bigger chorus as would have served better. This could have also been an influence taken from producer Staffan Karlsson, on his first collaboration with the band, who has a history of working with much heavier acts.

The dense, string-filled intro Gold and Glory opens up the album with its slow-paced swirling atmosphere and plucked string instruments. The piece has a Tudor-era feeling to it, and sounds like something that would have been played for the pleasure of one of the Kings of that time. These majestic melodies help to set the grand tone for the album, something which is somewhat shattered when the mighty riff of the album's title track comes crashing in. While some of the songs here showcase the band's somewhat doomier side, Wolf God sounds more like the Grand Magus of recent times with a strident riff from JB leading the charge, while Fox's bass fills the gaps perfectly with a muscular tone. JB might not have the most diverse of voices, but his deeper tones are perfectly suited for this type of music. The song's simple chorus is a perfect representation of his talents, with some subtle harmonies to emphasise the melodies, and he helps to make it one of the album's first really memorable moments. The strong title track sets the mood for what is to come, and this mood is only emphasised with A Hall Clad in Gold which ups the pace a little and feels a little like the songs found on The Hunt. The song opens with Witt's hollow drumming, before the bass and guitar soon join for a pacier verse that allows the bass to really dominate while JB barks out the lyrics. The drum sound on the album is perfect for the Grand Magus style, and Witt's drums really crash through the speakers with an organic boom. All too often in metal these days drums sound quite processed, but here they have a natural hollowness to them which recalls may classic heavy metal records of the 1970s. Grand Magus are clearly influenced by a lot of those bands, so it is great to see that influence also stretching to the production. After the title track's simple chorus, it is nice to hear something a bit more involved here as the pace slows to allow the more epic melodies to shine. A few vocal harmonies would have helped the chorus to sound bigger in my opinion, but it still works well as it is. Brother of the Storm has a very Black Sabbath-esque riff leading it, and it is here that the band's older doom sound is showcased somewhat. While not as slow as true doom, there is certainly a lot more weight here. Fox's bass is very high in mix, which helps things to feel much heavier and fills the gaps that the guitar leaves - although the start-stop nature of the verses that often leaves JB singing alone also helps to emphasise the song's heaviness when the riffs kick back in. This is a much simpler song than the previous numbers as a result, but the raw power approach is extremely effective. It is also features a prominent guitar solo that shines due to the simplicity of the song.

Dawn of Fire opens with some atmospheric weather effects, before a mid-paced riff starts up to get the song underway proper. Despite the strength of the riff, the band have chosen to only really feature it (or any other riff) during the intro and chorus sections of the song. This leaves the verses strangely sparse and JB employs a more atmospheric approach to the guitar than his usual metal assault. While I like the idea, I am not sure it quite works here. As a result the song feels a little empty, and the verses in particular seem a little strange without a meaty riff to push them along. Grand Magus are not a band known for their atmospheric playing, so to forego their core sound for something more experimental is a decision that was probably a mistake. Spear Thrower gets the album back on track however, and ups the tempo again with a NWOBHM-inspired riff that ensures the song keeps up a speedy pace throughout. In my opinion, these are the types of songs that really show Grand Magus at their best as they allow all three members of the band to shine. Witt's drumming here is precise and powerful, unleashing his double bass drum pedal at opportune moments to help keep the pace, and the bass from Fox just adds so much depth. All to often, even on albums by bands with one guitarist, albums feature so may layers of guitar that the bass is relegated to a semi-pointless role - but that is not the case here. Fox is a big part of the Grand Magus sound, and his bass playing fills the holes that JB's riffing cannot. Speaking of JB, he also shines here with one of the album's best riffs - and also a powerful vocal display during the song's chorus which is one of the album's catchier moments. To Live and Die in Solitude is another slightly doomy piece, although in truth the song feels like a mix of Grand Magus' previous sounds. The verses are quite pacey, with riffing that would not have sounded out of place on the band's more recent albums, before the chorus slows the pace down a little and introduces some doomier elements. The chorus riffs are low and rumbling, with Witt's slow double bass drumming adding to a gloom, while the verses have a sharpness about them that echoes the NWOBHM-inspirations of the previous number. The mix of sounds works well in my opinion, and makes the song one of the more dynamic pieces here. Grand Magus are not exactly known for their progressive songwriting, but the little variations displayed here help to keep things fresh.

Glory to the Brave opens with a fairly low-key bassline, with a strange percussive backing, before JB joins the fray with a heavy guitar riff that again is filled with the doom influences of the band's past. This is one of the heavier pieces here, with verses that alternate between being led by a powerful bassline and JB attacking his guitar with real gusto. The bass-only sections help to emphasise the doom sound, due to the raw tone that Fox's bass has on this album, and they also help to make the guitar sound a lot heavier when it kicks in. The chorus is a little too plodding for my liking however, and could have been done with being sped up a little - although the slower pace does help to fit in with the doomier feeling. It just means that the song is a little one-paced, although things do speed up a little as JB launches into his melodic guitar solo. If the choruses had matched this pace I feel like the song would have been a bit stronger, but it still works fairly well as it is. He Sent Them all to Hel is a catchier piece and again channels the sound of The Hunt and Triumph and Power nicely. The main riff is a memorable one, and the slightly faster pace here - based around a strong bass and drum groove - helps to create a bit of energy. It also has one of the album's most-memorable choruses which, although extremely simple, is likely to go down well if the band choose to play it live. It is one of the few moments on the album with prominent backing vocals, and this addition really helps the chorus to pack more a punch. The song also features a strong guitar solo, with lots of bluesy flourishes that helps it to stand out. JB is certainly no virtuoso, but his muscular riffing and traditional soloing style is a big part of what makes Grand Magus such a satisfying band to listen to. This is old-school metal for the modern day, and there are few better at that sound. The album's final number, Untamed, picks up the pace again and is one of the fastest tracks here. It opens with a strong riff and some shredding guitar leads from JB, before a powerful verse takes over with a throbbing mid-paced beat, that is often punctuated by the intro riff for some additional power and speed. The chorus slows everything down for a more epic feel, but it is the faster moments here that stand out the most. I feel the band could have chosen one of the more catchier songs here to close the album out, as I am not really sure that the chorus here is as epic as they think it is. It is not quite the defining moment that it should be, despite trying very hard, so a little reworking of the tracklisting could have served the song a little better - in my opinion. Overall however, Wolf God is another strong and enjoyable album from Grand Magus. It is certainly not their best, but it does a good job of mixing the band's core sounds together and is sure to satisfy the band's large fanbase - as well as anyone who enjoys metal done the old fashioned way.

The album was released on 19th April 2019 via Nuclear Blast Records. Below is the band's promotional lyric video for Wolf God.

Mostly Autumn - Reading Review

It had only been just over two weeks since I had last seen Mostly Autumn live at the Trinity Live festival in Leamington Spa, but on Sunday I found myself in Reading to catch the band again - for the 42nd time! Those who know me will know just how much I love the York-based band, so will understand how disappointed I was when I found out that I would not be able to make the band's near-annual trip down to Devon to play at The Wharf in Tavistock this year. I have seen Mostly Autumn in Tavistock nearly every year since 2006, but 2019's iteration of that experience fell on a night where I had already made plans. A trip to London to see Seattle legends Alice in Chains had already been arranged by the time Mostly Autumn released their tour dates a couple of months ago, but luckily the band had chosen to play a gig in Reading the next day. With the following Monday being a Bank Holiday, it seemed foolish not to stop over in Reading on my way back home from London. Reading is not exactly a gig hot spot, but the Sub89 there is a decent enough small venue. I saw FM and Dare there back in March and had enjoyed the experience, so was confident that it would be a good venue for Mostly Autumn to play. I have seen the band in many venues over the years, so it was nice to add a new one to the ever-growing list! It is also likely that the Reading show will be the only headline show of the band's that I make this year - unless I can make the logistics of one of their Christmas gigs work - so it was even more important that I made the effort to go! While the Trinity set was excellent, they only had a 75 minute slot. Mostly Autumn's shows are usually pushing the two and a half hour mark, and with the excellent new album White Rainbow being represented heavily in the set I could not really pass up the opportunity. Reading is not a regular stop for Mostly Autumn, so I had wondered what the turnout would be like. With the doors opening at 7pm and the band starting at around 7:30pm, there was not that much time for a crowd to amass. A few minutes before the band were due to start the venue was looking pretty empty, but it seemed that there was a bit of a last minute influx of punters. I have certainly seen bigger crowds at Mostly Autumn shows, but I think the turnout was pretty good considering that the town is not a regular haunt of the band's. Everyone in attendance was there to have a good time too, and the reaction from the crowd throughout the evening was enthusiastic and appreciative.

As has been the case for the past year or so, the band took to the stage to the moody piano intro of Sight of Day, which kicked off the first half of the show. Older material was showcased early on, with a five-song set easing the crowd into things, before the White Rainbow material followed after a short break. Despite only playing five songs before taking a break, the five songs chosen were all excellent and filled up nearly an hour of time. The band seem to really have embraced playing their longer material over the past couple of years, with Sight of Day, Evergreen, and Mother Nature all approaching or breaching the ten-minute mark. Despite battling slightly muddy sound throughout, with frontwoman Olivia Sparnenn-Josh's vocals often quite low in the mix, the band shone. This might have been due to my position down at the front however, and it is possible that those stood further back had a clearer mix. Sight of Day is the perfect set opener, and showcases everything that makes the band great - with one of Bryan Josh's (vocals/guitar) best Floydian guitar moments during the mid-section. Organic moments like Simple Ways sat alongside heart-wrenching ballads like Silver Glass; before the epic Mother Nature brought the first half to a close. It is a personal favourite of mine, with the gorgeous vocal harmonies of Josh and Sparnenn-Josh sending shivers down the spine, before the extended instrumental outro showed how powerful the band can be. It builds from a melodic keyboard solo from Iain Jennings, before the whole band brought the piece to an epic, hard rocking close.

A short break followed, before the eight-song second set got underway in fine fashion with the multi-faceted Viking Funeral. It is one of the band's main tributes to the late Liam Davison who passed away in 2017, and is unsurprisingly packed full of emotion. The lengthy Celtic instrumental section, with plenty of whistle work from Angela Gordon (flute/keyboards/whistle/recorder/vocals), builds up the tension, before the second half explodes with soaring vocals and driving rock rhythms. Sparnenn-Josh showcased her songwriting with the gentle Burn, and in fact stole much of the spotlight throughout the second half of the night with lots of excellent vocal performances. A personal highlight was a heavy version of Western Skies. The song starts out gently with Gordon's flute and some piano work, but soon moves into a heavy, symphonic instrumental section with some excellent keyboard work from Jennings. It is a song that deserves to be in the setlist for some time, and has already become a real favourite of mine. It was also great to hear Chris Johnson's (vocals/guitar) Changing Lives again, as it is another personal favourite. While not as potent as the Trinity version, which was on another level, it still packed a punch and shows what Johnson brings to the band. The real winner however, as with Trinity, was White Rainbow - which ended the main set. The epic piece is another song that is fast becoming a favourite, and features some of the most diverse songwriting from Josh yet. The middle section in particular is stunning, with Sparnenn-Josh's siren-esque vocals and some heavy drumming from Henry Rogers just giving everything so much weight. It brought the set to a powerful close, and elicited a strong reaction from the crowd. There was time for a couple more, and the band's recent encore combination of Heroes Never Die and Forever and Beyond proved the perfect coda to an already excellent evening of music. The crowd certainly did not want the evening to end, and the band seemed to enjoy their time in Reading too! The setlist was:

Sight of Day
Simple Ways
Evergreen
Silver Glass
Mother Nature
-
Viking Funeral
Burn
Run for the Sun
Western Skies
Into the Stars
Changing Lives
Tomorrow Dies
White Rainbow
-
Heroes Never Die
Forever and Beyond

Overall this was a great showing from the band, featuring some of their best longer songs. Despite a slightly muddy sound mix the band really shone, and the new material already feels at home in the set. It was also nice that a few recently over-played numbers, such as Drops of the Sun and In for the Bite, have been rested in favour of newer material. Of the 15 songs played, 10 were from the band's most recent two albums - showing that Mostly Autumn are focusing on the now rather than dwelling on the past.

Alice in Chains - London Review

Despite not being a fan of the early 1990s grunge scene, I have been a casual fan of Seattle's Alice in Chains for a number of years. I have always found Alice in Chains' sound to be more firmly rooted in classic rock and traditional metal than many of their contemporaries', and knowing that Jerry Cantrell (vocals/guitar) is a fan of bands like Queensrÿche certainly explains the band's more interesting and dynamic songwriting. Over the past couple of years I have become a much bigger fan of the band, and really enjoyed their sixth studio album Rainier Fog which was released last year. It was the first album of the band's that I bought when it was new, and I even included it in my Albums of the Year list last year. The band are semi-regular visitors to the UK, but I had never capitalised on an opportunity to see them until this past weekend. I almost bought tickets for show the band played in London last year, at the O2 Shepherd's Bush Empire - which is a very small venue for a band of Alice in Chains' stature, but decided against doing so when I saw the ticket price as I did not really have the funds at the time to make that sort of commitment. My enjoyment of the band has increased a lot since however, and an arena show at the Wembley Arena was extremely tempting when the band's short UK tour was announced last year. I decided to take the plunge, and have been fully immersing myself in the band's relatively short, but dense, back catalogue since. While the Shepherd's Bush Empire was a very small venue for the band, and unsurprisingly it sold out very quickly, I did wonder whether the Wembley Arena was a step too far. I was not really sure of the band's reach over here, and had visions of the majority of the venue being curtained off as was the case when Opeth played at the venue back in 2016. Thankfully that was not the case this time, as Alice in Chains managed to attract a pretty healthy crowd. While the venue was certainly not sold out, and a small portion towards the back was curtained off, there were more than enough people in attendance to justify the choice of venue over somewhere like the Hammersmith Odeon (sorry, Apollo). I would equate the turnout to similar of that of Thunder's when the British rock band headlined the venue in 2016. The Alice in Chains fanbase are clearly very dedicated too, and managed to create a strong atmosphere throughout. I sometimes find atmosphere a little lacking at arena-sized shows, but the few thousand fans in attendance certainly made themselves heard, and the band seemed to feed off this energy.

Before Alice in Chains' set however, the growing crowd was treated to around 45 minutes from the American rockers Black Rebel Motorcycle Club - a band who have been going for many years but were not a band I was really familiar with. I remember having indie-loving friends at school who were into them however, so I was surprised to see that they were chosen as Alice in Chains' support act. It turned out that the match-up was more appropriate than I had imagined it to be however, as Black Rebel Motorcycle Club's dark, bluesy garage rock fit in with the mood of the evening and managed to elicit a decent reaction from the crowd. I would not say that I became a fan of the band, but their atmospheric, fuzzy sound was certainly interesting and helped to set the tone before Alice in Chains took to the stage. While not a heavy band, Black Rebel Motorcycle Club really managed to create a dense atmosphere, with driving fuzzy basslines often dominating their songs, with dry-sounding guitars adding jagged riffs and bluesy atmospherics. There were certainly a few fans of the band in attendance, as some of the song introductions were greeted with knowing cheers, and I would not be surprised if they made a few new ones with this showing. Ultimately the band are not really my thing, and their songs did all somewhat merge into one towards the end of their set, but they did a great job of creating an atmosphere before the headliner's set - which at the end of the day is the job of a support act!

Around half an hour after Black Rebel Motorcycle Club's set finished, Alice in Chains took to the stage to a sombre piano backing and immediately launched into Bleed the Freak from their 1990 debut album. Cantrell led from the off with his murky guitar intro, while frontman William DuVall (vocals/guitar) shone vocally - especially during the song's powerful chorus. For me, the key cornerstone of the Alice in Chains sound is the vocal harmonies between DuVall and Cantrell, and luckily the sound mix allowed this element to shine. Despite a slightly muddy start, the sound was pretty good throughout the show, with Cantrell's solos cutting through the mix when required, and Mike Inez's bass sounding huge! All six of the band's studio albums were represented in the set, as well as their two acoustic EPs, which made for a varied setlist. The sludgy Check My Brain was an early highlight, and the more strident classic rock-feel of Never Fade - from the latest album - really allowed the excellent vocals of DuVall to shine. The first four numbers of the set felt a little like a warm-up by the time Them Bones and Dam That River were played back-to-back. The opening two numbers from 1992's genre-defining Dirt had an electric effect on the crowd, with Cantrell's riffs really encouraging those down at the front to get moving. From this point on, everything just hit that little bit harder, but it was one of the slower numbers, Your Decision, that was my next highlight. The ballad is one of my favourite Alice in Chains songs, and was sung perfectly by Cantrell, while DuVall added his haunting harmonies. The song also allowed DuVall to showcase some guitar talents of his own, with some tasteful bluesy leads throughout. Cantrell is the band's lead guitarist, but there were a few numbers where DuVall took the odd moment in the spotlight, usually to allow Cantrell to focus on his vocals or whichever sledgehammer riff he was churning out at the time! Stone was an example of this, with DuVall nailing that catchy chorus lead while Cantrell's riff shook the foundations. Before this however, No Excuses had given the band a chance to take a bit of a breather, and also allowed drummer Sean Kinney to lay down one of the tightest, grooviest beats of the night. I was really impressed with him throughout, but it was this song that showcased him at this best. The last portion of the set saw some real fan favourites wheeled out, with the dark We Die Young eliciting a strong reaction before DuVall nailed the dynamic Angry Chair. The main set came to a close with the chugging Man in the Box, before the band left the stage to huge cheers. An atmospheric darkness then filled the venue, before the band trooped back out for a four-song encore that started with the recent single The One You Know, before culminating in two more from Dirt in the form of Would? and Rooster. The former was the real highlight of this section, and saw Cantrell an DuVall both shining vocally, while Inez's bass drove everything. It brought a powerful set to a close, and the crowd really let their appreciation known while the band were leaving. The setlist was:

Bleed the Freak
Check My Brain
Again
Never Fade
Them Bones
Dam That River
Hollow
Your Decision
Rainier Fog
Down in a Hole
No Excuses
Stone
Red Giant
We Die Young
Nutshell
Angry Chair
Man in the Box
-
The One You Know
Got Me Wrong
Would?
Rooster

I have managed to see most of the big rock and metal bands live over the years, so it was great to finally add Alice in Chains to the list. It felt fitting to see them now too, and this show was the culmination of the last couple of years of exploring the band's catalogue. I am sure that the band will be a big fixture in my listening going forward, and hopefully I will have another chance to catch the band again in the future.

The Quireboys' 'Amazing Disgrace' - Album Review

After releasing five albums in as many years, The Quireboys had a well-deserved year off from releasing anything new in 2018. Considering that five years passed between 2008's Homewreckers & Heartbreakers and 2013's Beautiful Curse (which I reviewed here), the band's sudden burst of creativity was surprising. I started listening to The Quireboys around the time that Beautiful Curse was released, and that was the start of a journey that brought me something new to enjoy every year. Since 2013, The Quireboys have become one of my very favourite bands - and the fact that they tour regularly and have essentially doubled their discography in the time I have been a fan have really helped to contribute to my fandom. The four albums of original material released between 2013 and 2016 all added to the band's already strong canon; and 2017's covers album White Trash Blues, which saw the band tackling some of their favourite blues classics, was a welcome surprise. After so much time in the studio, 2018 was a year for the band to focus on the road, and the tenth anniversary of Homewreckers & Heartbreakers, but towards the end of the year the band announced that they would release a new album in 2019. Sadly however, the band's twelfth album - which was released last month under the title of Amazing Disgrace - seemed to have a tricky birthing process. The band had originally signed up to Pledgemusic to run their pre-order campaign through, but that company's well-documented financial issues earlier in the year, which seem to have allegedly resulted in bankruptcy, meant that the band did not see any of the money which fans had pledged towards copies of Amazing Disgrace. The band's record label took over the pre-order campaign, but did not really seem to have the infrastructure in place to deal with the large amount of orders - which led to delays in fans getting their physical copies of the album. The physical releases were already delayed by couple of weeks compared to digital versions, meaning further delays were  certainly frustrating for the fans. The CDs arrived in the end however, and at least my money has definitely gone to the band and not into the Pledgemusic black hole (even if I never got a refund for my original order). What matters in the end though is the music, and I am happy to report that Amazing Disgrace is another really strong album that follows the vibe of the band's other recent albums. Produced this time by guitarist Guy Griffin, the band took to Rockfield Studios in Wales to record the album - and the result is eleven songs in the band's patented raw, rock 'n' roll style. The writing duo of Griffin and frontman Spike, with contributions from guitarist Paul Guerin, has come up trumps again and fans of any of the band's previous work are sure to enjoy this. Joining Spike, Griffin, and Guerin here are long-time keyboardist Keith Weir, drummer Dave McCluskey, and bassist Gary Ivin who makes his debut in the studio with the band despite playing with the band live many times over the years. Former bassist Nick Mailing, who seems to have largely stepped away from the band's live activity now, has mixed the album - which has certainly helped to keep things 'in the family'.

The album opens in fine style, with the jaunty Original Black Eyed Son which is a future Quireboys classic in the making. From McCluskey's drum intro, through Weir's diverse keyboard work, to Spike's soulful chorus - the song is packed full of everything that makes The Quireboys such a great band. Griffin and Guerin's guitars provide a tight rhythm, but it is Weir that really drives the piece with a mix of piano, Hammond organ, and keyboards that mimic a horn section. The verses are full of that rock 'n' roll piano that has always been a big part of the band's sound, before washes of organ dominate elsewhere to add that earthy sound the instrument does so well. This would all be for nothing without great melodies however, and luckily Spike is on hand to offer them up. The chorus is one of many memorable moments on the album, and sees him team up with Griffin and backing vocalist Katy Dann to deliver a strong chorus full of hooks. This is a song that throws everything at the listener from the off, and creates a lush soundscape that opens the album perfectly. Sinner Serenade is brasher, and full of the band's raw, in-your-face bluesy hard rock sound. Guerin's slide guitar licks throughout add some real grit to the piece, while Griffin's tough riffing forms the basis for the song - along with Ivin's muscular bass playing. After the smooth soul of the opening number, the harder rock of this song hits hard, with Spike's voice sounding rawer than ever and the guitars packed with heavy blues goodness. Not to be outdone however, Weir still makes his presence felt with subtle a piano boogie throughout that adds to that barroom feel that the band have perfected so well over the years. This feels like an old-school Quireboys number, and is sure to be a fun one to hear live. Seven Deadly Sins slows things down a little and introduces a strong mid-paced rock groove from the off, with Ivin's bass taking control of the pace while the two guitars add spiky rhythms around him. While not a funk piece, the prominent bass helps to add a little bit of a funk feeling which is only helped by Weir's keyboards once again mirroring a horn section - especially during the chorus. Speaking of the chorus, it is another catchy moment with some really strutting vocals from Spike with the soulful female backing vocals adding to the overall atmosphere. The band have been writing lots of songs like this in recent years, and I feel it will become a real favourite of the fanbase going forward. The album's title track is a little rawer, with a strong shuffle beat from McCluskey driving the song forward and a dominating Hammond organ showing from Weir. As a result the guitars are a mixed into the background somewhat, but occasionally cut through the keyboards to add a little bluesy riff here and there - but mostly they provide a strong backing for the dominant vocals and keyboards. Things take a slight turn towards country during the choruses, which have a somewhat laid back, summery vibe which works really well in the context of the song. This is not an overly raucous song, but it is still packed full of the band's trademark attitude. A guitar solo sees the band cut loose a little, which creates a great contrast in moods when they move into a final reprise of the confident chorus.

Eve of the Summertime is the first ballad of the album, and is based around big acoustic guitar chords; with some delicate bluesy licks throughout to add some colour. The band have always written great ballads, and this is another strong one to add to their considerable collection. Over the past couple of weeks, this is one of the songs that has grown on me the most and has moved it towards being one of the best here. Spike's voice is not quite as powerful as it used to be, and it is songs like this that really showcase him at his best these days. His lyrical style also really suits songs like this too, and unsurprisingly he is the star of the show. The subtle instrumentation is mostly just a backing for his storytelling, and his wistful crooning sounds as good here as it ever has. If this song does not find a home in the band's unplugged sets going forward I will be very surprised, as it would certainly be a perfect fit. California Blues turns things up to eleven again, and showcases the tough blues sound that the band channelled on 2016's Twisted Love as well as on their blues covers album. The guitar tones here are raw, with Weir's organic keyboards rolling back the years to a time when music such as this was the norm. In some ways, this feels a bit like a modern version of Whippin' Boy from their debut album, with the darker undertones mixed in with the band's rogue-ish rock 'n' roll. The chorus sees some real throat-ripping vocals from Spike, before an instrumental section that is based around dense keyboard textures and brash guitar riffing helps to entrench the heavier feel of the piece. This Is It is another more whimsical piece, something which the band have become masters of in recent years. Folky overtones thanks of Sam Barrett's fiddle add a subtle edge to the piece, but mostly this song is all about a big wall of acoustic guitars and some excellent keyboard work from Weir. Throughout the album he moves between piano and organ effortlessly, and that is no different here as both sounds make their mark on the song. He even gets the chance to lay down an organ solo part-way through the song, which certainly makes a chance from the band's usual guitar solos. A soulful Spike vocal ties everything together, with his voice oozing the class that the band's fans have come to expect over the years. Feels Like a Long Time is a little rockier, but is still satisfied to lay back on a strong groove and create a bit of a relaxing vibe despite some tougher bluesier guitars. The standout performer here for me however is Ivin, who's bass playing really drives the whole song. His playing is quite high in the mix here, and it is his snaking riffing that really keeps the whole song on track. I have seen him live with the band a few times over the past couple of years now, and I have always been impressed with his fluid playing. That style is perfectly on display here, and it is his grooves that really make this song what it is. It allows everyone else to add in the flourishes that they do, and create a song full of layers.

Slave #1 toughens things up again, and sounds a bit like a distant cousin to Chain Smokin' from Beautiful Curse. From an acoustic-dominated intro, the piece explodes into a rough blues rocker with some the album's most-raw riffing, with Weir's Hammond organ once again driving the piece forward at times with it's cranking sound. The chorus feels a little more lush however, with plenty of backing vocals to harmonise with Spike's raw delivery and layers of keyboards to add a halo of melody. This does change the vibe of the piece a little, but for the most part this is one of the album's toughest songs. It is great to hear Griffin, Guerin, and Ivin cranking out riff after riff here as they really help to make the song what it is. There are catchier songs here, but as example of the band at their bluesiest it is a strong effort. Dancing in Paris is the album's final ballad, and it is probably the best one here. Weir's piano once again has a prominent role, while the two guitarists sit back on their acoustics to strum out the rhythm in a laid back fashion. Spike turns in a strong performance throughout the album, but it is perhaps this song where he shines the brightest. I really like his lyrics here, and the mournful way he delivers them is truly perfect for the piece. Barrett's fiddle once again makes an appearance here, and his small additions to really add to the overall mood. Fiddles can sound mournful when played in a certain way and, coupled with Spike's vocals, it really helps to add to the song's overall mood. It is only right that the album comes to a somewhat tougher close, and the final song here Medusa, My Girl is a bluesier piece that builds up around a shuffling drum pattern and some really raw vocals. Fiddle melodies add something different to the song when required, but mostly it is Griffin and Guerin's guitar playing that lays the real foundations here. Their tight grooves lay the entire backbone for the piece, but the duo are quick to turn to their acoustics when the mood takes them. Part-way through the song the instruments all drop out, and Spike is left crooning atop a dark-sounding acoustic backing that has a slight gothic tinge to it. I am not sure the band have ever done something like that before, and it is such an effective little moment that really brings the song to life. Spike sounds fantastic here, and it makes the final portion of the song - which moves back into the shuffling drum pattern and tight riffing - all the more powerful. It ends the album on a real high, and shows the band trying something a little different within their established sound. Overall, Amazing Disgrace is another strong album from the band that fits in perfectly with the other albums that they have released recently. This recent run of creativity from the band has been a joy to follow, and this album is another step along that road that sees the band as one of the most prolific and active in the country at the moment.

The album was released on 5th April 2019 via Off Yer Rocka Recordings. Below is the band's official lyric video for Seven Deadly Sins.

Trinity Live 2019

From it's birth as a tour featuring Touchstone, The Reasoning, and Magenta each playing their debut albums in full, the Trinity Live festival has grown into a bit of a staple in the prog calendar. The event became a charity prog festival after Magenta's Christina Booth was diagnosed with cancer - so the planned tour was cancelled, with one of the dates in Leamington Spa retained and turned into an all-day festival featuring all three bands, and headlined by Arena. The event was a success, and three years later in 2017 there was a second festival. Headlined by John Mitchell's Lonely Robot project, the line-up was perhaps not as strong as the 2014 edition, but was also a success. 2018 saw Trinity move from Leamington Spa to London, with possibly the best line-up yet as Marillion's Steve Rothery headlined with his solo band. Sadly I could not make the 2018 edition of Trinity, and at the time it was thought that it was to be the last event of its kind. It was announced towards the end of last year however that Trinity was returning to its spiritual home of Leamington for its fourth iteration, and that Mostly Autumn would headline the day. This was enough to guarantee my attendance, as Mostly Autumn are one of my favourite bands, even if the drip-fed bill was personally quite disappointing for me overall. Mostly Autumn are always worth travelling for however, so even though the rest of the bill failed to excite I was prepared to go with an open mind. At the end of the day, this is an event that raises money for various charities, so supporting the event and contributing to the overall pot of charity money is just as important as the bands. I am glad that Trinity decided to return to Leamington Spa again this year too. While I always enjoy a trip to London, visiting Leamington Spa is always fun and The Assembly is a great place to watch live music. Leamington Spa is quite centrally located too, meaning that it is relatively easy for most people to get to. The only problem with The Assembly however is the amount of time that it takes to get into the venue. Every time I have been to the venue the doors seem to open really late, and the ticket checking takes far longer than is necessary. After the long drive up from Devon, I did not really want to stand in the rain waiting for the small amount of people in front of me in the queue to be let in! The venue is one of the best, but this seems to be a persistent issue for them, so it is something that really needs looking into.

When I finally got into the venue it was about 1:10pm and the day's first act, The C:Live Collective, were already well into their half an hour set. Formed by former Twelfth Night multi-instrumentalist Clive Mitten, the four-piece band ran through a short set of Twelfth Night songs that seemed to impress many in the audience. Twelfth Night were one of the bigger names in the 1980s neo-prog scene which, apart from Marillion, I have never really investigated. My impression is that many of the bands in that scene were formed in the wake of Marillion's early success, and attempted to re-create their sound without having the potent lyrics of then-frontman Fish or the songwriting chops of the rest of the band. I knew nothing about Twelfth Night really prior to The C:Live Collective's set, and the songs played certainly confirmed my existing view somewhat. While there were some enjoyable moments in the set, it did feel as if the band had tried to re-write Script for a Jester's Tear and had not quite pulled it off. There were some strong solos from both of the band's guitarists, and the bass and keyboard work from Mitten was pretty impressive at times, especially hearing his Rickenbacker bass rumbling around the venue, but the songwriting was lacking. A lengthy, keyboard-heavy ballad with some of the most cliché 'let's all love everyone'-esque lyrics I have ever heard confirmed that Twelfth Night were probably not for me! That being said, there were clearly lots of Twelfth Night fans in attendance, as plenty down at the front were really getting into The C:Live Collective's set. As a festival opener however, the band did not overstay their welcome and they were an enjoyable enough opening act despite not really being my thing.

Up next was an acoustic set from the former Enid frontman Joe Payne, who is now going under the name That Joe Payne. I have never been a big fan of The Enid, but his era of the band produced some strong albums and I actually made the effort to go and see them a couple of times during his tenure. His stint in the band was brief however, as the band have now gone back to their usual instrumental format with an ever-changing line-up, leaving Payne to do his own thing. Over the past couple of years, Payne has released a few singles and is now also part of the progressive rock project Zio with some former members of Karnataka. His set an Trinity however was a much more low-key affair, and saw him presenting some of his recent singles in a stripped-back, acoustic format. He was sat behind a keyboard for the whole set, and delivered the moody songs with the gravity that you would expect from a performer of his calibre. I knew that he is a fantastic singer, but I did not know that he is also an excellent pianist. His songs are full of classically-inspired piano runs, which allowed his versatile voice to soar above the stripped-back music. He comes off as a classically-trained Freddie Mercury at times, with songs that a full of pop melodies as well as dark undertones - which became clear as he explained what many of the songs were about. On a bill where many of the bands had big, involved sounds - it was nice to hear something a little more raw and exposed. Payne is a fantastic singer, and I hope that he continues to find success.

Wales' Last Flight to Pluto were the final band of the 'afternoon' session, and took the festival up to a two hour break that allowed people to go and check into hotels and grab a bite to eat. I had heard of Last Flight to Pluto before they were announced, but had never checked them out before. While certainly a progressive band, the five-piece certainly a bit more attitude than you might expect, and their 45 minute set flew by. With three guitars, and only a limited amount of keyboards on a backing track, the band's sound was a bit spikier than your average progressive rock act, but their sound still left plenty of room for classic prog tropes such as extended guitar solos and lengthy songs consisting of multiple sections. There are many female-fronted progressive rock acts, but in frontwoman Alice Freya Last Flight to Pluto have more of a traditional 'rock' singer. Her voice has a slightly gritty edge, and this allowed her to really belt out the band's rockier material. She added extra textures with her guitar too, while guitarists Jack Parry and Ryan Alexander traded riffs, melodies, and solos. The crowd seemed to warm to the band as they progressed through their set too, and by the end I think Last Flight to Pluto had earned themselves some new fans. They are a band I shall keep an eye on going forward, and will probably get around to checking out their albums in due course.

There was a two hour break following Last Flight Pluto's set which gave me a chance to go and check into the rather grand Travelodge which is always a big part of any Leamington Spa adventure. It also transpired that a new record shop had opened up across the road from The Assembly, so I took the opportunity to peruse their extensive stock and came away with a few new additions to my vinyl collection. Festival days are always long ones, so an opportunity to rest up a little in the Travelodge was a welcome one. I got back to The Assembly not long before former Pallas frontman Alan Reed started his set as the last few charity raffle items were being handed out. Many of these had already been distributed earlier in the day between the acts, with the charity auction lots mostly filling the slots between the evening's three bands. Throughout the day all of the auction lots sold which I'm sure will have added quite a lot of money to the overall pot. One item, a limited edition King Crimson guitar, sold for over £1500.00, which was certainly an achievement!

Not long after the raffle finished, Reed and his band took to the stage to perform a 45 minute set of retro melodic progressive rock. Pallas are a band that I always threw into that post-Marillion pot described above, but it turns out I have been being unfair to them all of these years as their first releases actually pre-dated anything Marillion put out! With me firmly put in my place, I went into Reed's set with an open mind and actually enjoyed much of what he had to offer. Most of the set was made up of his recent solo material, which certainly made use of the band's two guitarists and keyboardist to great effect. The songs had a retro sound, but were packed full of melodies that were easy to latch onto. Reed opened the first Trinity event back in 2014 with an acoustic set which did little for me at the time, but this full-band offering was a lot more enjoyable. Being a progressive rock act, much of the songs were lengthy with many sections, but there were a couple that were somewhat stripped back. One in particular, which will be featured on Reed's upcoming album, was particularly poignant and dealt with issues he faces as part of his day job working as a journalist for BBC News. His passion came through in his delivery, and this seemed to fuel the rest of the set. The last couple of numbers played were old Pallas songs, and it was these that impressed the most. They shared similarities with early Marillion, but were perfectly enjoyable in their own right - with Reed's energetic stage presence and strong voice really carrying the songs. I will certainly be investigating some Pallas albums in future, and I will most likely also check out Reed's new album when it gets released - as the new songs featured in the set were all very enjoyable.

After the main bulk of the auction lots, the day's special guests Godsticks took to the stage. The Welsh progressive rock band have been on my radar for some time, but I had never previously got around to checking them out. Like Reed they had a 45 minute set but, unlike Reed, their set really dragged. The band's sound is very un-melodic, and is built around dry guitar tones, strange vocals, and a real lack of dynamics. There is quite a lot of similarities between Godsticks' sound and many of the djent/tech metal acts that are popular at the moment like TesseracT and Periphery, with plenty of 7 and 8-string guitars to crank out dry, monotonous riffs to build their songs on. I was prepared to give the band a chance, and stuck out their whole set, but the same cannot be said for many of the other attendees! While the overall turnout during the day was not actually too bad, and was certainly better than the second Trinity in 2017 which was very poorly attended in my opinion, Godsticks' set had a certain room-emptying affect! After a couple of their songs I looked around to see that much of the room was now empty, with lots of people retreating to the bar or to local food establishments! While this is always a shame to see, I cannot say that I really blame anyone for sitting the set out. Godsticks were the heaviest band on the bill by quite some way, and to say that their sound is an acquired taste is a bit of understatement. The band have done well for themselves over the years, and clearly have their fans, but I think it is fair to say that they are not for me!

The King Crimson guitar was auctioned off after Godsticks' set, although this was delayed somewhat as barely anyone was left in the room at this point! It took host Jerry Ewing, who actually started to grate on me towards the end of the night, quite a lot of bellowing to entice people out of the bar - but eventually people trickled back into the hall and the guitar was sold for a good price. While all this was going on, Mostly Autumn were setting up their gear. Sadly however, despite much of the day running to time by this point, Mostly Autumn's set was about 20 minute late in starting due to what looked like a dodgy microphone that saw a lot of standing around and staring by the crew until someone seemed to rush in and save the day. This was frustrating, especially as Ewing decided to take up more time talking after the issues were fixed, but luckily I do not think the band had to cut out any of the songs they were intending to play as they just played on for longer than they were supposed to! As headliners, Mostly Autumn had 75 minutes to play with. By the band's standards this was a short set, at around half of their usual show length, but their eight-song set was packed full of the band's usual power and beauty. Despite having a new album in White Rainbow under their belts, the band decided to retain the epic Sight of Day as the set opener. The song has become a real fan favourite already, with the slow burning intro featuring some gorgeous vocals from frontwoman Olivia Sparnenn-Josh. The lengthy song allows everyone to shine, with Bryan Josh (vocals/guitar) stealing the show during the song's mid-section with some Pink Floyd-esque soloing, before the up-tempo rocking outro saw the whole band locking in for the acoustic-based romp.

This really set the tone for what was to come, before earthier efforts in Simple Ways and the golden Evergreen took the crowd back to the band's past and a more organic sound. The first couple of numbers featured a somewhat muddy sound, but by Evergreen the band sounded clear, and Sparnenn-Josh in particular was really shining. The set was built around her it seemed, with very little lead vocal from Josh, and she stole nearly every number. The dancy beats of Tomorrow Dies also allowed her to let rip vocally, and also provided Iain Jennings (keyboards) to lay down some excellent synth work. Unsurprisingly, Mostly Autumn had the biggest crowd of the day and it seemed that everyone in attendance was really into what the band were doing by this point. Huge cheers followed each song, and even the brand new songs, such as the slightly poppy Into the Stars, went down a storm. A personal highlight for me was a stunning rendition of Chris Johnson's (vocals/guitar) Changing Lives, another song from the previous album that has been retained in the set. Johnson's vocals always give the band a different edge, and the lengthy instrumental outro saw the crowd really joining in with clapping and singing. It was the best live version of the song yet, and it was only eclipsed by the set's closing number - the epic 19 minute epic White Rainbow. I was not expecting to hear the song in a festival context, but it totally blew me away and was the song of the day by quite some way. From the moody intro with Josh's dark vocals to the heavier mid section featuring some quite stratospheric vocals from Sparnenn-Josh and some heavy drumming from Henry Rogers, White Rainbow was a triumph. The cheers that erupted as the band finished the song and took their bows ensured their award of Band of the Day by quite some margin. The setlist was:

Sight of Day
Simple Ways
Evergreen
Tomorrow Dies
Into the Stars
Nowhere to Hide (Close My Eyes)
Changing Lives
White Rainbow

Mostly Autumn's set was a triumphant end to a solid day of live music in Leamington Spa that hopefully raised plenty of money for good causes. At the end of the evening, it was announced that Trinity Live V will take place next year with Touchstone, Magenta, and Omega Point playing - with other bands, including the headline act, to be announced. I imagine that I will also be in attendance next year, other plans permitting, as the Trinity Live days are always worth the effort. As an aside, it certainly was strange to see Mostly Autumn not play Heroes Never Die - as that has never happened before in over 40 concerts in the 13 years I have now been following the band!

Eluveitie's 'Ategnatos' - Album Review

Despite releasing a string of well-received albums over the years, Switzerland's Eluveitie have never truly broken through here in the UK. Over the years I have seen the band twice, both times as a support act, but sadly the unique folk metal act seem destined to play second fiddle over here. It might be that their music, while extremely impressive, is - at times - quite hard to digest. They are not a band to write accessible, melody-driven songs with soaring choruses; instead they seek to weave their Swiss heritage into an ever-increasing heavy tapestry of mid-1990s death metal riffing. Folk metal is a bit of a broad church and, I have to say, much of it does little for me. Much of what passes off as folk metal is, in my opinion, overly-cheesy drinking music that only passes off as 'folk' because an accordion (or other 'traditional' instrument) is thrown into the mix. Bands like Korpiklaani fall into this category for me, and they really leave me cold. Eluveitie however are 'folk' in possibly the purest sense. Folk music is more about storytelling and heritage, as opposed to a particular 'sound', and these are things that Eluveitie thrive on. Many of the band's songs are about their homeland and their ancestors, with conceptual threads often running through their albums and narration to help bridge the songs. The band do of course include traditional instruments and melodies in their songs too, but the fiddles, hurdy-gurdies, and whistles are truly woven into the band's metal riffing. These elements do not feel like an afterthought, but instead are essential in creating the dense atmosphere that characterises Eluveitie's music. This sound and atmosphere is as present as ever on Ategnatos, the band's eighth album that was released last month. This follows on from the 2017's acoustic Evocation II: Pantheon, which saw the band regroup after a fairly major line-up change. I thought it was strange for frontman and sole-original member Chrigel Glanzmann to debut his new Eluveitie on an acoustic album, but Pantheon was well-received and seemingly helped to ease fans into getting used to the band's five new faces! Ategnatos (which is Gaulish for 'reborn' - appropriate) is the band's first metal release in five years, following on from 2014's strong Origins. Those who liked the denser, more conceptual route taken on Origins and 2012's excellent Helvetios will feel right at home with Ategnatos. This new album is similar to those two previous opuses, right down to actor Alexander Morton's earthy narration. I think it is certainly fair to call Ategnatos 'more of the same', but with the band now well-entrenched in this sound and style I think it would be foolish for them to stray far from what has brought them success. That being said, I do feel that the riffing overall feels a little stronger than previously. This is probably thanks to new guitarist Jonas Wolf who, on his first full metal outing with the band, has co-written many of the songs here.

Opening with swirling atmospherics and Morton's understated narration, the album's title track slowly builds up towards the band's core sound. Subtle whistle melodies soon start to cut through the dramatic percussion, before a solid mid-paced guitar riff joins the fray with Fabienne Erni's wordless vocals adding the colour. The track is under five minute in length, but the first couple of minutes is given over to his gradual build up before the first of the album's many potent death metal riffs kick in and Glanzmann showcases his immense vocal prowess. Despite Erni adding lots of colour and harmonies throughout the album, Glanzmann is the main vocal force of the band. His throaty harsh vocals is a perfect fit for the band, and this opening number makes the most of his talents - while the folky instrumentation of Nicole Ansperger, Matteo Sisti, and Michalina Malisz add jaunty melodies to contrast with the heaviness. The song's chorus is a strong one, with Erni showcasing why she was chosen as the band's new female vocalist with some chanting harmonies. The very short instrumental Ancus leads into Deathwalker, one of the best songs here. It opens with Malisz's hurdy-gurdy, before the song explodies into a mid-paced metal anthem with stop-start guitar riffing and the constant chiming of the hurdy-gurdy to provide some earthy roots. Eluveitie are not ones to often writing soaring choruses, but the effort here is excellent, and sees both Glanzman and Erni shining vocally. Their voices are very different, but they sing really well together. The melodies here, mostly led by Erni, have an almost power metal-esque feel to them, but still remain firmly rooted in the band's heavy sound. A folky instrumental section, with fiddle and other traditional instruments joining forces, is the first really progressive musical moment on the album and is a big part of what makes the song so strong. Black Water Dawn opens with acoustic guitars and a folky melody, but this soon gives way to a strident metal riff that forms the basis of the rest of the song. The song never really moves beyond a mid-pace, and the verses actually sound a little like Amon Amarth with Glanzmann's voice the main focus of the piece. He leads the nine-piece band through their paces perfectly, before Erni takes over for the chorus. While the band's previous vocalist Anna Murphy is a great singer, I think I prefer Erni in Eluveitie. Her voice is a little smoother and she fits in really well. The chorus here is a perfect example of what she brings to the band, before a rare guitar solo from Rafael Salzmann shows off a little classic metal virtuosity. A Cry in the Wilderness ups the pace, and comes roaring out of the gate with a pulsing death metal riff that is backed by Sisti's whistles and a little harp from Erni. After a couple of songs that focused a little more on the band's more melodic side, this is a number that really goes for the throat in terms of heaviness. The folk aspects are still there, but they are more in the background to create an atmosphere rather than to dominate. Wolf and Salzmann instead take the lead with some intricate guitar riffing, while long-time bassist Kay Brem adds some real depth with some pulsing playing. As a result this is one of the album's more aggressive pieces, and this is evident with a black metal-esque segment about two-thirds of the way through that features some impressive blast beats from drummer Alain Ackermann.

In contrast, The Raven Hill feels more anthemic with a strident mid-paced guitar riff and a fiddle/hurdy-gurdy lead that sounds a little bit like the sea shanty Drunken Sailor! Eluveitie very rarely stray into 'cheese' territory, but this song is one that does move closer to the line. This is not necessarily a bad thing however, as the presence of some big, powerful melodies is welcome after the all-out metal assault of the previous number. The groove metal-esque riffing, mixed with the dominating folk melodies makes for an interesting, yet modern, sound which helps the piece to stand out. It also features a strong chorus with some of Erni's chanting, hypnotic vocals to once again harmonise well with Glanzmann's barks. The short, whistle-led, instrumental piece The Silvern Glow adds a moment of acoustic-based calm, before the band launch into the short, yet impressive Ambiramus. Ackermann's drum beat has an almost dancey feel which is something different for the band, before Erni gets to take the centre stage for the first time on the album. She sings the whole song, with the exception of a few Glanzmann growls during the choruses, and her slightly poppy approach to the piece is welcome. Despite folky undertones, this is another song that feels quite modern, with melodies that would not sound out of place on a modern pop record, set to a metal backing. This is not Amaranthe by any means, but it is certainly Eluveitie at their most accessible and is a welcome addition to a varied and dense album. Mine is the Fury is more 'business as usual' for the band however, with a break-neck speed employed throughout and Glanzmann's throat dominating everything with some truly savage growls. The pace never lets up, and even the folky melodies added by the band's instrumentalists add to the heaviness with their spiky melodies. Again the song is quite short, but this helps it to have a real impact. It is a pure outburst of speed and energy, which certainly feels more impactful after Erni's poppy additions to the previous song. The Slumber also opens with Erni's vocals, and she goes on to play an important role in the song - with her and Glanzmann trading vocal lines throughout, making the song a rare duet. There is also a big role for Malisz here, with her hurdy-gurdy really rounding out the verses with its mournful sound. There is nothing quite like hearing a proper hurdy-gurdy, and it is an instrument that has always been a big part of the band's sound. The whistles and fiddle take over later for an instrumental section, but for me it is the hurdy-gurdy that steals the show here - as well as the two vocalists. Worship is an interesting song in that it features Randy Blythe (Lamb of God) performing a spoken word introduction, as well as some additional harsh vocals throughout. The band have employed narration on many of their albums, but Blythe's additions are different to anything on any previous Eluveitie album. He creates a creepy atmosphere, and the heavy song builds on this with some really raw riffing and some more blast beats from Ackermann. There are still some more melodic sections here though, with a more anthemic chorus including some higher screams from Blythe, before everything drops out for a short acoustic-based instrumental section. It is an extremely varied song and showcases a lot of the different faces of Eluveitie in one five minute period.

Another short bridge piece Trinoxtion adds some more spoken word into the mix, before a subtle folky melody joins the piece up with the gentle intro of Threefold Death. Erni's haunting vocals open the song, but this gentle vibe does not last long as some of the heaviest riffing soon kicks in briefly, before a muscular verse sees Glanzmann once again taking the lead with some of his trademark harsh vocals. The standout performer here for me however is Ackermann. His drumming throughout the album is excellent, but on this song he really shines. His faster beats are lovely and clean, and his playing during some of the more mid-paced sections is tasteful and a little progressive - showcasing beats that are a little challenging yet still serve the overall song. This is his first 'metal' outing in the studio with the band, and he has more than proven himself - along with the band's other 'newer' faces. Breathe is more of a mid-paced piece, with the heavy riffing often taking a backseat to the folky melodies and some more gorgeous vocals from Erni. The only problem with the default 'heavy' Eluveitie is that Erni is often relegated to more of a supporting role. She shone on Pantheon, but her lack of spotlight time only makes the songs where she takes the lead more special. She is the dominate vocal force here, and helps to make the song one of the more instantly-memorable pieces here. I am surprised that the song was not used as a single, as the gorgeous chorus is an instant winner - and is a little single to the band's previous singles. There are better songs to be found throughout the album, but for pure melodic focus - this is probably the winner. Erni is a real find for the band, and I hope to see her taking a bigger role in the band on future albums. Rebirth is a relatively old song, having first been released in 2017, but it has found a permanent home here. It was released at the time to show off the band's current line-up in a metal context after the acoustic-based Pantheon, so as a result contains a bit of everything that makes Eluveitie unique. It is a relatively heavy piece, but still remains accessible with Erni taking the lead vocally during the choruses, while Glanzmann barks the verses. There are folky melodies present throughout, including a jaunty instrumental section, as well as a couple of really shredding guitar solos. As mentioned earlier, guitar solos are very rare in the band's sound, so it always sounds a little strange when one kicks in. I think they add something to the overall song however, and provide a change from the fiddles and whistles that usually provide the instrumental focus. The song fades into Eclipse which is the album's lengthy fade out. Erni's vocals carry the melodies from Rebirth over, and she sings against a backdrop of swirling wind and rain. After such a heavy album, this more organic closing section allows things to come to a gentle and thoughtful close. Eluveitie have become masters of opening and closing albums perfectly, and this is another example of how to bookend an album with a dense atmosphere. Overall, Ategnatos is another strong album from the Swiss band who have really built on the foundations made on their last two metal outings. While this is essentially more of the same, it is an album that really cements the band's new line-up in place, and showcases all of the nine band members at their very best.

The album was released on 5th April 2019 via Nuclear Blast Records. Below is the band's promotional video for Ategnatos.

Burning Rain's 'Face the Music' - Album Review

When I was developing my musical tastes in my teenage years, one of my favourite guitarists was then-Whitesnake man Doug Aldrich. When I was about sixteen, I used to watch two concert DVDs over and over again and they were Whitesnake's Live...in the Still of the Night which was recorded in 2004 and Dio's Evil or Divine - Live in New York City which was recorded in 2002. Aldrich was the guitarist on both of these live releases and, while I was huge fans of many of the classic guitar heroes of the 1970s and 1980s, he provided me with a modern guitar force to idolise. His mix of heavy blues and 1980s-style shred is quite unlike anyone else out there, and I believe he has own recognisable sound. Just on the two DVDs mentioned he was playing songs from guitar legends such as Ritchie Blackmore, Bernie Marsden, Micky Moody, Mel Galley, John Sykes, Adrian Vandenberg, Steve Vai, Tony Iommi, Vivian Campbell, and Craig Goldy - yet managed to make each one sound like it was made for him. This is no mean feat, and I think it was seeing him tackling so many styles and songs that made such an impression on me. Aldrich remains one of my favourite guitar players, and I was very happy when I finally got to see him live with Whitesnake in 2013. Aldrich sadly left Whitesnake in 2014, but not before co-writing two excellent studio albums in 2008's Good to be Bad and 2011's Forevermore, as well as appearing on a plethora of live releases. After a stint with Glenn Hughes, Aldrich joined the rock supergroup The Dead Daisies in 2016 - a position he still holds. Despite an ever-increasing profile, especially here in the UK, The Dead Daisies are a band I find quite bland. They have written some good songs over the years, but I think they are one of the most generic rock bands going - making a name for themselves due to name recognition of many of their members past and present rather than their songwriting (in my opinion anyway). Even with Aldrich on board the band still fail to excite me, so I was resigned to the fact that I was unlikely to hear any great new songs from him for a while. His AOR side-project Revolution Saints, led by Deen Castronovo, has provided some excitement with their two albums and both include some excellent Aldrich guitar work, but being a Frontiers Records project band I doubt he actually had much of an impact on the songwriting - despite being credited on some of their songs. I was happy then when late last year it was announced that Aldrich was resurrecting one of his older bands Burning Rain, a band he formed back in 1998 with then-Montrose frontman Keith St. John. Aldrich and St. John have always been the core of Burning Rain, with rhythm sections coming and going over the years. This current incarnation of the band features bassist Brad Lang (Y&T; Ratt) and drummer Blas Elias (Slaughter; Trans-Siberian Orchestra), with the four putting together the fourth Burning Rain album Face the Music. It is the band's first album for six years, but the heavy blues rock sound forged on their earlier releases it still here in spades.

Burning Rain set their stall out right from the off with the heavy, bluesy strut of Revolution. The choppy riff that drives the song is a classic Aldrich moment, and St. John's soulful, yet powerful, delivery really takes the attitude the riff oozes and elevates things further. St. John is a very underrated rock vocalist in my opinion, and his performance throughout this album shows why he should be held in a higher regard. The verses here are full of swagger, and the simple chorus is full of long, drawn-out vocal notes that recall the blues rock classics of the past. In contrast, Aldrich's first of many guitar solos on the album is an explosion of speed. He can do the slower, bluesy style perfectly, but here he decides to launch into some chaotic shredding which generates some early excitement. The song is quite short, and over before you know it, but it sets the tone for the rest of the album perfectly and is a true statement of intent. Lorelei is a longer, more involved song that opens with some effects-heavy guitar notes, before Aldrich launches into a meaty mid-paced riff that forms the basis for the verses. The song's constant mid-pace, as well as the pounding drum performance from Elias, creates a real hypnotic groove that makes it an instant winner. The verses are very compelling here, and this is only helped by the excellent vocals of St. John. This album is very stripped back for the most part, but there are some subtle effects and harmonies on his voice throughout this song which help to add a somewhat mysterious edge. The harmonies, especially during the verses, create a bit of a Seattle-era grunge sound which actually works very well when merged with Aldrich's persistent riffing. The solo here is much more structured too, eschewing the explosion-of-notes style of the opening number to something more well-phrased. Speedy runs sit comfortably alongside more bluesier moments for a powerful combination, and it reminds me why I continue to think Aldrich is one of modern rock's best players. Nasty Hustle has more of a 1980s hair metal vibe, and certainly seems influenced by Whitesnake's Geffen-era - songs which Aldrich performed many times during his tenure with David Coverdale's band. In fact the song could have sat nicely on either of the two Whitesnake albums Aldrich co-wrote with Coverdale, as the sassy opening riff recalls that style and the more urgent pace throughout brims with 1980s rock attitude. St. John turns in another strong performance here and actually sounds a little like Aerosmith's Steven Tyler at times. The highlight here is an anthemic chorus that is instantly memorable with some of the best vocal melodies on the album. Those who prefer their blues without a 1980s sheen might be turned off by the sleazier vibe that permeates here, but those who love albums like Whitesnake's Slip of the Tongue will find plenty to enjoy.

Lead single Midnight Train is a perfect representation of the Burning Rain sound, and is based around a dirty, grinding blues rock riff. The simple production allows the whole band to shine, and Lang's bass is turned up nice and loud to really fill all the gaps. Aldrich usually plays in bands with another guitarist, so it great hearing him alone here. The production is such that there have been very few overdubs done so, for example, when Adrich solos there is often not a rhythm guitar track beneath him - which leaves Lang's bass the sole other stringed instrument playing. This works well, and it seems that Aldrich and Lang have already formed a great partnership. The solo here is one of the album's best, and it is another instantly memorable song thanks to a powerful chorus that ups the pace a little and is packed full of hooks. Shelter slows the pace somewhat and sees Aldrich break out an acoustic guitar for a jangly verse. This is no tender ballad however, and is a great bit of raw acoustic blues rock, with St. John's passionate vocals really carrying the song and Elias laying down some really primitive percussion to add a real back alley beat. I certainly prefer Burning Rain when they rock harder than this, but the more stripped-back sound also works very well and particular allows St. John to be the centre of attention. As the song moves on the band do rock things up somewhat for a time, but this is short-lived as soon the acoustic guitars are back to bring things to a rootsy close with a strange, effects-heavy guitar solo. The album's title track gets back to business however and is a punchy hard rocker with a strident main riff and a powerful bass presence that really rings through the speakers. This is another song that sounds like something Aldrich would have written with Coverdale for Whitesnake. St. John is a different type of singer however, so takes the song in a slightly different direction which works really well. He does not really let rip as Coverdale might do, but instead really gets in tune with the groove and produces a dirtier performance as a result. It is songs like this that have made me love Aldrich as a writer as well as a guitarist over the years. There is nothing complicated about music like this, but it just excites. He is a real master of the chunky blues rock riff too, and this song features one of his best. Speaking of excellent riffs, Beautiful Road is based around another. This one is a bit beefier, with a slightly funky rhythm mixed into Aldrich's usual blues. Lang helps out by doubling up with has bass, and the two playing in tandem really help to create a strong groove throughout the piece. Melodically this is not the most memorable of songs on the album, but the grooves here are extremely catchy. I also like the way the song drops out somewhat during Aldrich's solo, with a simple drum beat and bass note accompanying the first few bars of the solo before things ramp up into a more explosive affair.

Those who like their blues to be much dirtier will love Hit and Run, which opens with some guitar playing which could have come from the 1940s, which St. John expertly croons over, before the song kick-starts properly with another solid guitar riff and a driving drum beat from Elias. Those Tyler comparisons raise their heads again here, with some of St. John's vocal stylings really recalling the Aerosmith frontman. In fact, there is a strong Aerosmith vibe throughout this song - from the bluesy opening to the soaring melodic chorus which sounds more like something out of the 1980s. The mix of moods here really works well, and as a result the song is one of the album's highlights. The chorus is extremely catchy, and St. John does well throughout to come up with a strong mix of vocal hooks. Not to be outdone, Aldrich's guitar solo is as explosive as we have come to expect, and is the icing on the cake of another excellent tune. If It's Love slows things down again, with Lang's pulsing bass driving everything forward and some subtle organ mixed into the background to add depth. Keyboards are not really used on this album, and in fact are not credited to anyone in the CD booklet, but their addition to this song really helps to add some atmosphere. Again, despite being a slow song, this is not really a true ballad despite having a few elements of one. There is a bit too much rock grit here for it to be a true ballad, but it is one of the album's gentler overall moments. Lang's bass is mostly left to drive the song, but this leaves plenty of space for Aldrich to throw in a few little bluesy flourishes here and there, which he does with aplomb. Hideaway ramps things up again, with Elias dominating early on with a tight drum pattern, before Aldrich lays down a quirky little riff that sounds quite different from his usual style. Some slide guitar is set atop this, but on the whole this is a song that does things a little differently. There is almost an Extreme-esque feel throughout the song, with St. John's slightly more 'out there' vocal delivery, complete with a few anthemic wordless sections, and a slightly funky feel thanks to a prominent role for Lang's bass and the aforementioned quirky riffing. While certainly not the best song here, it is great to see Alrich and St. John trying something a bit different. The album comes to a close with a lengthy Since I'm Loving You, which is full of Led Zeppelin-esque flourishes and bluesy goodness. I hate to compare the song to Led Zeppelin, as it is the go-to comparison for lazy music journalists to compare anything remotely rocky and guitar-based to, but there is certainly a bit of a Page and Plant feel here. St. John's vocal style certainly recalls Plant's histrionics at times, and the muscular bluesy riffing is the perfect backing for these wails. This still sounds like Burning Rain however, and Aldrich once again puts in a stellar performance throughout - including on the album's best guitar solos. It is quite a lengthy one, but as this is his band it would be a shame for him not to indulge a little! It is a song that sums up the album perfectly, and acts as a great closing chapter. Overall, Face the Music is a really strong fourth album from Burning Rain and one that sees Aldrich at his most creative since Whitesnake's Forevermore. The songwriting it strong throughout, and the band around him really help to bring his creations to life.

The album was released on 22nd March via Frontiers Records. Below is the band's promotional video for Midnight Train.