Angel's 'Risen' - Album Review

Washington D.C.'s Angel are one of those bands that should have been much bigger than they were. With an ear for a catchy melody, grand arrangements, progressive flourishes, and a glamorous stage presence - Angel were almost like America's Queen. The band formed in 1975, just around time that Queen were probably starting to get some recognition in America but - despite gaining something of a cult following throughout their career - Angel just never really took off. The band's original run, from 1975 to 1981 saw the release of five strong albums - kicking off with the epic, progressive self-titled debut album in 1975. Later albums saw the band strip back their sound somewhat to a more commercial hard rock one - but the grandeur of Angel always remained in some form or another. Following the release of the double live album Live Without a Net in 1980, an album that the band hoped would break them in the way that Alive! did for Kiss a few years previously, the band soon split up - with none of the members ever really surfacing again in other projects in a big way (with the exception of keyboardist Gregg Giuffria). In many ways, Angel are one of those 'what if' bands and it really surprises me looking back - and as a relatively new fan of the band - that they just never really 'made it'. It is a travesty that the band was not selling out arenas throughout the 1980s, as they had all the ingredients to do just that. For whatever reason though, the band just did not catch on and they instead live on through their undeniable influence and through their cult following. With the exception of their original run, Angel have largely been quiet ever since. A few short-lived reunions with various combinations of original and new members followed, with the album In the Beginning also being released in 1999, but these tours have been few and far between. It seems however that the band have more to say, as 2019 saw the release of the first Angel album for twenty years - Risen. Founding members frontman Frank DiMino and guitarist Punky Meadows started touring together again last year, with their live band eventually becoming the latest incarnation of Angel. DiMino has led all the various Angel incarnations over the years, but this is Meadows' first true involvement in the band since the very early 1980s - making Risen his first Angel album since 1979's Sinful. He did release a solo album Fallen Angel in 2016 however, which seems to have been something of a catalyst for this new Angel reunion. Sadly Giuffria has not rejoined the band to complete the original songwriting trio, as he seems to be doing well enough for himself with his Fruit Machine business, but with the band's original frontman and lead guitarist the new Angel is an extremely authentic beast. Four new faces round out the band, with rhythm guitarist Danny Farrow, bass guitarist Steve Ojane, keyboardist Charlie Calv, and drummer Billy Orrico completing the new Angel - all of whom performed on Risen. Farrow has taken Giuffria's place in the songwriting triumvirate - and with two guitarists now in the band the material on Risen is certainly weightier than any Angel of old. The band's trademark style is still evident throughout however, and the vocals of DiMino are as strong as ever. The only downside here is the album's length. 17 songs (including two re-recorded versions of old songs) is too long, and a few could have certainly been saved for a future release without harming Risen at all.

The album opens with a newly re-recorded version of the short keyboard-heavy instrumental piece Angel Theme (Prelude), which has appeared on at least two Angel studio albums previously, before Meadows launches into the strident, bluesy riff that leads Under the Gun. The song is very typical of the sound found throughout the album, with the guitars sitting front and centre - and Calv's keyboards taking on more of a supporting role. Much of the song sounds quite tough, with Meadows and Farrow laying down weighty riffs throughout - and the former occasionally breaking into a soaring lead - but the chorus takes on a bit more of an AOR vibe with a retro-sounding synth pattern and plenty of vocal harmonies to back up DiMino's powerful delivery. It is amazing how great both DiMino and Meadows sound after such a long time away from the scene - and Under the Gun is certainly a statement of intent from the modern Angel. Shot of Your Love has a bit more of a 1980s melodic rock sound, with DiMino's vocal melodies driving everything and the guitars providing a meaty backing rather than driving everything. It is a real shame that the band never made it as far as the 1980s, as this track is the sort of thing that they really should have been putting out during that decade! It is a real melodic feast, with another soaring AOR-esque chorus that would have been a huge hit on FM radio back in the day. Calv's keyboards are ramped up throughout too, helping to give the song a really melodic sheen that only enhances the overall vibe. Slow Down is initially a bit heavier with a barrelling opening drum and guitar combo that soon moves into a stop-start verse section with a percussive beat from Orrico. This is a track that plays with a structure a little more than average, and manages to pack a lot into a fairly short time. The subtle changes of pace and beat create something of a dynamic feeling - and the inclusion of another strong chorus makes the song another enjoyable few minutes of music. It is not quite as strong as the opening couple of tracks however, but showcases a slightly different side of the band which is good to see. Over My Head is more typical and returns to the sound of the earlier two tracks with another AOR-esque chorus and a strong guitar foundation. Meadows is no virtuoso, but he is the perfect player for this kind of material. His riffing is extremely strong throughout the album, and whenever he breaks into a solo it always adds to the song. He still looks every bit the rock star too, so it is great to see him spearheading some new Angel once again. Over My Head is one of the tracks that initially stood out to me when I first listened to the album, and it is still a favourite. The chorus is just so catchy, with DiMino sounding great, and the riffing throughout is very strong. An occasional synth break from Calv also adds to the fray, showcasing a bit of an old-school sound in the process. 1975 is a little more progressive and recalls the band's very early work at times. It opens with a lengthy keyboard intro that is a real throwback to the Angel album, before a gentle acoustic guitar pattern takes over. It is something of a autobiographical song, telling the story of the band's early days - so it is entirely appropriate that the song echoes that era of the band perfectly. Calv really shines throughout the track, with lots of synth soundscapes that create a big atmosphere, as does DiMino who sounds extremely strong vocally despite sounding very exposed without the big hard rock backing he is used to. Not to be outdone, Meadows lays down a lengthy guitar solo part way through the track. It is a great representation of his style, and full of expressive bluesy phrases that really ooze out of the speakers.

We Were the Wild is something of a single, with a lyric video being produced for the track, so it unsurprising that the track is another that is fairly typical of the album's core sound with a screaming lead guitar intro and a pacy verse with some of DiMino's best vocals on the album and the occasional burst of double bass drumming to up the urgency. With so many of DiMino's vocal peers now sounding quite ragged, it is amazing how great he still sounds. He can still hit some pretty high notes when he wants to, and his voice is just so smooth. He has clearly looked after himself really well, and he shines on each and every song here. The melodic chorus is anther showcase for his ability, with lots of subtle harmonies to back up the powerful melodies, before a synth solo from Calv showcases some more of his playing. I.O.U. is gentler, with sparkly keyboard textures throughout and plenty of big acoustic guitars. It is a bit of a ballad, although does ramp up a little during the choruses, and overall ends up sounding a bit like ELO. The melodies are quite sappy, but they just about stay the right side of the 'cheese' line. As a result however, the song does end up sticking out quite a bit. Much of the album up to this point, and beyond, is much heavier so the ballad certainly is easily noticeable. It is a welcome change of pace however. Considering the album's length it is important to have a diverse selection of songs, so this sugary ballad is a decent addition to the album without being one of the overall standout moments. (Punky's Couch Blues) Locked Cocked Ready to Rock is one of the highlights for me and, despite sounding a bit close to AC/DC's Back in Black at times, really showcases the simpler side of the band's sound. The track kicks off with some guitar pyrotechnics from Meadows, before a big riff kicks in and DiMino starts to belt out the lyrics. The guitars form the verse's staccato rhythm, while Ojane and Calv provide additional melodies with their bass and keyboards respectively in between the stabs of guitar. It is very effective, and the space between the notes really allows DiMino to command the track. He also leads the way in the chorus, which is one of the album's instantly memorable moments in my opinion - and makes use of some subtle gang vocals to create a big sound. Turn Around also showcases a bit of an ELO vibe too, although in more of a rocking way. Big acoustic guitars feature throughout the verses to bulk out the sound, while Calv's synths create a strong atmosphere. I do wonder if the band are fans of ELO, as there are certainly some strong vibes of the English band to be found here - especially in their slightly more laid back pieces. The chorus here has a strong Jeff Lynne vibe - with the sort of harmonies he has been using for years - which helps to make the song memorable in a kind of enjoyable background music way. Desire is somewhat meatier, with a flurry of keyboard notes early on before another AOR-esque track gets underway proper with a brisk pace and lots of harmony vocals throughout. It is not as heavy as the guitar-led pieces, but it certainly sounds grittier than the previous track. It is another song that really showcases DiMino at his best, with the frontman giving a strong performance throughout - with some really lengthy notes holding the chorus together. It is another strong track in an album full of good moments.

Our Revolution is more of a guitar-led piece, with a machine gun-esque riff early on backed by some urgent Orrico drumming. Most of the tracks here are fairly mid-paced, so it is great when the band come racing out the blocks riffing in this manner. It really injects some energy into the verses, with the choruses slowing things down a little to create something of a dynamic sound. The chorus is actually very different to the rest of the track, with more of a precise pace and some excellent keyboard work from Calv. It is great to hear him laying down old-school synth lines here, but the best moment of the song for me is Meadows solo which is one of the album's fastest. He shreds up a storm throughout the track, which fits in nicely with the song's pacier nature. Tell Me Why sounds a bit more like the stuff Angel started writing towards the end of their original run, with a much poppier overall sound present and a prominent guitar line which is anything but heavy rock. This is clearly supposed to be a more fun and laid back piece of pop rock however, but the track does end up sticking out a bit as a result. It is a great carefree attitude, and DiMino certainly shines again with all of the poppy melodies to play with, but overall it is not one of my favourite cuts. Don't Want You to Go is a great slab of AOR, with Calv's piano dominating early on before the rest of the band kick in with a simple verse rhythm. Calv then switches to his synths for occasional bursts of retro goodness. His playing becomes more apparent with each listen to the album for me, and I think that he might be the unsung hero of the current Angel line-up. He has filled Giuffria's big shoes perfectly, and knows exactly when to hold back and when to showcase himself. This song is a perfect example of his talents, and the big chorus is sure to keep you coming back for more! Stand Up is a bit more laid back, with plenty of acoustic guitars present again, but it is not a ballad - more of a mid-paced bit of semi-acoustic rock. Another powerful chorus holds the piece together, while the band work hard throughout to create a big sound. This is another song where there is really a lot going on throughout, with the acoustic guitars constantly adding depth and Calv moving around his bank of keyboards for a mix of sounds - before laying down a warmth synth solo towards the end of the track. My Sanctuary is the last of the new songs here, and is the end of the album proper. The result is another strong, up-beat rocker with some strong synths early on and a strident guitar-led verse that sees Meadows and Farrow churning out one last simple, yet powerful, guitar pattern. It is very similar to Under the Gun to my mind, just with a greater keyboard presence, which means the album opens and closes on a similar note - which always pleases me for some reason. DiMino really pushes himself vocally here too, especially during the choruses, really going for it at the end of the album! It is not the album's true ending however, as a re-recording of the Angel classic Tower finishes everything up. It is a decent new version of the song, but certainly not essential listening as it does not sound all that different from the original. Nevertheless it ends the album well enough and, if anything, just goes to show how strong DiMino still sounds. Overall, Risen is a really strong comeback album from Angel that showcases the current line-up in a great light. I was not expecting a new Angel album this year, so to hear one after so many years is a real treat. It is too long however, despite having no downright awful songs, so I feel a few could have been removed to create a more concise experience.

The album was released on 25th October 2019 via Cleopatra Records. Below is the band's promotional lyric video for We Were the Wild.