Friday, 28 February 2020

Delain's 'Apocalypse & Chill' - Album Review

With the exception of Nightwish, Within Temptation, and Epica, there is perhaps no bigger band in the symphonic metal world than Delain. The Dutch band have come along way since their 2005 genesis, and have grown into a confident and diverse, yet accessible, melodic metal act that continues to build their impressive global fanbase with a relentless touring schedule and a growing collection of excellent albums. While the symphonic metal bubble burst a long time ago, which eventually happens to all genres of music that become over-saturated with anonymous clones, Delain have managed to continue to grow and stay relevant - which is probably down to their ability to appeal to a wide range of people. Delain have never been one of the genre's most bombastic or overwrought acts. They do not have the stadium-filling film score sound of Nightwish, nor the technicality of Epica, but they have the knack for an irresistible pop melody - something which seems to come easier to Delain than perhaps any other symphonic metal act. In truth, I am not sure that the 'symphonic metal' tag has truly been applicable to Delain for a good number of years. The band's first two albums, 2006's Lucidity and 2009's April Rain certainly fall within the symphonic metal canon - but the three albums that followed took on other guises, while still retaining an orchestral element to link the modern Delain sound to their early selves. Delain's symphonic elements have always been there to enhance the atmospheres and melodies within their songs; and have never really been about creating a huge sound that includes everything but the kitchen sink. That is not to say that some of the band's songs are not bombastic and grand-sounding, as many of them are, but the symphonic embellishments always serve the basic melodies of the piece and, crucially, never get in the way of the message the band are trying to convey. I love the grand, over-the-top elements of both Nightwish and Epica's sounds; but at the same time I love Delain's more stripped-back take on symphonic metal - which is why a new Delain album is always an exciting prospect for me. The band's latest, and sixth, studio album Apocalypse & Chill was released earlier this month and has been something of an instant hit with me. While I enjoy both 2014's The Human Contradiction (which I reviewed here) and 2016's Moonbathers (which I also reviewed here) a lot, I felt that they lacked the diversity of 2012's We Are The Others - which probably is my favourite release from the band to date. That album saw the band really branching out and going in a number of different directions, and I feel that Apocalypse & Chill is the first album since the 2012 release to pick up on some of those disparate threads and run with them - and create something excellent and different-sounding in the process. Apocalypse & Chill presents a new Delain, and it does this with a defiant set of songs that contain some familiar elements as well as a handful of tracks that see the band diving into new waters head first. This starts with the album's tongue-in-cheek title and artwork, which seems to be something of a tribute to Supertramp's 1975 release Crisis? What Crisis?, and ends with a closing instrumental statement that shows Delain as they have never sounded before.

Such is the confidence of Delain on this album, they actually open this new collection of songs with one of the more curve ball-esque pieces here. One Second fuses Delain's traditional poppy symphonic metal fare with something akin to modern metalcore - with frontwoman Charlotte Wessels trading vocals with long-time guitarist Timo Somers. Somers has been in the band for a number of years now, but he really seems to have come out of his shell on this album. He is credited with co-writing all of the album's thirteen songs; alongside the core songwriting trio of Wessels, keyboardist Martijn Westerholt, and friend of the band Guus Eikens; and also really shines as a player throughout - with plenty of heavy guitar riffs and shredded solos being contained within the album. His debut as a vocalist is impressive too, as his melancholic voice and occasional screams mix in well with Wessels' poppy delivery - with the metalcore-esque chorus particularly coming alive as the pair's voices mix together and Somers' djent-esque riffing drives everything forward. There are still plenty of traditional Delain moments however, with lots of melodic synth lines from Westerholt that Wessels often doubles with her versatile and accessible voice. It is a song that opens the album with a bang, and contains vibes that are rarely again revisited throughout the album's hour long run time. We Had Everything showcases the band's more typical sound, with a pulsing synth rhythm throughout and a much simpler guitar arrangement. Somers mostly chugs away in the background here, with the verses seeing the heaviness stripped away and Wessels' gorgeous vocals pushed to the fore. Something that is instantly clear about Apocalypse & Chill is the amount of earworms that it contains. Nearly every song is packed full of catchy melodies, and this one is no different. The verses are a real throwback to the April Rain sound, while the choruses are pure pop metal perfection with silky keyboards and a grooving bass presence from Otto Schimmelpenninck van der Oije. A lengthy solo from Somers is the icing on the cake, and one of many excellent instrumental moments on the album. Chemical Redemption is one of the album's few less-immediate pieces, but there is still plenty to enjoy - especially on repeated listens. It is based around grinding guitar riff, with the overall tone of the track recalling The Human Contradiction album at times. It is a song that has opened itself up to me over multiple spins of the album, as there is a bit of a denser sound here that is at odds with many of the other tracks. The chorus is still a winner however, with a very simple keyboard melody cutting through the mix while Wessels sings a simple vocal line. The chorus is quite different from the rest of the track, which is more overtly-symphonic with occasional gothic choirs and more a chugging metal rhythm with a big bass presence. Burning Bridges is one of the heavier pieces here, with more symphonic flair and some occasional harsh vocals courtesy of Wessels. There are few heavy songs to be found throughout the album, and this one of the most in-your-face with Somers' riff driving it from the off and relatively-new drummer Joey de Boer (Purest of Pain) matching his grooves with some well-timed double bass drum patterns. The song recalls the singles from Moonbathers, and at times sounds a little like a sequel to The Glory and the Scum - with a similar vibe present throughout both tracks. This is a more traditional slab of symphonic metal that impresses with its grand design and strong choral and orchestral arrangements - and is a song that is likely to be a mainstay in the band's setlists.

Over the years Delain have often been a bit too reliant on guest vocalists to add diversity to their albums, but Apocalypse & Chill features only one - with Yannis Papadopoulos (Beast in Black) adding his talents to Vengeance. Papadopoulos is a very diverse singer with an incredible range, but here he mostly sticks to a slightly gritty approach which compliments Wessels' sweeter delivery nicely. This is another song that has grown on me over multiple listens to the album, and it actually reminds me of a lot of the hidden gems on We Are The Others (i.e. the great melodic songs on that album that the band seem to have forgotten exist!). It is a bit more of a traditional pop metal track on the surface, with a good mix of pacey sections and more 'epic' slower parts - but the vocal interplay of the two singers and a fairly subtle string arrangement that never dominates gives the song a little bit of a different vibe while still being familiarly Delain. To Live is to Die opens with a great, juddering synth-driven riff that creates something of a chaotic tone, but unfortunately this vibe is fairly short-lived. This is one of the few less-interesting tracks on the album in my opinion, but I appreciate the experimentation that has gone into it - I am just not sure it quite works. The industrial overtones are good, but I am not sure the band ever really capitalises on them - instead often relying on a bit of a standard symphonic chug. I would have preferred the band to push the industrial vibe further and really go all-out with the synths and programming. It is not a bad song, and the chorus is still pretty memorable, but I feel that it is a bit of a wasted opportunity to create something strange and unsettling that would have sounded very different to the average Delain song. Let's Dance gets things firmly back on track however, opening with another djent-esque guitar riff that soon gives way to a bass-heavy verse that features some excellent enchanting vocal melodies. The poppy vibes that have often filled Delain's songs are extremely prevalent here - and it is a song that will instantly stick in the brain because it is filled with so many catchy melodies. The chorus is one of the album's best in my opinion, and for that reason I imagine the song will become another setlist staple. It has a real anthemic quality to it, made for crowd interaction, and the grooves throughout create something of a dance party vibe while also throwing some heaviness into the mix occasionally with one of Somers' riffs. It is a great mix of everything that Delain does well, and it is one of my favourite tracks on the album as a result. Creatures returns to the weightier sound showcased on the band's previous two albums, and features a dense orchestral backing with Westerholt's keyboards filling every gap. It is one of the album's more brooding pieces, and it dispenses with many of the poppier elements found throughout the album. Wessels takes on more of an old-school gothic vocal approach here, which works well in the context of the song and also adds character to the slow-paced but dynamic chorus. There are better songs to be found here, but as a bit of throwback to the band's previous releases it works well. Changing the tone totally, the short piano ballad Ghost House Heart sees Wessels accompanied only by Westerholt's piano melodies and some violin lines courtesy of Shir-Ran Yinon. I tend to prefer Delain when they are at their most upbeat and poppy, but these kinds of ballads also work well for them - and Wessels has the voice to suit their sombre delivery. Songs like this will never be my favourite part of a Delain album, but they show a different side to the band and allow Wessels to really show her credentials as a vocalist in a unique way.

Re-purposed from last year's EP-come-live album Hunter's Moon, Masters of Destiny showcases more of a bombastic sound - with the 'symphonic metal' tag certainly applicable. In many ways the song seems like the sort of track that the band would write now if they were consciously trying to write an updated version of Lucidity. It is a very typically 'symphonic' track, with dancing orchestral arrangements constantly backing the band up - while Somers lays down a muscular guitar backing that creates a constantly-heavy tone. Since the track was also on Hunter's Moon, former guitarist Merel Bechtold also features here - her second guitar adding additional heft to the track, and appropriately making it one of the heaviest and most bombastic tracks of the album. It is a stark contrast to pop metal fests like We Had Everything or Let's Dance, relying more on grand musical statements and a big production rather than sugary melodies - with Wessels going all-out vocally during the high-octane choruses. Appropriately, Legions of the Lost carries on the symphonic approach with plenty of memorable string melodies early on - which are soon enhanced by a doomy gothic choir that sounds more like something from an average Epica album than Delain. The way this song differs from the Masters of Destiny approach however is that this song includes plenty of the modern Delain sound as well as some symphonic flair - without sounding like an updated version of the Lucidity material. The verses are very 'on trend' in the context of the album, with a stripped back, synth-heavy sound that sees Wessels semi-whispering the vocals in a strange yet enticing way - before the heaviness crashes back in and the choirs start up their sinister-sounding chants again. It is a song that has a lot going on within it, and one that shows how Delain have diversified their songwriting over the years. While never really being a progressive band, there are certainly more interesting song structures to be found throughout this album. There is a lot more diversity generally here, and this song is a perfect example of what Delain are capable of while still remaining accessible and catchy. The Greatest Escape is a bit like the heavier cousin of We Had Everything - with irresistible pop melodies and a simple chorus that often finds itself surrounded by much heavier passages. This is another track that really crams a lot into its fairly short run time, with some more slightly progressive vibes present. Yinon's violin is present throughout the song again, which helps to add some additional emotional weight and more melody, while Wessels uses her voice to great effect too - with choice use of vocal effects in spots to create a different sound. It is a bit of an odd-sounding song at times, but again it is one that grows over repeated listens. It takes time to fully appreciate all of the twists and turns, especially the somewhat low key vocal ending that transitions into the opening guitar swells of the closing instrumental piece Combustion. Delain have never sounded heavier than they have during Combustion - with Somers' riffs and solos really driving everything while de Boer gives a masterclass in pseudo-progressive metal drumming behind the kit. This is a piece that sounds more like Periphery than Delain, but it works well as a coda to a diverse and dynamic album. Overall, Apocalypse & Chill is a really impressive album from Delain and one that really is a big step up from both The Human Contradiction and Moonbathers. It sees the band willing to try new ideas, and the results are often very successful - with a raft of soaring melodic numbers sitting side-by-side with more obtuse, progressive tracks.

The album was released on 7th February 2020 via Napalm Records. Below is the band's promotional video for Burning Bridges.


Saturday, 22 February 2020

Dream Theater - London Review

Dream Theater are an example of what is possible, commercially, in the modern progressive rock world. While not exactly a 'modern' band, considering that their first album was released in 1989, they are the band that certainly spearheaded probably the third big wave of progressive music throughout the 1990s - and they still have an enduring popularity the world over. This is key because, all too often, progressive music is seen as something niche and only enjoyed by a select few who truly 'get it'. In truth, this is a viewpoint that often emanates just as strongly from inside the prog community as it does from the outside, with certainly elements of the prog fanbase being extremely insular and acting as gatekeepers - letting only the worthy enter into the prog world. This sort of attitude, from both 'sides' is frustrating - but it is also what makes bands like Dream Theater special. While the American five-piece certainly are not the only 'large' prog band still regularly touring the world in 2020, they are one of the handful of acts that seems to transcend genre boundaries and expectations. Dream Theater crowds are always pretty diverse, a place where the grizzled classic rock fan, the most ardent metalhead, and the jazz-fusion freak all feel at home - with the band offering something different to each. While ostentatiously a progressive metal act, and arguably one of the best and most important of all time, Dream Theater are a band that often incorporate a lot of other sounds into their music. The four musicians that make up the bulk of the band are all masters of their craft - true virtuosos - and in frontman James LaBrie Dream Theater have a singer who versatile, yet humble, enough to keep up with the rigours of the band's music - as well as knowing when to step back to allow the band's instrumental prowess to truly shine. Dream Theater's approach, that balances soaring melodies with extremely technical instrumental workouts, is one that has been fine-tuned over the years; with all five of the band's members knowing their role and place within the machine. It is this balance that makes a Dream Theater concert such a special experience, and I have made every effort to get to their UK tours over the past decade. This month saw the band's recent run of dates, announced partly to support 2019's Distance Over Time (an album that many saw as a return to form) and partly to celebrate 1999's Metropolis - Part 2: Scenes from a Memory - an album that is often regarded as one of the band's best works. Last year was the album's 20th anniversary, and the band have been on the road since March 2019 playing the Scenes from a Memory album in full as well as showcasing some of their new material. The show I took in was at the Hammermsith Apollo; the first of a two-night run that will be immortalised on a future live album release in the future. The band have played the Apollo numerous times over the years, and unsurprisingly the place was full. Carrying on with the tradition of their recent tours the show took on an 'Evening With...' format, featuring no support act and a lengthy Dream Theater set that certainly wowed the gathered crowd.

The structure of the show was very similar the band's 2017 UK tour, which celebrated the 25th anniversary of 1992's Images and Words, with the evening being split into two halves - with an encore following. The Scenes from a Memory set was kept for the show's second half, as the band warmed the crowd up with a powerful, six-song hour of music that was largely made up of cuts from Distance Over Time. While I am sure the highlights for many came during the show's second half, the opening moments of the evening were still special. The band took to the stage against a soaring cinematic backdrop, and immediately launched into the weighty riff to Untethered Angel - with John Petrucci (guitar/vocals) leading the charge with his muscular playing. It was clear from the off that the evening was going to be a special one, as the sound was crystal clear and loud from the get-go - with the band needing very little time to bed in. John Myung (bass guitar) was nice and high in the mix, which gave the band added weight, while (for the most part at least) LaBrie's vocals cut through the band's patented complex metal sound with ease. LaBrie can be a bit of a hit and miss live performer but, aside for a couple of rough moments during Untethered Angel, he sounded great. His floaty, emotional voice is the perfect foil for the band's heft, and he turned in a strong showing, particularly during the most emotional moments of Scenes from a Memory's story and the epic A Nightmare to Remember which followed Untethered Angel. The Black Clouds & Silver Linings opener has always been one of my favourite Dream Theater tracks, and it was great to finally hear it live. From the heavy, gothic-tinged opening section, through the gorgeous atmospheric mid-section, to the chaotic lengthy instrumental closing moments the song is a true Dream Theater classic. Petrucci and Jordan Rudess (keyboards) demonstrated their prowess multiple times throughout the track, and the song was greatly enhanced without Mike Portnoy's rough attempt at harsh vocals towards the end - with LaBrie instead delivering the section with a creepy, Alice Cooper-esque delivery that worked a treat. The rest of the first set really whizzed by, with the shorter Paralyzed and Barstool Warrior showcasing the concise sound of the band's latest album; while the rarely-played In the Presence of Enemies - Part I contained some of the most impressive soloing of the opening portion of the night. The track has a fairly lengthy instrumental intro, with both guitar and keyboard-led sections, before LaBrie danced back onto the stage to sing the more direct vocal-led sections with a certain amount of grit. This grit was carried over into Pale Blue Dot, the closing number of the evening's first set, which showcased more great soloing - as well as an atmospheric chorus that saw LaBrie and Petrucci harmonising well together to fill the Apollo with their voices.

A 20 minute intermission followed Pale Blue Dot, with the screen behind the band's gear coming to life just before the show re-started introducing the crowd to what was to come. Being a concept album, Scenes from a Memory really is an album that benefits from being played in full, and the story was somewhat played out in an animated form on the screen as the band played. Since the album's original tour, full performances of the album have been few and far between - with this latest tour being the first opportunity for many to witness it in full in a live setting. With the exception of a short breather between Through Her Eyes and Home to allow LaBrie to briefly address the crowd, the evening's second set was one continual piece of music - with the songs flowing together as they do on the original album. It started calmly, with LaBrie's gentle voice and Petrucci's acoustic guitar, but soon kicked up a few gears with the grand instrumental opening Overture 1928 and the riff-driven Strange Déjà Vu getting the album underway proper. For many people Scenes from a Memory is the band's magnum opus, so picking out highlights for this portion of the night was always going to be very difficult. The album has no true weak moments, with every song coming together in service of the overall story, and mood, of the piece as a whole. As a result, the atmosphere during the second set was particularly strong, with the crowd often singing the words along with LaBrie loudly - showing the band's penchant for an anthemic rock melody to sit alongside their overblown shredded instrumentals. This is perhaps why the album's long-form pieces, Beyond This Life and Home in particular stood out, as both really showcased all sides of this multi-faceted band. LaBrie was really on top form during the Scenes from a Memory set, belting out the vocals with real passion, while the rest of the band all took their multiple moments to shine with gusto. Home in particular was jaw-dropping, with perhaps the best moment coming when Rudess strapped on his keytar and walked to the front of the stage to rip into a great old-school sounding synth solo. The calmer moments also shone however, with the Pink Floyd-influenced Through Her Eyes bringing the best out of LaBrie and the stunning power ballad The Spirit Carries On containing a more restrained solo from Petrucci - but one that showcased the great emotional side to his playing. Instrumentally however, everything paled in comparison to the explosive, dynamic instrumental piece The Dance of Eternity, which featured some of Mike Mangini's (drums) best drumming of the evening and some excellent ragtime piano from Rudess. It is one of the band's best instrumental workouts, and it was great to hear it live again - with a deserving ovation following as the piece moved into One Last Time. By this point however, the end was nigh and Finally Free finished off the album's story and brought the bulk of the evening to a close. The band received a standing ovation as they trooped off following Scenes from a Memory's conclusion, and the cheering brought them back out for one more - the epic At Wit's End from the latest album. It was hard to follow the Scenes from a Memory performance, but At Wit's End had the scope and melody to hold its own, and it closed the evening out in fine fashion. The setlist was:

Untethered Angel
A Nightmare to Remember
Paralyzed
Barstool Warrior
In the Presence of Enemies - Part I
Pale Blue Dot
-
Scene One: Regression
Scene Two - Part I: Overture 1928
Scene Two - Part II: Strange Déjà Vu
Scene Three - Part I: Through My Words
Scene Three - Part II: Fatal Tragedy
Scene Four: Beyond This Life
Scene Five: Through Her Eyes
Scene Six: Home
Scene Seven - Part I: The Dance of Eternity
Scene Seven - Part II: One Last Time
Scene Eight: The Spirit Carries On
Scene Nine: Finally Free
-
At Wit's End

At close to three hours, Dream Theater's latest London show was another epic night of music that was a lot to digest - but also full of so many highlights. This was my fourth time seeing the band live, and each show has been special for different reasons. I had not seen the band perform most of the songs featured this time live before, and the full performance of Scenes from a Memory will no doubt be one of the gigging highlights of the year. The five tracks representing Distance Over Time more than held their own too however, with the band proving that they are just about the now as much as the past - and I hope the band do not leave it too long before returning to the UK again.

Thursday, 20 February 2020

Sylosis' 'Cycle of Suffering' - Album Review

The Reading-based metal Sylosis were, at one point, hotly-tipped rising stars in the British metal scene. Following a couple of well-received EPs, the band signed to Nuclear Blast Records - one of the biggest metal labels in the world - and released their debut album Conclusion of an Age in 2008. The album was also well-received, but I think it is fair to say that Sylosis as we know them today were born in 2011 - with the release of the progressive behemoth Edge of the Earth which saw the band's guitarist, songwriter, and founding member Josh Middleton step up and take over the-then vacant lead vocalist spot too. From this point, Sylosis became Middleton's baby. While the band has always included lots of other talented musicians, many of whom have stayed in the band for a good number of years, Sylosis has always been driven by Middleton. His riffs make up the bulk of the band's appeal; his signature sweep-picked arpeggios are a cornerstone of the band's sound; and his vocals, which were impressive to start with and have only improved over time, give the band their emotional weight. It is just a shame therefore that, since 2016, Middleton's mind seems to have been everywhere apart from on Sylosis. In retrospect however, it is easy to see why. Sylosis, despite gaining plenty of respect and a modest fanbase, have never really shaken the 'rising stars' tag and that must be hard to stomach - especially when both 2012's Monolith and 2015's Dormant Heart (which I reviewed here) were so well-received. It can be hard for bands to break through that glass ceiling to the next level - and following a co-headline tour with Decapitated in 2016 the band have largely been on ice. This also coincided with Middleton joining up with Architects - a much bigger and more-established metalcore act that, after initially filling in for the late Tom Searle, he officially joined in 2017. Architects' touring schedule has largely been keeping Middleton busy ever since, which was only compounded by the release of their Holy Hell album in 2018. While it was great to see Middleton finally getting the respect he deserved as a songwriter and musician as a part of Architects and the Holy Hell album, it was a shame that this had to come at the expense of Sylosis. Architects are a band that I have never really been able to enjoy, and even Middleton's contributions did not change my mind. It seemed that Sylosis were well and truly dead, which it was why it was a shock last year to read that a new album had been recorded and would be released in 2020. I could not quite believe it, but after five years the band's fifth album, Cycle of Suffering, is finally here and it is fair to say that Sylosis fans the world over are rejoicing. Despite the break, the album picks up where the excellent Dormant Heart left off and further streamlines and tightens up the band's now-signature sound. The album also launched the band's current line-up, with bassist Conor Marshall (Conjurer) joining Middleton, long-time rhythm guitarist Alex Bailey, and drummer Ali Richardson - who also makes his Sylosis studio album debut on Cycle of Suffering despite having been in the band since before Dormant Heart's release. The information in Cycle of Suffering's CD booklet is very sparse however and, reading between the lines, I have the feeling that the album is more of a Middleton solo album than a true Sylosis release. It would not surprise me if, apart from Richardson's drums, Middleton is responsible for everything else that you hear - as well as producing the album and even doing all of the artwork.

The new streamlined Sylosis sound is present from the off, with the album's crushing opening number Empty Prophets really roaring out of the gate with a riff that is instantly-recognisable as one of Middleton's - albeit it with something of a fresh sense of urgency. There is a real heaviness to the early portion of the track, with Richardson's drums creating a chaotic sound, and when the fast-paced verse kicks in Middleton's familiar voice barks the lyrics with real venom. What is apparent from the off, despite a clear streamlining of the band's sound, is just how many riffs are crammed into each song. No one song seems to stand still on one idea for long, so the technicality and progressive tendencies that the band have become known for are still present - they are just presented in a somewhat slicker way. This is certainly the case here, as the track moves back and forth between mid-paced groove-based riffs and pseudo-extreme metal moments that recall their stand-alone 2016 single Different Masks on the Same Face. The song is a great way to introduce the Sylosis of 2020 but, in my opinion, the album really steps up a gear with the lead single I Sever. I Sever opens with a somewhat atmospheric intro, before crushing thrash riff takes over which drives the song's verse - while a fluid and memorable guitar lead sits underneath Middleton's vocals adding depth. There is also something really catchy about the entire track, which is not always easy for a heavy band achieve. The chorus is a real shout-along moment, with subtle gang vocals backing Middleton's roars - and it is clear that the song is going to be a real beast when played live. In many ways, I Sever reminds me a lot of the band's past singles so anyone familiar with Empyreal or Fear the World will certainly find a lot to like here - with the addition of some of the epic soundscapes that cropped up throughout Dormant Heart. The album's title track follows, with a crushing solo drum intro before a juddering riff takes over that really sets the tone for the rest of the track. Many of Sylosis' songs are quite dynamic, with changes in pace and style apparent throughout, but this song is one that is much more straight ahead - with a fast pace maintained throughout and a overbearing sense of thrash. It is fitting that the album's title track is one of the more straightforward songs here, which really helps to introduce the band's somewhat refined approach perfectly. It does however, as do many of the songs here, feature a fair amount of atmospheric depth. Keyboards have never been a big part of the band's sound, but many of the tracks here feature quite dense atmospheric backings - which really helps to add additional depth to the album without drastically changing the band's established ethos. Shield opens with a grooved-based riff, but soon explodes into something much heavier and faster with more thrash-like speeds and relentless drums. Despite this however, there is much more emotional depth to be found here, with a chorus section that really goes all-out on the atmospheric front. The keyboards seem pushed to the fore, and Middleton's voice takes on a much more primal howl - with some choice affects added to it to make him blend into the soaring atmospherics. This depth works really well within Sylosis' core sound; but a great old-school metalcore breakdown and a short, shredded solo soon takes the listener back to the band's early days in a quick break from the new norm.

Calcified, another of the album's singles, is up next and it features a great progressive-sounding guitar lead as the song opens up - before a mid-paced verse takes over with chugging guitar rhythms and a huge bass presence. As with many metal bands on the heavier end of the spectrum, the bass in Sylosis' music is often lost a bit in the mix and is really there to add a little more weight to the overall sound, but the verses here really benefit from the fat bass sound that was chosen. The intro's guitar lead is retained throughout to add extra melody, but on the whole this is a track that seems to be largely based around its chorus for its main hooks. The atmospheric approach from the previous track is retained here too, with the chorus seeing the band slow things down a little to a doomy groove - while Middleton once again howls the vocals in an emotionally-charged manner. Invidia initially seems to be one of the album's more overtly atmospheric pieces, with a slow, brooding intro that sounds like something from your average death/doom album - but it is not long before the peace is broken by one of the album's most potent riffs. That being said, the song is extremely diverse and certainly harks back to the more progressive tracks that the band have written in the past. Some of the riffs are pure thrash, and are packed full of energy, whereas other parts of the song stray into genuine extreme metal territory with Richardson breaking into a black metal-esque blast beat at times - something not often heard on a Sylosis album. It is a song that never seems to want to rest on its laurels, and it showcases Middleton at his most creative. It is fitting therefore that is also contains, in my opinion, one of the album's best guitar solos - with the opening section being fairly restrained, before it descends into a hail of double-tracked arpeggios and lead runs that are packed with flowing melodies. Idle Hands opens in a fairly creepy manner, with heavy rhythms mixing well with clean guitar chimes, but soon morphs into another fast-paced verse backed up by a tight riff. I have always had trouble deciding what subgenre of metal that Sylosis should be placed in, and it is songs like this that give me that headache. There is certainly a lot of old-school thrash to be found in the band's sound, as is apparent throughout the verses, but with a more modern approach informing the vocals along with a clear love of all thing prog and brutal. There are other death/doom shades to be found throughout the track too, with a slower-paced section that again ramps the keyboards up to have them swirl around droning and hopeless-sounding riffs. Sylosis are great at crafting desolate landscapes in their music without ever resorting to common gothic tropes - and this track is a great example of this housed within some fast-paced thrash. Apex of Disdain is a bit more of a straightforward chug, with mid-paced groovy riffing throughout and plenty of weight added by placing the bass high in the mix. Sylosis are at their best when they are injecting progressive tendencies and twists into their songs, but they also do the simple things well. The song actually reminds me a little of Mercy from the band's previous album, a doomy, mid-paced track that mostly stuck to one pace and helped to create a foreboding atmosphere as a result. Apex of Disdain is similar, with a really heavy vibe present throughout - while is further enhanced by the album's strong keyboard presence.

Arms Like a Noose opens with a murky acoustic guitar pattern, a common Sylosis trope but not one that is often employed on this album, before exploding into a strong Trivium-esque riff that soon takes on something of a NWOBHM-style gallop. Given the song's intro, you would be forgiven for assuming the track was going to be quite dense and atmospheric - but on the whole this is one of the album's most aggressive and in-your-face songs, with an abrasive vibe and lots of squealing guitar leads. The band's thrash influences are clearly on display throughout this track, with the fast-paced shredded solos coming straight out of the 1980s thrash rule book; while other parts of the song recall the heavier end of the late 2000s metalcore scene. It all still sounds like classic Sylosis however, with the band's signature style still very much on display. Devils in Their Eyes is another in-your-face track and one that does not hesitate in getting going, with blistering riffs and throat-shredding screams present from the off. That being said, there is more of a dynamic approach taken here than on the previous song with changes of pace and vibe present throughout. Parts of the song are quite slow, with an old-school Black Sabbath-esque chug to them, while other moments see the return of the album's trademark atmospherics in a big way. All of these moments punctuate what, at its core, is a fast-paced thrash track - but one that revels in ripping up the script at opportune moments to allow the band's more creative side to really shine. It also features another excellent guitar solo, and it comes during one of the slower sections to really allow Middleton time to dwell on each note - giving the instrumental section more emotional weight. Disintegrate opens with another evil-sounding riff, which recalls some of the early extreme metal bands. In fact, there is quite a strong extreme metal vibe present throughout the song, with plenty of tremolo picking found throughout as well as an unsettling atmosphere that is created both by the keyboards and a general uneasiness found in some of the riffs and melodies. There is a true crushing heaviness to be found throughout the song, and it certainly builds on the sound the band were going for on Different Masks on the Same Face - a song that saw Sylosis go in a slightly more abrasive direction just before their hiatus. The album's closing number Abandon is probably the most unique-sounding song on the album, and continues the band's occasional experimentation with clean vocals. Most of the band's album's have at least one song to feature them, and this might be the most-accomplished use of them by Sylosis yet - with the clean vocal sections offsetting the heavier sections nicely. On the whole, the song is a slow one, with doomy piano notes used throughout and old-school death/doom riffs backing up the song's heavier sections - such as the chorus which mixes harsh and clean vocals together for a strong sound. It is easily the most progressive track on the album, and is great to see Middleton continuing to push himself despite the album as a whole reining it in. It shows that he always wants to move forward as a songwriter, and it is clear that this song showcases another side to his writing and playing. Overall, Cycle of Suffering is an excellent comeback album from Sylosis that is one of my favourite new releases of the year so far. It finds Middleton fired up and excited about Sylosis again, something which - by his own admission in recent interviews - he was not for quite a while. It is great to see the band back in such a way, and hopefully Sylosis are here to stay once again.

The album was released on 7th February 2020 via Nuclear Blast Records. Below is the band's promotional video for I Sever.


Saturday, 15 February 2020

Serenity's 'The Last Knight' - Album Review

Over the years the symphonic/power metal worlds have become somewhat over-saturated. There are so many bands out there writing grand, epic, orchestral-based metal that it can sometimes be hard to see the wood for the trees - and often genuinely great bands get buried in and amongst all of the mediocrity. In some ways, I think that the Austrian band Serenity have somewhat been a victim to this. The four-piece never seem to have reached the audience that their work ethic and songwriting deserves - with the band mostly forced into touring the European club circuit without ever really breaking into the next league. This is a shame, as Serenity really are a great band. While their historically-inspired bombastic power metal is certainly far from original, it is always well executed and filled with plenty of hooks. There is enough grandness and bombast on the average Serenity album to fill dozens of albums by any number of the 'pretenders' that often swamp them - meaning that each new Serenity album is always an exciting prospect for those of us in the know. That being said, I think it is fair to say that - until recently - I have only ever really been a casual fan of the band. I started listening to the band in around 2010 or 2011, and picked up their third album Death & Legacy not long after its 2011 release. At the time, Death & Legacy was just what I needed and it actually made into my Top 10 Albums of 2011 list. The Serenity of 2011 was something of a poor man's Kamelot, but they still did that style of music justice. Kamelot at the time were somewhat in limbo following the departure of Roy Khan, and it seemed that Serenity were ripe to steal their crown. It was not to be however, as Kamelot bounced back the following year with the Silverthorn album under new frontman Tommy Karevik while Serenity lost one of their main songwriters - keyboardist Mario Hirzinger, who the band have never really replaced. 2013's War of Ages was another strong, murky album, but it was also to be the last to feature original guitarist Thomas Buchberger - who left the band in 2015 leaving just frontman Georg Neuhauser and drummer Andreas Schipflinger from the band's original line-ups. However, 2015 can also be seen as the re-birth of Serenity - one that has seen them really solidify their sound, line-up and approach to their subject matter. The band's current line-up, with guitarist Chris Hermsdörfer and long-time bassist Fabio D'Amore, has been active since then and rushed out two strong albums in as many years - with both 2016's Codex Atlanticus (which I reviewed here) and 2017's Lionheart (which I discussed here) reintroducing the band as more of an overt power metal act, shedding some of the previous murkiness in the process. Three years on, and the four-piece has struck gold again and released their seventh studio album The Last Knight last month. This time following the adventures of Maximilian I, The Last Knight is a natural continuation from the band's previous two albums, with the occasional hint of their older sound also creeping in here and there. It does feel somewhat more concise and considered however, with a shorter running time and a somewhat beefier production courtesy of Sascha Paeth in his first outing working with the Austrian band.

As it common with Serenity's albums, The Last Knight kicks off with the instrumental title track - put together once again by the band's regular orchestral collaborator Lukas Knoebl. Given the time that Maximilian I was alive (1459-1519), it is fitting that the orchestrations here, and indeed throughout the album, have something of a Medieval feel to them. There is a certain period grandness that permeates this album, which should come as no surprise to those familiar with Serenity's catalogue, and that vibe is cemented when Invictus kicks in with all of its pomp metal trappings. The song, which features producer Paeth contributing some additional lead guitars, is one of the most overtly-power metal songs in the band's catalogue to date - and is unsurprisingly filled with hooks. It opens with a rendition of the song's catchy chorus, before a fluid lead guitar run kicks in and Schipflinger launches into a fast-paced double bass attack. That being said, the song is not a pure speed-fest - with the verses being a little more restrained with more gothic overtones that really allows Neuhauser's voice to shine. He turns in another fantastic performance throughout this album, and the grinding, somewhat heavier verses are a perfect opportunity for him to showcase some of the sort of vocal style he utilised on the band's earlier albums. The chorus is pure power metal bombast however, and is a contrast to the moodier verses - with the band's older and newer sounds combining well for a powerful opening statement. Set the World on Fire acted as the album's first single, and is one of the album's most instantly-memorable pieces. Upbeat power metal is the name of the game here, with a soaring Hermsdörfer guitar lead dominating the crunching opening passage, before a somewhat low-key verse strips everything back somewhat to leave a simple drum pattern and a chugging rhythm. Anyone familiar with the singles that followed the band's previous couple of albums will find this tune to be very similar - although it possesses one of the best choruses in the band's catalogue in my opinion. The band have often crafted strong choruses, but this is one of their most heroic-sounding yet - with a crunching mid-paced rhythm and some extremely theatrical vocal melodies. Herbie Langhans (Seventh Avenue; Beyond the Bridge; Sinbreed; Voodoo Circle) adds some additional vocals throughout, his deeper voice complimenting Neuhauser's perfectly. Serenity have utilised guest vocalists before, and Langhans' adds his name to the list of the band's successful collaborations with his performance here. Keeper of the Knights is another heroic piece and, after a couple more crunching songs, it goes all-out to create a bombastic and powerful atmosphere. Hermsdörfer's guitar leads are once again very catchy, having a kinetic bounce to them, while the verses zip along at a nice pace with D'Amore's bass really chugging along. Another powerful chorus is contained within too, with Neuhauser once again proving why he is one of the best vocalists in the power metal world. He always seems to be able to craft a powerful vocal melody, and the chorus here is no different - with some slightly higher notes from him than is usual. Perhaps the best moment of the song however is Hermsdörfer's guitar solo, which is quite lengthy and filled with lots of fluid and melodic runs.

Souls and Sins is more of a mid-paced track, and one that certainly sees the band looking into their past. The murkiness of the band's earlier albums has largely been shed since the 2015 line-up changes, but this song is a proper look back to albums like Death & Legacy and 2008's Fallen Sanctuary. Those Kamelot comparisons that used to follow the band around during their early years rear their heads again here, with a heavier overall approach and a greater emphasis on gothic trappings. Hermsdörfer's riffs here are much heavier here than on many of the tracks on this album, and there are prominent keyboard melodies throughout that fit in nicely with the oppressive string backing. Neuhauser's vocal performance here is also somewhat more creepy than usual, with an emphasis placed on more deliberate phrasing and something of an emotional tug. There is far less of the pomp here than on the opening three songs - with more gothic melodrama that sees the band, temporarily, looking to the past. This somewhat heavier vibe also remains throughout My Kingdom Comes, a fast-paced anthemic piece with a soaring guitar opening and occasional Eastern-tinged flavours. The murkiness from the previous song remains here, but at times is turned up a notch and the track contains easily the album's heaviest moments. Parts of the verses feature harsh vocals from Hermsdörfer, who's riffs take on a much edgier tone to match his growls - before Neuhauser takes back over for another stunning chorus that is another contender for the album's best. It is full of irresistible melodies that pour from the speakers - with an extremely overt power metal sound that counters the heavier tones heard during other parts of the song. As a result the song is another favourite, and it is a song that is likely to become a live staple going forward. Queen of Avalon sheds the murk almost entirely, and instead presents possibly the most upbeat, and flowery song in the band's history. The opening folk-tinged guitar melodies are more akin to your average Twilight Force song than anything Serenity have done previously and, while the verses are somewhat heavier, there is an extremely fun vibe that continues throughout the track. The chorus is actually quite cheesy, again recalling Twilight Force, but it works in the context of the song with the band managing to pull it off. Neuhauser's voice is not used to singing melodies quite this uplifting and carefree - but he rises to the challenge and manages to make the sugary melodies sound convincing. It is a different kind of song for Serenity, but it works well and adds another side to the album. My Farewell is very different from Queen of Avalon, and acts as the album's ballad. It opens slowly with some sombre piano melodies, which Neuhauser sings atop, but soon opens out with the rest of the band joining in. It is a fairly slow-paced piece, with a very percussive feel and prominence given to the strings and the piano - with the guitars mostly just filling in the gaps. As far as ballads go, it is a decent effort - but I feel the band have produced better ones in the past. The vocal melodies are strong, but in my view the song lacks the emotional weight of some of the band's previous ballads - and I would have preferred the song to be a bit more stripped back, allowing the piano and strings to properly dominate.

After taking something of a backseat during My Farewell, Hermsdörfer and his guitar step back up to the plate throughout Down to Hell - with a great juddering opening riff and plenty of soaring, moody leads. If it was not for the harsh vocal-led sections during My Kingdom Comes, the main riff here would probably be seen as the album's heaviest moment. It has a great groove to it, and it really shows what Hermsdörfer brings to the band. Since he joined Serenity it is certainly fair to say that the band have become more guitar-centric, with his riffing a big part of the modern Serenity sound. He is all over this song, with the orchestral arrangements taking on much more of a supporting role here. Despite this heavier vibe, there are still plenty of strong melodies throughout - with a fast-paced chorus really taking hold. It seems that each song on this album is destined to have a memorable chorus, and it is this that really makes the album an easy and immediate listen. Many of the melodies here are true earworms, with the chorus being no exception even within the riffier confines of the song. Wings of Pride is another more overt power metal piece, with some Renaissance-esque clean guitar melodies opening the song - before a fast-paced drum beat kicks in and dancing orchestral arrangements surround everything. True old-school power metal seems to be somewhat in short supply these days, but this is an excellent example of it. Schipflinger barely lets up, laying into his drums to create the song's galloping rhythms, while soaring guitar leads and grand strings add sugary melodies in and around his assault. It is also fitting that the old-school power metal song has a great old-school power metal chorus, with lots of big harmony vocals to back up Neuhauser's grand melodies - which helps to create a huge sound. This, combined with the occasional outbreak of shredded lead guitar, makes for a real winning combination. The album comes to a close with Call to Arms, a dramatic piece with a big gothic choir and a heavy, chugging rhythm throughout. Those Kamelot vibes are present here once again, with the choir really recalling some of their more expressive moments - while the occasional twinkling piano-led sections provide a change of pace. This is another pretty heavy song in the context of the album, but there is also a lot of bombastic moments to be found - which is fitting as it closes the album out. Not wanting to be left out, the song also contains a winning chorus - which is enhanced by the use of the big choir to once again back up Neuhauser's vocal melodies. It is the sort of song that has had everything thrown at it, and everything seems to have stuck. It is a great closing number that combines a lot of the ideas found throughout the album together, and ensures that the album ends on a high. Overall, The Last Knight is another strong album from Serenity that might well be my favourite release of theirs since Death & Legacy. Despite the more concise sound utilised here, there is still an awful lot going on and it is an album that rewards repeated listens. It has a bit of the band's past and present included soundwise too, so anyone missing a bit of the old Serenity spark should find a lot to enjoy here.

The album was released on 31st January 2020 via Napalm Records. Below is the band's promotional video for Set the World on Fire.


Tuesday, 11 February 2020

Delain - London Review

While not as popular as bands like Nightwish and Within Temptation, the Netherlands' Delain are still one of the big hitters in the symphonic metal world. The band was originally conceived as a studio project by Martijn Westerholt (keyboards), who put together 2006's Lucidity with frontwoman Charlotte Wessels and a host of guest musicians, but they soon morphed into a slick and popular live act that has been treading the boards for well over a decade now. In truth, I always feel it is a bit disingenuous to call Delain a symphonic metal act, as I am not sure that they have truly been one for a good few years now. While their is still a certain element of that to be found throughout the band's more recent works, the modern Delain is more of a sleek melodic metal act with the grandeur of symphonic metal and the hooks of great pop music. Delain's music is always fun and accessible, but still manages to be interesting and, at times, technically challenging. It is to the band's credit that they have remained as creative and vital as they have, and it is why they are one of my favourite melodic metal acts. They are also one of a handful of European metal acts that can justify playing proper UK tours, rather than one-off stops in London. Delain have always been embraced by the UK metal crowds, and it seems that this love affair between the band and the audience is set to continue and grow well into the future. Each time I see Delain they seem to be playing a bigger venue than the previous time - with the most recent show, which I took in this past weekend, taking place at the good-sized Electric Brixton in London. It is a venue that I had only been to once previously, but it is a venue that I rate. It is a good-sized room, and both the times that I have been now the sound and the turnout has been excellent - which helps to create a strong atmosphere. The band's London venue of choice recently has always been the Koko, but I think I prefer the Electric Brixton - and I would not be surprised if the latter is a little bigger too. The show at the Electric Brixton capped off a short run of UK dates to celebrate the release of their latest, and sixth, studio album Apocalypse & Chill - the first set of shows since the album's extremely recent release. It had been around four years since the band's last album, so the release of new music was certainly a great excuse for a new run of UK dates. I last saw the band back in 2016, so I was really looking forward to catching the band again and hearing some of the new material live. Many others clearly thought the same, as the venue was pretty full - which was great considering that Sabaton had sold out the Wembley Arena the previous night, which certainly would have made the prospect of attending a Delain show the night after a tricky prospect for some financially.

Before Delain's set however, the growing crowd were treated to 45 minutes of melodic metal from the Swedish four-piece Cyhra - a band who I recently saw supporting Battle Beast. I have been a fan of Cyhra since the band's debut album was released in 2017, so it was great to get another chance to see them live again so soon after their first London show last November. Unsurprisingly, the show this time was extremely similar with material from 2019's No Halos in Hell dominating the set. Frontman Jake E has really come into his own as a singer and a performer as a member of Cyhra. I always felt that he was somewhat overshadowed in Amaranthe, but in Cyhra he really gets to showcase his melodic voice and his songwriting. He was in great form again in London, belting out the emotional chorus to Letter to Myself with ease and taking time in between the songs to joke with the crowd. The band went down well at the Battle Beast show last year, and they went down just as well this time - with each song receiving a strong reaction from the large crowd. Battle from Within, written about E's brother's battles with mental health and his eventual succumbing to his demons, was particularly well-received. It is one of the strongest songs from the new album in my opinion, and hearing the story of the song made it take on more meaning - especially live. It was easy to see how hard it was for E to sing the song, but it only made his performance stronger and the crowd was certainly on his side for the rest of the show. Another highlight was the heavier Kings Tonight, the only track in the set that was not played at last year's show, which gave guitarists Euge Valovirta and Marcus Sunesson a bit more of a workout with its pacy metal rhythms and tight riffing. I still find the lack of a live bassist and keyboard player strange however. As I mentioned in my review of the previous night's Serenity set, melodic metal bands really should have live keyboard players - and quite a lot of Cyhra's sound relies on synths. There are some portions of the band's songs where only E and drummer Alex Landenburg are playing - with bass and keyboards mysteriously emanating from the speakers. It is, sadly, quite common for bands to not have live keyboard players - but not to have a live bassist too is quite strange. It does make you wonder how much of the band's set is actually live, but having now seen two great support slots from Cyhra it seems a bit churlish to dwell on these issues - despite them always being worth a mention. It did not detract from my enjoyment of the band's set however, with the dual guitar leads of Karma once again really hitting the spot, and the closing crowd sing-a-long in Out of My Life being louder than average for a support act. With two strong support showings now in the UK, I hope that 2020 is the year that we see Cyhra come back to the UK as a headline act! The setlist was:

Letter to Myself
Bye Bye Forever
Dreams Gone Wrong
I Am the One
Battle from Within
Kings Tonight
Heartrage
Karma
Man of Eternal Rain
Out of My Life

Despite a strong showing from Cyhra, it was Delain that everyone was here to see - and the minute the lights went down the place erupted. There really does seem to be a special bond between Delain and the UK, and this was clear from the off as Wessels was greeted by a huge cheer as she took to the stage and there was plenty of singing along to opener Burning Bridges. With the new album only a few days old, the new songs all received strong receptions, with many greeted like old friends. Burning Bridges is a great representation of the modern Delain sound: heavy, yet accessible; with guitarist Timo Somers' riffs really driving everything forward. The new album is probably the most guitar-centric release the band have done yet, and Somers clearly enjoyed playing so many of these new, riffy tunes live. Another new number Creatures followed the opener, but then it was time to dip into the back catalogue with fan favourites such as the soaring pop metal of Suckerpunch and the old-school symphonic metal of April Rain with some excellent keyboard work from Westerholt. Each song brought a big cheer from the crowd, and even the band seemed a little taken aback by the general reaction to their set at times. Wessels occasionally seemed lost for words, and instead the band just let the music do the talking - with track after track impressing. It was many of the newer songs that proved to be the highlights for me, with the groovy Let's Dance prompting a big sing-a-long during the choruses, and lots of movement, and the somewhat strange One Second seeing the band showcase a bit of an alternative/tech metal sound - with Somers sharing the vocals with Wessels. Somers also got to show off, along with relatively new drummer Joey de Boer, during the shredding prog metal instrumental piece Combustion - another new vibe for Delain. This explosive track followed the gentle Ghost House Heart which saw Wessels, accompanied only by Westerholt and touring guest cellist Elianne Anemaat (who also joined the band on a couple of other numbers), deliver the song perfectly despite a cold. By this point, it seemed that Delain could do no wrong, with the last third or so of their set seeming like a victory lap - with mostly old favourites being wheeled out. The heavy Hands of Gold got everyone moving, while Don't Let Go saw plenty of dancing thanks to its strong grooves and disco-esque beats. The Gathering is always a live favourite and, as usual, it went down a storm. The band do not often play too many tracks from Lucidity live, but The Gathering is ever-present and it has one of the catchiest choruses in the band's canon. It was sung loudly by the large crowd, and explosions went off as it came to an end. It felt like the end of the show, but it seems Delain have dispensed with the silly encore tradition and just continued on, playing another four songs with Fire with Fire and the heavy Pristine seeing plenty more headbanging. There was time for one more new tune, the hypnotic and poppy We Had Everything, before the band's anthem We Are the Others brought the evening to an emotional close, with the crowd really singing along at the top of their voices throughout. Again, the reception seemed to shock the band a little, and as they took their bows they seemed rather emotional - which was appropriate considering the great show they had just put on. The setlist was:

Burning Bridges
Creatures
The Glory and the Scum
Suckerpunch
The Hurricane
April Rain
Masters of Destiny
Let's Dance
One Second
Ghost House Heart
Combustion
Hands of Gold
Not Enough
Don't Let Go
The Gathering
Fire with Fire
Pristine
We Had Everything
We Are the Others

Delain are a band that seem to get better with age, and this could well be the best show of theirs that I have seen yet. It was my fifth time seeing the band live, and I hope that they come back again soon as I would love to see them live again - especially after having some more time to digest the new album. I had listened to it once on the train on the way up to London the day before, but had not really had a chance to properly appreciate the new songs. They all came across really well live however, and I would not be surprised if many of the songs become live favourites for years to come.

Monday, 10 February 2020

Rage - London Review

Being a fan of European melodic metal often means that, to see a band live, a trip to London, and often the Camden Underworld, is necessary. Power/symphonic/progressive/etc. metal is not particularly popular over here, with a few notable exceptions, with most bands content just to quickly pop over for a one-night stop over in London during a wider European tour. Those of us who are big consumers of the aforementioned genres therefore often find ourselves travelling to London, and I probably make at least a dozen or so trips to the capital a year for musical reasons. While it would be nice if these bands could sometimes play closer to home, a trip to London is always to be looked forward to - so it was with excitement that I headed up to the city for my first London weekend away of 2020. The event was, almost as always, at the Camden Underworld - with the German metal veterans Rage headlining a strong three-band bill. When the show was announced last year, it was being advertised as a co-headline tour topped by Rage and the Austrian power metal band Serenity - but over time the bill seemed to be altered to make the tour Rage's, with Serenity acting as a special guest. This was further altered in London due to the fact that the tour's support, Savage Messiah, are English - meaning that they were granted a longer set than usual at their 'home town' show. While somewhat different from what was originally advertised, the evening still promised to be an excellent showing of melodic metal. Rage are a band I have been casually into for a couple of years now having seen them with Firewind in 2018, and Serenity are a band I have wanted to see for a long time but could never put a plan together that worked. Seeing the two together promised to be a strong night of music, with Savage Messiah - a band I saw a couple of times a few years ago but never really kept up with - being something of an added bonus. Given the venue's dual use as a club well into the night, the Underworld opened at 5pm, with Serenity hitting the stage at 6pm. Both Serenity and Savage Messiah had an hour each on stage, whereas Rage were afforded a little longer playing for around 75 minutes. Given the generous set lengths, no band really ever felt short changed, and gave their fans a good amount of music for their money. The turnout was pretty good too, especially considering that Sabaton (one of the aforementioned exceptions) had sold out the Wembley Arena (a show I would have gone to if I did not already have a ticket for this one), providing something of a competition for English melodic metal fans this past Saturday night.

As mentioned, Serenity were up first and they really seemed up for the show - buoyed by the grand notes of The Last Knight playing over the PA as they took to the stage. With the album of the same name just over a week old, the band immediately launched into My Kingdom Comes, one of the new singles, and followed it up with nine further songs from throughout their excellent and majestic catalogue. I have been wanting to see the band live for a while, and the four-piece did not disappoint. They managed to inject a lot of energy into their songs, and a great live sound mix that pushed frontman Georg Neuhauser's voice the fore also helped the band to shine. Neuhauser was in great form, prowling the stage and interacting with those down at the front, while the rest of the band ably backed him up. Chris Hermsdörfer (guitar/vocals) particularly impressed, with plenty of excellent shredded solos sprinkled throughout the set - and his occasional harsh vocals adding weight to the band's usually fairly easy-going sound. He got a particular workout during the prog metal oldie Reduced to Nothingness, in but in truth everyone really pulled together to make the set tick. With the whole band contributing to vocal harmonies, Serenity's live sound was big. Tracks like Iniquity and the new Set the World on Fire benefited from this big vocal approach, while moodier tracks like Souls and Sins saw the band's heavier side come to the fore. Despite the efforts from all involved however, it is a shame that the band does not include a live keyboard player any more which means that parts of the band's sound are relegated to backing tracks. Power metal bands should have a keyboard player for their orchestrations, so it was a shame to see Serenity touring without one. That is really the only criticism I could level at the band however, as their set was flawless and their song selection contained some of their best-known tunes as well as a selection from their new album. By the time the final third or so of the set rolled around, the whole crowd seemed really into what Serenity were doing, with each song receiving a better reception than the last. Spirit in the Flesh went down a storm, with bassist Fabio D'Amore showing off his own vocal talents during the chorus, and the grand Legacy of Tudors saw everyone singing along with the song's great Renaissance-era melodies. It was left to the fast-paced Lionheart to round everything off, with Andreas Schipflinger's (drums/vocals) fast footwork really driving everything forward. It was an excellent closing number, and it left a strong impression as the band took their bows. I am glad that I finally got to see Serenity live, and I will definitely be making every effort in the future to see them again. The setlist was:

The Last Knight
My Kingdom Comes
Reduced to Nothingness
Iniquity
Set the World on Fire
Souls and Sins
United
Spirit in the Flesh
Legacy of Tudors
Follow Me
Lionheart

Savage Messiah were up next and the melodic thrash act put on a strong showing for their hour on stage. I saw the band supporting Amon Amarth and at Bloodstock Open Air a few years ago, but beyond that I never really kept up with what they were doing despite enjoying their sets. I enjoyed their set this time too, but not enough to rush out and pick up their back catalogue. The band's sound is somewhere between 1990s-era Megadeth and the heavier end of Dokken, with a few strong hooks and plenty of excellent solos from both Dave Silver (vocals/guitar) and the returning Joff Bailey (guitar/vocals). In truth, Savage Messiah are a band I feel that I should like a lot more than I do - but for whatever reason I have always just 'liked' their stuff without ever being blown away. There were certainly hampered a little here by a rough live sound however, which was a shame. Both Serenity and Rage sounded great - but Savage Messiah's sound just seemed a bit mushy, with the guitars never really having much definition. This meant that some of the hooks and strong riffs did not really pack a punch, which was a real shame. Despite this, the band clearly had a quite a few fans in so received a strong reception. I think it is fair to say that both Serenity and Rage were better received though, but Savage Messiah certainly held their own and deserved their slot on the bill. I recognised a couple of the older tracks like Cross of Babylon and The Fateful Dark, but many of the tracks were newer so were not ones that I recalled from the shows I saw a few years ago. Savage Messiah are, in truth, a band I should probably give some more time to as I feel that with some more investment I could become quite a fan of them. I was interested to see them again after a number of years, so it was just a shame that their sound ended up being something of a hindrance.

The evening's headline act certainly felt like they had something to prove. Their last London show in 2018 was marred with illness, so seemed to want to make amends for that somewhat lacklustre showing - and they did so in style. Rage also have a new album out, the excellent Wings of Rage, and the band wanted to show it off early by hitting the crowd with two of the new tracks right away. Both True and Chasing the Twilight Zone got the evening's final set off to a flying start, with Peavy Wagner's (vocals/bass guitar) growling spoken word-esque vocals in the former really reverberating around the venue, while Marcos Rodriguez (guitar/vocals) churned out riff after riff. I enjoyed the band's 2018 show, and it introduced me to Rage, but this set was so much more powerful. It is easy to see in hindsight how much the band were affected by illness, but this time they were running at full pelt - with the large crowd fully behind them. Four of the new songs were played in a thirteen-song set that pulled tunes from throughout their career - with Wagner and Rodriguez in good humour throughout, telling stories and joking with the crowd. Many of the tracks chosen were from the band's more melodic side, but thrashier numbers like The Devil Strikes Again ensured that heads banged, before the big choruses of Set This World on Fire and Refuge had plenty of the old-school fans singing along. Rage are a band with a huge discography, and in truth I have only really scratched the surface of it so far. I recognised some of the tracks, but there were some new ones for me, with epic tracks like Shame On You standing out. In truth however, the band's whole set was excellent - and it goes to show just how consistent Rage have been throughout their career. The band's current line-up might only be five years old, but they are already a well-versed unit and it says something that some of the newer songs are some of my favourite Rage tracks yet. Let Them Rest in Peace is a great example of the modern Rage sound, and it seemed that plenty of others in attendance also thought that the track was excellent - as it received a strong reception. It was kept for the final portion of the set, and I can see it becoming a real crowd favourite in the future. It was left to two of the band's best-known tracks to bring the evening to a close, with the epic Don't Fear the Winter sounding as melodic and potent now as it did in the late 1980s and Higher Than the Sky creating the most excitement of the whole evening. Wagner led the crowd through a rendition of the song's chorus before launching into the song proper, and everyone in attendance sang along and just generally had a great time with the band. The band were clearly having a great time too, and included a little medley of classic metal tracks within Higher Than the Sky, with Rodriguez doing an impressive Ronnie James Dio impression during a snippet of Black Sabbath's Heaven and Hell. It rounded off a great evening of metal really well, and the crowd sounded their appreciation as the band took their bows. The setlist was:

True
Chasing the Twilight Zone
Shadow Out of Time
The Devil Strikes Again
Deep in the Blackest Hole
Until I Die
Set This World on Fire
Wings of Rage
Refuge
Shame On You
Let Them Rest in Peace
Don't Fear the Winter
Higher Than the Sky/Princess of the Night [Saxon cover]/Heaven and Hell [Black Sabbath cover]/Seventh Son of a Seventh Son [Iron Maiden cover]/Fear of the Dark [Iron Maiden cover]

The first London gig of the year was certainly a success, with three strong sets from three bands who deserve to be playing bigger venues than the Camden Underworld. All three bands were hanging around the venue throughout the night, and after the music finished they were all hanging around the merch tables. I got my copies of Wings of Rage and The Last Knight signed by both Rage and Serenity which was great, and I hope to have an opportunity to see both bands live again in the future.

Friday, 7 February 2020

Marko Hietala's 'Pyre of the Black Heart' - Album Review

When I reviewed Ray Alder's debut solo album What the Water Wants last year, I remarked how strange it seemed that he had left it until 2019 to strike out on his own and release something truly of his own making and direction. I assume that some people are just happier in a 'group' context, preferring to bounce ideas off band mates or follow the overall vision of a band's leading creative force. In that sense, some people prefer to be team players - something which can clearly be said of Marko Hietala. The Finnish singer, songwriter, and musician (who is now, rightly, seemingly going by his actual name 'Marko' rather than the somewhat anglicised 'Marco') is certainly a team player, and has been at the heart of two of Finland's most interesting metal bands throughout his career - which began back in 1982 when he formed Tarot with his guitar-playing brother. While never achieving huge recognition, Tarot are nevertheless an excellent band that have been cranking out melodic heavy/power metal albums since their well-respected 1986 debut release Spell of Iron. It was joining the symphonic metal giants Nightwish in 2002 however that really brought Hietala world-wide fame, and it is fair to say that Nightwish really became the band that they are today following his arrival. His howling vocals became a big part of the band's sound, and over the years he has become something of a secondary songwriter for the band - complimenting Tuomas Holopainen's warped vision perfectly with his somewhat more straight-ahead metal mind. Tarot and Nightwish, plus a myriad of other short-lived projects and guest appearances, have clearly kept him busy over the years, meaning the need to 'go solo' had never crossed his mind. In fairness, Tarot has always really been his baby. While he co-writes the band's songs with the band's other members, it always seems that he is the real driving force there. Working on Tarot's albums has probably satisfied his creative need over the years, but with the band not having played a live show since 2012 and the tragic death of drummer Pecu Cinnari in 2016 it seems that it might be some time until there is any real activity from that camp. The result of this inactivity, and a break in Nightwish's schedule, led to Mustan Sydämen Rovio last year - Hietala's debut solo release. Initially only released in Finland, the album has now been re-released across the world with newly-recorded English lyrics with the title Pyre of the Black Heart. While still a solo album, Hietala (who sings all the lead vocals, and plays guitars and basses throughout) is joined by some talented musicians throughout who all help to bring his creations to life. The core 'band' here is made up of guitarist Tuomas Wäinölä (Kotipelto; Raskasta Joulua), keyboardist Vili Ollila (TunnelVision; Raskasta Joulua) and drummer Anssi Nykänen who seems to come from a jazz background. Soundwise, Pyre of the Black Heart is quite different from either Tarot or Nightwish - with a greater focus placed on a more organic classic rock/prog sound. There are heavier moments, but on the whole this seems to be a bit of a tribute to some of Hietala's influences, and he works really well within that style.

Opening the album is Stones, a precise mid-paced melodic rocker that also acted as the album's first single. There are quite a lot of different vibes present throughout the album, but Stones goes some way to establishing the album's core sound - with a strong classic rock tone and a hypnotic chorus. The track opens with some spiky acoustic guitar lines, with Hietala's vocal croons filling the space above them. This low-key opening works well, and helps to ease the listener in before the track explodes into the aforementioned chorus which sees the rest of the band kick in with a lumbering beat and subtle strings - a perfect backing for the melodic vocal lines. Hietala is used to singing heavier material on the whole, but he approaches this album with the same bravado and passion - with his distinct voice fitting into this more organic collection of tracks surprisingly well. There are a few riffier moments in the song too, such as a tougher bridge portion after the second chorus that sees Wäinölä launch into a pseudo-metal riff and then into a short, but potent solo. It is a great track that introduces some of the vibes that will repeat themselves throughout the album's ten songs - as well as introduce the strong band of musicians that Hietala has put together. The Voice of My Father is instantly different, and is overall a much moodier piece with some dense, atmospheric keyboard work from Ollila and lots of acoustic guitar lines. Hietala has written acoustic-based pieces before, for both Tarot and Nightwish, but this is quite different from, say, The Islander - taking a more doomier approach akin to something that Paradise Lost might have done as a ballad during their Draconian Times-esque era. Hietala's bass and Nykänen's drums form a sombre, ever-present beat throughout - with the guitars and keyboards adding colour. The pace never really changes throughout, which only gives the crawling pace more power - and even when the song opens up a little for a while about two-thirds of the way through the same pace is retained. It is a very different type of song for Hietala, but it is one that he excels at - with his vocals truly dripping with emotion here, with Wäinölä's occasional mournful guitar leads to compliment him. Star, Sand and Shadow opens with some great dancing old-school synths (think Pink Floyd's On the Run with added Moog) that firmly places the song within the retro prog sphere of things. Ollila's keyboard opening to the track is excellent and really sets the tone, but the song takes on a bit of a different vibe when the guitars kick in and a catchy little riff that reminds me a little of FM's Tough it Out forms the basis of the song's groove. The keyboard sounds throughout and the little occasional instrumental breaks give the song a strong progressive feel, but there is also something anthemic and uplifting about the track - especially considering the doomy number that preceded it. Hietala's vocals are once again very catchy here, and the song boasts a great chorus with some excellent twinkly keyboards and infectious vocal lines. It is a song that is hard to remove from your head, and a great example of Hietala's varied songwriting.

Dead God's Son is slower and acoustic-based again, returning somewhat to the vibe of The Voice of My Father but in a much more whimsical and somewhat upbeat way - at least at first. The verses have quite a folky feel, with laid back acoustic guitar chords, floaty keyboards, and a simple drum pattern. Hietala also holds back a little vocally here, which only makes the chorus much more powerful when he really ramps things up and the band kick up into the next gear. The pace never really increases, but the song certainly gets heavier with some really weighty Wäinölä riffing and some of Hietala's trademark howled vocals. Pyre of the Black Heart is not an album that often descends into solo territory, but Wäinölä does take a short solo here that really fits nicely into the song. He never overplays, with the perfectly phrased section perfectly complimenting the emotional tug of the track. For You is the album's longest song, but it largely sticks to the slower pace established during the previous number. It is a tune that takes a little while to properly open up - with a slow-burning opening section with Ollila's distant piano notes and Wäinölä's murky clean guitar melodies forming a strange bed for Hietala's vocals. The track stays this way for probably around four minutes without ever really changing, which really helps to establish something of an unsettling atmosphere - bringing out the best in Ollila and his keyboards in the process. There are occasional changes in the established pattern, with some bluesy guitar licks and a few synth runs - but it is not until the final portion of the song that a true change is brought about when Nykänen joins in on the drums and Hietala takes to singing a wordless vocal line over and over in a hypnotic way. Wäinölä takes this opportunity to lay down some great David Gilmour-esque guitar lines, further enhancing the album's progressive credentials and bringing the song to a soaring, melodic close. I Am The Way is a piano-based track that opens simply with piano melodies and Hietala's vocals, before a strange percussion loop kicks in with Wäinölä effects-heavy guitars also joining the fray. In some ways the track reminds me somewhat of Anathema as it builds up gradually over repeating patterns with more and more being added to the sound as it progresses. The piano base of the track continues to rear its head throughout, and even when a heavier riff kicks in and things open up more the song never seems too far from its basic roots. The short heavier section allows Hietala to open up a little more vocally, but for much of the track he employs something of a mumbled vocal approach - which works well in the downbeat context of the song. Runner of the Railways is probably the closest thing here to his work with either Tarot or Nightwish, with the track being something of a folky metal stomp with a brisk pace and plenty of catchy melodies. Wäinölä's riffs here are complimented by violin lines by Mikko-Ville Luolajan-Mikkola, which creates the folk metal vibe and helps to contribute to the overall pace and energy of the piece. Retro organ sounds fill the song out to add some retro sparkle, but on the whole this track sounds like Tarot crossed with Jethro Tull - with a pacy and simple chorus to draw everyone as well as explosive, fast paced violin and Jon Lord-esque keyboard solos.

Keeping with the more upbeat feeling of the previous song, Death March for Freedom continues at a faster pace than much of the album operates at with a great, slightly funky bass-led sound and occasional bursts of warm Hammond. I also find it strange when musicians release solo albums that sound just like their main band/project, but this is certainly not something that Hietala can be accused of here. None of the songs on this album really sound like anything Tarot or Nightwish have ever done previously. There are moments of those bands to be heard occasionally of course, such as during the previous song, but this really is a diverse album with a lot going on. This track is a great example of this diversity, with a strong focus on bass grooves, while still keeping up a strong pace and injecting lots of great classic rock vibes too. Another catchy chorus here makes the song a winner, and another highlight on an album that is filled with strong moments. I Dream instantly rids itself of the pacy shackles of the previous couple of numbers and instead goes back to a sound reminiscent of The Voice of My Father, but arguably even more downbeat and melancholic. Ollila's keyboards once again are employed to create a dense soundscape, with the guitars adding to this melancholy with volume swells and the occasional murky melody. Distant percussion occasionally fills up some of the extra space in the song too, while Hietala mumbles and croons his way through the track - occasionally breaking into a slightly creepy spoken word section that works well. Around the half way mark the song opens out somewhat, with drums kicking in and a sparkly keyboard riff taking over - in a way somewhat reminiscent of fellow Finns Swallow the Sun. This is not really a proper doom track, but there are elements of that band's sound present here, and the final portion of the track is certainly heavy enough to make it onto one of their albums as Wäinölä lays down some crunching slow riffs while Hietala opens up vocally and deploys his trademark howl. The album's final song Truth Shall Set You Free opens in a somewhat similar fashion to Stones, with spiky acoustic guitar melodies and some melodic vocals - which really dominates much of the track. Delicate piano melodies and strings augment parts of the song, as does some basic percussion - but on the whole the song is quite basic, allowing Hietala's vocals to shine among the fairly sparse backing. After such a dense and varied album, this simplicity works well and there is actually something quite uplifting about the song as a whole, with Hietala's vocals sounding upbeat and positive, and the big acoustic guitar chords really filling the speakers. The strings start to dominate a little more towards the end, with a subtle violin-led section that takes some of the vocal melodies and plays with them a little to great effect. It is song that you keep expecting is going to explode into a big closing number, but it never really does although I do not see that as a bad thing. Many of the songs here start slowly and end in a heavier fashion, but this is a track that builds up towards a string-filled, emotional climax - and it works really well after the murk of many of the album's songs. Overall, Pyre of the Black Heart is a great debut solo album from Hietala and one that showcases some different sides to him as a musician and a songwriter that many of us have not seen previously. Whether or not he intends to make more of his solo career going forward remains to be seen, but Pyre of the Black Heart is a worthy entry into his already-impressive body of work.

The album was released on 24th January 2020 via Nuclear Blast Records. Below is his promotional video for Stones.


Saturday, 1 February 2020

Sons of Apollo's 'MMXX' - Album Review

Supergroups can often be quite hit and miss. Quite often great bands are more than the sum of their parts, and the magic comes from the combination of the brains involved rather than any one particular creative force. As a result, not every combination of musicians is going to lead to a great band - with personalities and musical styles not always meshing together, despite how great the combination might seem on paper. One such supergroup that has delivered the goods so far however is Sons of Apollo, a progressive metal five-piece that was formed in 2017 by former Dream Theater members Mike Portnoy and Derek Sherinian. While Sherinian's involvement with Dream Theater was relatively small in the context of the band's history, Portnoy was one of the band's founding members - and one of their main driving forces until his departure in 2010. After leaving Dream Theater, Portnoy immersed himself in a number of projects - some of which were vastly different from the progressive metal he made his name with. He seemed to enjoy turning his hand to a number of different styles, but after a while it seemed he felt the call of the progressive metal world again. Following a tour as part of the short-lived instrumental fusion group PSMS, Portnoy and Sherinian (who was also part of PSMS) decided to form a new group to go back to their progressive metal roots - and Sons of Apollo was born. Bass legend Billy Sheehan also came across from PSMS, with frontman Jeff Scott Soto and guitarist Ron 'Bumblefoot' Thal added to the line-up to complete the band. Despite the promise that Sons of Apollo offered however, I was a bit of a latecomer to their 2017 debut album Psychotic Symphony. If I recall correctly, the album came out during a very busy part of the year for new releases and it was one that I did not get around to picking up until a little later. As a result, I did not review the album for this blog (although I did briefly talk about it here) but I would have been very complimentary about it if I had had the chance to properly digest the album at the time of its release. The great thing about Sons of Apollo is that they do not sound just like a 'Dream Theater 2'. Of course there are occasional similarities, but on the whole Sons of Apollo are a bit of a tougher band overall - with an organic, retro-sounding production style. Sherinian is a big fan of retro keyboards, so there are Hammond organs and old synths all over the band's songs, and Soto's voice lends itself to the tougher, yet somewhat hollow-sounding style that Sons of Apollo have cooked up. It is now three years on from Psychotic Symphony and the band have once again pooled their collective resources for their sophomore release MMXX, which seems to pick up exactly where the previous album left off. There are no drastic changes to be found here, but MMXX sees Sons of Apollo further honing their take on progressive metal - with a collection of memorable tunes housed within.

The album kicks off with Goodbye Divinity, which also acted as the album's lead single and overall is a good representation of the band's sound. The song opens with a slow-paced and hypnotic guitar/keyboard melody, which Portnoy soon backs up with some sparse drumming - before the track opens up with Thal's soaring guitar lead over the top of a sombre beat. This is just the song's intro however, as the rest of the track is much weightier - with a crunching guitar riff soon kicking in as Portnoy lays down a tough, heavy drum beat. Those familiar with Psychotic Symphony will instantly be familiar with the style employed here. Soto's slightly bluesier voice helps the track to remain gritty, especially during the fairly simple verses which see Thal's crunching guitar rhythms base the song - while Sherinian adds the occasional burst of Deep Purple-esque Hammond. Catchy choruses are not always the band's wheelhouse, but being a single the track makes a melodic statement with a fairly stadium-worthy addition that sees Portnoy and Thal harmonising well with Soto to great effect. The chorus is one that sticks in the head nicely, which really helps to draw the listener into the album. Being a true 'prog' band, catchy melodies are not always Sons of Apollo's biggest priority, but Soto still knows how to craft a strong pop hook when one is required. The prog die-hards however will really love the song's instrumental section, which sees Sherinian really going to town on his bank of retro keyboards. The warm synth sounds really cut through the heavy mix, with a great use of old-school vibes throughout his solo section. Wither to Black is much heavier overall, and opens with a punchy Portnoy drum beat before a great old-school Uriah Heep-esque guitar/Hammond riff kicks in to drive the song forward. This is one of the most all-out metal tracks on the album, with a great driving energy throughout and a big booming drum presence from Portnoy. He is not laying down the most complex of beats here, but his presence really drives the track - while Thal lays down appropriately-heavy riffs to compliment his playing. Many of the tracks here have some light and shade to them, but this song is largely all shade as it focuses on creating a heavy atmosphere. A simple chorus provides some strong melodies for Soto to sink his teeth into, but this is largely a track for the instrumentalists to let their hair down. Sheehan's bass is high in the mix, which helps the heavy vibe further, while Sherinian and Thal trade crazy shredded licks about two-thirds of the way through in a great exercise of old-school excess. Asphyxiation is another pretty all-out track, with discordant guitar riffing kicking things off before a crunching verse takes over with Portnoy's double bass drumming keeping everything ticking along. There are strong Pantera-esque grooves to be found here, with all of the band's four musicians locked in perfectly to the groove while Soto barks the lyrics atop them all. There also seems to be the odd nod to the current tech metal scene at times throughout the song, especially in Thal's riffing. The mechanical riffing gives the song its character, but Sherinian's retro keyboard sounds help the track from crossing over into full-on djent territory. It is a great mesh of styles that work well together, and is another strong heavy track within the band's canon.

Desolate July has a bit more 'light' to it than much of what has come previously on the album, and is Soto's tribute to his former band-mate David Z., who tragically died in a tour bus crash in 2017. While not strictly a ballad, the song is much slower paced than much of the album and it opens slowly with some beautiful piano melodies and emotional vocals. The verses tend to be quite sparse, with Sherinian's piano lines dominating while Portnoy lays down a sombre drum beat. The choruses are a little heavier, with Thal's heavy guitar rhythms kicking in and Hammond replacing the piano. Given the song's subject matter, the lyrics are unsurprisingly very poignant which gives Soto something weighty to get his head around. As a result, he injects some real emotion into his delivery, which helps elevate the track further - as does Thal's guitar solo which is a little more restrained than usual. It is a powerful song, and provides a bit of a change of pace after the three much heavier and pummelling opening tracks. King of Delusion also opens with an extended piano workout, but this is much more upbeat and jazz-fusion inspired than the more traditional opening to the previous track. It is clear throughout the album how much of the material comes from Sherinian, as his keyboards are all over the album - and he also takes plenty of opportunities to solo. Despite the fusion-esque intro, the track morphs into another heavy one when it gets going proper as Thal's sledgehammer riff kicks in. It is a brooding, mid-paced slab of metal - with Sherinian's Hammond constantly growling away in the background while Sheehan's bass adds weight. This is a song that has continued to grow on me the more I have listened to the album, as at first I felt it was a bit plodding. The pace is a little on the deliberate side at times, but on the whole I think it works well and helps to really emphasise the grooves and atmosphere of the track - especially when listening to Sherinian's contributions. It helps that occasionally the tracks drops back to its piano roots for a little change of sound - with a few portions of the track towards the heavily featuring the piano, either alone or high in the mix of a doomy, grimy riff that has real primal power behind it. The fusion elements of the track really give the track an off-kilter, progressive edge - and it is another strong entry in the band's growing repertoire. Fall to Ascend reigns in the progressive excess a little and goes for a more straightforward metal style, with a strong chorus contained within and some more examples of the slightly tech metal-esque riffing showcased earlier. While Sons of Apollo are all extremely accomplished musicians, who can easily whip up a lengthy progressive instrumental section or arrangement with ease, they also seem to enjoy writing these somewhat more restrained pieces which are built around catchy grooves and good old-fashioned metal energy. The chorus here is one of the album's most instantly memorable moments, and some of the riffing here is properly heavy - with Portnoy really laying into his double bass pedals throughout to keep the energy levels up. The craziest moments here however are definitely Thal and Sherinian's solos - which are both all-out shred-fests featuring a lot of notes and speed-limit breaking runs. Hearing the two go at it is always enjoyable, and their styles seem to really compliment each other well.

Resurrection Day is another relatively straight-ahead metal track that is something of the 'calm before the storm' before the album's lengthy closing track. Despite seeming fairly straightforward on the surface, there is still quite a lot going on in the track. The verses and choruses are quite simple, with a zippy energy present throughout and some tight riffing, but some of the bridging instrumental sections are quite knotty with some jazzy little riffs that are quite catchy. There are lots of little melodic moments to be found throughout the track which help keep things interesting - with Soto adding to this with some strong chorus melodies that fit well against the somewhat murky backdrop that the chorus presents. The lengthy solo section is also excellent, which starts out with Thal laying down a somewhat bluesy pattern of notes before both Sherinian and Sheehan take things further with some excellent flurries of notes. The eight-track album comes to a close with the fifteen minute-plus New World Today, the longest Sons of Apollo track to date and a great example of modern progressive metal. The song opens slowly, with Sherinian's keyboards creating a strong atmospheric soundscape which Thal spacily solos atop, before a pompous keyboard riff takes over and the main meat of the track starts. While Sherinian's keyboards are a big part of the band's sound, it is not too often that one of his riffs leads the charge. His riff here has a great old-school Styx/Kansas vibe, with some soaring guitar leads to go with it, but this feeling is fairly short-lived as another mid-paced Thal riff soon takes over the band's traditional sound is back - with the growling Hammond once again backing everything up. Being a long track, there is unsurprisingly a lot going on throughout the song - but there are still plenty of easy hooks to get into on the surface. Soto's chorus is another strong one that begs to be sung, and there are quite a few other moments vocally that stand out - with an epic-sounding bridge bringing the best out of him as a vocalist before the song really changes course and a fast-paced buzzing metal riff kicks in to up the pace. There are moments in this song that are probably the heaviest that Sons of Apollo have ever sounded, and it is great that this seems to be the direction that the band seems to want to go. There were heavy moments on the first album, but there seems to be a conscious move towards heavier territory here without ever really affecting the band's core sound. The dry, hollow-sounding production actually suits this heavier sound well, and I imagine that if the band ever get around to writing a third album then we will see even more of this heaviness - which certainly suits Soto's grittier vocal style than any more melodic style (e.g. a Dream Theater-esque sound) ever would. Being a longer track, there is a lot of room for soloing - with Thal, Sheehan, and Sherinian all getting plenty of opportunities to show off. Sheehan seems to have been less involved with this album overall as he is not credited with any of the songwriting at all, so it is great to hear his bass shoved into the foreground occasionally to allow his unique style to be showcased. It is a great track that showcases all five members of the band at their best, and I imagine it will be a beast when played live. Overall, MMXX is a great follow-up album from Sons of Apollo and one that further hones their sound while adding a little more crunch throughout. This is certainly a metal album first and foremost, although the progressive and fusion elements help to keep things interesting and add some variation to the songwriting. This is a band that certainly seems to have legs, and I hope there is more to come from these five in the future.

The album was released on 17th January 2020 via InsideOut Music. Below is the band's promotional video for Goodbye Divinity.