Alestorm's 'Curse of the Crystal Coconut' - Album Review

The Scottish folk metal act Alestorm are a band that I have been following since pretty much the beginning. I picked up their excellent 2008 debut album Captain Morgan's Revenge not long after it was released, and I loved the band's grand take on folk metal - with their piratical themes and their tongues firmly in their cheeks. 2009's heavier Black Sails at Midnight, which followed its older brother into the world just over a year later, further cemented my love from frontman Christopher Bowes and his merry men. The Alestorm of old balanced epic-sounding melodies, songwriting with a grand scope, and a good sense of humour together perfectly - and in my opinion both Captain Morgan's Revenge and Black Sails at Midnight are quintessential folk metal releases. In my opinion however, the band's output ever since has varied significantly in quality - with wildly-inconsistent albums and an attitude that seems to consist of doing things purely for 'the lols' having sadly somewhat scuppered what was once a great band. That is not to say that the Alestorm of today are a poor band; as they are not; or that the albums that have been released since Black Sails at Midnight are all inherently bad; as they are not; but, for me at least, there has certainly been a noticeable drop in quality. That was, however, until 2017's excellent No Grave but the Sea (which I reviewed here) which, for me at least, is easily the band's best album since Black Sails at Midnight. After a couple of albums that pushed more of a comedy metal vibe than I was hoping for, No Grave but the Sea showcased the Alestorm of old that I love. The silliness was still there (as, in truth, it always was) but it was once again balanced with epic folk metal compositions that felt well put together - and not just packed with songs designed for rowdy crowds to drink mead too. I am not the biggest fan of the 'party' end of folk metal for exactly that reason, but No Grave but the Sea pushed the band away from that scene slightly and back towards the sort of epic metal that I enjoy. I, therefore, had high hopes for Curse of the Crystal Coconut, the band's sixth album which was released last month, but it did not take long for me to realise that the band's return to form on No Grave but the Sea was to be a short one. Curse of the Crystal Coconut might be the most egregious Alestorm album yet, and I really have to wonder if Bowes and co. really care much about this band any more. Having a gimmick (the pirate theme in this case) is always going to run its course, and I feel that Bowes' heart is just not in it any more - so instead of trying something different he has just pushed the same old tropes overboard, and has turned in the silliest and least-funny Alestorm album yet as a result. That is not to say that there are not some strong songs here, as there are, but there are also some really poor moments. Looking at the writing credits in the album's booklet reveals the general lack of input that most of the band had on this album, which is far cry from the situation on No Grave but the Sea, with a few covers making the cut along with songs that Bowes seems to have largely outsourced to his friend Matthew Bell (Troldhaugen; Bane of Isildur; Autumn's Dawn) - which further fuels the theory that Bowes just cannot really be bothered with Alestorm anymore.

Curse of the Crystal Coconut, for all its faults, actually starts out strongly. The album's opening two numbers are very enjoyable, and recall the general vibe of No Grave but the Sea - which makes the later significant drop in quality all the more noticeable. Opener Treasure Chest Party Quest, while not high art, is a fun and rampant folk metal track with a driving guitar riff, a very catchy catchy chorus, and the carefree attitude that makes Alestorm who they are. It is one of only two songs on the album that is co-written by guitarist Máté Bodor, and his input throughout is clear to see. Both him and keyboardist Elliot Vernon were heavily involved in the writing of No Grave but the Sea, but their contributions are, sadly, much less prevalent here. I think this partly contributes to the album's lack of quality, but Treasure Chest Party Quest shows that the band are still capable of putting out strong songs when they want to. Bodor's riffs and occasional shredded leads are strong throughout, and Vernon's flashy power metal keyboard solo that follows the first chorus is also excellent. The band's trademark mix of humour and grand folk metal arrangements is here in spades; while a heavier breakdown that makes use of Vernon's harsh vocals (a relatively recent addition to the overall Alestorm sound) is a welcome change of pace - and contributes to a song which is easily one of the best things about this album. The following track Fannybaws is similarly strong, and actually sounds like a real throwback to the band's first couple of albums. The folk metal melodies are really dominant throughout, with plenty of epic-sounding keyboards to bulk out the song - while a gang vocal-led chorus is sure to get crowds going when the song is played live. Much like with Treasure Chest Party Quest, Fannybaws is not high art but it is great fun and showcases that Alestorm can still pull the rabbit out of the hat and make their piracy-themed metal songs work. Bodor's lengthy guitar solo showcases why he is probably the best guitarist that the band have had to date; and helps to reinforce that old-school Alestorm sound when a greater focus was placed on guitar soloing and general virtuosity. It is with Chomp Chomp however where the quality starts to drop off. It is far from the worst that this album has to offer, but it is noticeably weaker than the opening two numbers. I do like the main folky melody that the song is based around, as well as the slightly thrashier approach taken with the riffing, but the lyrics are dreadful. The simple chorus is pretty catchy, but it just seems like there has not been a lot of thought put into the song overall. This is one of the songs written by Bell, with lyrics contributed by members of the band and Mathias Lillmåns (Finntroll) who also provides some guest vocals, and it just feels like it has been rather thrown together somewhat without much thought given to the overall arrangements.

Tortuga is a strange effort, and I understand what the band were trying to achieve with it, but for me it does not really work. Parts of the song sound like classic Alestorm, but the strange dubstep beats that are in the background of much of it and the awkward rapping sections just do not really 'fit in' with the overall sound in my opinion. I am not averse to a mixing of genres, but I do not feel that the rapping and dubstep elements have been properly included here. It feels like it was just done for the sake of it somewhat, and it actually feels really dated as a result. Metalcore bands were doing these types of cross overs years ago, and Alestorm just feel a bit late to the party with it. It is a throwback to a time that no-one ever needs to return to - and as a result it is a bit of a weak effort. Zombies Ate My Pirate Ship is a bit better, with a grander overall sound that helps the song to stand out and a fun vocal arrangement that features Bowes, Vernon's screams, and some sweet melodies from guest hurdy gurdy player Patty Gurdy. I like the fact that the song maintains a strong mid-paced groove throughout. Many of the band's songs are quite fast, but this one benefits from the slightly slower pace - the silly lyrics providing a fun contrast with the epic folk metal backing. Musically the song is strong too, with some great heroic guitar leads throughout from Bodor and those cheesy old-school brass and accordion keyboard patches that filled the band's early albums. Call of the Waves is similar in style, but the pace is upped and it sounds like a great throwback to the band's early albums. Drummer Peter Alcorn keeps the song moving with some great double bass drumming throughout, while Bowes and Vernon's layers of keyboards create this epic halo around the whole song. This is also the least-silly song on the whole album. The lyrics just tell an epic nautical story, and that also contributes to the song sounding like a throwback. It was co-written by Vincent Jackson Jones who I believe was actually the band's guitarist in one of their earliest incarnations, so it could actually be a song that has been knocking around for ages and has now finally been given a home. Either way though, Call of the Waves is a very enjoyable song and is the sort of thing that I listen to Alestorm for. It is a great epic-sounding piece with a driving power metal rhythm, excellent guitar playing throughout from Bodor, and a grand folky halo throughout - and is overall a huge step up in quality compared to some of the songs here! Sadly however, with the exception of one song, the rest of the album is pretty poor. Pirate's Scorn is a cover of a song from the Donkey Kong Country TV series, and you can tell that the band has only recorded a cover of it to pander to drunk fans at concerts who may have fond memories of growing up in the 1990s. It is a silly throwaway song that was written to sound 'piratey' for a TV programme, and it does not really benefit from its metal/punk makeover here in any way - and the closing tin whistle melody is actually sonically unpleasant to listen to.

Shit Boat (No Fans) is possibly the album's nadir however. Fucked With an Anchor on the last album was silly, but it did not need a short semi-sequel filled with the sort of lyrics that an edgy twelve year old might come up with. Drunk festival crowds will love it, but everyone else will think it is embarrassing, puerile, and ultimately pointless. Pirate Metal Drinking Crew is not bad, but it certainly lacks the quality of the album's best moments and there are sounds of the barrel being scraped here. Again, it sounds like a song that was written purely for a drunk audience - and I can imagine a rowdy crowd with annoying inflatable swords and those drinking horns that you can buy at metal festivals really lapping it up. The chorus is catchy enough, but the song as a whole is so hollow that it might as well be see-through. Alestorm can do much better, and have done many times before - they even have better shallow drinking songs than this one. Also, I do not understand why there is a dog barking occasionally during the song - there is probably a joke somewhere that I missed out on! Despite the album's second half being mostly quite poor, Wooden Leg - Part 2: The Woodening is actually pretty good. Despite the ludicrous title, and the fact that the song is essentially a prog metal sequel to a throwaway punk song on a previous album, there is a lot of creativity on show here. The opening instrumental section has something of a symphonic black metal vibe to it with some aggressive drumming, and this approach is used sporadically throughout the rest of the song - with Vernon's harsh vocals contrasting well with Bowes' gruff, folky delivery. Alestorm have done lengthy, more progressive sounding songs in the past and have always managed to pull them off - and this effort is no different. There is a lot going on throughout the song's eight minute-plus run time which makes it very fun to listen to. No one idea is ever really overplayed, and the overall grandness of the arrangements recall some of the best moments on those early albums. Layers of keyboards make the song sound epic, while the occasional shredded guitar lead contributes to the prog metal excess. I like how the song ends too, as it reverts to the punky style that characterised the original Wooden Leg! - bringing the duology to a fitting close. The album comes to an end with Henry Martin, a somewhat acoustic take on the traditional folk song that is listenable but also somewhat throwaway. The band did the same with Flower of Scotland on their debut album, and Henry Martin feels similar - listenable but ultimately not really necessary. It is certainly better than some of the album's other weak moments, and I feel that the high energy ending of Wooden Leg - Part 2: The Woodening would have been a better way to close out the album. As it is, Henry Martin feels like a bit of a pointless coda but it is far from the worst thing here. Overall, Curse of the Crystal Coconut is a pretty weak album that is sprinkled with genius. It is easily my least favourite Alestorm album so far, but the strong songs still make it worth the occasional listen. It is just a shame that the band seem torn between wanting to essentially become a full-blown comedy act and sticking with the tongue in cheek folk metal that made them who they are today. I am interested to see where the band will go from here, but I do wonder if the magic has well and truly dried up.

The album was released on 29th May 2020 via Napalm Records. Below is the band's promotional video for Treasure Chest Party Quest.

Vandenberg's '2020' - Album Review

For those of us 'in the know', when it comes to 1980s guitar heroes the Netherlands' Adrian Vandenberg is certain a name worthy of respect. While he never really became a household name, there is no denying that the flying Dutchman has amassed a substantial and impressive back catalogue over the past four decades. Whether it be with his self-titled band's original early 1980s run, playing the guitar solo on easily the most famous rendition of Whitesnake's Here I Go Again, or strutting the blues with the short-lived Manic Eden, Vandenberg always impresses. He was a big name during the hair metal era, and appeared in the most hair-sprayed iteration of Whitesnake, but in truth Vandenberg has always been more of a blues-based player. The first three albums he did with the original Vandenberg band showcased this, despite the 1980s sheen that those albums have, and his tasteful and emotionally-charged playing on Whitesnake's underrated 1997 album Restless Heart is up there with some of the best guitar work he has committed to tape. It is a shame that Vandenberg is not more well known as a guitarist, but those of us who are fans of his work know what everyone else is missing out on! It was with excitement then that I greeted an announcement earlier this year from the guitarist that revealed that he was going to resurrect his old 1980s self-titled act with a brand new line-up - which would also record the band's fourth album. That album, 2020, was released last month and it is a disc that I have been listening to an awful lot ever since. I am not familiar with all three of Vandenberg's original albums (not all of them are easy to track down, sadly), but I know enough to recognise that 2020 follows on nicely from the Dutchman's early work - while bringing his bluesy hard rock sound kicking and screaming into the modern day. 2020 sounds huge, and this is partly down to Vandenberg's guitar tone throughout; with credit also going to Bob Marlette's production (who also handles the album's mighty Hammond organ presence). As much as I enjoyed the two albums that Vandenberg did with the short-lived Vandenberg's Moonkings (and I reviewed MK II here), 2020 just sounds the part so much more than those releases ever did. The production here is huge and, while there is still a focus on the bluesy side of Vandenberg's playing, this is a hard rock album first and foremost. It also helps that Vandenberg has recruited the excellent Ronnie Romero (Lords of Black; Rainbow; The Ferrymen) to front this new version of his old band. While I blow hot and cold on Romero, when he is at his best he sounds fantastic - and his performance throughout 2020 is excellent. He is the perfect foil for Vandenberg's muscular riffing, while the rock solid rhythm section of bassist Randy van der Elsen (Tank) and drummer Koen Herfst (I Chaos; Dew-Scented; HDK) really bring this hard-hitting four-piece up to full strength. With legendary figures such Rudy Sarzo (Quiet Riot; Ozzy Osbourne; M.A.R.S.; Whitesnake; Manic Eden; Dio; Blue Öyster Cult) and Brian Tichy (Pride & Glory; Foreigner; Billy Idol; Lynch Mob; Whitesnake; The Dead Daisies) also adding bass and drums respectively to some of the songs (although their contributions are not specifically credited), this pushes the credibility of 2020 up even higher.

The album kicks off with the powerful Shadows of the Night, a racing hard rock number that is easily the weightiest thing that Vandenberg has penned in a number of years - and it immediately shows the chemistry that already exists between him and Romero. I loved Romero with Rainbow, but felt his contributions to Michael Schenker's most recent album were less than stellar. Sometimes I find that his overly-accented approach distracting, but throughout 2020 he sounds marvellous. He channels his inner Ronnie James Dio throughout the opening number, and this gritty approach fits in well with Vandenberg's driving Deep Purple-esque riff - which is backed up nicely with some subtle Hammond organ notes, particularly during the hooky chorus. While not exactly a far cry from the Vandenberg albums of the past, Shadows of the Night is heavier, meaner, and more aggressive sounding than anything the band have done previously - with touchstones here being Europe's recent output and early Whitesnake (ironically from before Vandenberg joined forces with David Coverdale). In many ways Shadows of the Night perfectly captures the vibe of the whole album. The riffing throughout is bluesy, but with plenty of bite, and Romero's vocal performance is captivating and melodic. It is a great kick-off track, and one of the best classic rock throwbacks of the year so far. Freight Train, which follows the opener, is similar, but the pace is slowed to more of a mid-paced crunch - which allows the bass to contribute a strong groove while Romero shifts from a Dio mode into a vein more similar to that of Coverdale. If Vandenberg was still in Whitesnake today, these are the sort of songs that he would be writing with Coverdale, and I can just imagine the legendary frontman adding his magic to the bluesy stomp that the track possess - although Romero is certainly an apt substitute. Despite the great vocal performance however, it is possibly the guitar solo that stands out the most for me. One thing that I have always respected about Vandenberg is that he always plays for the song. His solos are always tasteful and never outstay their welcome - which is a quality that not all guitar heroes seem to understand. Hell and High Water is very similar to Freight Train, with the slower mid-paced groove being retained throughout. The song is arguably heavier than what came before it however, with Vandenberg's main riff having some metal-esque weight to it - but the warm-sounding, organic production stops it from sounding too aggressive. Marlette's production throughout the album is excellent, and he has really brought the best out of Vandenberg here. The song's chorus shines, partly down the guitar tone and partly down to his own Hammond playing, and it allows Romero to sound his best with some slightly more overt high notes that again recall Dio somewhat. It is shame that Marlette is a name that is not mentioned too often any more. He was quite a big name in rock and metal production a decade or so ago, but he seems to have taken more of a backseat recently. This album is an example of why he should be employed more often, with the song's epic turn at the end sounding so great partly thanks to Marlette's keyboard and string arrangements.

Let it Rain is more of a ballad but, despite the gentler overall approach, the song still packs a punch. I do not think it is possible for this modern version of Vandenberg sound at all limp, as even their ballads are jam packed full of weighty guitar playing - with the passionate vocals of Romero constantly acting as the icing on the cake. The song's low key opening is the gentlest moment of the album so far, but this feeling is fairly short-lived. This band is just too powerful to be contained, and the explosive choruses are a great example of how Romero's voice can be used to great effect; while Vandenberg's controlled and emotional solo takes the melodies and themes used elsewhere and weaves them into a perfect tapestry to compliment the song as a whole. Ride Like the Wind is another strong mid-paced rocker that echoes Freight Train quite a lot, although a song is perhaps not quite as heavy as the songs that came before it. Vandenberg's main riff is a bit knottier than many of the weighty slabs that preceded it, with strong Schenker and John Norum vibes coming from his fingers. This is certainly one of the 'busier' songs from a guitar playing perspective. The song's main solo is much faster-paced than usual, with some pseudo neo-classical licks sitting nicely alongside more traditional hard rock shredding, while the main riff is more complex and overtly musical. These facts, combined with an epic-sounding chorus that sounds more expansive than many of the other efforts here, make Ride Like the Wind a very enjoyable and interesting song that showcases a bit of deviation from the norm while still sounding very much in-keeping with the album's overall sound. Shout is the album's only track that does not really connect with me in the way that the rest of the album does. Compared to the rest of the material here, it just sounds a bit half-baked. The main riff is a typical bluesy rock moment, but it does not get under the skin in the way that many of the other riffs here do, and the song's chorus is just not that memorable. It is a decent enough song. but when compared to the rest of the album is just falls a little flat. It sounds like a song left over from the Moonkings' sessions, which as a band went for a simpler, more stripped-back sound overall, rather than a rip-roaring hard rocker like the rest of the material here. After the short blip, Shitstorm really gets the album back on the right track with a more dynamic arrangement that really brings out the best of Romero as a singer while allowing Vandenberg to still showcase his guitar skills. The song opens somewhat slowly, with a low key bluesy, percussive opening that sees Romero singing in a softer fashion; but as soon as the song's main riff kicks in all of this early vibe is forgotten to be replaced with something suitably weighty and hard driving. It could be one of the heaviest tracks here, but it is also extremely memorable melodically with a soaring, hooky chorus and guitar solo worthy of a 1980s hard rock record.

Light Up the Sky sounds like the song Shout should have been. After opening up with a rollicking drum pattern, a simple bluesy riff kicks in which essentially defines the whole song - but the energy created throughout is increased significantly. It is a bluesy track, but played through a 1980s hard rock lens - which is essentially a perfect way to sum up Vandenberg's playing generally. The main riff has a bit of a John Sykes feel to it, as Vandenberg adds some speed and class to a classic blues-sounding motif while the drums beneath him clatter away with lots of fast-paced Tommy Aldridge-esque patterns. None of this would matter however if the song was not memorable, but thankfully it is. Romero's vocal melodies make for another strong chorus that is very easy to sing along to, and the main riff is a simple melodic moment that really sticks in the brain. It is another strong song on an album that is packed full of them, and is probably the song that is closest to the style Vandenberg went for on his early albums. That is, however, with the exception of Burning Heart - which is a re-recording of the band's biggest hit. It was originally on the band's self-titled 1982 debut album, and was a bit of a hit around the world, and certainly would have been the song that brought Vandenberg to the attention of Coverdale. I am not sure that we really needed a new version of the song, but it seems that re-recording old classics is a feature of 2020 as a few of the albums that I have covered so far this year have featured old songs brought into the modern day. The song is a big power ballad, and the original version is very of its time. It screams '1980s' in a big way, but this new recording certainly sounds more weighty and less shimmering. I enjoy listening to the new version, and Romero's vocal performance is certainly packed with emotion, but I am not really sure it was necessary to include it here. Thankfully, the updated version fits in with the overall style of the album - giving the song some extra teeth in comparison to how it sounded back in the day. The album comes to a close with Skyfall (which is not a cover of Adele's Bond theme), a dynamic song that goes for a somewhat more atmospheric approach while still maintaining the album's core hard rock sound. It opens slowly, with some bluesy clean guitar melodies and Romero's gentle singing, but soon opens up more around a Led Zeppelin-esque groove and a chorus that certainly has more in common with power metal than your average bluesy hard rock track. It is an odd mix of styles, but Vandenberg manage to make everything hang together. The groove throughout the song is extremely infectious, and the chorus is so catchy that it is very hard not to sing along with. The epic approach taken by the band here is a bit different from the rest of the album - but it still manages to fit in nicely with Vandenberg's overall style and closes the album in a fine and hard rocking fashion. Overall, 2020 is a great comeback album from Vandenberg (the band) and it is easily my favourite thing from the Dutch guitarist since at least Restless Heart. It is an uncompromising slab of hard rock that is very easy to listen to, and anyone who loves old-fashioned bluesy rock will definitely find a lot to enjoy here.

The album was released on 29th May 2020 via Mascot Records. Below is the band's promotional lyric video for Freight Train.

One Desire's 'Midnight Empire' - Album Review

While it is not an album that I return to all that often, the 2017 self-titled debut album from Finnish AOR act One Desire (which I reviewed here) is certainly one of the most unique and memorable melodic rock albums of the past few years. The sound that the band forged on the album is quite unlike any other AOR album that I have heard, with extremely poppy hooks sitting nicely alongside tougher moments that, occasionally, even border on metal. While One Desire are an AOR band at their core, they are not afraid to shake things up and take the much-loved genre into a different and modern direction. Fans of this direction will be pleased as, three years on from that successful debut, the four-piece are back with their second album. Midnight Empire, as the album is called, sees the band pushing their sound further - and sometimes in ways that might not be expected. This is to the band's credit, but in some ways it makes the album a bit difficult to digest. Considering that the band are signed to Frontiers Records, Midnight Empire is not typical Frontiers AOR fodder. I have described my love/hate relationship with Frontiers on this blog before, particularly with their want to flood the market with a huge number of extremely similar-sounding albums by hastily cobbled-together 'projects' to showcase the work of a number of in-house songwriters. One Desire are an example of what can happen when an actual band is allowed to truly shine on Frontiers, and it shows that the label can promote original and unique-sounding bands when it wants to. It is partly this originality which makes it hard for me to properly articulate my thoughts regarding the album. At times, Midnight Empire sounds fantastic. The production quality is often top-notch, with a grand sheen coating everything and frontman André Linman's ridiculously poppy voice carrying the vocal melodies perfectly. It shows that a band does not need Frontiers to get involved in every aspect of their being to succeed on the label, and the band should be congratulated for having such a unique sound. There are times however, when the album sounds very bloated and it just washes over me. I struggle to remember many of the songs after they have finished playing. I can still recall many of the hooks on the band's debut album despite having not listened to it for a while, but this new album lacks those memorable moments for me. I am not quite sure why that is, as many of the songs on this new album are enjoyable, but I think it could, at least partially, be down to the ultra-atmospheric sound that the  band have gone for this time around. Midnight Empire is almost cinematic in scope, which contributes to the overall great sound of the album, but it goes some way to bury the hooks and some of the previous weight is compromised. I feel that the band has gone too far down the modern production side this time around, and have somewhat upset the balance between classic AOR and modern production styles that were present on the debut album - which is a shame.

Despite my misgivings with the album, it opens with two of its strongest cuts. Shadowman is a fantastic opening number that recalls the band's debut album perfectly - showcasing the band's love of modern pop hooks and weighty metal riffing. It opens with a spoken word passage backed with delicate synths, before Jimmy Westerlund's first big riff kicks in. The song's main riff is one of the album's most driving moments, with drummer Ossi Sivula locking in perfectly with Westerlund - the former's double bass drum patterns only enhancing the riff's power. The verses are smooth, and allow Linman to showcase why he is probably one of the best modern melodic rock singers going. His voice is extremely poppy, but this acts as a great contrast with the heavier sound that the band cultivate. He can be powerful when he wants to be too however, such as during the song's soaring, hooky chorus which is up there with some of the best moments on the band's debut. A couple of aching guitar solos really add to the song's overall sound - creating this perfect mix of pop, heaviness, and emotion. Shadowman is a great representation of what One Desire are about, and as a result it is a perfect opening track. After You're Gone acted as the album's lead single, and it is another strong number that is built around a melodic, mid-paced guitar hook; before a beefy verse pushes Jonas Kuhlberg's bass to the fore to create a rhythmic groove. Despite this strong groove, which is retained throughout pretty much the whole song, there are still a lot of pop hooks to enjoy. Being a single, the song is very easy to digest, and the melodies are pushed to the front throughout. Linman's verse vocals are a little grittier than usual, but he returns to his usual poppier style for a smooth chorus. It is not the most explosive chorus that the band have written, but the melodies fit perfectly within the strident, groovy feel of the song. It is still very catchy though, again recalling some of the best moments found on the band's debut album. Unfortunately however, the album rarely reaches the heights of the opening two songs again. Down and Dirty does come close however, and the album's third song is another memorable effort with a strong chorus and a bit of a different approach that opens with pulsing piano and acoustic guitars. There is something very Top 40-esque about the song's opening, with Linman's voice altered somewhat by effects to give it that modern pop sound. The verses are pretty laid back, which fits in nicely within this poppy approach - and it is the first of the album's songs that really goes for the more cinematic approach which comes to define the album. This track still emphasises the hooks however despite the bigger sound, and the featured chorus still hits pretty hard - with Linman's vocal hooks cutting through the mix nicely while the cinematic approach is retained.

Godsent Extasy (I am not sure if that is a deliberate typo or not...) starts promisingly, but also contains all the issues that I have with this album as a whole. The song's main riff is pretty good, with Westerlund's playing whipping up a decent amount of energy while some keyboards back it up nicely - but the song just never really capitalises on this pace. I like my AOR to be poppy, but this song is almost pure pop with a bit more of a guitar-based presence. The chorus, while somewhat memorable, just does not really grab me in a big way; with Linman's vocal hooks washing over me; and the song as a whole seems to be more about creating a beat and a groove than providing memorable hooks. There is a guitar solo, but it is buried in the mix to the point that it might as well not be there; and it just makes me wonder what sound the band were trying to achieve with this song. Unfortunately these issues also raise their heads again throughout much of the rest of the album, but Through the Fire is a bit different and goes for a ballad approach that works nicely. The song is largely acoustic-based, with Linman's vocals given much more space to shine - especially early on where he is only backed by some acoustic guitars and some very sparse keyboards. Despite much of the song relying on a stripped back approach, there are still moments that ramp up the power and go for a fuller sound. The rest of the band join Linman and Westerlund for one of the song's choruses, which sounds great, and Westerlund's soaring guitar solo is backed by a powerful driving beat. This is one of the album's stronger songs for me, as it priorities hooks and melodies over scope - and it sounds all the better for it. Heroes is a decent track, but it lacks the big hooks that make some of the band's best material really tick. After saying that One Desire do not really sound like typical Frontiers fodder, Heroes is one song that could actually sit comfortably on any of those generic project albums. It is built around a fairly solid mid-paced riff that creates a decent groove, but nothing about the song really stands out - to me at least. The chorus sounds decent while the song is being listened to, but it has very little staying power - with Linman's solid vocal performance just doing nothing to make the hooks stick. It is a shame, as the song itself is not that bad - but it is just very 'meat and potatoes' Frontiers AOR - which is not something that can often be used to describe One Desire's material. Rio is a bit stronger, and it opens with a dramatic piano and guitar intro that goes someway towards building some tension - but this is never truly capitalised on as Linman's opening vocal melodies are very flowery and they clash somewhat with the opening. That being said however, the song is still enjoyable. These opening vocal lines do not last for too long, and much of the rest of the song does live up to the piano-based intro. Those melodies return occasionally throughout the song for Linman to sing over and the combination works well - it is just a shame that the intro is as jarring as it is. The song is a decent ballad, with a great laid back summery groove, but sadly some of the pieces do not quite mesh together in the way that the band clearly expected that they would.

Battlefield of Love sounds like it is going to be another ballad with its low key acoustic intro, but it soon morphs into a strong uptempo rocker that actually sees the band getting back to doing what they do best. It is a bit of a strange song overall, but it is one where I actually think that the more cinematic approach works in the band's favour. While the hooks here are not as interesting as some of the best songs of the previous album, I like the overall approach taken here. The arrangement is a bit different from the norm, and actually sounds a little bit progressive - which is not something that can be said too often about an AOR band. The band's trademark mix of heavy riffing and poppy vocal melodies is on display perfectly here, and it is one of the few songs on the album that goes for this approach in a big way. There is definitely less riffing overall on this album, and I think that is part of my overall issue with it. The cinematic approach taken elsewhere often hides both the riffs and the hooks; but Battlefield of Love shows that it is possible to do everything at once in a cohesive and enjoyable way. The awkwardly-titled K!ller Queen takes a bit of a heavier approach initially, which is nice to see, with a fast-paced riff opening the song up - but sadly this is never really capitalised on. As soon as Linman starts to sing, this heaviness is immediately disposed of and it never really returns. The guitars are so stunted and buried in the majority of the mix here that their presence is barely felt at all, and none of the vocal hooks ever seem to stick. It is a real shame as the song starts out in such a promising way, but the production choices really hold the song back from reaching its full potential. This should have roared like Shadowman, but instead it just becomes a bit of a bloated, synth-heavy mess that really sums up the overall issues that I have with the album. The album comes to a close with Only When I Breathe, a decent slower number that contains lots of strong piano playing and soundscapes. It is barely a rock song at all in truth, with Linman's voice taking the spotlight throughout while acoustic guitars and piano form the main backing. Despite the fact that the rest of the band never join in to bulk the song up, it still works nicely as an album closer. In some ways, I would not be surprised if this is the sort of direction that the band would like to head in more often. They have certainly stunted their heavier aspirations with some of the production choices made throughout the album, and songs like this allow the band's poppier side to really shine. Overall, Midnight Empire is a bit of a curate's egg of an albm. I enjoy some of the songs a lot, but many of them leave me cold and I do wonder whether the band is struggling a bit with the direction that they want to take. Some of the songs have that great mix of melody and heaviness from the debut, but others are quite blunt and are bloated by a packed production that, in my opinion, covers over what the band do best. I will be interested to see where they go from here, but sadly Midnight Empire can only be described as a step down from the band's excellent debut.

The album was released on 22nd May 2020 via Frontiers Records. Below is the band's promotional video for After You're Gone.

FM's 'Synchronized' - Album Review

While English-based AOR has always been something of a rarity, London's FM have been flying the flag for the genre since forming back in 1984. It is a real shame that the band never really achieved the success that they deserved, as albums like 1986's Indiscreet and 1989's Tough It Out really ought to be seen as some of the true cream of the AOR crop, but that has not stopped FM from continuing to do what they do best throughout the years. In a similar way to how Magnum came back from a hiatus arguably stronger than ever with an insatiable need to pump out new albums, FM's 2007 resurrection has been nothing short of magical. What was initially supposed to be a one-off reunion for the now-defunct Firefest has sprawled into a thirteen-year-and-counting adventure; with the band's current line-up present for twelve of those thirteen years - making the current five-piece the most-stable line-up of the band's history. These five guys are also now seven albums deep into this reunion (including 2016's re-recorded version of Indiscreet) with the recent release of Synchronized, and that is not taking into account the numerous EPs and live albums that have also been put out since 2007. This all just goes to show that FM are not going to be going away any time soon, and for those of us who love the band's melodic sound this is great news. A new FM album every couple of years has become the norm, and Synchronized is another excellent addition in the band's canon. It is the band's twelfth album overall, and it follows on perfectly from where Atomic Generation (which I reviewed here) left off two years ago. While it is fair to say that the band's sound has matured over the years, the FM of 2020 still contain all of the hallmarks that made them a great band in the 1980s. Soaring choruses, washings of keyboard, and the occasional blues-based rocker have been a big part of the FM sound since the beginning - and all of those things are very much present and correct on Synchronized. The band's sound has certainly got a little tougher over the years, with the bluesy riffing becoming somewhat more prevalent, but they are still an AOR band at heart. All of the band's recent albums have been a mix of what has made the band great over the years, and in that respect Synchronized is no different. To me, however, this new album is the smoothest and most melodic that the band have sounded since the 1980s. There certainly seems to be more focus on the AOR than the bluesy melodic rock this time around, which could have been influenced by the band performing Tough It Out in its entirety on tour last year with the Dan Reed Network and Gun. Even if this tour was not somewhat of an influence on the band's latest album, something has pushed the band further back to their AOR-focused sound in comparison to what is present on many of their other post-reunion albums - which you certainly will not find me complaining about.

The twelve track album kicks off with its two leading singles, both of which are soaring throwbacks to the band's 1980s past and, as a result, are two of my favourite pieces on the album. The title track gets things underway with a short spoken word piece, before a huge guitar chord crashes in and Jem Davis lays down a catchy, old-school synth riff. While the keyboards have become slightly less dominant in FM's sound over the years, Davis gets plenty of opportunities to shine throughout this album - which is great to see. Synchronized is a melodic feast, with a shimmering keyboard sheen present throughout that sits perfectly alongside Merv Goldsworthy's busy verse bassline and Jim Kirkpatrick's bluesy chorus riff. Davis' keyboards mirror a brass section during the choruses for extra punch, all while the evergreen Steve Overland showcases his vocal chops. I have talked a lot recently about singers who have lost none of their vocal power, but Overland is possibly the best example of this. He sounds exactly the same as he did in the 1980s, and he handles the song's punchy, catchy chorus with ease. Superstar is similar, but goes for a somewhat smoother AOR approach throughout with a constant keyboard halo and chiming guitar arpeggios - which together create something of a West Coast sound. This is one of those songs that, right from the off, just grabs hold and never lets go. The melodies are irresistible, with Overland's voice really making every vocal line stand out and the big vocal harmonies used throughout create a real depth - while still somehow managing to maintain a laid back, smooth AOR vibe. FM have not sounded this whimsical for a good number of years, and for that reason the summery track is one of my favourites here. Kirkpatrick's laid back, yet technical, guitar solo really is the icing on the cake - and he proves yet again why he might be the best lead guitarist the band have had to date. Best of Times is a little more organic sounding, with Davis opting for a Hammond organ throughout. While FM have never really been a true 'hard rock' band, their more recent albums have certainly been a little riffier - with less of a focus on big AOR hooks. Best of Times is something of a hybrid between the sound of the opening two tracks and the band's more modern approach; with the Hammond really adding some 1970s depth, while Overland's vocal hooks sit firmly within the melodic rock side of things. As a result however, the sound has a touch of the blues about it, with Overland sounding similar to Paul Rodgers at times as the Hammond rumbles away behind what is still a smooth slab of melodic rock. Ghost of You and I is the album's first true ballad, and it opens in a gentle fashion with some simple piano melodies - before Overland's soulful vocals and a strange percussion loop kicks in. FM have always written strong ballads, and this is another excellent addition to their canon. Overland's voice is made for singing songs such as this, while the rest of the band add delicate harmonies at opportune moments. Despite the simple-sounding approach, there is still a fair amount of depth here. Aside from the harmony vocals, there are subtle acoustic guitar moments throughout - as well as some short, bluesy leads from Kirkpatrick to counter the main vocal melodies. It is another great example of FM doing what they do best, and it is one of my favourite modern ballads of theirs.

Broken ups the pace and power somewhat but, like the opening couple of numbers, it really embraces the band's past. The opening keyboard and electronic drum intro is pure 1980s nostalgia, with the keyboard stabs reminding me a little of Duran Duran's A View to a Kill, and the rest of the song recalls that smooth West Coast-esque sound again but with a little of the modern FM's blues rock punch. Kirkpatrick's guitars throughout the song are weighty, which help to bulk out the piece nicely, but it is Davis' keyboards that provide the main melodic hooks throughout - with the warm synth stabs and sequenced melodies really holding everything together. It is a powerful, yet melodic, song that really fuses together everything that has made FM great over the years - and one that looks to the past and the present for inspiration. Change for the Better opens slowly, with some clean guitar melodies, before the pace ups somewhat and Kirkpatrick launches into a classic-sounding choppy AOR riff that is backed by the keyboards and a kinetic drum pattern from Pete Jupp. Lots of the songs on this album have strong choruses, but the effort here is particularly memorable. There seems to be a bit more of a focus on strong vocal harmonies on this album in comparison to some of the band's other more recent releases - and it is this focus that really helps this album's choruses to shine. There is a bit of a Toto vibe to this song's chorus, with a slightly funky approach to the melodies that really benefit from the big vocal arrangement. As a result, the song is another extremely memorable moment on an album that is packed full of them - with a melodic, shredded solo from Kirkpatrick pushing the song up to the next level - and it is another personal favourite. End of Days takes a bit more of a harder rock approach, with a slow bluesy build up allowing the tension to build before a pulsing verse takes over that is built around Goldsworthy's bass playing. While not exactly a heavy track, as there is still a smoothness and plenty of AOR-esque melodies to be found throughout, the song certainly feels a bit denser and darker than much of the rest of the album. Overland's sings the verses in a slightly lower register than usual, before exploding into a powerful chorus that is sung in his more typical style. This subtle change works well, and it helps the verses to have a bit of a darkness to them before the chorus showers the listener with strong melodies and yet more soaring harmonies. Elsewhere, Davis' majestic keyboard stabs have a bit of a modern Magnum feel; which help to give the song a powerful, yet grand, sound that enables it to stand out from the crowd. Pray sticks with this slightly harder rocking approach. Jupp's drumming really dominates the song, with his big-sounding 1980s-style snare really cutting through the mix, while Davis lays into his Hammond organ throughout for a rumbling, bluesy backing. In many ways, this song is typical of the sound that FM have been chasing for the past decade or so. The band's trademark melodies are still present, but there is a toughness to the arrangement that was not really present on the band's first couple of albums. Kirkpatrick's weighty guitar riffing helps to really drive the tougher verses, but he also knows when to pull back a little to allow the vocals to shine - such as during what is another strong chorus.

Walk Through the Fire is another personal favourite of mine, as it shows the band's knack for writing what is essentially a ballad while still managing to fuse it with a pulsing, AOR backdrop. Goldsworthy's bass really dominates the early portion of the track. His bassline essentially acts as the percussion and driving force of the song until the chorus kicks in - while the guitars and keyboards provide an atmospheric backdrop to compliment Overland's singing. The song opens up more when it reaches the chorus however. Jupp joins in with another weighty drum pattern, while Davis' synths and atmospherics add a perfect halo around everything. It is another chorus that really stood out to me on my first listen to the album - and it is one that has only improved for me over multiple plays. It has all of the classic AOR smoothness, but there is a haunting quality to it that is not often heard in the band's music and that is what really makes the song stand out for me. Hell or High Water is one of the harder rocking tracks on the album, with Davis' keyboards taking a bit more of a backseat to allow Kirkpatrick's bluesy riffing to come the fore. The band's classic melodic sensibilities are still present throughout however, although Overland can once again be heard doing his Rodgers-esque thing during the verses - which fits in with the bluesier vibe that the song goes for. That being said, the song is not as tough as some of the songs that can be found on some of the band's other more recent efforts. There is definitely a smoothness that permeates through this whole album, which helps is to stand out from the band's other recent releases, with even these bluesier tracks having a strong atmosphere and a focus on AOR-esque melodies. As much as I have enjoyed FM's previous few albums, I really like the approach taken here as it harks back to the band's heyday without really sacrificing any of the development that they have made over the years. The mix of toughness and melody is a great one, and it really makes this album sound as great as it does. This sound is really on display throughout the ballad Angels Cried too, which is packed full of modern bluesy sensibilities and 1980s-esque atmospherics. Slide guitar lines, which are not commonly heard in FM's music, add aching bluesy touches here and there; while Davis' mix of piano and organ gives the track real depth. The real star of the show however is Overland. I have waxed lyrical over the years about the guy's vocal power, but this song might just contain his best individual performance to date. He is smooth and emotional on the whole, but when needed he really lets rip with all the power and soul of the great blues singers of the past. It is his performance that really helps the song to stand out - and as a result it is another standout moment for me. The album comes to a close with Ready For Me which, after the soulful ballad that preceded it, is a bit of a 'letting your hair down' moment. The harder rocking track allows the album to close out in an up-tempo and memorable fashion, and it is another track the really recalls the band's past with pulsing keyboard rhythms and plentiful vocal harmonies - with the strident chorus recalling FM classics of the past such as Don't Stop. The song has a great classic rock strut throughout, and this mixes well with the band's patented harmonies to create a powerful and soaring closing number. It is an uncomplicated song compared to some of the deeper-sounding tracks that came before it, but in that respect it feels like a victory lap which perfectly helps to close out the album in style. Overall, Synchronized is another really strong album from FM that might well be my favourite thing that the band have done since their reunion in 2007. As much as I have enjoyed the band's other recent albums, this one has a smoothness and a sense of melody that just elevates is slightly above the recent competition, and I can see some of these songs becoming live favourites in the years to come.

The album was released on 22nd May 2020 via Frontiers Records. Below is the band's promotional video for Superstar.

Dennis DeYoung's '26 East - Vol. 1' - Album Review

Despite not exactly having a prolific past couple of decades, there is no denying that Dennis DeYoung is still an important force in the melodic rock world. The guy's position as one of the driving forces behind Chicago's Styx cements him as something of a legend and, while his solo career never really took off in the way that he probably hoped that it would, that reputation is very much still intact today. It is a shame then that since leaving Styx for good in 1999, DeYoung's solo output has been extremely sporadic. Until last month, his most recent solo album was One Hundred Years From Now from 2007, which I have not heard so I cannot comment on its quality, with DeYoung seemingly largely happy to focus on his past with Styx on the road - playing the songs that he helped to create with his solo band on the American club circuit. This focus seemingly shifted somewhat a couple of years ago, and DeYoung once again had the bug to write new material. He credits this newfound energy to create partially to discussions held with songwriter and multi-instrumentalist Jim Peterik (The Ides of March; Survivor; Pride of Lions) which led to the pair sending song ideas back and forth - and the result is the first part of DeYoung's new solo album 26 East. It seemed that DeYoung and Peterik's songwriting was so prolific that too many songs were written for one album. At the request of DeYoung's record label, Frontiers, 26 East was split in two - so what we have here is Volume 1 of a a two-volume set. I am not sure when Volume 2 is due to be released, but for now melodic rock fans have ten new songs to enjoy on this 45 minutes long new album. I am not that familiar with DeYoung's work outside of Styx. I have heard his 1984 debut solo album Desert Moon a handful of times, but that is as far as my involvement with his solo work goes. I am not sure if his songwriting style has ever shifted over the years but, to my ears, 26 East sounds quite a lot like classic Styx - well part of classic Styx in any case. Styx were, and still are, a band that was made up of distinct songwriters. Styx songs were rarely true collaborations; with one song clearly being a DeYoung composition and the next clearly being a Tommy Shaw effort etc. While 26 East somewhat lacks the diversity of the albums of Styx's heyday, it allows DeYoung to present his patented melodic/pomp rock style perfectly - with hints of Peterik's influence cropping up throughout the album too. DeYoung was always the showman of Styx, with his songs having a strong Broadway and pomp influence - bringing the grandeur to the band while Shaw and James Young brought the tougher hard rock sounds. As a result, 26 East is a grand sounding album. DeYoung's keyboards are all over the album, as are soaring vocal harmonies and hooky melodies. Tough rock riffing is relatively sparse, although there are heavier moments here and there, and on the whole this album is just DeYoung doing what he does best.

While DeYoung does not seem totally onboard with the splitting of 26 East in half, as the album's sleeve notes suggest, in my view the decision was a wise one. All too often these days albums made for the CD market are far too long. This can make it sometimes hard to see the wood for the trees, leaving listeners to trudge through overlong and dense albums. Volume 1 of 26 East clocks in at a snappy 45 minutes, which is similar to all of those classic Styx albums of the 1970s and 1980s; and that makes the album very digestible. It also helps that many of the songs here are very strong, with one of the best in East of Midnight kicking thing off. Those who love the pure pomp of Styx classics like The Grand Illusion and Pieces of Eight will instantly recognise DeYoung's style here. From the driving retro synth riff to harmony guitar leads courtesy of August Zadra and Jimmy Leahey, East of Midnight really could have appeared on any of Styx's best albums. The thing that is instantly apparent when listening to this album is how great DeYoung still sounds vocally. His voice has barely deteriorated at all, with his clean diction and sweet melodies still sounding as good as ever. The album's opening number is a perfect showcase for his vocal talents, as it features a soaring chorus that is packed full of great melodies - with the band contributing strong harmonies. He has also not attempted to modernise his sound in any way. Old-school keyboard sounds are all over the album, and the opening song has a strong keyboard-dominated section with DeYoung and fellow keyboardist John Blasucci trading organ and synth melodies in grand, pomp rock tradition. The spoken intro to second song With All Due Respect is easily the strangest part of the album, referencing the tribal and toxic nature of modern American politics - and it leads into a rather scathing song that is enjoyable but suffers from a few clunky lyrics. It is one of the album's few attempts at a ballsy hard rock sound, with chunky guitar riffs leading the charge while the keyboards take something of a backseat, and DeYoung has used that backdrop to rant a little bit about the state of US politics. While US politics certainly has plenty of issues currently, the song comes off as a little trite lyrically despite having some memorable riffs and a decent chorus. The chorus, which is gang vocal-led, is something a bit different from DeYoung's usual style. This is interesting to see, but in my view the song just does not quite hang together properly. A Kingdom Ablaze is stronger, and goes for a bit more of an atmospheric and progressive approach. The song takes a little while to get going, with pulsing synths and a distant beat creating a strong soundscape early on - which proves to be a great bed for DeYoung's vocals once he starts to sing. Compared to the opening two numbers, A Kingdom Ablaze is a much more dynamic song that moves between atmospheric and harder rock sections throughout. The verses tend to be calmer, with the synths and atmospherics really dominating; while the choruses explode in a stab of heavy guitar into an almost Queen-esque display of grandeur. While I have never really considered Styx to be a prog band, they certainly had their proggy moments - particularly in the mid-1970s. This song is somewhat similar to those more experimental pieces that DeYoung wrote for the band, but it is still packed full of his musical and lyrics trademarks.

One thing that is almost guaranteed from a DeYoung album is big ballads. DeYoung has written a lot of rather sugary ballads over the years, so I had expected a few to show up here. You My Love is the first, and only true, example of the style here, and those who are familiar with tracks like Babe will certainly recognise all the hallmarks of those singles of the past. DeYoung's vocal melodies throughout the song are very saccharine and a little on the twee side, but that is to be expected. A big part of DeYoung's appeal are his ballads, and You My Love is a good example of his craft. Rolling piano and shimmering synths make up the bulk of the song, although occasional bursts of harder guitar are included to spice things up a little and to add character. On the whole though this is a very accessible and poppy ballad which could easily fit on the soundtrack to a Broadway musical - which is certainly to be expected from a DeYoung album! I am not personally keen on this side of his songwriting, but I am aware that the ballads are a big part of his appeal for many. Run from the Roses is another slower track, but it leaves the sugary melodies behind and instead goes for a grander overall approach. In some ways, the song reminds me a little of a modern version of Come Sail Away as it builds up fairly slowly around a piano melody before exploding into a harder rocking chorus. Layers of vocal harmonies are constantly employed throughout the song, which really helps it to sound huge. It is probably the biggest sounding song on the album, and it really does sound like a long lost classic Styx. While DeYoung's true ballads, such as the previous song, can be a bit much at times; songs like Run for the Roses always do it for me. The mix of emotion and soaring rock melodies is always a winner in my eyes - and as a result this song is possibly my favourite moment on the album. The chorus is instantly memorable, and DeYoung's passionate vocal performance just really caps everything off nicely. Throw in a couple of simple, but well-phrased, guitar solos and the track really has everything it needs to become a future pomp rock classic. Damn That Dream is a bit more upbeat, but DeYoung's melodic hallmarks are still all over the song. This is no With All Due Respect as it does not go for an all-out hard rock approach, but instead takes DeYoung's patented keyboards and mixes it in with an upbeat rhythm and guitars to compliment the ringing piano. This gives the song a bit of a boogie vibe throughout, but the prominent keyboards and DeYoung's instantly-recognisable voice stops the song sounding like Foghat. The great thing about this album is how big every song sounds. DeYoung could have attempted to modernise his sound and strip away some of the pomp, but instead he has almost doubled down on his core sound at times - with some of these songs sounding bigger than some of the old Styx classics. Damn That Dream sounds massive, with layers of keyboards and harmony vocals present throughout - which particularly allows the catchy chorus to stand out in a big way.

Unbroken initially sounds as if it is going to be another ballad, but after a rather low-key intro the song morphs into another strong mid-paced slab of pomp rock with soaring melodies and a grand sound. While not every song on this album is a winner, I just love the overall sound of everything here. In an age where sometimes less is seen as more, DeYoung has thrown everything at all of the songs here. His band also do a great job at bringing his song to life. He may not be accompanied by any 'big name' players here, but his band are all talented musicians that know when to step forward and shine and when to take more of a backseat. The guitar playing throughout the album is very tasteful. There are few big solos to be found, but there are lots of lovely little melodies found throughout the album, and Unbroken contains quite a few - which help to provide a strong contrast to the piano and DeYoung's big vocal hooks. The Promise of This Land starts out as another big ballad but it soon moves into much grander territory. While portions of the song still sound a bit Broadway in places, the guitar work throughout the opening moments helps to contrast the with piano but when the song really ramps up it morphs into another pomp classic. Some of the keyboard playing throughout the song is really excellent; with the piano leading the charge at times, while sparkling old-school synths cut through the mix elsewhere. While all of the songs here sound big, this is possibly the biggest sounding song of all. There is just so much going on throughout the song, from the multiple layers of vocals that help the choruses to stand out to the aforementioned keyboards the song is just a musical feast. It takes a few listens to really get a hang of, but as a result it is one of the album's standout moments for me. The album's last 'proper' song is To the Good Old Days, a collaboration between DeYoung and Julian Lennon. Lennon duets with DeYoung throughout, the two singers' voices mixing nicely together, and this vocal combination really helps the song to stand out. It is quite a downbeat song, with a fairly sombre piano arrangement and a subtle beat, but there are still plenty of strong melodies to latch onto. DeYoung just seems to have a knack of coming up with catchy melodies, even for songs that are not explosive rockers. His ballads, as this song is, are always memorable (even if they are not always my thing) and that is certainly a particular skill of his. It is a great way to partially close out the album. It is one of the least-grand moments here, with a simpler arrangement and a focus on vocal interplay helping the song to stand out from the rest. It is left to the short A.D. 2020 to close things out, a song that recalls two similar-sounding tracks from Styx's Paradise Theatre album. It is a short piano and vocal piece that is over almost as soon as it starts, but it provides a nice, calm end to what is largely a grand-sounding album. Overall, despite a couple of missteps, 26 East is a strong album from DeYoung that sees him sticking largely to the formula that has served him well over the years. As this is Volume 1 of a two volume set I am looking forward to hearing the second part, as if the quality is as good as on this album then it will certainly be worth picking up. It is great to hear some new songs from DeYoung again after all these years, and it is good to see that he has lost none of his touch.

The album was released on 22nd May 2020 via Frontiers Records. Below is his promotional video for To the Good Old Days.

Firewind's 'Firewind' - Album Review

Firewind are one of those bands who, despite undergoing multiple line-up changes throughout their career, have managed to remain pretty consistent in the face of adversity. The Greek power metal act are formed around guitarist Gus G., the band's founder and only consistent member, and have long been the main vehicle for his songwriting. Despite stints over the years with Dream Evil, Nightrage, and even Ozzy Osbourne, it is with Firewind where G. really hangs his hat. Even his sporadic solo career, which in truth has never really taken off in a big way, takes a backseat to Firewind now - with G. clearly happy to operate in a band context as opposed to always being on his own. As with many bands that are built around one main creative force, Firewind has seen a large turnover of talent over the years. While this affects the quality of some bands' outputs, Firewind have largely been consistent and enjoyable no matter who G. decides to surround himself with at the time. Only really 2012's Few Against Many can be considered a 'weak' release in my opinion, and this is more down the overall blandness of the album rather than a case of bad songwriting or poor recruitment. It was perhaps telling that after the touring cycle of Few Against Many the band took some time off, and G. attempted to branch out on his own. Whether or not G. intended to phase Firewind out and go out under his own banner from that point onward is hard to know, but I imagine that his solo career never really took off in the way that he hoped it would. A return to Firewind was inevitable, and 2017 saw the release of the truly excellent Immortals (which I reviewed here). Not only did Immortals right the relative wrongs of Few Against Many, but it launched the band into the next league up for me - and it could well be my favourite thing that the band have done to date. Everything fell into place on Immortals, from the concept that revolved around Spartan King Leonidas I and the Battle of Thermopylae in 480 BC to the heavy, grand sound that sounded like Firewind really dialled up to eleven. I was really looking forward to how G. and co. would follow Immortals, but my expectations were dented in March when it was announced that frontman Henning Basse and keyboardist Bob Katsionis were leaving the band; with new frontman Herbie Langhans (Seventh Avenue; Beyond the Bridge; Sinbreed; Voodoo Circle) coming in. While I have nothing against Langhans who is a very strong singer, despite the fact he is a bit of a journeyman that never really stays in any one band for very long, I felt that a big part of Firewind's rebirth on Immortals was down to Basse's epic vocal performance. With him gone, as well as long-time keyboardist Katsionis who has not been replaced and was always a handy secondary songwriter in the band, Firewind were looking a little toothless. Luckily however the result of this new line-up, the band's new self-title album which was released last month, is actually pretty strong. While I do not think that Firewind reaches the quality of Immortals, it is still a very enjoyable album that really harks back to the band's early days - particularly 2002's Between Heaven and Hell and 2003's Burning Earth. Without a full-time keyboard player, Firewind sound a bit tougher again (although Katsionis did contribute to and co-write one of the songs here as the album was partially recorded before he left the band) and this new album is a bit of a back-to-basics effort after the grandeur that preceded it.

Anyone who did not realise that G. was the main driving force behind Firewind should have that fact well and truly confirmed for them from the off. The album's kick-off track Welcome to the Empire opens with a fluid, melodic guitar solo set against a cinematic keyboard backdrop (G. also handles the vast majority of the album's keyboard parts); setting the tone that this is going to be a guitar-centric album. In fairness to G. however, he very rarely lets his playing get in the way of the song. He steps forward to show off when the song requires it, but he also values great vocal hooks and allows Langhans plenty of time in the spotlight as a result. Langhans acquits himself really well throughout the album; at times recalling the style of the band's original vocalist Stephen Fredrick; and Welcome to the Empire proves to be a great way to introduce him to the Firewind fans. The song is a heavy, pacy number that really gets going with a chunky main riff that kicks in after the opening guitar pyrotechnics. After the more progressive feeling that Immortals pushed, the fact that Firewind opts for a heavier, stripped back approach is somewhat refreshing. While I do miss the grandness of Immortals, I still think that the overall aesthetic of Firewind works well. Welcome to the Empire in many ways is a perfect example of that vision, with meaty riffs being packed throughout the whole song and a hooky chorus brings the best out of Langhans and his gritty voice. There is still plenty of melody here despite the tougher approach taken, which is great to see. Devour is heavier and sees the band up the pace quite considerably - with drummer Johan Nunez really laying into his kit throughout. Firewind perhaps operate best in a more mid-paced setting, but the band's faster songs are often strong too. The band are certainly heavier than your average power metal act, with some of the band's faster moments having more in common with the more melodic end of thrash than with many other power metal bands. G. has always gone for tougher sounding singers for Firewind, and Langhans is no exception. Firewind are not a band for high-pitched singers or soaring harmony vocals; but instead focus on grit and old-school metal weight. Devour is a perfect example of this, with thrash pacing and retro metal riffing melding together perfectly, while Langhan's holds everything together with his grounded vocal display. The song really recalls the early days of the band, so anyone missing the Fredrick era will really love it. Rising Fire was the first single released from the album so it introduced us to the latest Firewind line-up. It is an enjoyable song, but it is certainly one of the simpler tracks on the album. The song has something of a classic rock strut throughout, without many of the metal trappings that make Firewind unique, but this vibe is cranked up to fit in with the album's overall crunch. The riffing here is certainly more old-school than usual, but there are still plenty of guitar moments for G. to show off with - with a lengthy solo and plenty of bluesy flashes found throughout. The chorus is a catchy moment too, and really shows Langhans at his best.

Break Away has a bit of a grander sound overall, and is the most dynamic of the four tracks to feature so far. The opening guitar riff and melodies are the sort of thing that G. has built his career on, and they are instantly memorable and exciting, while AOR-esque keyboard stabs add a counterpoint and depth to the song. The lack of a full-time keyboardist has certainly taken something away from the overall sound of the album in my view, despite Firewind still sounding very strong overall, so it is great to hear the keyboards used in a big way throughout this song. The general arrangement is much more varied too, with the verses slowing things down to a serene pace with atmospheric clean guitars and keyboards before the choruses ramp up the pace to something of a gallop to allow Langhans a chance to really let rip as the keyboards pulse away behind him. Orbitual Sunrise continue the denser sound established on Break Away, with the keyboards once again prominent in the mix - with a grander arrangement that recalls Immortals somewhat. This is the song that Katsionis co-wrote and contributed to, so it is unsurprising that the keyboards are much more prominent here than on many of the album's other songs. As a result, the song has a cinematic, mid-paced feel to it with G.'s guitars largely there to provide crunching rhythms as he locks in perfectly with bassist Petros Christo to provide a satisfying chug. Katsionis' soundscapes really dominate the song however, setting an atmospheric, sci-fi tone throughout that is perfect for Langhans to lay down a more expressive vocal display over the top of. Longing to Know You is the album's ballad, so unsurprisingly it is different from what has come before. Firewind are not exactly known for writing great ballads, but this one is a strong effort - partially thanks to a dramatic string arrangement courtesy of Adam Wakeman (Ozzy Osbourne; Headspace; Snakecharmer). The strings dominate the whole song, and the ballad setting allows the band to showcase some different vibes. G. uses an acoustic guitar for some parts of the song, and Langhans gets a chance to lay down a more emotionally-charged vocal performance. His vocal approach fits in perfectly with the overall feel of the song, and when G. launches into his guitar solo following one of the choruses the emotional impact is heightened further - his solo again perfectly fitting the mood. After a few songs that experimented a little with 'bigger' sounds, Perfect Stranger returns to the back-to-basics sound that characterises the album as a whole with a venomous riff and a chunky, headbanging rhythm. The keyboards are almost entirely absent this time around, with the whole song based around G.'s driving riff and Langhans' tough vocals. The best thing about this song however is just how memorable it is. It is one of the songs that stood out to me the most on my first listen to the album and it is still a favourite. It has such an infectious groove throughout, thanks largely to G.'s riff and Christo's reliable bass playing, and the snappy chorus is one that easily gets lodged in the brain. As much as I love the more expansive Firewind, there is no denying that they do these simpler songs really well too - and I can see this one becoming a live favourite in the years to come.

Overdrive is somewhat similar to Rising Fire in so far as it features more of a classic rock vibe that has been dialled up to fit in with the album's overall sound. Those who love Dio and anything that Jørn Lande has done over the years are sure to love this track, as it really features that kind of feeling throughout - with Langhans' vocal performance certainly channelling those two great singers throughout. Even the vocal melodies are very Dio-esque, and the subtle use of keyboards takes me back to albums such as Holy Diver and The Last in Line. I am not sure if these Dio parallels were intentional, but to me the song certainly sounds like something Dio would have written back in the 1980s - with all the bells and whistles of a modern metal production to beef it up. All My Life is a bit like Break Away in the sense that it goes for a bit more of a dynamic approach overall. The keyboards are a bit more present in the mix this time around, and the arrangement is a bit more varied than is the norm for this album. The main riff has a great power metal groove, with a strong keyboard backing and a punchy drum beat behind it, while the chorus sees Langhans really letting rip with some majestic vocals that perfectly fit with the dense sound underneath. The song's guitar solo is probably one of my favourite guitar moments on the album too, as G. goes into full-on neo-classical mode, channelling Yngwie Malmsteen throughout with some excellent old-school sounding shredding runs. Another song that stood out for me the first time I listened to the album was Space Cowboy; a track that is perhaps less heavy than most of the rest of the album but it more than makes up for this by having plenty of soaring vocal melodies and a slight AOR vibe. AOR is not a sound that I generally associate with Firewind but, while this song certainly does not sound like Survivor, it is something that works well in the context of the album. Given Firewind's general simpler sound compared to the band's previous album, it makes sense that the band would want to include some songs that really focused on strong vocal melodies and to showcase Langhans as the band's latest recruit. Songs like Perfect Stranger and Space Cowboy do that, and the latter's AOR vibes help to showcase the band in a slightly different light too. On the whole this is a very tough-sounding album, so a few lighter moments are welcome to provide a bit of a change of pace. The album's closing number however, Kill the Pain, returns to the core sound established elsewhere. The song really ups the pace, and is possibly the most furious sounding piece on the album - and it sounds somewhat like a more intense version of Devour. Nunez opens the song with a great drum pattern, and the song never really lets the energy dip at all throughout with G.'s riffs and solos constantly driving things forward. Langhans sounds at his most gritty here too, with a snarling vocal display throughout that really fits in nicely with the song's speed and heaviness. It is possibly one of the band's heaviest songs to date, and it is a perfect closing statement on album that really pushes that side of Firewind's core aesthetic. Overall, Firewind is a very enjoyable ninth album from the Greek band; and it is one that presents a much more simplified version of the band than many of their other more recent albums. While I do not think the album reaches the heights of Immortals, it is nevertheless a very enjoyable listen that sees G. and co. doing what they do best, and also recapturing their love for all things heavy.

The album was released on 15th May 2020 via AFM Records. Below so the band's promotional video for Welcome to the Empire.