Bloody Heels' 'Ignite the Sky' - Album Review

Perhaps my many snide jabs at Frontiers Records over the years on this blog have found their way to someone with clout at the company. While, sadly, I am unlikely to be able to take any credit whatsoever for the Italian record label's slight shift in focus of late, I am nevertheless pleased that they seem to be undergoing something of a change. I have something of a love/hate relationship with Frontiers. On the one hand they have always promoted a lot of great melodic rock acts, both old and new, but on the other hand they have often put a lot of focus into their anonymous hamfisted studio projects which often prove to be nothing more than a vehicle for one or more of the label's in-house songwriters to offload some of the songs that they clearly do not want to use for their main bands. These projects have often really flooded the modern melodic rock and AOR markets, so much so that it has often been hard to see the wood for the trees. Frontiers are still putting these albums out, of course, but there does seem to have been something of a shift in focus at the company over the past year or so. There have been far less of these studio projects forced together recently, with the company instead choosing to focus on what they have been calling their 'new breed'. Frontiers have really upped their roster of new original bands in recent times, and it is great to see the label finally sinking a lot of time and effort into these bands - rather than yet another 'project' from Alessandro Del Vecchio or Erik Mårtensson. One such band to recently attract some love from Frontiers is Bloody Heels - a four piece heavy rock band from Latvia. Not many Latvian bands ever really make it outside of their home country, and I think that they are probably the first Latvian act that I have knowingly listened to. Visually, the band are very inspired by the 1980s. Pictures of the band have them sporting big hair, leather trousers, and cowboy boots; but their music is much more interesting than a pure rehash of the Sunset Strip scene of the 1980s. There are hints of glam metal in the band's sound, but Bloody Heels are much heavier than that. There are moments that almost border on metal in some of the band's songs, while others are packed with gritty stadium rock attitude, melodies, and swagger. Earlier this month the band released their second album Ignite the Sky, their first release for the label. The band's debut album Through Mystery was self-released in 2017, which I picked up not long after Frontiers announced the signing of Bloody Heels but it never really clicked with me. Ignite the Sky however is an album I have been enjoying a lot over the past couple of weeks as it is packed with diversity and interesting songs - as well as big, memorable melodies. It is the band's first release with bassist Gunner Everett, and it shows that Bloody Heels are a band with real potential.

The eleven track album opens with the hard-hitting title track; an anthemic piece that really sets the tone for what is to follow. While the band are fairly accessible from a musical perspective, there is still a lot of weight to be found. Guitarist Harry Rivers seems to be the band's real driving force, with his riffs at the centre of what makes Bloody Heels tick. A gentle clean guitar intro lulls the listener into a false sense of security however, but as soon as Rivers' chugging riff kicks in the band's core sound is established. Ignite the Sky is not the heaviest track here, but it certainly showcases the band's style nicely. Frontman Vicky White lays down a gritty, yet soulful, vocal performance throughout; with the rest of the band helping him out during the soaring hair metal-esque chorus. The album's title track is a great mix of old-school throwback vibes and modern hard rock tastes. Subtle synths add a warm halo to the track as a whole, while Rivers' shredded solo injects some additional excitement and flair. It flows nicely into the album's lead single Criminal Masterminds, which was the song that persuaded me to pick the disc up. As I mentioned earlier, the band's debut album did not really do all that much for me - but Criminal Masterminds grabbed me from the off and never let go. It is a heavy, mid-paced slab of pseudo-metal with Rivers' muscular riff driving everything while drummer Gus Hawk matches the intensity with a hard-hitting performance. Being a single, the song has a strong melodic focus - but it also perfectly showcases what the band are about. The chorus features harmony vocals straight out the 1980s, but other moments of the song actually recall modern melodic metal with tasty double bass drum fills and chugging guitar rhythms. It is a great mix of old and new, and it perfectly represents what Bloody Heels are all about while also really getting under the listener's skin. No Matter goes for a bit more of a modern sound overall, with shimming synths and guitars opening the song up while White goes for a much more laid back vocal approach. Some parts of the track go for something of an AOR approach, with subtle vocal harmonies and soaring melodies, while other moments have a strong alternative rock feeling. It is a bit of a strange song that definitely feels much less heavy than most of the others here. The mix of sounds works well however, and it shows a different side of Bloody Heels - and it allows the band to demonstrate some different influences. Sugar & Spice instantly returns to the band's default heavier mode however, with a huge Rivers riff kicking everything off - which comes to really dominate the song with its lumbering groove. There is something of Avenged Sevenfold's more accessible stadium rock side on show here, with White's vocals taking on a gravelly tone to fit in nicely with the big riffing - his tone similar to that of M. Shadows' at times. The much heavier approach taken here works well however, as it is mixed in with the catchy melodies that the band have already made their trademark for a song that hits hard but is also very memorable.

Farewell to Yesterday opens with a busy bassline from Everett, before another Avenged Sevenfold-esque riff kicks in. One thing that is instantly apparent when listening to this album, and readers should have also grasped this by now, is just how diverse and 'all over the place' this album is. Ignite the Sky is a huge melting pot of influences, and Farewell to Yesterday is a great example of that. Parts of the song are among the heaviest on the album, with Hawk's drumming bordering on extreme metal territory at times, while the chorus is pure stadium rock with 1980s harmonies and some acrobatic White vocals. In some ways, the album as a whole is quite schizophrenic. Bloody Heels have clearly gone for a 'throw everything at the wall and see what sticks' approach, and on the whole most things have certainly stuck. It makes the album a very interesting one to listen to, but it is also apparent that the band have not quite found their 'sound' yet. Black Swan displays this with yet more diversity, with an atmospheric, sparse verse bringing out a very different side of White vocally - while Rivers dispenses with his usual tough riffing to instead create strange textures with his guitars. The verses here do not really sound like anything else on the album, as they create something of a low-key ballad vibe, but the choruses are more typical of the band's sound with a tougher approach and some tight vocal harmonies. The strange atmospherics at times bring some of Alice in Chains' more low-key songs to mind, showcasing yet another influence and side to Bloody Heels' songwriting. After a couple of more experimental pieces, Stand Your Ground returns to the hard-hitting rock sound of the opening numbers. Rivers showcases some great John Sykes-esque guitar pyrotechnics throughout with some great shredded leads, while Hawk's drumming is heavy and bass drum-centric. It might not be the most melodic of the songs here, but it is packed full of attitude that makes it a fun listen. The chorus is full of gang vocals for that added punch of swagger, while White once again goes for a grittier overall vocal approach to fit in with the song's heavy riffing. Rivers however is the real star of the show here, with a diverse yet heavy approach throughout. The Sykes influence is clear throughout, especially during the solo, but the sledgehammer riffing is equally potent - with the rhythm section perfectly lock together with him to create the song's strut. Thin Line goes for a bit more of a melodic approach, with the heavy riffing paired back somewhat to allow for a summery AOR vibe at times - with mid-period Bon Jovi certainly something of a touchstone here. The verses are quite chilled, with White's smokey vocals sitting nicely against a low-key backdrop of bluesy guitar patterns and rumbling bass; while the choruses ooze 1980s stadium rock power with a simple arrangement and more subtle harmonies. It is probably the most obvious 'throwback' song on the album, but the band do the style well and it is clearly a tribute to some of their biggest influences from the 1980s.

Ignite the Sky has already packed in so many influences and vibes in its first two thirds, but the final three songs are full of yet more surprises. Silhouette is a bit of a ballad, with delicate cello melodies throughout from Erna Daugaviete, and it sounds so different from anything else on the album. Some of the other songs here have showcased a more low-key and atmospheric approach, but Silhouette really doubles down on this vibe and bases the whole song around it. There are no big riffs here at all really, instead the whole band lock their instruments together to help to create a strange, atmospheric sound - while White really goes for it vocally as he showcases the power that he can muster up when needed. A lengthy Rivers solo really builds on the emotional punch of the vocals too, proving that the old-fashioned vocalist/guitarist duo that hard rock has been built on over the years is just as vital now in 2020 as it was in 1970. Healing Waters, the album's penultimate track, is another diverse number - but it is also one of my real favourites here as it is packed full of fantastic melodies throughout. The chorus is probably my favourite on the album, and the riffing throughout is so razor sharp that the song really just powers out of the speakers. That Sykes influence is clear again in Rivers' playing here, with some of the riffs sounding like something of one of his Blue Murder albums, while White owns the strutting chorus with his husky vocal approach. What I really love about the song however is how it really changes in the middle, with an atmospheric breakdown kicking in with some soulful saxophone playing from Dagnus Rozins. It is so unexpected at first, but on repeated listens the sudden jazz explosion works really well - and only makes a final reprise of the chorus sound more powerful when it kicks in. Streets of Misery is the album's final statement and unsurprisingly it goes for a fast-paced hard rock approach to ensure that the album ends on a high-energy moment. Much of the experimentation that has been on display throughout the album is not present here, with the band instead going for the throat with a big riff, kinetic drum beats, and a strident vocal performance. It is certainly not the album's catchiest moment, but really whips up a lot of energy and helps the album to end on a high. Those who love some balls to the wall heavy rock will love the track, and it acts as a great simple closing statement to what has been quite a diverse ride. Overall, Ignite the Sky is a really strong second album from the Latvian band and, in my opinion at least, it is head and shoulders better than their debut. While there are no genuinely weak songs here, there is a bit of a lack of cohesion due to the band still trying to really nail down their core sound. Diversity is good, but at times the album does not quite hang together as the best examples of the format do. As a collection of strong songs however, the album is a triumph and I look forward to seeing where the band go from here.

The album was released on 10th July 2020 via Frontiers Records. Below is the band's promotional video for Criminal Masterminds.

New Device's 'Karöshi' - EP Review

It has been a little while since we last heard anything from New Device. The London-based four-piece have certainly been quiet of late, but the release of their third EP Karöshi earlier this months shows that the band have been busy behind the scenes. We last discussed New Device on this blog in 2017, when they celebrated their ten year anniversary by releasing the enjoyable Coming Home (which I reviewed here) - an all-acoustic EP that featured five new songs and two older songs re-worked in a gentler manner. It does not feel like three years since Coming Home, but then again the band have never been the busiest or most in-your-face on social media. New Device's live appearances are fairly rare, but their release output has always been pretty steady and consistent - and I have enjoyed everything that the band have put out over the years. It was with excitement then that I discovered last month that the band's latest EP was imminent, so I pre-ordered a copy straight away and waited eagerly for its arrival. Karöshi, which translates to something akin to 'death by overwork' in Japanese, is the band's third EP and sixth overall physical release. The band's only two studio albums, 2009's Takin' Over and 2013's Here We Stand, laid the groundwork for the New Device of today; but since then the band have largely decided to focus on EPs rather than full albums - each with their own flavour. The band's EPs form part of a series of releases using the artwork of Steve Meyer-Rassow, and I believe that Karöshi is the final of four releases to feature his talents. This project has been six years in the making, starting with the band's sole live album Takin' Over London in 2015. 2016's Devils on the Run (which I also reviewed here) and the aforementioned Coming Home complete the series and I think that New Device have found success and enjoyment with this 'little and often' release schedule. Some question the relevance of the traditional album as a musical format in the modern day, and New Device have showed that things can be done differently. While I feel that the album format is certainly very much alive and well, in the modern world they are certainly not a requirement of any band. Bands are able to get their music out to their fans in a variety of ways now, and New Device's trilogy of different-sounding EPs has certainly worked well for them. As much as I have enjoyed the other two releases in the trilogy, Karöshi is my favourite of the band's EPs yet. After modernising their sound somewhat on Devils on the Run, Karöshi at times feels like a bit of a throwback to the band's earliest work, without ever really compromising the development that they have made over the years. Karöshi is a hard-hitting piece of work, and certainly does not shy away from highlighting the heavier end of the band's sound. It is also the band's first release with bassist Lzi Hayes, who joined the ranks a couple of years ago.

Karöshi is split into two halves, with the first three tracks coming from a mostly self-produced session in a London studio and the final three songs coming from a different session that saw John Mitchell (Arena; Kino; Frost*; It Bites; Lonely Robot) and Harry Hess (Harem Scarem) employed on mixing and mastering duties respectively. In this respect, the EP feels like an old-fashioned vinyl record - with distinct flavours on each side. Interestingly, the most expansive songs are actually up first and it goes to show that the band do not need to rely on outside 'named' help to make them sound good. Burn Out the Sun is up first and it is one of the EP's strongest cuts, with a driving riff from long-time guitarist Matt Mallery kicking things off. Frontman Daniel Leigh has always been New Device's main man, but the other members of the band all rally around him and help him to bring his compositions to life. Mallery, who co-wrote the opening two numbers, shines during this hard-hitting opening track. His guitars lock in perfectly with Hayes' tight bass playing and drummer Greg 'Rozzy' Ison's precise double bass patterns - all while Leigh showcases why his is a very underrated and versatile singer with an anthemic chorus. New Device's early work was always characterised by a big stadium rock vibe, but their recent work has sought to modernise their sound somewhat. It is great to hear the band return to their roots somewhat here, and the chorus is going to be a real winner when it is played live. Lead single Wake Up follows in an equally anthemic fashion, but the stadium rock vibe of the opening number is mixed in perfectly with the more modern sound that the band has been chasing in recent years. A modern-sounding chorus at times recalls U2 dialled up to eleven, while the more laid back verses allow Hayes' bass playing to really shine. Leigh and Mallery's guitars chime throughout the song, helping to create a strong atmosphere, while the aforementioned chorus hits a little harder due to a slightly tougher arrangement. It is a soaring track that really grabs hold after only a couple of listens, and it is going to be another winner when the band get the chance to play it live. Mallery's guitar solo also fits perfectly within the cinematic, anthemic scope of the song - his tasteful leads capturing the overall vibe of the track. Open Your Arms ups the pace again somewhat after Wake Up slowed things down a little, and goes for a slightly crunchy hard rock approach that also retains a little of the atmosphere from the single. The main focus throughout the song is Leigh and his vocal melodies. His finely-crafted vocal lines are instantly catchy, and it is a song that demands to be sung along to - especially the fast-paced, yet sweet, chorus. Despite the crunching rhythms throughout, the song never feels heavy - but the chugging guitars help to give the song some weight. The balance is perfectly struck, and it caps off 'Side 1' of this EP nicely.

The EP's second half goes for a bit of a heavier overall sound. There is a noticeable difference in the guitar tone used during the later songs. This tougher sound helps the band to showcase a different side, but I actually think that their more self-produced songs are better suited to showcase the sound that they seem to want to focus on in 2020. Hell to Pay shines thanks to the heavier sound however, with Mallery's dirty guitar really driving everything - while Rozzy's potent drum patterns add some metal sensibilities at times. In some ways, the song feels like a real throwback to the band's first album. The guitar tone used here is very similar to the one found on Takin' Over, but track as a whole goes for a heavier feeling than the more anthemic approach taken eleven years ago. It is perhaps ironic that the most anthemic songs on this EP went for a more modern-sounding production style, while the songs that sound the least like the Takin' Over material go for a production style akin to that album. The mix is a little strange, but it works well still - and Hell to Pay is a great example of the band's heavier side. Bring the Stones has a similar sound, but the song is much more dynamic - with a gentle clean guitar opening and a structure that moves back and forward between 'gentle' verses and hard-hitting choruses. Mallery's guitars throughout the song very crunchy, while Leigh's slightly high-pitched voice is a perfect fit for the acrobatic chorus. The vocal melodies here are again very well crafted, and it is another song that will be stuck in your head after only a couple of listens. Despite the dynamic arrangement, the song is still very instantly memorable; and it shows that New Device are skilled at making songs that play with structure a little while still being packed full of strong melodies. The EP's closing number Kingdom of the Damned opens with possibly the release's most potent riff; and in fact the song feels like a real throwback to some of the tougher moments on the band's early releases. It is a high-octane hard rock track that never really lets the energy level drop - with Leigh's dramatic vocal performance leading the charge along with Mallery's metal-esque riffing. New Device are never truly a metal band, but they know how to hit hard when they need to - and Kingdom of the Damned is one of their most hard-hitting compositions yet. Rozzy. who has been holding the band together with Leigh since the beginning, puts in a real shift behind his drum kit here - and a mid-paced breakdown sees some of Mallery's grittiest riffing to date. It is fitting that the EP closes with its heaviest number, and it certainly leaves an impression as the disc comes to a close. Overall, Karöshi is a great sixth release from New Device and it is easily my favourite thing from the band since Here We Stand seven years ago. There are many great new hard rock bands out there, but New Device have a sound that is instantly recognisable - and this latest EP contains some of their finest compositions to date.

The EP was released on 3rd July 2020 via ND Records. Below is the band's promotional lyric video for Wake Up.

Bad Touch's 'Kiss the Sky' - Album Review

It is funny how sometimes, after not really ever clicking with you previously, a band can suddenly just hit you and make you realise how much that you had been missing out previously. This is certainly the case for me and the Norfolk-based five-piece Bad Touch - a bluesy hard rock act who have been relentless bringing their up-tempo and feel-good sound to the world for the best part of the last decade. I first came across the band back in 2013 when they opened for The Quireboys in Falmouth, Cornwall. The band did not really grab me on the night, but it seemed that I was destined to keep coming across them over the years. Further support slots with both The Answer and Skid Row did little to change my mind; but it was finally changed in 2018 when the band brought their tour in support of their third album, 2018's Shake a Leg, down to Livewire in Saltash, Cornwall. Livewire is a great youth club that I used to visit regularly as a teenager, and its main focus is around music and encouraging young people to learn instruments, form bands, and play live. Part of the building also houses a live music venue, which has hosted many local bands over the years - but also shows by well-established names including The Damned, Funeral for a Friend, and The Quireboys. The Shake a Leg tour was extensive and, clearly wanting to 'break the Cornish market', Bad Touch rocked up to Livewire. In truth however, I bought a ticket mainly to see the support act, former Heaven's Basement frontman Aaron Buchanan, but I am rarely one to leave a gig early so stuck around to give Bad Touch another go. Almost from the off, I was impressed. Whatever had been missing for me previously in Bad Touch's sound was instantly there - and I really enjoyed the band's lengthy set that included a good selection of material from all three of their albums. I soon picked up the band's catalogue, and have become something of a big fan - and even caught them live with The Quireboys again last year in Sheffield where the band delivered a short but powerful set. A new album was always going to cement my love of Bad Touch, so it was with excitement that I pre-ordered the band's fourth album Kiss the Sky when it was announced earlier in the year. I think one of the reasons that finally drew me to the band was the material on Shake a Leg, which in my opinion is much stronger than the songs found on the band's previous two albums. I have grown fond of the band's older albums now, but for me Shake a Leg is easily the best. I was hoping that Kiss the Sky would follow in Shake a Leg's footsteps, so I was pleased to hear when it dropped through my letterbox last month that lightning has indeed struck twice. A more diverse collection of songs and sounds than its predecessor, Kiss the Sky is still instantly recognisable as Bad Touch, as the five-piece have a very distinct strutting, almost funky, vibe that is not too often present in newer hard rock acts, but there is also some experimentation here. It might not be as immediate as Shake a Leg, but it is an album that rewards repeated listens as there is a lot to uncover within the album's thirteen songs.

Despite some of the experimentation to come, Kiss the Sky opens in familiar fashion with Come a Little Closer - an up-tempo, feel-good rocker that follows on nicely from the sound that dominated Shake a Leg. It is a quick-fire piece that is over in almost a blink of an eye, but the catchy chorus and strong bluesy riffing still manages to make a strong impact. Rumbling Hammond organ, courtesy of Bob Fridzema (King King), and the occasional slide guitar line recall the boogie rock end of The Quireboys' sound, which shows that those many support slots over the years have rubbed off somewhat, while frontman Stevie Westwood's powerful vocal display captures the overall vibe of the song perfectly. He is such a laid back character on stage, and that translates into his vocal style. He has power, but it all seems so effortless for him - with soul perfectly oozing from him, even during the band's more harder rocking moments. As an opening statement, Come a Little Closer really sets the tone for the album to come and showcases the band firing on all cylinders from the off. In contrast, I Get High showcases the funky end of the band somewhat. Rob Glendinning and Daniel Seekings lock in perfectly for a groovy and uplifting guitar riff, which essentially defines the whole song, while the chorus features the band's strong funk and soul influences perfectly. While Bad Touch are a hard rock band at heart, they have never been afraid to showcase other influences. R&B, funk, and soul are all present in the band's sound, and this album, perhaps more so than their previous efforts, really showcases this. The gospel-esque backing vocals during the song's chorus and Michael Bailey's busy bassline are just two examples here that push those influences to the fore, and they help to set Bad Touch apart from the other newer hard rock acts out there treading the boards. Let Go channels southern bluesy rock, with the more rocking end of The Allman Brothers Band being something of a touchstone here. Fridzema, who contributes keyboards on a session basis throughout the album, really boosts the song with his barroom piano melodies, while Seekings' tough bluesy guitar rhythms underpin everything with those southern states grooves. Despite all of these different influences on show, Bad Touch's songs never feel like a pastiche. Everything naturally comes together, and Let Go is a great example of this. The southern rock influence feels natural, helped by a great Glendinning guitar solo, and not a poor imitation. Those who prefer the harder end of the band's sound will love Strut, the album's lead single. It is based around a muscular bluesy riff that, despite its weight, contains a lot of groove, and there is plenty of opportunity throughout for lead work as Glendinning cuts loose occasionally with some tasteful licks. There is not as much of the funk and soul influences to be found here, although the chorus features some more subtle gospel-esque backing vocals that blend in perfectly with the organ, with the band instead looking back to their earlier albums and pushing their core blues-based sound back to the fore. It is a great hard rocking tune that will no doubt go down well when played live.

I've Got the Music in Me is a hard rocking cover of the Kiki Dee Band's 1974 hit, but the song's natural groove fits perfectly within Bad Touch's established sound. Those who are not familiar with the original version of the song would not assume that Bad Touch's version is a cover as it fits in perfectly with the sound established on the rest of the album; whereas those who know the original well will appreciate how Bad Touch have altered it slightly to fit in with their bluesy hard rock sound. This is certainly tougher than Dee's original, but the horn section and backing vocals used here really bring the original to mind. It is a great cover version, with the band simultaneously paying tribute to a great pop hit from the past while at the same time making it their own. Can You Save Me is the first slower number on the album, and it provides something of a respite after five up-tempo and hard rocking tunes. It is not a true ballad, but it certainly goes for a more introspective approach with low key verses and a laid back Westwood vocal display. Despite his smooth, cool demeanour, Westwood always manages to inject plenty of emotion into everything he sings. This song is a great example of his talents; as the verses showcase him taking a somewhat gentle approach to fit in with the clean guitar melodies, while the harder-hitting choruses see him upping the power to fit in perfectly with the song's natural crescendo. The album's title track follows and it is one of the overall highlights of the album for me. The album is strong front to back, but this is a particularly catchy tune - and it is also one of the hardest rocking numbers here. The main riff sounds a little like Black Stone Cherry at times, again recalling the southern rock feel from earlier in the album, but the main meat of the song sounds to me a little like early Whitesnake. The natural strut of both of those bands is present here, and a strong organ presence really helps to reinforce that old-school 1970s hard rock vibe. Bad Touch are never a heavy rock act, but they can rock out with the best of them when they want to - and this is one of the best examples of them really going for it. The chorus is ridiculously catchy and the groove is infectious, all of which help to make the song one of the album's real highlights. See You Again is almost the exact opposite, and goes for a much more heartfelt approach with delicate acoustic guitar chords and Fridzema's piano. One thing that makes this album stand out for me in comparison to the band's older work is the greater emphasis placed on keyboards this time. Their older albums have made use of them, but employing Fridzema to play all of the keyboards this time around has worked wonders - and I do wonder if the band would benefit from hiring a full-time keyboardist and taking this fuller sound further. Fridzema's playing makes songs such as this one really stand out, with his delicate piano perfectly offsetting the guitars and vocals. The gorgeous ballad was made for having this piano accompaniment, and it adds a depth that would harm the song if it was missing. Not to be outdone however, Glendinning's guitar solo is a thing of emotional beauty that caps off what is already a heartstrings tugging number. Before I Die gets back to the band's usual groovy hard sound, with a hypnotic riff featured throughout and a Hammond-drenched chorus. It is not the catchiest song on the album, so it is probably one of the few tracks here that never really makes a proper impact. It is an enjoyable number, but compared to the album's stand out moments it falls flat somewhat. It is good example of the band's older sound, but I think that Bad Touch have come on quite a way since then, meaning that it feels a little old-fashioned compared to much of the album.

Read All About It again revisits the band's southern rock influences with a strident hard rock riff and some busy bass playing. The groove this time however comes from the hard-hitting drumming of George Drewry, who I think is probably the band's unsung hero. Bad Touch are a true band however, and while Westwood and Glendinning often stand out more by default due to their vocals and solos respectively, Bad Touch is a band that is greater than the sum of its parts. The grooves and rhythms are a big part of their sound, and they come from Seekings' riffs, Bailey's snaking bass, and Drewry's rhythms. Everyone in this band locks together perfectly to allow the Bad Touch sound to really shine, and Read All About It is a great example of this togetherness. The grooves are infectious, and they are what really draws me to the band above all other things. Too Much of a Good Thing is similar too, but it is a bit of a harder rocking track that ups the pace somewhat and goes for the gospel-esque sound in a big way. The backing vocals are a big part of the song, and they fit in perfectly with the band's bluesy rock grooves. Fridzema's Hammond again really adds to the song, but the standout moment for me is Glendinning's lengthy guitar solo. He is a great guitar player but, as described above, Bad Touch are a band that always plays for the song. When he does launch into a solo it is always to benefit the song, and his playing really boosts Too Much of a Good Thing for me - and it makes it an infinitely better song as a result. Sun and the Moon is quite a dynamic piece, that switches back and forth between more laid back moments and hard rocking sections with some of the album's most potent bluesy riffing. The verses are very low key, with gentle guitar chords and Westwood's gentle vocals; but when Seekings' heavier riff kicks in the band go into overdrive. The Hammond once again makes a strong contribution, with that early Whitesnake vibe being revisited during the choruses. Fridzema even gets a chance to lay down a short, but potent, Hammond solo which is something new for the band, and another reason why they should, in my opinion, consider finding a full-time keyboardist to allow more of this instrumental interplay in the future. Kiss the Sky on the whole is a pretty rocking and groovy album, but it comes to a close on a gentle note with the delicate Something About Your Kiss. It is a largely acoustic-based number with a very low-fi production style that works really well to round out what is otherwise an expansive and big-sounding album. Bad Touch have often chosen to end their albums with ballads, and the trend seems to work well for them. This is probably their most atmospheric piece yet however, and it sounds quite different from their usual ballads. That is until the last portion of the track however when Drewry's drums crash in and Glendinning launches into a lengthy solo that lasts essentially until the song fades out while Westwood sings over the top of it. It is a powerful closing statement that builds from a swirling and delicate intro, and it showcases the confidence of the band in tackling something a bit out of the ordinary for them. Overall, Kiss the Sky is another great album from this young band who are really starting to make a name for themselves here in the UK now. With another lengthy tour planned for the UK next year, it seems that rock fans across the country really love what Bad Touch are about, and I hope that there is more like this to come from them in the future.

The album was released on 19th June 2020 via Marshall Records. Below is the band's promotional video for Strut.

Lamb of God's 'Lamb of God' - Album Review

There is no denying that Virginia's Lamb of God are currently one of the biggest modern metal bands on the planet. Outside of a handful of acts who can regularly fill arenas, such as Slipknot and Five Finger Death Punch, Lamb of God really are the kings of the metal castle - and have successfully brought a sound that, at least in part, resembles extreme metal to the masses. Listening back to the band's 1999 debut album Burn the Priest (the self-titled release under their original name) now it is hard to imagine that the same band would one day hold such clout - but the hard graft that Lamb of God have put in over the years has certainly paid off. Albums such as 2003's As the Palaces Burn and 2004's Ashes of the Wake solidified the band's trademark mix of Pantera-esque grooves and hardcore punk-esque energy; while those releases that have followed have only sought to make the band bigger and meaner. It is fair to say that, on the whole, Lamb of God have continued to hone their sound over the years without ever really taking any radical deviations from a formula that has essentially been in place since the beginning. Despite their popularity, the band's critics have often said that Lamb of God seem quite happy to release the same album over and over again and have been stuck in a bit of a creative rut creatively since the late 2000s. Credence to this viewpoint came last year with the departure of the band's founding drummer Chris Adler - with him stating that he no longer felt that he and the rest of the band were on the same page, and he also voiced his frustration at the band's lack of willingness to experiment. I do not necessarily agree with the view that Lamb of God have become stale however, or that they never truly deviate from their long-established formula, and I think listening to the band's tenth studio album Lamb of God in the context of the rest of their recent work showcases this. In many ways, Lamb of God is the quintessential Lamb of God album; but it feels that way in part due to the directions that the band took on both 2012's Resolution and 2015's VII: Sturm und Drang (which I reviewed here); as well as their hardcore punk covers album Legion: XX which was released in 2018 under the Burn the Priest banner. Both of the band's previous two original albums contained plenty of subtle experimentation, and were far from being simple copies of Ashes of the Wake. They were albums that saw the band trying a few new things alongside their established sound, and they showed that Lamb of God were willing to push the boundaries somewhat. They have never truly been an AC/DC in that regard, and I enjoy both Resolution and VII: Sturm und Drang for their experimentation. I also enjoy Lamb of God however for its steadfast dedication to the band's core sound. The experimentation is largely absent this time around, and instead the album's ten songs showcase Lamb of God really doing what they do best. Lamb of God is a huge sounding groove metal album with tonnes of attitude and vigour, with the band clearly out to prove that this new era featuring drummer Art Cruz (Wings of Plague; Prong) is going to be just as vicious as the last. Cruz has the dubious honour of being the first new member of the band since Lamb of God became Lamb of God, and also of stepping into the shoes of one of the most respected modern metal drummers. Cruz acquits himself fantastically here however, and his drum performance throughout the album fits seamlessly within the band's established sound.

Despite Lamb of God on the whole sticking firmly to the band's tried and tested formula, the opening track Memento Mori opens up very slowly in comparison to how the band would usually kick off an album. The slow-burning, almost dirgy, opening moments of the song create an oppressive and sinister mood, with frontman Randy Blythe's murky clean vocals mixing perfectly with the atmospheric guitar textures. The band have flirted with this sound before, but here it really shines - and it only makes the main meat of the song sound even meaner and heavier when the album's first big metal riff kicks in. Once the song 'gets going', it is clear to see that Lamb of God have lost none of their power. Cruz's drum grooves are as potent and as snaking as his predecessor's; and Mark Morton and Willie Adler's riffs are still as bruising as ever. Everything really comes together perfectly on Memento Mori for me, and it is one of the band's best modern exponents of their quintessential sound. Mid-paced groove-based riffs sit perfectly alongside pacier thrash sections to keep the song interesting; while Blythe's vocal performance is one of his most caustic for sometime. It is easily one of the album's best songs, and it could well be the most powerful opening statement from the band yet - with the build up from the opening murk really helping the album get off to an atmospheric and heavy start. Checkmate is less dynamic, but it lacks little as a result. It was chosen as the album's lead single, and I can see why as it perfectly showcases the band's trademark sound and proves that this new look Lamb of God are as vital as ever. The opening bluesy riff may be a little too close to Ghost Walking for comfort, but besides this little bit of self-plagiarism Checkmate is quintessential Lamb of God. The verses strut along with southern-fried grooves, with John Campbell's powerful bassline holding everything together, before a faster-paced chorus allows Blythe the opportunity to lay down some hooky vocal lines that instantly lodge themselves in the brain. While it may not be as catchy as Lamb of God singles of the past, there are still a lot of memorable melodies here - and the song is sure to become a live favourite over the next few years. The guitar work is interesting too, with Morton providing a few little leads throughout, particularly during the choruses, which helps to break up the monotony of the riffing. Lead work is used sparingly by the band, but the few little leads that are used here really add to the feel of the overall song and they push its melodic nature even further. Gears is similar, but it is possibly the heaviest and most relentless track of the album so far. The pace is somewhat faster than the other two opening numbers, and the general approach taken here seems to be one of uncompromising heaviness. The atmospheric and bluesy moments from the opening two songs are absent here, with heavy riffing truly the name of the game this time around. That being said however, a rare Morton solo is an unexpected highlight. True solos in a Lamb of God song are rarer than even the standout lead lines, but the shredded section here is an explosion of energy that fits perfectly within the song's brutal approach. Lamb of God are a band known for their riffs, but occasionally they like to change things up a little - and the solo in Gears proves this.

Reality Bath opens with a low key bassline from Campbell that morphs into a strange Blythe spoken word piece set against the backdrop of a grinding riff - before the song explodes into another sledgehammer groove metal track. Parts of the song are easily some of the fastest on the whole album, with Cruz really getting to show off his footwork with some precise double bass drumming; while other moments hark back to the bluesy opening of Checkmate with effects-heavy guitar riffing and prominent, pulsing bass. Lamb of God are at their best when they are at their most dynamic. The band's best songs of the past mix fast-paced punky moments with mid-paced heaviness, and Reality Bath is a great example of this duality approach. We may have heard it many times before, but for me it still sounds vital and exciting. Those who love the band's more snaking tracks, such as Now You've Got Something to Die For, will love New Colossal Hate as it opens with a great Adler guitar groove which Cruz backs up with the band's trademark unconventional approach to metal drumming. The band are not one to lay into the double kick drums all the time, instead going for a more groove-based approach that includes a lot of well-timed fills and cymbal patterns. This song perfectly showcases that style, and as a result it becomes a bit of a spotlight piece for Cruz. He has nailed the band's style perfectly, and this track, perhaps more than any of the others, really showcases this. It also features one of the album's best choruses in my opinion, with Blythe's fist-in-the-air melodies really grabbing hold. Stadium-worthy is not something that I would often describe Lamb of God as being, but the chorus here is almost fitting of that tag - and for that reason I can also see this song becoming another live favourite. After a handful of tracks that really go for the throat, Resurrection Man slows things down somewhat and takes something of a doomier approach. It is similar in many ways to Omerta, with a creeping, heavy vibe throughout that never really picks up the pace - but instead relies on the weighty slow-paced riffing for its power, as well as a fantastic Blythe vocal. He has rarely sounded this gritty and mean before, and he actually reminds me a little of Napalm Death's Barney Greenway at times here. It is probably one of the heaviest songs that the band have written to date, but then there are occasional curve balls thrown in such as a short-lived section that has some subtle Gothenburg-style twin lead guitars. It is a bit of a blink-and-you-miss-it moment, but it adds a little bit of melody in what is otherwise a very caustic song - and the contrast works really well. Poison Dream is more typical of the album's overall sound, with a great groove-based intro bringing the best out of Cruz and Blythe sounding more like his usual self during a potent verse. It is also the first of two songs here to feature a guest vocalist. VII: Sturm und Drang featured a couple of questionable guest vocalists, and that is the same here too. Poison Dream features the talents of Jamey Jasta (Hatebreed; Kingdom of Sorrow) - who contributes a hardcore-esque bridge to what is otherwise a typical Lamb of God groove metal tune. I have never been the biggest fan of Jasta, but his additions really add nothing to the song for me. It ends up sounding like something from an early 2000s nu-metal album, so his part is instantly extremely dated. Luckily this vibe is very short-lived, and another of Morton's rare, but excellent, solos follows Jasta's contributions to instantly wash it from the memory.

Routes also features a guest vocalist, with Chuck Billy (Testament; Dublin Death Patrol) adding his distinct voice to the track. While again it could be argued that Billy's contributions are not really necessary, they certainly fit better within the song than Jasta's did previously. Routes is a fast-paced thrash number that is packed full of energy; and Billy's distinct croons do add nicely to the slower-paced, epic choruses. Testament have never been the fasted of thrash bands, so it is fitting that Billy's contribution to what is a very thrashy song for Lamb of God is during the slower, groovier chorus. Blythe seems to relish the opportunity to really let rip during the fast-paced verses; while his voice blends nicely with Billy's during the weighty and atmospheric choruses. Another Morton solo only adds further to the fast-paced chaos of the song, helping to make the track something of a winner. Bloodshot Eyes features some more clean vocals from Blythe, which is something that he has been experimenting with more over the past couple of albums. While he is still better as a harsh vocalist, I like the vocal diversity that he has been toying with recently. The verses here really benefit from the more low key approach, with Campbell's bass rumbling away beneath Blythe's croons, and the vocal diversity really makes the heavier sections sound all that more mean. The chorus here is another melodic winner, and it really helps that Blythe switches to his more typical harsh vocal approach to add some power. I imagine that some of the 'flat earth' end of the metal world will not appreciate Blythe's vocal diversity on the band's more recent albums, but I really like it and I hope that this is something that he continues to experiment with in the future - as when it is used effectively as it has been here it can really help to shake up the band's sound. The album's final track On the Hook is a furious balls-to-the-wall type effort that is trademark Lamb of God through and through - but with perhaps slightly more vim than usual. It is a very thrashy track, and there are even moments where Cruz breaks into a blast beat for extra power. These moments are short-lived, but they really help to add to the song's overall heavy aesthetic and again prove a subtle change of pace that is not typical within the band's sound. It is not the most memorable track from a melodic perspective, but it does not have to be. As a closing number it wants to leave an impression, and it certainly does that due to how pummellingly heavy it is. It is a song that takes no prisoners, and it showcases the sort of song that the band have been putting together since the beginning. Lamb of God have lost none of their power, and On the Hook is a perfect closing statement to back that up. Overall, Lamb of God is an excellent album from the five-piece that showcases everything that their fans have come to expect from them over the years. It may not be as experimental as the band's last couple of albums, but there are a few moments that deviate from the norm while still giving the fans what they want to hear. It might well be 'more of the same' for some, but for me it is a vital sounding modern metal album that showcases one of the genre's best exponents in a great light.

The album was released on 19th June 2020 via Nuclear Blast Records. Below is the band's promotional video for Memento Mori.

Vega's 'Grit Your Teeth' - Album Review

While Vega are not the most successful of the modern AOR acts that are currently out there treading the boards, they are certainly one of the most consistent. Since releasing their debut album Kiss of Life ten years ago, the band; which is formed around a songwriting trio of frontman Nick Workman, bassist Tom Martin, and keyboardist James Martin; have put out album after album of very enjoyable melodic rock. I think it is fair to say that Vega, on the whole, have more of a modern sound than many of their peers however. While the band's style is certainly rooted in the big AOR and melodic rock scenes of the 1980s, Vega's sound also owes quite a lot to modern pop and rock tropes. James Martin's keyboards are much more atmospheric and cinematic than is usual for the genre, with the band largely forgoing a pompous, keyboard-driven sound, while the razor-sharp riffing of lead guitarist Marcus Thurston often dominates and really drives everything forward. It is Thurston's riffing that, perhaps more than ever, really defines Grit Your Teeth - the band's sixth album which was released last month. Grit Your Teeth follows relatively hot on the heels of 2018's Only Human (which I reviewed here), an album that, probably more than any of the band's releases before it, really summed up the Vega sound to that point. 2016's Who We Are (which I also reviewed here) pushed the more modern elements of the band's sound to the fore in a much more obvious way than previously, but Only Human seemed to bring everything together - which perhaps led to it being the best sounding Vega album to date, if not the best in terms of overall songwriting quality. It was also the band's first effort with their current expanded six-piece line-up, with guitarist Mykey Kew and drummer Martin Hutchison having joined the ranks in 2017, so in some ways Only Human needed to be a bit of a statement to solidify the beginning of this new era. I wondered where Vega would go from Only Human. I had assumed that they would go for 'more of the same' on their eventual follow-up to it, which is essentially what they have done, but Grit Your Teeth certainly stands out somewhat in the context of the band's catalogue. The band's sixth album sees them purposefully 'rocking' things up, and Grit Your Teeth is easily the heaviest album that the band have released yet. While not a metal album, Grit Your Teeth has more bite than the band's previous albums - with Vega making good use of having two full-time guitarists and the soaring power of Workman's voice. It was produced by Sam and Joe Graves who I remember being part of a metalcore band called With One Last Breath back in the day when I was actively following bands like Glamour of the Kill and Heaven's Basement - and the Graves brothers have brought their metal mindset to this album, dirtying up Vega's sound in the process and giving the six-piece a newfound heft.

While the whole band shine on Grit Your Teeth, as mentioned earlier it is perhaps Thurston and his riffs that really stands out the most throughout the album's eleven songs. It is fitting then that the album kicks off with the weighty Blind, which is the first song in the Vega catalogue that he has co-written. The song steams along at a steady, chugging pace; while Thurston's main riff buzzes throughout with its 1980s melodic metal-esque vibe and Hutchison's punchy drumming adds to the overall weight. Vega have rarely sounded this vital and energised previously; but the band's core sound is still present thanks to Workman's excellent vocals - particularly during the melodic chorus. James Martin's keyboards take on more of an organic sound during the heavier moments, with a rumbling rock organ part particularly standing out during the strong chorus, but the AOR melodies are still present and correct. Thurston's solo is a shredded feast to perfectly fit in with the heavier vibes, and the song overall is Vega, but dialled up to eleven. Lead single (I Don't Need) Perfection is a bit more typical of the band's core sound, but there is still a little more weight than usual. Thurston and Kew team up for a simple, driving opening riff, while Tom Martin's bass is left to hold the verses together with a potent rumble. While Blind was still very melodic despite the added heft, (I Don't Need) Perfection channels Vega singles of the past in a bigger way - while still maintaining the album's grittier sound. The combination of sounds works well, and Workman still manages to show why he is one of the best modern AOR singers during an anthemic, stadium-ready chorus that features some tight harmonies and some sing along moments that are made to be played live. The album's title track is similar, and is a great representation of the album's overall sound - mixing gritter sounds with the band's trademark AOR hallmarks. In my opinion it is one of the album's catchiest songs, both in terms of vocal melodies and arrangement. The verses have a great Def Leppard-esque stop-start rhythm, as the guitars sometimes drop out to leave Workman singing against a backdrop of Hutchison's potent drumming, while the chorus has enough poppy melodies to make it stand out against the tougher backdrop - while James Martin's organic keyboards add a certain depth. I like the fact that the keyboard sounds used throughout this album are often more old-school sounding than usual. There are lot of organs and retro synths used throughout, which is different from the poppy choices that the band often go for, and this choice helps the album to stand out from the band's earlier works. Man on a Mission is somewhat similar to Blind, and really showcases the grittier sound of the album perfectly. Vega have rarely been called a 'blues-based band' in the past, but Man on a Mission is certainly worthy of that tag. The riffing throughout from Thurston and Kew is full of weight and traditional bluesy touches, and the moments where an effects-heavy Workman sings to a dirty solo guitar backing sound more like Black Stone Cherry than anything Vega have done in the past. A foot-stomping chorus and a shredding solo ensure that the song still sounds like Vega however, but the deviation into this slightly heavier territory is a welcome one.

Don't Fool Yourself is more typical of the band's usual sound however, as the song is a modern sounding AOR track with a chorus that hits hard from the off and a somewhat more cinematic approach is taken. James Martin's keyboards are still more organic than usual to fit in with the album's overall sound, but the song sounds more like the band's trademark style thanks to the overall arrangement. The riffing is less in your face this time around, and a big focus is placed on vocal melodies throughout. This is a song that is based around a big chorus, and everything really feeds into promoting those big melodies. It is another song that is sure to go down a storm when played live, as the hooks are so big and Workman's vocal performance is as larger than life as ever. While Vega are certainly an AOR band at heart, I have never really been the biggest fan of their ballads. On this album however the band have really upped their ballad game, and Grit Your Teeth contains their best ballads yet in my opinion. Consequence of Having a Heart is the first example of this huge step up in my opinion, and the song's chorus is one of the many on this album that really stick with me long after it has stopped playing. The grittier production used throughout the album certainly gives the ballads a bit of a kick up the rear, but they also seem to be a bit more emotional this time around. James Martin uses more typical keyboard sounds here, but when mixed in with the weightier guitars everything just seems to come together. Thurston's solo echoes the emotional tug of the song perfectly, but the standout moment for me is the chorus - where Workman once again turns in a stellar vocal performance. This One's For You feels like a bit of a throwback to the band's older albums. While the heft from the production remains, it feels a lot smoother than the rest of the album and almost feels like it was recorded during a previous album session and then 'roughed up' a little to appear here. After reverting to his more cinematic synths for the previous song, James Martin's keyboards are much more prominent here - with lots of warm synth leads helping the song the stand out from the crowd, while the guitars take something of a backseat to provide chugging rhythms. Occasional bursts of ringing piano add additional depth, while the overall grander sound that the song goes for provides a bit of a mid-album change of pace. Another excellent ballad comes in the form of Battles Ain't a War, which opens up with a pulsing Tom Martin bassline and some aching Thurston guitar leads. While I think I prefer Consequence of Having a Heart overall, the chorus of Battles Ain't a War is one of the album's catchiest moments and it really showcases Workman's knack for a killer vocal melody. He is a singer that I warm to more and more over time, and I think that some of his best performances yet are found on this album. The chorus here is a great example of his power and emotion, and again Thurston manages to also channel this through his guitar solo.

Save Me From Myself is another track that feels like a bit of throwback to the band's older albums, and even the production feels a little cleaner and smoother this time around. While it does not hit as hard as many of the album's other songs, it is a great example of the poppier end of the band's sound and the smooth AOR vibe throughout is great. The low key verses with Tom Martin's bass taking the centre stage are a great throwback to the 1980s, before the band all pile on for the soaring chorus which takes on more of a harder rock vibe with Workman's excellent vocals and a solid guitar presence. I think that this song would have had more of an impact on one of the band's previous albums but, due to the overall tougher feel that Grit Your Teeth goes for, it does feel a little out of place here. I still enjoy the song a lot, and it is great reminder of what Vega have been about in the past, but it does fall prey to maybe being the right song at the wrong time within the context of this heavier, tougher album. The same fate should probably also befall How We Live, but for some reason this song just seems to fit within the context of the album more comfortably than Save Me From Myself. I think that is probably down to the bigger guitar presence that is used throughout the song, with even the fairly smooth verses featuring strong chugging guitar rhythms. It is also just such an irresistible song, so much so that even though it does not quite fit in with the album's overall sound I just love hearing it. The chorus is one of the album's best, which says a lot considering that pretty much every song here soars, and I really hope that it becomes a live favourite going forward. I can really see the band going for it in a big way when playing the song live, and it was chosen as one of the album's singles hopefully with this in mind. Done With Me is the album's closing statement, and it is a fairly short song that, while certainly not the best thing here, packs a bit of a punch and helps to round the album out in style. It is a high energy piece that ensures that the album ends on a bang, and is a song that benefits from the album's heavier sound. Hutchison's drums throughout just pound out of the speakers, and Thurston's screaming guitar leads that close the song out perfectly capture the grittier and tougher nature of this album - while also demonstrating his skills as a guitarist. Vega are a band more about melodies than virtuosity, but he occasionally likes to remind us all how great he is. Overall however, Grit Your Teeth is another excellent album from Vega that shakes up their trademark formula somewhat while still retaining enough of their core tropes to ensure that their existing fans will still easily be able to latch onto the songs. This heavier Vega is a very enjoyable one, and the songs on this album have certainly been written with being played live in mind. It will be interesting to see if this tougher approach is retained on their next album, or whether we can expect a return to their more poppier approach in the future.

The album was released on 12th June 2020 via Frontiers Records. Below is the band's promotional video for (I Don't Need) Perfection.