Saturday, 28 November 2020

Black Stone Cherry's 'The Human Condition' - Album Review

While I do not listen to the band anywhere near as much I used to, the Kentucky four-piece Black Stone Cherry will always be an important band to me. I first got into them in 2008, around the time that their second album Folklore and Superstition was released, and hearing it made me realise that southern rock was certainly alive and well in the 21st Century. At the time I was pretty familiar with Lynyrd Skynyrd, but my wider southern rock knowledge was pretty weak - so Black Stone Cherry acted as something of a gateway back to bands like Blackfoot, Molly Hatchet, and The Allman Brothers Band, all of whom I am now a big fan off. At the time of my first hearings of Folklore and Superstition, my musical taste weas greatly expanding. I had already had my fill of classic and progressive rock, and was branching out into more areas - particularly metal. Black Stone Cherry had a real grit to their sound, which somewhat fed my burgeoning metallic tastes, but their southern grooves and heartfelt songwriting set them apart - and in truth they are probably largely responsible for my love of southern rock today. It was a shame then that, for me at least, after Folklore and Superstition the band started to loose their way a little. 2011's Between the Devil & the Deep Blue Sea remains a fun album, but 2014's Magic Mountain (which I reviewed here) appeared to be the product of a band that was really not sure which direction they wanted to pursue. Reading between the lines, I think that Roadrunner Records, who released the band's first four albums, were pushing the band towards more of a post-grunge radio rock sound with a lot of outside songwriters - and Magic Mountain was a combination of that and the band still trying to stick to their southern roots. There has always been a little post-grunge influence in Black Stone Cherry's sound, but I think Roadrunner wanted to emphasise this element above all else - leading the band loose their identity somewhat. In my view, leaving Roadrunner and signing with Mascot in 2015 was one of the best business decisions that the band have made. Both 2016's Kentucky (which I reviewed here) and 2018's Family Tree (which I also reviewed here) saw the band's modern take on southern rock pushed to the fore again - and it was great to see them back on track. On Mascot, the band have been extremely prolific too, and last month saw the release of their seventh album The Human Condition - their third full-length album since signing with the label. In my view, The Human Condition picks up where Family Tree left off two years ago - but also sees the band looking back into their past. It is my understanding that some of the songs presented here were written at various stages throughout their career and, for whatever reason, were never recorded. Some of these songs even appear to come from the Roadrunner days, as songwriters like Dave Bassett and Blair Daly are credited on a handful of them, but the band's current, rawer production style ensures that everything feels at home - even if a handful of songs do push the post-grunge vibes a little more so than the band have allowed for a while. A little nostalgia and experimentation does the band no harm however, and their core sound is still very much alive and well.

Despite having thirteen tracks, the album's under 50 minute runtime keeps it from outstaying its welcome. The vast majority of the songs here are under four minutes long; meaning that each track hits you with a couple of strong hooks or riffs before quickly moving on. This helps the album to flow nicely, and each listen to the album really flies by. There are lot of big, hard rocking tracks here, but the album opens with three of its biggest hitters. Ringin' in My Head is one of only two songs here to breach the four minute mark, its hard-hitting style and smooth, melodic chorus a great way to open the album. Feedback fills the speakers as the song starts, but a staccato, bluesy riff soon kicks in and frontman Chris Robertson starts singing at the same time. It is a slightly strange way to start the album, but it works well and gives the song a sense of urgency. The verses follow this staccato vibe, with a subtle reggae-esque groove backing it at times, while the choruses are much more full - with subtle guitar leads and a much more expansive sound. In some ways the song harks back to the arena rock sound of Between the Devil & the Deep Blue Sea, but the rawer production, which really pushes John Fred Young's drums to the fore, gives the song a great groove to fit in with the band's Mascot-era sound. Again, the album's lead single, is much more southern-sounding, with a main riff that would have felt at home on their 2006 self-titled debut album, before a buzzing, bass-led verse forms the backing for another great Robertson vocal. In my opinion, he is one of the best modern hard rock singers - and his performance throughout this album really displays this. He can really roar when needed, but he can also deliver a really convincing and heartfelt emotional performance. Again showcases all sides of his voice, with the verses seeing him rock out, before the choruses (the first of which is semi-acoustic) allows for a more melodic delivery. It might be the sort of song that we have heard a number of times from the band at this point, but Again is still a winner - with a great, explosive guitar solo to cap it all off. Push Down & Turn continues on the heavy vibe established through Again, but builds on it and as a result it is one of the dirtiest sounding tunes here. I am not sure the band have sounded this potent since Reverend Winkle from Folklore and Superstition, and it is great to see the band really letting their hair down here with some southern metallic riffing. One thing that really stands out to me about this album is the drum sound and overall performance of Young. He has always been an impressive drummer, but the production here really allows his performance to be spotlighted. The drum sound here picks out every tom hit and kick strike perfectly, and his drum backing to the song's solo is one of the most barrelling additions to a modern commercial hard rock album that I can recall. When Angels Learn to Fly is the first song here that allows the listener something of a break from the heavy riffing. While it is not exactly a fully-fledged ballad, it is certainly a more heartfelt track with some smoother melodies - particularly during the low-key verses. There is still a good energy throughout the track however, with a catchy lead guitar refrain acting as one of the main hooks - and the chorus has a southern rock-meets-U2 stadium rock feel that really soars, with Robertson once again displaying his talents as a vocalist. This is another song to hark back somewhat to the latter end of their association with Roadrunner, but the melodies are so strong that the song is still very enjoyable despite the more commercial vibes.

Live This Way instantly gets the album back on a harder rocking track however, with a heavy drum intro from Young and another massive riff from Robertson and fellow guitarist Ben Wells. It is a very simple song, but it is packed full of energy and the riffing never lets up throughout - giving the song a heavy, groove-laden feel. In some ways, this is another throwback to the band's early days. The first Black Stone Cherry album is largely a high-energy hard rock affair, and this song taps into that vibe perfectly. The wah-drenched solo harks back to this early sound, while the southern grooves are catchy and full of attitude - which is exactly how I like my Black Stone Cherry to sound. In Love with the Pain slows things down a little again, with a similar vibe to When Angels Learn to Fly present, but the melancholic song still has a decent energy to it. There are more hooky guitar leads to draw the listener in, and the chorus is very memorable with some great vocal melodies and chiming guitar lines. It is the only song here that is under three minutes long, and as a result it really flies by. In some ways, the song feels a little undercooked, which is a shame as the chorus is very strong, but on the other hand this album as a whole seems to be an exercise in fat-trimming so the short track still fits in. The Chain feels like a real throwback to the Folklore and Superstition days with a fuzzy, bluesy guitar opening and some of the biggest riffing on the album. If The Human Condition has any particular 'feature', I would say that it is hooks. Black Stone Cherry have always been a hooky band, but there seems to have been a real focus placed on them here. Each song has a strong hook that makes it stand out, and the shorter nature of the songs makes each song an enjoyable nugget before moving onto the next treat. I quite like this approach, and it does somewhat set it apart from the band's albums while still very much sounding like a Black Stone Cherry release. The Chain's furious riffing makes it one of the hardest rocking tracks here, and it is a standout cut for me as a result. Ride is a little more dynamic, as it opens with a fast-paced main riff but the rest of the song varies the pace up a little to keep things interesting. The juddering verses, with a strong bass presence from Jon Lawhon, bring out the best of Robertson vocally; before the choruses fill out the sound a lot more - while Young's drums really allow them to steam along at a strong pace. It is not the catchiest track here, but the varying pace throughout really allows it to become one of the most energetic. I can see the song becoming a live favourite over the years if the band choose to play it - as the pace will really get a crowd going and its three minute runtime will allow it be a short, sharp hit of energy. If My Heart Had Wings is the first true ballad here, with low-key acoustic-based verses mixing well with bigger-sounding choruses replete with a simple string backing and some emotional vocal hooks. The verses feature some subtle piano lines to bolster the simple arrangement; but it is the chorus that really soars here. The band have always been good at writing ballads, even if Roadrunner really made them the focus at one point, and this is another good example of the style. Robertson allows the band's ballads to really soar as his emotional delivery really suits them, and it is his vocal performance here that makes the song what it is.

Don't Bring Me Down is a cover of the Electric Light Orchestra song from their 1979 album Discovery - but the band have made it their own by injecting some southern groove into the track. It does not sound out of place on the album at all, which is always a good sign when a band choose to record a cover - especially when the original song is quite different from the band's usual style. The big harmony vocals during the choruses pay tribute to the old ELO sound, which is nice, but on the whole the song just sounds like another strong modern Black Stone Cherry cut with a great bass-heavy feel and some bluesy guitar fills throughout the keep things interesting - and it is another strong cover to add to the handful that the band have recorded in the past. Some Stories is another throwback to the band's older sound, with some of the dirtiest, bluesy guitars here filling the intro - before another massive riff kicks the song off proper. One thing that is common in the band's sound is a strutting vibe, and this is a track that is absolutely packed with it. There is so much swagger here that it is not hard to imagine the song playing during a strip club scene in a film; while the melodies during the chorus are extremely memorable - making it one of the songs that easily pulls the listener in during a first listen to the album. The Devil in Your Eyes sounds like it is going to be another hard rocker, with a big opening riff that is filled with the band's trademark energy, but much of the track is actually quite different from the norm with something of a southern rock-meets-AOR vibe - which is probably due to the song being co-written by Marti Frederiksen. Frederiksen's knack for a poppy melody is all over this song, but it has been meshed with the band's usual southern rock style and the mash-up works surprisingly well. The hooks here are really strong, and there is a subtle keyboard presence here that is rarely heard on a Black Stone Cherry track. I really like the song however, and it would be nice to see the band experimenting more with this sound again in the future. The album comes to a close with Keep on Keepin' On, a mid-paced song that again shows the band's post-grunge vibes pushed to the fore. The chorus has a real American radio rock vibe, but the melodies are still really catchy. It sounds a little clean compared to many of the dirtier grooves found throughout the rest of the album, but it is not so different that it sounds out of place. The song still sounds like Black Stone Cherry, but the band have not felt quite so openly commercial since Magic Mountain. It is possible that this is a song that the band have sat on for a while, and it has now finally found a home here. It ends the album on a very light, upbeat note, which is no bad thing after some of the heavier tracks that fill the album - but personally I prefer the band at their loudest and most hard rocking. Overall, however, The Human Condition is another strong album from Black Stone Cherry that sees them allowing themselves perhaps a little more freedom this time around. If Kentucky and Family Tree were about the band re-establishing their core sound, The Human Condition is the band comfortable with that sound and willing to showcase a little experimentation. This is an album that harks back to all of the band's previous sounds and albums, while still presenting a concise and varied collection of songs that will appeal to their old and new fans alike.

The album was released on 30th October 2020 via Mascot Records. Below is the band's promotional video for Again.

Saturday, 21 November 2020

Leaves' Eyes' 'The Last Viking' - Album Review

Despite a number of Tarja-era Nightwish clones that sprung up throughout the late 2000s to capitalise on the Finnish band's success, I actually find symphonic metal to be quite a varied and diverse genre - certainly more so than many seem to give it credit for. While all of the genre's big hitters certainly share some tropes, as is the case with every genre of music ever created, I actually think that all of the main bands have distinct sounds - each of which brings something unique to the table and helps to make the genre as enjoyable and as vital is. In my view, Germany's Leaves' Eyes are one of the genre's big players. While they might have not broken through into the relative mainstream in a way similar to Nightwish, Within Temptation, or even Epica; the ever-evolving five-piece have been a busy and constant force in the scene since forming back in 2003. I think the thing that really sets Leaves' Eyes apart from the pack for me is their somewhat whimsical take on the overall genre. While the band's sound is still very grand and bombastic, it pushes for the epic and overblown far less frequently than the sound exhibited by many of their peers. There is a certain organic, rustic quality to Leaves' Eyes music - helped by a strong dose of folk that often weaves itself in between the more prominent symphonic and death metal strands of their sound. If any symphonic metal band's music was suitable to be played around a roaring campfire, the Leaves' Eyes are certainly the band to provide that soundtrack. The band's tales of Norse history are told in a grounded, less-fantastical way than one might expect; which suits the band's rootsier aesthetic. Even the band's forays into death metal feel more earthy and ancient than the tight and modernised sound that Epica favour; and everything really comes together to make Leaves' Eyes a perfect band for a cold winter's night. It is fitting then that October 2020 saw the release of the band's eighth album The Last Viking. Following two years after the excellent Sign of the Dragonhead (which I reviewed here), The Last Viking is the final instalment of a loose trilogy that started back in 2015 with King of Kings (which I also reviewed here), which chronicles real Norse history. The tales told here are gritty and without the mythological aspect that so often dominates any story set in that time period; and are brought to life perfectly by Elina Siirala, on her second outing with the band, and founding member Alexander Krull. Siirala really impressed on Sign of the Dragonhead and has turned in another excellent performance here; while Krull's harsh vocals are as demonic and rough-sounding as ever. Founding guitarist Thorsten Bauer and long-time drummer Joris Nijenhuis return here alongside Siirala and Krull, with new guitarist Micki Richter (Atrocity) also adding his talents to the release - keeping up with the band's tradition having at least one line-up change between each studio album! Three of the songs here were released last year as part of the Black Butterfly EP, but presented here in their proper context they feel much more at home - and part of the wider Norse saga the band have been telling over the past few years.

Before going into The Last Viking, it is worth noting that it is probably the band's most ambitious and progressive album to date. While Sign of the Dragonhead was essentially just the band doing what they do best to present Siirala to their fans, The Last Viking sees the band pushing their songwriting in slightly different directions - while still remaining true to the sound that has served them well over the years. The short, atmospheric opener Death of a King opens things up slowly; in a way which is rare for them. Leaves' Eyes are a band to usually kick off an album with big riffs and lots of energy, but the piece put together by Jonah Weingarten (Pyramaze; Echoterra; We Are Sentinals) builds up slowly and organically, with the spoken word from Susanne Dahle Johansen (Mørke) helping to really set the tone. Once it morphs into Chain of the Golden Horn however, the typical Leaves' Eyes sound is pushed to the fore in a big way. Bauer and Richter's guitars dominate; laying down hooky, folky, melodies; while Siirala's vocals take on a commanding presence. Songs like this really continue the good work established on Sign of the Dragonhead, the band's mix of jaunty melodies and crunchy metal rhythms once again proving to be a winning formula. Krull's pre-chorus vocals give the song the earthy energy that it needs, while Nijenhuis, who seems to be the drummer that has finally made the band's drum stool his own after a lot of previous drummers came and went in quick succession, drives everything with his fast footwork and precise grooves. The song might sound like Leaves' Eyes singles of the past, but that is only because the formula works so well for them - and it is a great way to kick off the album. Dark Love Empress slows things down somewhat, and goes for a mid-paced gothic/symphonic approach - with the choirs and orchestrations dominating while the guitars provide a tough backing. Leaves' Eyes have done the moody gothic thing before, but it has not been as big a part of their sound of late. There are a few songs here that bring the sound back however, and Dark Love Empress is one of them. As a result, it becomes a big showcase for Siirala. It allows her to show off her classically-trained voice perfectly - the grand song a perfect setting for her operatic delivery. Musically the song is built as a bed for her gorgeous melodies, but a lone guitar solo cuts through the mix towards to ape some of same melodies - which is the icing on the cake. Serpents and Dragons returns to the faster paces of Chain of the Golden Horn, but the song is much heavier - with Krull taking a larger share of the vocals. The verses are very much done in a call-and-response style between Siirala and Krull - while the choruses are choir-heavy with dramatic melodies that are some of the most bombastic in the band's canon. There is a lot going on here, and it showcases the progressive tendencies referenced earlier. The band have done songs like this in the past, but it feels much more assured this time around. The pace is constantly shifting throughout too. While much of the song is fast, there are occasional moments that slow things down to a heavy chug - which really allows the energy to hit home when the faster riffs kick in again.

Black Butterfly is much more typical of the band's recent output, with big melodies pushed to the fore and a chorus that sticks in the brain from the off. The version of the song present here is different from the one that featured on last year's EP of the same name - with Clémentine Delauney (Whyzdom; Serenity; Visions of Atlantis) lending her vocal talents to the track, duetting throughout with Siirala. Delauney's poppier delivery mixes well with Siirala's more operatic approach - while Krull's occasional barks add a dark, gothic contrast. It might not be the most energetic song here, but it is certainly one of the most melodic. It is a song that is clearly made for the stage, as the chorus is one that once heard will instantly be sung back by crowds - and as result it is one of the songs here that hit home during my first foray into the album. War of Kings is similar, but with a heavier overall approach to give the song a great balance between the melodic and the demonic. Krull's vocals are again given a greater presence, with the verses taking on a similar call-and-response approach to Serpents and Dragons - but with Siirala singing over more atmospheric sections; and Krull taking over once the guitars kick in. The approach works really well; and is carried forward into the chorus which is one of the album's heaviest - with lots of gang vocals to back up Krull's growls. In fact, it is one of the few songs here where I would say Krull's vocals ape Siirala's - he is really the star of the show here! The song's guitar solo is also one of the album's best too, with lots of great shredded licks mixed in alongside more melodic leads. There are certainly a lot more guitar solos than is usual for a Leaves' Eyes album here too, which might be something to do with Richter's inclusion - as he can be seen playing the solos in some of the band's new videos, something which Bauer usually exclusively handles. His influence might have lead to more solos, and I am certainly not complaining about their inclusion. For Victory ups the pace and throws in a few of the band's trademark folky melodies - going for an anthemic approach overall with more gang vocals in the chorus and plenty of heroic guitar leads. It might not be the most impressive or progressive track here, but for pure energy there are few better. The guitar riffs are surprisingly intricate however, but it is the folky leads that really impress; along with the chorus that is another moment that is sure to go down well live. Siirala and Krull team up well for the diverse chorus - the strident and potent melodies sounding fantastic atop the bombastic backing. The album then makes an about-turn following three 'bigger' sounding pieces with the short, low-key, mid-album break that it is Two Kings One Realm. It harks back to the album's opening moments with folky atmospherics and some rare delicate clean vocals from Krull that really fit alongside the dark percussive backing. The overall approach is another use of the band's older gothic sound, but it fits perfectly here as it is given a folky twist - and it provides a rare, but welcome, change of pace.

Flames in the Sky breaks the downtime however, but it builds on the atmospheric approach by morphing into a chugging mid-paced track that moves away from the band's overall folky approach and instead goes for a darker, gothic strut with layers of keyboards and mechanical guitar rhythms - at least during the verses. The choruses however are more typical of the band's sound, with faster guitar leads and Siirala's operatic vocals; but for me the song actually works best when it is at its most gothic. The band's core sound is represented better elsewhere, so it is the moments that actually break away from the mould that stand out the most - purely as they are somewhat different from the norm. My favourite moment here however is actually the Krull-led bridge. His harsh vocals sound as potent as ever, but the addition of some neo-classical guitar leads really bring the section to life, and it sounds quite different from anything the band have done previously. Almost in direct contrast to the approach of the previous two songs however, Serkland is classic Leaves' Eyes. This is the sort of song that the band have been writing in their sleep for the past decade or so, but the melodies and folky atmosphere make it instantly enjoyable. It another song that was debuted on last year's EP, but placed in the context of the album it hits home in a more powerful way - especially as its jaunty melodies follow a couple of darker, more atmospheric pieces. This is another song that is likely to be a winner when played live, and anyone who enjoyed the overall more direct approach of Sign of the Dragonhead will instantly latch onto the track. The main guitar/mandolin line is such a hooky moment, and the chorus melodies build on this - with Krull's occasional barks punctuating the gorgeous classical delivery of Siirala perfectly. It is fitting that Varangians follows on from Serkland, as the overall style of the song is very similar - with one jaunty folky track leading into the other. Varangians places more emphasis on Krull's vocals however, which helps to set the two songs apart. Siirala's vocals are still present, particularly during the poppy chorus, but overall this one of the band's few songs that place much more emphasis on Krull. Despite the abundance of harsh vocals here however, the song never really feels overly heavy. The folky melodies are so joyous, that even Krull's barks take on a similar feel. This mix works surprisingly well however, and the song is another enjoyable cut on an album that is packed with memorable tracks.

Night of the Ravens, the final of the EP tracks, is probably the least interesting of the three - but there is still a lot to enjoy here. It is probably the purest slab of symphonic metal here, and the song lacks the folky vibe that makes Leaves' Eyes stand out. I think it is this that makes the song one of the somewhat weaker efforts here, but I use the word weaker relatively here as the song is still enjoyable. The chorus is packed full of great melodies, and is very easy to sing along with, but the song as a whole lacks that special Leaves' Eyes touch. It is a song that could have been written by any of the Tarja-era Nightwish clones that I motioned earlier, and it just feels a little generic as a result. Krull is not featured at all, and the song is missing his earthy grit. His absence, and the lack of any folky goodness, mean that Night of the Ravens fails to hit home in the same way that most of the other tracks here do - but the melodies still ensure that it is enjoyable. The epic ten minute-plus title track gets the album back on track however. It is the longest song that the band have written to date, and it rivals the handful of epics that the band have penned in the past. Unsurprisingly, the band's progressive side is on display here - with the song a real mix of everything that has made the band great over the years. Slower, heavier sections sit side-by-side with faster, folkier sections - with the talents of Siirala and Krull both put to good use. The latter's harsh vocals are given plenty of time in the spotlight here, particularly during the slow-paced semi-choruses that recall his 'other' band Atrocity with their pure death metal fury. Some of the moments here are some of the album's heaviest, but there are also lots of great atmospheric moments that strip everything back for a bit of respite. These moments are usually fairly short-lived however, and often just act as a build up towards the next explosive riff or solo. The amount of great riffs and leads thrown into this song is impressive, and it reinforces my earlier observation regarding the increase in solos. The guitar playing on Leaves' Eyes albums has always been deceivingly inventive and diverse, but there seems to have been even more emphasis placed on it this time around - with The Last Viking including enough riffs, leads, and acoustic interludes to fill most albums. It is easily the band's most ambitious song yet, and it is one the album's real stand-out moments as a result. It is left to Break Into the Sky of Aeon to bring the album to a close however, which is a slow-paced slab of gothic metal - something the band have not attempted in such a way for quite some time. There is an old-school Tristania-esque sound on display here, and it is probably not since the band's 2004 debut album Lovelorn that Leaves' Eyes have sounded this gothic. Siirala's vocals are deliberately sweet here, harking back to that old-school sound, while Krull's growls are much more pronounced than usual - while a piano tinkles away in the background. I love this throwback to the band's early sound, and it works so well after the expansive and diverse title track that preceded it. It shows how progressive and varied this album is - and the old-school gothic doom of Break Into the Sky of Aeon is a perfect way to close it out. Overall, however, The Last Viking shows Leaves' Eyes both at their best and at their most creative. The album took a good few listens to truly grow on me, but I now think it is one of their best and worthy successor to the excellent Sign of the Dragonhead. It is not 'just' another Leaves' Eyes album, and I can only see my opinion of it growing as I spend more time with it over the next few months.

The album was released on 23rd October 2020 via AFM Records. Below is the band's promotional video for Chain of the Golden Horn.

Tuesday, 17 November 2020

Armored Saint's 'Punching the Sky' - Album Review

With all the squabbling that often takes place within certain sections of the metal community over the seemingly infinite number of metal subgenres, and what even constitutes as metal in the first place, it is unsurprising that sometimes one cannot see the wood for the trees. All too often in the strange world of metal, certain bands just never seem to rise to the top. Even some established bands with decent-sized fanbases can never seem to be flavour of the month; and I think that it is those bands who can ever only really be called 'heavy metal' that suffer this fate the most. One such band is the Californian five-piece act Armored Saint. Despite a hiatus between 1992 and 1999, Armored Saint have been around in one form or another since 1982 - and have been releasing very solid and enjoyable slabs of tradition heavy metal since unleashing their self-titled EP into the world in 1983. Despite their activity being fairly sporadic of late, in the 1980s Armored Saint made a good go a breaking into the mainstream - but never truly made it. 1984's March of the Saint, 1985's Delirious Nomad, and 1987's Raising Fear all did well at the time; but it was 1991's Symbol of Salvation that came the closest to hitting a home run. The album was mired in sadness however, as it was the band's first effort without founding guitarist Dave Pritchard who had tragically died the year before of Leukaemia. Despite the success of Symbol of Salvation, it seems that Armored Saint's long-term fortunes were waning somewhat and in 1992 frontman John Bush joined Anthrax, replacing Joey Belladonna, with the band folding shortly afterwards. By 1999 however, Bush had decided to reactivate the band with the rest of the Symbol of Salvation line-up - who have been putting out albums and touring at a steady but not exactly frequent pace ever since. Armored Saint may not be the busiest band, but their output over the years has certainly been a case of quality over quantity. My real introduction to the band's new material came five years ago with the release of the solid Win Hands Down (which I reviewed here), an album which I listened to a lot at the time but have not revisited for a while. It was typical of the band's recent, post-Symbol of Salvation sound though; something which also informs the newly-released Punching the Sky - the band's eighth studio album. A five year gap between albums is actually quite quick for Armored Saint these days, but the band's fans have gotten used to waiting over the years! They will be pleased to know, therefore, that Punching the Sky is another strong album packed full of good, old-fashioned heavy metal riffing and attitude. As much as albums like Win Hands Down and 2010's La Raza impressed, Punching the Sky seems more instantly memorable than those two releases. There seems to be a bigger focus on choruses and strong melodies this time around, with a bit more of a nod to their earlier work thrown in alongside their usual modern toughness.

Despite the album's first song, Standing on the Shoulders of Giants, being largely typical of the band's core sound, the album actually opens in a slightly unusual way. The opening moments of the song are quite atmospheric and somewhat folky, with uilleann pipes courtesy of Patrick D'Arcy cutting through the swirling mix to set a strange tone before a clean guitar and percussion combo builds up to the first of many big riffs. The guitar duo of Phil Sandoval and Jeff Duncan has been together since Symbol of Salvation, but Punching the Sky is probably the band's most impressive from a guitar standpoint since that seminal 1991 release. There are so many great riffs and memorable solos scattered throughout the album, and Standing on the Shoulders of Giants includes its fair share. These riffs help many of the songs here to stick in the brain after only a couple of listens, along with the tough vocal melodies of Bush - who sounds as good now as he did back in the 1980s. His no-nonsense, blue-collar vocal approach has always been a big part of the band's appeal, but he still knows his way around a big hook. The chorus of the opening number is one of the album's best, and it really helps to get things off to a great start. A high-energy verse also helps, but it is the anthemic chorus that is sure to turn heads. This is one of the aforementioned nods to their older sound, and the melodies here sound like they could have been written during the Symbol of Salvation sessions. Lead single End of the Attention Span follows, and the quality is maintained. End of the Attention Span is a harder-hitting song than the album's opening cut, with a pummelling modern-sounding groovy riff kicking things off - before a tough-as-nails chorus showcases why Anthrax came calling for Bush back in the day. The song might not have the anthemic qualities of the opener, but the big riffs and attitude make up for for any lack of soaring hooks. In many ways, End of the Attention Span is quintessential modern Armored Saint - but just dialled up to 11. It is one of the band's best modern cuts in my view, and the riff has been rolling around in my head ever since I first heard the song a couple of months back. Bubble opens with a industrial sounding drum groove from Gonzo Sandoval before a snaking riff kicks in and the song settles into a muscular mid-paced strut. Despite Armored Saint certainly having a distinct sound, there is actually quite a lot of variation to be found on Punching the Sky - something that the album's opening three numbers can attest to. Bubble is different from the two tracks that came before it, with its laid back take on a Pantera-esque groove clashing somewhat with the overall bluesy approach taken. This mix works well however, and it allows the two guitarists, and particularly bassist Joey Vera, to really showcase their riff and groove-based skills - while Bush manages to squeeze in surprisingly hooky chorus that is quite different from the deliberateness of the rest of the song. At this stage of their career, and perhaps due to the fact that they are never likely to be flavour of the month, Armored Saint can just about get away with whatever they want, and a song like Bubble showcases the band at their most creative.

My Jurisdiction opens in a somewhat similar fashion to how Bubble ended, with a rumbling bass groove and some swampy harmony guitar leads, but the song as a whole is much more riff-based and in-your-face. As much as everyone in the band shines throughout each song, this song for me belongs to Gonzo Sandoval. His drumming style generally might not be the most flashy or distinctive, but the grooves he lays down here really make the song tick. His ride cymbal work during the main chorus riff really makes it pop, while his verse grooves are delightfully snappy. Outside of the drumming however, the song is largely just classic Armored Saint. The chorus is a pretty memorable affair, and the lengthy shredded guitar solo is filled with 1980s-esque phrasing. If Bubble was the band at their most creative, then My Jurisdiction is the band sticking to what they know best - with both sides shining equally. Do Wrong to None, with its marching snare-based intro, exhibits more of the band's classic sound and contains yet more memorable riffs. The first 30 seconds or so of the song contains two excellent and distinct riffs; and it is fitting therefore that the song is a real showcase for Duncan and Phil Sandoval. Bush still stands out vocally, but this is a song for the guitarists out there. All of the riffs here are memorable and packed full of groove, and there are plenty of wah-based leads thrown in throughout to punctuate the verses. The highlight however is the main speedy solo that is easily one of the album's best. It is a moment of pure metal excess, and the sheer number of notes crammed into the solo showcases the talent of the band's guitar tandem. Lone Wolf is the first of two songs here to feature the subtle keyboard talents of Dizzy Reed (Guns N' Roses; The Dead Daisies). While Reed's contributions never overshadow the band, his additions help to flesh out the songs that he is a part of. Lone Wolf is a bit less furious than the last couple of numbers, and instead goes for more of a mid-paced feel that mixes heavier sections with more low-key moments complete with clean guitar arpeggios and tight vocal harmonies. Despite this slight change of pace however, the song still feels at home on the album. The heavier sections are similar to some of the other mid-paced sections here, but the cleaner moments allow for a little light in and amongst the shade. Armored Saint have done these somewhat moodier pieces before, and they usually work well - with Lone Wolf being another strong addition to the band's canon. Missile to Gun is instantly a much more strident song however, with a Thin Lizzy-esque harmony guitar intro that builds towards a Megadeth-esque main riff. It is one of the fastest, heaviest tracks here and it showcases the more direct nature of the band's songwriting - and a great snarling vocal from Bush. It might not be the catchiest song here, but for pure energy and attitude there are few better cuts - although there are occasional burst of melodic harmony guitar work that harks back to its intro. This is the sort of song that is certain to go down well live when the band get the opportunity to tour the album; with its furious energy sure to whip up any metal crowd.

Fly in the Ointment returns to the band's more anthemic side, with another contender for the best riff here kicking things off. I like how the song often takes a more low-key approach, particularly during the slightly grungy verses, as it really helps the heavier moments to shine. The chorus here is another winner, but it is made all the more powerful by following the slower verses. When the chorus kicks in, you know that the band really mean business - and it helps to push the hooks as a result. Some of the hooks here rival those found in the album's opening track, which again means that the band's glory days are somewhat referenced here. Although all of Armored Saint's recent albums contain a lot of hooks, it does seem like there was more focus placed on this time around - which I am certainly not complaining about. Bush just soars throughout the album, his ageless voice sounding as strong as ever. The occasional burst of piano from Reed helps to add a little depth here and there too, and everything really comes together to ensure that the song is another highlight. Bark, No Bite opens with something of a jazzy explosion of pomp metal, but these vibes are short-lived as it is not long before another harmony guitar lead kicks in. It does seem like the band were listening to a lot of Thin Lizzy in the writing and recording stages of this album, as there are a lot of twin lead guitar moments here - certainly more so than usual. This is certainly no bad thing however, as the style suits the band nicely - and it allows the song, which is largely quite a heavy number, to feature a little more melody than it otherwise would have. The chorus is perhaps the album's heaviest moment too, with some really angry-sounding Bush vocals fitting in perfectly with the sledgehammer riffing. The song is a great representation of the heavier side of the band, with a little of their anthemic bent also thrown in for good measure. Unfair is one of the murkier tracks here, so it is similar to Lone Wolf in that respect but with less emphasis on the heavier side of the band and more focus placed on atmospheric, grungy songwriting. The clean guitar patterns are pretty hypnotic at times here, while Vera's huge bass presence occasionally cuts through the mix to add some slightly heaviness - although not in the traditional way. This is easily the album's most downbeat tune, but it works well and allows the band to stretch their wings a little and showcase something close to a true ballad. Towards the end the song does ramp up somewhat, but it never really strays too far from its downbeat and melancholic roots. It is left to Never You Fret, with a flute intro from Gonzo Sandoval, to draw the album to a close - and unsurprisingly it does so by showcasing some more big riffs. The folky intro harks back to the album's opening moments however, which is nice, but the song is just more of the classic Armored Saint sound that fans know and love - with pacey riffs and cutting guitar leads the order of the day. It is not the catchiest track here, but as a reminder of how Armored Saint sound typically it is a strong finishing few minutes of music. The lengthy guitar solo is probably the song's overall high point - but it brings the album to a satisfying, hard-hitting close. Given that fans have had to wait five year for Punching the Sky there was quite a lot riding on its release, but in my view the album was worth it. As mentioned earlier, Armored Saint are a band that favour quality over quantity, and this album is almost certainly their best since getting back together in 1999. There are so many strong metal anthems here, and anyone who enjoys heavy metal, regardless of whatever subgenres are currently popular, ought to give it a spin.

The album was released on 23rd October 2020 via Metal Blade Records. Below is the band's promotional video for End of the Attention Span.

Saturday, 14 November 2020

Bruce Springsteen's 'Letter To You' - Album Review

Despite the fact that a potential new 'full band' album from Bruce Springsteen was being talked about even before the release of last year's sparse, but excellent, Western Stars (which I reviewed here), I did not think that one was very likely. For one, artists very rarely release new albums of original material two years in a row these days, particularly veteran acts, but also I just did not see Springsteen in that headspace. While his legendary E Street Band are still the staple backing band for his live shows, in the studio the E Street Band as a collective whole has somewhat been side-lined over the past decade or so. The last album that was purely a collaboration between Springsteen and the E Street Band was 2009's Working on a Dream; with the Boss spreading his wings somewhat in regards to backing talent in the meantime. This is not to say that the E Street Band were abandoned completely in that time, as various of its members have appeared in more limited capacities on the albums released in 2010s. It could be argued that 2014's odds and sods collection High Hopes (which I reviewed here) was a true E Street Band collaboration, as many of its members past and present were featured on most of the album's songs, but there were still a lot of other people brought in to add their talents to what was ultimately one of the best odds and sods collections of all time. Even the more acoustic and reflective Western Stars, one of Springsteen's handful of true 'solo' albums, featured former E Streeter David Sancious on a couple of songs; but the point still stands that it has been 11 years since Springsteen went into the studio with the E Street Band and rattled through a collection of heartfelt rock tracks in the way that only they know how - which, to me at least, was a shame. You will appreciate my excitement then when Letter To You was announced a couple of months ago - the full band album that had been rumoured. Reading the press release got me even more excited, as it was revealed that the album was solely recorded by Springsteen and the current incarnation of the E Street Band - and that most of it was captured live in the studio, with only a few overdubs added after the fact. This got me thinking of those classic Springsteen albums of the 1970s and early 1980s, and now that I have had the album in my possession for a few weeks I can say that Letter To You is a very impressive release - and packed with all of the Springsteen and E Street Band goodness that any fan could wish for. While I am not sure that he will ever top albums like 1975's Born to Run or 1980's The River; those albums are classics for a reason after all; Letter To You is up there with the best of his more recent works. There are hints of albums like 2002's The Rising and 2007's Magic here, although with perhaps a greater sense of melancholy - which makes this something of a perfect companion piece to Western Stars.

Such is the link between Western Stars and Letter To You that the album actually starts off in a way very similar to how the previous album left off - so much so that I wondered if the press releases I had read had been exaggerating the overall sound of Springsteen's latest! One Minute You're Here sounds like a song leftover from the Western Stars sessions, with Springsteen's melancholy vocal delivery and sombre acoustic guitar chords filling the speakers - with only a smattering of other instrumentation, such as Roy Bittan's occasional piano, backing up the song's core. The album never sounds like this again, but the gentle introduction works well. It links Western Stars perfectly to this new release, and it acts as a bridge between Springsteen's last album and the wall-of-sound E Street Band approach that characterises the next 11 songs. It is fitting then the album's next port of call is the title track, the first song here that was released - and the first true E Street Band song for a number of years. Max Weinberg's drums open things up, before the three-guitar attack of Springsteen, Stevie Van Zandt, and Nils Lofgren lay down an organic but full-bodied opening barrage. It is a song that showcases the best of the E Street Band over the years - with nearly everyone shining. The verses feature lots of that great Bittan piano, possibly the E Street Band's defining sound, while Charlie Giordano, on his first full outing with the band in the studio despite a number of guest spots, lays into his Hammond organ throughout. The chorus is classic Springsteen too, with hooky melodies that pour out of the speakers - cutting through the dense mix in the rallying way that only he can truly master. It is a great rocker, and when paired with One Minute You're Here the combination of the two makes for a powerful and heartfelt album opening moment. Burnin' Train takes things to the next level however, and it is a driving rocker that recalls some of the higher-energy moments on Springsteen's other recent releases. The E Street Band backing makes it all that more powerful however, with Van Zandt's garage rock guitar rhythms and nasally backing vocals giving things a real kick - while an anthemic chorus is made all the better by the tight groove laid down by Weinberg and bassist Garry Tallent. There are lots of classic E Street Band hallmarks here too, such as a pair of deliberately sloppy guitar solos, presumably from Springsteen himself, and the epic sound that comes from the piano and organ weaving together perfectly. It is a powerful song, and one that recalls the rocking moments of albums like Magic and The Rising - and it is one that I hope to hear live someday. Three of the songs here were written a number of years ago, but were finally recorded properly by Springsteen and the band here. Janey Needs a Shooter is one, although Warren Zevon recorded a version of it on his 1980 album Bad Luck Streak in Dancing School. This recording is based off of an old demo however, and is brought to life by the current E Street Band in classic fashion. It is one of Springsteen's more plodding rockers, harking back to songs like Backstreets and Adam Raised a Cain, but the raw production and the tightness of the band really brings it to life. While Bittan's piano is perhaps the song's most dominant instrument, it is Giordano's organ that is the most impressive element of the song. In fact, it would not be a stretch to say that Giordano is Letter To You's MVP - as his playing is all over nearly every song here. He has really managed to evoke the spirit of the late Danny Federici throughout the album, and the dancing organ melodies throughout Janey Needs a Shooter really showcases what he brings to the modern E Street Band.

After the excellent opening four numbers, Last Man Standing showcases a little bit of a drop in quality. It is probably the only song here that does not really resonate with me as much as it should, but repeated listens to the album has heightened my appreciation for it. It is a bit of old-fashioned Americana, and contains many classic Springsteen hallmarks, but for me the melodies are not as memorable as those in many of the other songs here. It is notable however for being the first song here to prominently feature Jake Clemons' saxophone. Clemons was featured on a couple of tracks on High Hopes, but Letter To You is his first full outing with the E Street Band in the studio. His bluesy saxophone style is a perfect fit for the band, and his solos here recall the many that his late uncle laid down for the Boss over the years. They help to elevate the song, but it is probably the weakest cut here for me. The Power of Prayer instantly gets the album back on track however. Bittan's piano opens the song up slowly, but it soon morphs into an upbeat rocker with beautiful melodies and some excellent lyrics. This is the sort of song that I feel Jon Bon Jovi was trying to write for his latest album 2020 (which I reviewed here), but the difference in quality between the two is stark. Songs like this come naturally to Springsteen, and it helps that the E Street Band contains some of the best musicians for this genre of all time. Bittan's piano throughout is just so heartfelt and uplifting, while Clemons again gets some time in the spotlight with some aching saxophone melodies. The song is a perfect mix of reflective and joyful - something which Springsteen has mastered so well over the years - and it is a standout for that reason. House of a Thousand Guitars is similar, and in fact builds on the sound established on The Power of Prayer - taking it to the next level. It opens with Bittan's piano and Springsteen's vocals (including a little lyrical call-back to Jungleland), but the other members of the band slowly join in to widen the sound as things progress. Giordano's organ subtly joins in to weave his magic in with the piano melodies; and when the drums kick in the joyful nature of The Power of Prayer returns in a big way with the same driving grooves and bouncy vibe. This song is a bit deeper musically however, with subtle slide guitar licks, presumably from Lofgren, adding some bluesy touches; while Giordano and Clemons link up for some joint melodies that fill in all of the song's gaps - particularly towards the end. It is another great track that showcases the depth of the E Street sound, and one that brings out the best in everyone. Rainmaker initially sounds like it could be another Western Stars hangover, with its rootsy acoustic intro, but it soon morphs into a bit of a raw rocker with garage rock guitar tones and punchy, hollow-sounding drums. It again recalls the old Backstreets vibe at times, but with the talents of Van Zandt pushed to the fore - his guitar style driving the track and his vocals prominent in the mix. This is another song that has grown on me a lot over repeated listens to the album, and I like the old-school sound that has been achieved here - and it sounds like a real throwback to Springsteen's first couple of albums.

If I Was The Priest is another of the three older songs recorded here, but a version recorded by the original Hollies frontman Allan Clarke was released in the 1970s. The song is another that starts slowly, with chugging acoustic guitar and ringing piano chords; but it soon builds up around a hard-hitting drum groove and more of Giordano's enveloping Hammond. Unsurprisingly, the song is quite similar in style and pace to Janey Needs a Shooter - and it really showcases the songwriting style that Springsteen adopted during the early 1970s. It also goes to show just how many great Springsteen songs are probably yet to be heard. Despite all of the various collections of then-unreleased material that he has put out over the years, there are still other nuggets to be heard. If I Was The Priest is a great addition to the album, and I am glad that Springsteen decided re-record a couple of old demos here as they really add to album, and crucially they slip in seamlessly with the new material - which shows how timeless Springsteen's style is. If I were to pick a favourite cut here however, it would be Ghosts. As much as I like all of Springsteen's moods, my favourite songs, unsurprisingly, are usually his driving rockers. This album could have benefitted from a couple more of those in my opinion, but Ghosts is the best example of that style here - and it is packed with soaring melodies and classic E Street tropes. The verses are filled with brash guitar rhythms to perfectly compliment Springsteen's lyrics and tough vocal delivery, while the choruses feature huge harmony vocals from the whole band that allows the song to really kick into the higher gears. Anyone who has heard a classic Springsteen album will instantly be familiar with the overall vibe of Ghosts, but it is a style that never gets old. This is a song that is made to be heard live, and the closing moments that feature Clemons' heroic saxophone lines and the wordless vocals of the whole band showcases why Springsteen works best when backed by the E Street Band. Song for Orphans is the final of the three older numbers, and the only one that was not previously released by someone else. It is similar to both Janey Needs a Shooter and If I Was The Priest, but with perhaps bit more of a rootsy sound that incorporates Springsteen's harmonica throughout. The arrangement here pushes Springsteen's lyrics to the fore, and as a result the band is a little more restrained this time around. They are mostly here to back up Springsteen's Dylan-esque performance - but there are still hooky moments such as a heroic chorus that prominently features the vocal harmonies of Patti Scialfa and some more bluesy slide guitar. It is another track that takes a few listens to fully appreciate, but it is one that eventually does take hold to become a powerful number. It is left to the snappy and hooky I'll See You In My Dreams to bring the album to a close. It might not be as expansive as some of the songs here, but as a simple classic Springsteen rocker it works really well. Bittan's piano is all over the song, while the soaring chorus is one final melody to stick in the brain as the album comes to a reflective end. It is probably the sort of song that Springsteen can writing in his sleep at this point, but the magic of the band really brings it to life; and the gentle piano coda at the end is a perfect closing moment - as it echoes the way the album began almost an hour ago, bringing things full circle. This full circle moments helps the listener to reflect on the wider qualities of the album - which is certainly one of Springsteen's best in recent years. It helps that the E Street Band members all turned in fantastic performances here to help him bring his songs to life, but the quality and variety of the songwriting also shines. It is an album that long time Springsteen fans will no doubt love, and it is something that I will certainly be listening to a lot more over the coming months.

The album was released on 23rd October 2020 via Columbia Records. Below is his promotional video for Letter To You.

Friday, 6 November 2020

Voodoo Six's 'Simulation Game' - Album Review

You know that you are getting old when you start to feel nostalgic about certain bands from your youth. I jest of course, as I am certainly not old, but the point still stands - and 16 certainly feels a long way away from 29! What I am trying to say is that the bands that I was into when I was 16 or so hold a special place in my heart. Many of the bands that I was into at the time were big, established bands from the rock and metal world that I was discovering late in their careers - but there were also a handful of newer bands that I was getting into on my own terms. These younger bands felt like they were 'mine', in a way that the Deep Purples and Whitesnakes of the world did not, and I felt that I was at the heart of the next wave of great, world-beating rock and metal acts - bands that I would grow with as their statures rose. Bands like Heaven's Basement, Glyder, Dear Superstar, Glamour of the Kill, and Voodoo Six were heard as often on my iPod as the bands that influenced them, and I was certain that I was backing the right horses. Of those five quoted bands (and there were many others): two have split up (Heaven's Basement and Glyder), two reformed fairly recently to play a handful of shows and have since gone very quiet again (Dear Superstar and Glamour of the Kill), and one is still going (Voodoo Six). It was sad seeing many of the 'new' bands that I loved falling by the wayside, but it also taught me a lesson about the way the music industry operates these days, and how hard it is for a band to truly succeed. It fills me with pleasure therefore to still be talking about Voodoo Six in 2020, who released their fifth album Simulation Game last month. Originally due to be released back in March, Simulation Game follows fairly hot on the heels of 2017's Make Way for the King (which I reviewed here) - the album which introduced frontman Nik Taylor-Stoakes to the band's fans. In my opinion, Taylor-Stoakes had big shoes to fill. Both of the band's previous singers, Henry Rundell and Luke Purdie, were fantastic fits for the band as it was during their respective eras; but Taylor-Stoakes put on a commanding performance throughout Make Way for the King, ensuring that Voodoo Six lived on. I am not sure I will ever feel as strongly for the band as I did during 2008, when the band played two shows at the White Rabbit in Plymouth and First Hit for Free was a staple on my iPod, but the modern Voodoo Six is still a band that I like a lot. Only bassist Tony Newton and guitarist Matt Pearce remain from the Plymouth bus station days; but four of the five who made Make Way for the King return on Simulation Game. Long-time drummer Joe Lazarus joins Taylor-Stoakes, Newton, and Pearce here, with guitarist Tommy Gentry (Zico Chain; Gun) making his debut with the band on the album's 10 hard-hitting tracks.

In many ways, Simulation Game is the natural successor to Make Way for the King. Each era of Voodoo Six has had its own distinct sound, and with Taylor-Stoakes at the helm the band's third era has certain raw power. The band have probably been at their heaviest under his leadership, but the distinctive songwriting style and bass playing of Newton help to link Simulation Game back to the band's older albums. The Traveller kicks things off in fine style, a classic-sounding Voodoo Six tune with a Sabbathy riff and a sombre guitar lead opening things up - before Lazarus' drums kick in and the song speeds up with a big Pearce riff. Pearce's riffing is another link back to the band's older sound, his dirty bluesy style was always a big part of the band's appeal - especially when it clashed with with the shredding metal of former guitarist Chris Jones. Since Jones' departure, Pearce has been the main focal point of the band from a guitar standpoint; and while Gentry features here, this album is still dominated by Pearce's style. The Traveller could have been on one of the band's older albums however, with a melodic chorus that brings the best out of Taylor-Stoakes while some dramatic strings add depth. There is quite a large string presence on this album, and while this is not altogether new for the band they do seem to have been used in a much more prominent way this time. They help to provide a sharp melodic counterpoint to the song's murky riffing, and they ensure that the album opens with a bang. Gone Forever is a little less in-your-face, with a mid-paced Alice in Chains-esque groove dominating. Pearce and Gentry's interlocking guitar rhythms form a perfect base for Taylor-Stoakes drawling vocals, and as the song progresses the strings once again take on a prominent role - their dancing melodies providing a strong contrast to the murk. One thing that has always characterised the Voodoo Six sound, even before Taylor-Stoakes' introduction, was the looseness of the arrangements. Voodoo Six are not a band that rely on being ridiculously tight, with the looseness of their playing really adding to the overall swagger and groove. It does not matter that the production is slightly muddy and that the vocal harmonies are not always quite on point - as that is part of their grungy style. Gone Forever is a perfect example of this, but with the addition of the classy strings contrasting perfectly with the garage rock beneath. Liar and a Thief is one of my favourite songs here, and it was wisely chosen as the song to shoot a video for. It sounds like a hangover from the Purdie era, and it could have easily sat on 2010's Fluke?. Taylor-Stoakes even seems to be channelling Purdie's snarling vocal style here, and the song is a classic Newton composition with a lead bass presence during a chiming verse that then explodes into a stadium-worthy chorus. It is easily the catchiest song here, and it is the sort of thing that is very likely to go down well when played live. The chorus is packed full of classic Voodoo Six melodies, and the lengthy guitar solo allows Pearce to showcase his loose, but electric style of playing.

Inherit My Shadow is interesting insofar as it is the only song here co-written by Gentry. To be honest, I am still unsure of Gentry's position in the band, as many of the photos that have been posted on social media to promote the album's release do not include him, but he was included in the recent video shoot for Liar and a Thief so I have to assume that he is still in the band! Inherit My Shadow, despite his influence, sounds very similar to the sound of the rest of the album however - meaning that Gentry has already adapted his style to fit in with Newton's. In many ways, the song perfectly sums up the Taylor-Stoakes era of the band. There is a real grungy bent to the production here, but the guitar leads are razor sharp and the chorus is melodic despite its slightly anguishing feel. The guitar solo is a real shredding moment too, so I assume that is one of Gentry's - as Pearce does not usually let rip in quite the same way. If so, and Gentry sticks around, then future Voodoo Six albums could get back more to that clash of guitar styles that worked so well in the past - with Pearce's dirty blues and Jones' metal approach creating an exciting and dangerous combination. Last to Know opens with a string motif, before launching into a menacing, lumbering riff that sets the tone for the rest of the track. It is not the fastest track here, but the mid-paced sound has often been a touchstone of the band's style. In many ways this is another classic-sounding Voodoo Six song, with some of the Purdie-era once again present here. There is slightly less of the grungy heaviness that has characterised the band's more recent work - but the howls of Taylor-Stoakes ensure that the song still sounds at home on the album. His vocal style is perfect for this latest era of the band. He might lack the strange falsetto of Rundell or the southern grit of Purdie - but his distinctive voice suits the heaviness when needed, but also can work well in a more toned down fashion when the grunginess takes hold. Lost is more of a driving hard rocker, at least initially, with a riff that would have sounded at home on First Hit for Free. In fact, songs like I am the Sun and One More Day from that album seem like a bit of an inspiration here - with driving riffing mixing well with more low-key, bass-led verses to allow the band's classic clash of styles to hit home. I have always liked the way that Voodoo Six have been able to make different styles work so well together, and that ability is perhaps alive more so than ever on this album - with Lost being a great example of it, as well as being a throwback to their early days. Never Beyond Repair is the album's ballad. As much as I like Voodoo Six, I do not think that ballads have ever really been their strong point - with the exception of Mistaken from First Hit for Free, which I like a lot. Never Beyond Repair is a decent song, but for me the band are just not really set up for ballads. Their hard rocking songs are already quite mournful, so their ballads just sound like their regular songs but lacking the bite that makes them so good. It is perhaps telling that the best part of the song is a heavier mid-section, that sees Taylor-Stoakes laying down some throat-shredding vocals while the strings go haywire in the background. It is such a contrast to the song's main bulk that it almost sounds like a different tune altogether! It is a decent enough song, but it is almost certainly my least favourite cut here.

Brake gets back to doing what the band do best however, and it might include the best integration of guitar riffing and strings heard on the album yet. The song's main riff is a really killer moment, which is only enhanced by the dramatic and well-chosen string counter melody. I love how the sounds mesh together, and it makes the song sound absolutely huge. This is something that I would like to hear more from the band going forward. In fairness, the strings are already a big part of this album's sound - but this integration of guitars and strings is something that they could build on even further going forward. It makes the riff sound even more powerful when it kicks in following the song's murky, bass-led verse - making it one of the most dynamic-sounding songs here. I also love the turn the song takes about two-thirds of the way through; when a piano joins the fray for a slow-paced, mournful bridge before a fiery guitar solo takes over. Due to all that goes on throughout the song, it is easily one of my favourites here - and the sort of song that I would love to see the band focus on going forward. Control is a bit more back-to-basics in style following the dramatic and, dare I say it, progressive Brake; but the hard-hitting riffs and strutting Taylor-Stoakes vocal performance is all the more primal as a result. In many ways, it is another song that perfectly captures the modern Voodoo Six sound. The gnarly blues-based riffing is as potent as ever, while Newton's rumbling bass is given just enough presence in the mix to give the song some real weight. Newton's bass playing has always been such a big part of the Voodoo Six sound - which is unsurprising as Voodoo Six is his band and he has always been their main songwriter and producer. His playing and energy have always set the band apart from the pack for me, and songs like this showcase his style perfectly - but he always knows the value of a great guitar riff and solo, with both getting ample time to shine here. One Of Us brings the album to a close, and unsurprisingly it is another classic-sounding Voodoo Six rocker - although it is one of the most consistently heavy songs here. As described throughout this piece there is often a mix of styles in each track, with heavy riffing mixed with more low-key verses; but this song is barrelling hard rocker from start to finish - with an AC/DC-esque verse and an achingly heavy chorus with some more of the album's trademark strings. This helps the album to close on a high-energy note; and allows the band one last chance to really let their hair down. Voodoo Six might not be the most traditional sounding rock band, which is what makes them interesting, but when they want to go all out they do so in style. The lengthy guitar solo section here is particularly impressive, with Pearce and Gentry trading leads and licks in fine style, and it is the icing on the cake of what is another strong tune. Overall, Simulation Game is another very strong album from a band that I have been following since close to their original formation. As much as I enjoyed Make Way for the King, Simulation Game feels like a leaner and meaner version of it - with the Taylor-Stoakes era of the band going from strength to strength. There is a lot to enjoy here, and any rock fan who likes their harder-hitting music to be a little more quirky than usual should definitely check this out.

The album was released on 16th October 2020 via Explorer1 Music. Below is the band's promotional video for Liar and a Thief.

Tuesday, 3 November 2020

The Struts' 'Strange Days' - Album Review

It is always a bit of a shame when a band's studio output never quite lives up to their live shows. Many bands have fallen foul of this over years, but one of the most obvious recent examples are the British pop rockers The Struts. I became familiar with the band in 2014 when they played a tiny, long-gone venue in Plymouth called the Tiki Bar. There were probably about 30 people crammed into the bar's basement that night, but The Struts approached the show as if they were headlining Wembley Stadium. Frontman Luke Spiller, the modern equivalent of a Freddie Mercury or a Mick Jagger, strutted his way around the floor (there was no stage), while the rest of the band peeled out spiky pop rock hit after spiky pop rock hit. I was instantly a fan, but at this point the band had only released the Kiss This EP. Later that year, however, the band's debut album Everybody Wants (which I reviewed here) was released and unsurprisingly I snapped up a copy the day it came out. As much as it impressed me, and I have enjoyed listening to it over the years since, the songs on the album lacked the raw power that the band exuded on stage. Looking through the album's booklet revealed why, as the album looked to have been somewhat put together by committee. Only Spiller and guitarist Adam Slack featured on most of the songs, with numerous session musicians, co-writers, and an army of producers filling in all the blanks. As a fan of hard rock and metal, this is not something that I am used to seeing. We all know that a lot of Top 40-esque pop is put together by a number of fairly anonymous studio musicians and technicians, but rock and metal is supposed to be an anathema to that concept. Everybody Wants is still a very enjoyable album despite all of this, but it lacks the edge that the band are well known to possess. It took the band four years to follow up Everybody Wants, during which time they essentially ignored their homeland to relentlessly tour America, which I am sure was a sound business move, with YOUNG&DANGEROUS (which I also reviewed here) hitting the stores in 2018. Again, YOUNG&DANGEROUS is an enjoyable album - but it also suffered from the same over-production and 'too many cooks' syndrome as a debut. At least bassist Jed Elliott and drummer Gethin Davies were actually featured throughout the whole album this time around, but it still lacked bite. Given how long it took to get YOUNG&DANGEROUS out, I was certainly not expecting a new Struts album this year - but a surprise announcement a couple of months ago heralded the imminent arrival of album number three. Recorded in just 10 days back in April and May, Strange Days is easily the band's most complete album yet. It might not contain their best material overall, as I think there are better individual songs on their older albums, but - finally - this is The Struts without the committee and it is their most consistent and best-sounding as a result. The four band members, along with producer Jon Levine, essentially hunkered down in the studio for just under two weeks to write and record the 10 songs featured here. There is no army of studio professionals credited this time around, so this is The Struts at their most honest. As a result, this feels like 'their' album - and they clearly had a lot of fun putting it together. So much so that a number of special guests - from Robbie Williams (Take That) to Joe Elliott (Def Leppard; Down 'n' Outz) - were roped in to add their unique magic to a few of the songs; with much of the album having a infectious 'jamming with friends' vibe as a result.

Perhaps deliberately and in defiance to the band's previous over-produced approach, Strange Days starts in a rather unconventional manner. Rather than kicking things off with a harder rocking number, the album's title track opens things up rather more slowly. The poppy, semi-ballad is very atypical for an album opener, but it actually works really well. The song features Williams duetting with Spiller throughout, with the two singers playing off each other perfectly. Spiller's breathier, more modern approach to pop singing mixes perfectly with Williams' richer tones; while gentle piano and subtle strings form a suitable backing for the duet. While the song does build and expand as it moves forward, it never really explodes in the way that would be expected. Davies' percussion does eventually morph into a full-blown drum pattern, while Slack's powerful guitar chords start to add weight by the time the second chords comes around. Despite this however, the song never really loses sight of its low-key beginnings. Multiple listens to the album have brought me around to the concept of opening what is essentially a rock album with a ballad - with Spiller and Williams easily the stars here with their excellent vocal performances. All Dressed Up (With Nowhere to Go) is certainly more of a rocker, with a great 1970s glam stomp present throughout. The song centres around a Slack guitar riff that sounds like something Slade or the Sweet forgot to use, and it is backed up with a hollow, staccato drum pattern that perfectly compliments the glitter. Despite Strange Days being a very enjoyable opener, All Dressed Up (With Nowhere to Go) is more what we have come to expect from The Struts. The arrangement here is very simple, with the glam rock aesthetic really shining through, especially via Spiller's sultry vocals. It might not have the driving energy of some of their previous songs, but it is a really infectious piece that refuses to leave your head. A cover of Kiss' Do You Love Me, which appeared on their 1976 release Destroyer, is up next. It is the first cover that the band have included on one of their full-length albums, but it is a fitting choice for a band who clearly take so much from the 1970s glam rock scene. While it is not one of my favourite Kiss tracks, it really works when forced through The Struts' filter. Spiller owns the song vocally, while Slack seems to relish the opportunity to sink his teeth into some trademark Ace Frehley leads. It is a very similar style of song to the previous number, allowing the band's core sound to really shine through after the gentle introduction.

The rock vibe continues on with I Hate How Much I Want You, which is probably my favourite track on the album - and it is probably the hardest that the band have ever rocked, at least on record. Joe Elliott is featured vocally here, his distinctive voice harmonising well with Spiller as well as providing the occasional lead. The two combine perfectly on the song's hooky chorus, which is based around Slack's roaring hard rock guitar riff - which is easily the heaviest thing that he has laid down in the studio with the band. Joe Elliott even brought his mate Phil Collen (Girl; Def Leppard; Manraze) along to add a quirky, distorted guitar solo to the track, which helps to elevate the piece further. There is not much more to say about the song, as it is just a great old slab of 1970s/early 1980s-style hard rock that is packed with great hooks and attitude - which any rocker like me will appreciate. Wild Child is similar, but with a fuzzy sound that is furthered by the addition of Tom Morello (Rage Against the Machine; Audioslave) providing some of his trademark riffing and guitar-based noise. While not as overtly rocking as the previous song, there is a really gritty energy that permeates throughout the piece. Jed Elliott's bass is prominent in the mix throughout, his snaking riffs really grounding the song, while Spiller presents his big rock star persona in classic fashion with some Jagger-esque vocal hooks and phrases. The Struts have never felt as vital and as hard rocking as they have on this track and I Hate How Much I Want You - and I would like to see more of this from them in the future. Cool returns to the more whimsical pop rock that the band are known for, with more snaking bass from Jed Elliott and some upbeat, chiming riffing from Slack - but with a bit of a twist. In many ways the song sounds like something of an expanded version of All Dressed Up (With Nowhere to Go). The foot-stomping rhythm is similar, but the arrangement is a little more complex this time around. The riffing is less in-your-face, which allows the guitar and bass to play off each other a little, while Spiller spits out the lyrics in a rather ad-hoc fashion - which gives the song a slightly chaotic vibe that works well. In some ways this song sounds like The Struts playing around with their established core sound and seeing just how far that they can push it, and the experimentation, for me at least, works well. Burn it Down is somewhat slower, with a rootsier feel that is not a sound that many would associate with the band. The song, to me, sometimes sounds like a modern take on the sounds of artists like Bob Seger and Tom Petty, with bluesy guitar work, off-set piano melodies, and a huskier vocal approach all coming together to recall that old heartland sound. The song is certainly pushed through a modern-sounding filter, and it does not sound out of place on the album, but it is a track that sees the band trying something new. It works well however, and Spiller does the huskier vocal thing surprisingly convincingly. The song could have sounded quite cheesy if the band had gotten it wrong, but for me it works - and I always like to see established bands trying new things.

Another Hit of Showmanship, co-written by and featuring Albert Hammond Jr. (The Strokes), is perhaps the best representation here of the band's core sound - particularly the overall sound featured on YOUNG&DANGEROUS. It is a fairly spiky piece of pop rock, with rumbling bass throughout and chiming guitar rhythms - but it is the vocal melodies that really make the song stick. Musically the song is fairly basic, but it is the charisma and vocal talents of Spiller that really make it shine. Each line that he sings is packed with hooks and melodies, with the chorus being an instant winner. There are certainly better songs here in my opinion, and it is very typical of what the band have been doing since the beginning, but on an album that takes some risks it is also nice to hear the band further refining the sound that got them where they are today. Can't Sleep is similar, with more of the groove of tracks like Cool injected back in. Between Another Hit of Showmanship and Can't Sleep, any new listener to the band would instantly get what they are about. Better songs in these styles exist on the band's previous albums, but the production used this time around makes them both shine and compete with anything the band have done previously. I cannot emphasise enough how much better the band sound on this album in comparison to the previous ones. The Struts need to have some dirt under their fingernails, and this album finally allows them to have it. Slack's guitar solo on the track is a perfect example of this, his squealing leads pouring out of the speakers - finally uninhibited by the assumed radio focus that was clearly forced on the band previously. The album comes to a close with the laid back and somewhat strange Am I Talking to the Champagne (Or Talking to You). It has something of a smoky lounge feel, with a bit of an occasional Tom Waites-esque groove, which then morphs into a quirky pop rocker with plenty of tasty guitar work and some soulful vocal harmonies courtesy of pop singer Nylo. Her voice is a perfect compliment to Spiller's heartfelt performance, and repeated listens only highlight her importance to the piece. There is room for some musical leg-stretching too, with Slack and session saxophonist Rachel Mazer trading leads and melodies throughout that only add to the song's overall jazzy vibe. This is another song, like Burn it Down, that sounds nothing like anything the band have ever done before - and it again it works well. It is a song that has really grown on me over repeated listens to the album - and it closes things out on a groovy high, with the saxophone and Spiller's vocals fading out into the darkness. Despite what seems on paper to be a really odd collection of songs, Strange Days works really well as a whole. It might not be as instantly-catchy as some of the band's previous albums, but this has become my favourite of their releases purely because of how it sounds. Nothing here sounds over-produced or endlessly tweaked within an inch of its life - and if both Everybody Wants and YOUNG&DANGEROUS had been recorded in a similar style to this one then they would have both been so much better - especially for a rock fan like me. It just feels like there was no pressure this time around, no label executive breathing down the band's neck, and that has allowed the band to be creative and deliver the goods on the own terms - a trend which I hope that they can continue going forward.

The album was released on 16th October 2020 via Interscope Records. Below is the band's promotional video for Strange Days.

Sunday, 1 November 2020

Blue Öyster Cult's 'The Symbol Remains' - Album Review

A few years ago, the likelihood of me covering a new Blue Öyster Cult album here would have been next to nothing. Despite being a casual fan of albums like 1976's Agents of Fortune and 1981's Fire of Unknown Origin, my knowledge of the New York band was very limited. They were one of those bands who I was more familiar with due to their influence and stature than with their music itself, and any attempt to branch out beyond the handful of their songs that I liked left me cold. I resigned myself to the fact that Blue Öyster Cult were just not really for me, and essentially gave up on trying any harder - content with the occasional spin of Fire of Unknown Origin to fill my sparse Blue Öyster Cult-related needs. I am not sure what changed this long-standing mindset of mine, but over the last two or three years I have really grown to love the band. I really do not know what finally clicked with me regarding their music, but before I knew it I had amassed as many of their albums as I could find and was devouring them extremely quickly. Suddenly, the band's quirky, schizophrenic sound was hugely appealing - and they have probably been one of my most-listened to bands of the past few years. A show at London's legendary Hammersmith Apollo last year was what really sealed the deal however. Even though by the time the gig rolled around I was a convert to the band's sound, seeing them live really cemented my fandom. The band's current line-up, spearheaded by original members Eric Bloom and Donald 'Buck Dharma' Roeser, charged their way through a lengthy set in one of the country's best-love rock venues - and my love for the band has only continued to grow since that show. A new album to digest was the natural next step in my Blue Öyster Cult adventure, but until a few months ago that prospect seemed fairly remote. After all, it had been a long time since the band had last released a new album, with 2001's Curse of the Hidden Mirror being their last outing, but last year the band signed to Frontiers Records which resulted in a lot of great archive live albums being released, along with reissues of both 1998's Heaven Forbid and the aforementioned Curse of the Hidden Mirror - both of which were long out of print and original copies were hard to track down at sensible prices. The real jewel in the crown of the Frontiers Records signing however was the announcement that a new album was on the way - which finally materialised last month under the guise of The Symbol Remains. Despite the album being recorded recently, I get the impression that the band have been sitting on some of this material for a while and were waiting for the right opportunity to get it recorded and released. Demos of some of the songs had been released by Roeser previously, but that certainly did not detract from the excitement of the first new Blue Öyster Cult album in 19 years. It is great that the band's current, and mostly long-standing, line-up has finally got a chance to show what it can do in the studio - and two of the current line-up make their debut with the band in studio here. Multi-instrumentalist and songwriter Richie Castellano and drummer Jules Radino, who have been in the band since 2004, finally can see their names on a Blue Öyster Cult studio album now, while bassist Danny Miranda, who returned to the fold in 2017 after a few years away, contributes to this third original Blue Öyster Cult release.

At 14 songs in length, The Symbol Remains is a lot to digest. This means that the album takes a good few listens to fully appreciate, but the variety of the material here helps it to stay fresh. That diversity is apparent from the off, with the first three numbers (all of which have been released as singles), showing different sides of the band. That Was Me kicks things off with a great old-school heavy guitar riff that really recalls the band's first couple of albums. Blue Öyster Cult's early work is characterised by a raw, garage rock sound - and That Was Me personifies this. Bloom takes the lead vocally; his gruff, gravelly voice giving the song the kick it needs - while Roeser and Castellano join forces for the simple, barrelling riffs. Albert Bouchard, one of the band's founding members, adds some additional vocals and percussion to boost the sound, while Miranda and Radino lock together for the song's stomping rhythm. While the more progressive side of the band will be explored later in the album, That Was Me is a perfect kick off number that brings the energy early on; with a decent chorus thrown in for good measure. If That Was Me personified Blue Öyster Cult in the 1970s, then Box in My Head is the band in the 1980s. The song sounds like a Fire of Unknown Origin cast-off, with Roeser's thin, musical voice sounding as good as it ever has. Spacey synths fill all the space around the main shuffling guitar rhythm, with the whole aesthetic being something of a contrast to the opening number. There is a lack of heavy rock energy this time, but the quirky melodies that the band have become known for over the years are present in a big way. Roeser's songs often have a strange vibe, and Box in My Head is no different - but the hooks are still extremely memorable. In many ways the song is a quintessential Roeser composition, with laid back guitar leads and a smooth, AOR-esque chorus helping to keep things interesting. Tainted Blood is the best of the opening trio however, and it is the first of three songs here sung by Castellano. Various Blue Öyster Cult members have contributed lead vocals over the years, and Castellano has now joined these ranks - his somewhat more youthful voice contrasting with the established tones of Bloom and Roeser. The track, written by Bloom and Castellano, is a spooky semi-ballad, with low-key verses that explode into what is possibly the album's best chorus. The chorus has a very 1980s vibe to it, with layers of harmony vocals and catchy hooks, while horror-esque organ grinds away in the background to fit with the song's themes. With this track Castellano marks his contribution to the wider Blue Öyster Cult legacy. He has written or co-written a good number of the songs here, but this is easily my favourite of his efforts.

Nightmare Epiphany shines the spotlight back on Roeser, his musical voice driving what is a strange-sounding track, full of shuffle, groove, and boogie piano. There is a subtle energy here, with Radino's drum groove really snapping out the speakers, while Roeser's main guitar rhythms provide something of a counter to it - with occasional bursts of raw southern-esque guitar riffing changing the tone briefly. It is a strange song, but it instantly feels at home on the album. Roeser's song have often been some of the band's most 'out there', and the album's variety largely comes from his compositions. In many ways, it is Roeser that gives Blue Öyster Cult their trademark quirkiness, and Nightmare Ephiphany is another in a long line of strange songs that are packed full of sleeper melodies and strange grooves. Edge of the World, written by Castellano but sung by Bloom, is a bit weightier, but some of the spooky vibes that filled Tainted Blood return. The main guitar lead has something of a stadium rock quality to it, but this strident vibe is soon cast aside for a sparse verse that is packed with atmospheric keyboards that act as a great contrast to Bloom's rough delivery. In fact, this contrast is a big part of the song. Despite it seeming weightier than some of the material here, there is still a lot of the band's trademark atmosphere. Occasional heavier riffs and Bloom's voice clash with the melodic vocal harmonies provided by the rest of the band and the layers of keyboard form perfect hints of that classic Blue Öyster Cult sound - which makes it another strong cut on an album that is packed with them. Castellano takes the lead again for The Machine, a more straight ahead rock song with driving guitar riffs and a punchy drum pattern. His powerful, melodic voice really suits the song, while plenty of guitar leads are thrown in to create additional melodies. In many ways, the song feels like an old-school 1970s rocker that has been fed through modern production techniques. The riffing and guitar work is very classic-sounding, while the Hammond organ that is constantly roaring away in the background also evokes that era. The song is one of the simpler efforts here, but the melodies and the energy really help it to stand out. Train True (Lennie's Song), in contrast, is possibly the strangest song here however. Blue Öyster Cult have never gone full country before, but this song really goes for it in a big way - with a cheesy bluegrass chorus that sounds like nothing the band have ever done before . Radino's shuffling groove throughout allows the speedy country sound to hit home, while Roeser's vocals and snappy guitar work bring the song to life. When I first heard the song I was not sure at all what I thought of it, but is has certainly grown on me somewhat. I am not sure that country is a natural sound for Blue Öyster Cult, but it works well as a one-off; with a deliberately over-the-top sound coming off with something of a knowing nod and a wink.

The Return of St. Cecilia is more typical of the band's sound however, and it acts as something of a sequel to one of their very early songs - when they were still known as the Stalk-Forrest Group. It is Castellano's last lead vocal on the album, and it is possibly the most classic-sounding Blue Öyster Cult song of his three vocal contributions. There is a great, upbeat rhythm to the whole song, with driving piano and Hammond constantly filling any gaps left by the crunchy guitar rhythms, while a hooky chorus brings in some of the band's trademark vocal harmonies. It is one of the songs that really stood out to me on my first listen to the album, and it has remained a favourite thanks to its soaring melodies, energy, and plentiful lead guitar work. Stand and Fight feels like a cousin of That Was Me, a heavier track with raw guitar riffing and Bloom's gruff vocal delivery. Miranda's bass opens the song, and dominates throughout, while the guitars add chugging rhythms and droning chords over the top. It is probably the album's heaviest moment, with gang vocals filling the simple chorus while Bloom snarls his way through the lyrics. Both Heaven Forbid and Curse of the Hidden Mirror had some heavier moments, and this song sounds like a continuation of the sound forged on those albums. Much of this album is fairly whimsical or has more of a traditional rock sound, but this song borders on metal - and it is great to hear the band really going for it here. Florida Man instantly transports the listener back to Roeser's strange world however, with the atmospheric piece perfectly representing his core songwriting style over the years. The opening guitar line seems to deliberately reference (Don't Fear) The Reaper a little, with a discordant take on a similar pattern heralding what is to come, but this is a song that is characterised more by atmosphere than by any standout riff or melody. The chorus is so laid back that it might as well be horizontal, but the melodies contained within soon worm their way into your brain, while layers of keyboard help to enhance the gentle shuffle that is created by Radino and Miranda. It is another fairly odd song, but one that long-time Blue Öyster Cult fans will instantly latch on to. Another song that long-time fans will instantly love however is The Alchemist. It is possibly the biggest-sounding song here, and another great songwriting contribution from Castellano who has really made his mark on the album. Bloom sings the song; his expressive voice bringing the spooky lyrics to life. The song is based on the H.P. Lovecraft tale of the same name, and some of the lyrics are direct quotes from its pages. Topics like this are common fodder for the band, and Bloom's Alice Cooper-esque delivery is perfect for the theatrical, gothic nature of the piece. Ringing piano constantly adds another dimension to the song, but it is the guitars that give the tune its bulk - as Castellano and Roeser join forces for powerful riff after riff, before descending into an Iron Maiden-esque lead guitar trade-off that is easily the album's most explosive guitar moment. The song is a real album highlight, and will no doubt become a live favourite in the years to come.

The album's final three songs are probably the weakest cuts here, but they are still enjoyable. The amount of quality material here means that there is always likely to be a handful of numbers that do not reach the same heights, but it seems that they were all saved for the end here. Secret Road is another Roeser track, but it sounds very similar to Florida Man - so it ends up rolling into the previous song a little, especially as only one song separates them. The laid back grooves are present again, and the chorus even has a very similar melody. This is probably the only song that I would have cut from the album, as it sounds too similar to other numbers here, and the melodies just do not really stand up on their own. There's a Crime, written by Radino and New York music school owner Jeff Denny, is probably the best of the final three songs - with a great hard rock vibe forming the perfect bed for Bloom's final vocal on the album. It is certainly not the best track here, but the raw vibe again recalls those early Blue Öyster Cult albums and there is plenty of excellent lead guitar work throughout. The main riffs are raw and simple, but there are some excellent solos here that really bring the best out of Roeser and Castellano. The album comes to a close with Fight, another Roeser track that has a catchy hypnotic guitar running throughout. It might have been wiser to end the album on a heavier note, but Blue Öyster Cult have never been a band to do things the 'usual' way - and in some ways this strange, atmospheric piece works well as an album closer. It is certainly spiker than many of Roeser's contributions to the album, with some tasty riffing throughout, but it is still a trademark Roeser song in the sense that it is packed with layers of keyboard and strange melodies. It is another song that has grown on me a lot, and it could end up being another favourite in time. Overall however, and despite the quality dipping a little at the end, The Symbol Remains is a great comeback from Blue Öyster Cult - and one that deserves to get a lot of attention in the rock press. There are a handful of fantastic songs here, and most of the rest are extremely enjoyable too. There is a lot to digest here, but any fan of the band throughout the years is likely to instantly recognise the band's signature styles at work here. It is also an album that I feel I will only grow to love more over time, and it is quite likely to be one of my favourite releases of the year when it comes to writing my Top 10 Albums of the Year list at the end of December.

The album was released on 9th October 2020 via Frontiers Records. Below is the band's promotional video for That Was Me.