W.E.T.'s 'Retransmission' - Album Review

January is always a strange time for the music blogger. With 2020 rounded up in my last post at the beginning of the month, and with gigs still outlawed for the foreseeable future, this blog has lain dormant for a few weeks - waiting for 2021 to kick off in a musical context. It usually takes a couple of weeks for a new year to start dishing out its musical treats, but this year it felt like that first album was more elusive than ever. I was pleased then when, last week, the first package of the year bearing new CDs arrived at my house - containing two new releases courtesy of the Italian record label Frontiers Records. The second of the two I will get to another day, but it is the fourth album from the Swedish/American AOR supergroup W.E.T. that kicks things off here on WhoIsSamLewis this year. While not the most active of bands, W.E.T., rightly, have a strong following in the AOR and melodic rock worlds. Originally formed as a collaboration between vocalist Jeff Scott Soto and multi-instrumentalists Erik Mårtensson and Robert Säll, W.E.T. has become one of Frontiers Records' premier in-house projects. Despite my distaste for the formulaic nature of many of Frontiers' projects, W.E.T. has always stood out from the pack. The songwriting talents of the band's three main pillars made their early work stand out, as each member brought their take on AOR and meshed them together to make something familiar - but also uniquely W.E.T.. Both 2009's W.E.T. and 2013's Rise Up featured the core of the band, alongside guitarist Magnus Henriksson and drummer Robban Bäck, doing what they do best - but it would be five years before Soto and co. decided to produce a follow up. W.E.T.'s silence was broken in 2018 by the release of Earthrage (which I reviewed here), which proved to be a solidly enjoyable slab of AOR from the off - but it was not up to the same standard as the band's previous two efforts. I believe that part of the reason for this was perhaps, at least in part, the total dominance of Mårtensson's contributions on Earthrage. I like Mårtensson and his band Eclipse a lot, but what made W.E.T. special was the 'meeting of minds' that seemed to take place during the first part of the band's career - particularly on Rise Up, which was a very collaborative album. Säll did not contribute to the writing of Earthrage at all, and his instrumental contributions seemed extremely minimal too. Earthrage just felt like more Eclipse (with the added vocals of Soto) which, while not necessarily a bad thing, seemed like it was missing the band's usual, more collaborative approach. I was therefore hoping that Earthrage's follow-up, which was eventually released earlier this month under the title of Retransmission, would redress the balance - and, in some ways, it has done so. Säll did contribute to the songwriting this time around, albeit to only one song, but this still very much feels like another Mårtensson project on the whole. The result is another enjoyable AOR album, but there does seem to be a heavier, bluesier vibe featured throughout which helps to set Retransmission apart from the band's other albums. It also features a line-up change in the form of bassist Andreas Passmark (Stormwind; Narnia; Wisdom Call; Royal Hunt), expanding W.E.T.'s line-up officially to a six-piece for the first time ever with Mårtensson having handled the bass duties previously.

As with W.E.T.'s previous albums, Retransmission kicks off with its lead single - the catchy and extremely poppy Big Boys Don't Cry. W.E.T., being an AOR band, obviously have a lot of pop in their sound, but Big Boys Don't Cry pushes this to the limit with chart-esque vocal harmonies mixing well with the band's usual sharp riffing. Despite being known for his melodic rock writing, Mårtensson is a fan of much heavier music personally and that has always informed his songwriting. While his songs are never truly 'heavy', his riffing style and guitar tones are always potent - and that allows a song like Big Boys Don't Cry to shine while still being packed full of sugary melodies. While Soto is W.E.T.'s lead singer, occasionally W.E.T. have included duets on their albums and Mårtensson sings the opener with him - which leads for an interesting mix of tones during the verses, before Soto soars during the choruses. Anyone familiar with Mårtensson's writing style will instantly feel at home here and, while the hooks are not as big as they could be, the song opens the album in fine fashion - with a shredded solo courtesy of Henriksson adding a virtuosic touch. The Moment of Truth takes things up a notch however in my opinion. Opening with a big Passmark bassline, the song is a collaboration between Mårtensson and Swedish singer Dag Finn (Sha-Boom) - and the result is a much hookier and 1980s-sounding affair than the album's opening cut. As much as I like Mårtensson's voice, W.E.T. is all about Soto's smooth delivery - his slightly more soulful approach to melodic rock helping the band to stand out. He really gets his chops around this smooth track perfectly, with the chorus being one of the album's best. Elsewhere, driving keyboard riffs and sharp guitar rhythms keep the song ticking along nicely; but another highlight comes in the form of Henriksson's lengthy guitar solo, which starts off slowly before exploding into cacophony of notes. I also really like how the song ends on a much heavier note, with Bäck laying into his double bass drums for a fast-paced and pummelling close to the song - bringing Slip of the Tongue-era Whitesnake to mind in the process. Despite a brief acoustic opening, The Call of the Wild is another strong melodic rocker. The overtly-poppy melodies from the album's opening moments return here, but in my view they are utilised better this time around. Mårtensson's sugary backing vocals are used in a very Toto-esque way here, punctuating Soto's verse leads perfectly - before the two join forces for another strong chorus. In some ways, this is possibly one the most creative tracks here, and the use of backing vocals throughout does sound like something new for the band - and Mårtensson in general. I have never really felt a Toto vibe in his songwriting before, and I like what effect it has on the song overall.

Got to Be About Love is more of a ballad, with a slow-paced opening that builds around Soto's soulful vocal delivery. Clean guitars ring out around him, while subtle synths and a percussive Bäck drum pattern help to build the overall atmosphere nicely. While the choruses are a little more explosive, with big vocal hooks and a greater rhythmical presence, the song perhaps operates best when it is at its most atmospheric. Not every song needs to be a soaring number, and sometimes less can be more. I like the way the band relies more on atmospherics here as a result, and it makes the chorus more powerful when it does hit. Säll contributes the guitar solo this time around, and his fluid run of notes fits the mood of the song perfectly. He is perhaps not as caustic a player as Henriksson, which makes his playing feel right at home in this ballad. Beautiful Game has more Whitesnake vibes throughout, and in fact reminds me quite a lot of the sound that the band went for on 2019's Flesh & Blood (which I reviewed here) - but with more of a poppy approach to vocal hooks. There is a bit more of a bluesy vibe showcased throughout, with organ riffs backing the guitar rhythms and a strong bass presence throughout. It is certainly not as heavy or as bluesy as the modern Whitesnake sound, but there is something of the band's bump and grind to be found here - with an AOR-esque chorus included for good measure. How Far to Babylon is the first song on the album to be co-written by Soto, who has perhaps not been as involved in the songwriting on this album as much as he would usually be either, which ensures that the somewhat bluesy vibes of the previous song is carried over here. I have always considered Soto to be something of an anti-AOR singer in some ways, and I usually prefer him in more of a metal context (e.g. Sons of Apollo, Yngwie Malmsteen's Rising Force) than I do in an AOR one. W.E.T. (and some of Talisman's stuff) is an exception however, and I think he fits in nicely with Mårtensson's overall songwriting style - which is part of what has made W.E.T. so enjoyable over the years. His somewhat more soulful approach really informs this track, and it has a strut that is largely absent elsewhere - with some great Bäck drumming thrown in for good measure. Coming Home starts off similar, with an AC/DC-esque riff driving everything early on, but the song is a real mix of styles. Thin Lizzy-esque twin guitar leads show up occasionally to add flashes of melody, while one of the album's best choruses really brings the best out of Soto as a melodic rock singer. Mårtensson's vocal harmonies boost Soto's vocal power nicely, while Mårtensson handles the guitar solo this time around. He is not as expansive a player as the band's other two lead guitarists, but his style suits the song perfectly as he adds more of a bluesy, classic rock style collection of leads.

What Are You Waiting For is another ballad. It opens slowly with some chiming guitar melodies and subtle keyboards before Soto adds his soulful delivery to the piece. While Got to Be About Love exploded into its chorus for a heavier contrast, What Are You Waiting For stays fairly low key throughout, which aids its overall atmosphere in my opinion. This is one of the only songs here that really relies on atmosphere and keyboard depth rather than bombastic riffing and soaring hooks. That is not to say that there are not hooks here, because there are, but they are more subtle and emotionally-charged this time around. The chorus is still very memorable, but this is wholly down to Soto's excellent vocal delivery. He really pours everything into the song, and it is possibly his best performance on the album as a result. You Better Believe It gets back to the band's core AOR sound after a couple of bluesy and ballad-like deviations - and it is one of the most joyous and upbeat tracks on the album. It might feel this way because of the songs that preceded it, but either way the song is full of pop hooks and summery vibes that make it a great slab of old-school AOR. The chorus is one that is definitely going to stick in the brain for a long time; while Henriksson's guitar solo is a real throwback to the excess of 1980s stadium rock. There is a lot to enjoy about the track, and it is one of the standouts here as a result. How Do I Know goes back to the bluesy strut of tracks like Beautiful Game with a strident opening guitar riff; but there is also a lot of pop fused into it. This is possibly one of the grooviest tracks here, with a snaking mid-paced vibe throughout that is created through hypnotic guitar riffing and Passmark's bass playing. The pace never really changes throughout, with even the choruses keeping up the groove laid down elsewhere - which in my opinion is a really effective trick. In some ways it gives the song a strange sound, but I like the fusion of pop and blues grooves here as it sounds genuinely different - with a flash of the band's early creativity on show. It is left to One Final Kiss to close the album out, which is Säll's only songwriting contribution here. He also contributes the song's guitar solo, so this is probably the most that he has been involved in a W.E.T. song since Rise Up - which is nice to see. Style wise, the song is a soaring, fast-paced AOR track with pompous 1980s synths and a catchy chorus that makes great use of backing vocals - with Soto's soulful delivery adding some depth. It is a great reminder of the band's core sound and is something of a flashback to the band's first two albums - with the band's three pillars all contributing to the songwriting and bringing their unique talents to the track. Overall however, for me, Retransmission does not quite live up to those first two albums; but there is still a lot to enjoy here. I like the experimentation with a bluesier sound that is featured throughout, and the diversity here makes this album a stronger overall collection of songs than Earthrage was three years ago. There is still a lot to enjoy here however, and fans of AOR and melodic bluesy rock ought to get a lot out of it.

The album was released on 22nd January 2021 via Frontiers Records. Below is the band's promotional video for Big Boys Don't Cry.

Music of 2020 - Part 2

Now that 2020, the first year of the current decade, is over it is time for me to present to you my annual Albums of the Year list. I reflected yesterday, not very positively, on the state of the music industry generally in 2020 (which you can read here) and its sacrifice to the Gods of COVID-19; but many lowly musicians managed to defy the odds and release strong albums - despite the all that is currently stacked against them. Despite the contempt that the authorities and many others seem to have for music, particularly live music, of late; it is heart-warming that so many bands pulled together and released great albums. The Albums of the Year list is a staple of music blogging the world over, and this one is no different. I have been putting together Albums of the Year lists for a long time now, and each one proves to be a difficult undertaking. In some ways however, 2020's list was possibly the hardest to write. There have been a huge amount of excellent albums released this year but, for me at least, they were all of a very similar standard. Usually there are two or three that really stand head and shoulders above the rest - the 10/10s if you will. This year however has not seen, for me at least, an album of quite that calibre being released - with an absolute cascade of 8/10s instead. This makes putting a list together hard, as any 10 of around 25 or so albums could have legitimately earnt a place in this run down. The number one spot was not as obvious to me as it often is either, so putting this list together took much longer than usual. In the end I decided to go with the ten albums that I felt that I had listened to the most this year, and put them in some sort of order (this was not a fool-proof strategy however, as my end of year last.fm stats proved!). This ended up with the list omitting some pretty major releases, and there are some of my favourite bands that failed to make the cut this time around as a result. By picking the ten albums that I thought that I had listened to the most seemed the fairest way to create the list this year - and the ten albums that I have included below certainly sum up 2020 as a musical year for me, even if a few 'obvious' choices had to be left out. More so than ever however, this will probably be a list that will not age that well as so many of 2020's albums were of such a similar quality - and there a number that I feel that I have not given my full attention to yet. As always, the only albums available for inclusion are albums of all new material - so compilations, live album, or collections of re-recorded songs are not eligible for inclusion.

10) Lamb of God - Lamb of God

Given the departure of founding drummer Chris Adler in 2019, I was concerned how the band's tenth studio album would turn out. Adler was such a cornerstone of the Lamb of God sound, but the band's self-titled release turned out to be their most ferocious work for quite some time. Dispensing with the experimentation found on both 2012's Resolution and 2015's VII: Sturm und Drang, which were both fine records, Lamb of God is a back-to-basics album that saw the band release a collection of songs to rival the primal nature of 2004's Ashes of the Wake. New drummer Art Cruz fits in like a glove, and his performance is a big part of why the album is so good, but it is the overall songwriting that really makes Lamb of God shine. Nothing has been significantly changed formula-wise, but the band seem passionate about just being themselves again after spending much of the 2010s trying out new things. I enjoyed the band's more experimental phase, but there is something comforting about the rage contained within Lamb of God, which made it a perfect companion piece for 2020.

Listen to: Memento Mori, Gears & New Colossal Hate

9) Fish - Weltschmerz

In many ways I feel that Fish's final studio album should be higher up this list, but the truth is that I feel that I still have a lot to discover within it - despite listening to a lot over the past few months. It is a long, dense album that is packed full of different moods and themes; so as a result it is an album that demands your full attention and repeated listens. It is an album that will no doubt rise through the rankings over time, but I am certain that it is a masterpiece despite its relatively low position here. Many albums are described as a 'journey', but Weltschmerz is one that truly deserves that moniker. While the album is not a concept album, I cannot help but feel that many of the song share similar themes at their core. It is clear that Fish has lost none of his lyrical power over the years, and the cast of musicians involved in the album is a real who's who of Fish collaborators throughout the years - which is fitting for his final ever studio project. As a result of its length and themes, Weltschmerz can be a very difficult album to listen to at times; but this does not diminish its power, and it is an album that I am sure to only appreciate more as time goes on.

Listen to: The Grace of God, Rose of Damascus & Waverley Steps (End of the Line)

8) Sylosis - Cycle of Suffering

There was a time when Reading's Sylosis were one of the most hotly-tipped British metal bands out there, but they never seemed to quite break through the glass ceiling despite releasing a string of great albums throughout the 2010s. When the band's main man Josh Middleton joined Architects in 2017, I thought that Sylosis would likely be quietly taken out into the yard and shot - and indeed it did seem for a while that that had happened. However, back in February, the band's fifth album Cycle of Suffering was released and Sylosis fans the world over instantly rejoiced. While Cycle of Suffering is perhaps not as progressive as some of the band's other albums, it picked up nicely where Dormant Heart left off in 2015 - bringing that album's more riff and song-based formula into the new decade with aplomb. Like the Lamb of God album, Cycle of Suffering has quite a lot of fury to be found within, but there are a lot of other emotions present too which make this one of the heaviest albums of the year that I have revisited on a regular basis. There is certainly a case to be made for Middleton being one of the best guitarists and songwriters in metal at the moment, and Cycle of Suffering is a full display of his various talents.

Listen to: Empty Prophets, I Sever & Abandon

7) Blue Öyster Cult - The Symbol Remains

A couple of years ago the thought of a new Blue Öyster Cult album seemed like a farfetched one, but one of the year's biggest surprises came in the form of The Symbol Remains back in October - the band's fifteenth studio album. I am not sure exactly what I was expecting Blue Öyster Cult to sound like in 2020, but The Symbol Remains turned out to be a varied and extremely engaging album packed with numerous memorable songs and great performances from the band's long-standing current line-up. Due to the band's overall experimental and esoteric nature, some of the songs do not quite hit home for me, but when the album gets it right it does so in a big way. All three of the singles that kick off the album nail the band's core sound, while heavier moments occasionally showcase why Blue Öyster Cult have often been listed as an influence by a great number of metal bands. It is certainly not the most consistent album on this list, which is what stops it from being placed higher, but it is an album that makes me smile no matter what; and it is great that the band are still so experimental and 'out there' so late in their career.

Listen to: Box in My Head, Tainted Blood & The Alchemist

6) H.E.A.T - H.E.A.T II

There have been a number of strong melodic rock albums released this year, but for me the best pure AOR album is the sixth album from Sweden's H.E.A.T. After going for a more cinematic sound on 2017's Into the Great Unknown, H.E.A.T II sees the band returned to their core riff-based sound with a number of great stadium-worthy choruses and shredded guitar solos. H.E.A.T might not be the most original band out there, but they are one of the best modern AOR acts going in my opinion, and their back catalogue has a wealth of anthemic songs. H.E.A.T II is probably one of my favourite albums from the band so far too, and this is because it just goes for the throat throughout. Each song is packed with a killer chorus, while the overall songwriting is sharp and perhaps a little heavier than the band are often known for. Like Lamb of God's album, H.E.A.T II is a back-to-basics release that ensures that the Swedish five-piece remain at the top of the tree when it comes to modern melodic rock. It is also retrospectively notable for being the band's last album with frontman Erik Grönwall, who left the band in October to be replaced by the returning Kenny Leckremo. It is a shame that Grönwall never got to tour his final effort with the band, but H.E.A.T II is a fitting end to his era of the band.

Listen to: Dangerous Ground, Come Clean & Heaven Must Have Won an Angel

5) Kansas - The Absence of Presence

While 2016's The Prelude Implicit was a great comeback album for the legendary American band, The Absence of Presence sees the Ronnie Platt era of Kansas really take off in a big way. The nine-track album is filled with all of the band's trademark sounds - with progressive rock, arena rock, and intricate musicianship all coming together to create something which is greater than the sum of its parts. What is more impressive is that the band's two newest members, guitarist Zak Rizvi and keyboardist Tom Brislin, essentially wrote the whole album - showing that a band can continue to thrive following the departure of their main songwriters and still produce excellent material. In truth, this is an album that could have been higher up the list, but I think my relative lack of history with the band is what is keeping it down at 'only' Number 5. Kansas are a band that I am continuing to explore and enjoy, and if I was to revisit this list again in a couple of years I can see this one placing higher. Nevertheless, The Absence of Presence is an album that I have been enjoying an awful lot this year, and I have to credit it with finally making me 'love' Kansas, rather than merely 'liking' them.

Listen to: The Absence of Presence, Jets Overhead & The Song the River Sang

4) Cats in Space - Atlantis

If H.E.A.T II was the best pure AOR album of the year, then Atlantis is the best overall melodic rock release of 2020. Borrowing more from the British glam rock scene of the 1970s than AOR, Atlantis is the British six-piece's fourth studio album - and their first with frontman Damien Edwards. All eyes were on Edwards here, but he knocked it out of the park from the off and proved throughout why he is the perfect choice to take the band forward. While I still feel that 2019's Daytrip to Narnia is a better album overall due to its slightly more progressive nature, the individual songwriting on Atlantis is some of the band's strongest yet. A few of the songs here would have been huge hits in a fairer world, and the lush production that the band have become known for sounds as good as ever here. In fact, there are times throughout the album that sound the biggest the band have ever sound - with layers of Queen-esque guitars and Def Leppard-esque vocal harmonies creating a sonic tapestry that all classic rock fans will enjoy. Cats in Space have never been shy of wearing their influences on their sleeves, and as a result Atlantis is a great retro rock album that is packed full of memorable songs and performances.

Listen to: Spaceship Superstar, Listen to the Radio & I Fell Out of Love with Rock 'n' Roll

3) Deep Purple - Whoosh!

Despite my review of Deep Purple's Whoosh! stating that I thought that Now What?! represents the best of modern Deep Purple, I think that over the past few months Whoosh! has surpassed the band's excellent 2013 release. Now three albums into their relationship with producer Bob Ezrin, the veteran British band are sounding more vital than they have for a long time. Now What?! is a great album, but I feel that Whoosh! has a real confidence and swagger about it - with keyboardist Don Airey in particular turning in a fantastic performance. This is possibly his finest recorded performance of all-time, which is staggering considering the amount of albums that he has been involved in over the years, but the rest of the band manage to match him for intensity. There are plenty of great instrumental trade-offs between Airey and guitarist Steve Morse; while the aging Ian Gillan finally seems to have found a way to use his diminished vocal powers appropriately. Gillan's performance throughout Whoosh! is wonderfully assured, and his unique lyrical and vocal phrasing that fans of his have become accustomed to over the years is still present despite his change of approach. While Blue Öyster Cult's album was more of a surprise due to that band's lack of studio activity of late, Whoosh! takes the crown for being the best album by a veteran classic rock band of 2020.

Listen to: Drop the Weapon, Nothing At All & Man Alive

2) Bruce Springsteen - Letter To You

Despite enjoying 2019's sparse Western Stars, what I really wanted from Bruce Springsteen was a new album with the legendary E Street Band. Prior to the release of Letter To You in October it had been 11 years since the Boss has recorded an album that solely featured his multi-talented backing band, but Letter To You turned out to be everything that I wanted it to be and more. Despite initially feeling that the album was short a couple of potent rockers, Letter To You has continued to improve with each and every listen, and I do not think that there is weak song here at all. Springsteen's knack for storytelling and cramming a number of deep themes into his compositions is as strong here as it ever has been, and the E Street Band sound really fired up throughout. From Roy Bittan's piano to Stevie Van Zandt's trashy guitar rhythms, Springsteen never sounds as good as when the E Street Band are behind him and Letter To You is a real tribute to this - with much of the album being recorded live by the band in the studio in a matter of days. Everyone gets a chance to shine throughout, but of course it is Springsteen that comes out on top. Pretty much every song here is now an earworm for me, and that is the reason that it has placed so high on this list. I really hope that he is able to tour this album soon too, as most of these songs are begging to be played live.

Listen to: Burnin' Train, If I Was the Priest & Ghosts

1) Conception - State of Deception

I said at the start of this piece how hard it was put this list together, and deciding which album was going to top it was no different. In the end I went with the album that hit me from the off with its power and moody tendencies, and it is also probably my most-listened to album of the year (one of them certainly). Conception's first album since 1997 has certainly received mixed reviews, but I loved it from the off and spending many months with it now has not changed my view. I like the album's compact nature, which makes it a very easy listen, but there are enough progressive twists and turns here to keep long-time fans of the band happy. As a long-time Roy Khan fan however, it is great to hear how vital and enthused he sounds here. His full vocal range is put to great use here, and it is probably his best vocal performance as a whole since Kamelot's 2005 masterpiece The Black Halo. Each time I listen to the album I hear something new, and it is usually something from Khan - a slight inflection or injection of emotion that just makes the song that little bit better. State of Deception is not just the Khan show however, with the whole band a few guest musicians pulling together to create something truly great. It would have been nice to hear a few more guitar solos from the great Tore Østby, but in truth his slightly restrained style fits in with the album's dark and moody tones. It is also these tones that have made State of Deception the perfect soundtrack to a pretty depressing year overall, which is why it is fitting that it should top this list and be considered my Album of the Year.

Listen to: The Mansion, By the Blues & She Dragoon

While the above is what I consider to be the best of 2020 from an album perspective, it is in truth only a snippet of the music that I have enjoyed this year. As I said earlier, there are a number of other albums that I could have included here, some of which I was sure would end up in this list. Some of them missed out as I have not quite given them the time that they probably deserve, while others have not been included as perhaps they did not quite live up to expectations despite still being enjoyable. Both Delain's diverse Apocalypse & Chill and Magnum's explosive The Serpent Rings could have easily been included here, as could Marko Hietala's excellent debut solo album Pyre of the Black Heart. His day job, Nightwish, also missed out as Human. :II: Nature. has not stuck with me as much as I thought it would have done - and also for the fact that the album's second disc still does little for me. I also wanted to include Paradise Lost's doomtastic Obsidian in the list too, but in the end there were other albums that I preferred just that little bit more. It just goes to show what a good year 2020 was for new albums, and also just how similar in quality many of them were. 2019's list was easy to put together as there were a number of absolutely stellar releases put out during that year that easily rose to the top, but this year was more consistent quality-wise. I have already looked forward to 2021's releases in yesterday's post, so all that is left for me to do now is to thank you all for reading my reviews throughout 2020 - and let's all hope for more strong albums to enjoy over the coming months!