Sirenia's 'Riddles, Ruins & Revelations' - Album Review

Norway's Sirenia, which in truth has always largely been the solo vehicle for multi-instrumentalist and songwriter Morten Veland, is a band that I have liked for probably around 12 years at this point - but I am not sure that I have ever truly loved them. My introduction to the band was 2009's gothic, yet very accessible, The 13th Floor. I picked the album up not long after its release and it was something that was really in my wheelhouse at the time. Around that time my favourite bands in the world were Nightwish and Kamelot, and I was gaining an appreciation for the wider symphonic and power metal worlds. While I feel that Sirenia are more of a gothic metal act than a truly symphonic one, The 13th Floor was accessible and symphonic enough to appeal to me at the time. It was never going to challenge the Nightwishes and Epicas of the world, but it was an album that held my attention for that year or so. After that however, Sirenia pretty much dropped off my radar for a while. I totally missed 2011's The Enigma of Life (I did pick it up quite a long time after its release but it is still not an album that I am really familiar with), but I did jump back on board with 2013's Perils of the Deep Blue (which I did not cover at the time, for some reason). After flirting with poppier sounds, Perils of the Deep Blue was very much the band returning to their gothic metal roots in a big way. It was a dark, heavy album - and this was a sound that the band carried forward into 2015's The Seventh Life Path (which I reviewed here). I listened to both Perils of the Deep Blue and The Seventh Life Path quite a lot at the time, but it was not long before I fell of the Sirenia wagon again. I am not sure why this happened, but both 2016's Dim Days of Dolor and 2018's Arcane Astral Aeons passed me by somewhat (again, I have both, but they are not albums that I am hugely familiar with). This is probably because I would only really consider myself a casual fan of the band, and if these albums came out at times when a lot of other albums were being released then they almost certainly would have been overlooked. I did not want the band's tenth album to suffer the same fate however, so Riddles, Ruins & Revelations (which carries on the alliterative theme of their last couple of albums) was pre-ordered as soon as it was reasonable to do so. The album arrived a couple of weeks ago, and I have been enjoying a lot since. It is fair to say that the album has grabbed me in quite a big way, and I was not really expecting it to - especially as Riddles, Ruins & Revelations marks something of a change in tone for the band. The band's tenth album is much more commercial than anything the band has done to this point, and breaks the dark, gothic metal trend that Veland has been following again since 2013. Riddles, Ruins & Revelations is even poppier arguably than The 13th Floor, with electro-pop elements mixing perfectly with more familiar gothic metal trappings here. This is not a bad thing however, and the accessibility of this album is what makes it so enjoyable. It is also possibly the most band-orientated album that the band have done - with Veland letting go of the reins somewhat. Guitarist Nils Courbaron, on his second album with the band, handles nearly all of the guitar solos here; and it seems that Veland has finally ditched the plastic programmed drums of previous Sirenia albums with newcomer Michael Brush (Magic Kingdom; Ark Ascent; Holy Tide) laying down the drum tracks (either that, or Veland has some better drum software!). The star here though throughout is frontwoman Emmanuelle Zoldan who, on her third album with the band, shines - her poppy melodies the perfect counterpoint for Veland's still-tough riffing.

While certainly not as poppy as a band like Amaranthe, Riddles, Ruins & Revelations is still an album that is likely to have a wider appeal that the average gothic rock album does. The album's lead single Addiction No. 1 perfectly showcases, from the off, the band's new approach - and it is the sort of song that is likely to draw you in straight away. The song's sound is not so different that long-time Sirenia fans will feel let down, but instead the newer pop sounds have been fused well with the band's usual dark, riffy approach to good effect. The song opens in a haze of industrial grooves and a dancing synths - before a tough metal riff kicks in topped by a poppy keyboard lead. These opening 30 seconds or so really sum up the approach of the album as a whole, with the track showcasing the best of Veland's current songwriting style. Synths often take the lead here, but occasional heavier riffs sometimes kick in to bring the band's old sound to the fore - which helps to keep things fresh. With Courbaron on board, there are a lot more guitar solos here too - with the effort here following one of the heavy riffs with a shredded ease, adding some metal excess to what is otherwise a poppy and accessible song. Not all the songs here are quite as poppy as Addiction No. 1, and there is still plenty of gothic rock goodness to be found throughout the album. Towards an Early Grave certainly has a lot more of a metal bite to it, with a driving early In Flames-esque riff kicking things off - before a crunchy verse takes over that sees Zoldan singing atop a knotty, heavy guitar/drum combination. Sirenia have always been a melodic act, but I feel that, even during the more typical-sounding songs here, melody is given more prominence this time around. Despite the song's gothic trappings, the chorus here is a real winner - and has a vocal melody that sinks into the brain after only a couple of listens. It is also the first song here to feature Veland's harsh vocals, with his barks filling a heavy bridge section after the second chorus that provide a great contrast to the anthemic melodies found elsewhere. Veland growls less on this album than usual however, but these sections only hit harder as a result. All of the elements here add up to make Towards an Early Grave one of my favourite Sirenia tracks, and it really shows how a band can shake up their core sound by adding new elements and still sound familiar. Into Infinity is similar, but with perhaps more of a focus on industrial beats and grooves. This song shows another great integration of old and new, with a metal guitar leads doubling the synth riffs to create a big sound, although the chorus really goes all in for the desired electro-pop vibe with pulsing rhythms and catchy hooks. It is worth noting at this point that this is the band's first album to not feature a choir. This does mean that some of the band's trademark gothic vocal depth is missing, but it does allow the choruses to shine with a new-found simplicity. The lack of a choir works well for the type of sound that Veland is going for this time around - with the dark riffing and occasional harsh vocals there to provide familiarity.

Passing Seasons opens quite slowly, with dense keyboard layers and some distant spoken word - with Zoldan soon joining in. Her vocal approach throughout the album is much more straight forward than usual, but this song sees her use her slightly more classical approach throughout. This adds some emotional depth to the track, and allows for some great old-school symphonic metal moments - particularly a double bass drum-led section that sees her taking a pseudo-operatic approach that contrasts greatly with the poppy melodies found elsewhere. In many ways, this song sounds much more like one that could have appeared on one of the band's older albums, with much less of the pop to be found here. There is still a lot of old Sirenia here despite the shift in tone, and again it shows how successfully Veland has introduced new elements into the band's sound. We Come to Ruins takes the in-your-face pop of Addiction No. 1 and arguably takes it further, while also really dialling up the heaviness. This is a song that really meshes the band's old and new sounds together perfectly - presenting light-hearted melodies one moment, before soon diving headfirst into growled verses and pummelling double bass drumming. Shown in this context however, the industrial grooves and synth leads take on a menacing tone; and shows that the band's trademark darkness and melancholy is still alive and well despite the stronger focus on melody here. As a result, the song is another highlight for me; and it is great to hear Veland's harsh vocals really pushed to the fore - with the verses essentially being a duet between him and Zoldan. It is also one of the most dynamic pieces here too, as the song really tones things down in the middle, with a Pink Floyd-esque warm keyboard-led section taking over - before Courbaron launches into another impressive guitar solo. Downwards Spiral is another great example of Veland's sound fusion - and the melodies here make it another album highlight for me. The chorus is arguably the poppiest thing the band has ever done, while denser atmospheric sections elsewhere add some gothic depth. Regular collaborator Joakim Næss adds his vocals to the song's chorus, with the poppy melodies benefiting from the call-and-response approach taken by him and Zoldan. The chorus here is probably the closest this album comes to the all-out pop metal of Amaranthe - but there is still enough gothic murk during the verses to ground the track in the Sirenia canon. Veland's only guitar solo on the album is featured as the song draws to a close - his slow-burning, atmospheric approach here different to the shredded style used elsewhere. Beneath the Midnight Sun is heavier, but packed full of great synth-based grooves - Veland's early harsh vocals contrasting well with the pulsing beats. It is similar to We Come to Ruins throughout, but with perhaps a bigger emphasis on programmed beats. Some of the synth patches used here are a little in-your-face and over the top, but they still work well against the backdrop of gothic riffing and the occasional operatic Zoldan vocal. It is perhaps not as memorable as some of the tracks here, but there is still a lot to enjoy - with more of the band's old sound pushed to the fore despite the synth prominence.

The Timeless Waning is more of a groove-based piece, with a main riff that has a strident, old-school Marilyn Manson-esque strut to it which, when merged with the synths, has a strong, danceable feel throughout. In something of a role reversal, it is actually the harsh vocal-led sections here that are the catchiest - largely because they use the song's opening riff to form a chorus. It is rare for bands like Sirenia to use their harsh vocals during the choruses - but it works really well here, with Zoldan's low-key, atmospheric verses building up slowly towards this explosion of groove and heaviness. Courbaron's solo here is also much more groove-focused than usual. He dispenses of his usual shredded style for a more lyrical approach - with some subtle harmonies throughout that really suit the more deliberate pacing that the song has overall. December Snow opens with some rolling piano melodies, but it is not long before another mid-paced synth-enhanced riff kicks in to add some classic gothic heaviness. It is another very dynamic and catchy song however, and recalls earlier tracks like Towards an Early Grave with a great mix of poppy melodies and heavy atmosphere. The verses here are quite low-key, with subtle piano melodies and emotionally-charged vocals, before the chorus makes great use of the early riff as a backing for stadium-worthy hooks that again will instantly stick in the brain. It is another song that is extremely memorable, and is another highlight as a result. The last original track here is This Curse of Mine, a more overtly-metal track that pushes the synths etc. into the background a little more to allow Veland's riffing to shine. His guitar playing throughout the album is as heavy as always, but quite often the synths overpower it sometimes - but that is not the case here. As a result, the song certainly has a bit more of an old-school Sirenia sound - but with the focus on poppy vocal hooks remaining. The chorus is packed full of them, and it really is the meat that the rest of the song is hung from. It is probably one of the simplest songs here from an arrangement perspective, but it works well to bring the best out of Veland and Zoldan once more. While This Curse of Mine ends the 'main' album, all versions come with a cover of Desireless' 1986 synth pop hit Voyage Voyage - a song which perfectly sums up the band's current fusion of sounds. The song is obviously heavier than the original, with riffs and guitar solos throughout, but the melodies are just as catchy. The band have done a great job to make the song their own, so much so that it sounds like an integral part of the album. For some, this will be song that makes the band's change in tone make sense - as the heaviness and the poppiness sit perfectly side-by-side here. It is the perfect end to a great album, and shows the band's fun side - something which is not on display too often. Voyage Voyage proves, if it needed proving, that Sirenia's mix of sounds on Riddles, Ruins & Revelations really works. It is the Sirenia album that I have enjoyed the most so far, and it is certainly making me want to go back and properly acquaint myself with the albums of theirs that I missed out on. Whether this new poppy direction will be a permanent one for the band remains to be seen - but it works very well here, and it is an album that I will be listening to a lot going forward.

The album was released on 12th February 2021 via Napalm Records. Below is the band's promotional video for Addiction No. 1.

Inglorious' 'We Will Ride' - Album Review

As much I enjoyed the British hard rock band Inglorious' self-titled debut album from 2016 (which I reviewed here) and their 2017 follow-up Inglorious II (which I also reviewed here), both of my respective reviews at the time stated that I thought that the band were somewhat overrated. It is possible to enjoy a band's albums and still think that, and, on a wider yet related note, I have often had a problem with the bands that the 'mainstream' rock press (such as it is) choose to hype up - which often involves many of the genre's best bands, in my opinion, being somewhat left out in favour of a 'chosen few' being pushed constantly. Around the time of their first two albums, Inglorious really were the darlings of the modern rock press. They certainly deserved attention, as Inglorious and Inglorious II are both very solid albums, but it was a shame to see the band receive more than their share of the hype. By the time 2019 rolled around however, and the band's third album Ride to Nowhere (which I discussed briefly here) was released, Inglorious were starting to justify it. In my opinion at least, Ride to Nowhere was a much stronger album back-to-front than either Inglorious or Inglorious II - and, for me, it was the album that showed what the band could really do. It is such a shame, therefore, that the album's release was marred by a rather nasty break-up that lead to three members of the band leaving before it even dropped. It was also a shame that frontman Nathan James regularly took to social media around this time to post quite a few videos of himself making fairly immature rants - many of which were clearly directed at his ex-bandmates, and some of the fan reaction to the split. Band break-ups can certainly be nasty, but airing one's dirty laundry in public is never a good sight - and I have to say that it put me off the band for a while. I did not get Ride to Nowhere on release as a result (not that HMV's risked closure here in the UK at the start of 2019 helped as it really pushed CD prices up everywhere, even online, for a while), but I picked it up a few months later after the dust had somewhat settled and was really impressed with what I heard. Ride to Nowhere was not significantly different from the band's previous two albums, but it felt a little more mature and cohesive (which is ironic considering what followed). The following tour with the band's current line-up was a big success too and that maturity has carried forward into 2021, and the band's newly-released fourth album We Will Ride feels like a natural successor to Ride to Nowhere - despite the line-up changes. Joining founding members James and drummer Phil Beaver on We Will Ride are guitarists Danny Dela Cruz and Dan Stevens, along with bassist Vinnie Colla. This line-up, along with touring keyboardist Rob Lindop (who also appears here), gelled throughout 2019 on the Ride to Nowhere tour, and have brought that togetherness into We Will Ride - which make the album's 11 songs all very enjoyable and hard-hitting.

The album opens with its lead single She Won't Let You Go, a great modern hard rocker that evokes the band's previous singles while also introducing their current line-up on record. The current Inglorious line-up sounds very similar to the previous line-ups despite the large personnel shift, and it is clear that James and Beaver wanted to build on what came before to keep the band's sound intact. That's why the comparison to Ride to Nowhere is certainly an apt one here, and the big opening riff of She Won't Let You Go will certainly put any sceptical fan at instant ease. The riff is a very strident one, with a slight bluesy edge and backed up by some meaty Hammond organ, and it is clear that this is the song that will be opening the band's concerts for the foreseeable future. Inglorious has always had a bit of a Whitesnake influence, particularly that band's early albums, in their sound, and She Won't Let You Go really exemplifies this - with a powerful chorus bringing the best out of James vocally, while the the raunchy mid-paced grooves allow Dela Cruz and Stevens to lock in perfectly. It is a no-nonsense hard rock track, but it packs a real punch and is one of the most instantly-memorable tracks in the band's catalogue yet. Messiah is somewhat similar, but with a bit of a tougher overall sound that dials back on the keyboard presence. Despite this toughness, there is also a fair amount of light and shade here. The main riffs and the chorus are hard-hitting and expressive, while the verses are a bit more restrained - showcasing some subtler guitar playing and some excellent Colla bass playing. The band have a real knack for choruses, and James in particular has a great way of coming up with memorable melodies that are still raw-sounding. Many modern rock bands take an AOR approach to their choruses, which certainly suits many of their sounds, but Inglorious do not do this - instead going for a more old-school approach, with soaring 1970s-esque melodies backed by a big riff. Messiah's chorus is a perfect example of this and, when combined with the varied approach of the song's structure, it makes for one of the highlights of the album for me. Medusa, another single, ups the bluesier feel of the band and introduces some dirty slide guitars into the mix - with the main meat of the song hanging from a delicious groove that has become something of a trademark for the band. With the songs here largely written by James and a combination of his fellow band members, Medusa is the first of two songs here written by James in collaboration with Joel Hoekstra (Night Ranger; Trans-Siberian Orchestra; Whitesnake). The pair had already collaborated together on the first Inglorious album, but Hoekstra's two efforts here are particularly strong. Medusa has the sort of sound that I love to hear from Inglorious, with a big keyboard presence and a strong bluesy strut. The chorus is catchy because of its energy and groove, rather than its poppy melodies, and it is that that really makes the track stand out. It is another song that is sure to become a live favourite over the coming years, with the slide intro sure to elicit a strong response.

Eye of the Storm slows things down, and gives the listener a bit of a break after the hard-hitting opening trio of songs here. While I would not necessarily call the song a ballad, there is certainly a lot more light and shade here - with verses that have a certain ballad-esque quality to them. The guitars during the verses have a great, almost psychedelic quality to them; which fits in nicely with Lindop's gentle keyboard textures. It is a song that grows as it approaches the chorus however, with a larger sound building until it explodes into what is another memorable chorus section. The hooks here are perhaps not as large as those that can be found elsewhere on the album, but the slightly smoother approach (despite the bluesy bluster) helps the chorus sections to stand out nicely. Cruel Intentions is perhaps not as in-your-face as the album's opening trio, but it certainly packs more of a punch than the smoother Eye of the Storm, with a stuttering main riff pulling the listener in early on. The hollow drum sound from Beaver is what makes the song for me however. His organic playing really drives the verses with a bit of a crashing quality that makes the riffs sound heavier than they are. He might not be the most unique drummer in the world, but I think his playing is a big part of what makes this song so enjoyable. The chorus is another highlight however too, with some very impressive vocal gymnastics from James that sees him hitting some pretty impressive high notes while still managing to lay down a coherent and catchy melody. My Misery is similar to Eye of the Storm in the sense that it goes for a more dynamic approach. Again, the song is not really a ballad but it does have some slower, moodier sections that rely more on keyboards than big riffs - which then explode into hard rock sections more typical of the band's sound. Lindop, who seems to be the band's unofficial sixth member who went totally un-mentioned and un-introduced when I saw the band live in 2019, shines here - his piano playing providing some of the main hooks, and his textures laying the basis for the atmospheric verses. Atmospheric is not a word I would often use to describe Inglorious, but there is a certain depth here that is not typically found on the band's albums. The chorus is quite typical however, and is packed full of more strong melodies, but the rest of the song is quite dark and moody - which is quite different to the band's usual hard-hitting sound. Do You Like It gets back to the band's core sound however, with a mid-paced groovy riff kicking things off - while Lindop's Hammond once again growls away in the background. In many ways, this is the sort of song that Inglorious have been churning out since the very beginning. It is very similar to many of the songs on the band's first couple of albums in particular - with more of a focus on the riff and overall attitude than on big hooks. There are catchier tracks, but there is still plenty to like about Do You Like It - and its shredded guitar solo is one of them. There are lots of enjoyable solos throughout the album, but the one here is one of the album's standout efforts, with a fast-paced chaotic run of notes that cut through the mix of what is otherwise a mid-paced burner.

He Will Provide is another track that really showcases the playing of Beaver, who's grooves and ever-changing patterns make the song what it is. The song often moves between playful upbeat sections and menacing Black Sabbath-esque slower sections, and this constant shift in tone helps to make the song such an enjoyable and dynamic listen. The Inglorious of 2016 would not have written a song like this, and the maturity that I mentioned earlier is very clear here. As much as I like the band's core sound, it is great hearing them branch out a little and try new things. He Will Provide is possibly the band's most progressive piece of songwriting yet - but there is still a simplicity to the hooks. The chorus is another strong moment that many will latch onto, but for me it is the murkier elements of the track that stand out the most. The slower, heavier riffs are great; and the keyboard-led section before the lengthy and explosive guitar solo showcase the band's widening songwriting scope. We Will Meet Again opens with a hooky bass riff from Colla, which again is a bit different for the band, before a mournful guitar lead kicks in and the song morphs into another solid mid-paced rocker. There is still a little darkness here however, but the song has a satisfying crunch throughout - despite not being as heavy as some of the other songs on the album. Again, this is a track that shows the band's maturity with darkness being expressed in a number of different ways. Lindop's keyboards again play an important role, and the use of a central guitar lead shakes things up from the band's usual more riff-based approach. God of War is the second of the two Hoekstra co-writes, and it goes for a more all-out hard rock approach - similar to how the album opened - while still toning things down somewhat. Parts of the verses here are fairly low-key, but overall this is a hard rocking and riff-based track that brings the best out everyone involved. Dela Cruz and Stevens once again have plenty of riffs to play with, and the song's main riff has a slight harmony vibe that works nicely to add some extra melody to the piece. It is a very enjoyable song that has a great, heroic vibe to it - and it shows that the James/Hoekstra writing partnership is quite a fruitful one. The album comes to a close with its title track, which is one of my favourite cuts here and a perfect way to bring the album to a close. The chorus features another excellent vocal display from James, with some more impressive high notes, while the band's core riff-based sound is on display in a big way. There are a few murkier sections here too, but on the whole this is a hard rocker that closes the album the way it started - with something of a bang. In some ways too, the song is one that pulls together lots of the musical themes heard throughout the album - with many of its core sounds referenced here. That is what makes the song a strong title track and closing number, and again it is likely to become a live favourite over the years to come. It ensures the album ends on a high, and it leaves a very good impression on the listener. We Will Ride is a very strong fourth album from the band, and it shows that the current line-up has what it takes to build on the past and take the band forward. It is also an album that deserves the hype often bestowed on the band, and it deserves to be heard by a wide audience.

The album was released on 12th February 2021 via Frontiers Records. Below is the band's promotional video for She Won't Let You Go.

Illuminae's 'Dark Horizons' - Album Review

The Welsh multi-instrumentalist and songwriter Ian Jones has, over the past couple of decades, managed to amass a select, but extremely high quality, body of work that, in a fairer world, would lead him to be considered as one of the very best exponents of the progressive and symphonic rock genres. It is a real shame that his work has not reached the wider audience that it deserves, but those of us who are fans of his, and particularly of the band Karnataka, hold his discography in high regard. Karnataka has always been his main musical output, but there have been a few diversions along the way. His last release came in 2019, when the debut album by Chasing the Monsoon finally saw the light of day after a long gestation period. No Ordinary World (which I reviewed here) was the result of a collaboration between Jones and three other main musicians (largely, it seems, multi-instrumentalist Steve Evans) and it was one of my favourite albums of the year. While Karnataka is the better place to hear Jones' unfettered visions (particularly on the band's last couple of albums following the original line-up's 2004 split), No Ordinary World still showcased his influence and style in a big way. It was also the first new thing from Jones in four years, following the release of Karnataka's excellent fifth album Secrets of Angels (which I reviewed here) in 2015. With Karnataka once again undergoing a major split at the end of 2017, the band's sixth album became a distant dream. This is partly what made No Ordinary World so enjoyable, but it remains a very strong album in its own right - and not just a Karnataka album under released under another name despite some shared hallmarks. Jones is not exactly known for his speed when it comes to releasing new material, but this just makes each new album of his a more exciting prospect - which is helped by a constant high quality. It was something of a pleasant shock therefore when, earlier this month, Jones' latest album was released. Dark Horizons, the new album, is the debut release of Jones' newest project Illuminae - a collaboration between him and Polish singer Agnieszka Swita (Caamora). Swita, known for her work with keyboardist and Arena founder Clive Nolan, is a perfect foil for Jones. Her smooth, yet expressive, voice perfectly fits Jones' dense, sweeping soundscapes - but her voice also has some grit to it that allows for a few heavier passages to be thrown in. Illuminae was first announced by Jones back in 2017, and much of the album was recorded around then too - meaning that Dark Horizons has been in the works for a little while. Throughout the album Jones handles the bass, acoustic guitars, and majority of the keyboards while Swita handles the vocals; but the duo are joined throughout by a number of other collaborators. The main 'band' is rounded out by guitarist Luke Machin (Maschine; The Tangent; Kiama) and drummer Craig Blundell (Frost*; Pendragon; Steven Wilson; Steve Hackett) - but there are a number of other guests that are featured throughout that help to enhance Jones and Swita's creations.

If No Ordinary World showcased Jones' floatier, folkier side, then Dark Horizons focuses more on the dramatic. There are certainly plenty of hints to Karnataka's sound here, and in some ways the album feels like a natural successor to the more theatrical Secrets of Angels. Had Dark Horizons been released under the Karnataka name I doubt that there would have been too many complaints, but there are differences. Dark Horizons is probably the most gothic-tinged release that Jones has been involved in to date, but there is still plenty of progressive rock to be found too. The nine-plus minute opening track The Lighthouse possibly showcases Jones' classic progressive influences the most, but the sweeping arrangements that he has become known for ensue that the lengthy piece is still lush and melodic. The song is a bit of a slow burner, opening tentatively with atmospheric weather effects and the tolling of a distant bell, before a gentle piano melody cuts through the natural world. Swita's introduction is understated, her shimmering vocal lines accompanying the lone piano notes, but she soon opens up as Blundell's drums come crashing in - her voice becoming fuller and more siren-esque. The album's gothic tendencies are also clear from this moment on, with Machin's tough guitar rhythms some of the crunchiest that Jones has ever utilised. Machin is a known virtuoso in the modern prog world, but his playing throughout the album is largely quite restrained. His contributions to the album are key however, and when he does cut loose he always builds upon what Jones has laid down. Dark Horizons is not an album to focus on guitar wizardry, but The Lighthouse does benefit from an excellent guest turn from the legendary Steve Hackett (Genesis; GTR; Squackett), who's fluid solo perfectly adds to the track's floaty, yet dense, atmosphere. The Lighthouse is, in many ways, a perfect representation of the album's wider sound - darkness and melody co-existing perfectly. The song's chorus is the first of a number of earworms found throughout the album, and certainly harks back to Secrets of Angels with its accessible melodies. It also showcases what a great keyboard player Jones is, with some excellent synth work filling the song's second half. Blood On Your Hands ups the heaviness, and was the first song from the album to be released online. It is a track that builds on Karnataka songs like Poison Ivy, but takes the gothic/symphonic rock sound further. Machin's guitar rhythms are tough and crunchy throughout, while Jones' keyboard and string work provide the main hooks early on - with a dancing, gothic melody drawing the listener in. There is still plenty of melody however, with another memorable chorus bringing the best out of Swita. The vocal diversity found throughout this track is greater than that found in The Lighthouse too, with poppy melodies found during the chorus contrasting nicely with the ghostly harmonies and hard rock grit found elsewhere. The song is a great example of Jones' heavier songwriting style, and it is possibly the best example yet of a proper gothic rocker from him. He is helped in achieving this by Machin's presence, who's lengthy guitar solo is the perfect mix of controlled and chaotic - with lyrical lines sitting alongside wild shredded moments. Even Blundell includes the occasional burst of double bass drumming here, further adding to the heaviness of the piece.

Edge of Darkness is less heavy, but there is still a drama to the track that particularly allows Swita to shine. The opening two songs are much denser, both in a musical sense and in arrangement sense than Edge of Darkness, with the third cut here allowing the vocal melodies to shine in a bigger way. There is still weight to be found, with Jones and Blundell teaming up nicely for a pulsing rhythm, but this is a track which seems to favour the overall vocal arrangement more than anything else. This means that it is a song that takes a few listens to sink in because there are fewer musical hooks, but that does not make it any less powerful. It is still packed with the album's core musical themes, but the drama and variety in the arrangement gives way to more of a constant atmosphere that allows Swita to take the spotlight throughout. Lullaby is similar, but goes for more of a ballad-esque approach with gentle keyboard melodies and breathy vocals. Troy Donockley (Iona; Nightwish), a regular contributor to Jones' albums, adds some delicate whistle lines throughout the song's early stages, which are a perfect contrast to Swita's emotionally-charged vocal lines, but his main contribution is felt later on with an aching uilleann pipe solo that perfectly cuts through the mix of dancing percussion and keyboards with its distinct and mournful sound. Donockley's pipes seamlessly morph into Machin's guitar, who continues the solo, before the two join forces to create a sound that sounds like something akin to a whale - while the song joyously comes to a close with some tribal wordless vocals and Blundell's percussive drumming. Twice opens with some swirling organ and Swita's vocals; but it is not long before a simple drum beat kicks in and the song morphs into some gothic-tinged pop rock. It is song that sounds quite different to the rest of the album, but there are still some of the same hallmarks present. It is certainly not as dense, but the keyboard backing helps there to still be a strong atmosphere throughout - with the organ giving the song a more organic feel than the synths and strings used elsewhere would have. The standout performer here for me however is Jones, who's bass is an ever-present force throughout. Outside of the organ, the bass is the most prominent musical feature here. Machin's guitars are essentially just a background presence this time, with the bass pushed to the fore to add subtle melodies and grooves throughout - highlighting the song's poppier nature.

Heretics & Prophecy is very different from Twice however, as it really doubles down on many of the gothic ideas found throughout the album. It is not the heaviest of tracks here, but atmosphere-wise the song is extremely dense. The early string arrangements and hollow acoustic guitar melodies are the perfect backing for Swita's Eastern-tinged vocal melodies; while Donockley once again adds some magic to the track in the form of some demonic-sounding pipe melodies - which sound more twisted than they ever have done previously. Their presence fits perfectly, and act as a great contrast to the layers of string and acoustic guitars. This song is easily the most gothic that Jones has ever sounded, but it also sounds like a natural continuation of experiments with the gothic that he has undertaken over the years. The inclusion of some Latin lyrics throughout only reinforces the song's gothic nature, and shows how much has gone into presenting a quintessential gothic experience throughout the track. Sanctuary returns more to the album's core sound, with a style akin to Blood On Your Hands featuring a driving hard rock sound, enveloping strings, and plenty of hooky vocal melodies. For me, these are the sort of songs that Illuminae seem to really excel at. I love the mix of heavier rhythms and sultry melodies that these songs possess, and Sanctuary arguably shows Swita at her most strident. There is some real hard rock grit to her performance here, but there is still a shimmering, symphonic edge to be found - particularly during the choruses. Black Angel continues on this foray into the album's core sound, but the heaviness is slightly stripped back, especially early on, to allow the grooves and atmosphere a little more prominence. Jones' bass is once again quite high in the mix, with his rumbling playing really driving the track's early initial moments. That is not to say that there is no crunch at all, as Machin's big power chords are utilised throughout the bulk out the song - but they are deployed more sparingly this time around, which allows them to a much great impact when they do stab their way through the mix. This back and forth between the guitar and bass gives the song its identity, but some Nine Inch Nails-esque programmed beats also add a unique twist to the piece - creating something of a strange breakdown that works really well.

The penultimate track Sign of Infinity is the album's second ballad, and it also features the last two of the album's guest performers. Gonzalo Carrera (Karnataka) plays the piano throughout, his rolling melodies mixing in perfectly with Jones' acoustic guitar and stings, while saxophone lines are added by John Helliwell (Supertramp). Jones has flirted with saxophones previously, most notably on Karnataka's 2000 album The Storm, but they are not a regular part of his repertoire. Helliwell's contributions to the track really make it what it is however, and he is easily the standout performer here. Rather than the jaunty melodies he become known for with Supertramp, his playing here has something of an old-school smoky jazz feel - which suits the dense ballad perfectly. This is another song that takes a few listens to fully appreciate, as there is a lot going on musically, but once everything falls into place it really clicks. The constant piano lines have a real wave-like quality to them, while Helliwell's saxophone brings everything together with its gentle, yet booming, melodies. The album closes as it opens, with a lengthy track that showcases Jones' love of a progressive arrangement. The 11-plus minute title track also opens slowly, with strings and programmed beats providing a dense backing for Swita's early vocal forays - bringing Karnataka to mind in the process. As mentioned earlier, there is a lot of Karnataka to be found throughout this album but it is perhaps this track that best channels the sound of Jones' day job - with a sound akin to a mix of 2010's The Gathering Light and Secrets of Angels present throughout. Even Swita's vocal melodies here are very similar to Karnataka's usual approach, so much so that it makes me wonder whether the song was originally written with Karnataka in mind. The song even builds slowly and organically, akin to the title tracks of both The Gathering Light and No Ordinary World - once again showing Jones' progressive and distinct long-form writing style. Despite great work from both Jones and Swita throughout the track however, the star of the show this time is Machin. His playing throughout the album, as mentioned earlier, is largely quite restrained, but his solo here is fantastic. It is the longest guitar solo of the album by a long way, and the dancing melodies perfectly represent the song's more atmospheric scope. There is a certain nonchalance to parts of the solo, but each note counts - and they allow the more cutting phrases hit even harder. It is easily Machin's best moment on the album, although a second, short solo towards the end of the song really elevates the album's closing moments - and allows for a final reprise of the chorus to hit home with all of its regal grandness. It is a perfect closing statement for the album as a whole too, and it reinforces what an enjoyable listen Dark Horizons is. It is unclear yet whether or nor Illuminae will be a one-off collaboration or the start of something more long-lasting, but either way Dark Horizons is a triumph and another fantastic entry into Jones' canon. There is so much to enjoy here, and the variety here ensures that new discoveries are made with each listen. While I am sure that Jones will now turn his attention with Karnataka's sixth album and the band's recently-finalised line-up, fans of his will be kept satisfied with Dark Horizons and all of the gothic goodness that is contained within.

The album was released on 12th February 2021 via Immrama Records. Below is the band's promotional video for Blood On Your Hands.

Accept's 'Too Mean to Die' - Album Review

If there was ever a band that proved the (frankly ridiculous) mantra that a veteran band cannot replace their iconic frontman late in their career and still find success to be wrong, then Germany's Accept are such a band. A few others, such as Queensrÿche, also spring to mind; but with Accept now 12 years into the Mark Tornillo era, the band really are firing on all cylinders. I think it really helped that the band really burst out of the gate with Tornillo in a big way. 2010's Blood of the Nations was probably the band's most vital album since 1985's Metal Heart, despite five enjoyable albums filling that 25 year gap, and Accept have largely kept to that standard ever since. The recent Accept discography is one of the most solid of any veteran act in recent years, with the songwriting trio of Mark Tornillo, guitarist Wolf Hoffmann, and bassist Peter Baltes churning out crunchy anthem after crunchy anthem. This stability was probably a big part of the band's success, which was why I was shocked when Baltes left the band in 2018. The founding bassist had been one of the stalwarts of the band since their 1976 genesis - appearing on all of their albums in that time. Baltes was not just a founding member of Accept however, as he was also one of their main songwriters. Apart from Hoffmann, Baltes had probably contributed the most the Accept sound and songwriting style over the years - and I was concerned that without his steady hand the band's quality would suffer going forward. If any album was a good one to go out on however, then 2017's The Rise of Chaos (which I reviewed here) was as good as any. The band's fifteenth album, while perhaps not the strongest of the recent glut, was a concise, fun album that showcased all of Accept's hallmarks perfectly - with perhaps a little more focus on hooks than heaviness. Baltes' departure has left Hoffmann the only original member of Accept left standing, but the guitar wizard was clearly not ready to let the band die yet - and came back roaring last month with the sixteenth Accept album Too Mean to Die. In many ways, Too Mean to Die picks up exactly where The Rise of Chaos left off four years ago. On the whole it is not as heavy as Blood of the Nations or the other earlier Tornillo-era albums, but there are still plenty of hooks (as well as plenty of classic Accept crunch) to be found. Replacing Baltes is Martin Motnik (Dark Seed; The Roxx), but the band have also expanded their ranks and added a third guitarist in the form of Philip Shouse. I am not sure that having a third guitarist adds much to the established Accept sound at this point, but Shouse's addition is likely to really bolster the band's live sound - even if his additions to Too Mean to Die are not necessarily noticeable. Guitarist Uwe Lulis and drummer Christopher Williams both return from The Rise of Chaos, rounding out the band. With the Tornillo/Hoffmann/Baltes songwriting trio broken up too, there is a bit more diversity in the songwriting credits this time around. Tornillo and Hoffmann are ever present, but significant contributions from both Motnik and Hoffmann's wife Gaby (aka Deaffy, who has not contributed to the band's songwriting since 1996's Predator) help to ensure that the quality throughout remains high.

Those, like me, concerned that Baltes' departure would affect the band's signature style somewhat ought to be reassured by the album's opening track that all is well. Zombie Apocalypse is a classic-sounding Accept track that takes everything the band have been known for over the years and throws it into a blender. Despite the slightly strange, slowed opening riff; which actually helps to create an unsettling, doomy tone early on; the track is a classic Accept anthem. It is not as doomy or as slow paced a the opening would have you believe, and it is a track that immediately lets you know that the new six-piece Accept line-up means business. The main riff is a classic Hoffmann stomper, while Motnik has stepped into his role with relish with a prominent, pounding bassline. Tornillo, now 66, is showing no sign at all of slowing down. His Brian Johnson-esque rasps are still as potent as ever, and the venom he injects into the song's pacier pre-chorus showcases his power. As much as I love Udo Dirkschneider, I have always thought that Tornillo is a more versatile frontman. In my view, he does the anthemic choruses more justice than Dirkschneider ever could - which is evident during the hooky effort here. The first of Hoffmann's many guitar solos on this album is also a memorable moment; with a crashing, slower rhythm behind him as he lays down his tortured leads, before the solo then explodes into a more typical shred-fest. The album's title track follows, and is even more classic Accept than Zombie Apocalypse. While the song's main riff is a little close to Dio's Stand Up and Shout for comfort at times, the energy and Tornillo's razor-sharp vocals make is very enjoyable cut. While most of Accept's best known songs tend to be their mid-paced anthems, they are also been known for their speed metal side - and Too Mean to Die perfectly captures that element of the band's sound. Williams' drumming is precise and metronomic throughout, while the band's three guitarists lock in for plenty of explosive riffs and rhythms. The song might not be as catchy as some of the offerings here, but the energy created throughout, and the sheer amount of riffs present, will excite any a metalhead. Overnight Sensation is the first song here that really goes for the band's classic mid-paced anthemic sound however - with a great gang vocal-led chorus that will go down well live, and a propelling Motnik bass presence. It is a song that harks back to tracks like Restless and Wild and London Leatherboys from the band's past, and it contains one of my favourite riffs on the album - which is just so memorable from the off. As much as I like the band's faster songs, I feel that the band truly excel when playing this ultra-catchy brand of anthemic metal. They have often been referred to as the heavy metal version of AC/DC, and I think that moniker is apt when listening to their bouncy stadium rock anthems such as Overnight Sensation. It is one of the best cuts here as a result, and is likely to become a future live favourite.

No Ones Master picks up the pace again somewhat, and goes for a Zombie Apocalypse-esque style hybrid sound that straddles the line between the band's anthemic and speed metal sides. In many ways, this is probably Accept's default sound - with the mix of sounds allowing the band to showcase all that is great about them in one place. This is another standout track for me, largely due to the huge chorus, that again relies on layers of gang vocals, and the sheer amount of excellent guitar playing from Hoffmann. There are a lot of tasty leads thrown in throughout the track, along with a handful of memorable riffs, but this is a track where he has clearly allowed himself plenty of chances to shine. The leads throughout the song are strong, but the solo section is possibly the album's best. It is lengthy and full of memorable phrases; and it ends with a great dual-lead section with either Lulis or Shouse joining him for some great harmonies. Another favourite track of mine here is The Undertaker which is possibly the heaviest and doomiest track on the album. It opens slowly however, with some clean guitar melodies and bluesy leads, before Motnik's bass kicks in and Tornillo starts singing the first verse with something of a whisper. The verses maintain this more low-key vibe throughout, but this just allows them to act as a great contrast with the heavier pre-choruses and choruses which see the band operating at their mid-paced best with some great Black Sabbath-esque riffs and some of the most throat-shredding vocals from Tornillo. The song sounds a little different from the classic Accept sound as a result, but I think the style works really well. The doomy atmosphere allows the band to shine, while the more diverse arrangement helps the album from feeling stale as it reaches its middle. It also allows Sucks to Be You, the next song, to sound more potent and powerful as a result. Sucks to Be You, like Overnight Sensation, is a strong mid-paced stomper, with driving rhythms and plenty of hooks - but it seemed the band looked back to their mid-1980s album for inspiration here. There is certainly plenty of the more radio friendly sound of Metal Heart here, with lots of big vocal harmonies mixed in with the band's traditional gang vocals and pummelling riffs. Metal Heart is one of my favourite Accept albums, so the glossier sheen here is certainly welcome, and again it helps the track to stand out. Symphony of Pain is similar, but with less of a sheen. Instead, the track certainly channels the No Ones Master energy to great affect, but the song sounds somewhat heavier overall. The focus here is definitely on the riffs, with the overall arrangement helping to shine the spotlight on them - as well as on the song's chorus which comes out of left field with a pace chance. The chorus sees Williams laying into his double bass drums with real venom, while Hoffmann and co. lay down a slow-paced riff over the top of it, for a strange, yet effective, section that has black metal aesthetics pushed through a classic heavy metal filter.

The Best is Yet to Come is the album's only ballad, and it provides a nice change of pace as the album starts the home straight. True ballads are quite a rarity in the Accept canon, and that makes The Best is Yet to Come stand out - in a good way. While the choruses are heavier, and sound more like classic Accept, the verses are slow, and almost gentle, which allows Hoffmann to lay down some neat bluesy leads - but the standout performer here is Tornillo. His verse vocal performance sounds so different to his usual style, and my earlier point about versatility is certainly proved here. He is much more a diverse vocalist than many probably realise or give him credit for, and his performance throughout the verses of this 'delicate' ballad should certainly raise a few eyebrows. How Do We Sleep gets back to the band's classic sound however, but with a great emphasis ever on Hoffmann and his guitar playing. The song's lengthy intro is essentially just a showcase piece for him, with some great neo-classic leads set against a backdrop of crunchy riffs, and as a result of this, as well as the overall arrangement, the song feels a little more progressive than the average Accept track - while still staying true to the band's core sound. Hoffmann is also more of a nuanced guitar player than many have given him credit for over the years. He is well-versed in his classical music, and that occasionally creeps into his playing - with this song having a certain grandness as a result. While there are other songs here that I prefer from a melodic or hooky perspective, this is certainly one of the most interesting from a compositional and arrangement perspective; and it is a track that shows that Accept can be more than just the AC/DC of metal. Not My Problem, however, showcases that the band sometimes indeed are the AC/DC of metal - and that is certainly a good thing. The song is a potent hard rocker with a razor-sharp chorus, and a great call-and-response verse that sees Tornillo and the band's three guitarists going back and forth between riffs and lyrics with catchy ease. There are better examples of this mid-paced stomping style here, but the track is another winner - and Tornillo's screams at the end of the choruses are some of his best vocal moments on the album. The album comes to a close with the instrumental piece Samson and Delilah, a Hoffmann-arranged version of a piece of music from Camille Saint-Saëns 1877 opera of the same name. Hoffmann's love of classical music is certainly on display here, and the piece is a truly a showcase for him to show off his playing. The rest of the band back him up admirably with crunchy rhythms, but Hoffmann's tight lead playing and neo-classic stylings is of course the highlight. It is great way to end what is a surprisingly diverse album and a final reminder, if one is needed, as to what a great player Hoffman is. Despite the diversity however, Too Mean to Die is clearly an Accept album through and through, and it certainly continues the good work established on the band's last four albums - with the fifth Tornillo-era effort being every bit as good as what came before. The band have clearly survived Baltes' shock departure, with some new blood helping to keep things fresh and interesting - but long-time fans should rest assured knowing the band's established sound is still alive and well.

The album was released on 29th January 2021 via Nuclear Blast Records. Below is the band's promotional video for The Undertaker.

Michael Schenker Group's 'Immortal' - Album Review

Despite being now well past his 1970s and 1980s commercial peak, the German guitar legend Michael Schenker has possibly been busier than he has ever been over the past decade or so. After years of touring under the Michael Schenker Group (MSG) name, with something of a revolving door of musicians, and an on-again-off-again relationship with UFO between 1993 and 2003, Schenker formed the band Temple of Rock in 2011 - and essentially relaunched himself in the process. Rather than focusing on his MSG material, Temple of Rock allowed Schenker to showcase his whole career in one band. MSG, Scorpions, and UFO songs featured in the band's lengthy sets - and three strong albums of original material followed. MSG had always toured, but it seemed that with Temple of Rock Schenker really had the hunger again - and, now clean and healthy, he was playing better than ever. Temple of Rock came to a natural end in 2016 but, later that year, Schenker debuted Michael Schenker Fest - his latest project. Michael Schenker Fest was essentially the latest version of MSG, but it was perhaps the most mammoth version of MSG yet. Joining Schenker on the road (and, eventually, on two more strong studio albums) were many members of MSG past - including many of the classic collaborators that helped to make those early MSG albums so successful. If Temple of Rock showcased Schenker as an all-round songwriter, then Michael Schenker Fest was the best of MSG - performed by all those that made it a special band in the 1980s. As good as it was, however, Michael Schenker Fest was never going to last. It was such a vast project, with a number of schedules to constantly align, so after a few tours and two successful albums the band has been laid to rest - at least for now. It was difficult to know where Schenker would go after the epic Michael Schenker Fest tours - but it seems that he wanted to build on the success of the last few years by releasing yet another album, this time under the MSG name. Immortal, which is the name of the new album, is the first collection of new songs to be released under the MSG name since 2008's In the Midst of Beauty. In the Midst of Beauty was something of a reunion of the very original MSG line-up, so it naturally had a very old-school sound, but Immortal is actually more a continuation of the Michael Schenker Fest-era than a true MSG band album. Joining Schenker here are a huge number of collaborators - many of whom have played with him previously, but there are some new faces too. Vocalists Gary Barden, Robin McAuley, Doogie White, Michael Voss, Joe Lynn Turner, and Ronnie Romero; bassist Barry Sparks; keyboardist Steve Mann, and drummers Simon Phillips, Bodo Schopf, and Brian Tichy all return from various Schenker projects past. Elsewhere, vocalist Ralf Scheepers (Gamma Ray; Primal Fear) and keyboardist Derek Sherenian (Dream Theater; Planet X; Yngwie Malmsteen's Rising Force; Black Country Communion; Sons of Apollo) add their talents to the album to help bring Schenker's creations to life. The result ends up feeling like a third Michael Schenker Fest album (i.e. more of a collection of songs and performances than a coherent album), but fans of Schenker's guitar playing and hard rock songwriting style are in for a treat.

Immortal, like the two Michael Schenker Fest albums before it, has quite a lot of variety within its 10 song, 45 minute runtime. The album's opening track, and its lead single, Drilled to Kill actually has more in common with classic Accept than MSG in my opinion - the fast-paced, heavy song a contrast to Schenker's usual, more controlled style. Scheepers provides the vocals here, his power metal credentials perfect to tackle the pounding track - while Tichy's double bass drums drive everything with precision and pace. Accept-style gang vocals fill the song's anthemic chorus, which ensure that the song will go down well live, but Scheeper's varied vocal performance adds melody throughout. While the rest of the album features Mann on keyboards, Drilled to Kill features a prominent Hammond organ performance from Sherinian. His dense playing fills the chorus, and he and Schenker play off each other throughout - the two trading neo-classical leads which recall classic Deep Purple. It is rare for Schenker to play with such a dominant keyboard player, but the combination works well here - and the two virtuosos seemed to relish the challenge of one-upmanship! In contrast, Don't Die On Me Now is more typical of the MSG sound, but with the smooth croon of Turner to add some additional quality to the song. Turner and Schenker previously collaborated on the latter's 2005 covers album Heavy Hitters, but this is their first songwriting collaboration together - and the result sounds like a real mix of classic MSG and the bluesier end of the Turner-era of Rainbow. Turner's voice might not be as velvety as it was in the 1980s, but he is still a powerful singer, and his croon really brings the best out of the mid-paced track - which is packed full of groove thanks to Phillips' slightly off-kilter drumming. This same groove also enhances Schenker's solo; the fluid, deliberate phrases somewhat clashing against the beat - with the combination being a winning one. Knight of the Dead introduces Romero, who guested on 2019's Revelation (which I reviewed here). I was not a fan of his performance on We are the Voice from that album, but his contributions throughout Immortal are much stronger in my opinion - as he has seemed to morph his style to fit with Schenker. He is also much less nasally here, which is a big improvement. It helps that the song is written to his strengths, and the heavier track allows him to channel his Dio-esque style perfectly - with a strong chorus for him to sink his teeth into present. Occasional spooky keyboard leads add something different in the context of a driving hard rocker, with Tichy again laying into his drum kit, but this song really just sums up the modern Schenker sound - and is similar to many of the songs found on the Temple of Rock albums. I was unsure of the Romero and Schenker combination before this album, but this song has certainly made me more of a fan of the pairing.

After the Rain is the album's ballad which, after a medieval-esque opening, gets underway slowly. Voss (who also co-produced the album and co-wrote many of the songs here) handles the vocals - his Ronnie Atkins/Claus Lessmann-esque melodic gravel perfect for the song's atmospheric and emotional vibe. Mann's keyboards help to make the song sound huge, while Sparks and Schopf lock in nicely to create a mournful pace. Voss does well vocally, but the star of the show here is Schenker - who's solos are all over this song. He should be applauded throughout his albums for allowing his collaborators a chance to breathe and show off, but he knows when to shine when he needs to. The song's main solo is one of the album's best, but his lead work generally throughout it is very strong. Devil's Daughter is the second of two songs to feature Scheepers' vocals, and it is very similar to the album's opening cut - although it is more Primal Fear and less Accept this time around. In fact if this song had been released on a Primal Fear album it would not have sounded out of place, and Scheepers sounds really at home on what is essentially a modern power metal track played through an old-school classic rock filter. Schopf's drumming is a bit more organic than would usually be heard on a power metal album, but the intensity and pace is certainly there - with another strong chorus bringing the best out of everyone. Sail the Darkness features Romero again, but this song is a songwriting collaboration between him and Schenker - their first effort. It is my understanding that Romero will be joining Schenker on his next MSG tour (whenever that might be allowed to happen), although details of the band line-up are still unknown, so I wonder if he is someone that Schenker is keen to work with more going forward. For a first songwriting collaboration, Sail the Darkness hints at a very promising future for the pair. The song is perhaps more majestic than Schenker's usual style, but it does not sound so different that it sounds out of place on an MSG album. There is certainly elements of Dio-era Rainbow to be found here, with the chorus effortlessly handled by Romero, while Mann's keyboards take on a bit more of a prominent role here to bulk out the sound. Schenker is still the star of course however, with his solo perfectly fitting the grander mood of the track. Again in contrast to what came before The Queen of Thorns and Roses feels like a real throwback to those first couple of early 1980s MSG albums, and it sounds like the sort of song that Barden and Schenker used to write together - although this time with Voss' vocals and writing. It is an upbeat rocker with a strong, organic groove and some deliciously-subtle guitar playing that elevates everything to the next level - especially during the chorus. This is possibly the most old-school sounding MSG track here, and it shows that Schenker knows how to return to his roots when required.

Come On Over also exhibits more of an old-school sound however, with a bounce akin to Armed and Ready present - that benefits from the vocal stylings of Romero. On his last solo outing with Schenker on Immortal, the Chilean once again showcases his class - and if he is indeed to be the next MSG singer then Schenker has made a good choice. We are the Voice from Revelation was certainly a misstep in my opinion, but Romero's three solo lead vocal contributions here are much improved - and show the talents that I witnessed at those Birmingham Rainbow reunion shows back in 2016 and 2017. An upbeat track like Come On Over is always going to suit a singer like Romero however, and it would appear that Schenker has done well throughout this album picking the right singer for each track. It helps to bring out the best in both the song and the singer - and Schenker should be applauded for having the vision to do this, unlike some other solo lead guitarists I could mention. Sangria Morte is Turner's final contribution to the album, and if I was told that the song was left over from an old Rainbow session then I would believe it. The song's verse has a very Straight Between the Eyes-esque feel, complete with warm keyboards, while the hooky chorus is one of the album's most instantly-memorable moments. The song also allows for a more playful solo from Schenker, and some of the phrases that he uses seem quite Ritchie Blackmore-esque. Schenker does not seem like the sort of player to pay tribute in that way, so this could be a coincidence, but I do wonder if this was deliberate due to Turner's presence and the overall Rainbow-esque sound that the song possesses. There is a lot to like about the track, even if it does not really sound like MSG, and it showcases what a great singer Turner still is. The final track is a new version of In Search of the Piece of Mind - which is one of the first songs Schenker had a hand in writing in the early days of the Scorpions. It originally appeared on the Scorpions' 1972 debut album Lonesome Crow (although I am more familiar with the Schenker-less live version on 1978's Tokyo Tapes) and, while it has never been a favourite of mine, it is fun to hear Schenker revisit this old song many years later with a whole new cast of characters. Vocal duties are split four ways between Barden, Romero, White, and McAuley, which brings the Michael Schenker Fest albums to mind, but in truth this is more of an instrumentalists piece - with Schenker's varied guitar playing and Mann's classical-esque piano playing standing out the most. The song has not aged that well in my opinion, its pseudo-Eastern vibes very different from the sound that Schenker goes for these days - but it sounds like everyone involved had a great time re-arranging it. It is an enjoyable end to a strong album as a result, but it is overshadowed by many of the stronger original pieces here. While this is only really an MSG album in name, Immortal continues on the good work established on the Temple of Rock and Michael Schenker Fest albums before it, and shows that Schenker is one of the most consistent veteran rock songwriters around today. Fans of his will love it, and the variety will keep listeners coming back for more.

The album was released on 29th January 2021 via Nuclear Blast Records. Below is the band's promotional video for After the Rain.

Labyrinth's 'Welcome to the Absurd Circus' - Album Review

In 2017, and following a something of a hiatus, the Italian power metal band Labyrinth roared back onto the scene by releasing the excellent Architecture of a God (which I reviewed here) via fellow Italians Frontiers Records. Architecture of a God saw three of the band's classic line-up joined by three new faces, and the result was easily one of the band's best works to date. While it might be a cliché to say this, for me the Italian six-piece have never bettered 1998's excellent Return to Heaven Denied, an album which is seen as something of a underrated classic in the melodic metal world, but Architecture of a God came close. Both 2001's Sons of Thunder and 2010's Return to Heaven Denied - Part II: A Midnight Autumn's Dream were strong albums in the vein of their best release, but for me Architecture of a God came the closest to dethroning the band's 1998 classic. In many ways, Architecture of a God was a real statement of intent from the band - and also something of a solidifying effort following years of fluctuating line-ups and false starts. Frontman Roberto Tiranti, who had been out of the band for a couple of years, really showcased why he should be considered one of the genre's best vocalists with ageless display throughout the album; and the band's two founding guitarists, Andrea Cantarelli and Olaf Thörsen, built on the re-connection forged on Return to Heaven Denied - Part II: A Midnight Autumn's Dream to produce something rather special. Given Labyrinth's rather sporadic history, it was unclear where the band was going to go next, but luckily they stuck together and decided to build on what was achieved on Architecture of a God. The result of this sticking together is the band's latest, and ninth, album Welcome to the Absurd Circus, which was released last month. I was not sure where Labyrinth would take their sound after fully re-establishing themselves on Architecture of a God. Would they stick with what they know, or would they branch out somewhat? The answer is, perhaps paradoxically, a bit of both. Welcome to the Absurd Circus is certainly the Labyrinth that their fans know and love, but it is not just a re-mining of the Return to Heaven Denied formula once again. Lots of the band's core facets are still present, including their love of romantic melodies and atmosphere that only an Italian band can successfully pull off, but this album certainly feels somewhat heavier and more progressive than Architecture of a God. This seems partly driven by new drummer Matt Peruzzi (Shadows of Steel), the only new face this time around, who puts in a fantastically-varied performance throughout the album, but also from the riffing of Cantarelli and Thörsen. There are definite hints of the band's more progressive mid period, including their 2003 self-titled album here - but everything is still wrapped up perfectly in the band's infectious and warm trademark power metal sound.

The album showcases its heaviness, and new boy Peruzzi, right away. Opener The Absurd Circus kicks off with a furious drum roll before the first of many crunching riffs kicks in. The song is instantly more in-your-face than anything found on Architecture of a God, the weightier production really emphasising the bottom end, but the core Labyrinth sound is still very much intact. Oleg Smirnoff's fluid keyboard leads early on act as something of a contrast to the fast-paced riffing, while Tiranti's expressive vocals sound as good as ever. Due to the pace and relentlessness of the track, there is little of the band's romantic light and shade to be found here, but the song's chorus is packed with memorable vocal hooks that are sure to sink into the brain. In a slight contrast however, the album's first guitar solo is fairly low-key; as the song drops into a more atmospheric passage to allow a little light in among the shade. This solo section is quite lengthy, and later explodes back into the song's faster-paced riffing style, which allows both guitarists and Smirnoff to shine. Each adds plenty of melody into their playing, and the lengthy instrumental section really emphasises the progressive nature of the album - before a final rendition of the hooky chorus reinforces the band's love of a strong melody. Live Today is similar, but harks back to the band's classic sound in a bigger way. The fast pace and the dominance of keyboard melodies makes the song feel somewhat less heavy than the opening track, and it is clear that Labyrinth still have a lot in the tank when it comes to their classic late 1990s sound. The other thing that really allows this song to stand out are the constant shifts in tone. The best Labyrinth songs move between heavier sections and gentler, more atmospheric sections with ease - and that is exactly what this song does. The stand-out performer here is Tiranti, as the song really allows him to showcase his diverse voice. I love his full-tilt vocal style, but he is always well suited to the slower sections - his beautiful delivery packed full of emotion - before another explosive chorus mixes melody and speed with strong results. Of the opening three tracks however, it is One More Last Chance that impresses me the most. The song opens slowly with some dense clean guitar melodies and Tiranti's expressive, gentle delivery - but it is not long before the song moves through the gears. A Queensrÿche-esque guitar lead acts as a transition between the song's opening and the verses; with the latter being a real mid-paced groove-fest, driven by some inventive drumming. One More Last Chance is possibly the song here that really showcases what Peruzzi brings to the band. His precise, groove-based playing here is different to the usual endless double-bass patterns that characterises most power metal, and he really allows the song to showcase its natural power as the riffs lock into his playing. The aforementioned guitar lead forms the basis of the song's chorus - its deliberate pacing allowing an anthemic vocal melody to sit atop it in one of the album's most stadium-worthy moments. Combine these infectious grooves and melodies with perfectly-phrased guitar solos, and the result is one of my favourite Labyrinth tracks to date.

The album's opening three songs really showcase the best of what Labyrinth has to offer, both generally and on this album, but there is still plenty more to enjoy here. As Long as it Lasts showcases more of the band's core, romantic sound with a driving opening guitar riff that instantly dissipates into a gentle verse that pushes Smirnoff's keyboards to the fore. While his keyboard playing may not be as prominent here as it was on Architecture of a God, when he does get to shine he still manages to steal the show. His atmospheric textures throughout the album really help those classic Labyrinth moments to shine; and fluid solo style shows that he can more than keep up with Cantarelli and Thörsen. This is a less flashy song from an instrumental perspective however, but the slow-paced dual guitar lead that acts as a guitar solo fits the mood perfectly - before Smirnoff, appropriately, takes over with a lengthy, yet low-key, keyboard solo. Den of Snakes is heavier, and showcases some more of the band's more progressive side, but not before a slow-building opening an Iron Maiden-esque twin guitar lead inject some real melody into the piece. There is less of the obvious light and shade here, with the song instead using subtle changes of pace to keep thing interesting. Slower, heavier riffs sit perfectly alongside pacier sections to bring the best out of both modes - while a lone atmospheric spoken word mid-section provides the song's only clear break; which is short-lived as it soon explodes into a lengthy guitar solo section. Word's Minefield returns to the band's classic sound with a gentle intro that soon morphs into a strident verse section. While not as groove-based as the excellent One More Last Chance, this song certainly channels elements of it. Peruzzi's drumming is less complex here, which allows the riffs to shine, while Smirnoff's keyboard leads are much more present in the mix to allow his fluid melodies to really add to the song's overall atmosphere. It is another very memorable piece from a melody perspective, with another chorus that sticks in the brain courtesy of Tiranti's talent for concocting infectious and fluid vocal hooks. Occasional heavier sections punch through the mix to shake things up somewhat, but in many ways this is just the good, old-fashioned Labyrinth that fans have come to love over the past two decades. The Unexpected returns to the heaviness of The Absurd Circus however, and again mines that more progressive seam that has been given a new breath of life here. Peruzzi's drumming once again opens up the song with a fast flourish, before pacey riffs take over. There are occasional quieter moments here, but this is a song that mostly sticks to its heavier and faster roots - which allows everyone to really let their hair down. Labyrinth are rarely the heaviest of power metal bands, and I like that some of the songs here up the ante in this respect. There are riffs and solos being thrown all over the place during The Unexpected, and it is a track that those who love their power metal to be more hectic and furious will certainly enjoy.

Moving onto something completely different, Labyrinth have been known over the years for covering Italian synth-pop tracks - but here the band have shifted their focus to Britain by tackling Ultravox's 1984 chart-busting Dancing With Tears in My Eyes. Taken from Ultravox's seventh album Lament, Labyrinth's version is heavier and packed full of the band's classic sounds - and in fact I would not have known it was a cover if I was not already familiar with the original song. The band have morphed the song into a power metal classic, and it is packed full of the band's trademark romantic melodies and Peruzzi's fast-paced drumming. Die-hard Ultravox fans may find Labyrinth's take on their classic song hard to stomach, but I love it. The song's melodies are made for Tiranti to exploit, and the addition of shredding guitar and keyboard solos only enhances what was already there. It is one of the most well-realised covers that I have heard for a while, and it becomes an integral part of the album as a result. Sleepwalker returns to the heaviness of The Unexpected with a crunching opening rhythm and a pulsing, bass-led verse that allows Nik Mazzucconi some rare time in the spotlight. That being said however, the production here actually does allow the bass to be fairly prominent in the mix throughout - something that is rare in power metal. Mazzucconi's playing is what makes the album sound as tight and heavy as it does - but he is rarely in the spotlight. His prominence makes Sleepwalker stand out somewhat as a result, but there are still lots of classic Labyrinth hooks - as well as impressive, lengthy guitar solo. A Reason to Survive is a ballad, and it allows the band's romantic side to really come to the fore. While there have been plenty of moments throughout the album that showcase the band's more atmospheric side, A Reason to Survive is the only song that truly focuses on it. Labyrinth's more romantic side is what sets them apart from the wider power metal scene - even from fellow Italians such as the various Rhapsody incarnations - and A Reason to Survive allows this USP to shine. Smirnoff's keyboards create a perfect atmospheric backing, but it is Tiranti's vocals that shine here - his emotional delivery showcasing his raw talent as a singer. The song also acts as a short break before the heavy and powerful Finally Free - the album's closing statement. With the heavy The Absurd Circus in mind, Finally Free is a great bookend moment - ending the album on a similarly heavy and fast-paced note. There is still plenty of melody to be found here however, such as during the soaring chorus, and the mix of heaviness and melody make the song a perfect Labyrinth album closer. Surprisingly however, among all the bluster and melody, the song also features a bass solo - something which I was not expecting on my first listen to the album. It works well however, and Mazzucconi's fluid playing works well against the atmospheric keyboard backdrop - which soon segues into the final explosive chorus and a slow-paced closing section that fades out beautifully in classic Labyrinth fashion. In many ways, Finally Free perfectly sums up Welcome to the Absurd Circus as a whole. The album is another excellent release from the Italian band, and its variety for me places it above Architecture of a God in the band's rankings. Return to Heaven Denied will probably never to topped, but Welcome to the Absurd circus is a great album that showcases the band's classic sound mixed in with some heavier ideas - meaning that there are a lot of excellent songs on offer here throughout.

The album was released on 22nd January 2021 via Frontiers Records. Below is the band's promotional video for The Absurd Circus.