Wheel's 'Resident Human' - Album Review

Despite being a big fan of progressive metal, my preference has always leaned towards the more bombastic end of the genre. I love a lot of the bands who are directly influenced by traditional hard rock, progressive metal, and metal - with acts like Dream Theater, Evergrey, Symphony X, and Opeth sitting at the top of the progressive metal tree for me. There is a whole side of progressive metal which, until recently, I had largely left untouched however - and that is the side that takes a more minimalist and somewhat monotone approach to the genre. Some of these bands have feet in the djent and tech metal camps, with TesseracT being one band that I do quite like, but on the whole I have largely ignored the more angular progressive metal acts that followed in the wake of bands like Tool. In truth I have probably been missing out on a large subset of very talented and creative progressive metal bands, but I have always struggled with the dry, minimalist sound of that side of the genre. I like big melodies, anthemic choruses, and bombastic instrumental sections in my progressive metal - and the more minimalist end of the genre is almost the antithesis of my perfect idea of it. That being said, over the past couple of years I have been branching out a little more. As mentioned above, I quite like much of TesseracT's catalogue, and I have been enjoying albums by both Caligula's Horse and Rendezvous Point recently (the latter was one of the last bands that I saw live, supporting Anathema, before the COVID-19 pandemic really kicked off in a big way). The most recent band of that ilk that I have been listening to however is the Anglo-Finnish act Wheel - who play just the sort of angular, stripped-back, esoteric progressive metal that I had avoided until fairly recently. As I will hopefully be seeing the band live next year with Epica, I thought it was time to give them a go - and I enjoyed their 2019 debut album Moving Backwards which I picked up last year. When they announced their second album, I decided to pre-order it and take the plunge - and it is an album that I have also been enjoying a fair bit since its release last month. Resident Human, Wheel's second album, feels like the natural continuation of the sound that the band forged on their debut two years ago. Sometimes the 'metal' label seems unfit for Wheel, as they are not often a particularly heavy band, but the dense atmospheres and haunting arrangements that they come up with are certainly metal in scope and spirit. Since the release of Moving Backwards, Wheel have undergone some line-up changes however. Frontman James Lascelles and drummer Santeri Saksala return from the band's previous incarnation, with bassist Aki Virta joining the fold for Resident Human. Lascelles, who played rhythm guitar on Moving Backwards, plays nearly all of the guitars this time around (as well as most of the keyboards) but former lead guitarist Roni Seppänen contributes a guitar solo to one of the songs here. Seppänen's replacement, Jussi Turunen, does not play on the album - with Wheel essentially operating as a trio this time.

Resident Human features seven songs: three shorter songs, three longer-form pieces, and a closing instrumental coda. It is one of the longer songs, Dissipating, that kicks thing off - the snaking, atmospheric piece a perfect introduction to Wheel and their sound. A chiming guitar arpeggio opens the song, Virta's bass playing off it with a simple denseness, and the song gradually builds - Anathema-esque - around it. Those who like the way that Anathema, at least on their more recent albums, often build complex songs around repeating patterns and grooves will love the approach Wheel have taken here - as Dissipating echoes that style nicely. The song moves up a gear when Saksala's hollow drums crash in, and the verse gets underway - with Virta's bass work from the intro expanded upon to provide the main musical counterpoint to Lascelles' mournful vocals. Lascelles is the perfect singer for this type of music, his vocal style possessing a certain fragility that clashes perfectly with Virta's potent bass playing, but those expecting big vocal theatrics should reset their expectations. Wheel are not that sort of band, but Lascelles is a great singer - his distant vocals always perfectly floating above the dense soundscapes the band create. The Anathema-esque arrangement works wonders for the song's journey too, and really allows Lascelles' vocals to shine throughout. Parts of the song do adopt a somewhat heavier approach, with crunchy guitar rhythms and hypnotic, gothic leads, but other moments revel in a relative simplicity - with Virta's bass once again taking the spotlight while Lascelles provides bluesy accents with his guitar. As the song moves towards its conclusion however, things ramp up further. Saksala adds some tribal drumming rhythms behind a Virta bassline, which sounds much dirtier tone-wise by this point, with Lascelles adding crunching metal rhythms and a spacey guitar solo. This is the song's most overtly metal moment, and the more aggressive rhythms here perfectly contrast the song's slow-burning build up. Dissipating might be the perfect introduction to Wheel and their sound, as it contains a bit of everything that makes the band so interesting, and as a result it is a perfect way to open up their second album. Following the snaking Dissipating, the album moves into more concise territory for a couple of punchier tracks. Movement instantly has a much spiker feel than the vast majority of Dissipating, with Saksala's drums leading the way early on - before Lascelles launches into a groove-based, Gojira-esque riff that perfectly plays off the drum patterns to create something of an off-kilter feeling. Movement is a much more in-your-face song, and the album benefits from this burst of heaviness after the complex previous number. Wheel can really shake the foundations when required, and Movement is a great example of their metal side. Lascelles really goes for it vocally here, pushing himself during the choruses which have something of an anthemic sound with some hooky melodies. The band shot a video for this song, and I can see why as it is probably one of the most accessible-sounding songs that they have written. There is still a complexity to the arrangement, and the band's progressive side is still on display, but there is certainly a lot more straight-up riffing and grooves throughout Movement.

Ascend is similar, but perhaps a bit more dynamic overall. The song's opening riff is a really heavy moment, with some pseudo-Lamb of God patterns forced through the band's dry filter, but it does not stick to this high-octane approach throughout. There are a lots of moments that hark back to the more atmospheric side of Dissipating, but with a much more concise and hard-hitting sound. The song is just over four minutes long, so the ideas are never going to have as much time to shine or develop - but as a result the song hits much harder on a more primal level. The opening riff often returns to forcefully burst out of the speakers - and shattering the relative peace caused by the more atmospheric, bass-led sections. Those who prefer the heavier end of Wheel's sound will instantly love Ascend, as its tight riffing and oppressive metal atmosphere really shines. Hyperion follows, and it is the album's longest song at just over 12 minutes in length. The band's longer songs tend to, unsurprisingly, be much more progressive and diverse - and Hyperion follows a similar overall style to Dissipating. Where Hyperion differs however is that it takes a much meatier approach. There are more atmospheric moments, that again prominently feature Virta's bass playing, but there is also much more of a guitar presence this time. There is a lot of riffing to be found throughout, with Lascelles often laying down numerous layer of guitar to create a dense and complex sound. There are so many subtle leads featured here, and there is often a mournful guitar pattern playing off his vocals - with brief solo sections and repeated patterns building up a great overall tapestry of sounds. As a result, the song is much more overtly progressive metal than Dissipating, with a little more bombast within the song. Wheel have not suddenly become Symphony X, but it certainly feels like the band wanted to get a bit more technical and flashy this time around. The guitar work throughout the song is stellar, and the constant drum attack of Saksala never allows the band to rest. His punchy tone here really makes the song tick, and it is perhaps telling that the more atmospheric moments feature little drumming - with the song building up again as soon as he starts laying into his kit. It is also the song to feature a guitar solo from Seppänen, who's knotty and virtuosic playing fills a good chunk of the song's final quarter. Wheel are not a band who indulge in long guitar solos too often, but given the guitar prominence throughout the song it seems fitting that Seppänen was called upon to add his talents to it. It helps to elevate the song further, and it is an album highlight as a result.

Fugue, the last of the shorter songs, again opens with a big Saksala drum presence - but rather than going for an all-out heavy attack, the song is another relatively slow-burner. Saksala's groove is the perfect foundation for the song, which builds slowly with a Virta bassline and then some Lascelles guitar chimes. Again, the song is quite Anathema-esque in arrangement, with 'heavier' sections that are so because of their denseness rather than their metal-esque riffs, and vocals that often add more atmospherically than they do lyrically. Some of the vocal sections here are almost buried in the mix, deliberately, which then make the clearer, lyric-based, sections hit harder as a result. This is a bit of an atypical approach for the band, but it works well in my opinion. It almost feels like an instrumental track, so limited are the overt vocal passages, with the hypnotic grooves and layered guitar textures being the highlights here. The album's title track follows, and it is the album's final long-form progressive piece. It starts off very atmospherically, with guitar drones and synths, but it soon starts to build up with some more impressive drum grooves - and another excellent bassline that feels much dirtier and more aggressive than is usual for the band. While Wheel often feels like Lascelles' band, the importance of the rhythm section cannot be understated. The dryer side of progressive metal is often centred around rhythms, and the partnership that Virta and Saksala have formed throughout this album is a big part of what makes it so enjoyable. Every song here is packed full of grooves and movement, and they allow Lascelles to weave his magic against a varied and technical backing. The grooves often highlight the fragility of the vocals, or the atmospheric nature of the guitars, providing enjoyable contrasts that seem to be the centrepiece of Wheel's sound. Just as Dissipating is a great introduction to Wheel's core sound, Resident Human builds on it further - arguably upping the progressive scope with more keyboard use, and more of a focus, occasionally, on heavy riffs. There are some really heavy moments found throughout the album's title track, with TesseracT-esque angular riffing filling the song's second half - with spacey leads again providing some contrast to the heaviness. The song is another great representation of all that makes Wheel great - and it is fitting that is the last proper song on the album. It is left to the piano-led instrumental Old Earth to close things out however, the short, atmospheric piece something of a contrast to the closing moments of Resident Human - but with the same dense, foreboding atmosphere retained. It is a fairly simple coda, but it works well to closing things out - with the ringing piano contrasting nicely with the band's usual instrumentation. It is a great way to reflect on the previous six songs too, and their mix of heavy passages and atmospheric sections. Resident Human is an album that needs time, but it is also one that rewards patience and a willingness to persevere through the dense arrangements. It might not be the type of progressive metal that I usually favour, but it is a powerful and emotionally-charged album - and it is one that I can see myself returning to fairly regularly over the coming months.

The album was released on 26th March 2021 via Odyssey Music Network. Below is the band's promotional video for Movement.

 

Smith/Kotzen's 'Smith/Kotzen' - Album Review

It is always something of a treat when an album is released that was unexpected, and the treat is even greater when the album is from a new band or project - which in itself was also unexpected. Many bands can be relied upon to release a new album every two or three years, meaning that the release calendar can seem rather cyclical - but every so often something new rears its head, and music fans are forced to take notice. With that in mind, one of the unexpected treats of 2021 so far is the self-titled debut album from Smith/Kotzen - which was released last month. Smith/Kotzen, unsurprisingly, is a collaboration between Adrian Smith (Iron Maiden; A.S.A.P.; Psycho Motel; Primal Rock Rebellion) and Richie Kotzen (Poison; Mr. Big; The Winery Dogs) - two multi-instrumentalists who are both well-respected in the hard rock and metal worlds. As a long-time member of Iron Maiden, Smith needs no introduction. His melodic songwriting style and guitar partnership with Dave Murray (and, later, also Janick Gers) has made him one of the best-loved metal guitarists of all time. He has been involved in a handful of projects outside of Iron Maiden over the years, but all have been relatively low-key affairs. All have been quite different to Iron Maiden however, which have allowed him to occasionally show off different sides of his musical personality. Kotzen, while perhaps not quite as well-known, is a real musician's musician. He released his first album in 1989, and has been at it ever since. He has released a tonne of solo albums over the years, covering a number of styles, and helped to rejuvenate both Poison and Mr. Big after each of their talismanic lead guitarists left (only to both return). More recently he has become known as the frontman of The Winery Dogs - with whom he has released two albums of hard-hitting bluesy rock. It is perhaps The Winery Dogs that best influences the sound of Smith/Kotzen too - as that band's groove-based bluesy hard rock sound informs the album's nine songs. The album is certainly more Kotzen than Smith in style, but Smith excels in Kotzen's natural environment - and both share the lead vocals throughout, alongside the guitar and bass duties. Smith has not been featured as a lead singer since his 1989 A.S.A.P. album (the closest thing to a solo album he has ever released), but he is in fine form here. Vocally, Smith and Kotzen compliment each other nicely. Smith has more of a tough, bluesy approach to singing, while Kotzen's more soulful, slightly grungy sound acts a great contrast. The two constantly trade vocals lines and sing in harmony throughout the album, which helps the songs here to stand out from the rest of Kotzen's extensive catalogue. The drums throughout are handled by a mix of Kotzen (who is indeed a true multi-instrumentalist), Nicko McBrain (Pat Travers Band; Trust; Iron Maiden), and Tal Bergman (Simranking; Rock Candy Funk Party; Joe Bonamassa); while the album's raw sound is courtesy of a self-production, along with a mix from Kevin Shirley.

The album kicks off with its lead single Taking My Chances, a hard-hitting riff-based rocker that anyone familiar with The Winery Dogs' sound will instantly latch onto. Some of the songs here have a slightly more atmospheric and soulful approach - but Taking My Chances shows the duo rocking from the off. The song also does a great job at showcasing the album's raw sound. Kotzen's work is often quite raw sounding, and it is fitting that the same approach is taken here. Smith is used to being part of a much grander ensemble, but he thrives in this stripped-back environment. In fact, it is Smith that perhaps shines the most throughout Taking My Chances - as his tough vocal approach dominates the riffy verses. Kotzen shines during the smoother choruses however, and in truth neither Smith or Kotzen ever truly dominates any song for too long. I perhaps identify this song more with Smith as it is a real treat to hear him singing again, but the individual novelty soon wears off as the partnership instantly sounds like a natural fit. Running is a bit less riff-based, but there is a strong blues groove throughout thanks to Kotzen's bass and drum work. The chorus has a strong hook that is sure to stick in the brain, but this is not a song that rocks as hard as Taking My Chances. It is probably a better representation of the album's overall sound as a result however, as the soulful vocal interplay between the duo, and the overall grooves, really dominate. Kotzen's off-kilter guitar style is put to the test with a frenetic solo however - in a moment that breaks from the groove and goes all out - but on the whole the song is a tight affair, with plenty of soul and a strong atmosphere throughout. Scars builds on the more atmospheric approach of Running, with more of a slow-burning arrangement that features plenty of acoustic guitars in the mix early on - and an early solo that echoes the tone of Slash to a certain extent. Smith sings the early parts of the song, his tougher vocal approach contrasting nicely with the atmospheric backing, but Kotzen soon takes over - his soulful delivery perfect for the more expansive choruses that feature chiming guitar arpeggios and a hollow drum sound. Of the opening three tracks, Scars possibly is the most layered and complex. There is a lot going on in the song from a guitar perspective, with lots of layers that weave together to create the song's dense, atmospheric sound. There are no keyboards used here, with guitars instead used to a similar effect throughout. Kotzen is known for his slightly left-of-centre approach to the guitar at times, and that is a big part of what makes Scars such a powerful, smouldering piece.

Some People returns to the heavier vibes of Taking My Chances, but mixes it with a strong dose of funk. While Kotzen and Smith are best-known for their guitar playing, it is perhaps the bass that really shines here. Kotzen plays the bass throughout the track, and the grooves that he has come up with for the verses really make them tick. Despite the heavier riffing used throughout, the song is a relatively slow-paced one. There is a deliberateness to the guitar riffing throughout, with the bass instead providing some of the main melodies and grooves throughout. This helps to set the song apart from the rest of the album, but it still fits nicely within the album's core sound. Groove is a big part of Smith/Kotzen, and Some People has it in spades. It might be a bit less bluesy than much of the album as a result of the approach taken, but there is still plenty of soul - as well as a lengthy guitar solo section that features some excellent playing from the duo. Glory Road, to me, has a bit of an old-school Free feel to it - with an old-fashioned blues rock vibe that really harks back to the early 1970s. The song is less groove-based than many of the pieces here, with the track instead sounding like the duo paying tribute to some of the bands that influenced them. As a result the song is perhaps a little less interesting than some of the cuts here, but it is still a very enjoyable piece. It is great to hear Smith singing a bluesy track like this, and the chorus certainly has something of a Paul Rodgers-esque strut to it - with plenty of soulful melodies for Kotzen to sink his teeth into. Solar Fire gets back to the album's early hard rocking sound - with the Taking My Chances sound back in a big way. McBrain adds his drumming talents to the track, so the pace is a bit punchier as a result, and his more direct approach to the drums is a big part of what makes the song such a rocking good time. As much as I like Kotzen's grooves, this song needed a more direct approach - and it is one of the album's highlights for me a result. Kotzen sings the chorus in such a powerful way, his soulful voice pushed to the limit, while the guitar playing during the solo section features some of the fastest phrases found on the album. This really is the album's 'let your hair down' moment, and it is a great cut as a result. You Don't Know Me marks the start of the album's home straight, and is the first of three songs to feature Bergman on drums (as well as Smith replacing Kotzen on bass duty). The song opens with a lumbering, powerful riff that could have a strong Black Sabbath vibe if it was not for the raw production and the almost laid-back way that it is played - and this slightly strange approach dominates the rest of the song. It is a song that sounds like it should be heavier than it is, but the grooves and the overall approach to guitar playing taken helps to ground the song within the album's core sound. There is a fair amount of chugging here, as well as some tough rhythms, but nothing about the song ever feels remotely metal. It features another excellent chorus too, which has something of a Soundgarden vibe. Kotzen has sometimes been compared to the late Chris Cornell vocally, but the harmonies here hark back to the 1990s grunge scene a little - which works surprisingly well against the song's blues backdrop. The song is another highlight for me - with the lengthy guitar improvisation closing segment elevating it further.

I Wanna Stay is more typical of the album's core sound than the esoteric You Don't Know Me, but with a slightly more ballad-esque approach with a slower pace and some gentle Smith vocals throughout. Aching guitar leads help to set the tone of the song early on, and it is one of those tracks that is really elevated by the occasional simple few notes - with the odd phrase perfectly complimenting the emotional vocal approach taken. Much of the album has something of an atmospheric quality to it, but this is the only real ballad here - with the atmospheric approach dominating and a lack of any big riffs. The sound feels very natural for the duo however, and the song is right at home on the album. 'Til Tomorrow, the album's closing number, builds on the atmosphere of the previous song, but reintroduces many of the bluesy rock elements used throughout the album. In many ways then, the song is another strong example of the album's core sound - but with perhaps a slightly more epic approach throughout. There is certainly a bit of a Led Zeppelin-esque scope here, with a similar raw sound, and it is the longest of the album's nine songs. It is not massively dissimilar to many of the other songs here however, it perhaps just really runs with the overall formula rather than merely operating within it. As a result, 'Til Tomorrow has the feel of a true album closer. The chorus has a slightly more anthemic feel than the album as a whole pushes, while plenty of time throughout is given to guitar soloing. Both Smith and Kotzen take the chance for multiple final solos here, and the song is a real lead guitarist's feast as a whole - bringing the album to a technical and virtuosic close. It is a perfect way to round out the album, and it ensures that the quality on Smith/Kotzen remains high to the end. The album as a whole is a fantastic collection of songs that feature plenty of excellent guitar moments - but it is also well-crafted in its own right. Luckily the album avoids the potential trap of being purely about the solos, but the melodies and soul featured throughout ensures that the songs themselves stand up. It is unclear at the moment whether Smith/Kotzen will just be a one-off collaboration, but if the pair do decide to work together again in the future then I will certainly look forward to hearing the results.

The album was released on 26th March 2021 via BMG Rights Management (UK) Ltd. Below is the duo's promotional video for Taking My Chances.

Chez Kane's 'Chez Kane' - Album Review

As much as I am a fan of progressive music, and many varieties of metal, I am just as much a fan of AOR and all forms of melodic rock. As is likely the case for many, bands like Journey and Foreigner were big gateways for me to the world of AOR - but over the years I have amassed a huge love for the genre, from the giants of the scene to many newer and more obscure acts. The Italian record label Frontiers has often been a hotbed of such music, and it is one of their most recent releases that we turn to today - the self-titled debut solo album from British singer Chez Kane. Kane, along with her two sisters, fronts the melodic rock band Kane'd - a seven-piece act who have released three albums and have made a bit of a name for themselves here in the UK rock scene. They have supported a number of rock, metal, and AOR bands over the years (I came across them in 2019 when I saw them open for Tyketto), and their songs are packed full of catchy hooks. I have only heard one of their albums, 2018's Show Me Your Skeleton, but it is a fun listen - and they are a band whose catalogue I need to explore further. Despite Kane'd's growing reputation, Kane has recently branched out on her own - and the result is Chez Kane which was released last month. While I am sure that her main focus will always be Kane'd, it is never a bad thing to try something new - and her debut solo album is a bit different to Kane'd. Kane'd have more of weightier sound than her debut solo album has, with a lot of hard rock grit to back up the hooks, while Chez Kane is more of a pure AOR album. There are some numbers here that rock a little harder, but on the whole this is a much poppier affair - which makes it a nice change of pace from her band's core sound. I have been enjoying Chez Kane's carefree, 1980s throwback sounds quite a lot over the past month - with its obvious similarities to bands like Heart and Vixen. Throw in some Pat Benatar and Survivor, and that is a pretty good approximation of the route taken here. The album contains a lot to enjoy for any AOR fan, but looking at the sleeve notes I wonder how much actual involvement Kane had in her debut solo effort. Frontiers are known for putting out a lot of albums from manufactured projects which are essentially vehicles for their in-house songwriters and producers - something that really dilutes the label's output despite some of these albums being enjoyable. I say this in the context of Chez Kane as Kane is not credited with writing any of the material here - with everything instead written and performed (with the exception of the vocals and some rare saxophone parts) by Danny Rexon (Crazy Lixx). This is not a bad thing in and of itself, as Rexon is a great songwriter and the album sounds really well put together, but it seems strange that Kane would not be involved in her own solo album (she is a co-writer in Kane'd after all). Rexon clearly wants to expand his résumé, and I believe that Chez Kane is his first foray into writing for and producing another artist. It does make me wonder if Frontiers are grooming him to become the next Alessandro Del Vecchio (who, thankfully, has not had anything to do with this album) - but this may be the cynic in me who has been burnt by Frontiers a handful of times over the years talking! Nevertheless, it is important to put such concerns to one side and to judge Chez Kane on its own merits - as the album itself is a very fun slab of AOR that many rock fans will enjoy.

While there are harder rocking moments here, the album opens with one of its most overtly-1980s throwback pieces - the smooth Better Than Love. A driving Jim Peterik-esque keyboard melody opens the song, with no attempt to hide its retro glee, but this is a track that goes for a smooth, more atmospheric approach rather than exploding into something heavier. While there are guitars here, they are largely relegated to providing a crunchy rhythm while the keyboards dominate. Crazy Lixx are more of a hair metal band, but they have always had an AOR side - and Better Than Love sounds like the natural continuation of that side of Rexon's songwrtiting. Despite having no input into the songwriting, Kane still owns the song however. Her voice is perfectly suited to this sort of atmospheric, yet hooky, AOR - and the chorus really sticks due to her sultry melodies. The choice to replace a traditional guitar solo with some smoky saxophone lines, courtesy of Jesse Molloy, was a good one too - with the lengthy saxophone parts perfectly tapping into the smoothness of the 1980s AOR scene. Moving onto All Of It, the album takes a harder rocking turn - with the song being much more anthemic, with chunky guitar riffing and a strong organ backing turning things up a notch. This song sounds more like Kane's work with Kane'd, but with more of a retro sound - thanks to some programmed drums (which I usually am not a fan of, but they work well in the context of this album) and more of a keyboard presence. If Better Than Love was a great example of Rexon's AOR side, then All Of It show off his arena rock side. This is more akin to his songwriting with Crazy Lixx - but with more of an emphasis on Bon Jovi-esque gang vocals. There is a real stadium-ready strut to be found in the track, and it is the sort of song that really needs to be played live one day. Rocket on the Radio has a bit of a sleazier vibe, and it sounds like a long-lost Crazy Lixx song - which makes me wonder if this is a track that Rexon intended for his main band but never recorded it. Nevertheless, the song fits nicely on the album, and takes the harder-hitting sound of All Of It but ups the pace. There is a lot of Vixen to be found here, with sharp guitar riffing and Kane's powerful vocals recalling the band's 1980s releases - but with Rexon's knack for huge hooks filling every nook and cranny of the piece. This album also showcases what a strong guitarist Rexon is. He has sometimes played rhythm guitar with Crazy Lixx, but here he handles all of the guitar parts - including the solos. While his solos might not be as shred-happy as one might expect, they are tasteful, melodic, and really fit the overall sound of the album nicely.

Get It On has a similar overall sound to Rocket on the Radio, but slowed down somewhat to incorporate a bit more of a groove - while parts of the verse embrace the pure AOR of the album's opening number. As a result the song is quite varied, and in many ways it sounds like a perfect mix of everything that has been heard on the album so far. Everything here is hung off the song's big chorus, which features lots of big vocal harmonies, while choppy guitar and synth riffs help to provide some energy elsewhere. Driving, ringing piano hooks are also used for similar effect during other parts of the song - with it shifting back and forth between being more guitar-heavy and more keyboard-focused. This would all be for nothing if the hooks were not up to scratch, but thankfully they are - with the chorus in particular being a winner. Too Late for Love, the album's lead single, returns to the pure AOR sound of the album's opening cut - with another driving synth riff taking centre stage. While parts of the song are a little tougher, with more of a guitar prominence to bulk things out, this is a track that largely lets Kane's vocals shine. With the exception of the main synth riff, and a smooth guitar solo, the main hooks come from Kane's vocals. The music is purely there to support her, and it allows the vocal melodies to really shine. It makes the song a perfect choice for a single as a result, as every vocal line is perfectly crafted to be as catchy as possible - and the synth riff is a perfect throwback to when bands like Survivor ruled the airwaves. Defender of the Heart is similar, but the pace is slowed down somewhat - creating a ballad-esque sound that builds on a number of the themes that the album has explored so far. Despite the slower pace, there is still something of an anthemic sound throughout - with a big drum sound and another strong chorus that is packed full of great hooks. Molloy once again lends his talents to the song, his saxophone duelling with Rexon's guitars during the opening moments - and again during a solo section later on. There are certainly strong Pat Benatar vibes throughout the track, and this is another song that is sure to go down well live with its big hooks and slower pace. Ball n' Chain sounds like another lost Crazy Lixx tune, with more of a glam metal strut and a heavier guitar presence found throughout. Despite this, there are still plenty of big AOR hooks to found here - and there is a riff that sounds very similar to one from Bon Jovi's Livin' on a Prayer, which actually describes the sort of sound that the song is going for nicely. It is a big arena rock song with plenty of soaring vocal harmonies and an infectious pace - and it is one of the more strident pieces on the album.

Midnight Rendezvous is similar, but with the sleazier feel of Rocket on the Radio returning to give the song a big hair metal vibe. There is something of Lita Ford's late 1980s albums in Midnight Rendezvous, thanks to a bigger guitar presence throughout - and more overt glam metal aesthetic. This is one of the few songs here that lacks a big AOR influence, with a more organic hard rock sound present throughout. The keyboards here are much less prominent, with the guitars and drums really pushed to the fore to ensure that the song's heavier, rawer sound is allowed to make an impact. In the context of the album, the song feels like a 'letting your hair down' moment - and it allows Rexon to operate in his more familiar glam metal territory. Die in the Name of Love, which Rexon co-wrote with Michael Palace (Palace), returns to the album's core AOR sound - with a vibe very similar to Too Late for Love but with beefed up guitars and a slightly more sultry hard rock approach. The hard rock vibes never overpower the AOR hooks however, and the song is a great mix of many of the sounds explored throughout the album. I really like the slightly tougher approach taken here, but the keyboards still dominate - which gives the song a bite that is still really infectious and rooted in the album's 1980s throwback sound. Kane once again shines as a vocalist here - the hard rock grit that she deploys with Kane'd a little more prominent this time around despite the AOR hooks. The album comes to a close with the layered Dead End Street, a song that slows things down somewhat and goes for a denser, more atmospheric approach despite its tough rhythms. In some ways the song is quite similar to Defender of the Heart, but it feels much less like a ballad - with a pulsing bassline and a pounding drum groove keeping things sounding nice and weighty. A lengthy guitar solo contributes nicely to the song's hard rock credentials, while some more saxophone is subtly snuck into parts of the track to add depth. It is the sort of song that contains a lot of the sounds explored throughout the album, but all boiled down into a denser and more atmospheric sound - which gives it a bit of a unique feel. As a result, the song works well as a closing number - its more atmospheric approach allowing the album to perfectly fade to a close. While this more atmospheric closing moment is different from much of the rest of Chez Kane, it still feels like a fitting end. The album as a whole is much more upbeat, but the AOR vibes are retained right to the end. Chez Kane is an album that goes for a certain sound and really nails it, and Rexon is as good as anyone at capturing the spirit of that late 1980s AOR scene. Despite this however, the album still has a freshness to it - and it does not purely sound like a throwback. Fans of melodic rock are sure to enjoy what the album has to offer - and I would not be surprised to hear more music like this from Kane in the future.

The album was released on 12th March 2021 via Frontiers Records. Below is Kane's promotional video for Too Late for Love.

Thunder's 'All the Right Noises' - Album Review

The early 1990s British hard rock scene is still probably one of the best-kept secrets in the wider rock world. Bands like The Quireboys, Skin, Little Angels, The Wildhearts, and The Almighty all made waves here in the UK throughout the early 1990s - but the scene never really found much success outside of the country. With grunge and alternative rock really booming at the time, it is perhaps not a surprise that global recognition was hard to come by. There is still a lot of love here in the UK for the scene however, and The Quireboys and The Wildhearts are arguably as popular as they have ever been at the moment. Perhaps the band that has found the most success from that glut of bands however is London's Thunder - a five-piece hard rock act who have an extremely dedicated fanbase and a string of great albums to back it up. Despite breaking up in 2009, the band reformed two years later and have not really looked back since. A couple of tours put the band back on the map, but it was 2015's Wonder Days (which I reviewed here) that really launched the band back into the relative big time. I listened to Wonder Days a lot when it came out, and it remains one of my favourite Thunder albums. I did not think that the band would release anything as strong as 1990's Backstreet Symphony or 1992's Laughing on Judgement Day again, but Wonder Days really came close. Two years later the band followed it up with Rip It Up (which I also reviewed here), a slow-burner of an album which is a strong collection of songs - but certainly not the rip-roaring good time that Wonder Days was. I get the impression that Wonder Days was Thunder re-establishing themselves, while Rip It Up was the band branching out a bit and experimenting. I listened to Rip It Up a fair bit around its release, but it is not an album that I have revisited much of late. It never hit the mark for me in the same way as Wonder Days, and it lacked the big hooks that many of the songs on that 2015 album have. It took the band four years to follow Rip It Up, not counting 2019's acoustic re-workings collection Please Remain Seated, but last month the band released their thirteenth album All the Right Noises. Probably delayed by the COVID-19 pandemic, considering the fact that the final recording sessions for the album wrapped up in January 2020, All the Right Noises is another very solid album from the five-piece. In many ways, it picks up where Rip It Up left off - and takes the more slow-burning hard rock sound that the band forged on their 2017 album further and refines it. It is an album that opens up quicker than Rip It Up however, and there are a few anthemic hard rock tracks included that hark back to the sound that made Wonder Days such a hit with me. The balance struck throughout between carefree rock and a more serious approach is what makes All the Right Noises a compelling listen however and the album really is a hybrid of the band's last couple of efforts - which is helped by a rather dry production. Like Rip It Up before it, All the Right Noises also reached number 3 on the Official UK Album Chart - continuing the band's recent run of respectable chart positions.

Despite the similar overall approach to Rip It Up taken here, All the Right Noises starts with a bang. Last One Out Turn Off the Lights is the sort of song that I feel Thunder excel at and the hard-hitting, hooky hard rocker is a great way to kick things off - and it is one of the band's best recent songs in my opinion. While the song's main riff does sound similar to a certain Led Zeppelin classic, it is a track that instantly creates a strong energy. Guitarists Luke Morley and Ben Matthews team up for the song's stop-start riffing, which often drops out to give frontman Danny Bowes space to sing, while bassist Chris Childs does his own thing with some snaking counter melodies. On the surface, the song feels like quite a basic hard rocker - but it is the sort of song that is actually more complex and well put together than it seems. Childs' bass playing particularly helps the song to stand out, and the hooky chorus is made better by the use of female backing vocalists (Beth Blade, Carly Greene, Julie Maguire, and Katy Burgess) singing the main hook - while Bowes responds in an old-school rock and roll fashion. It is a powerful track, and a perfect way to kick off the album. Destruction opens more slowly; with a subtle, bluesy guitar pattern sitting in the background to drive the opening moments in a percussive manner while Bowes croons over the top of it in his ageless style. The song is one that moves back and forth between heavier sections, and moments more akin to the sparse opening, with tough-sounding riffs often crashing in to add some weight to the piece. That said however, the core of the song remains fairly low-key. The organic opening section is never too far away, and the heavier riffs never outstay their welcome - with the bluesy basis of the song often returning to allow Bowes to sing in a raw and unimpaired manner. The organic sound featured here is a natural continuation from the sound established on Rip It Up - but with more of an old-school blues vibe. The backing vocalists are again used to great effect, adding a great soulful ending, while the song overall revels in its rawness. The Smoking Gun continues this sound on somewhat, but it takes a bit more of a warmer approach with a Zeppelin-esque acoustic-based groove allowing the song to build up naturally and slowly - creating a dark atmosphere as it does. While Morley and Matthews' acoustic guitars help to create this atmosphere, it is Bowes that shines here. He sounds as good vocally here as he did in the early 1990s, and his bluesy croon is perfect for the song. Subtle keyboards, wah-drenched guitar leads, and simple percussion are slowly added to the mix as the song progresses - but the simple basis of the song is never lost. Going to Sin City gets the album back on heavier territory, with an anthemic hard rock sound that is enhanced with subtle brass (courtesy of Andrew Griffiths) and some strident riffing. While perhaps not as in-your-face as the album's opening cut, Going to Sin City still feels like good-time hard rock. There are dirtier, bluesy grooves here however that give the song more of a 'bump and grind' feel - with Morley's organic production and Harry James' hollow-sounding drums beefing everything up. In many ways this is a song that perfectly encapsulates the modern Thunder sound - with hooks and a more organic approach coming together nicely.

Don't Forget to Live Before You Die is another hard-hitting, but memorable, track that opens in a fairly dark manner with a pulsing Childs bassline and some mournful vocals from Bowes. This is another song that has a strong old-school blues vibe throughout, with the guitars moving back and forth between crunchy rhythms and effects-heavy melodies - all while the band's rhythm section lock in perfectly for a consistent punch throughout. While the song is perhaps not as hooky as some of Thunder's best tracks, the consistent grooves here make the song stand out. The bluesy strut throughout is infectious, and there is something engaging about Bowes' vocal performance - which is raw and emotive. Throw in a strong guitar solo, and the song is another winning cut on the album. I'll Be the One is more of a ballad, with a slow-burning piano opening and some more emotional vocals from Bowes. Thunder have done a lot of strong ballads in the past and, while this one is not as memorable as many of their best, this is another good one. The Bryden String Quartet add their talents to the track, adding subtle strings that perfectly back the piano melodies - while further depth is added by more intricate bass playing from Childs. While Bowes shine again vocally, the best moment here for me is the lengthy guitar solo. Sadly the album's booklet does not credit each guitar solo, but the effort here is perfectly in-tune with the mood of the piece - and enhances the overall mood significantly. Young Man is more of a riff-heavy piece, with a hooky opening riff forming the basis of the track - with this toughness setting the tone for the rest of the song. Many of the songs here feature quite a lot of light and shade; heavier sections often dropping out to reveal a more low-key underbelly; but this is one of the few tracks here that is pretty much riff-based at all times. Despite this however, the piece still feels at home on the album - as the organic sound used throughout is still present in the song's liberal use of Hammond organ during the choruses and the prominence given to James' hollow drums. This is one song however that might have benefitted from a brighter production overall, with the dryness here perhaps limiting the power of the riffs. This is the sort of song that will probably really come alive on stage as a result - and I can see it becoming a future live favourite with its all-out rock approach. You're Gonna Be My Girl, funnily enough, does have a bit of a warmer sound - and as a result it sounds like a song that could have been on one of the band's early albums. It feels like a throwback piece of fun hard rock, but the band have always excelled at such a sound. Squealing guitar leads and a jaunty piano backing keep the song ticking, while the ladies add to the warmth with their soulful vocals - which are the perfect counter to Bowes' strident frontman antics. It is one of the simplest songs here, but as a result it is one of the easiest to get into. A number of songs here see the band trying hard to hit a certain sound, but You're Gonna Be My Girl is one of those effortless hard rockers that Thunder have always managed to conjure up - and long-time fans will love it.

St George's Day slows things down a bit, but the warmth from the previous song is maintained with a strong keyboard presence throughout and layers of clean guitar melodies. Like I'll Be the One the song is a ballad, but there is more of a bluesy rock approach taken throughout. The rhythm section add a subtle groove throughout, and the song still has a big sound despite it being a ballad. As a result, there is something of Whitesnake's first few albums in the song's sound, with Bowes' soulful vocals and lashings of Hammond, while a couple of lengthy guitar solos are packed full of memorable melodies that perfectly cut through the dense mix with their razor-sharp notes and tone. Force of Nature, like The Smoking Gun, opens with a Zeppelin-esque acoustic groove - but unlike The Smoking Gun the song builds up considerably as a it moves along. Dry electric guitars soon double the acoustic strut, and it is not long before the song explodes in a big way - with heavy riffing replacing the acoustic guitars entirely. This is another song that is likely to become a live favourite going forward, as it has a great classic rock mindset throughout - and some wordless vocal hooks that are sure to draw the listener in. While the song lacks a big chorus, which is a bit of a shame, the song excels elsewhere - with the riffs and overall energy being really infectious. While it is lazy to compare a rock band to Led Zeppelin, there is certainly a lot of that band's approach to groove and structure here - and that is a reason why I believe the song will be a live favourite in the future. The album comes to a close with She's a Millionairess, a relatively short, but fun, hard rocker that recalls the album's opening number and a few of the songs found on Wonder Days. The song's electric piano opening sets the tone, and it has a jaunty vibe throughout - with James' upbeat drumming and and a hooky chorus helping to keeping the interest. In fact, the chorus is easily one of the album's most instantly-memorable sections. The ladies once again add their vocal power to the piece, their soulful melodies joining forces with Bowes for a big sound - while the electric piano adds some boogie to the background. It is another song that is not particularly complicated, but it adds a great sense of fun to the album's closing moments. Thunder are a fun band on the whole, but much of this album (and Rip It Up) goes for a more serious sound and style overall. Songs like She's a Millionairess are important then to add a bit of levity to the proceedings, and remind everyone that Thunder's core sound over the years has been one of upbeat bluesy hard rock. Despite this, All the Right Noises still excels despite its more serious approach. In my opinion, it is a more well-balanced album than Rip It Up - with upbeat rockers sitting nicely side-by-side with more serious, organic pieces. It is an album that the band's fans are sure to enjoy, with the variety throughout allowing a lot of different sounds to be covered.

The album was released on 12th March 2021 via BMG Rights Management (UK) Ltd. Below is the band's promotional video for Last One Out Turn Off the Lights.

Witherfall's 'Curse of Autumn' - Album Review

On paper, the progressive metal act Witherfall are a band that I should have been raving out from day one. Formed in 2013 by frontman Joseph Michael and guitarist Jake Dreyer, Witherfall play a particularly heavy and abrasive form of progressive metal - one that favours a dense atmosphere as much as it does technical wizardry. Michael and Dreyer met as members of the fun, but famously volatile, traditional heavy metal band White Wizzard (with the two performing on the band's third album The Devils Cut); and both left following a curtailed 2013 UK tour that ended in mud-slinging and drama so ridiculous that the only correct response was to laugh. Witherfall was clearly born out of this split, but is a vehicle far better suited to showcasing the duo's talents than White Wizzard ever was. Being a White Wizzard fan, I remember reading about Witherfall's genesis - but for whatever reason I never properly checked the band out until last year. I am not sure why, as they are a band that (it turns out) are right up my street, but I am glad that I finally got around to picking up a copy of 2018's A Prelude to Sorrow - the band's second studio album. I am not quite sure what I was expecting, but A Prelude to Sorrow took a while to bed in. Most progressive metal does, but Witherfall are much heavier and denser than the average progressive metal band. There are few bright melodies to be found here, and little of the genre's usual overblown sound, with Witherfall instead opting for a more oppressive sound - focusing on more meandering arrangements interspersed with tough in-your-faced riffing. The combination is a bit of a strange one, but it is what makes Witherfall such an interesting listen. I cannot think of another band that sounds like them, with even the obligatory references to Nevermore which are usually mentioned alongside the more esoteric progressive metal bands not really doing Witherfall justice. There are the occasional Nevermore-esque moments in Witherfall's sound, largely thanks to Michael's varied and raspy vocal approach, but there are also moments here that remind me a little of Mercyful Fate and the heavier end of Symphony X. Witherfall are a unique band as a result, and this uniqueness is why I have been enjoying the band's third studio album Curse of Autumn - which was released last month - quite a bit of late. I am still yet to hear the band's debut album, but Curse of Autumn carries on where A Prelude to Sorrow left off three years ago - but with perhaps a bit more of a focus on more overt melodies this time around. Curse of Autumn sees Witherfall tightening up their sound a little, thanks to a powerful Jon Schaffer (Iced Earth; Demons & Wizards; Sons of Liberty) production, and there are a few songs here that hit home after only a couple of listens - something that could not be said for much of A Prelude to Sorrow. Witherfall's unique sound is still present here however, with a number of longer tracks also present to stay true to the band's roots. The band's core trio of Michael, Dreyer, and bassist Anthony Crawford are joined here throughout by drummer Marco Minnemann (Steven Wilson; The Aristocrats; Ephel Duath; The Mute Gods; The Sea Within). It is not clear if Minnemann is a permanent member of the band or not, but his playing throughout the album is spectacular - as one would expect from someone of his pedigree. Helping out throughout too are James Cornwell and Howard Helm - who add extra percussion and keyboards to the album.

The album kicks off with the fabulously-titled instrumental Deliver Us Into the Arms of Eternal Silence, a short piece that opens with some renaissance-esque classical guitar melodies - before ramping up into a more traditional metal riff that segues nicely into The Last Scar. The Last Scar is the start of the album proper, and is one of the aforementioned more 'accessible' songs here. Schaffer's influence really shows here, with the song having a crunching, riff-based structure that places the fantastic vocals of Michael at the fore - with Dreyer largely taking a back seat here to churn out tough rhythms. Shredded solo sections follow the choruses, but on the whole track has a real Iced Earth vibe to it - with Michael's vocal style even sounding similar to Iced Earth's most recent signer Stu Block at times. That is not to say that the song is a pure pastiche however, as there are still strong traces of the band's core sound throughout. Witherfall's trademark darkness permeates the whole song, and the guitar-led sections are much more acrobatic and virtuosic - with Dreyer laying down some really knotty neo-classical melodies during his showcase solo spot. That said however, the song is much catchier than much of Witherfall's previous songs - with a big chorus that places a strong emphasis on melody that is sure to get lodged in the brain. As I Lie Awake leaves the Iced Earth-esque chugs behind, and goes for a much more overtly-progressive sound. Crawford's bass playing dominates early on, his fusion-esque melodies perfectly duelling with Dreyer's clean guitar lines, and even when the verse kicks off and a more typical rhythm takes over there is still a much more esoteric sound present. I really like what Witherfall have done with this album; and how they have managed to introduce more overtly-melodic elements without really sacrificing any of their core sound. I imagine that some fans will not like introduction of hookier moments, but in my opinion they have been incorporated well. As I Lie Awake has another excellent chorus, that reminds me a little of Symphony X but with a higher-pitched singer, but these melodies take nothing away from the fusion/progressive riffing that is found elsewhere - with both Dreyer and Crawford shining throughout with busy fretwork and interplay. Another Face does have something of a Nevermore vibe (despite my earlier comments), as Witherfall tap into the Seattle band's knack for moody melodies and a haunting atmosphere. As Michael is also now the singer for Sanctuary, he has clearly studied the late Warrel Dane's vocal style, and there is certainly a bit of that influence on display here - with Dreyer mixing clean guitar passages and abrasive riffing together perfectly to create an unsettling sound that is certainly akin to Nevermore's mid-period. While the song is not a ballad in the purest sense, there is certainly more of a melancholic sound used throughout. Heavier sections are rarer here, and are often used for effect to offset the murk found elsewhere - with Dreyer's schizophrenic solo emphasising this. I love the song's closing coda too, with Michael's howling vocals perfectly capturing the song's anguish.

Tempest is the first longer-form track here, with the eight minute-plus piece harking back to the band's previous albums in a more overt way to introduce a more meandering arrangement and variety. Dreyer is not just a shredder, but one of the most complete young guitarists out there - and his work throughout the track really showcases this. He switches between renaissance-esque classical guitar melodies and pseudo-black metal riffs with ease throughout the song - while Minnemann lays down some of the tightest and fastest drumming on the album. Due to the variety found throughout, the song takes a few listens to fully appreciate - but it is one that rewards patience. Multiple listens reveal the track to have a dense atmosphere, thanks to Michael's subtle keyboard work, which is not compromised at all by the heaviness of much of the track. The instrumental sections are suitably off-the-wall too - with Crawford's bass playing once again spotlighted with a solo section that builds on the previous atmospherics - while Dreyer adds occasional discordant acoustic melodies. While the album's opening few songs pushed melody in a big way, Tempest showcases the band's core sound more overtly. There is so much going on throughout that is can initially seem a bit overwhelming - but it is the sort of song that gets better with every listen, and showcases the band's songwriting talents in a big way. The album's short title track follows, which forms part of what appears to be a larger piece with the instrumental track The Unyielding Grip of Each Passing Day. Curse of Autumn is something of an acoustic interlude, but with some mournful Michael vocals, which helps to provide a bit of a change of pace following the oppressive and dark previous number. In an album like this, it is important to have some light and shade, and the short title track provides the listener a chance to catch their breath - before the following instrumental piece explodes with another big guitar riff and plenty of guitar pyrotechnics from Dreyer. It is essentially an instrumental showcase for him, although Crawford's fusion bass skills are also put to the test, and he demonstrates why he should be seen as one of the best modern metal guitarists currently on the scene. The Other Side of Fear also perfectly segues from the chaos of the shredded instrumental with a thrashy riff and pummelling rhythms that continue on throughout much of the song. There are a few slower sections throughout, but this is largely a fast-paced metal anthem that is packed with extreme metal trappings despite a catchy Michael vocal holding everything together. His vocal melodies will draw the listener in, but the vast array of vocal techniques on display here is staggering. Some parts contain death metal-esque growls, while other moments rival King Diamond when it comes to ear-splitting shrieks. It is a relatively short song, but there is still a lot going on despite the pace and the melodies giving the piece a simpler feel.

The River slows things down again, and is something of a ballad. Dreyer lays down acoustic melodies throughout, while Michael's vocals are much less abrasive and varied this time - as he goes for a more emotional approach that suits the subtle acoustic backing perfectly. Like the album's title track, The River allows for a bit of a change of pace before the album's hard-hitting home straight. It is probably the simplest track here arrangement-wise, although the final moments do see the rest of the band joining in for a guitar solo and a final reprise of the song's chorus. It acts as a calm before the storm however, and I like the way that the band structured the album to ensure that little breaks were built in - only to then hit the listener over the head with what comes next. What comes next in this instance is the album's magnus opus, and possibly the band's most adventurous song yet, ...And They All Blew Away - a fifteen minute-plus juggernaut that really showcases everything that makes Witherfall such an interesting band in one long-form composition. It is Witherfall at their most progressive, and as such it is another number that takes a few listens to fully appreciate - but the sheer scope of the piece will no doubt leave listeners floored. It starts slowly with some of Michael's best melancholic vocals on the album, before a lengthy instrumental build-up takes an atmospheric approach that eventually ends in the first verse. This is a song that perfectly captures the band's historic approach to songwriting, with a more meandering style that flows naturally from one part to another at its own pace. There are heavier sections here, and high-octane instrumental passages, but on the whole this is Witherfall's core, atmospheric approach taken to the logical next step. It is the sort of song that includes a little bit of everything that has been featured throughout the album in one big melting pot of sounds, with the black metal riffing of Tempest returning again - as well some of Michael's powerful King Diamond-esque vocal shrieks. It unsurprisingly also contains the longest solos of the album, with plenty of moments throughout for Dreyer to cut loose with some shredding - which are either packed full of melody or take a more discordant approach depending on what suits each portion of the song. Everything comes together perfectly however, and the piece does not feel long for its own sake. It is possibly the most complete Witherfall song to date, and it closes out the album perfectly. Except, it does not actually close the album out, as a strange cover of Boston's Long Time follows. It is not listed as a bonus track, so I can only assume that it is supposed to be a part of the main album - and multiple listens have made the esoteric cover version feel at home on the album. Boston are not an obvious choice for Witherfall to cover, but the song has been totally re-arranged so that only really the lyrics and some of the vocal melodies are instantly familiar - with the song being transformed into something of a mournful, atmospheric ballad that sounds nothing like the original. It fits with the overall sound of the album however, and helps the album to end of a calm, but somewhat unsettling, note - which is fitting in my opinion. It keeps the quality high right to the end, and it helps to make Curse of Autumn a really strong and varied listen. Of the two Witherfall albums that I have heard so far, Curse of Autumn is my favourite, and I love the melodic approach taken here - with the band's core sound still shining through. This is an album which I will probably only enjoy more over time, and I am looking forward to discovering more through further listens.

The album was released on 12th March 2021 via Century Media Records. Below is the band's promotional video for As I Lie Awake.