Monday 31 May 2021

Spike - London Review

For those of us who love live music, the past year or so has been quite a struggle. While the lack of concerts may seem quite trivial in the grand scheme of the COVD-19 pandemic, pilgrimages to music venues are something of a lifestyle for some - myself included. With the uncertainty of the pandemic, and the UK government's seeming want to ensure that the hospitality industry shoulders the heaviest burden when it comes to impact of the lockdowns, optimism for the return of live music has been pretty slim for much of the past 14 months. My last concert was Anathema at the London Palladium on 7th March 2020, and just over two weeks later the country was in lockdown. It is amazing in hindsight how much changed in the space of just a fortnight - but with lockdowns etc. now largely the norm, that Anathema show seems, sadly, like a distant memory. There does now, however, seem to be some light at the end of the tunnel. The UK's COVID-19 vaccine rollout has been very successful, and continues to be so, so much so that a number of the government-imposed restrictions on everyday life and businesses have been lifted. A number of crucial ones remain, which effectively still prohibit live concerts in the truest of senses, but live music can now, once again, take place. I have to say, however, that the prospect of sterile, officious, and reduced-capacity shows does little for me - but beggars cannot be choosers as they say, and after 14 enforced months of no live music it was time to get back on the wagon. The venue, a new one for me, was The Cavern Freehouse in the London suburb of Raynes Park; and the act was Spike, the frontman of The Quireboys - my second-most seen band of all time. Spike is certainly not new to me as a result, but this show, the first of 2021, was my first exposure to him as a solo artist. The Quireboys are usually an extremely busy live band, in both electric and acoustic formats, which means that Spike has very little time to branch out on his own. It seems however, to prepare what is hopefully to be a busy latter half of the year again with The Quireboys, Spike took the opportunity presented to him in the context of the ongoing restrictions to schedule a run of solo acoustic dates. A couple of live streams aside, this tour was to be Spike's first run of shows since before the lockdowns - and I think that it is fair to say that he was as excited to be back out there as his fans were. Such was the demand in London that Spike actually played two sets in one day at The Cavern Freehouse, one in the afternoon and one in the evening. I attended the evening show, after an excellent day record shopping in Brick Lane and a Raynes Park charity shop; with rocking up to a gig again feeling surprisingly normal after the lengthy break.

The pub re-opened after the afternoon soirée at 7pm, which gave the 50 or so punters that had sold the show out plenty of time to gather before Spike took to the stage at around 8:30pm. Considering the gig was likely the first for a long time for many, the atmosphere was jovial. The Cavern Freehouse is not the largest of pubs, so having 50 or so music lovers inside it did not feel sparse - but I imagine the place could get a lot cosier should it ever want to! Spike seemed up for the evening too, despite having done it all only a few hours previously, and was his usual affable self throughout the show. The evening was split into two parts; with the first half containing cover versions of some of Spike's favourite songs from his youth, and the second half containing, mostly, his own material. Joining Spike throughout was guitarist Christian Heilmann and percussionist Simon Hanson, who's embellishments helped Spike's own guitar and trademark gravelly voice bring the best out of the 15 songs played. Hanson, who is not a part of the touring ensemble, seemed to have just rocked up for the evening performance to see his old friend - and his addition gave the evening a somewhat off-the-cuff feel, which suited Spike's manner perfectly. With him and Hanson having been friends for years, the banter between the two all night encouraged much laughter. In fact, Spike's tales were just as much a part of the evening as the songs were - which suited the 'Evening With...' format nicely. Despite being made up of covers, the evening's first half was very enjoyable. A rousing rendition of Lindisfarne's Run for Home got things underway, before a somewhat strange mash-up of Just My Imagination (Running Away With Me) and You Can't Always Get What You Want providing probably the first of the evening's many chorus sing-alongs. The crowd generally were into what Spike and co. were doing, and often sung along - but unfortunately there were a few who decided that they would rather talk through much of the show. This really started to rear its head about half way through the first set, and sadly persisted to the end - despite Spike and some of the pub's staff asking people to stop numerous times. It was a shame that the enforced concert break has not made some people more appreciative of live music opportunities - especially as one of the culprits was a member of a semi-well known band (who I shall not name here) who would have probably not appreciated it happening at one of his shows. Nevertheless, the majority were enjoying what Spike was offering, with a few Frankie Miller tunes in particular standing out. Spike's version of Miller's version of Darlin' was a lot of fun, as was the folky Raining Whiskey which was also recently covered by Kid Rock. The evening's first half came to a close with a great version of the Cat Stevens-penned The First Cut is the Deepest - before the musicians left the stage for a 20 minute break.

As much as I enjoyed the first set, the second part of the evening was better in my opinion. The covers were fun, but I much prefer seeing Spike sing his own songs - and that is largely what made up the second part of the night. He kicked things off with a version of a Quireboys song that I had not heard live before, Ode to You (Baby Just Walk), a heavy blues piece that worked well in a stripped down manner - with Hanson's percussion giving it some extra weight. During this part of the night, Spike also told stories of The Quireboy's early days - particularly how he and Guy Bailey wrote many of the band's early songs in a flat overlooking The Oval cricket ground. He also recounted some stories relating to producer Bob Rock and the recording of 1993's Bitter Sweet & Twisted, which set the scene nicely for Ode to You (Baby Just Walk), and his friendship with Tyla from The Dogs D'Amour - which was a perfect set-up for his take on their single How Come it Never Rains. There were lots of fan favourites included in this part of the show, with The Quireboy's signature ballad I Don't Love You Anymore prompting possibly the largest cheer of the night - which also included Heilmann impressing with some subtle and tasteful acoustic guitar leads. A fan request led to a rendition of the excellent So Far So Good from Spike's 2005 solo album It's a Treat to be Alive, before There She Goes Again saw plenty of singing from the crowd. Acoustically, the song was much slower than the brash barroom rock of The Quireboys' version - but it worked well. Spike commented on how arrangement that he played was how the song was originally written, and the song worked well in this more stripped back and raw manner. It was left to one final Quireboys' number, Roses & Rings, to close things out. The song has a country vibe, which meant that it translated to an all-acoustic arrangement nicely. It was another fun addition to the evening, but the show seemed to come to a rather abrupt end following it. I am not sure if a curfew had been reached by this point, or whether Spike had finally got sick of all the talking - which had escalated quite a bit during Roses & Rings. I hung around for a little while to see if an encore would happen, but it was not long before the pub staff started to remove some of the gear from the stage - meaning that the night was over. The setlist was:

Run for Home [Lindisfarne cover]
Just My Imagination (Running Away With Me) [The Temptations cover]/You Can't Always Get What You Want [The Rolling Stones cover]
Darlin' [Stewart Blandamer cover]
Pearl's a Singer [Dino and Sembello cover]
Fortune [Frankie Miller cover]
Raining Whiskey [Frankie Miller cover]
Seven Spanish Angels [Ray Charles cover]
Little Ol' Wine Drinker Me [Charlie Walker cover]
The First Cut is the Deepest [P. P. Arnold cover]
-
Ode to You (Baby Just Walk) [The Quireboys material]
How Come it Never Rains [The Dogs D'Amour cover]
I Don't Love You Anymore [The Quireboys material]
So Far So Good
There She Goes Again [The Quireboys material]
Roses & Rings [The Quireboys material]

Despite the strangely abrupt ending, the show was still a lot of fun. It was great to experience an evening of live music again after so long, and Spike was in fine form. The stripped down format allowed his voice to really shine, and he sounded great despite having a year or so off the road. I would have personally preferred to hear more of his own songs, but a lot of the covers were fun - and some of the stories were hilarious. I am hoping that this show will be the first of many in 2021, although it all depends on what the government do next - with the 21st June and supposed freedom looming, but seemingly in question. In theory I will be catching Spike again, this time with The Quireboys and an orchestra, in September - at a show that was postponed from last year. Whether this happens or not remains to be seen, but I live in hope that my trip to Raynes Park will not turn out to be my sole night out this year.

Saturday 29 May 2021

Gojira's 'Fortitude' - Album Review

France's Gojira are one of those rare, enigmatic bands that seem to break through all genre restrictions, as well as society-at-large's general distaste for heavier music, and make a career for themselves in a big way. While there are plenty of 'bigger' metal bands out there, there is something interesting about Gojira's rise through the ranks. Most of the biggest metal bands are usually so because either of their long-earned legendary status or through their accessible sound, but Gojira fit into neither of those categories. The band have been around since 1996, but have not reached legend status yet, and, in my opinion, their sound is anything but accessible. I would not even really consider myself a 'true fan' of Gojira, but they are a band that have always fascinated me; and it has been great seeing such an esoteric act getting quite a lot of mainstream attention (even The Guardian, one of the UK's most-popular newspapers, recently ran an article on them). I first came across Gojira back in 2007 when they were part of a four-band bill that toured the UK supporting Trivium's The Crusade. They did not really do much for me at the time, but even back then their mechanical, groove-laden sound intrigued me. I had not really heard anything else at the time that quite sounded like Gojira, and in some ways that statement remains true today. They are a band that are hard to pigeonhole, with their strange mix of progressive, groove, and death metal creating a sound that is very much their own. I have heard them described as transcending traditional metal tropes and taking the genre into new places, which is a bit of a journalistic way to talk about them, but I understand the sentiment. I have also seen them described as post-metal, although I am not really sure what that means, but again I understand why someone would say that. What is clear however is that Gojira certainly are an interesting band - and part of their success is down to their unique sound. Even though I would not really consider myself a huge fan, I have often on this blog called certain riffs as being 'Gojira-esque' - as every so often a band will throw out something mechanical and groovy that sounds as if they have been listening to the French band's discography. This is a discography that has recently grown in stature too, with the release of the band's seventh album Fortitude last month. It took the band quite a long time to get Fortitude together, with the album following five years after 2016's somewhat polarising Magma, but the new album sees the four-piece again taking their sound to new places. While parts of the album are very classic Gojira in tone and style, there are also moments that see the band experimenting with new things. This album is perhaps less pummelling than the band's older albums, and in some ways continues with the sounds forged on Magma - but it also introduces new styles to the band's ever-expanding style.

Despite saying above that I do not find Gojira generally to be that accessible, they have certainly got more so over time. Fortitude is an album that, overall, I have found easier to digest than say 2005's dense, sprawling, progressive From Mars to Sirius - but that is not to say that there is not a lot going on here. The album's opening track, and lead single, Born for One Thing is typically Gojira in style - but the vocal melodies certainly seem a bit hookier than usual. Joe Duplantier still largely sticks to his raspy harsh vocal approach, but there are plenty of hooks to be found. Part of what makes Gojira unique for me is Joe Duplantier's voice; as he really sounds like no-one else out there. It is not just the vocals that provide the hooks however, as Born for One Thing is generally quite melodic - despite the band's mechanical sound being on full display. The verses are groove-laden, with some Lamb of God-esque moments built into the classic Gojira sound, while the choruses are packed with hypnotic melodies thanks to some excellent guitar leads from Christian Andreu. As a result, the choruses are instantly memorable, and they really drew me into the song when I first heard it before the album's release. I had already planned to pick the album up, but Born for One Thing cemented that - and it is the sort of song that allows people like me to enter into the murky world of Gojira. Amazonia goes for a less heavy and more snaking vibe, with a strange percussive opening and an effects-heavy bass presence from Jean-Michel Labadie. There is less of the band's tech metal approach here, with the song instead being a bit of a grind, with a strong mid-paced chug allowing the bass to shine while Mario Duplantier lays down a very simple drum pattern. Some of the riffs found throughout the song are very simple by Gojira's standards, with a power chord pattern that echoes early Black Sabbath somewhat adding a retro doom vibe to the piece. This doomy feeling continues throughout, and the song generally has an unsettling vibe due to the slower pace and the more overt riffing. Another World, which was originally released last year as a stand-alone single, maintains a similar pace to Amazonia, but includes more of the band's usual tropes. The main riff has real hypnotic feel to it, something which is commonly found in the band's sound, while Joe Duplantier's roars convey his usual anguish. There is always a pained feel to Joe Duplantier voice, and the slower pace of this song really conveys this. The whole song as a real mournful feel to it as a result, but the occasional strange guitar squeals from Andreu add some quirkiness. Hold On is somewhat on the lighter side, at least early on, with an intro sequence that is very airy and melodic by Gojira's standards. The swirling guitars from Joe Duplantier and Andreu have something of an Anathema-esque layering approach to then, while the choral vocal harmonies add additional depth. The song does get heavier however, as a mid-paced riff soon crashes in with some potent Mario Duplantier double bass drum patterns to accompany it. Despite this however, the song never becomes particularly furious - with the song's early mid-pace retained, and Labadie's bass often dominating the mix. The song also allows Andreu to shine with a rare guitar solo, as well as containing plenty of space for some of his trademark hypnotic leads.

New Found returns to the classic Gojira sound in a big way however, with some heavy, groove-based riffing and some of the guitar squeals that have always been a big part of their sound. The main riff is still firmly mid-paced, but it has the heaviness of the band's older albums, with the squeals accenting the rhythms perfectly. It is also one of the busiest songs here from a drumming perspective, with Mario Duplantier getting a chance to showcase his talents a little more. He is easily one of the best modern metal drummers, but this album (along with Magma) sees him generally going for a simpler approach to fit with the band's slightly more streamlined sound. New Found has some of his classic busy playing however, with plenty of strong double bass pedal work as well as some rock-solid grooves. As a result, it is one of the songs here that best represents what Gojira have done well over the years - and it is a reminder of the band's much heavier side in what is overall a less heavy and more experimental album. That experimentation is perfectly captured on the next two songs, with the largely instrumental title track dispensing of essentially all of the band's heaviness and instead going for an acoustic-based groove. Simple percussion backs up the groove perfectly, while some wordless vocals provide something of a tribal feel. On the surface the song is quite repetitive and simple, but in many ways the classic Gojira structures are still present. They are a band that tend to built on grooves and melodies as a song progresses, and that approach is maintained here - especially when the song transitions into The Chant. Fortitude and The Chant are essentially one long song - with the former acting as the song's slow-burning intro before The Chant takes things up a notch. The same wordless melodies from Fortitude are maintained throughout The Chant, with the hooks forming something of a chorus, while Joe Duplantier sings the rest of the song in his strange clean vocal approach which he has been perfecting on the band's more recent albums. The tribal feel remains, but the song is heavier than Fortitude - with Andreu's bass picking up more of the slack and proper drums replacing the percussion. There is a lot of strong lead guitar work throughout the track too, with Andreu playing few lengthy, blues-based solos, while also adding some snaking counter melodies to the wordless vocals. There is very organic sound found throughout The Chant as a result, and it is one of the most experimental and interesting pieces here. Sphinx returns to the band's heavier side, and like New Found it is a great representation of their classic sound. Joe Duplantier's vocals are much deeper and harsher here, which harks back to the band's earlier albums, while the riffing and drumming is much knottier than much of the album. The guitar squeals are once again present, and the overall vibe is very death metal-esque - with the sound of From Mars to Sirius somewhat channelled. It is a great return to the band's classic sound after the experimental The Chant, and it is great to see how naturally the two songs sit together - which shows how natural Gojira's sound evolution over the years has been.

Into the Storm picks up the pace, with an atmospheric backing somewhat shattered by Mario Duplantier's fast footwork. The contrast works well however, with the spacy backing still having a great impact atmospherically - while the drumming provides the pace. This pace is maintained throughout much of the song, and it is great to see the band speed things up a little here. Much of the album is fairly mid-paced, which is not a bad thing, but Into the Storm helps the album to feel more dynamic as a result. Things slow down a bit for the song's chorus, which is typical of the album's core sound, but the verses and other riff-based sections are much faster - with Mario Duplantier's drumming driving everything. The riffing here is one of the album's most pummelling moments, and it is great to see Joe Duplantier and Andreu teaming up here for some fast-paced, heavy moments which again recall the band's older albums. There is an aggression here that is rarely found throughout Fortitude, but the slower, more mournful choruses help to ground the song within the core overall approach of the rest of the album. The Trails is a return to the album's core sound however, with a more deliberate pace and plenty of emphasis of Labadie's bass. Like The Chant, the song focuses on Joe Duplantier's clean vocals, but unlike The Chant the song is more grounded in the sound that the band forged on Magma. Magma was a very cathartic album for the band, as it was written and recorded following the death of the Duplantier brothers' mother, and The Trails feels like a natural continuation of that sound - so much so that I wonder if it is a song that was leftover and reworked from those sessions. The atmosphere of Magma is well and truly re-captured here, with its subtle synths, but again the song fits seamlessly onto the album. Fortitude is a very diverse album style-wise, but everything manages to hang together and sound natural. This is emphasised further when the album's final track, Grind, kicks in. Grind is another heavier song, which allows the album to end as it started - with groove-based riffs and some excellent Mario Duplantier drum grooves. There is certainly a lot of Born for One Thing in Grind, but there is a much thrashier approach taken with some faster riffing and more chaotic drumming in spots. There are still a lot of melodies however, and the mournful sections that characterise the album are still present - they are just wrapped up in a much heavier and more old-school sounding blanket. This is the sort of song that is going to appeal to fans who feel that Gojira have lost some of their heaviness over the past couple of albums - but there is still enough of the atmosphere to ensure that it fits in here. In a way, this mix of sounds makes the song a perfect closing cut - and a great overall representation of the album. This is because Fortitude is a real melting pot of sounds. It occasionally looks to the band's past, but on the whole it continues on the Magma sound while also looking forward. It is therefore Gojira's past, present, and future all in one package - and that makes it a captivating listen. It even reached number six in the Official UK Album Chart, meaning that Gojira are starting to really make waves commercially here, and not just within the traditional metal circles - which can only be a good thing for the genre as a whole.

The album was released on 30th April 2021 via Roadrunner Records. Below is the band's promotional video for Born for One Thing.

Thursday 20 May 2021

Bodom After Midnight's 'Paint the Sky with Blood' - EP Review

I think it is fair to say that the metal world was collectively sad when the Finnish melodic death pioneers Children of Bodom decided to call it a day in 2019 after ten studio albums and countless live shows. While the band's form throughout the late 2000s and the 2010s was quite spotty, the band were still highly regarded. For many, including myself, Children of Bodom were a gateway band into the heavier side of metal. They were one of the first bands that I listened to that included extreme metal influences in their sound, but the fact that it was fused with neo-classical guitar melodies and power metal-esque keyboards made it palatable and really enjoyable. Children of Bodom, due to their easily-identifiable and high-energy sound, instantly became a big hit throughout the late 1990s and early 2000s; and the band are probably one of the most important melodic death metal acts in the genre's history - especially outside of the original Gothenburg scene of the 1990s. The band spawned a number of imitators, but none ever came close to knocking Children of Bodom off their perch. This is partly why their break-up caused such sadness, and even lapsed fans felt like a little piece of their past had passed along with the band. The reasons for the band's 2019 split are still not wholly known, but it became clear that part of it was down to differences of opinion between the band's singer, lead guitarist, main songwriter, and founder Alexi Laiho and the other three original members. Following a farewell tour however, Laiho made it clear that he was not done - and formed a new band with Children of Bodom's newest recruit Daniel Freyberg, who had been playing with Laiho since 2016. This band was announced to be called Bodom After Midnight, and it was clear that Laiho intended just to continue on the legacy that he had been creating since Children of Bodom debuted back in 1997 with Something Wild. Tragically however, this was not to be. I think it is fair to say that Laiho has always had a self-destructive side to him, and has struggled for a long time with alcoholism, but in December last year his demons finally caught up with him and he sadly died, aged just 41. Given that Laiho essentially was Children of Bodom, and by extension Bodom After Midnight, Bodom After Midnight and the larger Bodom legacy died with him - but the three-track EP Paint the Sky with Blood that was released last month paints a picture of what could have been. Paint the Sky with Blood consists of three songs, two originals and a cover, that Laiho and his new band recorded not long before his death. Despite the short runtime, the EP is nevertheless a poignant listen - and shows that Laiho was in rude form right to the end.

The EP opens with its title track, for which a video was also filmed not long before Laiho's death. For my money, Paint the Sky with Blood is the strongest of the three tracks here. Rather than continuing on the re-forged neo-classical sound that Children of Bodom reintroduced on their 2019 album Hexed (which I reviewed here), which turned out to be a pretty stellar final album for the band to finish with after a somewhat dodgy decade, Paint the Sky with Blood actually harks back to the more in-your-face, thrashy sound of albums like 2005's Are You Dead Yet?. The keyboards, provided here on a session basis by Vili Itäpelto (Seraphiel; Tracedawn), are much lower in the mix and less busy than they were on Hexed, with Paint the Sky with Blood instead focusing on the twin-guitar attack of Laiho and Freyberg. Nevertheless however, the song still feels like quintessential Children of Bodom. From the catchy opening guitar lead, past some frenetic blast beat drumming courtesy of Waltteri Väyrynen (Paradise Lost; Vallenfyre; Abhorrence), to a gang-vocal led chorus; Paint the Sky with Blood is sure to excite any fan of Laiho's songwriting. Considering how close the song was recorded to his death, he does not seem at all inhibited here. His raspy voice is as a strong as ever, and his fluid guitar solo is filled with his usual mix of melodic runs and chaotic shredding. Payback's a Bitch is similar, but perhaps a little less thrashy and more straight up heavy metal in style. Väyrynen's drums are less busy this time around, and the keyboards are given a little more space in the mix to help create strong atmosphere. The song is not as fast, but there are still plenty of classic Laiho tropes. Gang vocals are used liberally throughout, and the guitar riffs are as very hooky - with a little guitar and keyboard trade off rearing its head part way through that certainly recalls the band's neo-classical sound. Due to the somewhat slower pace, there is a lot of weight to be found here. Mitja Toivonen's (Santa Cruz) bass is quite high in the mix, his lower end grounding the song perfectly - which allows its natural heaviness to come through. The solo section is excellent too, with Laiho, Freyberg, and Itäpelto all showing off in a multi-part trade-off. The EP is rounded off with a cover of Where Dead Angels Lie by the defunct Swedish black metal band Dissection. I am not familiar with Dissection's work, so I had not heard the song before, but it fits seamlessly into Laiho's usual style. Children of Bodom's previous covers were usually kooky versions of pop and glam metal songs, but here Laiho seems to be going back to one of his influences. The song's slow pace is reminiscent of many Children of Bodom favourites of the past, and it seems that Dissection helped to sow the seed for the band's sound. In some ways it is a shame that Laiho's last work closes with a cover, but in some ways it seems like things coming full circle - as the song has traces of the Something Wild sound that started his career off in such fine form. If Hexed was the true end of the Children of Bodom legacy, then Paint the Sky with Blood is its coda. Based on the quality of the three songs here, the eventual Bodom After Midnight debut album would have probably been very enjoyable indeed, but sadly these three songs are all that the band recorded before Laiho's death. As mentioned earlier, this makes the EP a poignant listen - and it is a great final tribute to the man that these three songs can be enjoyed by his fans worldwide.

The EP was released on 23rd April 2021 via Napalm Records. Below is the band's promotional video for Paint the Sky with Blood.

Saturday 15 May 2021

Dark Horse White Horse's 'Dark Horse White Horse' - EP Review

Despite the band never being one of my real favourites, I will still sad when the Dutch symphonic/gothic metal band Stream of Passion called it a day in 2016. I had followed the band from around the time that their second album The Flame Within was released in 2009, having discovered them after hearing Ayreon's excellent 2004 release The Human Equation not long before. The Human Equation probably remains my favourite Ayreon album, and that is largely due to the stellar and diverse cast of singers included - and it was an album that turned me on to a number of bands including The Quill, Saviour Machine, and Stream of Passion due to their respective singers' participation. I loved Marcela Bovio's voice from the off, so Stream of Passion were a band that I look to quickly. While they were never as bombastic as many of their contemporaries, their dense sound always appealed to me. They never pushed themselves down many of the typical paths that symphonic metal bands take, but instead continued to hone their gothic-tinged sound over four albums until splitting up in 2016 - following 2014's strong A War of Our Own. Stream of Passion's sound was always simpler on the surface than that of many other symphonic metal bands - but there was a murky depth to the band that made them stand out. Bovio's emotive, shimmering voice was a big part of that - and it has been a shame that she has not really had a band to call her own since Stream of Passion's demise. She has been a part of the expansive progressive/symphonic/death metal supergroup MaYaN since 2017, and made significant contributions to their excellent 2018 release Dhyana (which I reviewed here), but she is a singer that deserves to be fully in the spotlight. Admittedly I have not heard her solo albums, which I believe are quite far-removed from anything else that she has done, which is something that I need to rectify - but she has recently put herself back in the spotlight by launching her new band Dark Horse White Horse. Essentially a three-piece, Dark Horse White Horse consists of Bovio, guitarist Jord Otto (My Propane; ReVamp; Vuur), and keyboardist Ruben Wijga (ReVamp; Neverlight). Rather than being a continuation of Stream of Passion, Dark Horse White Horse actually sound like a natural successor to ReVamp's excellent (and final) 2013 release Wild Card (which Otto and Wijga co-wrote). Dark Horse White Horse are certainly heavier and more progressive than Stream of Passion ever were, something that can be heard immediately when listening to the band's debut self-titled five-track EP that was released last month. Joined by bassist Siebe Sol Sijpkens (Phantom Elite) and drummer Ariën van Weesenbeek (God Dethroned; Epica; MaYaN) on a session basis, the three-piece impress throughout the EP's short runtime.

The EP opens up with the lead single Judgement Day, and its big Otto riff - something which should let any listener know that Dark Horse White Horse are a very different proposition to Stream of Passion. Dark Horse White Horse are much more guitar-driven, and have a much more technical sound - and Judgement Day seems to go all out to showcase this. Otto's main riff is heavy and oppressive, while Sijpken's bass takes the centre stage for the atmospheric verses - his playing countering Bovio's instantly-recognisable voice perfectly. There are Stream of Passion-esque moments, particularly when the band goes for a more atmospheric approach, but these are seamlessly weaved into the band's heavy and technical sound. Despite this more progressive vision, Dark Horse White Horse are still extremely melodic - with each of the five songs here being very memorable. Judgement Day features a soaring chorus that really pushes Bovio vocally, and sees her hitting some impressive high notes, while Otto's tasty lead work provides a subtle counter-melody. Black Hole ups the heaviness, with a riff that could sit on any number of modern tech metal albums. There is less atmosphere this time, with the song instead going for a more mechanical sound - quite akin to Otto's recent stint in Vuur that produced 2017's excellent In This Moment We Are Free - Cities (which I reviewed here), but with a greater keyboard presence thanks to Wijga's influence and a number of great synth runs. As Vuur seem to be on ice at the moment, it makes me wonder if this is a song that Otto had written for Vuur, and it was then re-purposed here. The riffing and mechanical bass playing certainly suggest that to be a possibility, but the song sounds different from Vuur due to the excellent keyboard playing of Wijga throughout - as well as some blast beats from van Weesenbeek towards the end. The Spider follows, and it might be my favourite of the five songs here. There is certainly more of Stream of Passion's ethereal sound present tis time, but perfectly tied up in the more progressive approach that Dark Horse White Horse have taken. The song is much more keyboard-heavy, with Wijga's synths and atmospheric playing high in the mix. Otta's choppy rhythms help to ground the song however, but on the whole this is a piece that is much more atmospherically-dense and much less in-your-face. The chorus has a strong Stream of Passion vibe, with Bovio's vocal melodies really cutting through the mix of chopping rhythms and driving drums. A lengthy instrumental section sets the song apart from the core Stream of Passion sound however, as both Otto and Wijga get a chance to lay down complex and technical solos - both of which are great.

Get Out again follows a somewhat more atmospheric sound, with Wijga's keyboards high in the mix. Otto's riffing is a bit more prominent this time however, with his initial doomy riff setting the tone - before a short, chaotic section showcases more great van Weesenbeek drumming. While The Spider hinted at Bovio's past, a good chunk of Get Out could have appeared on a Stream of Passion album and not felt out of place. Some of the more esoteric prog metal moments might not have felt at home; but the sparse verses that feature a lot of synth and piano work, and the relatively simple and vocal-led chorus sections certainly would have. I like the fact that Dark Horse White Horse have managed to fuse a lot of different sounds together, and the EP sounds like a real mix of all of the bands that the musicians have been a part of previously. It looks to the past and to the future all at once, and that is partly what makes it such an interesting listen. The EP comes to a close with Cursed, a song that, full circle-like, returns to the sound showcased on the EP's opening songs. It is quite similar to Judgement Day in many respects, although the pace is slowed down somewhat to allow a much more epic sound to manifest itself. Otto's riffing returns to its heavy dominance however, although there is some more great bass playing from Sijpkens during the verses that create a really unsettling sound. Despite Dark Horse White Horse certainly being a product of its three main members, the EP's rhythm section have made a lot of positive contributions to the five songs here - and their playing really helps to emphasise the progressive nature of the band. Cursed is a good example of this, from Sijpkens bass melodies to van Weesenbeek's diverse drum grooves. Cursed also contains possibly the heaviest section of the EP, with some of the grittiest vocals that Bovio has ever committed to tape. She sounds very different during the song's mid-section, as she pushes herself to new heights, while Otto caps off this section with a shredded and chaotic guitar solo. Cursed is the song here that sees the band pushing themselves the most, and as a result it is a great way to end what is a varied and dynamic EP. It is unclear yet whether Dark Horse White Horse is intended to be the full-time project of all involved going forward, or whether the collaboration will be a one-off. I certainly hope that this EP is the start of something great however, as the potential shown in these five songs is very promising. I would love to hear more from this band going forward, and I hope that all involved have the drive to keep the band going and to push this dense and progressive sound even further.

The self-released album was released on 16th April 2021. Below is the band's promotional lyric video for Judgement Day.

Saturday 8 May 2021

Blaze Bayley's 'War Within Me' - Album Review

Bayley Cooke (better known as Blaze Bayley) is one of metal's true survivors. There are few adversities that he has not had to overcome during his lengthy career, which started in 1984 when he helped form Wolfsbane (a band that he is still a member of today), but he has always managed to pick himself up and dust himself down - no matter what was thrown at him. This is something that he alludes to in the sleeve notes of his latest album; but in many ways his career started off in a fairly typical way. Wolfsbane slowly gained respect and grew their reputation throughout the 1980s and into the early 1990s, but Bayley was catapulted into the spotlight in 1994 when he was picked to replace Bruce Dickinson in Iron Maiden. Bayley fronted Iron Maiden for six years, a tenure which produced two albums, but I think it is fair to say that he was never truly accepted by the band's fans - or even, perhaps, the band members themselves. In 1999 he left Iron Maiden, hearing that Dickinson was on his way back, and has been a solo performer ever since. While Wolfsbane reunited in 2007, and have toured sporadically since (and even released new music), I think it is fair to say that Bayley has been focusing on himself since leaving Iron Maiden. His solo career has been his main musical outlet ever since, but in true Bayley fashion the road has not been a smooth one. In my opinion, Bayley operates best with a consistent band behind him - but he has always had a bit of a problem keeping groups of musicians together. The original Blaze band only stuck around for a few years, and his partial rebirth with the main incarnation of the Blaze Bayley band also did not last. A few years of pick-up bands and a revolving door of musicians followed, but Bayley struck gold in around 2013 when he started working with the UK-based metal band Absolva. Despite being a strong band in their own right, Absolva act as Bayley's permanent backing band - and in Absolva's leader Christ Appleton, Bayley has found the perfect musical partner. The Absolva partnership has been fruitful for Bayley creatively too, as between 2016 and 2018 he released a trilogy of albums, Infinite Entanglement, that told a sci-fi story - and contained a number of themes that harked back to the original Blaze band albums of the early 2000s. The Infinite Entanglement albums contain some of the best songs of Bayley's career in my opinion, so the eventual follow-up was always going to be a treat. This treat was finally unveiled last month, with War Within Me being released onto his eager fanbase. Moving away from the dense concept of Infinite Entanglement, War Within Me is more of a back-to-basics heavy metal album - but everything that has made Bayley great over the years is present here. Bayley and Appleton have written another great collection of songs; and anyone who is in any way familiar with Bayley's lengthy solo career will find a lot to love here.

The album kicks off with its hard-hitting title track, which opens with a furious riff before a glorious guitar lead provides the first of the album's many hooks. Appleton is the perfect guitar foil for Bayley, as his hard-hitting, yet melodic, approach to the instrument fits Bayley's old-school approach to metal like a glove. He also has a knack for those Iron Maiden-esque rhythms and leads that Bayley has always incorporated into his music. Being in Iron Maiden certainly influenced Bayley's music going forward, and War Within Me is no different. There is a galloping rhythm throughout the album's title track that is very reminiscent of the classic Iron Maiden sound - but Bayley's solo work has always been much more vocal-focussed. This is because his voice is one of the richest in the genre, and he has not lost any of his power over the years. He might not have the biggest of ranges, but his tone is so distinct and he possesses a huge amount of vocal firepower. This is evident throughout War Within Me, with the song's booming chorus the perfect showcase for his talents. A slightly folky guitar solo from Appleton pulls everything together, and the song is another winner for Bayley. 303 follows, and sees Bayley doing his best Sabaton impression with a song about the Polish RAF 303 Squadron from World War II. The song is classic Bayley from a sound perspective however, with strong mid-paced grooves and playful guitar leads throughout - while Bayley belts out the historical lyrics with ease. It is not just Appleton that has given Bayley a boost over the past few years, as the Absolva rhythm section of bassist Karl Schramm and drummer Martin McNee are also a big part of his current sound. 303 is a great example of the rhythm section's impact on his sound, as the grooves throughout are so tight - their playing helping to really elevate the gallop, which allows Appleton to solo and riff to his heart's content. Warrior opens slowly, with some clean guitar melodies and some lower-key vocals from Bayley - but this mellow vibe does not last for long as the song soon explodes into another powerful mid-paced rocker. There is less of a galloping feel this time around, with the band instead going for a more straight ahead metal attack with twin lead guitar harmonies and a punchier drum groove. Despite the simpler grooves this time around, the song is still very catchy. To aid this, the chorus ups the pace a little, with Bayley's booming voice perfectly delivering the melodies, which helps the track to maintain the dynamic approach that began with the clean guitar opening.

Pull Yourself Up slows things down somewhat - but only in a pace sense. This is not a ballad, but instead a more deliberately-paced metal track with slower riffing and a hard-hitting staccato rhythm that gives Bayley's voice plenty of space to shine. The slower pace also gives Appleton plenty of opportunity and space to operate, and the song is one of the best guitar pieces on the album as a result. The riffing might be pretty typical of his style, but there are lengthy guitar lead and solo sections here that really allow him to show off. Iron Maiden-esque twin guitar leads feature occasionally throughout, but it is the lengthy guitar solo that is possibly the song's highlight. Bayley has always allowed his bands to express themselves, and Appleton has injected a lot of his own style into Bayley's sound over the past few years. Pull Yourself Up is a great example of this, as the lengthy solos attest to, but there is still plenty of room for Bayley's booming voice - and the chorus is one that will certainly stick in the brain. Witches Night ups the pace, and harks back to 2008's The Man Who Would Not Die with its somewhat thrashier riffing and heavier overall approach. There is still plenty of melody to be found however, and Appleton takes every opportunity to throw in a lead or a solo - but on the whole this is a more aggressive piece that focuses more on riffs and Bayley's excellent vocals. I love how the song slows down a little for the choruses however, the staccato grooves that replaces the thrashier riffing providing a great contrast, and the song is one of the most dynamic and exciting as a result. This is the sort of song that is made to be heard live, and I hope that Bayley decides to include it in the setlists of his upcoming tour. In truth, the vast majority of this album would work well live - the back-to-basics heavy metal vibes here being perfect for the stage. 18 Flights, which tells the story of Bayley's 2019 South American tour is another real highlight for me with one of the album's best choruses. It is another really strong mid-paced rocker, with an opening riff that has a great snaking quality to it that sounds a bit different from Bayley's usual approach. As a result there is a great groove throughout the song, as there is less of an emphasis on guitar leads this time around - with big riffs and a powerful bass presence dominating. There are still great lead guitar moments, their relative scarcity only making them hit harder when they do rear their heads, and Appleton's solo is another soaring effort. This is a song that is all about its chorus though for me however, and it is a real melodic treat.

The back end of the album is dominated by a trilogy of songs about famous scientists. It kicks off with the punchy The Dream of Alan Turing, a fairly short song that has a very typical Bayley sound with Iron Maiden-esque guitar tones and plenty of space for his rich voice. While this mid-album concept seems a bit random thematically given the rest of the album has no link to it, the songs are still very strong. The Dream of Alan Turing has plenty of great Appleton guitar work despite its short length, with a shredded solo being a highlight of the song - but there is still plenty of strong vocal work from Bayley, including during the heavy choruses. The Power of Nikola Tesla ups the pace somewhat, and again returns to the somewhat thrashier approach taken on Witches Night - at least early on. The song is another fairly dynamic piece, with heavier sections sitting side-by-side with great melodic passages that are packed with soaring vocal melodies. Bayley sounds great throughout the album, but this song might contain his best vocal performance here. The chorus sees him soar like no other, and his vocal control and ability to hold a note so cleanly is really put to the test. He passes with flying colours of course, and the song is one of the album's highlights as a result. The trilogy comes to an end with The Unstoppable Stephen Hawking, which opens up slowly with some subtle harmony guitar melodies. Much like with Warrior however, this low-key opening does not last that long - as the song soon explodes into another powerful mid-paced metal anthem with a big vocal performance. There is much less going on from a guitar perspective this time around, despite a few catchy harmony guitar leads, with the music mainly acting as a bed for the vocals. When you have a voice like Bayley's however, this approach can really pay off sometimes, and it works well throughout The Unstoppable Stephen Hawking as it allows the song's story to really shine. The vocal melodies are enough to carry the song, and it is the sort of track that should prove to anyone who still doubts him that Bayley is a fantastic vocalist. The album comes to a close with Every Storm Ends, something of a powerful pseudo-ballad that builds up slowly - but ends with a powerful metal crescendo. The song opens with acoustic guitar melodies, and Bayley's rich voice atop them - which again really shows what a powerful singer he his. He possibly has one of the best-preserved voices for someone of his age, and the plentiful touring over the years has not diminished it in any way. He has clearly looked after himself, and Every Storm Ends is a real testament to his craft and ability. The song builds so naturally and powerfully over its duration, the heaviness gradually creeping in - and culminating in a piercing Appleton solo and a final rendition of the song's anthemic and earnest chorus. It is a great way to end a hard-hitting album, as it has a feel of a true album closer - but it also ties back to some of the themes found throughout the rest of the songs here. War Within Me feels like a great journey as a result, and is another really strong entry in Bayley's great solo catalogue. It may be less dense and complex than the Infinite Entanglement albums, but as a slab of old-school heavy metal it is a great listen - and one that all of his fans should instantly latch onto.

The self-released album was released on 9th April 2021.

Saturday 1 May 2021

Cheap Trick's 'In Another World' - Album Review

Illinois' Cheap Trick have always been something of a phenomenon. Arguably the best known exponent of the hard to define power pop genre, and sometimes referred to as America's answer to The Beatles, the four-piece have been a hugely successful act since releasing their self-titled debut album in 1977. While the band have always had their fans here in the UK, I am not sure that those of us who live here truly appreciate how big Cheap Trick have been at points in the career. They have always been very popular in America, but it is perhaps in Japan where the band have found the most success - as 1978's legendary Cheap Trick at Budokan attests to. Cheap Trick's popularity in the UK has always been somewhat muted, but they still enjoy a healthy relationship with the UK rock scene. They received a hearty reception when I saw the band open for Def Leppard in 2018, which to date is the only time that I have seen the band live, and they fairly regularly visit the UK for four of five club shows across the country. Despite this, it is only really over the past few years that I have been anything other than a casual fan of the band. I still have a lot to discover about Cheap Trick, as the band have released so many albums over the years and I have only heard a handful of them, but I certainly appreciate them more now than I used to. I used to struggle a bit with the band's relatively light sound for a supposed classic rock act, but I think I now get what the band are about. Having detached the band from that, in my view, incorrect tag - I now see Cheap Trick as just a good-time pop rock band, and I am sure the band would be happy with that description. They have never been a band for complex arrangements or hard-hitting riffs; but instead operate in the realm of 1960s pop, played through the filter of whichever decade they are in at the time. The band's sound has rarely diverted from this throughout their lengthy career either, and it is clear that they love what they do - and know exactly what their fans want to hear. The band are a little heavier on stage, but on the whole Cheap Trick in general are a carefree experience. That brings me to the subject of this review, the band's twentieth studio album In Another World. It is the band's first album of original material since 2017's We're All Alright! but sound-wise In Another World picks up where the band left off four years ago. Featuring the same line-up as We're All Alright!; with drummer Daxx Nielson joining original members Robin Zander, Rick Nielson, and Tom Petersson; as well as the same producer (Julian Raymond), In Another World is another classic-sounding Cheap Trick album. It is packed with all of the hooks, melody, and quirkiness that one would expect from the band at this point and, with the summer around the corner, this is the perfect time to get versed in the latest from the band.

In my opinion, the album kicks off with two of its strongest cuts. The Summer Looks Good On You is, in many ways, a perfect Cheap Trick number. While its a cappella intro might not be typical for the band, or a common way to open an album, the song it segues into is. Rick Nielson's opening riff perfectly captures the Cheap Trick sound, its simple hooks laid bare for all to see, while frontman Zander showcases why he ought to be considered one of the most well-preserved singers of his generation. His voice sounds as good now as it did back in the 1970s, despite possessing a touch more grit these days, and those pop melodies that he has become known for are all over the song. A Beatles-esque chorus is full of carefree melodies, with the band harmonising nicely with Zander to bring that 1960s pop vibe into the modern day. There are hints of Cheap Trick's past here too, with dramatic strings akin to 1979's Dream Police briefly joining the fray - before Rick Nielson launches into a raunchy guitar solo. Quit Waking Me Up is possibly my favourite song here, as the grooves and the hooks throughout are so memorable. The song's intro, and chorus, feature what sounds like a horn section (but it is probably courtesy of a keyboard rather than actual horns); while other moments feature more of a guitar presence from Rick Nielson. Throughout his career, Rick Nielson has been recognised as a great guitarist - but he always plays for the song so usually operates in quite a restrained manner. There are a few moments throughout Quit Waking Me Up however where he adopts a dirtier tone and goes for a bluesy approach - which contrasts nicely with the song's overt pop melodies. Following this upbeat opening, the album takes a slower approach with Another World - a ballad-esque song with a slow groove and a more exposed Zander vocal. Another World will be reprised later on, and made into a harder rocking piece, but the first iteration of the song is atmospheric and melodic. Daxx Nielson's simple drum beat really keeps the song grounded, while swirling keyboards create much of the overall atmosphere. Cheap Trick have often written songs like this in the past, and this is another excellent example of their more mellow side. The song is a great contrast to the opening two cuts here, and the keyboard-drenched sound really helps to keep the band's trademark carefree approach - while still indulging in a more atmospheric feel. Boys & Girls & Rock N Roll is a spiky track that gets back to the upbeat nature of the album's opening moments, but is also a real look to the past. Those first few Cheap Trick albums had something of a punk vibe at times, which is unsurprising given the years that they were released in, and Boys & Girls & Rock N Roll recaptures that sound somewhat. The big production of the album's opening numbers is largely absent here, with Rick Nielson's guitar leading the way throughout. His spiky riffs drive the song, but Zander's vocals ensure that the pop hooks are still present - and the chorus is another winner due to his melodies.

The Party is similar, upping the rawer rock vibe of the previous song - but taking the band in more of a 1960s garage rock direction than a 1970s punk one. While the chorus again features plenty of pop hooks, the rest of the song is much more abrasive. Daxx Nielson's rolling drum grooves throughout really help the song to tick, while rougher guitar rhythms give the song a heavier edge. This is something that the band have been doing more of late, possibly to capitalise on Zander's grittier voice these days, and in many ways it acts as a good tribute to some of the band's influences - while still retaining enough of the band's core pop sound to sound like Cheap Trick. Final Days brings the band's trademark big production back, but the song remains in the somewhat tougher realms of the previous couple of tracks. Rick Nielson's riff here is surprisingly heavy, its lumbering pace setting the tone for the mid-paced rocker - while Petersson's bass growls along in the background. Despite this, there is still plenty of pop - largely courtesy of Zander and his hooks. The chorus is another strong moment, with plenty of vocal harmonies, plus there are more keyboards used here than in the previous couple of tracks - as well as some bluesy harmonica courtesy of Jimmy Hall (Wet Willie). The song is therefore a good mix of the band's pop sound and their heavier side. So It Goes really strips things back to a very sparse and simple framework. The song largely just features Zander's vocals and Rick Nielson's chiming acoustic guitars - but there are keyboards throughout that make use of Mellotron-esque sounds to ground the song in the late 1960s. As a ballad, the song is very effective, and it really shows what a great singer Zander still is. His voice manages to convey a lot of emotions throughout the simple song, and Rick Nielson's guitar is the perfect chiming compliment to these emotions. Light Up the Fire is another brasher single in the form of Boys & Girls & Rock N Roll. There are punky elements here too, but they are less prevalent this time - with a harder rock sound present throughout. The riffing throughout the track is about as hard-hitting as Cheap Trick ever get, but the arrangement has enough of the band's quirky pop to make it recognisable. The pre-choruses take a pleasing turn into atmospheric pop for a brief moment, while the choruses are as hooky as they are heavy. This is the sort of song that will slip seamlessly into the band's live sets, and I hope this is one that the band decide to play live when I hopefully see them live next year (COVID-19 permitting). Passing Through is similar in style to Another World, its slower paced, atmospheric sound a great showcase for Zander and his excellent voice. Despite the keyboard-heavy sound and the slower grooves, one of the stand-out performers here for me is Petersson. His bass is rarely a focal point of the band's sound, but his melodies here add a lot of depth to the song. With the guitars taking something of a backseat here, Petersson's bass often fills the gaps - and his sombre melodies are a great backing for Zander's emotionally-charged vocal performance.

Here's Looking at You is another real throwback to the band's early sound, with spiky guitar riffing mixed perfectly with a pop production. Rick Nielson's main guitar riff has a very 1960s approach to proto-rock about it, while the Dream Police-era strings once again return to help bulk out what is another excellent chorus. This is another highlight of the album for me, as it contains everything that makes Cheap Trick great. There is a brashness to the song, but it is fairly muted, as the bulk of the vibe here just comes from the good-time upbeat melodies featured throughout. A bluesy guitar solo is the icing on the cake, and the use of harmony vocals throughout adds a surprising amount of depth. It is another track that deserves to be played live, and I hope that the band choose to showcase a good chunk of this material live on their upcoming tours. The reprise of Another World follows, and the song is essentially a re-recorded version of the earlier ballad - but played in the band's trademark upbeat style. The song sounds so different that I do not mind hearing essentially the same song again so soon after hearing it for the first time - as the punky energy present throughout the reprise makes it feel like a totally different song. It makes me wonder if the band could not decide which arrangement of the song that they preferred - and just decided to include both. This, on the surface, seems like a strange thing to do - but the differences between the two versions are so great that, as I said, the two songs feel very different. I'll See You Again is almost the antithesis of the reprise of Another World, as it takes something of a psychedelic approach that harks right back to the mid 1960s. Swirling keyboards, a slow pace, and hypnotic vocals make listening to the song a very different experience from anything else on the album - and it is something a bit different for the band overall (at least in my fairly limited experience). It is a very short song however, so the strange sounds do not become overly dominant - and crucially do not outstay their welcome. I like the brief leftfield turn however, and it helps to add a little diversity to the album overall. Closing things out however is a cover of John Lennon's Gimme Some Truth. The song originally appeared on Lennon's 1971 album Imagine, and Cheap Trick's version has been toughened up by some additional guitar magic from Steve Jones (Sex Pistols; The Professionals; Neurotic Outsiders). It is no secret that Lennon is one of Cheap Trick's biggest influences, and the band have covered a number of his songs in the past. The band, of course, do the song justice and the raw production style really works well - with Zander pushing himself vocally with his grittiest display on the album. Despite being a cover, the song fits seamlessly within the overall sound of the album - and it closes things out nicely with its raw approach. It also makes you realise what another strong album Cheap Trick have put out with In Another World - with pretty much every song here being memorable and filled with hooks. I have heard a handful of the band's more recent albums, but this one has become my favourite of the lot - and the band have really crafted another strong statement here. It might be more of the same from Cheap Trick at this point, but the band sound so fresh and vibrant throughout In Another World that the familiarity, in my opinion, is not a bad thing.

The album was released on 9th April 2021 via BMG Rights Management (US) LLC. Below is the band's live rendition of Boys & Girls & Rock N Roll from a recent episode of The Late Show with Stephen Colbert.