Dee Snider's 'Leave a Scar' - Album Review

I did not think that I was going to hear any more new music from Dee Snider. After all, it was not long after seeing him put on one of the performances of the 2019 iteration of Bloodstock Open Air that he rather swiftly cancelled all of his remaining shows - and hinted that perhaps he was done with performing live and releasing new music for good. The statement seemed quite out of character for Snider, so much so that there was even some speculation at the time regarding his health, but with many of his peers also retiring (or worse) perhaps he just wanted to take it easy. I am not sure what made him change his mind, but I do wonder if the COVID-19 pandemic helped him to focus. Whatever the cause Snider's retirement was fleeting, and last month he released his latest solo album Leave a Scar - which follows fairly hot on the heels of 2018's excellent For the Love of Metal. For some reason I never picked up For the Love of Metal upon its release, but I got it for Christmas that year and it became a fairly regular listen over the following months. I think what initially put me off was actually Snider's interviews around the time of the album's release - where he seemed to constantly go out of his way to tell anyone who would listen how little input he had had in the album's creation. It is my understanding that the album was essentially instigated by Jamey Jasta (Hatebreed; Kingdom of Sorrow), who produced it and co-wrote the songs, but it is still strange to me that Snider essentially just turned up to sing on his own album - especially as he is credited with writing pretty much all of the Twisted Sister catalogue single-handedly. There is, of course, nothing wrong with singing songs written by others; but it just seemed like a strange way to promote an album - and it put me off at the time as it all felt so flippant. I was wrong to doubt For the Love of Metal however, as it is a great album packed with hooky, yet heavy, metal anthems - which are not too dissimilar to the sort of songs that made Snider famous, albeit with a crushing modern production. Leave a Scar is the follow-up to that album, and in many ways it takes things to the next level. For starters, Snider has actually been involved in the creative process this time. He wrote all of the album's twelve songs with Jasta (who again produced the album), guitarist Charlie Bellmore (Kingdom of Sorrow), drummer Nick Bellmore (Toxic Holocaust; Kingdom of Sorrow) - both of whom are veterans of For the Love of Metal and the following tour. In fact, it is Snider's live band that perform throughout Leave a Scar, with the Bellmore brothers being joined by guitarist Nick Petrino (Sonic Pulse; My Missing Half) and bassist Russell Pzutto (Reverence; Holy Mother). The miles on the road supporting For the Love of Metal has certainly bled into Leave a Scar, and the tightness of the band is evident for all to see.

The overall sound of Leave a Scar is very similar to that of For the Love of Metal, although at times the heaviness has been pushed even further. Snider's recent solo work is very metallic and riff-based, and that trend has continues here. The opening cut, and the album's lead single, I Gotta Rock (Again) is a perfect representation of Snider's current sound - and is a song that is sure to become a live staple for him in the future. The opening riff has something of an old-school 1980s mid-paced thrash feel to it; which is actually pretty representative of Snider's current sound in general. The songs rarely move along at break-neck speed, but there is still a real energy to them - and I Gotta Rock (Again) is a perfect example of this style. Charlie and Petrino's riffs throughout are tight, with occasional trilling leads to provide bursts of melody, while the drumming of Nick is full of modern metal flourishes. Given Snider's pedigree however, the songs are still packed full of hooks despite the heaviness. The chorus here is just the first of many memorable moments on the album, and the fast-paced melodies show just how well Snider's voice has held up over the years. He has lost none of his power or menace - while the thrashy gang vocals provided by the rest of the band add some extra punch. All or Nothing More ups the pace somewhat, with a driving riff kicking things off. Squealing guitar leads fill the song's intro section, and generally there is a much stronger lead guitar presence throughout. The verses are more riff-based however, with strong gang vocals and punchy drumming, but the chorus is based around a knotty guitar lead that backs Snider's vocal lines. The song's chorus is more overtly 'melodic' than is typical here, and it has a bit more of a sheen. It works well however, and actually ends up sounding a bit like something that bands like Soilwork sometimes write - although Snider's distinctive voice keeps it grounded. Down But Never Out has a bit more of an old-school sound, and reminds me a bit more Snider's work with Twisted Sister than much of the rest of the album. There is still a modern edge to the song, but the tones used here feel slightly more organic, and the duelling lead guitars that pop up occasionally certainly recall the metal of the 1980s. I like how Snider has been able to transition seamlessly into a more modern metal setting without really compromising any of the tropes and sounds that made him successful in the first place. Leave a Scar is not just a re-run of anything that Twisted Sister did in the 1980s, but there are certainly shades of Snider's old band to be heard occasionally - especially during Down But Never Out. Before I Go also has a bit of a 1980s feel at times due to some big, wordless vocal hooks. The riffing is less driving this time too, with big open power chords and occasional chugging being preferred to the omni-present riffing that characterises many of the other songs here. What makes this song really tick for me however is the fantastic chorus - which is one of the album's best. It is a chorus that slows things down somewhat, and goes for a pretty epic overall sound that layers guitars, subtle leads, and synths to form a perfect bed for Snider's heroic vocals.

Open Season returns to the album's core sound after a couple of diversions to a more 1980s-esque approach, and the heaviness is pushed back to the fore. A melodic chorus gives the listener a bit of a break from the crunch, but overall the song is a mid-paced and relentless chug - which suits Snider's modern style perfectly. I love how much of an emphasis Snider has placed on gang vocals throughout the whole album. Pretty much every song here makes use of them at some point, and they provide a great counter to his own barked vocal lines. It is this heavy use of gang vocals that emphasises that old-school thrash sound previously described too, as well as bringing bands like Accept to mind. Gang vocals have been a big part of metal for a long time, and their use throughout this album helps it to tick. Following the relentless Open Season however is one of the album's real standout cuts - Silent Battles. As much as I really like the album's core sound, Silent Battles takes a slightly different path. The song is still heavy, but it is not as thrashy or as riff-based as many of the other songs here - and as such the hooks are pushed even further to the fore. There is little of the gang vocal-led aggression here, with a chorus that instead soars with more traditional 1980s-esque melodies and a focus on subtle guitar leads. The sharp sound that characterises the rest of the album is still present, which allows the song to fit seamlessly into the bulk of the album, but it certainly feels like a piece where melody has been prioritised over riffing and heaviness. The slight shift in focus works well however, and the song's chorus hits much harder as a result. Crying for Your Life seems to carry on the same sound, at least initially, but the song is much tougher-sounding overall than Silent Battles. The overall pace is quite slow, but this only allows the brooding riffs to hit harder - and Snider uses the slower pace to deliver a creepy, Alice Cooper-esque vocal performance. There are certainly shades of old Twisted Sister songs like Destroyer in Crying for Your Life. The song is not as slow as something like Destroyer, but the overall atmosphere is quite similar - and Snider's approach the vocals is similarly snarling. It is another example of how Snider is able to subtly mould his modern sound to create a slightly different vibe. This is a big part of what makes Leave a Scar such a strong album overall in my opinion - as it has a core sound but it is subtly tweaked and twisted throughout to allow for variation. In for the Kill returns to a Soilwork-esque sound at times, with an opening dual lead guitar riff that has a very Gothenburg-esque feel. The song is perhaps more dynamic than usual too, as the focus on pummelling riffing is sometimes reduced. The verses here have a mix of riffing and clean guitar melodies, although things are ramped up for the chorus which is heavier and more typical of the album's core sound. A dual guitar solo has more melodic death metal vibes too, with the song overall having a great sound that sets it apart somewhat from the wider album.

Time to Choose ups the heaviness further however, and is easily the heaviest thing that Snider has ever been a part of. The pace is upped to aid this, and the harsh vocals of George 'Corpsegrinder' Fisher (Monstrosity; Cannibal Corpse; Paths of Possession; Serpentine Domination; Voodoo Gods) give the song a different twist. Fisher's vocals are mostly there to bulk out Snider's own voice, but the two do sing in a bit of a call-and-response style at times which works well. The fact that Fisher's contributions to the song sound natural and not randomly shoe-horned in demonstrates the natural heaviness of the album overall. Fisher is a bona fide extreme metal legend, but his additions to a non-extreme metal album could feel forced and out-of-place if the song did not suit his style. Snider's natural heaviness suits Fisher's style however - and the duet is a fun addition to the album. S.H.E. is one of the closest things on the album to a ballad, and that is only because it is a love song dedicated to Snider's wife. It is one of the least heavy songs here, but it is still a crunchy rocker that is packed full of attitude. It shows what sort of territory Snider is operating in now when even the album's love song is still packed full of groove, energy, and shredding guitar solos - but it still works well. The chorus is a little softer, and more melodically focused, but the hooks are still there - and the song overall still feels like it fits on the album despite the relative softness. The Reckoning seems to up the heaviness again in a deliberate reaction to S.H.E., and it is one of the fastest songs here. The riffing throughout is razor sharp and driving, and Nick's drumming is some of the album's most furious. He has mostly gone for a more groove-based approach throughout, but during The Reckoning he lays into his double bass drums for pure pace and aggression. The song is one of the album's heaviest as a result, and the thrash sound that has been showcased throughout the album is taken to another level. Snider's modern vocal approach really suits this overall sound however, and the song is one of the album's most powerful pieces as a result. Stand, the album's final song, is easily the album's most dynamic piece - and it is one of the few songs here (along with S.H.E.) that does not go for an all-out driving metal sound. There are ballad-esque moments here, but there is still a dense atmosphere throughout that stops the song from feeling in any way light. There is a real murk to the song, and even when clean guitar melodies are leading the way the song still feels 'heavy'. It is telling that even the album's softest moments still have a toughness to them, as the sound that Snider has forged here is very prevalent - even when the riffing drops off. The song does ramp up somewhat towards the end, but in a way Stand acts as a coda to the album's 'true' heaviness - with the dense murk closing the album out in fine fashion. It helps to album to feel complete in a way, and it shows a little more of a dynamic approach as Leave a Scar comes to a close. It shows that, despite its core sound, Leave a Scar is still a very dynamic and varied album. In my opinion it is a more well-rounded album than For the Love of Metal, and it helps that Snider was properly involved in the creative process this time around. Every song here is memorable in one way or another, and it is great collection of proper metal songs that are easily the heaviest things that Snider has ever been involved with on his own terms.

The album was released on 30th July 2021 via Napalm Records. Below is Snider's promotional video for I Gotta Rock (Again).

Times of Grace's 'Songs of Loss and Separation' - Album Review

Those who have good memories may recall an album called The Hymn of a Broken Man, which was released by the duo Times of Grace back in 2011. The album came about when Adam Dutkiewicz; who is best known as being the founding member, guitarist, and driving force of the American metalcore band Killswitch Engage; required surgery on his back while injuring himself on tour. To cure his boredom, Dutkiewicz wrote music - and I can only assume that, for whatever reason, he did not consider this music to be suitable for Killswitch Engage. To help him complete the fledging songs, Dutkiewicz contacted Jesse Leach - Killswitch's Engage's original singer who at the time was not a member of the band. Leach had fronted the band between 1999 and 2002, before leaving during a bout of depression and general disillusionment with the music industry. He formed a couple of bands in the intervening years, including Seemless and The Empire Shall Fall, but none reached the heights of Killswitch Engage - who had exploded with the release of 2002's Alive and Just Breathing and only continued to rise in stature after Leach's departure with new frontman Howard Jones at the helm. I am not quite sure what made Dutkiewicz reach out to Leach after quite a few years, but the result was The Hymn of a Broken Man - an album which made a bit of a splash at the time in the metalcore and alternative rock scenes. While there were certainly elements of Killswitch Engage to be found within The Hymn of a Broken Man, there was generally less of an emphasis on heaviness and more of a focus on emotionally-charged melodic songwriting. Leach's lyrical style has always been to channel negativity and turn it into a positive. The Hymn of a Broken Man as a result dealt with some heavy lyrical themes, but overall the album was an uplifting experience. Only a year or so after the album's release however, Jones' departure from Killswitch Engage opened the door for Leach's return - and he has remained in the band to this day, putting out three more excellent albums with them. With Dutkiewicz and Leach now working together regularly again, Times of Grace was unsurprisingly put to rest. There seemed little need for the two to work together specifically when they could both channel their creativity into Killswitch Engage - although both have said over the years that they would like to return to the Times of Grace sound one day. Well, 2021 is that time and Times of Grace returned - as last month the band released their second album Songs of Loss and Separation. Again, there are similarities to Killswitch Engage throughout - but on the whole the album is much more melancholic and restrained in tone. Raging metal sections are relatively rare, with Leach on the whole focusing on his rich, clean vocal delivery throughout. This time around however, Times of Grace are a trio - with drummer Dan Gluszak (Envy on the Coast), who played with Times of Grace during their handful of live appearances throughout 2011 and 2012, being added to the line-up.

Rather fittingly, given the album's more emotional approach, the album opens slowly with The Burden of Belief. Gentle crackling and some slow clean guitar melodies open the song, before Leach begins singing over the top of Dutkiewicz's melodies. One thing that is immediately clear when listening to the album is how fantastic Leach sounds throughout. This album might be his greatest overall vocal performance to date, and allowing him to focus on his clean delivery really allows the light to be shone on his emotional tone and lyrics. There are heavier moments to be found throughout the album, but The Burden of Belief largely maintains its slower pace - and even when Gluszak's drums kick in the song remains something of a plodding number. This is not a bad thing at all, as the song's overall vibe works perfectly. There are occasional shades of Alice in Chains to be found during the more downbeat moments - while other moments soar thanks to Leach's expressive vocal delivery. Mend You is somewhat similar, but a bit less dense and with a little more attack thanks to Gluszak's punchy drum pattern. The early parts of the song are characterised by this groove mixed with laid back clean guitar melodies, which work well together despite their different approaches, but other sections go for a much fuller sound with prominent bass playing and chiming layers of guitar. As a result, the song has something of a progressive feel at times. With Leach and Dutkiewicz now writing together regularly for Killswitch Engage I was worried that Songs of Loss and Separation would just sound like the recent Killswitch Engage albums but, save for a handful of moments, it does not. Mend You sound very different, with its bass-led grooves and its progressive approach to the overall arrangement. The song does up the heaviness towards the end, but the way that the song builds to this short burst of aggression really makes it stand out - and the harsh vocals act as a full stop for the varied overall song. The most Killswitch Engage-esque song here is Rescue, which was also released as the album's first single. As good as the song is, it is not very representative of the wider album. This may have given some the wrong impression of what Songs of Loss and Separation was going to sound like, as Rescue could have easily sat on any of the recent Killswitch Engage album with its chugging guitar riffing, harsh vocal-led verses, and soaring chorus. The song is typical of Leach and Dutkiewicz's day job, but those expecting a whole album of hard-hitting metalcore anthems in the vein of Rescue should reset their expectations. The song is very much the exception rather than the rule, as strong as it is.

Far from Heavenless returns to the slow-burning style of The Burden of Belief, with the song opening in a similar manner to the album's opener with murky clean guitars and Leach's gentle croon. Unlike the album's opener however, there is more of a focus on heaviness throughout the song, at least in parts, which helps the piece to have a more dynamic overall approach. The choruses certainly up the heaviness, and sees some occasional proper death growls (which may be from Dutkiewicz) alongside Leach's more typical screams. The heaviness is different from Killswitch Engage's heaviness however, as it feels much more murky overall - which is helped by the song's overall slower pace which creates a sludgy vibe at times. Bleed Me also somewhat channels Alice in Chains-esque vibes, and reins in the heaviness of the past couple of tracks. There is little of that to be found in Bleed Me, with the song instead focusing on emotional melodies and grungy riffing. Dutkiewicz's guitar lines throughout have a slow, deliberate feel to them - which works really well in the context of Leach's strident vocals - while other sections have a much more low-key vibe with an effects-heavy swampiness which again channels Alice in Chains somewhat. Medusa ups the heaviness again, but not in the traditional metalcore sense. The song is actually not that different from Bleed Me in a structural sense, but with everything overall feeling much heavier. The verses are led by slow-paced crunching rhythms rather than the blusier lines that characterised the previous song, while the choruses go for a Gojira-esque vocal approach with primal bellows and a grungy overall feel. The overall sound here is quite varied, and that helps to keep the song interesting. It is one of the album's heavier songs, but it sounds nothing like Killswitch Engage at all. There is a chugging weight that is very different from Dutkiewicz and Leach usual style and the chorus pushes the overall difference further. There are still melancholic melodies throughout the song, but mainly this is a piece that goes for murk and heaviness - which works well in the context of the album. Currents returns to the album's more typical sound, with chiming clean guitar melodies and a powerful bass presence - all of which backs up the vocals nicely. The vocals here have a stronger emphasis on harmony than usual, and it sounds like Leach and Dutkiewicz are singing together throughout the verses - before the chorus ups the heaviness with some screams and double bass drumming from Gluszak. In many ways, Currents may be the best representation of all of the elements of Times of Grace's approach in one song. There is a lot of light and shade to be found throughout, whereas many of the songs here focus more on one side of the band rather than showcasing both equally.

Another song that emphasises the album's core sound, at least from a melancholic and melodic sense, is the excellent To Carry the Weight - which is one of my favourite songs here. There is much less of a heaviness to be found throughout the piece, with the song instead focusing on soaring melodies set against a grungy and slow-paced backdrop. Leach delivers some of the finest vocals of his life throughout the song, and Dutkiewicz's musical backing forms the perfect bed for them. The riffs are generally simple, and the overall song takes a much more atmospheric approach to allow the vocals to shine. When a riff does dominate it adds to the song's overall vibe perfectly - but the next big vocal hook is never too far away. The chorus here is one of the album's main earworms for me, despite its slower pace, and that is what makes it one of my favourite songs here. Despite many of the songs here being slower paced, and having ballad-esque moments, the most obvious ballad is the sparser Cold. The song has a similar atmosphere to many of the songs here, but the acoustic guitar and piano backing makes it sound much more organic than the rest of the album - but many of the overall vibes present within are similar. That is testament to how well-crafted the album is overall, and how the album's core sound has been utilised and weaved within a number of different musical styles. Cold is the natural ballad extension of the band's sound, and I really like how the acoustic instruments have been used to lower the tone. It makes me wish that acoustic instruments had been utilised more throughout the album, but as a result Cold stands out due to its more organic sound. The song does build as it moves towards its close, with the closing section sounding much fuller - but it never moves into heavy territory. The overall sound becomes denser, but it never truly abandons its ballad-like approach. The album comes to a close with Forever, a song which ends the album in a similar manner to which it opened - with clean guitars opening the piece which Leach soon sings over in his emotionally-charged style. Unlike the album's opening however, the song takes quite a while to get going. A simple drum pattern that is mixed in the background is the only accompaniment to the guitars and vocals for a while; but when Gluszak's drums come in properly the song's organic build starts in earnest. I love how the song builds towards the album's close - and how there is an explosion of heaviness that helps to make a great impact on the album's closing moments. Times of Grace have used heaviness really well throughout the album in my opinion, and the harsh vocals that Leach uses to bring the album to a close shows the overall diversity that the band have gone for throughout. Overall, Songs of Loss and Separation is a great album - and one that has allowed Leach and Dutkiewicz to continue a ten-year old sound and write something that is very different from anything that Killswitch Engage have done of late. Despite the variety in the songwriting, it is the emotional weight of the album that drives the songs here, and there is a lot to enjoy for anyone who likes that side of Leach and Dutkiewicz's songwriting.

The album was released on 16th July 2021 via Wicked Good Records. Below is the band's promotional video for Rescue.

Powerwolf's 'Call of the Wild' - Album Review

Germany's Powerwolf seem to be one of those rare bands that are slowly transcending the traditional metal scene and approaching something akin to mainstream appeal. It would not surprise me if Powerwolf were soon able to fill arenas like their peers Nightwish and Sabaton, at least in mainland Europe, as the career trajectory of the German power metal five-piece has been somewhat similar. I first became aware of Powerwolf around a decade or so ago. 2011's Blood of the Saints was the band's latest album at the time, and I enjoyed it without ever really getting sucked in to the Powerwolf world. In truth I still have not, but the band have grown in stature considerably since Blood of the Saints. Regular album releases and tours were a big part of Powerwolf's modus operandi in the 2010s, and the hard work has certainly paid off. When I last saw the band in 2019, they were the Friday night's special guests at Bloodstock Open Air - where they filled the slot before the evening's headline act Sabaton. For many, they were the highlight of the day - and their fun-packed set certainly drew a huge crowd. For me, their set committed the sin of including far too much inane talking and generic crowd participation in between the songs - but there is no denying that Powerwolf deserved the huge crowd that they attracted on the basis of their actual performance. It was fitting that they played before Sabaton too, as to me the bands are quite similar. Both play a crunchy take on European power metal that is more routed in Accept than Helloween; and both have a theme that they stick to religiously. While Sabaton have always written about military history, Powerwolf have always written about beastly horror - with werewolf tales in particular being a favourite (unsurprisingly). Like Sabaton too, it does mean that the band can suffer from over-familiarity. As much as I love Sabaton, it is certainly fair to say that the band have a sound that they closely stick to - and the same can be said for Powerwolf. You know what you are going to get when you listen to a Powerwolf album - and that is true of the band's eighth album Call of the Wild which was released last month. Call of the Wild comes three years after The Sacrament of Sin (which I reviewed here), which was a solid entry into the band's canon. I think that Powerwolf have done stronger albums than The Sacrament of Sin but there was still plenty to enjoy on the band's seventh album. Call of the Wild is certainly more of the same, but I have been enjoying it a fair bit over the past month - and the songs, overall, in my opinion are more memorable than those found on The Sacrament of Sin. While it would be nice to see the band taking a few more risks sound wise, as a representation of Powerwolf's core sound Call of the Wild is another solid entry into the band's catalogue.

One of the strongest songs here for me is the album's opening cut Faster than the Flame, which is almost certain to open the band's shows on their upcoming tour and become a real live favourite in the process. It is typical of the band's opening numbers in the past in that it goes for the throat with a fast-paced opening guitar riff - and also that it throws everything at the songs in terms of atmospherics. The thing that really sets Powerwolf apart from Sabaton sound wise is their love of organ (pun intended - see below). For keyboardist Falk Maria Schlegel, if his instrument does not sound like it could have been a part of the soundtrack to a Dracula film then it is just not worth playing. His organ fills all of the album's songs, and Faster than the Flame is no different. The duelling guitars of the Greywolf 'brothers' always dominate the band's sound, and provide the signature crunch, but the organ is never far away. Neither is the choir, another big part of Powerwolf's sound (which helps to reinforce the band's faux religious schtick), which fills the song's chorus - which is one of the catchiest on the album. Frontman Attila Dorn is in fine voice throughout, and his rich baritone makes the song's chorus hit hard - with his playful vocal melodies sure to stick in the brain. Lead single Beast of Gévaudan reins in the pace a little, and goes for a more mid-paced approach. The band's trademark crunch is on full display, but so is their knack for a slightly more dynamic arrangement. The verses here are a little more sparse than usual, as the guitars drop out to allow the atmospheric keyboards to dominate, but this helps the chorus to hit home - which ups both the heaviness and the pace. There is also a great instrumental section here that fuses neo-classical keyboard lines with a shredded guitar solo. I think from an instrumental perspective the band have upped their game a little on Call of the Wild. The solos and instrumental passages sound a lot more interesting this time around, which is probably partly what is helping me to enjoy this album considerably more than their previous effort. This more interesting approach to instrumentation is apparent during Dancing with the Dead. The song still sounds like a classic Powerwolf song, but the verse takes a slightly different approach with staccato clean guitar riffing that is a little different for the band - before exploding into a catchy chorus that is packed full of swing, thanks to some great Roel van Helden drumming. A lengthy guitar solo reuses some of the chorus melodies, but turns them into a great shredded cacophony that enhances the song significantly - and the song is a highlight as a result. Varcolac is one of the band's more symphonic tracks, with the pace again staying relatively plodding which helps the overall atmospheric approach to shine. Organ is still a big part of the sound, but there are also strings employed - and the choir is used in a more gothic manner to provide depth. The crunch of the track is helped by some subtle gang vocals during the verses, which play off the groove of the riffs nicely, and provide some of the songs main hooks in the absence of a killer chorus. The band usually have a couple of these more symphonic pieces on each album, and they help to add a little variety.

Alive or Undead slows the pace quite considerably, and goes for a ballad-esque approach. The song opens with piano (although there is still an organ backing, of course) which Dorn croons over expertly. Another comparison with Sabaton is that both of the band's frontman have relatively deep voices for power metal - a genre which usually is built around high-pitched wails. Dorn's baritone, which at times sounds classically trained, is perfect for Powerwolf's dramatic, gothic-tinged sound - and songs like Alive or Undead allow him to demonstrate his vocal power relatively unhindered by external 'noise'. The song's chorus certainly ups the heaviness somewhat, as the Greywolf 'brothers' join in with the crunchy riffs (and there is a slow-paced, aching solo included too), but on the whole the piece is piano-led - which again helps to provide a little diversity. Blood for Blood (Faoladh) takes the band down a folk metal-esque path, which is one that the band have taken relatively regularly in the past. The song's main riff sounds a lot like Sabaton's Gott Mit Uns (I am sorry to keep mentioning Sabaton, but there really are a lot of similarities between the two bands), which is a little off-putting, but the song on the whole is still memorable - with a strong chorus and some catchy folky instrumental melodies throughout. The synthesised bagpipes are as cheesy as that description makes them sound, but that is all part of the fun. With Powerwolf however there is always a tongue-in-cheek element that needs to be appreciated - and the synthesised bagpipes are all part of the fun. Glaubenskraft, which roughly translates from German to 'power of faith' (or similar), is one of the band's German-language pieces - which are usually some of their most bombastic. In fact, the song is very similar to Stossgebet from their last album which was also sung in German. Both songs are bombastic, mid-paced anthems that pack all of the band's tropes into one song. They go all out in that regard, and as a result Glaubenskraft is one of the album's biggest-sounding pieces. The album's title track follows, and it returns to the faster approach of Faster than the Flame. The riffing throughout the song is tight and full of energy, while the keyboards constantly provide depth - as does the choir during the verses which really make themselves heard with some choice counter-melodies. It is the song's chorus that really sells it however, and it could well be my favourite on the album. Dorn has a way of making quite wordy lines sound natural, and that is the case here - the fast-paced hooks making the song one of the album's stand-out cuts. It is another piece that is likely to become a firm live favourite going forward.

Sermon of Swords retains the faster pace of the album's title track, but this time goes for something of a more traditional power metal sound. There is a bit less of a gothic tinge to the song, with Schlegel's keyboards taking a rare backseat. There is still plenty of bombast to be found, but this is largely delivered by the early driving guitar riffs or the gang vocal-led chorus. The verses are relatively low key too, with the bass dominating, which allows the chorus to hit harder when it comes crashing in - with all the bluster of the choir and Dorn's fast-paced melodies. The guitar solo is also more traditional metal in style too, with some of the phrasing bringing Iron Maiden to mind at times. The gothic drama returns in a big way for Undress to Confess however, which is one of the band's many tongue-in-cheek innuendo-filled tracks that fuses sexual and religious imagery to (sometimes) hilarious results. Undress to Confess is one of the better of these offerings however, and it is hugely infectious with another chorus that could be considered the album's best. The lyrics are just the right side of the clever/ridiculous line to make them enjoyable - but Dorn's performance is so compelling that even if they were not as well-written he would have probably still made them sound convincing. I imagine that the song will become another live favourite over the years, with its stadium-ready melodies and themes that most will find amusing. The album comes to a close with a snappy, and fast-paced Reverent of Rats - a song which is somewhat punky in its overall attitude. As a result, it is probably the song here that stands out the most in terms of the band trying something new. Everything else here has been a version of something that Powerwolf have done previously - but Reverent of Rats feels a little different. The punk vibe is not overly-dominant, and the fact that there is still plenty of gothic organ and choir ensures that it does not sound like a song by The Clash. I just cannot help but feel that parts of the song have a greater urgency than the band usually employ - which allows the song to work well as an album closer despite its short length. It is a bit strange that the band left this slight experimentation to the end of the album, but it is welcome nonetheless. Overall however, the album is very typical of Powerwolf's core sound. As I said above, it would be great to see the band experiment a little more; but at this point I think that the band are more likely to stick to the formula that is currently working - especially as they are becoming more popular year on year. It works for Call of the Wild on the whole too, and it has become possibly my favourite Powerwolf album of the handful that I have heard. There is a lot to enjoy here for those who love bombastic, crunchy power metal - and I am sure that the band's ever-growing fanbase will love every minute of it.

The album was released on 16th July 2021 via Napalm Records. Below is the band's promotional video for Beast of Gévaudan.

Diamond Head - Plymouth Review

If attending a third gig in as many weeks is anything to go by, the world is, hopefully, healing. Multiple gig months were the norm for me prior to March 2020, so August 2021 is the most 'normal' that I have felt for quite some time. Even Bloodstock Open Air is underway as I write this, which I am somewhat regretting not getting a ticket for despite the overall line-up not being wholly to my taste (one, sadly, cannot do everything however), which goes to show that live rock and metal in the UK truly is back. If I had gone to Bloodstock however, I would not be putting my thoughts down in words about yesterday's truly excellent showing from the NWOBHM legends Diamond Head in Plymouth last night. I would have seen Diamond Head at Bloodstock had I gone, but I doubt that they would have been afforded the time on stage that they enjoyed in Plymouth - or received such a welcome. The venue was The Junction, a pub on Mutley Plain which occasionally manages to attract a band that would usually play much larger venues. Diamond Head are one such band. While those of us who live in Plymouth often have to travel if we want to take in live music, particularly metal, we are lucky to have a venue like The Junction on our doorstep. Since moving to Plymouth a few years ago I have visited the venue numerous times, and a good night is always guaranteed to be had. For a small venue, with a low stage and strange floor levels, the overall experience is always great. The bands always sound great when performing there, and the strange setup only adds to its overall charm. It is a proper, old-fashioned rock pub in that regard, and I am very happy that it managed to successfully negotiate the COVID-19 pandemic and re-open its doors. I am not quite sure why Diamond Head, a Midlands-based band, chose Plymouth as their location to warm-up for a Midlands-based festival, but those of us in the South West certainly were not complaining when the show was announced a couple of months ago. It was to be the band's first show since March 2020, and also their first Plymouth show for a long time. I tried to find out when the band last played in the city, but I could not find anything online giving a date. I would imagine that the band played in Plymouth back in the 1980s, but they certainly have not ever since I have been interested in the band since the mid-2000s when I saw the band in Exeter supporting Thin Lizzy. As expected, Diamond Head's first trip to Plymouth for a long time attracted a strong crowd to The Junction - and everyone in attendance was in fine voice throughout, which meant that the atmosphere in the venue was excellent.

Before Diamond Head took to the stage however, the crowd were treated to a short, but punchy, set from the Newton Abbot-based three-piece Ethyrfield. The band have been making a bit of name for themselves locally over the last couple of years, and have recently released their debut album In Delirium which I have been enjoying quite a bit over the past month or so. The band, who fuse grunge and progressive metal to create a unique sound, only had time to play five songs, but they made their limited time count with a powerful showing that particularly showcased the talents of Ben Cornish (guitar/vocals). Their sound mix was a little murky at times (it is refreshing to see that some things have not changed and support bands can still get the short end of the stick), which meant that Zach Cornish's (vocals/bass guitar) voice was sometimes a bit buried in the mix, but Ben's guitar was always pushed to the fore. This meant that this opening riff on Sunstroke, and his many excellent solos, were highlights of the set. Despite the dodgy sound, the band still put on a good showing. I saw the band a couple of times, also as a support act, in 2018 but I think that they have come on a long way since then. The newer material is, in my opinion, stronger than the material found on their two EPs - so it was wise that they featured a few songs from In Delirium in the set. The Hunter was very powerful, with its driving riff hitting home, while the more dynamic Serenity allowed the band's more progressive side to shine. It is a shame that the murky mix robbed the song of some of its nuance, but the relative complexity was still there for all to see. The short set came to a close with the 7-string riffing of Bag of Bones, and the crowd's reaction suggested that the job had been well done. I would not be surprised if the band made themselves a few new fans off the back of this set, I am keen to see how far Ethyrfield can progress - as they certainly have the talent to do so. The setlist was:

Sunstroke

Free the Dog

The Hunter

Serenity

Bag of Bones

The crowd did not have too long to wait following Ethyrfield's set finishing before Diamond Head took to the stage. It was clear from the off that the band were really up for the gig, and there was little evidence of any rustiness following the enforced break from touring. The roar that greeted the band as they took to the stage probably helped however, and they proceeded to take the roof off with a 14-song set that was packed full of Diamond Head classics, some newer material, and even a couple of songs that the band had never played live previously. They were clearly out to treat the Plymouth crowd, and those in attendance responded in kind by singing along to every song in the set. Even the newer songs, such as the opening cut Death by Design, were greeted like old friends. It is always great to hear new songs by older band welcomed by a crowd, so it was clear that the Plymouth fans had done their homework on the band's current era - headed by the excellent frontman Rasmus Bom Andersen who worked the crowd effortlessly throughout the band's 90 or so minutes on stage. Andersen has been in the band for five years at this point, but he has already made the frontman spot his own. He has the perfect voice to tackle the band's classic material, as an early rendition of the old single Sweet and Innocent proved, but he is also a great songwriter who has already struck up a great rapport with the band's founder Brian Tatler (guitar/vocals) - who had a huge smile on his face throughout the evening has he peeled off riff after riff. The early part of the set was dominated by newer songs. Bones from 2016's Diamond Head went down a storm, before a live debut of The Coffin Train from the 2019 album of the same name showcased the band's current line-up can write songs to rival the original line-up's efforts.

Despite the love shown for the newer songs however, it is fair to say that it were the classics that were best received. In the Heat of the Night prompted a large sing-a-long during the opening section, as did the fast-paced Lightning to the Nations. Songs like Lightning to the Nations show why Diamond Head had such an influence on the burgeoning thrash movement of the early 1980s, and the crowd - especially those down the front - certainly enjoyed the song's pace with some headbanging. The lengthy Sucking My Love showcased the band's more progressive side, despite the Spinal Tap-esque lyrics, before another early single in the form of Shoot Out the Lights brought more singing during the punchy chorus. By this point the set was one classic track after another. The punky It's Electric was lapped up by the crowd, before Karl Wilcox (drums) teased Rainbow's Stargazer before launching into the dynamic and multi-layered Helpless - a song which is also quite punky but built on a large number of different and interesting riffs. There was again plenty of singing to be heard during the choruses; before the band rounded out the main set with a rendition of Metallica's No Remorse - taken from the Lightning to the Nations 2020 release and another live debut. It seemed a fun way of paying Metallica back for making a number of Diamond Head's songs staples in the metal scene, and everyone in attendance had a great time singing along. A short step off stage built the tension for the sole encore - a rendition of the band's most famous song Am I Evil?. It is fair to say that the crowd were at their loudest during Am I Evil? and the multi-layered song went down a storm. Tatler's riffing and soloing throughout was excellent, and it capped off a fantastic set with aplomb. The band seemed a bit emotional as the night came to an end, and that was a testament to how pleased the band were to be back doing what they do best - playing live. The setlist was:

Death by Design

Sweet and Innocent

Bones

The Coffin Train

The Messenger

In the Heat of the Night

Set My Soul on Fire

Lightning to the Nations

Sucking My Love

Shoot Out the Lights

It's Electric

Helpless

No Remorse [Metallica cover]

-

Am I Evil?

I was expecting to enjoy Diamond Head's set a lot, but the band put on a show that was much more powerful than I imagined it would be. It was great to see the band so fired up and pleased to be back on the road - and the large crowd's reaction certainly helped them to put on a show to remember. It is certainly a gig that will live long in the memory, and it is definitely the best gig of the year so far. I hope to see Diamond Head back in Plymouth in the future, and with a lot coming up at The Junction over the next couple of months it is certainly a good time to be a rock fan in Plymouth.

At the Gates' 'The Nightmare of Being' - Album Review

Sweden's At the Gates are a band that, generally, I admire more than I like. Those who know me well will be aware that I am generally not a big fan of extreme metal, but over the years I have made numerous efforts to get into the much heavier end of metal. Back in 2014, around the time that At the Gates' fifth album At War With Reality (which I reviewed here) was released, I was making such an effort - and At the Gates were a band that I listened to quite a lot. It seemed fitting given that At War With Reality, the band's first album since 1995's seminal Slaughter of the Soul, was being released - as the release was seen as something of a big event in the metal world. Having started out as a bona fide death metal band in 1990, by 1995 the band were essentially pioneering what has since become known as the 'Gothenburg sound' - a more melodic form of death metal that fused the genre's harshness with the soaring guitar leads and anthemic choruses of traditional heavy metal, particularly the NWOBHM. While some At the Gates fans still lament this change, and dislike Slaughter of the Soul for its forays into a more melodic territory, the band certainly found a bigger audience as a result of their experimentations. The band found greater fame as a result of Slaughter of the Soul, and it is fair to say that At the Gates became much more influential as a result. If it was not for Slaughter of the Soul, and a handful of other albums released around the same time, the modern melodic death metal scene would not really exist. Bands like Dark Tranquility and In Flames probably would not have taken the routes that they did without Slaughter of the Soul, and there would probably be no Arch Enemy or Children of Bodom either. Even the metalcore scene, headed by bands like Killswitch Engage and Trivium in the mid-2000s, would have probably not existed either without At the Gates' efforts, so metal fans of various persuasions have a lot to thank At the Gates for. Since 2014, however, I have rarely listened to the band. I did see the band at the 2018 iteration of Bloodstock Open Air, where they played a strong set before the Sunday night headliners Nightwish, but that was an exception to the rule. I also missed out on 2018's To Drink from the Night Itself around the time of its release too, although I have picked it up more recently. Earlier this year however I decided to get back on the At the Gates train, and I pre-ordered their seventh album The Nightmare of Being. The Nightmare of Being was released last month, and it is an album that I have been listening to a fair amount since getting it. I am certainly more open to extreme metal than I was back in 2014, and At the Gates' penchant for melody makes them an enjoyable listen. There is still plenty of dirt under the fingernails however, and The Nightmare of Being is a great mix of darkness and melody.

I have only listened to To Drink from the Night Itself a couple of times, but to me it seems that The Nightmare of Being picks up where that album left off three years ago. The band's melodic death metal sound is much more firmly rooted in death metal than many of the bands that followed them, and as a result The Nightmare of Being is a heavy listen. There has always been a slight avant-garde element to At the Gates' sound however, particularly since their 2010 reunion, which is something that The Nightmare of Being pushes at times - and a somewhat more experimental sound is featured on some of the songs. The album also solidifies the band's current line-up on their second outing together, with four of the band's classic era members joined once again by lead guitarist Jonas Stålhammar. Despite some of the experimentation throughout, the album opens up with one of its most anthemic cuts Spectre of Extinction. A brief classical guitar intro soon gives way to a great melodic lead guitar line, which acts as the song's opening hook, before the song explodes into a fast-paced death metal anthem with more spooky guitar leads and some furious drumming from Adrian Erlandsson. The song is one that draws the listener in from the off, and shows why the band have had such an influence on the melodic death metal scene. Frontman Tomas Lindberg's harsh vocals have something of a punky edge throughout the fast-paced verses, while during the choruses he adopts a more anthemic approach as he duels with Stålhammar's guitar leads. Lindberg's voice might not be what it was, but he still possess a lot of power - and the slight rough edge helps him to stand out. He carries the song well, and the chorus hits home due to his anthemic delivery. A speedy guitar solo courtesy of Andy LaRocque (King Diamond), who has guested on a few of At the Gates' albums previously, keeps the energy levels high - and the song is one of the album's best cuts as a result. The Paradox is similar, but reins in some of the melodic lead playing to instead focus on something heavier. Stålhammar and fellow guitarist Martin Larsson focus on tough riffing throughout the fast-paced track, with the two teaming up for a number of tight, interlocking riffs during the song. There are occasional guitar leads, but on the whole this is a song that focuses more on riffing. The song is much more atmospheric than the album's opening song however, with lots of subtle keyboards throughout providing depth. Bassist Jonas Björler is responsible for the album's keyboard work, and the atmospherics that he adds to a number of the songs here help to enhance the band's overall sound. A lengthy Stålhammar solo adds some melody however, and shows what the band's newest recruit brings to the table. The album's title track slows the pace down somewhat, and goes for a more creepy approach with a strong bass presence and the occasional spoken word line. The verses here are mostly quite slow and sparse, with the bass dominating, before the rest of the band kick in in a big way during the choruses - which fuse slow-burning guitar leads with Erlandsson's double kick drumming. There is still a lot of melody to be found however, with a guitar solo that channels some neo-classical phrases, but this is a song that focuses more on its dynamic arrangement to make an impact - with the unsettling slower sections working well to offset the more typical driving metal parts.

Garden of Cyrus is one of the more avant-garde pieces here. It opens slowly, with some subtle drumming and chiming clean guitar melodies, but the song builds in a very natural way with the addition of Björler's bass to offset the melodies. There is also a big progressive rock influence found throughout the song, which surprised me. The song's opening guitar solo is very spacey, and almost Pink Floyd-esque, while squawking saxophone lines courtesy of Anders Gabrielsson replace many of the traditional guitar leads throughout the song. Lindberg also approaches the song differently from a vocal perspective, with much of his vocal delivery being that of a creepy, deep whisper. There is something of a doom vibe to these parts, but as the song moves on he does to return to his traditional shouted harsh vocal approach - while the heaviness builds up around him before coming to sudden stop. Touched by the White Hand of Death also goes for a more atmospheric approach, at least early on. The song's intro is characterised by a dark sounding string section that helps to set the tone for what is to come, but it is not long before the song explodes into another fast-paced death metal track. After a couple of slower numbers, Touched by the White Hand of Death injects a bit more pace into the album, with Stålhammar and Larsson once again being pushed to the fore; their interlocking riffs forming the basis of the song. While the song retains the atmosphere from the intro, there is less trickery going on this time. The focus here is more on traditional death metal elements, and the song is one of the more typical numbers here as a result - with a strong chorus that is sure to stick in the brain. The Fall Into Time builds on the atmospherics of the previous song, with the opening string section and choir sounding more like something from a symphonic metal album than the sound that At the Gates usually pursue - but the choir has been well-integrated into the song to keep it from standing out. As with the previous song however, the strings and the choir dominate the intro but then are largely relegated to the background. Once the song gets going it is typical of the band's sound, but with less of an emphasis on pace which allows Stålhammar the opportunity to weave a number of Eastern-tinged leads into the song - which recall some of the string and choir melodies from the song's opening. The best part of the song for me however is the breakdown section, which starts off with the string section before leading to a meandering guitar solo that again showcases the band's progressive rock influences - all while a busy Björler bassline keeps the song ticking. Cult of Salvation is less experimental, and instead harks back to the dark melodic death metal sound that I remember from At War With Reality. The opening guitar leads have a certain murk to them which helps them to make an impact, while the song itself is very reminiscent of the band's classic sound. Mid-paced riffing and Lindberg's barks keep the song ticking, but the hooks are not as strong as those found in some of the other songs for me. That being said however, there is still a little diversity to be found, with a piano-led breakdown adding a little change of pace.

The Abstract Enthroned ups the pace again and goes for the throat with an abrasive overall sound that focuses on speed above all else. The song harks back to the album's opening couple of numbers, but with less focus on melody and instead goes for a darker, more brutal sound. There are melodic moments, but they are largely short-lived. Stålhammar makes his time in the spotlight count however, and the leads he plays elevate the song and only help the heavier bulk to hit harder as a result. There is a little of the band's old sound coming through here too. While it is not as dark-sounding as the band's first couple of albums, the reined in lead guitar presence does bring that era of the band to mind somewhat - although the much lusher production complete with a string-led mid-section certainly places the song in the band's modern canon. Following perhaps the album's heaviest song is perhaps the album's most avant-garde song - but the contrast works well. Cosmic Pessimism is quite different for At the Gates, as it builds on the strange spoken word approach of Garden of Cyrus and runs with it. Lindbeg delivers the verse vocals in a dark, whispered manner; before returning to his barks for the short-lived choruses. Very little of the song can truly be classed as death metal either. The choruses are the only parts of the song that really sound like At the Gates, with the rest of the song sounding much lighter in comparison. Despite the overall lightness, there is still a creepy atmosphere that is present throughout the whole song. Erlandsson's drumming has a strange feel to it that creates an unsettling atmosphere, while the band's two guitarists weave clean guitar melodies above it that lock in perfectly to add to the overall murk. The experiment works well however, and it is a sound that I would like to see the band explore further in the future. The band return to their more typical sound for the closing number Eternal Winter of Reason, which is a mid-paced death metal track that doubles down on atmosphere and goes for a much grander overall sound. Much of the song is heavy, with big riffing and Lindberg's strained screams, but there is always an atmospheric depth from the keyboards or from the layers of guitar from Stålhammar and Larsson. There is also a fantastic guitar solo that comes during the early portion of the song. This part sees the heaviness drop out somewhat, which allows Stålhammar's leads to be focussed on properly. He is a great player that has brought a lot to his second outing with the band in the studio, and this solo in particular has a triumphant feel to it - which is a great contrast to the murk and darkness of the rest of the song. A gentle keyboard outro brings the song, and album, to a close - which is fitting given the album's overall approach to atmospherics. It shows the overall depth that the band have experimented with on this album, and as a result The Nightmare of Being is an album that needs to be listened to a few times before it can be fully appreciated. Over the past month it has become my favourite of the band's recent albums, as a the variety within helps each song to stand out in a memorable way. The experimentation helps At the Gates' core sound to shine too, and it is clear that they are a band that still have a lot to contribute to the scene.

The album was released on 2nd July 2021 via Century Media Records. Below is the band's promotional video for Spectre of Extiction.

John Coghlan's Quo - Tavistock Review

With gigs on consecutive Saturdays, and another coming up next Friday, life is certainly starting to feel normal again. Following a long period without live music, it has felt great this past week to get back in the saddle so to speak. Last week's trip down to Cornwall for an all-day event topped by Orange Goblin certainly blew away the cobwebs, but yesterday saw my first 'normal' gig since March 2020. It was fitting that the venue was the excellent Tavistock Wharf as I went to my first ever concert there in 2006, and it is a venue that I have visited a large amount of times over the years. We are lucky in Devon to have a venue as well-respected as The Wharf, and I am very pleased that it has managed to survive its enforced slumber as a result of the COVID-19 pandemic. John Coghlan's Quo were the reason that I was pulled back to The Wharf for the first time since Cats in Space rocked the venue in December 2019, who have been regular visitors to The Wharf over the past few years. Having clearly got the touring bug again following Status Quo's 'Frantic Four' reunion shows in 2013 and 2014, Coghlan has been touring the UK with his own band for the past few years. Prior to yesterday I had seen Coghlan and his band three times, and each time was a very enjoyable experience. I have often likened John Coghlan's Quo to a very good Status Quo tribute band that happen to feature the band's original drummer, and that is essentially what the band are. Coghlan knows what the fans want, and his shows always feature a strong selection of Status Quo classics (and a few deep cuts) from the band's 1970s heyday - with the occasional trip back to the 1960s and into the early 1980s. Coghlan played on most of the band's classic albums, and draws from a variety of them during his shows - with the songs being brought to life by the musicians that he surrounds himself with. Guitarists Pete Mace and Mick Hughes, and bassist Rick Chase - all of whom sing - form the core of Coghlan's band, and are the perfect musicians to bring the classic era Status Quo sound to life. They totally understand the band's boogie blues sound, and they play the songs with the respect that the catalogue deserves. This show, however, was different from the previous John Coghlan's Quo gigs that I attended - and, sadly, not for the better. I think it is fair to say that the Coghlan of 2021 is not the one of 2019. Age is clearly catching up with the legendary drummer, and the show was altered to take this into account. Coghlan only sat behind his drum kit for a quarter of the 20-song set, with many of the songs either being re-arranged in a more low-key way or featuring drummer Russ Chadd instead. While I understand the need for the change, parts of the show felt more like a Status Quo tribute band was performing than ever before - and the lack of Coghlan (i.e. the star of the show) was a real shame.

Following a short acoustic support set from Fi Channon, which I watched from the bar, the band took to the stage to play the first half of the evening sat on stools along the front of the stage. Channon stayed with the band during the first set, adding additional vocals and percussion, and the six musicians on stage ran through eight Status Quo songs that had been re-arranged in a semi-acoustic, low-key manner. Chadd sat on a cajón, and drove the songs, while Coghlan was positioned behind a couple of bongos. Coghlan introduced the band, but much of the between-song talking was left to Chase - who has often acted as the band's unofficial frontman. Much of the first set was sung by Mace however, with Down the Dustpipe and the groove-based Railroad kicking things off in fine fashion. Despite the low-key arrangements, this first set was still very enjoyable. I am not sure that Coghlan's bongos really added much to the sound, but it was great to hear quite a few rarely-played Status Quo songs given an airing. A highlight for me was Spinning Wheel Blues, sung by Hughes, which inevitably included a lot of great blues-based soloing. In previous sets by the band, Hughes has been the band's rhythm player and rarely stepped into the spotlight. It was great, then, to hear him take the lead on a couple of songs vocally, as well as perform a few more guitar solos than usual. Spinning Wheel Blues was a highlight as a result of his efforts, and he also shone during a rare outing of Lakky Lady which followed. Another early highlight for me was the ballad A Year, sung perfectly by Chase. A Year has always been a regular feature of the band's setlists, and it is a song that shows some of the diversity in Status Quo's sound. Not every song that the band have put out follows the famous three-chord pattern, and A Year is a perfect representation of the band's more melodic side. It was clear at this point too that, despite the altered show, the crowd was enjoying hearing some of these deep cuts. Lots of people were singing along, and the following number Nanana featured probably the biggest sing-along of the first set. The atmosphere was excellent throughout the evening, and it was great to see such a healthy turnout - which no doubt pleased both the band and the venue. Following a speech from Coghlan, the first set came to an end with the strange Gerdundula, with its somewhat folky melodies, which led to a 20 minute break to allow the crew to get the stage ready for the second, heavier set.

The second set was more typical of John Coghlan Quo sets of the past. The Marshalls were turned up, and the crowd were treated to an hour or so of heads down boogie rock that channelled that classic Status Quo sound. It was a shame, therefore, that Coghlan himself was absent for so much of the second set. He did take to the stage again towards the end, but for the most part Chadd handled the drums. The band still sounded great, but without Coghlan on stage the legitimacy of what was going on was certainly stretched. At this point, a very good Status Quo tribute band was essentially performing the band's greatest hits - but this did not seem to impact the overall atmosphere, although a couple of shouts of 'Where's John?' were certainly audible over the cheers. Despite the classics that followed, it was actually one of the band's two new original numbers that kicked off the second set. The band released a single and a b-side last year which were written and recorded during the lockdown, and the b-side No Return kicked the set off. The two songs are very Status Quo in style, so easily slotted into the set. Many around me seemed to know the songs, which was great to see, but the biggest cheers were reserved for the many classics that followed. Roll Over Lay Down had everybody down the front moving, but one of the highlights of the second set for me was the fast-paced Little Lady - which Chase sung with all the power that the song requires. It is a song that I had not seen the band perform before, and it was a welcome addition before a number of more regular staples followed. Paper Plane featured more excellent audience participation, before the band's own Lockdown single went down a storm. Despite it only being two songs, I like the fact that this band have now added to the wider Status Quo canon - and those in attendance really seemed to enjoy these new additions to the set. Following Lockdown Coghlan took to the stage again and joined the band for the last four numbers - with Chadd moving over to percussion. Status Quo's biggest hit Down Down reintroduced Coghlan, with the shuffle of Don't Drive My Car allowing him to get into his groove. It was clear at this point however why the change in show format had taken place, as Coghlan seemed to struggle a bit with the songs. Chadd's percussion was there to help him keep time, and there were a few moments where he seemed to briefly loose his way. This was sad to see, but he is in his mid-70s now and has had an enforced year off the road. It did make me wonder whether John Coghlan's Quo may be put to rest soon so that Coghlan can enter a well-deserved retirement - and it was clear that he is not the drummer that he was. Something 'bout You Baby I Like and Pictures of Matchstick Men brought the set to an end - but an encore of Rockin' All Over the World gave everyone a chance to have one last party with the band. The set ended on a high, and the large crowd took the opportunity to make their appreciation heard as the band took their bows. The setlist was:

Down the Dustpipe [Status Quo cover]

Railroad [Status Quo cover]

Most of the Time [Status Quo cover]

Spinning Wheel Blues [Status Quo cover]

Lakky Lady [Status Quo cover]

A Year [Status Quo cover]

Nanana [Status Quo cover]

Gerdundula [Status Quo cover]

-

No Return

Roll Over Lay Down [Status Quo cover]

Little Lady [Status Quo cover]

Don't Waste My Time [Status Quo cover]

Big Fat Mama [Status Quo cover]

Paper Plane [Status Quo cover]

Lockdown

Down Down [Status Quo cover]

Don't Drive My Car [Status Quo cover]

Something 'bout You Baby I Like [Richard Supa cover]

Pictures of Matchstick Men [Status Quo cover]

-

Rockin' All Over the World [John Fogerty cover]

Despite the new format and my concerns relating to the continued legitimacy of John Coghlan's Quo, a good time was still had by all. It is a real shame that Coghlan's abilities to play the drums are deteriorating, but age will catch up to us all and he has had a great career. I do wonder if the next year or so will be Coghlan's last on the road before retiring, so I also wonder whether this will be his final appearance at The Wharf. If this is to be the last time, then it has been great seeing Coghlan back behind his kit over the past few years, and he has brought a lot of joy to Status Quo fans a as a result. The show itself was still a lot of fun, and it was great to hear a number of new additions to the set - which certainly helped to make up for Coghlan's absence during big portions of the show.

Buckcherry's 'Hellbound' - Album Review

California's Buckcherry have always been a bit of an enigma. When I was developing my taste for hard rock and metal in the late 2000s, a Buckcherry song was never that far away on Kerrang! TV or Scuzz. They were one of the first 'modern' bands that I discovered that played gritty, yet commercial-sounding, hard rock in the vein of Guns N' Roses and Mötley Crüe - so they were a band that I gravitated towards. 2005's 15 and 2008's Black Butterfly, the band's third and fourth albums respectively, were albums that I listened to quite a lot in my teens, but Buckcherry were a band that I somewhat grew out of. 2010's All Night Long just did not really hit the spot, and by this time my overall music taste has diversified. Buckcherry's sleazy, punky hard rock just did not excite me as it once had, and I largely stopped following the band. A few years later I decided to pick up 2015's Rock 'n' Roll a year or so after its release to see what the band were up to, but the album did nothing for me at all - and I do not think that I have listened to it any more than twice. The limited interest that I had rekindled soon evaporated as a result, which was helped by a poor live performance by the band as support act in 2016. 2017 brought some changes however, as the band's founding guitarist Keith Nelson and long-time drummer Xavier Muriel both left. I wonder if there had been tensions in the band for a while which had contributed to that poor 2016 show, but either way frontman Josh Todd was left as the only original member of Buckcherry standing. Not wanting to throw in the towel however, Todd and long-time guitarist Stevie D. recruited some new members and put out Warpaint in 2019. I am yet to hear Warpaint, but the reviews at the time of its release certainly suggested that it was a much better album than Rock 'n' Roll. More line-up changes followed however, and it was clear that Buckcherry was going through a period of instability. Earlier this year however, when I was cruising YouTube, I was recommended the video for So Hott - the lead single for the band's ninth album Hellbound. Out of curiosity I clicked on the video, and was surprised to hear how vital the band sounded. It sounded like the Buckcherry of old, so I decided to pre-order Hellbound. I have had the album for just over a month at this point, and it is easily the strongest thing, at least of the albums that I have heard, that the band have put out since Black Butterfly. The hooks are here in spades, and the band's current line-up seem to have gelled perfectly. Joining Todd, D., and long-time bassist Kelly LeMieux are guitarist Billy Rowe (Jetboy) and drummer Francis Ruiz (Leggesy; Great White). Also returning is Marti Frederiksen, who was involved in some of the band's best work in the past as both a songwriter and a producer. His involvement in Hellbound seems to have really re-focused the band - and the album shines as a result.

The reason that Hellbound shines is not because the band have significantly changed their sound, as they have not, but more that there is a palpable energy that surges throughout the album. This has been lacking on some of the band's other more recent albums, and the relatively short runtime helps Hellbound make an impact. A great example of this energy is found in the opening number 54321, Unsurprisingly the song opens with a countdown, but this is followed by a fast-paced riff and a wordless gang vocal refrain that is sure to get the blood pumping. The song is one that never lets up throughout. D. and Rowe team up throughout for the song's punky riffing and occasional bluesy lead, while some Hammond organ subtly rumbles away in the background. The chorus harks back to the style that the band employed on 15, and Todd's nasally punkish voice sounds as good as ever as he belts out the snappy melodies. Overall the song is very simple, but its strong attitude makes it the perfect album opener - and it announces that Buckcherry are back in a big way. The aforementioned So Hott follows it (although I am not sure why hot has been spelt with two Ts), which slows the pace down somewhat but introduces a significant amount of groove. Buckcherry have always been the masters of a sleazy groove, and So Hott exemplifies this. The choppy riffing of D. and Rowe keep the song moving; while Ruiz's slightly punky drumming helps to give the song a bit of an edge. A bluesy guitar solo shows the band's musicality, but it is probably the chorus that is the highlight of the song. The vocal melodies from Todd are very catchy, and they perfectly attune with the groove to emphasise the song's sleazy nature. The song's title track is up next and it incorporates strong AC/DC-esque grooves throughout - which is a band that Buckcherry have often taken cues from. The opening bluesy riff and the lack of bass is very AC/DC in style, and the way that Todd sings counter to this riff also follows the Australian band's blueprint. The song is not a pure rip-off however, as moments of the track have a much fuller sound, but there is also something about the chorus that reminds me of AC/DC - particularly the main riff that follows chord patterns and progressions that are similar to AC/DC's usual style. Buckcherry have the attitude to make the style work however, and the song is another strong cut.

Gun slows things down further, and takes a much bluesier path. Harmonica sometimes provides an additional melodic focus, but on the whole the song is a hard-hitting blues stomp with snaking guitar riffs and a shuffling Ruiz drum groove. Despite the slower pace, the song is no less tough. The riffing is in-your-face and full of attitude, and Todd sings the song with real venom - with some spoken word sections adding some extra bite. This is another style of song that Buckcherry have made work well over the years, and as a result it is another memorable addition the album. The chorus is another winner, and is one of those occasional moments that Todd showcases a pseudo-rapping approach to his vocal delivery - which helps his vocals mesh well with the song's overall stomp. No More Lies is somewhat similar but is less tough sounding overall - with the band instead going for something a little different. Funky keyboards, which are subtly mixed into the background, add a different vibe - while slide guitar swells add depth. Despite the somewhat different approach, the song still very much sounds like Buckcherry. Todd's vocal approach will always ensure that the band maintain their sound, as his voice is very distinctive, but the reggae-inspired pre-chorus section certainly pushes the band's boundaries somewhat. Here I Come ups the pace again, and takes an approach that is similar to how 54321 opened the album. The band's punk edge is on display again throughout the song, and the band never really let up at all. The riffing throughout is simple, but it has a razor-sharp edge to it - while Ruiz's pounding drum beat adds to the song's overall heaviness. Todd showcases what a strong singer he can be too with some vocal melodies that other singers would trip over. He has a real knack for nailing fast-paced vocal melodies - which again sometimes include a little of that rap-inspired delivery. It is a big part of Buckcherry's unique sound, and Here I Come is a great example of the band's overall appeal as a result. Junk is more of a groove-based piece, and the main riff sounds very Slash-inspired. The song has a real old-school Guns N' Roses vibe as a result, with a bluesy strut that is forced through a sleazy filter perfectly. This riff forms the basis of the chorus, which is a winner as a result, while the guitar solo is also packed full of tasty melodies and phrases which perfectly capture that Guns N' Roses-esque sound further.

Wasting No More Time slows things down again, and has something of a ballad-esque vibe with a subtle keyboard backing and lots of bluesy lead guitar. Buckcherry have never been a band to show off that often, but they know when a good solo or lead can emphasise a song. This is one that features more leads than usual, and they often play off Todd's vocal melodies during the verses - while acoustic guitars fill out the song nicely. Buckcherry have done a number of songs like this over the years, and it is a style that they do well. While I think that the band excel at faster-paced punky and groove-based sounds, their gentler moments are usually strong too. Speaking of gentler moments, The Way is easily the slowest song on the album, and takes the ballad vibes of Wasting No More Time further with its piano opening and surprisingly low key Todd vocal. It is the most emotional-sounding song on the album, but it works well - with a strong piano presence being maintained throughout. I like how the piano does not dominate however, with the exception of the song's opening. Buckcherry are not really a piano band, but its presence does add a lot to the song - while clean and acoustic guitars still form the track's overall basis. Unsurprisingly there is also a great guitar solo in the song, which really helps to add to the track's overall emotional punch. The aching phrases are filled with emotion, and they help to the song to stand out as a result. The album returns to the band's more typical sound for its closing number Barricade however, although there is certainly a slightly more epic overall sound throughout the track. The riffing is still groove-based, but they are accented by subtle stabs of organ to help them stand out - while the chorus has something more of a post-grunge, stadium rock feel with soaring melodies that are much less punk-inspired than is typical for the band. The song still very much sounds like Buckcherry, but there is just a slight change in emphasis present throughout. This soaring approach helps the song to close out the album nicely - and I can see the song working really well live as a result. It helps to the album to end on a high - although in the truth the whole album is very strong so this ending high should not come as a surprise at this point. Hellbound is great comeback album from a band that has been somewhat in the wilderness for a while. The new line-up seems to have gelled perfectly, and I hope that the band can now enter in a new period of stability - as I would like to hear more albums of this quality from the band going forward.

The album was released on 25th June 2021 via Earache Records. Below is the band's promotional video for Hellbound.

Orange Goblin - Truro Review

With the exception of an enjoyable socially-distanced solo acoustic show from The Quireboys' frontman Spike back in May, prior 31st July 2021 I had not been to a proper concert since March 2020. Live entertainment, and in particular live music, has been easily one of the hardest hit industries during the COVID-19 pandemic that has been sweeping the globe over the past 18 months. This is especially true in the UK. While a number of countries, including large swathes of America, have been allowing full capacity concerts again for a number of months - this is something that has only become legal again here in the last couple of weeks. We could all argue until we are blue in the face about which approach to live events was correct, but those of us who live in the UK who love live music can now celebrate and return to the lifestyle that we previously lived. While I do not want to get my hopes up too much for the many concerts that I have booked for the rest of the year, as the lockdown lobby seem to be a very influential and vocal force (despite all of the negatives that lockdown and similar polices bring with them), it felt good this past weekend to head off down to Cornwall for a full afternoon and evening of live heavy music. While the title of this piece is Orange Goblin - Truro Review, the true destination of the day out was not actually Truro. Despite heading to Truro first for a cruise around the record/charity shops and a spot of food, the actual destination was a newish venue called The Yard - which is about 20 minutes outside of Truro. The closest village is probably Tregony to the north, and the venue itself is a temporarily converted recycling yard. It hosted one gig, headlined by King Creature, last year - so the event of the past weekend was only the second gig to take place at The Yard. It is my understanding that the owners of the site plan to put on shows sporadically when they are able to, and the whole set-up certainly seemed to work. Adjacent to the venue is a small business park, which provided food and drink, while the recycling yard itself was perfect for the stage, merch, and toilets. Headlining the day was the British metal institution Orange Goblin, but with five other bands also playing the afternoon/evening had more of the feeling of a mini-festival rather than a typical gig. The overall site contributed to this feeling too - as did the weather and the laid-back vibe created throughout by the decent-sized crowd. While I am sure the organisers would have liked it if a few more people had turned up, the turnout was decent considering the venue's remote location and the fact that a lot of people will still probably not be feeling up to attending a live music event yet. The atmosphere was great throughout the day, with everyone there enjoying the sun and the return of live music.

The venue was open throughout the afternoon, but the live music did not start until around 3:30pm. With six bands to get through it was clear that those who turned up were in for a treat, and the day started off with a bang courtesy of the Bristol-based noise merchants Mother Vulture. Mother Vulture were one of the two bands on the bill that I was not already familiar with prior to the gig. While they are not really my thing, they really gave it their all and certainly blew away the cobwebs following the enforced live music break. The band were a member down, and were performing without a bassist which probably left some holes in their sound, but the three guys on stage put on a captivating show that mixed overdriven, organic sounding bluesy riffs from Brodie Maguire (guitar/vocals) with throat-shredding screams from frontman Georgi Valentine. Mother Vulture sound a bit like what The Black Keys or The White Stripes might sound like if they were metal bands. They have some of the raw bluesiness of those bands, but Valentine's antics and an emphasis on harsh vocals gives the band a tougher edge. I enjoyed the energy that the band brought to the day, but sound-wise Mother Vulture are not really my thing. I have never been a big fan of the overdriven organic blues sound that the band employ, although I appreciate the originality in their whole presentation. I can see why the band are well-liked here in the South West, and they received a pretty strong reaction from the crowd throughout their set.

Up next were the Essex-based four-piece White Raven Down, who's brand of modern-sounding hard rock certainly felt less abrasive than Mother Vulture's aural assault - but an unnecessary loud sound mix meant that the nuances of the band's sound were sometimes lost. The sound throughout the day was generally good, but both White Raven Down and Massive Wagons later in the day suffered from everything being turned up to 11 - which was a shame. White Raven Down were the other band that I was not familiar with prior to the show, and like Mother Vulture they did not do a whole lot for me. The sound mix did not help, but the band's modern, American-esqse radio rock sound did not really take hold. I have never been a big fan of the post-grunge scene, and White Raven Down are another band that seem to be heavily influenced by the sound. The style of music is popular generally, and the band went down well, but it is just not really for me (bar a few exceptions). The band certainly had a lot of bite to their sound, and guitarist Stu Bailey impressed with a few big riffs and some shredded solos, but overall the songs were not that memorable. White Raven Down play a style of music that needs big choruses to allow it to really sink in, but unfortunately none of the band's choruses stuck with me. Despite what I thought however, the band certainly had a few fans in attendance as there were plenty of White Raven Down t-shirts to be seen across the site. They went down well with the crowd too, which is always great to see - and the atmosphere was good during the band's set.

Heading into more familiar territory, Raging Speedhorn upped the heaviness considerably. The Corby-based metal act, who seemed to be a guitarist down, were easily the heaviest band of the day; but their mix of Cancer Bats-esque grooves and a vocal style that recalled early Slipknot certainly brought a strong reaction from the crowd. The band have been around since the late 1990s, and are well and truly part of the British metal furniture at this point. I saw the band at Bloodstock Open Air in 2015, and in fact were the first ever band that I saw at the festival, and they did not do a lot for me then - but I was prepared to give them another go. While the band still did little for me, it was clear the moment that Raging Speedhorn hit the stage that the bar had just been raised. Not to take anything away from the opening two bands, but Raging Speedhorn just sounded, and looked, much better. The sound issues that plagued White Raven Down were gone, and Raging Speedhorn's heavy, sludgy sound could be heard loud and clearly across the site - with the voices of dual frontmen Frank Regan and Dan Cook both roaring out the speakers. I had not expected there to be to moshing throughout the evening due to the general make-up of the crowd, but Raging Speedhorn managed to persuade a few down at the front to get moving. It was a good thing to see after around 18 months without a proper concert, and the band seemed pleased with their reception throughout the set - which lasted a bit longer than the two that preceded them. I had wondered if Raging Speedhorn would go down well on a bill such as this, and I think that the band probably thought the same, but they seemed to be having a great time on stage. The band will never be my thing, but they are masters at what they do - and they brought the energy throughout their entire set which certainly raised the bar for all who followed.

Despite the opening three bands all contributing to making the overall day a great one, it was the remaining three bands that I was there to see. The home straight promised to be a great one, with three extremely well-respected bands from the worlds of rock and metal all promising to display exactly why they are so well-liked. The first of the three was the Lancaster-based five-piece Massive Wagons - the most unabashedly hard rock act of the day. While there is a good dose of old-school hard rock in Massive Wagons' sound, they also have a bit of a more modern vibe at times - helped by the powerful, but decidedly un-bluesy, voice of frontman Baz Mills. It is Mills that helps Massive Wagons stand out from the crowd in my opinion, and his attitude has more than a little bit of a punk edge at times - which gels well with the band's riff-based sound. I saw the band a couple of years ago opening for Lynyrd Skynyrd and Status Quo, but I have become something of a fan of late - and have been enjoying the band's 2020 album House of Noise a lot over the past couple of months. Much of the set was culled from this album, with the opening three number all hailing from it. The fast-paced Pressure was a great opener, before the anthemic In It Together and the spiky Freak City provided to be a powerful opening trio. Unfortunately however, like White Raven Down, the band suffered from an 'everything lounder than everything else' sound mix, and sometimes Mills' voice was lost in the shuffle - which was a shame. He is a great frontman, and the band's lyrics are quite different from the norm at times (as The Curry Song can attest to) - so the crowd certainly missed out on some of the band's nuance as a result. The band did not let this affect them however, and it is fair to say that the crowd lapped it all up regardless. There were not as many Massive Wagons shirts on display as there was for some of the other bands on the bill, but the band certainly won everyone over during their 50 or so minutes on stage. Despite the band's quirky nature, the song Changes, about the band's fans and fans of rock music more generally, hit the spot given the recent plight of live music - but this more sincere vibe did not last too long as the dynamic Bangin in Your Stereo soon crashed in to restore business as usual. A handful of older songs were left to round out the set - with the highlights being the anthemic Tokyo and the set-closer Back to the Stack, both of which perfectly represent the Massive Wagons sound. It was a great in-your-face set from the Lancastrians, despite the sound issues, and I can see Massive Wagons being a band that I will only like more the more of their albums that I hear. The setlist was:

Pressure

In It Together

Freak City

Nails

Glorious

The Curry Song

Changes

Bangin in Your Stereo

Tokyo

Billy Balloon Head

China Plates

Back to the Stack

Following a giant hotdog, it was time for what was probably the set of the day for me. I had seen Phil Campbell and the Bastard Sons four times previously, but was looking forward to seeing the band again - as they always put on a great show. Since the last time that I saw the band however they have released their second album We're the Bastards and parted ways with their original vocalist Neil Starr. Filling in on vocals for this show was a friend of the band Andrew Hunt, from the Welsh rock band Buffalo Summer, who's bluesier voice did give some of the songs a slightly different feeling - but the change was only subtle. It was only Hunt's second gig with the band, but he did a great job - although Phil Campbell (guitar/vocals) did most of the talking in-between the songs. With the exception of two songs from the new album, the setlist was essentially a condescended version of the setlist that the band have been playing over the past couple of years. There was a good balance of the band's own material and Motörhead classics - and the crowd lapped it all up. I think that Phil Campbell and the Bastard Sons were probably the best-received band of the day, and there was a lot of crowd interaction throughout the band's hour long set as a result. Opener We're the Bastards saw quite a lot of singing during the anthemic chorus, but it was probably the fast-paced Motörhead track Going to Brazil that saw the most movement early on. Son of a Gun celebrated the release of the New Wave of Classic Rock compilation album, with a great intro from Tyla Campbell (bass guitar/vocals), while the slower-paced Dark Days allowed Hunt to really showcase his bluesy tones during the darker track. One of the highlights of the set however, as always, was Born to Raise Hell. Why that song was not a setlist staple for Motörhead remains a mystery to me, but Phil Campbell has made it a staple for this band - and it always goes down a storm at every gig due to its stadium-worthy chorus. Get On Your Knees was somewhat the centrepiece of the set however, with the customary mid-section given over to crowd interaction - which everyone in attendance loudly took part in. It was easily the loudest sing-a-long section of the day, which is impressive considering that Ace of Spades was featured later in the set. By this time the band were really in the groove, and even Hunt seemed a natural part of the band rather than just a stand in. One last original in Ringleader with its massive riffing showcased that the band are a vital modern rock act in their own right, but it was left to older songs to round the set out. The band's customary cover of Silver Machine went down as well as it always does - before Ace of Spades and Killed by Death rounded out what was a powerful and energetic set from the five-piece. The crowd certainly showed their appreciation, and I am sure that Phil Campbell and the Bastard Sons were the highlight of the day for many. The setlist was:

We're the Bastards

Step into the Fire

Going to Brazil [Motörhead cover]

Son of a Gun

Born to Raise Hell [Motörhead cover]

Dark Days

Get On Your Knees

R.A.M.O.N.E.S. [Motörhead cover]

Ringleader

Silver Machine [Hawkwind cover]

Ace of Spades [Motörhead cover]

Killed by Death [Motörhead cover]

Despite a few people leaving after Phil Campbell and the Bastard Sons' set, there was still a healthy crowd present when the day's headliners Orange Goblin took to the stage not long after 9:30pm. A lot of Orange Goblin shirts had been witnessed around the site during the day, and the crowd gave the band the headliner's welcome that they deserved as they stepped onto the stage and launched into the bluesy Solarisphere. While I think that the crowd were louder during Phil Campbell and the Bastard Sons' set, there was still plenty of love shown for Orange Goblin - and the moshers who had had their fun during Raging Speedhorn took advance of Orange Goblin's heavy riffing to open up a few pits. This pleased towering frontman Ben Ward greatly, and it was clear that the band enjoyed their first show in front of a crowd for quite some time. The show was also the debut of Harry Armstrong (bass guitar/vocals), who recently replaced the band's original bassist Martyn Millard. Far from looking nervous, Armstrong looked and sounded the part. It is clear that he has already gelled with the rest of the band - and his pounding bass presence was an excellent foil to the riffing of Joe Hoare (guitar/vocals). All nine of the band's albums were represented throughout the set, with the focus actually being on the band's earlier work. The band have become more anthemic over the years, as songs like The Filthy & The Few can attest to, but the set featured a lot of the band's more meandering pieces such as Saruman's Wish and The Man Who Invented Time. These songs featured a lot of great soloing from Hoare, while faster songs such as Made of Rats and the shout-along Some You Win, Some You Lose certainly pleased those moshing in the pits. Despite having also seen the band at the 2015 iteration of Bloodstock Open Air, this was my first headline experience of Orange Goblin live. I have only really got into the band properly recently, and I finally understand why the band are seen as such an institution in the British metal scene. The power that the four-piece bring live is pretty special, and the years on the road since forming back in 1995 were all spilled into the band's 80 or so minute set. A personal highlight for me was the slower-paced, creeping The Fog. The song's atmosphere really hit the spot as the darkness rolled in, and the catchy refrain at the end was playing in my head for quite a while afterwards. Another highlight was the Motörhead-esque Sons of Salem, with its anthemic chorus - but the pace was soon raised further with the blistering The Devil's Whip. Some technical gremlins reared their head towards the end of the set, with Quincy the Pigboy needing to be restarted due to Hoare's guitar cutting out, but the band just laughed their way through the problems and kept the show rolling on. In fairness, the end was nigh at this point - and it was left to the muscular Red Tide Rising to close out the show. Ward had a massive smile on his face as the band finished their set, and it was clear that he was as happy about live music being back as everyone in else in attendance. The setlist was:

Solarisphere

The Ballad of Solomon Eagle

The Filthy & The Few

Saruman's Wish

Aquatic Fanatic

Your World Will Hate This

Made of Rats

Blue Snow

The Man Who Invented Time

Some You Win, Some You Lose

The Fog

Sons of Salem

Scorpionica

The Devil's Whip

Quincy the Pigboy

Red Ride Rising

While Spike's acoustic show a couple of months ago provided a rather gentle easing back into live music, Orange Goblin and co.'s marathon Cornish afternoon/evening felt more like the real thing. The festival atmosphere was welcome, and the weather was excellent throughout - being just the right temperature for a good few hours without a significant amount of shelter. The entertainment was top drawer too, and even though a couple of the bands were not really my thing it was great seeing bands up close and personal again. The final three sets of the day were all excellent however, with Massive Wagons, Phil Campbell and the Bastard Sons, and Orange Goblins all putting on stellar shows. All being well I will be seeing Orange Goblin again in London in December, and by then I should have a lot more live shows under my belt. Perhaps the second half of 2021 will be normal after all...