Vega's 'Anarchy and Unity' - Album Review

Only of the very few positives that can be gleaned from the COVID-19 pandemic is that the enforced touring hiatuses that were imposed on essentially every band in the world have led, in some cases, to additional bursts of creativity. It is quite common these days for bands to have a two or three year gap between each album, but 2021 has seen more than a handful of bands releasing a new album only a year or so after releasing one in 2020. It is great that so many bands used the downtime in a productive and creative way, and 2021 has been another really strong year for new music as a result. One such band that has been busy of late is the UK-based AOR act Vega - a band that I have become a big fan of over the past couple of years. I had been a casual fan for a few years, but seeing the band three times as a support act in 2019 really elevated them for me. They are a band that can bring stadium rock energy into small clubs, and their shows are always great as a result - even if they only often get around 30-40 minutes on stage. Last year however, the band showcased their heavier side with the appropriately-titled Grit Your Teeth (which I reviewed here); which was their sixth studio album overall. The gritty album was not significantly removed sound wise from Vega's usual fare - but there was certainly a bit more weight behind the riffs. As Def Leppard are one of the band's biggest influences, it seems fitting to say that Grit Your Teeth was more High 'n' Dry than it was Hysteria - but to me this slight toughness was no bad thing. It helped the band to showcase a different side of themselves, and this sound has been somewhat continued forward into Anarchy and Unity - the band's seventh studio album which was released earlier this month. There is a toughness about parts of Anarchy and Unity, but there is also a real sense of cinematic scope. Vega's AOR has always been more soundscape-based than pomp-based, but Anarchy and Unity, at least in places, pushes this sound even further than before. As such, the album sounds quite different from the norm in part - but the classic Vega melodies are still present and there are still plenty of hooks to die for. Between the releases of Grit Your Teeth and Anarchy and Unity there have been some changes in the band too - with guitarist Mykey Kew and drummer Martin Hutchison both leaving the band last year. Filling their places are guitarist Billy Taylor (Inglorious; Deever) and drummer Pete Newdeck (Eden's Curse; Tainted Nation; Midnite City) - both of whom have brought their songwriting experience to the band. Anarchy and Unity is the first Vega album to be credited as being written and produced by Vega as a whole, which is probably part of the reason for the album's somewhat different overall sound. The hallmarks of the band's core songwriting trio, consisting of the Martin brothers and frontman Nick Workman, are still present - but with everyone mucking in the Vega of 2021 is a bit of a different beast.

The opening track, Beautiful Lie, showcases both the band's newfound toughness and old-school cinematic approach perfectly. The opening riff is a real driving motif, thanks to Taylor and lead guitarist Marcus Thurston, while Def Leppard-esque gang vocals and a more stripped-back verse showcase more overt melody. The song really is Vega down to a tee, and there are plenty of hooks throughout that make it an instantly memorable cut. I can see this song being the band's opening number on their upcoming tour, as it would really get the shows off to a great start with its roaring riff and hooky chorus. The shredded guitar solo brings the best out of Thurston too, who always dials things up a notch, but there are some twin-lead guitar moments too that show what Thurston and Taylor can do together. This new guitar duo is already showing real promise for Vega - and the amount of riffing and soloing throughout Beautiful Lie is only the tip of the iceberg (even if one of the riffs is borrowed from Michael Jackson's Beat It). Sooner or Later is similar, but the heaviness is reined in somewhat to allow the big AOR hooks to shine brighter. Like the opening song however, there are some great wordless gang vocal hooks; as well as plenty of strong guitar moments - with some soaring guitar leads often sitting in the transitions between the different sections of the song. A catchy chorus brings everything together, with layers of harmony vocals making everything sound huge - which is always welcome. End of the Fade slows the pace somewhat, and goes for a much more overtly-cinematic sound - which is classic Vega. James Martin's keyboards take on a much more prominent role this time, especially during parts of the verses where most of the rest of the band drop out. This gives the song a very atmospheric feel, but it also allows parts of the song to sound more powerful - such as when the tough guitar rhythms kick in just before what is another great chorus. The chorus is one of the most classic-sounding Vega moments here for me, as it really shows off Workman's knack for a smooth melody. He is a great singer, and the chorus has been designed to showcase his talents. There is little sonic clutter, which places the emphasis on his melodies in a big way. Ain't Who I Am opens in the vein of a more upbeat rocker, but this vibe is short-lived as the song is another relatively dynamic piece that has slower verses and more upbeat choruses. James' keyboards are once again a big part of the verses, while his brother Tom Martin propels everything with his pulsing and rhythmic bass playing. This is a sound that has served Vega well over the years. Being an AOR act, anything that places emphasis on a song's chorus is always going to be welcome - and ramping up towards it often works well for the band.

Welcome to Wherever is similarly structured again, but there is a much greater Def Leppard vibe utilised this time - with constant harmony and backing vocals adding plenty of depth. The chorus is also less riff-based, with the whole song largely maintaining a laid back vibe to allow big guitar arpeggios and shimmering keyboards to shine. The song is certainly not a ballad, but it has the pace and overall feeling of one - but the depth keeps the song feeling like a strong slab of melodic rock as a result. The chorus is another great one, with subtle vocal harmonies and some great chiming guitar melodies. The guitar solo, which again contains a few dual-lead guitar harmonies, really helps to spice the song up further - with Thurston and Taylor cutting through the synths and pulsing bass to add some cutting rock grit to the piece. Bring the Riot ups the heaviness, and the song sounds more like the opening couple of numbers than much of what has followed. There are shades of the toughness of Grit Your Teeth here too, but James' shimmering keyboards are much more prominent which keeps the song firmly grounded within the sound of the album. It is great to hear the band really rocking out again here though. Newdeck's drums have plenty of punch behind them, while the guitar rhythms throughout are much more in-your-face and aggressive. As a result, the song is packed full of energy which is likely to make it another live favourite. It is blessed with another strong chorus too, and it is one that is sure to excite any live crowd. Live for Me is a real throwback to the 1980s. The big drum intro that leads into a mournful opening guitar lead could have sat on any 1980s AOR or hair metal album, while James' piano-led verses are packed full of emotion. Piano-led songs are fairly rare for Vega, who tend to take more of a soundscape approach to keyboards, so the song stands out as a result. Given Vega's overall sound however, a piano-led pseudo-ballad certainly fits the bill nicely. The pace is nice and slow, and the song ramps up just enough to allow the chorus to make an impact - which again is packed full of soaring vocal harmonies and counter melodies. Despite the song's overall slowness however, its solo is a real shred-fest. The song unexpectedly ramps up in a big way following the second chorus - which allows Thurston to really cut loose. The choice to do so works really well however, and it is one of the most effective moments on the album as a result. Once the solo has finished however, the pace is slowed down once again for a final reprise of the epic chorus. Kneel to You is more upbeat, and makes more use of James' piano in a driving hard rock context. The song's opening has Roy Bittan vibes (think Bruce Springsteen or Meat Loaf), and the use of the piano throughout helps the song to have more of an organic feel despite its 1980s-esque AOR sound. Due to the driving piano and a snappy chorus, the song is one of the album's hookiest songs. There is a real energy throughout the piece, and as a result the song feels like another that would go down really well live.

Glow opens with a low-key guitar riff and some effects-heavy vocals, but it is not long before the song explodes into another strong mid-paced rocker. Newdeck's drums really drive the song, and the drum sound that he has harnessed throughout the album is a big part of what makes it great. Anarchy and Unity is probably the band's biggest sounding album, and a big part of that is likely down to Newdeck and his hard-hitting drumming style. He makes the harder rocking songs really tick, and Glow is a great example of what he brings to the table. Elsewhere however, the riffing throughout is also very strong. There are quite a few melodic leads to keep adding new tricks to the song, while the general rhythms are a perfect compliment to Newdeck's drums. Another great chorus ensures that the song is big sing along number too; and again perfect for being played live. C'mon opens in a slightly strange manner with some old-school swing/jazz vibes - but this feeling does not last too long as riffs and soaring melodies soon kick in. The song maintains something of a swing throughout however, with Newdeck's drumming taking a slightly more laid back approach - which works well in the context of the piece. The song is certainly something different for Vega, but there is still enough of the band's core sound present to make it work. The choruses are classic Vega, just with added swing, while the verses are mix of new and familiar. The experiment works for me however, and it is good to hear the band pushing their sound somewhat. Had Enough returns to something more familiar however, with another big Def Leppard-esque guitar rhythm early on that is augmented by some sparkling synths. The song is, however, largely fairly simple sound wise. It does not seem as layered as usual, but this only allows the guitars to cut through the mix nicely. James always takes the opportunity to use some more old-school and organic keyboard sounds - which contributes to the song's driving rock sound. There is less of the band's usual cinematic approach here, but I like the way that the song sounds - especially as there is some great organ playing towards the end, which is always welcome. The album's closing cut, 2Die4, goes for a bit of a slower overall approach at first - but the song soon builds up into a diverse song that fuses bluesy hard rock with soaring cinematic moments. The mix is a bit of a strange one, but the overall arrangement works well. The guitars occasionally launch into big bluesy riffs, while elsewhere James' keyboards are all-encompassing and fill every inch of the song with shimmering melodies. It is not the hookiest song on the album, but it is certainly one of the most interesting from an arrangement perspective. Its mix of sounds, and occasional moments of real soaring rock, make it a strong album closer - and it ends the album on a high and somewhat experimental note. In some ways, however, that is a description that could be applied to the whole album. There are a lot of familiar sounds here, but there are also some forays into the unknown - but Vega have managed to make everything hang together and make the album sound cohesive. This new line-up of the band really seem to have clicked, and I hope that these six guys stick together as I would love to see where they take their sound next.

The album was released on 17th September 2021 via Frontiers Records. Below is the band's promotional video for Sooner or Later.