Saxon's 'Carpe Diem' - Album Review

If you were to look up the word 'consistency' in the dictionary, you would probably find a picture of the British heavy metal five-piece Saxon. The band, who formed back in 1977, have been cranking out album after album of strong material since releasing their self-titled debut album in 1979 - and they are a favourite of many as a result. For a band who now has 24 studio albums (including last year's covers album Inspirations - which I have not heard), the quality of those 24 releases is consistently, and perhaps surprisingly, high. Bar a couple of dodgy albums in the late 1980s, the name Saxon has often been a mark of quality - and that is doubly the case when you consider the strength of their recent output. I started listening to the band properly in around 2009 or 2010, so my first new Saxon album was 2011's Call to Arms. I saw the band twice around that time too, once just before the album came out and then again on the album's tour proper, and it was those live shows and the sheer energy of Call to Arms that made me a Saxon fan. Ever since then I have seen the band live a few more times, and have amassed virtually all of their studio albums (bar Inspirations and 1997's Unleash the Beast - which seems hard to track down for a sensible price). As such, they are regulars on my iPod - with both their classic albums of the NWOBHM era and their recent run of standout releases being spun often. As much as I love the band's older albums, however, it is their more recent work that I tend to gravitate towards. Their last album of original material, 2018's Thunderbolt (which I reviewed here), was one of my favourite albums of 2018 - and is also one of my favourite Saxon albums. They have released a lot of great stuff over the past couple of decades, but for me Call to Arms and Thunderbolt sit at the top of the tree. I love all of the band's albums, however, even the dodgy late 1980s ones, so the release of a new Saxon album is always going to be exciting. When a band as consistent as Saxon release something new, though, I often wonder if it is going to be the one to break the spell - but Carpe Diem, Saxon's twenty-fourth album which was released earlier in the month, is another slab of quality heavy metal. They made their fans wait, though, as the gap between Thunderbolt and Carpe Diem was four years - the longest gap between original Saxon albums. Four years is not a long time in truth and the COVID-19 pandemic probably did not help matters; but the album was certainly worth the wait. What has been interesting me, too, is the overall reaction to Carpe Diem. Lots of reviews have said that it is the best Saxon album for many years, and it makes me wonder where all of these reviewers have been for the past decade (at least). Carpe Diem is not the best Saxon album for many years, but that is only because of the high quality of Saxon's output generally. For me, Carpe Diem is business as usual for Saxon - and that equals a great heavy metal album. I am not sure that it quite reaches the heights of Call to Arms and Thunderbolt, but it is packed full of anthems made to be played live - and performed by a band who have no right to sound this fired up after over 40 years.

The great thing about Saxon's albums, too, is that they generally do not outstay their welcome. Saxon understand the benefits of brevity, and as such still generally make albums that can easily fit on two sides of vinyl. Carpe Diem is no different, and its 10 songs race by in just under 45 minutes. The album's title track kicks things off, and it is an upbeat, hard-hitting anthem of the kind that Saxon pull off so effortlessly. There is a little bit of an atmospheric keyboard intro to build tension, but when Nigel Glockler's drum barrage kicks in the song begins proper - while the chugging guitars of Paul Quinn and Doug Scarratt lay down a simple, yet snappy, riff. For me, the song is probably the heaviest opening song to a Saxon album since 2013's Sacrifice. Saxon tend to open their albums with a mid-paced anthem these days, which is usually effective, but Carpe Diem (Seize the Day) is fast-paced and uncompromising. Instead of going for an anthemic chorus, the song's main hooks are are almost thrashy - which fits in nicely with its overall pace and hard-driving nature. It is great hearing the band sounding so fired up - although this is nothing new for anyone who has been paying attention of late. Age of Steam follows, and the song is the next entry in an unofficial series of tracks that details the developments of transport methods during the industrial revolution - which includes songs like Made in Belfast and The Secret of Flight. Age of Steam is similar in its outlook, but is also packed full of huge riffs. The song slows the pace down in comparison to the title track, and goes for the more anthemic approach that is typical of modern Saxon. Frontman Biff Byford's lyrics tell a great story throughout, and the headbanging chorus is memorable thanks to his hooks and Glocker's precise double bass drumming. There is also a lot of guitar meat for Quinn and Scarratt to sink their teeth into. The song's opening has quite the guitar build-up, and the chorus includes a melodic lead. There is also a great instrumental section that includes lots of soloing from both - including a short period that sees both guitarists joining forces. The Pilgrimage slows things down further, and takes a much more epic path. It sounds like the band were trying to channel the style of 1984's Crusader here, and the song has a similar structure. Compared to the album's opening two songs, The Pilgrimage is much more dynamic. It mixes mellower and heavier sections together nicely - but overall it really revels in creating a strong atmosphere. There is a constant keyboard backing throughout, which adds depth, while the guitarists add further to this atmosphere with chiming clean guitar melodies and the occasional big chord. The verses are generally on the more mellow side, but things do ramp up during the choruses - which sound much bigger thanks to some powerful chords and Byford's heroic vocals. A piercing guitar solo adds some emotional depth, too, and the song is the latest in a long line of more epic, involved pieces from Saxon that showcase their ability craft something more than your average three-minute heavy metal anthem.

There is nothing wrong with three-minute heavy metal anthems, however, and that is what the band serve up with Dambusters. After the murk of The Pilgrimage, Dambusters is a fast-paced headbanger that is Saxon doing what they do best. The riffs of Quinn and Scarratt are really rooted in the band's NWOBHM past this time, with a heavy blues sound at times channelled through an injection of pace, but the guitar soloing style is searing - with occasional hints of neo-classical shredding that really help to bring the track to life. Glockler rarely lets up at all throughout the piece either, and his propulsion helps the chorus to really hit home - as Byford roars the vocals with all the energy of a man half his age. It is a song that is made to be played live, and I imagine it will become a live favourite if the band do elect to add it to their setlists. Remember the Fallen is the band's obligatory COVID-19 song. Writing songs about the pandemic can be a bit of a trap, as it is easy to fall into overwrought and cliché territory, but in fairness to the band this song just sounds like another modern Saxon anthem. Some of the lyrics do fall into cliché territory occasionally, but the song itself is powerful and the message is clearly heartfelt. I think making the song a mid-paced metal anthem rather than a ballad was wise, too, and the riffing throughout is tight and energetic. Lyrics aside, the song is one that could have sat on any of the band's other recent albums - so I think we can forgive the band jumping on the reflective pandemic bandwagon, as they gave it enough of a Saxon spin to make it sound honest. Those who like their Saxon to be fast and uncompromising will love Super Nova, which is probably the album's speediest and heaviest song. Saxon have always been one of the heaviest of the NWOBHM acts, and they have only gotten heavier over the years thanks to modern production techniques. Producer Andy Sneap's sound can put some people off, but I generally like the sound of the albums that he produces. His heavy, fat, and clear sound is perfect for Saxon; and Super Nova benefits from his touch. The riffing throughout really cuts through the mix as a result, and the punch of Glockler's pounding kick drums ensures that the pace of the track never lets up. Despite the general heaviness of the piece, though, things do slow down a little in the middle - where a short, atmospheric instrumental section gives the listener a short break before the song kicks back in again. Lady in Gray, like The Pilgrimage, is a slower track - but unlike The Pilgrimage it feels more like a ballad. It is a not a true ballad, but it is a song that goes for a slower overall sound, and there is less of an emphasis on riffing throughout. The guitars tend to add some crunch of the background, but keyboards dominate the mix this time - with the strong vocals of Byford taking the centre stage. The band have done quite a few songs like this in recent times, and their more atmospheric approach always works well - with keyboards making a positive contribution to the band's typical guitar attack.

All for One is another fast-paced track, and it is a song that really features the guitar duo of Quinn and Scarratt. Byford sounds great as always, but the focus seems to be on the guitars this time. The opening riff is full of energy, and whenever Byford is not singing the guitars always seem to be doing something interesting. There are lots of little riffs throughout the track that make it really shine, but the best moments for me are the solos. After each chorus there is a screaming guitar solo, and each one cuts through the mix with real purpose. All of the solos are extremely melodic too, and do not just rely on shredded leads - with lots of memorable hooks and phrases included in each one. Add in a simple, yet effective, chorus - and the song is another strong cut, which again is made to be played live. Black is the Night slows things down somewhat, and is another mid-paced anthem in a similar mould to Age of Steam - although with some of the atmospherics of The Pilgrimage thrown in. The song is generally heavy, with driving riffs and more vocal heroics from Byford, but there is a keyboard presence throughout that adds depth. It is relatively subtle, however, although it does become the dominant vibe for a brief period in the middle of the song. Similarly to how Super Nova slows down briefly, Black is the Night does the same - to allow for a bluesy guitar solo. The solo is on the slower side, but it is packed full of melody and perfectly suits the section's atmospheric style - before the song kicks back in and adopts a heavy feeling once again. In an attempt to end the album in a similar manner to how it started, the closing number Living on the Limit is another fast-paced track. It rivals Super Nova for the album's heaviest track, and it is certainly an uncompromising song that ends the album with a bang. That being said, however, there is still a dynamic approach taken and despite the song's short length there is a relative amount of diversity included. There are a handful of slower moments here, although these never reach the atmospheric heights of previous similar examples. The main one here allows for a guitar solo, but on the whole the track is fast and heavy - which ends the album on a real high. While there is nothing throughout Carpe Diem that I did not expect to hear, the 10 songs included are all memorable and see Saxon playing to their strengths. Saxon have a long-established sound at this point, so no-one expects to hear anything new, but the band's songwriting skills ensure that each new album that they release is worthy of the Saxon name. Carpe Diem is another excellent release from the veteran band, and another in a long line of albums that I love. Anyone with even a casual interest in Saxon will find plenty to enjoy here, and those who love old-school heavy metal of a traditional sort will also have a great time with Carpe Diem.

The album was released on 4th February 2022 via Silver Lining Music. Below is the band's promotional video for Carpe Diem (Seize the Day).

Praying Mantis' 'Katharsis' - Album Review

Whilst I was quite rude about the Italian record label Frontiers Records in my recent review of Giant's Shifting Time (which can be read here) there are some bands, particularly older bands, that really benefit from the label's existence. Once such band is Praying Mantis, a five-piece melodic hard rock act that originally rose to prominence during the NWOBHM movement of the early 1980s. Praying Mantis' genesis actually pre-dates the NWOBHM era significantly, with early incarnations of the band appearing as far back as 1973, but it was 1980 when the band truly established themselves - with the release of their self-titled single and the appearance of Captured City on the legendary NWOBHM compilation album Metal for Muthas. Their debut album, Time Tells No Lies, followed a year later - but it failed to make significant waves. Time Tells No Lies has since been regarded as a classic of the era, but at the time it did not make the expected impact. A year later the band were no more, and little was heard from them until a reunion in 1990. Despite the quality of Time Tells No Lies' material, its more overtly melodic sound was at odds with the rest of the NWOBHM movement. Praying Mantis have never been a metal band in the truest sense, either, with their focus on twin-lead guitar lines, keyboards, and huge vocal harmonies having more in common with melodic hard rock and AOR than metal. The band were always popular in Japan, however, and when they reunited in 1990 they essentially focused on the Japanese market. Between 1991 and 2003 the band released six albums, which were largely only available outside of Japan as an import. Praying Mantis knew which side their bread was buttered, but eventually folded again in 2003 following the release of 2003's The Journey Goes On. Five years later the band were back together again though, with yet another new line-up (brothers guitarist Tino and bassist Chris Troy are the band's only constant members), and this is where Frontiers really stepped in. Both The Journey Goes On and 2000's Nowhere to Hide had seen limited a European release through Frontiers, but 2009's Sanctuary was the first Praying Mantis album since their debut to be properly marketed outside of Japan. It was a critical success, and laid the groundwork for what the band would do over the next decade. More line-up changes followed, but the band has largely been stable since 2013 - when frontman John Cuijpers and drummer Hans in 't Zandt joined forces with the Troy brothers and guitarist Andy Burgess (who has been in situ since the 2009 reunion). The band's current line-up is now the longest-running to date, and last month they released their third studio album Katharsis. Katharsis follows 2015's Legacy (which I reviewed here) and 2018's Gravity (which I also reviewed here). Legacy is probably my favourite Praying Mantis album, with Gravity being a bit of a step down in my opinion. As much as I have been enjoying Katharsis over the past few weeks, for me it is another step down. There is plenty to enjoy here, and the Praying Mantis sound is intact, but for me the hooks and melodies are not as strong this time.

The album opens with its lead single Cry for the Nations. It is not a cover of the Michael Schenker Group classic, but a melodic track that is very much in the Praying Mantis mould. It opens with a rolling piano melody, which is soon picked up by the duelling guitars of Tino and Burgess - following a dramatic drum build up from Zandt. Those who have enjoyed anything that Praying Mantis have done in recent years will instantly be drawn to the track, as it is a real melodic feast. It is one of my favourite tracks here too, as it showcases the band at their best. Cuijpers is easily the best singer that the band have ever had on a permanent basis, and his dramatic performance brings the relatively low key verses to life. The piano from the intro dominates the verses musically, although the drums and Chris' bass keep the pace moving nicely. The choruses see the power ramp up somewhat, with some trademark vocal harmonies and a plethora of guitar leads adding depth. Whilst the song does not contain a guitar solo, both Tino and Burgess are busy throughout. There are lots of melodic moments during the song, and the main guitar hook is one of the album's catchiest moments. It allows the album to start with a bang, and it a song that is sure to go down well live. Closer to Heaven also opens with a piano melody, but it is shorter-lived this time - as the song soon explodes into a hooky, mid-paced AOR anthem. It is based around a muscular guitar pattern and a staccato rhythm, but the song is bulked out throughout by some 1980s-esque synths and plenty of big vocal harmonies. Cuijpers might be the band's best singer to date, but the band as a whole have always excelled at harmonies. There are plenty throughout the album, but the chorus here is one of the best examples of the band's ability in this regard. They help Cuijpers' melodies to really shine, and the added pomp from the synth stabs ensure that the chorus is a winner. A melodic guitar solo takes the song to the next level, too, and the track is another overall album highlight for me. Sadly, the quality takes quite a dip following this excellent opening one-two punch. Ain't No Rock 'n' Roll in Heaven is a short, throwaway piece written by one of the band's former singers Tommy Jackson - and its boogie, 1970s-esque hard rock vibe really clashes with the band's general melodic sheen. The song has a much more organic sound than usual, with organ sounds and bluesy guitar riffs - which makes it stick out like a sore thumb in the band's canon. There are moments of familiarity, and Cuijpers delivers the vocal with real conviction, but for me the song is too leaden for a band like Praying Mantis - whose whole sound is based on soaring hooks and a smooth overall sheen. Non Omnis Moriar, which translates from Latin as 'not all of me will die', gets the album back on track. It is not as hooky as the opening two cuts, but sound-wise it sounds like Praying Mantis - albeit a bit grander. Zandt's drumming is somewhat heavier than usual too, with some driving double bass drum patterns during the verses, but there is still room for a few trademark guitar harmonies - with the one that follows the chorus in particular standing out. For me, however, the song's chorus does not quite hit the spot. It feels a little sluggish given the grandness of the piece, but the guitar work throughout it is strong and the song as a whole is still enjoyable.

Long Time Coming is more of an upbeat piece. Jackson also wrote it, but this time in collaboration with Tino. The is something of the brashness of Ain't No Rock 'n' Roll in Heaven to be heard throughout Long Time Coming, but overall the song fits the Praying Mantis mould. The main guitar riff has something of an AC/DC feel to it, which does make it stand out somewhat, but there is a lushness throughout thanks to subtle layer of keyboards - and there are times when the big riffing drops out to be replaced by melodic guitar arpeggios instead. The song is a bit of a mix of sounds as a result, but there is enough of the classic Praying Mantis sound to make it sound at home on the album. The chorus is pretty hooky too, and it makes great use of AOR-esque harmony vocals - even if the guitar tone throughout is dirtier than usual. Sacrifice returns fully to the classic Praying Mantis sound, and is something of an epic ballad that features some excellent vocals from Cuijpers and some great piano playing. Most of the keyboards throughout the album are played by the band, although Jean-Pierre Kerkhofs is also credited. The piano and keyboard work throughout Sacrifice is great, though, regardless of who is responsible for it; and it forms a lush backing for Cuijpers' voice. It also allows the guitars to generally take a slightly more melodic route than 'just' laying down a riff. There are lots of little guitar licks throughout the piece; and given the song's ballad-esque nature it should not surprise anyone that an emotionally-charged guitar solo is included. Wheels in Motion stands out as it features Chris singing lead in place of Cuijpers. While he is a competent singer, and contributes excellent backing vocals, he is certainly no Cuijpers - so the song immediately suffers as a result. One of the reason why Time Tells No Lies may not have been successful is the lack of a great lead singer. Lead vocal duties were shared amongst the band, and there is a reason why live versions of the band's early songs are almost always superior to the originals. That being said, Wheels in Motion is a decent track - and there are plenty of Praying Mantisisms to be found throughout, including a well-phrased guitar solo. The vocals do knock it down a peg or two, however, and I would have preferred Cuijpers to sing it. Masquerade restores Cuijpers to his proper position, however, which is fitting as it is one of the two songs here that he co-wrote (the other being Closer to Heaven). The song goes for a similarly grand sound as Non Omnis Moriar, but surpasses the earlier track. It is a song that really benefits from Cuijpers' occasional vocal similarity to Ronnie James Dio, and there are certainly shades of Dio's work with Rainbow to be found here - especially the soaring chorus and some of the neo-classical guitar leads. The band have not gone for a Rainbow-esque sound, however, and the track still sounds very much like Praying Mantis. There is no Hammond organ, for example, but some of the guitar playing does come from the Ritchie Blackmore school - even if it is filtered through the band's usual approach to harmony-based leads.

Find Our Way Back Home is more light-hearted, with the drama of Masquerade swapped for a buzzing synth melody and some laid back grooves. Zandt's drumming throughout is very swing-focused, which really allows the song's carefree attitude to shine through. Despite this relatively simplicity, there is actually quite a lot going on musically. Some of Chris' bass playing is very busy, and there are moments that feature prominent acoustic guitars - which is something of a rarity for Praying Mantis. There is still enough of the band's core sound throughout, however, to ensure that the song feels at home on the album. Cuijpers' vocal melodies are very typical of the band's style, while the synth melody harks back to the band's 1980s roots. Don't Call Us Now opens with a metronomic drum beat and some harmony guitar melodies which are strangely low in the mix. It is a bit of an odd song overall, which has some parts that like and parts that I do not. I really like the song's verses. They are backed by an interesting guitar motif which is a little different from the norm - but still carries the verse in a very classic Praying Mantis-esque way. The choruses, however, feel weak to me. The melodies feel rote, and the boogie piano in the background feels a little strange. The chorus feels like it should be an epic one, but the melodies are quite flat in my opinion, which is a shame. I like the instrumental section, however, which features some great guitar soloing. There is also a synth-led section that precedes the soloing, which again is different from the norm but it still works well. It is a song that feels like it was made up of a few disparate ideas that were thrown together. Some bits work well, while other bits do not - like the strange southern rock-esque about face that happens at the end. The album comes to a close with The Devil Never Changes, a very classic-sounding Praying Mantis song that returns to the band's core sound following some deviation. The song is quite similar to Cry for the Nations, although not quite as heavy - but there are still plenty of strong melodies and guitar leads throughout. Cuijpers' vocal display is as strong as ever, and the chorus is memorable - with lots of wordless vocal hooks from the whole band. The song sounds massive as a result, and it has a rather lush feel thanks to the overall lack of thick riffing. Guitar leads tend to lead the way instead, which only helps to add to the overall melodic feel of the piece. These, when taken with the song's big chorus, ensure that the song is one of the album's most memorable cuts - and it ends the album on a soaring high. It also makes me realise that the best moments here are those when the band is just content to be themselves. Praying Mantis are at their best when they sound like Praying Mantis, but there are a few songs here that try new things and fall flat. I always like to see a band trying something new, but boogie rock and roll and even southern rock are not sounds that suit Praying Mantis. For me, Katharsis is a step down in quality from the previous two albums - but there is still plenty to like here. When the band play to their strengths the album soars, but a few strange decisions stop it from being a classic.

The album was released on 28th January 2022 via Frontiers Records. Below is the band's promotional video for Cry for the Nations.

Paradise Lost - Bristol Review

A few COVID-19-related cancellations left February 2022 a light month gig-wise. A last-minute decision to catch Doomsday Outlaw in Plymouth upped the grand total overall to two - which, in fairness, is two more than February 2021. I should not complain, but it has been great getting back to regular gig-going over the past few months - and the future is certainly looking much brighter, with plenty more to look forward throughout 2022. The second, and final, February 2022 gig came this past Thursday - when the British doom/gothic metal legends Paradise Lost rolled into Bristol in support of 2020's excellent Obsidian. Looking back, Obsidian should have been in my Top 10 of 2020. Of all of the Albums of the Year lists that I have done, 2020's is the one that I am the least happy with. If I was to redo it, then Paradise Lost's sixteenth album would be included. I listened to it a lot throughout 2020, and I have been enjoying listening to it again recently in the run-up to the concert in Bristol. I have spent a lot of time listening to the band's discography over the past month or so, and I am certainly a bigger Paradise Lost fan at this point than I have ever been. I have been a casual fan of the band for around a decade, and first saw the band live at Nottingham's Rescue Rooms back in 2012, but it is probably only over the past couple of years that I have become a true Paradise Lost fan. It probably helped that I had not seen the band live for a little while, too. Prior to Thursday night in Bristol, my last time seeing the band live came in 2016, when they performed at that year's iteration of Bloodstock Open Air. I remember the band's set being enjoyable but somewhat lacklustre, so I did not listen to their albums that much following 2016's Bloodstock. I enjoyed 2017's Medusa, but it did not prompt the full-blown back catalogue appraisal that Obsidian did, however. Obsidian, for me, is one of the band's best albums. It contains a bit of everything that has made the band great over the years, and it is a real mix of most of their eras sound-wise. I knew that I had to make the effort to catch the tour, and luckily the Bristol date was doable - despite it being midweek. With Storm Eunice looming, which made travelling back to Plymouth take around 24 hours longer than usual, I made it up in Bristol in time after a morning's work. The show was supposed to take place at the SWX, which has been closed for months following a fire, but was relocated to The Marble Factory - a venue which I had not been to for years. I remember it being a pretty average venue, but it had changed quite a lot since I had last visited. The stage was in a totally different part of the building this time, and it seemed much bigger than last time too. The industrial, warehouse setting suited an evening of gloomy music nicely, too, and it was good to see a decent-sized crowd gathered throughout despite the night of the week and the threatening storm.

Before Paradise Lost's set, however, the crowd was treated to an hour of music from Portugal's Moonspell. I was familiar with Moonspell in name only, so was looking forward to checking them out - and I was impressed with the veteran band's set. Paradise Lost played for longer, but the show felt more like a co-headline arrangement than a traditional show - a feeling that was probably boosted by the fact that there were a lot of Moonspell fans in attendance. This meant that the atmosphere throughout the band's hour on stage was excellent, and the five-piece seemed to enjoy their time in Bristol. The band's sound is generally quite gothic, but with some heavier moments thrown in. Frontman Fernando Ribeiro mixed clean and harsh vocals throughout, but for me he really shone when he sung clean. His clean delivery reminded me a little of Amorphis' Tomi Joutsen - but with more of a gothic edge. There were plenty of strong choruses throughout the band's set that allowed him to really show off, and the general atmospheric nature of their music ensured that his voice was always the dominant sound. It was the second song of the set, Extinct, that drew me in - largely due to its chorus. It was a song that was easy to latch onto due to its hooks - and from that point on I started to get what the band were about. Lots of moments throughout the set stood out, and it also helped that the band's live sound was crystal clear. They were also one of the loudest bands that I had seen for a while. When Hugo Ribeiro's drums kicked in for the first time it felt like it was going to interrupt my heartbeat - but this was quickly adjusted and the mix was balanced to allow the intricacies of the music to shine. Pedro Paixão (keyboards/vocals) was largely responsible for this atmospheric depth, but Ricardo Amorim (guitar/vocals) helped too. Amorim did not play that many traditional riffs during the set, but his playing was very textured - and the handful of occasions where he broke into a solo were impressive. Being unfamiliar with the band's songs, it is hard to pick out named highlights - but The Hermit Saints from last year's Hermitage was one that stood out. Another highlight was the penultimate number Alma Mater, from the band's 1995 debut album, which I gather is one of their signature tunes. It certainly elicited a strong reaction from the crowd, with many singing along to the wordless hooks throughout. Considering that I was largely unfamiliar with Moonspell before Thursday, I came away impressed. They are definitely a band that I need to investigate further - and I am looking forward to delving into their catalogue in due course.

Around half an hour after Moonspell finished, Paradise Lost trooped onto the stage with relatively little fanfare and launched straight into Widow, a favourite from 1993's Icon. Those who have seen Paradise Lost will know that they are a something of a no-nonsense band. There is always little fanfare to their shows, which can be refreshing, with frontman Nick Holmes self-deprecating and deadpan humour filling the gaps between songs. Like Moonspell, the band's sound mix was generally good. Holmes was a bit low in the mix for the first few numbers, but once this sorted itself out the band probably sounded the most powerful that I have heard them on stage. It helped that the set contained so much of the strong Obsidian album, too, with five of its nine songs performed. It was one of these, Forsaken, that followed Widow - and what generally followed was a mixture of general live favourites and new material. Blood & Chaos, from Medusa, came across well with its chunky riffing and strong chorus - before the synthy Faith Divides Us - Death Unites Us had the crowd singing along with its big chorus. Perhaps given the hookiness of the Obsidian material, the set generally followed suit. There was little of the band's full-on doom sound on display, with anthemic songs instead preferred. The inclusion of gothic One Second is a prime example of this; while old single The Enemy also elicited a strong reaction - with a mosh pit opening up and the crowd singing along to the wordless vocal hook.

It was also a set that brought the best out of Greg Mackintosh (guitar). The band's main songwriter cuts a sullen presence, but his guitar playing is always excellent. Most of the songs played featured plenty of big leads for him to showcase his instantly-recognisable style - with solo after solo coming from his fingers throughout the night. I have always thought his playing to be rather atypical in a metal context. He seems to be influenced more by players like David Gilmour than Tony Iommi - and his soulful leads are a big part of what makes Paradise Lost stand out as a result. He can still riff with the best of them, however, as heavier songs like No Hope in Sight proved. The song has been a real setlist staple since its release in 2015 - and it was good hearing the doom/goth mash-up live again. It was one of the songs played that featured Holmes' harsh vocals, and it is great that he is still in such fine voice. His growling vocals have always suited Paradise Lost's slower sound, and No Hope in Sight was a great showcase for them. It was left to the bouncy Say Just Words to bring the 13-song main set to a close - and it was another song that the crowd really lapped up thanks to its big chorus. After a short break, however, a four-song encore followed. Darker Thoughts kicked it off, with Holmes on stage alone for the song's quiet intro - before the rest of the band joined him when the heaviness kicked in. The dancey So Much is Lost, with its prominent synths and some rare leads from Aaron Aedy (guitar), followed before the set's heaviest moment, Beneath Broken Earth, was played. This was really the only true doom song featured in the set, but it was great to hear the band really slow things down - and it contrasted nicely with the relatively upbeat So Much is Lost. Ghosts, from Obsidian, brought the show to a close - which featured some groovy bass playing from Steve Edmondson. Its groove and strong chorus allowed the show to end on a high - and the crowd certainly made their appreciation known as the band left the stage. The setlist was:

Widow

Forsaken

Blood & Chaos

Faith Divides Us - Death Unites Us

Eternal

One Second

Serenity

The Enemy

As I Die

The Devil Embraced

The Last Time

No Hope in Sight

Say Just Words

-

Darker Thoughts

So Much is Lost

Beneath Broken Earth

Ghosts

Despite the hassle that getting back home from Bristol caused over the next couple of days, the show was worth the trip. It was easily the best Paradise Lost show that I have been to, and the setlist was a great mix of old and new - with plenty of anthemic tracks that were lapped up by the large crowd. It was also great to finally acquaint myself with Moonspell, whose set I enjoyed. I came away from The Marble Factory with a Paradise Lost shirt and a new band to indulge in - so the gig was certainly a success.

Jethro Tull's 'The Zealot Gene' - Album Review

Following Jethro Tull's split in 2011/2012, I cannot say that I was expecting to hear another album from the legendary band. Their charismatic leader, songwriter, and singer Ian Anderson essentially put the band to rest after concluding their 2011 live commitments, ending a journey that he started back in 1967. Lots of people had come and gone from Jethro Tull over the years, but Anderson was the constant force - and it was his magic that kept the band ticking, despite the excellent contributions of many other musicians throughout the band's 40-plus year career. I remember reading lots of interviews with Anderson in the years following Jethro Tull's split where he essentially said that he was sick of the Jethro Tull name, and wanted to tour and record under his own name. In truth, and despite the continued presence of guitarist Martin Barre who had been in the band since 1968, Jethro Tull had long ceased being a true 'band'. It had become Anderson backed by Barre and others, with the various great Jethro Tull line-ups of the 1970s and 1980s long gone - replaced with those who were happy to essentially be Anderson's backing band. This is not necessarily a bad thing, as Anderson is and has always been Jethro Tull, but I think that it is fair to say that the later line-ups of the band lacked the character and eccentricities of many of the earlier ones. The transition from Jethro Tull to Anderson's solo project was a relatively straight forward one, then, with bassist David Goodier and keyboard player John O'Hara sticking with him - while guitarist Florian Opahle and drummer Scott Hammond joined the ranks. This line-up toured with Anderson until 2019, and played on his two recent solo albums: 2012's Thick as a Brick 2 and 2014's Homo Erraticus. At some point, however, Anderson and his band started to morph back into Jethro Tull. This was done gradually, and without much fanfare - and in truth it has been confusing over the past few years whether Anderson was himself or Jethro Tull once again. Even when he was clearly operating as a solo artist, the Jethro Tull name was always ever-present in any branding. Ultimately, however, I would imagine that Anderson's re-embrace of Jethro Tull was purely a commercial one. Jethro Tull shifts more albums and tickets than Anderson on his own - even if the band and the setlists are identical. This might be cynical, but it is true - and I can certainly understand why Anderson has called his band Jethro Tull once again, even without his long-standing right-hand man Barre. I was not really expecting a new album, however, so the recent announcement of The Zealot Gene was something of a surprise. I knew that Anderson was working on a solo album, and had been for a few years - but The Zealot Gene is that album. At some point it was rebranded as a Jethro Tull album, but in truth it sits more comfortably with Anderson's recent solo albums than it does with most Jethro Tull classics. This is partly down to its overall sound, but Anderson's songwriting style is unmistakable - and there is no doubt that there are enough Tullisms here to allow it entry into the band's hallowed canon.

The Zealot Gene is the band's first collection of all-original material since 1999's J-Tull Dot Com, and it is the first to feature all of the band's current line-up - Anderson aside of course. Opahle left Anderson's band in 2019, but is still the prominent guitarist throughout the album's 12 songs. His replacement, Joe Parrish-James, features on one song, however. The album kicks off with Mrs Tibbets, which for me is one of the strongest tracks here. It is absolutely packed with Tullisms, which makes it a great album-opener - and it pulls from many eras of the band. A trilling flute melody opens things up, before a groovy verse kicks in - backed by some great Goodier bass playing. The synths used throughout the verses are very reminiscent of the sound of 1982's The Broadsword and the Beast, while the hard-driving chorus reminds me a lot of 1975's Minstrel in the Gallery. For me, the standout musician is O'Hara. His mix of synths and Hammond organ brings the track to life, while Anderson's flute adds delicate dancing melodies that are very reminiscent of the band's classic albums. Not to be outdone, however, Opahle adds a ripping, blues-based guitar solo - which is full of fire, and again reminds me of the aforementioned 1975 release. Mrs Tibbets is very much a whole band effort, though, and it really showcases the modern Jethro Tull line-up in a great light - and should put to bed any fears about a Jethro Tull without Barre. Jacob's Tales is very stripped-back in comparison, and it is essentially an Anderson solo piece. He swaps his flute for a harmonica throughout, and strums along on his acoustic guitar while he delivers the warm vocal melodies. I have been critical of Anderson's live vocals on this blog, but throughout the album he sounds pretty strong. This material has been written for his aged voice but it works well - and there are enough witticisms in the lyrics and inflections in his voice to recall him in his heyday. Mine is the Mountain returns to the progressive side of Jethro Tull, and it is a dynamic piece that brings the best out of both Anderson and O'Hara. Anderson, in the album's booklet, calls the song a companion piece to My God - and I understand why. The structure is similar, with brooding atmospheric sections sitting side-by-side with busy instrumental moments that really burst out of the speakers - usually led by Anderson's flute or O'Hara's busy piano playing. There has often been a strong progressive bent to Anderson's songwriting, and Mine is the Mountain is the song here that showcases it the most. The album's title track follows, and it is a jaunty rocker with lots of folky melodies. The song reminds me of the rockier moments of 1977's Songs from the Wood, and it is one of my favourite cuts here thanks to its hooky chorus and emphasis on folky flute melodies. Opahle's guitar playing has just enough weight to give the song some bite, while Anderson's voice actually sounds very strong throughout. It is the sort of song that is made for playing live, and I can actually image the band's past line-ups past playing it alongside the classic material. It is a simple track, but it is packed full of melody - and it rocks in that jaunty way that only Jethro Tull can.

Shoshana Sleeping is similar. It again reminds me of the folk rock period of the band, but there is also something of a bluesy, atmospheric touch that reminds me of 1970's Benefit. The main flute hook is what really draws the listener in, but for me the vocal melodies are not as strong as those found throughout the previous song. That being said, however, the song is still memorable. The slight murkiness of the piece helps it to stand out - and it is a song that really allows Anderson to let rip on the flute. The aforementioned hook is a big part of what makes the song great, but he also allows himself a lengthy flute solo during the piece - which should remind us all that his instrumental talents have not waned one bit. Sad City Sisters is much more overtly folky. Anderson's acoustic guitar provides the main structure of the piece, while O'Hara steps away from his keyboards to add some accordion melodies - which is the other main musical focus here. Accordions are not my favourite instrument, but the inclusion of one works well here - as it helps the track to stand out and create something of a Parisian vibe which clashes nicely with Anderson's traditional folk. Anderson even swaps his flute for a whistle at times, with its soft sound adding a lilting quality to parts of the track - before the flute once again cuts through the mix. Barren Beth, Wild Desert John is a bit more muscular, and returns to the sound forged on the heavier sections of Mine is the Mountain. Like that song, too, the track is somewhat dynamic. While it is largely riff-based, there are moments that see the guitar drop out to leave Anderson singing gently against a warm keyboard backing. Triumphant flute melodies often rear their heads too, and they add to the overall hooky nature of the track. Both Anderson's vocal and flute melodies here are very memorable; but perhaps my favourite part of the song is Opahle's excellent guitar solo. It might be somewhat on the short side, but it really soars - and bursts perfectly from a lengthy flute melody, building on these notes with squealing, bluesy precision. The Betrayal of Joshua Kynde has a very old-school Jethro Tull vibe - and for me it sounds like a long-lost part of 1972's Thick as a Brick. The song is quite busy musically, which brings the best parts of that album to mind, while Anderson's vocal melodies are similarly playful. The interplay between his flute and O'Hara's piano is what makes the song stick for me, and the main melodies that see the two teaming up are some of the album's best musical moments. There is another great guitar solo from Opahle here too, which is somewhat longer than his efforts heard so far. It is still very blues-based, however, but it is busy to fit in with the constantly-evolving nature of the rest of the song. It is the sort of song that never sits still, and is frenetic in that manner that only Jethro Tull can really pull off - while still remaining memorable and hooky.

Where Did Saturday Go? is another acoustic-based piece, which largely returns to the stripped-back sound of Jacob's Tales. This song is a bit more arranged than the earlier song, however, with the rest of the band adding some depth when needed. Goodier's bass adds counter-melodies to Anderson's simple acoustic guitar lines, while subtle percussion occasionally cuts through the mix. Anderson also uses the song to showcase more of his flute playing. This time, however, his playing is much gentler. He is known for really attacking his flute and getting sharp sounds out of it, but his playing here is more traditional - with the gentle melodies adding to the warm backing nicely. Three Loves, Three is similar, but certainly much jauntier than Where Did Saturday Go? - which was generally more melancholy. Three Loves, Three is pretty upbeat, however, with lots of busy guitar strumming, percussion, and hooky flute melodies. The song reminds me somewhat of Jack-in-the-Green, although not quite as in-your-face. It has a similar pace and vibe throughout, however, and it is a song that really focuses on Anderson rather than the band as a whole. Jethro Tull albums have always includes songs of this nature though, and it is fitting that the band's first 'proper' album in 23 years follow suit. In Brief Visitation is also very similar, and feels like a continuation of Three Loves, Three - so much so that they essentially feel like one long song. It is the only song here to feature Parrish-James, but his contributions are minimal. He adds some subtle leads to back Anderson's flute lines, but on the whole the piece is led by Anderson's acoustic guitar. It is shame that Parrish-James did not get much of an opportunity to showcase what he can do on this album, but it is my understanding that much of it was recorded a few years ago - with Opahle's contributions well and truly entrenched despite his departure. The album comes to a close with The Fisherman of Ephesus which injects some rockier vibes after three acoustic-led tracks. It is not as heavy as some of the songs here, but like Mrs Tibbets it feels like more of a band piece - which is fitting for a closer. Flute melodies dominate, but once again the song is also a showcase for O'Hara - who's melodic keyboard work dominates the verses. Occasional bursts of organ add depth too, but much of the melody here comes from the flute - with Anderson allowing himself one final chance to showcase his skills. It is another pretty hooky song too, with a chorus that sticks in the brain despite it slowing things down somewhat. Perhaps fittingly, though, the song ends with a short flute-led instrumental section - which builds towards a crescendo that leaves the flute as the last thing that is heard. It is a song that has something of a heroic feel to it, which in many ways echoes throughout the album. I was dubious about The Zealot Gene being a new Jethro Tull album rather than being the solo album it was supposed to be - and I was worried it would not live up to the band's generally high standard, especially given Anderson's vocal limitations. I was impressed with the album from the off, however, and it continues to grow on me. There is a lot to love here, and it sounds like the Jethro Tull of old at times too - which shows that Anderson is still a songwriting force to be reckoned with.

The album was released on 28th January 2022 via InsideOut Music. Below is the band's promotional video for The Zealot Gene.

Giant's 'Shifting Time' - Album Review

It was inevitable that this review would include something of a rant about Frontiers Records. Those who have read any of my previous pieces about one of their releases, particularly those releases which have the feeling of being a manufactured studio project, will know that I have a love/hate relationship with the Italian label. One the one hand, I own a lot of CDs from Frontiers. Their support of AOR and melodic rock/metal should be applauded, and they give many bands a home. Big bands have released work through Frontiers; including Whitesnake, Uriah Heep, and Def Leppard; and they have always done a good job of promoting new talent. On the other hand, however, they release a lot of very samey and sub-standard albums from an endless stream of anonymous projects - which often seem little more than a way for some of their in-house songwriters to 'get rid' of some songs. This is not always true though, and some of the label's projects are quite good. The quality has dipped over time, however, and this has coincided with the omni-presence of Alessandro Del Vecchio. They guy is a good musician and songwriter, but he is involved with so much coming out of Frontiers that the quality inevitably suffers. His production style ensures that everything he works on sounds the same too, and there are a number of cookie-cutter AOR albums out there that have essentially been 100% masterminded by him. Sometimes, perhaps most egregiously, Frontiers apply this model to established bands - often with questionable line-ups. One such band is Giant, an AOR act that was formed back in 1987. The band, led by vocalist, guitarist, and songwriter Dann Huff, released two great albums before splitting up in 1992. Dann was always more of a studio guy, however, and never seemed to want to be a rock star. He has featured on hundreds of albums over the years at this point, covering multiple genres, but he was persuaded to put Giant back together over 20 years ago to release the III album in 2001 - an early Frontiers release. This version of Giant contained three of the band's four original members, however, so is certainly seen as legitimate. Nine years later, Giant released Promise Land - but this time only bassist Mike Brignardello and drummer David Huff remained. Singer Terry Brock and guitarist John Roth filled Dann's spot, but he was still involved with Promise Land - co-writing a few songs and contributing a handful of guitar solos. Brock and Roth wrote songs too, and the input from outside songwriters was kept to a relative minimum. Twelve years later, however, Giant's legitimacy has further waned. Their fifth album, Shifting Time, was released last month - with Kent Hilli (Perfect Plan) taking over from Brock. Hilli is a great singer, but it is clear that Frontiers want him to become their new plaything - and Shifting Time is essentially a collaboration between him and Del Vecchio. None of the other band members are credited with writing any of the material, and Dann is barely involved this time either - with his contributions limited to one guitar solo. While two of Giant's original members feature here, Shifting Time does not really feel like a Giant album. That is not to say that there is nothing of worth here, but it is an album that has more in common with any number of modern Frontiers releases than it does with 1989's excellent Last of the Runaways.

The album opens with its title track, a short atmospheric instrumental that acts as a lengthy intro piece to the first song proper. The album sounds great, and the production is lush, but there is not much about it that shouts 'Giant'. Giant's sound was slightly different from most late 1980s AOR, largely due to Dann's excellent guitar playing, but this version of the band has a much more typical sound. There are still good songs here, though, and Let Our Love Win is a strong opening track. The opening guitar riff is probably the most Giant-esque riff on the album, and the song is a solid bluesy AOR track that has a slow, anthemic chorus and a strong vocal from Hilli. I was impressed with Perfect Plan's second album Time for a Miracle (which I reviewed here) in 2020, and Hilli's performance was a big reason why. He is known to be a big Giant fan too, and Perfect Plan even covered Stay on a covers EP. He is more Jimi Jamison than Dann, however, but he still does a good job throughout the album. If anything, Shifting Time is another showcase piece for his talents - alongside a recent solo album which I have not listened to. Never Die Young is the only song here to feature Dann, and the track is a smouldering semi-ballad - with a big opening riff that soon gives way to a low key verse. The verses are very keyboard-heavy, and allow Hilli to sing in a more soulful manner - while Brignardello's bass rumbles away beneath him. My main issue with the song, however, is that the chorus never really hits home.It sounds more like a pre-chorus than an actual chorus - with the closing couple of lines containing the best hooks. Dann's solo is great however, and his inventiveness and tight playing is a reminder of why those old Giant albums are so great. Don't Say a Word opens with some great aching guitar leads from Roth, and the song is another that takes a somewhat slower path with a relatively low key verse - although David's punchy drumming keeps it ticking. Despite this, the song is much more guitar-heavy than the previous cut. Roth's leads and bouncy melodies continue throughout, and they should remind anyone who had forgotten what a good player he is. His main 'crime' here is not being Dann, but I have always liked Roth a lot - and his contributions to Winger's recent albums have been great. Don't Say a Word also features a chorus that does not quite hit home either, but it certainly has better hooks than the previous song. My Breath Away really establishes the sound that the album is going for, as it is the third song in a row that goes for a more smouldering approach - with some great soulful vocals from Hilli. This song is much better, however, and it is packed full of hooks. The verses, while slow and atmospheric, have some interesting vocal melodies throughout - and Roth makes his presence felt with the occasional bluesy lead. The chorus is much better this time too, and it hits hard from the off. It is telling, however, that it sounds more like a Survivor chorus than a typical Giant chorus. It could have featured on Perfect Plan's last album, but it still sounds good here - and it gets the best out of Hilli.

Highway of Love takes a much tougher route, and allows Roth some time in the spotlight. Like Let Our Love Win, the song is much bluesier and Roth's busy guitar work in the intro has something of a heavy country twang that gives it an edge. This carries on throughout the verses, which are more upbeat and rocking than anything on the album previously - which helps the song to stand out. The chorus is more typical, however, but there is still something of an organic sound present thanks to the use of Hammond organ instead of 1980s-esque synths. The hooks are still akin to the rest of the album though, which ensures that the song still sounds at home here. It's Not Over is the album's first true ballad. While many of the songs have started slowly, and opened up somewhat as they progressed, It's Not Over is very much a slower song throughout. Funnily enough, it is actually quite Giant-sounding - and it reminds me a little of some of the big ballads that the band put out in the 1980s/1990s. I think that it is Roth's guitar playing that gives the song this vibe, as his little arpeggios and melodies are slightly different from the norm - and it sets the song apart from most typical keyboard-led power ballads. It helps that the melodies throughout the track are great too. I have criticised some of the choruses here, but It's Not Over contains a great one - even if it is generally on the slower side. Hilli delivers the melodies perfectly, and he manages to inject a lot of emotion into the piece - which helps it to sound as good as it does. Roth's slow-burning guitar solo is great too, and the song is one of the best cuts on the album for me - largely due to how close it actually sounds to the Giant formula. The Price of Love also opens slowly, with some more aching leads from Roth setting the tone nicely. The verses are much more keyboard-heavy, however, with Del Vecchio's dense synths creating a strong bed for Hilli's emotional vocals. This is a song that gets back to the style of songs like Never Die Young earlier - with slower verses building towards harder-hitting choruses. Like many of those previous songs, however, the chorus never quite hits home - but the overall sound of the song is still enjoyable. In many ways, The Price of Love generally sums up my thoughts about the album as a whole - which is generally solid and enjoyable, but rarely reaching the top tier. Standing Tall hits harder, however, and the song is one of the few out and out rockers here. The mid-paced groove throughout is very Giant in style, and the fact that Roth's guitars generally dominate means that the song stands out somewhat. The main riff is another Dann-esque moment, and it has a bluesy busyness that is packed full of energy. This energy permeates the rest of the song, and it is one of the most immediate songs here as a result. The chorus is not as good as it could be, which is certainly a theme here, but the guitar playing throughout the song is great - and it rocks as a result.

Anna Lee is another big ballad, and is the only song here that was not co-written by Del Vecchio - with another Frontiers contributor Michael Palace instead writing it with Hilli. I think that Hilli wrote his solo album with Palace, so it is possible that this song was left over from those sessions - but it is still a decent addition to the album. These sort of songs really suit Hilli's vocal style, and bring the best out of him in my opinion. He can rock out too, but his soulful approach is great - and he always manages to inject a lot of emotion into the slower songs he sings. This song is less Giant-sounding than the previous ballad, but it is a enjoyable song in its own right - which again features some great Roth lead playing to inject further emotional moments. Don't Wanna Lose You is much more upbeat, and it is another strong rocker. There is still a smoothness to the track, but it certainly has more energy than most of the album - with David's drumming full of punch throughout. Despite this, however, the song sounds more like a Perfect Plan song than a Giant song. The guitar riffing does not have that Dann-esque frenetic style that made Giant stand out, with the song instead sounding more like a typical AOR rocker. This is not necessarily a bad thing in and of itself, but it does not really sound like Giant - which is part of my issue with the record overall. I enjoy the song for what it is, however, and it has some decent melodies and energy throughout - which is welcome after the previous ballad. The album comes to a close with I Walk Alone, which is another slower track that builds to a big chorus. This one is much more successful, however, and the song is another very enjoyable AOR cut. It opens with piano, which Hilli sings over, but the best part about the song for me is its chorus. A few choruses here are something of a let down in my opinion, but this one really soars - and again really shines a light on Hilli as a singer. He really goes for it throughout the chorus, and the melodies are very memorable - which helps the song to stick in the brain after only a couple of listens. When I first listened to the album, this was one of the songs that really jumped out at me and it remains a favourite of mine. Again, however, it does not really sound much like Giant. This is somewhat of a shame, but the song itself is very strong so it seems like a moot point. It ends the album on a real high, and it is one of the best cuts here - in my opinion at least. On the whole though, and despite some good songs, Shifting Time is an album that I have mixed feelings about. There are some standout tracks here, but there are also quite a few that do not really hit the spot - and much of the album does not really sound much like Giant at all. There is a cynicism to the album as a result, but the songs that are worth hearing are very good indeed. The main issue for me though is the lack of Dann, and he was always what made Giant stand out. If the band are to record more albums in the future then he needs to be more involved, and Del Vecchio needs to stay away - as it is likely his influence that stops this album from being a great Giant album.

The album was released on 21st January 2021 via Frontiers Records. Below is the band's promotional video for Let Our Love Win.

DeadFlight's 'Arrival' - Album Review

Sometimes when you are waiting for something specific, life has a habit of not quite delivering in the expected way - but throws some similar at you instead. Such is the case with Arrival, the newly-released debut album from the five-piece rockers DeadFlight. DeadFlight are a band that quietly formed over the past couple of years, and put together Arrival during the course of the COVID-19 lockdown of 2021. The lockdown was clearly so conducive to the band's creativity that it is actually listed in the 'With thanks to...' section of Arrival's CD sleeve notes. For those unfamiliar with DeadFlight, and familiar with the York-based band Glamour of the Kill, a glance at these sleeve notes will also reveal a familiar face - Davey Richmond. For those who do not know, Richmond is the frontman and bassist of Glamour of the Kill - a four-piece melodic metal(core) band that have largely been dormant of late. I got into the band in 2008 when I saw them supporting DragonForce, and I became a big fan. Their two EPs and two studio albums were regulars on my iPod at one point, and they are releases that I still reach for relatively often. The band mixed the metalcore sounds of bands like Bullet for My Valentine with much poppier metal, and their accessible sound should have led to much greater success than it did. The band split up in 2015, but got back together to play a handful of shows in 2018. I caught their reunion tour at The Underworld in Camden, and it was great to see the band live again. What really excited me, however, was the prospect of a new album. The band announced that they were working on a third album called Resurrection, and even released two singles: the title track and Fire Fight; but a year or so after the band's reunion tour their social media went dead once again - and nothing has been heard from them since. I can only assume that Glamour of the Kill are once again no more, and that we will not get to hear Resurrection - which is a real shame as both of the singles were excellent. The reason that I started this review in the way that I did is that while waiting for Resurrection I was instead given Arrival. I remember listening to DeadFlight's debut single last year (the Glamour of the Kill social media was resurrected again to promote it) and thinking that it was decent, but for whatever reason I never really followed the band's progress until Arrival was released. I have been listening to the album over the past couple of weeks, however, and I have been really enjoying it. There are certainly similarities between DeadFlight and Glamour of the Kill, but the former is not just a new version of the latter. Anything that Richmond sings is always going to sound of a 'type' due to his very distinctive voice, but DeadFlight's music is much more hard rock in tone; with the metalcore elements of Glamour of the Kill largely absent. There are a couple of moments where it rears its head, but this is largely a very melodic modern-sounding hard rock album that flirts with elements of pop metal. There is a lot to love here, and the album itself is very short - meaning that no second is wasted.

The album is barely longer than half an hour, meaning that I have EPs in my collection that are longer than it. This is not a criticism, however. All too often albums in the CD age have been too long, and Arrival is a very digestible listen thanks to its short runtime. It also flows nicely, and it has been structured to have the feel of two sides of vinyl - despite the album not being currently available on vinyl. The album contains ten songs, with tracks one and six being atmospheric spoken-word pieces that set the tone for the four songs that follow each. I like the way that the album flows, and it adds significantly to the listening experience in my opinion. As such, then, the album starts with its title track; a short piece that is largely atmospheric in nature - with multiple voices saying 'This is DeadFlight' over and over again in a rather Pink Floyd-esque manner. The piece itself gives little clue as to the overall sound of what is to come, but the dense synths and haunting spoken word certainly has the desired effect. It is left to Exhale, the first song proper, to establish the sound of the band. It is very typical of the eight true songs here, and the riffing of guitarists Ryan Duggleby and Sam Brookes hits hard from the off. I am not familiar with any of the band members, other than Richmond of course, but all do their bit to help Arrival sound as good as it does. The guitar playing is very typical of the modern hard rock style, but the riffs are all memorable and the album is extremely catchy as a result. Exhale is packed full of energy, and this stems from the main riff. That being said, however, there is still a dynamic approach taken throughout. The verses are somewhat stripped back, with the guitars taking a backseat to allow Frank Woods' snaking bassline to dominate. The rhythm section of Woods and drummer Tom Almgill are tight throughout the album, but the verses of Exhale show their interplay nicely. The guitars kick back in in a big way for the choruses, however, which ups their overall power. Richmond sounds as good as ever vocally, and anyone familiar with Glamour of the Kill will instantly recognise his approach. His knack for crafting a great vocal hook has not diminished at all, and the song's chorus actually reminds me of the sound that Glamour of the Kill took on their 2014 EP After Hours. The song is one of the standout cuts here, but in truth the whole album is of a similar quality. Speaking in Tongues opens with a low key version of its chorus, but another big riff soon kicks in. The song is slower in pace than Exhale, and instead goes for a much more groove-based approach. The riffs snake as a result, and Woods' bass is a big part of the sound. It is the first song on the album that revisits Richmond's old metalcore vocal approach too, with a bridge section that includes some dirtier riffing and his harsh vocals. These moments are relatively rare, but they help to spice things up nicely when they do appear - and in Speaking in Tongues they help to offset the poppy chorus with something a little dirtier.

Warriors ups the pace, and the song's main riff has a very 1980s feel to it. While not exactly a hair metal piece, the song certainly borrows from that sound - but pushes it into the modern day. It helps the song to be another real slab of melody, and there are tonnes of hooks throughout. The main riff is the first of many, and the chorus is another moment that really impresses. All of the choruses here are memorable, but Warriors' effort is certainly made with being played live in mind. It has a great pace throughout, as well as some extremely catchy gang vocals which are made for a crowd to sing back at the band. There is even a version of the chorus which is essentially just backed by the drums, which is a classic 1980s hard rock trope. It might be an old trick, but it works well here - and the song is another highlight as a result. Your God is heavier, and the good-time vibe of Warriors is largely dispelled immediately. The song's main riff has a bit of a sludgy vibe, which helps to ground the piece nicely - and this heaviness continues on throughout. The verses are actually quite atmospheric, however, despite this heaviness. Richmond sings in a slightly more restrained manner than usual, before ramping up for the heavy choruses. The song is another that features a much heavier bridge section, with some of the grittiest harsh vocals heard on the album. A reprise of this section also closes the song, and the song is easily one of the album's heaviest as a result. The slab-like riffing mixed with the harsh vocals makes for a tough-sounding piece, and the song ends 'side 1' perfectly. This is DeadFlight follows, which acts as the opening to the second half of the album. It is largely built around a distant-sounding guitar melody, which masks some murky spoken word lines - before everything drops out and one last 'This is DeadFlight' is said. Hands of Time launches the second half of the album proper, however, and like Exhale it is another great riff-based piece, but this time the song takes a heavier path. I have tried to avoid comparing DeadFlight to Glamour of the Kill throughout this piece, but there are moments throughout Arrival that have similarities to Richmond's former band. Hands of Time is possibly the song here that contains the most similarities, however. There is a mix of clean and harsh vocals throughout the verses, which harks back to the sound of 2011's The Summoning, and the chorus melodies really go for that epic sound that Glamour of the Kill went for - particularly in the early days. The band's later work was somewhat more restrained, so it is nice to see Richmond revisiting his past a little here. The chorus really excites me as a result, and it contains more gang vocals which will no doubt make the song a winner live. All the song is missing is a big guitar solo, but DeadFlight do not seem to be that sort of band - which is fair enough. The riff is key for DeadFlight, and that is certainly something that impresses about the album.

Speaking of riffs, Ghosts opens with another great one. Like Your God, the song is a little slower than some of the other pieces here - at least early on. The main riff has a bit of a doomy vibe, but the song itself is still very hooky. The riff seems less doomy when the rest of the band kick in and it can be heard in the context of the song, but regardless of this there is less of the upbeat vibes that are present throughout much of the material here this time. The song is one of the album's heavier cuts, and this is reflected in Richmond's vocal approach in the chorus - which is much more 'shouted' than usual. This works well, however, and there is something of a punk vibe added to the song as a result. It is done in a very melodic way, however, and this ensures that the song fits in well with the overall sound of the album. Fever Dream is similar from a riff perspective, but the song is much more overtly melodic overall. This despite is a slightly murky sound, which sees the bass dominate during the verses. The arrangement allows Richmond's voice plenty of space in the mix, and his well-crafted melodies take centre stage as a result. He always manages to make whatever he sings sound interesting, and Fever Dream is another hooky track despite the slightly different sound. Like Ghosts, however, it is not so different that it does not fit in with the rest of the album. It very much sounds like it belongs, but it is subtly different so as to help inject some variety into the album. It also allows Richmond to sing in a slightly different way too, which again helps with the overall variety. The album comes to a close with Burning Alive, which is very typical of the band's core sound. It starts out slowly, however, with a low key version of the chorus that is packed full of vocal effects. This is actually quite unsettling, but it works well to draw the listener in - before hitting them with one last big riff. Like Warriors, the main riff here has a very 1980s vibe. It is a fast-paced riff, but again it has something of a hair metal feel to it - although Almgill's tight, modern-sounding drumming stops the piece sounding like a throwback. This is another track that reminds me somewhat of After Hours-era Glamour of the Kill, particularly the chorus which is anthemic and packed with layers of harmony vocals to create a huge sound. In fact, the song is probably the biggest-sounding on the album - and easily the one with the most epic arrangement thanks to its slow opening. Being the album's final song, this is fitting - and Burning Alive helps to pull everything together and allows the album to end on a high. That being said, however, the whole album is a high. There is not a weak song here, and as mentioned previously the album has been crafted to have a great flow throughout. The band seem to have already established their core sound, but there is still subtle variety throughout - and despite its short length and emphasis on hooks it is still an album that rewards repeated listens. DeadFlight are a band that have almost come out of nowhere, but I am very glad that I picked up Arrival - and I look forward to hear more from them going forward.

The self-released album was released on 21st January 2022. Below is the band's promotional video for Exhale.

Doomsday Outlaw - Plymouth Review

One benefit of living in a city within walking distance of a decent small live music venue is that last-minute gigging decisions can be made. While The Junction in Plymouth might not be the busiest venue in the country, I have spent a number of memorable nights there since moving to the city in 2016. It is one of those venues that occasionally attracts a band that is far too big to play there, as Diamond Head can attest to following their triumphant lockdown-breaking set there last August, but more often than not it hosts up-and-coming hopefuls - who sometimes play to the bar staff and a handful of paying punters. This is certainly part of the touring band experience, however, especially for newer bands - and bands always seem to enjoy visiting The Junction even if the crowd is on the small side. I have taken punts on seeing a handful of relatively unknown bands there over the years, and have largely been impressed. In truth, it is something that I should have done a lot more - and I often tell myself that I should pop up to The Junction more. It was in this spirit, then, that I made the last-minute decision yesterday to make the five or so minute walk from my flat to The Junction to check out Sheffield's Doomsday Outlaw - a five-piece rock band who I was familiar with in name only. They were one of the bands hoovered up by Frontiers Records when they were trying to establish their 'new breed' roster a few years ago, something which seems to have fallen by the wayside recently, and I seem remember them being announced as playing one of the recent iterations of Bloodstock Open Air. I had it in my head, probably from mis-reading a PR statement, that the band were something of a doomy, stoner-esque band - a genre which is largely not my thing. Lots of bands play that sort of style, and I wrongly thought that Doomsday Outlaw were one of the pack. A couple of YouTube videos later, however, proved this thought to be wrong - and I decided to head out to check the band out.

Sadly for Doomsday Outlaw, very few of us made the same decision. I have been to The Junction a few times when it has been largely empty, and it is always a bit awkward - but Doomsday Outlaw did not let it deter them. They played for an hour and certainly grabbed the attention of everyone who had made the effort. There was no support act, so the evening felt quite short, but in truth I would rather have an hour of quality music than having to sit through a couple of average support bands just to make the night seem better value for money. The band played a mix of material from their two albums, as well as a few songs from their upcoming third album. Having read up about the band following the show, it seems that Doomsday Outlaw have undergone a few line-up changes recently - with only frontman Phil Poole and Indy Chanda (bass guitar/vocals) remaining from the line-up of the band that recorded their two albums. I can only judge the band's current line-up, however, and I was really impressed. The band were certainly not a stoner-esque band, but instead reminded me quite a bit of The Black Crowes - albeit perhaps a little grungier. Poole's stage moves and voice reminded me somewhat of Chris Robinson, while the lead guitar efforts of Alez D'Elia added plenty of bluesy vibes throughout. There were plenty of slide and wah-drenched leads peppered throughout the set, while Rowan O'Sullivan (guitar/vocals) held down the rhythms with pin-point precision. I was not really familiar with any of the band's songs before the show, but having acquired a setlist after the show I am able to highlight some favourites. The show kicked off with the newer In Too Deep, but perhaps the song that really made everything click for me was Spirit That Made Me. One More Sip was another highlight, with a darker lyrical side and a memorable chorus. There was, at times, a bit of a southern rock vibe to the band's sound, which fitted the band's Black Crowes-esque aesthetic nicely. Some of the songs were quite anthemic too, with powerful choruses. The older songs tended to take this approach, with Fallback and the catchy Saltwater in particular getting stuck in my head during the evening. Another newer number, Runaway, was also very memorable, but by this point the end of the set was near. A fun cover of The Osmonds' Crazy Horses, with D'Elia's guitar replacing the theremin, allowed the band to let their hair down a little, before Bring You Pain brought the set to a powerful close with plenty more soloing and some busy drum work from Nic Rudd. I do not think that the band had planned to play an encore, but the small crowd persuaded them to do one more - and the title track of their second album Hard Times, with its big riffs and bluesy slide work, proved to be an excellent added bonus. The setlist was:

In Too Deep

On My Way

Spirit That Made Me

One More Sip

This is the End

Fallback

Saltwater

Turn Me Loose

All That I Have

Runaway

Crazy Horses [The Osmonds cover]

Bring You Pain

-

Hard Times

Despite the poor turnout, which must always be disheartening for bands that have made the effort to travel down to Plymouth, I had a really great time with Doomsday Outlaw at The Junction. All of the band's songs were really enjoyable, and their bluesy hard rock is the sort of thing that I generally really like. I purchased both of the band's albums after their set, and I look forward to listening to those properly in due course. On the strength of the new songs played too, I am looking forward to hearing the band's third album - which is supposed to be released at some point this year. I will pick up a copy when it is released, and I hope to catch the band live again in the future.

Battle Beast's 'Circus of Doom' - Album Review

Looking back at my review of the Finnish power metal act Battle Beast's fifth studio album No More Hollywood Endings (which can be read here), I think that it is fair to say that I had mixed feelings about the 2019 release. Whilst Battle Beast have always been a power metal band, they have always included plenty of melodic hard rock and AOR elements in their sound. The heaviness has always come first, but big pop melodies have also been a key component of Battle Beast's sound. No More Hollywood Endings changed this somewhat. The band's 2019 effort was easily their least-heavy album to date, and it found the band at something of a crossroads. Having survived the departure of their original main songwriter Anton Kabanen in 2015 and proved that life without him was rosy on 2017's excellent Bringer of Pain (which I reviewed here), I feel like No More Hollywood Endings was very much the band trying to shake off all of the vestiges of Kabanen's sound and truly become their own band. At times, the album was more of an AOR album than a power metal one - and many fans struggled to adapt to this more laid back and poppy Battle Beast. There were a handful of songs that sounded like the Battle Beast of old, but on many of the tracks the heaviness was stripped away - and my initial view was that the album was quite tepid. It did grow on me over time, however, and the songs sounded great live when I saw the band live later in 2019, but it is certainly not as good as Bringer of Pain for me - and it is not an album that I have returned to that often. I feel that the band were caught between wanting to establish a new, poppier identity and sticking to what they knew. It felt like that band's heart was not really in either direction, either, and as such No More Hollywood Endings suffered. Three years on, however, and it seems that Battle Beast have decided that they want to remain a power metal band - and their newly-released sixth album Circus of Doom is a big step up from No More Hollywood Endings - from a cohesion perspective anyway. No More Hollywood Endings still has some very good songs on it despite my issues with it, but Circus of Doom feels a lot more like the band have settled on the path which they wish to take. It is much closer to Bringer of Pain in sound, with fast-paced power metal dominating the album. There are still plenty of pop hooks and synths to be found throughout, but there is a heaviness and a sense of urgency that was missing last time. Despite the album sounding very much like a classic Battle Beast album, however, there are a few tweaks to the band's core sound. The band have never gone for a symphonic sound in a big way, but Circus of Doom certainly flirts with that style. This is certainly not a symphonic metal album, but there is a grandness to some of the songs here which is generally lacking from the band's core sound. The big melodies are still here however, and the vocal performance throughout from frontwoman Noora Louhimo is as powerful as ever.

Given the album's title, too, it should not come as a surprise that some of the songs here have something of a theatrical quality. The album opens in this fashion, with the title track containing plenty of vaudevillian melodies. It starts slowly with a gentle melody, but the song soon becomes a great mid-paced rocker. There is heavier stuff to come, but the song's grooves, circus-esque melodies, and crunchy riffing certainly allow the album to open with a bang. It is also a song that showcases the album's grandness. Instead of focusing on synths throughout, keyboardist Janne Björkroth bulks out the verses with a mix of ringing piano chords and sweeping string patches - with the latter in particular also boosting the overall sound of the chorus. A gothic choir helps out Louhimo during choruses, and the song is one of the biggest-sounding from a dense arrangement perspective that the band has written to date. The mid-paced crunching riffing allows the keyboards to add this theatrical depth, but the song still sounds like classic Battle Beast - just with a newfound symphonic sheen. Wings of Light is more typical of the band's core sound, however. The song is a bit more upbeat than Circus of Doom, with Janne's synths backing the opening guitar riffing nicely - before totally taking over during the verses. The guitars are largely absent from the verses, with Eero Sipilä's bass instead providing the main groove - while Janne's symphonic keyboard flourishes add melody. This song is probably the most overtly symphonic metal piece that the band have written, and the verses in particular really remind me of Nightwish's recent singles. The arrangement is very similar, and even the bass groove throughout has shades of Tuomas Holopainen's songwriting style. The symphonic metal style suits Battle Beast, and it certainly allows Louhimo to shine vocally. She never attempts to sing in a more operatic manner, but her powerful voice soars atop the string-fuelled song. A couple of great guitar solos, presumably from Joona Björkroth, add some metal virtuosity to the song too - and the track is an album highlight as a result. Master of Illusion has a somewhat symphonic sound too, but the guitars play a much bigger role this time. Despite the presence of strings during the song's intro, it is the duelling guitars of Joona and Juuso Soinio that provide the main hooks early on. The two guitarists often lock together throughout the track to conjure up some excellent harmony guitar leads - and the ever-presence of the lead guitar stops the symphonic elements dominating. The melodies are much more classic Battle Beast in tone, however, with Louhimo's vocal hooks sounding very familiar - while drummer Pyry Vikki lays down a stomping beat. Songs like this filled Bringer of Pain, and it great to hear the band sounding so crunchy again.

Where Angels Fear to Fly is similar, and again opens with some soaring guitar leads. Despite the symphonic trappings throughout the album, the emphasis placed on guitar leads and solos sets Battle Beast apart from most symphonic metal bands - who generally tend to use the guitar as a purely rhythmic instrument. There are, of course, moments when Battle Beast do the same, but generally the guitar is much more important to the band's sound. It contributes to their signature crunch, and the lead work throughout is always strong. There are still a lot of keyboards to be found here too, however, but this time Janne opts for more synth-esque sounds. As such, the song sounds much less symphonic - although there are moments that return to some of the crazy circus-esque melodies from the opening number. These sections include some of Louhimo's most unhinged vocals on the album, and it is great to hear her really letting rip. Eye of the Storm opens with a twinkly keyboard melody, but the song soon morphs into another classic-sounding Battle Beast track - albeit with some of the symphonic sounds reinstated. The verses again have that Nightwish vibe, with a strutting groove and occasional keyboard flourishes, but it mostly just sounds like Battle Beast - especially when the chorus kicks in. Battle Beast's choruses generally have a pretty distinctive sound, and Eye of the Storm is arguably a quintessential example of it. It has the somewhat danceable groove that the band have become known for, thanks to Vikki's pulsing beats, with Louhimo's fast-paced, catchy vocal melodies. The song will certainly become an earworm as a result - and a shredding guitar solo fits in naturally with the song's upbeat vibe. My overall favourite track here, however, might well be Russian Roulette. It is classic Battle Beast from top to bottom, and it is packed full of great grooves - which are certainly very danceable. The chorus is very poppy, with gated drums and a dancefloor groove - which Louhimo perfectly sings atop, while she is backed by some of the returning circus melodies from a couple of the album's previous songs. The songs reminds me a little of Dancing With the Beast from Bringer of Pain, but amped up to meet the band's typical heaviness. The grooves of the former song remain, however, and there is certainly something very club-esque about the track - which is what helps the melodies to sound as big as they do. Freedom tones down the danceable grooves, but it ups the pace overall. At first it seems as if the song will be a slower cut, with a sombre guitar lead kicking things off, but soon Vikki starts to lay into his bass drums and the track becomes a Judas Priest-esque ripper with fast paced riffing and some of Louhimo's grittiest vocals on the album. She has such a versatile voice, but she perhaps sounds at her best when she goes for a slightly gruffer approach to suit the band's heavier side. She is always impressive when she sings, however, and she is a big part of what helps the band's appeal to endure.

The Road to Avalon gets its groove back, as well as reinstating some of the symphonic trappings from the album's earlier moments. The song opens with a flurry of shredded guitar leads, but the track is generally a crunchy mid-paced rocker with a great groove. There is a synth-led beat that is constantly plugging away behind the song, and it helps to give the piece a real dancefloor sound. Some of the other songs here are more overtly groove-laden, but this song has a constant buzz about it that will certainly get crowds moving if the band choose to play it live. It is blessed with a great power metal-esque chorus too, and one of the album's best instrumental sections that sees keyboard and guitar solos interweaving with each other to create lots of great harmony runs. Armageddon is much heavier, and is another song with those Nightwish-esque verses that the band have introduced on this album. It starts with twinkling keyboards and Louhimo's frantic vocals, but a big guitar riff sets the tone for the song's general heaviness. There is an ever-present crunch throughout the song, and Louhimo again goes for her gritty vocal approach. There are even backing vocal-esque sections that sound like she is growling somewhat. It is not exactly a full-on growl, but these sections are certainly very throaty - and help to add an extra edge to the song. It is another track that is sure to go down well live thanks to its energy and riff-based structure. The album comes to a close with Place That We Call Home, which is actually one of the album's fastest tracks. Vikki uses his double bass drums pretty much throughout the song, and gives the track an urgency that is largely missing from the album. The symphonic sound is back too, and the piece is really grand thanks to the string-fuelled depth throughout. These strings replace Janne's typical synths, but his keyboards still play across the guitars nicely to create those classic Battle Beast melodies. Given that it is the album's last song, the band clearly wanted to make it sound big, and everything within seems to take things up a notch. The guitar solo seems grander than usual, with less focus on shredding and more focus on statement melodies, while the choruses are backed by choirs and strings in a big way - which suits Louhimo's powerful vocal display perfectly. It ends the album on a high, and reaffirms the fact that the band seem to have decided what sort of band they want to be. Circus of Doom as a whole does that, however, and the AOR side of the band is rarely on show here. Some of the vocal melodies have that vibe, but generally this is a relatively heavy album that focuses on riffing and gritty vocal melodies. It sounds like the Battle Beast of old as a result, and it is sure to be a popular one with the fans following the relatively lukewarm reception that No More Hollywood Endings received.

The album was released on 21st January 2022 via Nuclear Blast Records. Below is the band's promotional video for Eye of the Storm.