Tygers of Pan Tang's 'Bloodlines' - Album Review

Whilst many of the bands which made up the NWOBHM movement back in the early 1980s have started releasing albums again recently, one band who reunited early and therefore had a bit of a head start on their peers is Tygers of Pan Tang. It is hard to say how important Tygers of Pan Tang were to the NWOBHM sound, but outside of the handful of bands that made it genuinely big they were key players in the core scene - known for their bold album covers and a more melodic take on the razor-sharp sound of the genre as a whole. The band's first four albums, despite a shifting line-up, are rightly considered as classics of the NWOBHM movement - and they are records which I return to fairly regularly. A couple of more AOR-influenced albums with make-shift line-ups then saw the band's original run come to an end in 1987 - and it would be 12 years before the world heard from them again. NWOBHM nostalgia is currently a big deal, with plenty of newer bands playing music which harks back to that sound and the aforementioned relatively recent reunions of classic NWOBHM bands - but Tygers of Pan Tang have been slogging away at a second wind since 1999, when founding guitarist Robb Weir reactivated the band. As of earlier this month, this reunion has now led to seven studio albums - the best of which have come in more recent years. For me, anyway, the current era of Tygers of Pan Tang really got underway in 2004, which is when the band's current frontman Jacopo Meille came on board. Weir, Meille, and long-time drummer Craig Ellis have formed the basis of the band since 2004, with a number of guitarists and bassists coming and going over that 19 year period. Despite this, though, the band's recent albums have all been excellent. In my opinion, 2012's Ambush is the best thing that they have done since their 1980s heyday - whilst 2016's self-titled album (which I reviewed here) and 2019's Ritual (which I also reviewed here) are also strong releases. Meille has the perfect voice to bring the band's melodic sound to life, whilst Weir seems to never be short on new riffs - and has worked with a number of other guitarists which have all made their marks, too. As mentioned, as of earlier this month the band have now released seven studio albums since reforming - as their thirteenth album overall Bloodlines was released at the start of May. It is the band's first since Ritual, and also the first since a bit of a line-up overhaul. Tygers of Pan Tang are no strangers to line-up changes, but it did seem that things had settled down on that front for a while. Stability was not to be, though, and Bloodlines sees both guitarist Francesco Marras (Screaming Shadows) and bassist Huw Holding (Cardinal Synne; Blitzkrieg; Holosade) making their studio debuts with the band. Marras in particular makes his presence felt here, co-writing a number of the album's songs - with the Italian guitarist also trading plenty of leads back and forth with Weir. This latest line-up shift has not really altered the band's sound, which is pretty much established at this point. Anyone who has enjoyed any of the band's other recent albums will know what to expect here - but the album feels a little more svelte and concise with a shorter run-time, which in my opinion is no bad thing.

A swirling sound fills the speakers as the album's first track, Edge of the World, gets underway. The effects-heavy guitar chords help to create some atmosphere as the album kicks off - but this vibe is relatively short-lived, as a mid-paced dual-guitar riff soon crashes in. The guitar harmonies here are classic Tygers of Pan Tang, but there is a bit more weight behind them than is perhaps usual - whilst the verse which soon takes over sees the pace upped, adding a sense of urgency. The verses steam along, then, with Ellis throwing in some occasional bursts of double bass drumming, with Weir and Marras teaming up for the song's choppy riffing - which harks right back to the early 1980s. Meille has served the band well since joining, and his vocal performance throughout this album is as good as ever. The melodic edge to his voice adds a sheen to the riffy verses - whilst the chorus, which is a little more spacious and atmospheric in approach, feels big thanks to his repetitive melodies. The atmosphere from the intro is briefly revisited for an acoustic-led bridge-section later - before the first of many guitar solo sections sees Weir lay down some shredded lines before Marras takes over for a more melodic approach. The speed and hooks throughout help the song to stand out, and the album gets off to a strong start thanks to this approach. In My Blood also opens with a guitar swell, but this one feels weightier - with the song itself being more of a crunchy, mid-paced rocker. There is little of the urgency which characterised the previous song, with Weir and Marras' chugging guitar rhythms keeping everything moving - whilst Holding's bass underpins everything. The verses are simple, then, with Meille standing out against this relatively simple backing - although a pre-chorus section sees the introduction of some screaming guitar leads to effectively harmonise with the vocals. Building on this, the chorus is more of an explosion of melody. There are a number of hooky moments here, but this chorus stood out to me from the off thanks to Meille's strong vocal hooks and the subtle use of talk box to add depth. The snappy chorus hooks certainly sound like something which could have appeared on one of the band's early albums - and a slight snarl adds an edge to Meille's chorus delivery. This reliance on big hooks and crunching riffs means that the song is easy to latch onto and, as such, it is likely to go down well live should be band choose to play it. Fire on the Horizon ups the pace, and goes for speed over anything else. The main riff is busy, with a modern edge rhythmically but still with a foot in the 1980s, whilst Ellis really lays into his drumkit throughout - with plenty more double bass drum rolls. The energy never really lets up, and this gives the album a bit of a shot of adrenaline after the more mid-paced previous number. There is much less crunch this time, though, with each guitar riff being pretty knotty - but this helps to keep the faster song interesting. The chorus is less hooky, but the repeated melodies suit the song's more urgent atmosphere - whilst Marras tackles the solo alone this time, again going for a speedy approach with plenty of shredded melodies. The song is certainly one of the most overtly metal pieces here, and the mix of pace and busy guitar riffing will please those who enjoy speed.

Light of Hope slows the pace down again somewhat, but the opening still goes for quite a full-on sound with more double bass drum patterns and a big scream from Meille. It feels as if the song is about to explode from this into something thrashy, but the track itself is actually quite hypnotic. There are strong grooves throughout, which are not something that I generally associate with Tygers of Pan Tang, but this slightly more modern approach works. The riffing is quite stop-start, with some underlying subtle guitar melodies, whilst the rhythm section of Holding and Ellis create the grooves and allow that hypnotic sound to flourish. This overall approach is something a bit different for the band, but it works well in my opinion - and Meille's strident vocal approach helps to hold everything together. The chorus shines thanks to his big delivery, as well as some subtle vocal harmonies, whilst the solo section sees both Weir and Marras slowing things down somewhat and take a more bluesy route. Back for Good opens with a punchy drum groove and Holding's growling bass ringing out - which the two guitarist soon lay some bluesy leads atop and Meille adds some Robert Plant-esque howls. This allows the song to grow nicely, and when the main riff kicks in after a short while the build up feels as if it has been nicely satisfied. This main riff does sound a bit close to Rainbow's All Night Long at times, which is a bit of a distraction, but the rest of the song is different enough to limit the comparison. Outside of this riffing, parts of the song actually have a bit of a late 1980s hair metal feel. There is more of a focus here on backing vocals than usual, and the song's pre-chorus feels like something which could have come from an American chart-topper in around 1988 - whilst the chorus also retains this slightly sleazy feel, whilst also injecting something of a British blues base. The song is a bit of a strange mix of sounds as a result, but it does just about hang together despite the disparate influences. It probably helps that the hooks throughout are strong, which certainly make up for any strange cultural clashes. Taste of Love then slows things down quite considerably, and acts as the album's ballad. Keyboards are added throughout by Federico Pacini, and his piano drives the song early on - over which bluesy guitar leads are soon layered. Meille sings over this piano alone for a brief while early on, but the rest of the band soon join in - and the song builds towards its chorus. Clean guitar melodies and a slow drumbeat fill out the verse, whilst the chorus feels bigger overall - with crunchier guitars and a fuller overall sound, which pushes Meille to sing in a more overt manner. His verse delivery is a bit more restrained, but the chorus sees him operating more typically - whilst the guitar solos here are also somewhat more restrained. Kiss the Sky soon returns to the band's typical sound, though, with a snarling riff opening things up and the song as a whole taking on a high-energy mid-paced vibe with a punchy drum groove and another chorus riff which borrows from Ritchie Blackmore's 1980s approach. This chorus has a real bounce to it as a result, with Meille's vocal hooks shining, and the song overall just feels a bit simpler and more carefree. The solo section reflects this approach, too, and everything pulls together to create a strong, feel-good rocker.

Believe slows the pace down again somewhat, but it is not a ballad - instead it is another crunchy mid-paced song with a similar overall vibe to In My Blood. This song feels a bit heavier overall, though, with a real slab of a main riff that is often revisited throughout - giving the song a real heaviness. Tygers of Pan Tang were never the heaviest of the NWOBHM bands, but songs like this show that they can operate in that sphere, too, and this track is a really groovy headbanger as a result. It is also a song which really showcases the bass playing of Holding. The spotlight is not shone on him too often throughout this album, but the verses here generally rely on his playing to drive everything - with the guitars briefly dropping away before returning once again with the meaty riff for effect. This bass prominence only helps the grooves to shine, whilst a simple chorus, which has a bit of an anthemic edge, is easy to latch into thanks to Meille's conviction and a characterful delivery. It is another song which stood out from the off for me, and it is another real favourite here. A New Heartbeat then follows, which was featured on the EP of the same name last year. As such, it likely features previous bassist Gavin Gray who was still in the band when that EP was recorded - but the overall style of the track is similar to the album's core sound. It ups the pace again after the meatier previous number, and is another track which really harks back to the band's classic 1980s sound. Whilst not as hard-driving as Fire on the Horizon, the overall energy whipped up by this track is similar - particularly during the chorus which has something of an urgency to it, as well another excellent Meille vocal. The song's main riff really would have not sounded out of place on any of the band's classic albums, but the chorus itself perhaps sounds a bit more modern than that - with the melodies recalling the latter part of the 1980s. Marras' guitar solo is another great moment, too, as it starts slowly and builds up to a shredded conclusion - adding a further energy to the hard rocking piece. The album then comes to a close with the moodier Making All the Rules. The song is slower, but again is not really a ballad. It does start out sounding a bit like one, but the song overall is weightier than that. The slower sections do see the band taking a back seat as a whole, leaving some clean guitars backing Meille's lower-than-average vocal delivery, but there are moments that inject some weight - with the band crashing in around crunchy riffs whilst screaming guitar leads replace the vocals. There is a darkness to the song throughout, though, and this helps it to sound different to everything else here. Generally the band's sound is quite upbeat, but this song feels more of a downer - with Meille delivering a more emotional vocal performance, whilst guitars are used in a more atmospheric manner than usual. The guitar solo injects a moment of pace, though, with Marras shredding away - but the song in general is slower and more brooding which allows the album to end in a more interesting way, presenting a different side to the band's usual sound. Overall, then, Bloodlines delivers more of what Tygers of Pan Tang fans have become used to in recent years. I liked both the self-titled album and Ritual, but I feel that this one is better than those two - and it could rival Ambush as being my favourite of the recent crop. So many of the songs here are memorable, and the guitar partnership between Weir and Marras feels well-established already - so I hope that there is more to come from this configuration of the band.

The album was released on 5th May 2023 via Mighty Music/Target. Below is the band's promotional video for Back for Good.

Angel's 'Once Upon a Time' - Album Review

I think it is fair to say that the release of Angel's seventh studio album Risen (which I reviewed here) in 2019 was one of the surprises of the year. Whilst the band's original frontman Frank DiMino and original guitarist Punky Meadows started touring together again in 2018, backed by a new line-up of musicians - I think few expected that this reunion would lead to new music. After all, many veteran bands, particularly those without a history of regularly releasing new music past their heyday, have generally given up on creating new albums - so I think that it was fair to assume that Angel's reunion was going to be fun nostalgia trip for DiMino, Meadows, and the band's fanbase, so the release of Risen was very much a pleasant surprise. In fact, DiMino and Meadows' early shows were conducted under the name 'Punky Meadows and Frank DiMino of Angel' - with the current line-up only officially becoming the latest incarnation of the Washington, D.C.-based band in 2019. Risen was the band's seventh album and, with the exception of 1999's extremely rare and seemingly forgotten In the Beginning (which was put together by DiMino and original drummer Barry Brandt with an array of session players), it was the first release from the band since 1980's double live release Live Without a Net - the album which Casablanca hoped would break Angel as Kiss' Alive! had done for them five years earlier. Sadly, Angel never really broke through in a big way. The band had their fans, and released five strong studio albums throughout the 1970s - but Casablanca never seemed to know what to do with them, and their sound was possibly too varied and over-the-top for audiences at the time. Mixing the flamboyance of Queen with the harder rock grit of Deep Purple and the progressive leanings of Styx (at least early on), Angel's brand of pomp rock was somewhat ahead of its time. A decade or so later they may have had some hits, but the band failed to find their niche. That being said, though, many rock fans look back on the band's work with real fondness. They influenced many 1980s rockers who went onto bigger and better things, and there are likely lots of rock fans out there who would love Angel's work if they heard it. That is why this new era of the band is welcome - and Risen, despite being too long, felt like a great comeback. With DiMino and Meadows, who made up two-thirds of the band's original main songwriting trio, working together again, the modern Angel truly feels like Angel - and the four other musicians on board clearly have a love for the band's classic sound. I had hoped that Risen would not be a one-off - so I was pleased last month when the band's eighth album Once Upon a Time dropped. Recorded by the same line-up as Risen, Once Upon a Time builds on what Risen started and arguably delivers the classic Angel sound even more authentically. Risen was more of a guitar-heavy album, but Once Upon a Time sees the keyboards of Charlie Calv pushed to the fore - with the balance between the guitars and the keyboards being more finely-balanced. This allows for a more pomp-based and somewhat more progressive sound at times. The keyboards generally played a supporting role on Risen, but Angel's best work featured huge keyboards - so it is great to see Once Upon a Time embracing this once again.

There are lots of strong songs here, but Once Upon a Time opens with one of its best and more hard-hitting cuts The Torch. The band have definitely channelled the overall feel of the classic Tower here - and Calv's keyboards are bright from the off, with his synths opening the song before the rest of the band crash in. The powerful guitar riffs of Meadows and Danny Farrow (who has replaced former keyboard player Gregg Giuffria in the band's songwriting trio) whip up plenty of excitement early on, laying down a tough bed for Calv's rumbling synths and organ, before the band draw back again - leaving DiMino singing against a background of gentle keyboards and acoustic guitar. The song builds again from this point, with DiMino sounding strong vocally from the off. Drummer Billy Orrico soon adds a bit of a groove to this low key backing, and everything then builds towards the song's explosive chorus - which utilises the big riffs from earlier. DiMino soars vocally here, his melodies grabbing hold from the off, whilst Calv lays down a hooky synth line behind him. There are lots of excellent choruses on this album, but The Torch's really showcases the band's hooky pomp sound perfectly. It is sure to lodge in the brain thanks to its majestic sound - and a later instrumental section which features Calv and Meadows trading solos back and forth is worthy of any 1970s progressive rock album. The Torch is classic Angel, and it perfectly gets the album underway in style. Black Moon Rising also opens slowly, with effects-heavy and soulful female backing vocals setting the tone, before a groovy rhythm led by Orrico and bassist Steve Ojane kicks in. The song has a slightly funky edge as a result, but it does not lay into this sound too heavily - with the classic Angel feel still shining. The verses have a distinct sound thanks to the prominence of the rhythm section, with the guitars adding stabbing chords, but the chorus returns to something more typical as Calv's organ rumbles into view and DiMino launches into a weighty vocal that suits the Deep Purple-esque explosion which sits below him. The funk is abandoned for the chorus, with a harder rock sound shining, whilst the backing vocals from the song's intro add depth. Meadows later showcases his talents with a lengthy and acrobatic guitar solo, and the mid-paced, varied song showcases Angel's progressive leanings whilst still delivering on what their fans would expect from them.

It's Alright is much simpler, and reminds me quite a bit of the sound which Angel went for towards the end of their original run - as well as the more guitar-heavy sound of Risen. There is less pomp overall here, despite a few flashy keyboard runs from Calv, with Meadows and Farrow instead driving everything. It is a relatively straightforward hard rock track, but there is still plenty of melody throughout - and DiMino shines against this more restrained backing. In truth DiMino always shines, and his voice has barely aged a day, but this song feels like it was written to be a vocal-led piece - built around a catchy chorus and verses which generally just exist to provide a hard rock groove to back the vocals. Meadows does add a solo, and Calv does include the odd synth run, but this generally a riffy rock track - and after two busier songs it feels like a bit of a palette cleanser. The obscenely-titled Once Upon a Time an Angel and a Devil Fell in Love (And It Did Not End Well) follows, and immediately returns to the more bombastic sound with which the album opened. Calv's keyboards are pushed to the fore again, but there is still plenty of riffy heaviness throughout. There is less of a dynamic arrangement here, with the guitars constantly grinding away to provide a tough backing - stabbing around a groovy verse drum pattern which also includes a prominent bass presence. As such, the verses snake along, with Calv's keyboards filling every gap, whilst the chorus is much more typical with a more straightforward beat and rumbling organ. This backs DiMino's big vocals, and some band-led gang vocal harmonies - with these harmonies and hooks helping the song to be memorable. There is not really a solo section here, sadly, with a strange, theatrical spoken word section instead filling that role. I could have personally done without this part, as it is quite cheesy, but the song as a whole still feels like classic Angel with plenty of hooks. Let It Rain then slows the pace, and acts as the album's only real ballad. It opens slowly, with Calv's piano soon being joined by DiMino - who sings over the melodic backing in an emotional manner. The female backing vocals used earlier in the album return here, and the vocal harmonies and arrangements here really make the song shine. As the chorus is approached the backing vocals sing with DiMino in a call-and-response style, which works really well, and the chorus itself sounds huge thanks to this big vocal presence. DiMino powers through the mix, his rich voice carrying the melodies perfectly, but harmonies really flesh the song out - particularly as there is not a huge presence from the rest of the band here. Calv's piano dominates, with the rest of the band generally just providing a rhythmic backing as and when needed - although Meadows does throw in a brief solo towards the end. As this album is generally pretty rocking, Let It Rain is a welcome addition - and it really showcases DiMino's singing abilities.

Psyclone returns to the band's trademark pomp rock sound, and it was one of the songs that really stood out to me from the off thanks to the excellent guitar riffing throughout and the use of keyboards. Meadows and Farrow drive the song with a barrelling guitar riff, which whips up plenty of energy from the off, but the keyboard accents and leads are what make this song really tick. Calv often uses organ, Uriah Heep style, to add drama to the energetic riffing - whilst elsewhere he turns to his synths to lay down a flashy lead. The interplay between the guitars and keyboards is great throughout the song, and the energy created allows DiMino to lay down a high-energy vocal - particularly during the staccato grooves of the chorus. The song is instantly-memorable as a result, and it is one of my favourite cuts here. Blood of My Blood, Bone of My Bone reins it in somewhat, and goes for a bit more of a cinematic sound overall. The song still rocks, but it has more of a poppy tone overall - with plenty of influence seemingly coming from the 1970s glam rock scene. Calv's keyboards, be it synths early on or the piano melodies which come later, drive everything - whilst the rest of the band provide a bit of crunch and groove. There's a smoothness to the piece as a result, which really suits DiMino's vocal style, and the female backing vocals return again to add soulful layers - as well as to bulk out the summery chorus with lots of harmonies. The song is certainly not the hardest-hitting piece here, but I really like the overall approach taken. The melodies are very infectious thanks to the smoothness, and it feels like the sort of song that the band would have had fun with - and likely pays tribute to some of their main early 1970s influences. Turn the Record Over returns to the simpler, guitar-driven sound which characterised Risen. There are keyboards here adding a synth backing, but generally the guitars dominate - with a big Meadows lead opening things up against a backdrop of a snappy rhythm and a joyous overall vibe. The song is pretty upbeat, then, and it really screams 'single' as a result. I feel like this song could have been a hit if had been released in the 1980s, as everything about it has been finely-crafted to ensure that the hooks shine. From the opening guitar lead to the bouncy chorus, the song is a bit of a masterclass in pop rock songwriting. The chorus is catchy from the off, with DiMino's vocal melodies having an infectious quality, and Meadows' later solo builds on the opening lead to create something which is also packed full of memorable motifs. There are more involved songs here, but the hooks are undeniable - and it is a shame that radio stations around the world will not be blasting it.

Rock Star ups the heaviness again a bit, and goes for a punchy, groovy sound. Orrco's drums really lead the charge here, his stabbing bass drum and snare clattering through the mix, whilst guitars take a bit of a wah-drenched approach - which give the verses a strange sound. The band's usual wall of sound approach has been toned down a bit here, and the mix has a bit more space - which allows these wah riffs to really breathe. The chorus is more typical, with harder riffing and a strong synth backing, but the verses do feel a bit different - and the song has a bit of an edge to it as a result, similar to how Black Moon Rising utilised funky grooves earlier in the album. It is a good mix of familiar and different, then, with Meadows lengthy and screaming guitar solo somewhat bringing everything together before a final rendition of the weighty chorus hits. A big drum barrage then heralds the introduction of Without You, a heavier overall song with crunchy guitar riffs that drive everything and the occasional flash of synth. In general this is a tougher song, with the riffing dominating, but Calv's keyboards are never too far away - adding a spacy halo when needed, as well as the occasional flashy lead. There are a few moments here which see the guitars and keyboards trade licks, adding to the band's overall progressive vibe, but generally this is a song which focuses on muscular guitar riffs - with Meadows' solo being a busy collection of notes. It is not a song which shines vocally as much as some, but the overall toughness helps it the stand out - and the driving riffing throughout is welcome. The album then comes to a close with Liar Liar, a song which returns to a poppier overall sound. It is another track that has the vibe of a single, and the upbeat summery song again channels some 1970s glam rock influences with its sugary chorus and occasional synth breaks. The band's general toughness remains, but it has been toned down somewhat to allow for a big vocal arrangement to shine. The riffing keeps everything moving, though, whilst Occrio's drums add a bouncy groove throughout. The synths add a bit of a grandness, but in general this is a song which focuses on pop hooks. I had perhaps expected something grander to close the album, but the hookiness of Liar Liar actually works well - especially following the heavier previous song. Having Angel back in recent years has certainly been a treat, and this second album of the new era really delivers on what the fans want. The songs here are vibrant and melodic, and it is great to see the veteran band sounding so fresh after so long away. There is nothing not to like here for fans of pomp rock, and I hope that there is more to come from DiMino and Meadows yet.

The album was released on 21st April 2023 via Cleopatra Records. Below is the band's official trailer for the album, which features snippets of a number of its songs.

The 69 Eyes' 'Death of Darkness' - Album Review

Like most fans of heavier music, my love of such did not happen overnight. I am certainly no extreme metal expert, but I think that it is fair to say that my music taste is significantly heavier than average - and gateway bands are a big part of the reason why. I am continually looking to expand my knowledge of heavier music, but there are a handful of bands which helped to transition me from the classic rock sound to an appreciation of heavier and darker music. One such band was HIM, which is why I gushed over their frontman Ville Valo's debut solo album Neon Noir (that gushing can be read here) when it was released back in January - but another important band for me in that context was The 69 Eyes. HIM and The 69 Eyes are often grouped together due to both being from Finland and Valo's occasional contributions to the latter's albums - but The 69 Eyes always had a stronger air of 'fun' than HIM ever did, with a sleazy 1980s influence sitting side-by-side with the band's core gothic sounds. In some ways, The 69 Eyes are pioneers of the goth 'n' roll sound which became somewhat popular during the 2000s. Taking influence from bands like The Sisters of Mercy and Fields of the Nephilim, and throwing in a healthy dose of hair metal, The 69 Eyes mixed darkness and melody perfectly from the off - and they were one of the bands that showed me that darker music could also be fun and upbeat. I have been listening to them since the late 2000s, and saw them live in 2011 - as part of a UK tour with Hardcore Superstar and Crashdïet. Sadly I have not had an opportunity to see them live again since, as they are not regular visitors to the UK and often seem to be one of those bands who announce shows after other plans have already been made, but I have always kept up with their albums - and the quality of their output is rarely a let down. In recent years, too, the band have returned to their core gothic sound after chasing a more simplistic and rock 'n' approach during the late 2000s and early 2010s. I liked this era of the band, but I prefer them when they are somewhat more atmospheric - and their last two albums, particularly 2016's Universal Monsters (which I reviewed here), saw them working with older collaborators again to return to their classic sound. I did not think that 2019's West End (which I also reviewed here) was quite as strong, but in revisiting it recently it held up well - and that album saw the band take their gothic sound in a somewhat heavier direction. Four years on from West End, then, and The 69 Eyes are back - as they released their thirteenth studio album Death of Darkness last month. The tougher edge of West End has largely been replaced by a poppier sheen - with the album sounding more like Universal Monsters and the band's mid-2000s releases than the 2019 effort. Synths and keyboards fill this album, but the band's usual sharp riffing and melodic approach to guitar leads remain - and the songs here could only come from the minds of The 69 Eyes. I think that the album was worked on over quite a long period of time, as some of the singles have been floating around online for a while, but it still has a complete sound which impresses from the off with its hooks.

If anyone wants to understand what The 69 Eyes are all about by only listening to one song, then the album's opening title track would be the perfect place to go. It is one of two songs here co-written by Ben Christo (The Sisters of Mercy; Night by Night; Diamond Black), and it perfectly mixes the band's trademark melancholy sound with strong guitar riffing and plenty of hooks. The album was produced by Erno Laitinen, who also handles the keyboards throughout, and his lush production style really brings the opening song to life. A jangly guitar melody openings things up, which forms the basis of the song's main hook, whilst a piano motif and some crunchy guitar rhythms soon join in to bulk out the track. These melodies later resurface during the chorus, giving the song some punch, but the verses in general are quite low key. Occasional piano melodies punctuate a pulsing bassline from Archzie - whilst the instantly-recognisable voice of frontman Jyrki 69 croons over the slow-burning melodies. The album's core atmosphere is established right away, then, with the chorus then injecting a little heaviness with more guitar heft. A brief pre-chorus moment sees Jyrki adopting a harsher vocal delivery briefly, which is something a bit different for him, whilst Bazie's short, but melodic, guitar solo perfectly showcases the band's core approach to guitar leads. It is a song which immediately lodges in the brain, and it gets the album off to a fine start. Drive, which is one of the singles that has been available online for quite a while at this point, is up next - and the song is instantly more upbeat, somewhat recalling some of the band's more rock 'n' roll-inspired albums. The guitar riffing of Bazie and Timo-Timo mixes back and forth between 1980s-inspired rollocking rhythms and flashy lead hooks, but the verses actually just feel like a more urgent version of the previous song's - with Archzie's bass taking the lead. The bass playing gives the song real weight, with the synths adding depth, whilst the chorus kicks things up a gear with some infectious vocal hooks and plenty more guitar crunch. Bazie's guitar solo squeals and feels like it was pulled from the 1980s, too, adding more of a hair metal flair to the track - and overall the song is a great mix of darkness and sleaze. Gotta Rock is a cover of a song by the Finnish 1980s band Boycott - who I must admit that I had not heard of prior to getting this album. I can only assume that the band were an influence on The 69 Eyes, but if I was not aware that the song was a cover I would just assume that it was an original. I have not heard the original version so I do not know how this one compares to it - but it perfectly encapsulates The 69 Eyes' sound thanks to its main chiming guitar hook, which plays throughout the verses, and another driving bassline. It is more of a mid-paced song, too, and the more deliberate pace is a nice contrast to the faster song which preceded it. It is another strong slab of goth 'n' roll, and the song feels at home on the album despite it being a cover. I will need to check out Boycott now to see what I have been missing out on.

This Murder Takes Two then acts as a real change of pace, as it is the album's first ballad - and also a song which injects a strong country vibe into the band's core sound. The 69 Eyes have done plenty of ballads in the past, but I cannot recall them ever doing something quite like this before. The mix of a more organic sound, including piano and acoustic guitars, into the band's usual gothic approach works really well, though, and Jyrki sounds great against this more Western-inspired backdrop. Kat Von D, who is more well-known as a celebrity tattoo artist than a singer, adds her voice to the song - and she really elevates the piece in my opinion. Her smoky voice perfectly suits the demented country vibe present throughout, and she harmonises well with Jyrki - as well as taking the second verse on herself. She has collaborated with the band previously, but her contribution to the song shines here - and helps the band to pull off something a bit different which still feels very much at home on the album. California returns to the band's core sound, though, as if they felt that they had better throw in something more familiar after strapping on their acoustic guitars. It is the sort of song that fans of the band will be used to at this point, but the hooks are infectious - and there is plenty of guitar weight throughout. Bazie and Timo-Timo lay down plenty of crunchy riffing, and Archzie's ever-present bass has more of a growl here, too. The chorus, despite its simplicity, is sure to stick in the brain after only a couple of listens - largely thanks to the hooks but also due to the huge vocal approach taken, which include plenty of 1980s-esque harmonies. Another lengthy guitar solo later adds some acrobatics to the piece, whilst ticking another box in the 'core sound' list at the same time. Call Me Snake then ups the heaviness somewhat, and returns to a sound similar to the one found throughout West End. The guitars are much tougher-sounding here, and the pace is upped generally - with drummer Jussi 69 propelling everything along. Jyrki also sings a little differently, here. Parts of the song are sung in his usual Elvis/Jim Morrison approach - but the heavier sections, including the chant-along chorus, see him channelling his inner Carl McCoy. I imagine that Fields of the Nephilim were an influence on the band, so this is not surprising - and the gruffer vocal approach suits the song's more hard-driving and tougher sound. The riffing throughout is engaging as a result, and there is another excellent guitar solo here which feels more metallic overall to fit the song's approach. Dying in the Night returns to a sound similar to the album's title track, but it sounds a bit smoother overall - whilst also feeling a bit more like a ballad. The opening drum and bass groove actually sounds quite funky, but the song does not really proceed in this manner - instead laying smooth synths and effects-heavy guitar swells against Jussi's punchy drum beat. The bass is as important as ever, injecting plenty of additional melodies during the verses, whilst the song's slower pace and more reliance on synths allows it to feel much more atmospheric. The chorus really swirls thanks to this hypnotic atmosphere, and the occasional guitar chimes which are more defined only enhance this mood. Ringing synth lines have a similar effect, too, and the song does a good job of slowing things down again following two harder rockers.

Something Real soon breaks this hypnotic vibe, though, and returns the band to their more upbeat core sound. A big guitar/keyboard melody opens the song up, and it soon again channels the overall vibe of the album's title track - albeit with a bit more urgency and punch. Jussi's drums and the driving bassline once again really kick the verses along, whilst the chorus is one of the album's hookiest in my opinion. As such, the song is one of the ones which stood out to me the most when I first listened to the album last month. It contains everything that makes The 69 Eyes a great band, and it also contains one of Jyrki's best vocal performances on the album in my opinion. He sounds great throughout, but there is real gravitas to this performance here - and the chorus sees him singing a little deeper than usual, but it only helps the darker side of the band to shine. There is little musical flash this time, but the vocal hooks are enough to help the song to stand out, and it remains one of my favourites here. Sundown is similar, too, but with less urgency overall - and a stronger keyboard presence throughout. Whilst the bass still does a lot of heavy lifting, the verses do feel a bit more guitar-driven this time. This does not mean that it has the crunch of some of the heavier pieces here, but the guitars snake away nicely throughout - whilst the chorus has more of a floaty feel than might otherwise be expected. It is surprisingly laid back, with Jyrki sounding somewhat wistful, whilst some subtle harmony vocals help it to sound big - and a piano-led bridge section later builds on this overall feel successfully, whilst another big guitar solo does add a few bars of grittier hard rock. The album then comes to a close with Outlaws, a bigger-sounding song overall which takes the deep sound of the album's title track and pushes it further - whilst also injecting some ballad-esque vibes, too. The song is a slow-burner, then, but it has a great balance between heavier guitars and chiming keyboards. The verses feel a little sluggish, but this only contributes to the wider atmosphere, particularly thanks to the organ backing which feels more grounded than the band's usual approach to keyboards, whilst the chorus is weightier - with crunchy guitars and a more typical synth hook. It is not hugely different from what has come before, but the song overall feels a bit more expansive. The arrangement has a bit more room to breathe, but the hooks still feel tight - and the slower pace does not feel boring, as it instead enhances the overall keyboard-led atmosphere nicely. It is a good way to end the album, as it feels like a culmination of the gothic atmosphere that has built throughout - with the slower pace and swirling melodies allowing the album to end on something of a reflective note. Overall, then, Death of Darkness is another very strong album from the Finnish band. I had been looking forward to it since the singles started appearing online, and it was worth the wait. It is a compact album length-wise, but there is a lot going on throughout the 10 songs here, and the melodies are as sharp and as hooky as ever. Fans of the band will find plenty of love here, and it is great that the band are still going strong after all these years.

The album was released on 21st April 2023 via Atomic Fire Records. Below is the band's promotional video for Death of Darkness.

Tyketto/FM/Dare - Wolverhampton Review

Towards the end of 2019 I made my first trip to Wolverhampton for a few years, and made my first visit to the excellent KK's Steel Mill - a newish venue towards the south of the city centre which has become a regular stop for many mid-sized rock and metal bands. With the extended closure of the Civic and Wulfrun Halls due to refurbishment, Wolverhampton had become a bit of a gigging wasteland. The Civic Hall complex is scheduled to re-open shortly, many years later than expected and following a ballooning budget, but they (particularly the smaller Wulfrun Hall) will now have to compete with the Steel Mill - and I would not be surprised if the latter reigned supreme. Wolverhampton has become a semi-regular destination for me again, then, and I was in the Black Country city as recently as a couple of months ago when I caught W.A.S.P. on their recent European tour. That show was sold out and the atmosphere was excellent - but I was also inside the cavernous former industrial building this past Friday night. The 2019 show which I mentioned was a triple-bill, featuring Gun, FM, and the Dan Reed Network - all celebrating the 30th anniversaries of albums they released in 1989. It was an excellent night, with all three bands impressing a large crowd. Whilst each band only played for just over an hour, there was so little waiting around and the quality of the three bands made the evening feel like a mini-festival. In some ways, I am surprised that not more tours like that happen - especially with bands of the size of those referenced. It gets the bands into bigger halls than they would likely play on their own and gives the fans real value for money - especially if the bill is well put together so that there is likely to be quite a bit of fan crossover. I was pleased, then, when it was announced late last year that another such tour, also involving FM, was going to take place. Joining the UK-based AOR band this time, though, were the American melodic rockers Tyketto and the UK's own Dare. Whilst there was no 'occasion' to celebrate this time, the tour promised to be an exciting one - with a healthy number of UK dates announced. After deciding on the Wolverhampton show, although there were a few potential options, I snapped up a ticket as soon as they went on sale. Despite seeing Dare three times last year and the fact that FM are one of my most-seen acts, my overall enthusiasm for the tour was not at all dampened. FM are a band that I will take any opportunity to see, as I have not seen them put on a bad show, and Dare have become real favourites of late. I am also a big Tyketto fan, but I have not had anywhere near as many opportunities to see them live - having last seen them in early 2019. With three great bands on the bill, then, it was with excitement that I headed up to Wolverhampton this past Friday. After a quick bite to eat at Wetherspoons and a brief rest in the Premier Inn, I headed down to the venue for the 6:30pm doors. Given how well-attended the similar 2019 show had been, I expected another good turnout. At first the crowd looked a little thin on the ground - but by the time the first band hit the stage at 7:00pm the venue looked busy.

As is common on these sorts of tours, the bands swapped places each night - and played for an hour each. Dare had the honour of opening the Wolverhampton show, and played an 11-song set which was essentially a condensed version of last year's UK tour setlist. As such, newer material made up the first half of the set, before the band then dipped back into their classic releases towards the end. They took the stage to the sound of thunder and rain, with Vinny Burns (guitar/vocals) soon launching into a soaring guitar lead - which heralded the arrival of Born in the Storm. The track is likely my favourite Dare cut for some time, and it works well as an opener. The sound mix, which was great for all three bands, perfectly balanced the riffing of Burns with the atmospherics provided by Marc Roberts (keyboards/vocals) - whilst frontman Darren Wharton's voice was high in the mix, allowing him to power through the material. Born in the Storm's chorus was the first big hook of the night, and it really set the tone for what was to come. Down the near front everyone sang along, and the atmosphere just grew and grew. The more atmospheric Cradle to the Grave and Home then showcased the beauty of Wharton's more modern songwriting style - before Burns then toughened things up for the slightly crunchier Until. Until still included some of the band's Celtic influences, though, with Burns revelling in the folky guitar leads - whilst Wharton belted out the chorus with all of his sultry power. It was left to the title track of last year's excellent Road to Eden to then close out the modern portion of the set. Written during the pandemic, the song signals the end of lockdown - and the powerful chorus washed over the venue, setting the crowd up for the rocking that was to follow. The remaining six songs all came from the band's first two albums. Two songs from 1991's Blood from Stone kicked this section off, which was made more special owing to the fact that Blood from Stone-era drummer Greg Morgan was playing with the band again for this tour - due to regular drummer Kev Whitehead being on Barclay James Harvest duty. Wings of Fire proved to be a big sing-a-long, with Burns' shredded guitar solo impressing, before Wharton showed that working with Phil Lynott in Thin Lizzy rubbed off on him with the rollocking Celtic metal of We Don't Need a Reason - with the shout-along chorus getting everyone going. Four songs from 1988's Out of the Silence then rounded out an excellent set, with singles Abandon and Into the Fire showcasing both Wharton's hooks and Roberts' driving synths, before a couple more expansive pieces brought the set to a close. King of Spades is always a highlight of any Dare set, especially with Burns' Thin Lizzy tribute which gets thrown in these days, and the joyous Return the Heart brought the curtain down with its uplifting melodies. With two bands to go, the crowd had already gotten their money's worth - but the night was only just getting started. The setlist was:

Born in the Storm

Cradle to the Grave

Home

Until

Road to Eden

Wings of Fire

We Don't Need a Reason

Abandon

Into the Fire

King of Spades/Róisín Dubh (Black Rose): A Rock Legend [Thin Lizzy cover]

Return the Heart

FM were up next, and the UK-based melodic rock band did not stand on ceremony. With Dare's set building in intensity as it moved along - FM came roaring out of the blocks from the off, opening with the synth-laden and soaring Synchronized from the 2020 album of the same name. Whilst most of FM's set focused on older favourites, a few newer tracks were thrown in too - as well as one surprising deep cut. FM always shine no matter what they play, and in Steve Overland (vocals/guitar) the band have a frontman who has lost none of his voice. His vocal power always impresses, but the whole band are a well-oiled machine at this point. Jem Davis (keyboards/vocals) powered through the mix, his synths sparkling during the opening cut and drove following oldie I Belong to the Night, whilst long-time guitarist Jim Kirkpatrick often owned the stage with his soloing - evening if he had to go and get his shoe taped up at one point! Given the shorter set, the band largely focused on their hits, but I do not think that anyone was complaining. That said, though, even the newer cuts played were sung loudly by the crowd. Killed by Love has become a real favourite over the past few years, so it was welcomed with open arms, before the stadium rock of Someday pushed Overland's voice to the limit. He often jokes how hard the song is for him to sing, but he always nails it - and despite it never being one of my personal favourites it sounded huge as always. Davis was then showcased again with the snaking keyboard melodies of Let Love Be the Leader, with yet another big chorus for the crowd to shout back at Overland, before the set took a slight detour into slower territory with the ballad Everytime I Think of You. This is not a song which has been played too often by the band in recent years, so it was good to hear it live again, before the set's real surprise package in Tattoo Needle was wheeled out. I had never seen the band play anything from 1995's Dead Man's Shoes before - but Tattoo Needle is one of my favourite cuts on what is otherwise quite a patchy album. The smooth AOR track felt at home in the set, though, and provided a nice treat for long-time fans - before the band returned to hit territory. The next trio of songs hit the crowd with hook after hook, with That Girl, Bad Luck, and Tough It Out all coming thick and fast. The band really felt triumphant by this point, with Bad Luck in particular filling the venue - before Tough It Out's gang vocals roared through the speakers. I am sure that the crowd would have liked to have heard more, as was likely the case relating to all three bands, but by this point time for FM was running out. They had time for one more track, and they left it to one of their newest songs Turn This Car Around to closing things. It is one of the stand-out cuts from last year's strong Thirteen album, and the smoothness of the song feels like a throwback to the band's classic years - making it the perfect closing cut thanks to its big chorus and driving grooves. Like Dare's set before them, FM's Wolverhampton showing was a real success - and it was just the latest in a long line of excellent FM shows that I have seen over the past decade or so. The setlist was:

Synchronized

I Belong to the Night

Killed by Love

Someday

Let Love Be the Leader

Everytime I Think of You [Eric Martin cover]

Tattoo Needle

That Girl

Bad Luck

Tough It Out

Turn This Car Around

Despite having seen Tyketto far fewer times than either Dare or FM, I am no less a fan of the American melodic rockers. I was supposed to see them last year, but the tour ended up being cancelled, so I was pleased to have another opportunity so soon. It was my fourth time seeing Tyketto, and Wolverhampton was actually where I first saw them live back in 2014. Recently the band have undergone quite a significant line-up change, with founding drummer Michael Clayton and their guitarist for the last decade or so Chris Green both leaving. As such, this tour is the first outing for the new-look Tyketto, with frontman Danny Vaughn now the only original member left. Despite this, though, it is clear that the Tyketto legacy is in safe hands - as the new line-up rocked. Vaughn's former Waysted bandmate Johnny Dee (drums/percussion/vocals), who also played in Britny Fox and has been drumming for Doro for around 30 years, and Kane'd guitarist Harry Scott Elliott have already slotted into the band perfectly - and the 11-song set was, again, a real triumph. This was despite a bit of a strange start where Elliott's guitar did not work for the first 30 seconds or so of opening number Reach, but the issue was soon fixed and the band powered through a set which essentially focused on the band's first two albums. Reach was the only newer track played, but it got the set off to a fine start, before Wings allowed Elliott to show off his skills with some knotty leads and solos - before the bombastic and stadium-ready Burning Down Inside showed what long-time keyboardist Ged Rylands brings to the band. His keyboards were high in the mix, and he sang his heart out throughout - perfectly harmonising with Vaughn when needed. Vaughn is another singer, like Overland (and, in truth, Wharton), who has lost none of his power - and he strutted around the stage oozing rock star charisma from the off, strapping on an acoustic guitar when needed. A couple of heavier, bluesier tracks in Strength in Numbers and the cheeky Lay Your Body Down then allowed the band to really rock out, with the latter being stretched out to include lengthy solos from both Elliott and Thunder's Chris Childs (bass guitar/vocals) - who has returned to the band after a few years away for this tour. The set's surprise factor was the inclusion of the old Waysted hit Heaven Tonight, played due to Vaughn and Dee reuniting, which fit seamlessly into the set, but everything that followed was very much expected. The acrobatic Rescue Me saw Vaughn getting his chops effortlessly around the slightly off-kilter, but huge, chorus - before the band's big ballad Standing Alone washed a wave emotion over the crowd, and Elliott really nailed the soaring solo. It was the first of a few more organic-sounding pieces, with the acoustic-led Sail Away then impressing. Dee then stepped out from behind his drums for the short, country-esque The Last Sunset, which Vaughn led with his acoustic guitar, and the song acted as a bit of a campfire sing-a-long before the band rocked things up one last time with a barnstorming closing rendition of Forever Young. The band's hit brought the set, and indeed the whole evening, to a powerful close - with everyone around me singing along and cheering loudly as the lights came up and the band took their bows. The setlist was:

Reach

Wings

Burning Down Inside

Strength in Numbers

Lay Your Body Down

Heaven Tonight [Waysted cover]

Rescue Me

Standing Alone

Sail Away

The Last Sunset

Forever Young

I have been to many gigs already this year, all of which have been great, but there was something special about this past Friday night. It is easy to be biased when you have seen two of the three bands many times, and the other one is also a big favourite, but they still have to deliver - and all three bands really knocked it out of the park. These are the sort of tours where all the bands push each other and the performances really shine as a result, and the big Wolverhampton crowd certainly had a great time during the evening. I am sure that I will be seeing all of the bands again over the coming years, and I look forward to when those opportunities arise. I came away from the show with a shiny new Tyketto shirt too, to replace an old one I recently retired - a great memento of an excellent night.

Jethro Tull's 'RökFlöte' - Album Review

Whatever people think of Ian Anderson resurrecting the Jethro Tull name without the band's long-standing guitarist Martin Barre, I have to say that I am really glad that the legendary progressive rock/folk group are are going concern once again. Whilst Anderson has never really acknowledged why he brought Jethro Tull back despite saying for years that he would not, the band's recent return to studio action with The Zealot Gene (which I reviewed here) was a thoroughly pleasant surprise. It was the band's first album of original material since 1999's fairly odd J-Tull Dot Com, and it was a collection of songs which covered the breadth of Jethro Tull's sounds over the years - ranging from harder rock pieces to folky acoustic ditties. It is fair to say that Jethro Tull covered a lot of sonic ground over the years, and were often keen to make use of whatever the latest technology was at the time - which led to a strong use of synths throughout the 1980s, for better and for worse. In more recent years, though, Anderson has certainly moved back towards a more organic sound. Whilst I am unfamiliar with the 'mid period' of his solo work, which seems to consist of world music and albums which are largely instrumental, his more recent band-orientated solo albums, 2012's Thick as a Brick 2 and 2014's Homo Erraticus, certainly sounded more like Jethro Tull's 1970s output condensed. Thick as a Brick 2 more deliberately so, given it was a sequel to Jethro Tull's seminal 1972 release - but these albums seemed to find Anderson wanting to re-establish his core sound following Jethro Tull's original split and his more experimental solo work during the 1990s and 2000s. As such, then, The Zealot Gene continued on with the sounds re-explored on Thick as a Brick 2 and Homo Erraticus - the only difference being that it said 'Jethro Tull' on the cover and not 'Ian Anderson'. The musicians were the same and the sound was the same - but Anderson was Jethro Tull once again, likely for commercial reasons. The Zealot Gene certainly made more of a splash than either of his two previous solo albums, but it was also a very good album - and it almost made my Albums of the Year list last year. Given how long it had taken The Zealot Gene to come out, which was partly down to the pandemic, I was not expecting to hear more from Jethro Tull so soon - so I was shocked earlier this year when it was announced that the band would be releasing a new album in April 2023 - just over a year after The Zealot Gene. Apparently Anderson started work on this latest album, which was released with the absurd title RökFlöte, before The Zealot Gene had come out - and clearly it came together quickly. Unsurprisingly, RökFlöte is similar in style to Anderson's other recent albums - but it does feel a bit more hard rocking overall. There is still plenty of flute and acoustic guitar throughout, but it also feels as if more focus has been placed on hard rock riffs - with newish guitarist Joe Parrish-James really shining throughout. Parrish-James appeared on one track on The Zealot Gene, but much of that album was recorded before he came onboard. As such, RökFlöte feels like his true welcome - and he acts as the perfect foil to Anderson throughout.

RökFlöte is something of a loose concept album, with all of its 12 songs being based around Norse mythology (somehow via Vladimir Putin and Joe Exotic). The opening and closing tracks act as bookend pieces, with spoken word sections to introduce and round off the music here. Icelandic musician Unnur Birna recites from the Poetic Edda, from which Anderson drew a lot of inspiration for this album, during opening number Voluspo. Her voice is set against a backdrop of heavy, slow breathing and some droning synths - before a slow-burning flute melody kicks in. Acoustic guitars add a gentle backing, with John O'Hara's keyboards doubling the flute line, before the rest of the band join in - creating a folky soundscape not unlike the band's late 1970s output. Parrish-James soon switches over to his electric guitar, as he is credited with performing all of the album's guitar parts - laying down a subtle, muscular riff which Anderson starts to speak over. This opening track is very much a spoken word piece, then, with brief musical interludes - featuring both flute and guitar leads. It is great at setting up many of the album's key musical themes, and paves the way for the tougher Ginnungagap which takes over - opening with a breathy flute trill. This flute melody dominates the early portion of the song, as drummer Scott Hammond gradually builds up the intensity around it, but when Anderson starts to sing the band lock into a mid-paced groove led by Parrish-James' guitar riffing. Much has been said about Anderson's voice in recent years. He certainly struggles these days, but these new songs are written for his diminished range - so he sounds at home here. His delivery is still full of his classic quirks, though, which brings that classic Jethro Tull vibe - whilst occasional flute injections and guitar breaks provide the main melodic hooks. There is no big chorus here, but the song's relative heaviness helps to to establish itself - whilst the interplay between Anderson's flute and Parrish-James' guitar shows the relationship which has already blossomed between the two musicians. Allfather follows, and the folkier track feels more upbeat and jaunty. Some of the quirkier songs on the band's late 1970s albums are referenced here, and Anderson's vocal hooks are catchier - and he almost sounds like his old self at times, whilst his flute explosions set against a marching drum backing sound as timeless and joyous as ever. There is so much flute throughout this album, and the next melody is never too far away. There are a handful of extended flute passages throughout Allfather, and this is partly why the song is one of my favourites here. It feels like it could have come from my favourite era of the band - whilst Parrish-James' occasional lyrical guitar leads are perfectly placed. The Feathered Consort also opens with a flute melody, but the piece overall feels more majestic. O'Hara's keyboards are perhaps not as prevalent throughout the album as they could have been, but his playing adds some bombast to this track - particularly during the stabbing opening. His atmospheric playing also backs the verses, adding string-like qualities, whilst occasional organ growls elsewhere add weight - usually alongside some bigger guitar passages. Anderson's vocals throughout are suitably theatrical to fit in with the thespian drama of the song's more bombastic approach - adding another dimension to an already-diverse album.

Hammer on Hammer opens with a flute and piano combo, but this sound is short lived as Parrish-James soon takes over with some clean guitar melodies - and Anderson delivers his lyrics in a half-sung/half-spoken manner. This vibe continues on throughout, but the song feels tougher as it moves along. Parrish-James soon stamps on his overdrive pedal, and the song feels heavier as a result - whilst Anderson's vocal lines soon start to become punctuated by melodic guitar leads and the occasional flashy synth injection. This riffier nature, alongside some more harder-hitting drumming and some pounding basslines from David Goodier, give the song its heavier overall feel - and it also contains one of the album's flashiest instrumental breaks, which sees Anderson and Parrish-James trading flute and guitar melodies back and forth. Wolf Unchained continues in a similar manner, but the pace is upped - and the song has more of an urgency to it. Parrish-James' driving guitar rhythms are generally tough-sounding, but Goodier's bass also plays an important role here - especially during the simpler verses, which also include some occasional organ motifs. Anderson's vocals feel more assured and full-bodied here, sitting nicely alongside the driving rhythms, whilst a lengthy flute solo, split up by some guitar riffing, later shines the spotlight on Anderson instrumentally. In fact, this instrumental section is quite varied - and has a strong atmosphere thanks to O'Hara's keyboard additions, as the song builds back up towards another strutting verse. This mix of a hard rocking approach and the excellent instrumental breaks means that Wolf Unchained is another favourite of mine. The Perfect One opens in a calmer manner, with acoustic guitars and gentle flute melodies, but the song overall is another mid-paced rocker - although it feels a bit less tough than the previous couple of songs. Parrish-James' guitar playing is still strident, set against a punchy drum groove, but overall the song feels more laid back. The acoustic vibes of the song's intro resurface throughout, adding breaks from the heavier riffing, whilst the flute tends to be the main melodic force - although a lyrical guitar solo does change this up briefly. I really like the mix of acoustic and electric guitars here, with the contrast being very classic Jethro Tull in feel. I am not sure why Anderson did not contribute the acoustic guitars here as is custom, but Parrish-James does a great job at capturing his feel throughout. If any song here screams 'Jethro Tull' throughout this album, though, then it is the jaunty Trickster (and the Mistletoe). The song's explosive instrumental intro is busy and filled with many classic Jethro Tull-isms - including flute trills, plenty of Hammond organ from O'Hara, and jaunty keyboard leads. There is plenty of excitement caused by these musical motifs, and Parrish-James also includes plenty of leads throughout so as not to be left out. There is a lot of bombast here, particularly during the more upbeat instrumental sections - but Anderson's folk-inflected vocal delivery suits the song's overall vibe with everything coming together to create a short, but sweet, slab of prog/folk that could only come from his mind.

Cornucopia slows things down, and features O'Hara's piano playing quite prominently. The piano melodies form the backing of much of the song, which Anderson plays his flute over in a gentle manner. This vibe continues on throughout for the most part, with Anderson soon putting his down his flute and starting to sing. The gentle, folk-based song contains probably his best vocal performance on the album, too. The song is quite slow, but feels warm thanks to the organic instrumentation - and this more deliberate pace allows for a more full-bodied vocal performance. The song also stands out as it showcases O'Hara more prominently. This album generally is more guitar-based, and I would have actually liked the keyboards to be higher in the mix at times. This song showcases what O'Hara brings to the modern version of Jethro Tull - and even when the song speeds up towards the end his piano still drives everything. The pace of the end of Cornucopia is retained throughout The Navigators, but the toughness of much of the album returns - with the track being a relatively upbeat hard rocker. It also contains what is likely the hookiest flute melody on the album. This melody opens the song, and often resurfaces throughout - acting as a bit of a riff. The guitars add a toughness instead of providing hooks of their own - but Goodier's excellent bassline stands out a bit more, and provides a grounded counter to the jauntiness of the flute melodies. Flute-led instrumental sections sit nicely side-by-side with darker vocal-led sections - with the latter showcasing the guitars a bit more, and particularly as the song moves along some screaming leads are included. Guardian's Watch then strips away the meatiness for a brief period, to allow a flute melody to open things up, but the guitars soon take over again - and the song returns to the more majestic sound which was utilised earlier in the album. There is much more bombast here, largely thanks to Parrish-James' stabbing guitar playing - but there is also a stronger keyboard presence throughout, with O'Hara adding some excellent synth lines and string-like pomp. Guitar leads back Anderson's confident vocal display, whilst the rhythm section add weight and the occasional folky acoustic interlude recalls that classic Jethro Tull contrast. The album then comes to a close with the second bookend piece Ithavoll, which feels more song-like than Voluspo. There is more riffing going on here, although Birna still adds her spoken word to the piece - this time against a tougher and strutting backing. This feels quite dramatic, with flute and synth interludes adding colour, whilst a busy instrumental section then takes over featuring flashy guitar soloing and some excellent back and forth between the flute and the synths. The final section then sees Anderson singing the last lyrics against a pacy backdrop - before one last utterance from Birna as the album ends on a mournful flute motif and the heavy breathing with which it began. Given the overall quality of The Zealot Gene, it is a real treat to have another album of similar quality from Jethro Tull so soon. The albums are similar, but the harder rocking nature of this latest release does help it to stand out - and flute playing throughout is exemplary as always. It is a good time to be a Jethro Tull fan again, and with RökFlöte there is yet another slab of excellent music for those fans to enjoy.

The album was released on 21st April 2021 via InsideOut Music. Below is the band's promotional video for The Navigators.

Threshold - London Review

Following the release of their excellent twelfth studio album Dividing Lines late last year, I was hoping that 2023 would see Threshold's first tour in a few years. It was 2018 when the band last toured throughout Europe, but it was 2017 when I last saw them - as part of the first run of shows promoting that year's Legends of the Shires. The 2017 tour was the band's first in many years with returning frontman Glynn Morgan, and the tour-closing show in Islington was a great night - and my third time seeing the band live. Sadly, though, due to work commitments I was not able to make the London show on the 2018 tour. That tour featured the entirety of Legends of the Shires being played, which I would have loved to have seen, but sadly it is not possible to go to every gig. Thanks to the COVID-19 pandemic and the time it took the band to record a follow-up to the 2017 album, until last night it had been around six years since I last saw Threshold live. They have never been the busiest of touring bands and, despite being from the UK, they tend to focus their activities on mainland Europe - particularly places like Germany. The band have always had more of an audience there, and have never been the most popular in their home country. For UK-based Threshold fans, this essentially means a trip to London once a tour to catch the band live - but I have always found it to be worth it. Threshold are certainly worth the effort, and the three shows that I saw prior to this weekend were all great for different reasons. Despite this, though, I did think for a while that we not even get a London show this time. When the main dates for the band's 2023 European tour were announced, no UK dates were included. I hoped that at least one would be added in time, and thankfully they decided to play their customary London show to round out the main club tour - so I purchased a ticket as soon as they went on sale. Being a Saturday it meant having a shell out quite a bit more than average for a night in a hotel, but this is the reality of a UK-based fan of melodic metal. In truth, it has only really been in the past year or so where chain hotels have really jacked their prices up in London, especially if you are willing to stay somewhat 'out of the way' - and as the show was only announced a couple of months ago, too, any early deals would have long expired. The latest in a long-running series of train strikes here in the UK threatened to make getting to London tricky, too, but I managed to get there easily - so after a bit of lunch and shopping I checked into my hotel - and then made my way over to Islington. As was the case for the past couple of Threshold shows which I have attended, the venue of choice was the O2 Academy in Islington. I have been to the venue many times over the years, and have always found it to be pretty decent. The sound is generally good in there and it is a nice size. Like the other Threshold shows that I have seen there, the place was busy but certainly not full. There were a few hundred in attendance, but it was not too crowded - and those who had turned up were certainly there to have a great time.

Being a Saturday, the venue had a 10pm curfew - meaning that the doors opened just before 6:30pm. This meant that there was little time to waste, but in truth I quite like gigs like that. There was no real hanging around at all during the night, which meant that it was easy to just enjoy all of the great music. Given the time constraints, there was only one support act - but the UK based progressive rock band Grace and Fire made their mark. I think calling the band a progressive rock band is the most apt description for them. They do sometimes stray into heavier, more progressive metal territory, but I would say that they generally they are more of a rock band than a metal one. Either way, though, the band's seven-song set impressed - with all of the songs coming from 2021's strong Elysium, the band's debut album. I had listened to Elysium a few times in the lead-up to the gig, so was familiar with the songs played - but, despite this, I think I enjoyed Grace and Fire more than I was expecting to. The album is certainly good, but I felt that the songs came alive on stage - and the live mix was generally pretty good so that the intricacies of the songs shone. I would have liked to have heard more of Joshua Gidney's keyboards, but the vocals of frontman André Saint were very clear - as was the excellent bass playing of Tim Ashton. Most of Elysium was played, and the band kicked off with the instrumental Overture, which featured some strong riffing from Aaron Gidney (guitar/vocals), before Saint took to the stage for the dramatic title track. Everything sounded a little heavier live, and Saint proved from the off to be a great live singer - with his slightly higher-pitched delivery soaring above the rest of the band. The more atmospheric Paradise Lost, which saw Aaron laying down some Steve Rothery-esque guitar leads, dialled back on the riffing somewhat - but the hard-driving A Warrior's Tale brought it back, whilst throwing in one of the set's best choruses for good measure. Like Threshold, Grace and Fire love a good hook and their melodies really shone. As mentioned, though, it would have been nice if the keyboards had been a bit higher in the mix. This would have allowed the songs to sound lusher, but otherwise the sound mix allowed the tunes to shine. Breathing Murder showcased a bit more of a technical side to the band, with the Gidney brothers trading solos back and forth, whilst the set-closing Eyes of the Seer reverted back to a more riff-heavy style, whilst also delivering on the hook front with another big chorus. Despite being fairly muted at first, after a while the crowd started to get on board with Grace and Fire - and by the time the set closed the cheers that rung around the venue were pretty loud. I imagine that the band made themselves a few new fans with their performance, and they are certainly ones to watch going forward. The setlist was:

Overture

Elysium

Paradise Lost

A Warrior's Tale

Chains of Sanity

Breathing Murder

Eyes of the Seer

It only took 20 or so minutes for the stage to be cleared following Grace and Fire's set, so it was not long before the house lights went down and Threshold trooped onto the stage - immediately launching into Haunted from the latest album. Threshold's setlists have generally been pretty forward-thinking, and they are not often a band to dwell on the past. This was certainly the case here, with 11 songs of the 14-song setlist coming from the band's last couple of albums - with seven coming from Dividing Lines. As such, over half of the set was made up of songs which I had not heard the band do live before - with those older songs played generally being real fan-favourites. As was the case with Grace and Fire, Threshold's live sound was generally well-mixed. Morgan's voice soared above the band, whilst the tough riffing of Karl Groom (guitar/vocals) ripped through the venue. Again, though, I would have liked to have heard more of Richard West's keyboards, but they still had a presence in the mix - particularly during the set's more atmospheric moments. As it does the album, Haunted kicked off the night in fine fashion, with long-time drummer Johanne James twirling his sticks from the off, before the band wasted no time in showcasing their prog credentials with the lengthy The Domino Effect. The song is the new album's centrepiece, and it came across well live - especially Groom's lengthy solo which showcased the more lyrical and emotional side of his playing. The oldie Slipstream was then wheeled out for an early sing-a-long. The heads-down rocker is essentially ever-present in the band's setlists, and it always goes down well live thanks to its massive chorus and relentless energy. The more technical Let It Burn then allowed Groom to play some knotty riffs, but in true Threshold fashion there were still plenty of hooks - with Morgan's more aggressive chorus shining.

I remember thinking that Morgan struggled during some moments of the 2017 show, likely due to the gig taking place at the end of his first tour in many years - but last night he sounded fantastic throughout. Most of the songs played were ones that he sung originally, but even the older ones played he really nailed. He particularly soared during the epic and prescient Mission Profile, which seems to get more relevant as time passes, before the new album was returned to for Defence Condition - which included some great atmospheric bass playing from Steve Anderson during the quieter moments, as well as a great heavy outro with some call-and-response vocals. Pressure, an oldie which I had not seen the band do live before, then kicked the energy levels up a gear following a couple of lengthy epics - before the newer single Silenced showcased the band's ability to write a pop metal anthem. Morgan's opening vocals swirled around the venue, as did West's busy keyboard solo which thankfully was a little higher in the mix. By this point the main set was coming to a close, but there was still quite a bit of music to go. A trip back to the last album meant the atmospheric Snowblind soon filled the hall, with Groom and Morgan teaming up for some dual guitar moments to fill out the sound, before the hard-hitting and riffy Complex allowed for another big sing-a-long. Threshold never fail to write a massive chorus, and Complex might have the best chorus on the latest album. The crowd lapped it up, anyway, before one last epic Lost in Translation brought the main set to a close. The song channels Pink Floyd at times, and allowed for a varied journey before the band left the stage. There was time for a couple more, though, and Threshold were soon back on the stage for one final new track: King of Nothing. Despite Dividing Lines still being pretty new, everyone around me was singing along to Morgan's hooky track, and it was then left to the big single from the last album Small Dark Lines to bring the night to a close. By this point, Threshold had been playing for around an hour and 45 minutes - but there were still cheers for more as the band took their bows and left the stage. The setlist was:

Haunted

The Domino Effect

Slipstream

Let It Burn

The Shire - Part 2

Mission Profile

Defence Condition

Pressure

Silenced

Snowblind

Complex

Lost in Translation

-

King of Nothing

Small Dark Lines

As mentioned previously, Threshold are always worth the effort - and last night in London was no different. With Dividing Lines, I feel that the second Morgan era of the band has well and truly been established, and it was great seeing the band's current line-up sounding so good and looking so confident. The crowd certainly made the band feel welcome, too, and I hope that it is not too long before the band play as a headline act here in the UK again. I am sure that I will be there when they do, but until then I will have yesterday to look back on - as well as the band's excellent back catalogue to immerse myself in once more.

Overkill's 'Scorched' - Album Review

Those who visit this blog regularly will have seen that my last album review was of Metallica's latest opus 72 Seasons (which can be read here). Unsurprisingly, the legendary thrash band's newest album has caused quite a stir among the metal community over the past month or so - but 14th April 2023 will be remembered as being a great day for thrash in general, as New Jersey's own thrash legends Overkill also released their latest effort on the same day. Whilst Metallica are clearly the bigger household name, to thrash fans Overkill are no less legendary. Metallica were one of the leading lights of the American West Coast thrash scene, which owed plenty to the NWOBHM movement, but Overkill were a big part of the East Coast scene which followed a little later - taking more of an influence from hardcore and punk, alongside classic rock and heavy metal. The two scenes were distinct from each other - so it was fun getting new albums from exponents of both sounds on the same day. I have been a casual fan of Overkill for a number of years, but I have only started paying proper attention to them during the past couple of years. Part of the reason for this was likely the band's daunting and lengthy discography, but I have amassed a handful of their classic and more recent albums of late and have been enjoying discovering more about the band's trademark sound. I think my increased efforts relating to Overkill have also coincided with my general greater appreciation for heavier music. I have liked thrash for years, but I certainly listen to it more now than I used to - and getting into Overkill more has helped to expand my love of thrash, particularly the less NWOBHM-influenced side of the genre. As such, then, Overkill's latest release is the first of theirs which I have bought upon release. Scorched, Overkill's twentieth studio album, is the band's first since 2019's The Wings of War - and the gap between the two albums is actually the longest in their career. Four years between albums is not that unusual these days, particularly from older artists, but Overkill have always been extremely prolific. Many of the top thrash bands, including Metallica, are not exactly known for being very prolific these days. Getting new albums from Megadeth and Anthrax often involves a long wait, but Overkill clearly still have a huge love for writing and recording new music. I have a special appreciation for older bands who still regularly release new music and then go out and play it live, and Overkill certainly seem to be the most prolific of the older thrash bands. Whilst I am certainly not clued up on all of the band's albums, I have heard enough to understand what Overkill are about. The band's fast-paced sound owes a lot to hardcore and punk, but there is still plenty of classic heavy metal to be found - as well as the love of a big groove. Some of Overkill's 1990s releases featured strong groove-based elements, and this can also be found in smaller doses on the band's more recent albums - including Scorched. For the most part, though, this latest release is just classic thrash through and through - building on the band's recent well-received run of albums.

The album wastes no time in getting underway, and kicks things off with its hard-hitting title track. A great NWOBHM-esque guitar lead from long-time guitarist Dave Linsk opens the song, and the rest of the band fall in around it - with percussive drumming and ringing guitar chords creating a powerful backing before the album's first true big riff kicks in. Once this riff arrives the song picks up the pace. Jason Bittner lays into his double bass drums to back the snappy riff - whilst Linsk and fellow guitarist Derek Tailer team up for the rollocking rhythm. As is often the case with Overkill, too, D. D. Verni's bass is very high in the mix. His growling sound drives every song here, and he is particularly prevalent during the album's more mid-paced moments - such as this song's verses. The riffing and the chorus are faster-paced, but the verses are more mid-paced - allowing for some chunky riffing and the evergreen vocals of frontman Bobby Ellsworth. Ellsworth sounds as good here as ever, and his more grounded verse delivery is later countered by a screeching chorus. Despite the song's general love of pace, there is still a dynamic feeling here. A couple of slower moments add some additional heaviness, whilst Linsk's guitar solo sees the rhythm guitars drop away as he delivers a surprisingly bluesy run of notes atop a busy bassline. The album's title track is a great introduction of the subtle variety which follows, then, and ensures things start in a stylish manner. Goin' Home generally opts for a more mid-paced vibe throughout, with the track being fairly typical of the band's recent sound - including relatively little of the punk from those early albums. Like the opening track, though, the song builds towards its first riff - which is more lumbering in approach. This crunchy riff feel nice and heavy thanks to its slower pace, but the verses do see the pace raised slightly - with Verni's bass taking over to provide a snappy rhythm. Brief punky moments surface, but even the faster moments are generally still pretty crunchy - and the chorus returns to something more akin to the song's opening with a melodic guitar lead sitting under Ellsworth's somewhat anthemic vocal delivery. The chorus is hooky, and less frantic than some of the band's offerings, but the punky injections during the verses help to hold interest - as does a lightning-fast Linsk solo which is more typical of his style than the previous one. The Surgeon, which was the album's lead single, generally retains the mix of faster and more mid-paced moments featured already - but ups the pace and goes for a more out-and-out thrash sound. Verni's bass dominates during the opening moments, creating an aggressive vibe from the off, whilst the verses continue on this vibe with some of Ellsworth's most unhinged vocals and plenty of busy drumming from Bittner. There is a lot more of Overkill's old-school sound here, but the chorus does slow things down somewhat and goes for a bit more an anthemic approach - building on a knotty pre-chorus to deliver something more strident and vocal-focused. The riffs are less busy during the chorus, but the vocal hooks make up for this - and other more instrumentally-focused moments throughout allow it to be the most technical on the album to this point. There is also a section which slows the pace quite considerably with some pseudo-doomy riffing - which further diversifies the song until Linsk's next big solo.

Twist of the Wick opens more slowly, with some distant-sounding guitar riffing slowly growing in stature - before Bittner counts the rest of the band in and song speeds off in true thrash fashion. With the album's opening three songs being varied pace-wise, Twist of the Wick doubles down on the speed that was showcased throughout much of the previous track. Linsk and Tailer's riffing is very old-school thrash in style, whilst Verni's bass backs everything with its big tone - and adds the aforementioned punk edge. Bittner does use his double bass drums to great effect here, too, but some parts of the song feature a simpler approach, too, which shows some variety despite the ever-present high speeds. Perhaps unsurprisingly, too, Ellsworth utilises the higher end of his vocal ranger here. His trademark rasp is present throughout - and he screeches his way through the break-neck verses in a manner which only he can truly deliver. There is a bit of a change in tone part-way through, though, which sees a gothic choir used to back a rare slower section. This creates a creepy atmosphere which contrasts well with the pace elsewhere - before the band speed up again around a shredded solo. Wicked Place slows things down somewhat, and goes for a much more groove-based approach. As mentioned before, Overkill often took a more groove-based path during the 1990s and have managed to incorporate this sound into their modern approach. This is a song which rarely speeds up, and instead keeps things plodding along - adding a tough edge to the album as a result. The riffing throughout is chugging, with Verni's bass more restrained than usual, whilst Bittner's drumming shuffles - with the occasional thrash outburst adding colour. The song allows Ellsworth to tone it down a little, too, and he screeches less here - instead going for a more grounded approach. Won't Be Comin' Back continues on the more mid-paced, groovy approach of the previous song - doubling down on this style during the intro, which features subtle harmony guitar leads and a snaking rhythm. As the song gets going proper, though, the pace is raised - but something of a groove is maintained. The song pulses along thanks to some of the album's choppiest riffing - whilst Bittner impresses with some injections of double bass drumming that are as snappy as the riffing. This is one of the songs which really stood out to me from the off. There is a strong melodic edge throughout, largely thanks to some big guitar leads from Linsk - but also thanks to Ellsworth's vocal hooks. The chorus is one of the album's most immediate and anthemic - and it is one that sticks in my head long after each listen to the album. Fever then changes the overall pace again, especially during its psychedelic intro. The song's opening section certainly channels early Black Sabbath - particularly the ballads on their first few albums. Subtle percussion, pulsing bass, and effects-heavy guitars back Ellsworth's vocal croons - and this mix of sounds creates something different on the album. Much of the song is more typical but the Black Sabbath vibe is retained, with the riffing in general being slower in nature - crunching along with Ellsworth howls. It is a song which has grown on me quite a bit over the past month. It is not as hooky as most of the other songs here, but the doomy and atmospheric vibes offer a welcome change of pace.

Harder They Fall ups the pace again, and returns to the break-neck speed of Twist of the Wick - although some of the snappiness of Won't Be Comin' Back remains. The song generally relies on a punky rhythm and plenty of double bass drumming, but colour is added thanks to the occasional injection of groove. The verses are punctuated by such occasional slower moments, which act as brief breaks between Ellsworth's fast-paced vocal shouts, but in general this song really speeds along in classic thrash fashion. Verni's bass is one again very prominent, driving everything, whilst another shout-along chorus sticks in the brain easily. In many ways, the song is a classic representation of Overkill's sound. There are more interesting songs here from an arrangement and variety perspective, but as an example of punky East Coast thrash the song excels - and it certainly re-injects some pace into the album following the Black Sabbath-esque crawl of the previous number. Know Her Name is somewhat similar, but the pace is not quite as fast - with the album's opening handful of numbers being good comparisons. The song is less punky, then, but the riffing throughout is excellent - and the constant ringing of Verni's bass creates an almost hypnotic effect thanks to the precise pace of the grooves. Brief injections of a thrashier pace keep things interesting, as does a furious gang vocal-led section which then leads into a chunky and Accept-esque chorus. The chorus certainly has a strong shout-along feel throughout, and it is another that is easy to latch onto as a result. There is still plenty of energy throughout the song despite the slower pace, too - with some surprisingly varied Bittner drumming as well as plenty of great basslines to ensure that hypnotic vibe is retained despite some changes in tone and pace. The album then comes to a close with Bag o' Bones, which is another mid-paced song - and it is another which also relies heavily on strong grooves. The main riff which opens the song is brimming with character, which Bittner elevates thanks to some staccato drumming, whilst the chorus is one of the album's best thanks to Ellsworth's snappy vocal melodies and some excellent Linsk leads. Whilst many may have expected the album to end on a faster note, this groove-based approach works nicely. Whilst I like it when Overkill indulge their punky influences, I also like it when the band groove. Many of my favourite cuts here are the more mid-paced tracks, and Bag o' Bones is one of those favourites for the same reason. Verni's bass is just as present as ever, and the snappy chorus even has a slight funk edge at times due to how choppy it is. It is impossible to not get the hooks in your head, and for that reason I think the song is an excellent closing number. It leaves a strong impression as the album ends - with the riffs and chorus constantly replaying mentally long after the song finishes. As such, then, Scorched is another really strong album from Overkill that ticks all of the expected boxes whilst still managing to be a dynamic and relatively varied release. Not all bands can say that their twentieth album is as strong as Scorched is, but Overkill have been in fine form over the past decade or so - and seem to be showing no signs of slowing down. I imagine that there will be more where this came from in the future, but until then I have more of the band's extensive back catalogue to discover.

The album was released on 14th April 2023 via Nuclear Blast Records. Below is the band's promotional video for Scorched.