Steve Lukather's 'Bridges' - Album Review

Considering what a huge fan of Toto I am, and how great it is to hear him whenever he turns up on someone else's album, which has happened extremely regularly over the years, to my shame I have never really delved into the solo catalogue of Steve Lukather - Toto's guitarist and only consistent member. His solo catalogue may not be as vast as some - but he has now released nine solo albums (including his Christmas album Santamental from 2003) so there is more than enough to satisfy anyone curious at this point. I think that possibly the reason for me not being overly familiar with his solo works is partly the fact that his solo albums tend to exhibit more of a bluesy, harder rock sound than I tend to associate with him. Whilst this side of his writing and playing has certainly crept into Toto's sound over the years, it was always part of a wider melting pot of ideas within the band's canon. Toto's variety is one of the reasons why I love the band so much, and I have often felt that what I have heard of Lukather's solo catalogue lacks that for me. This is certainly an overly simplistic take, but it is partly why I have never truly taken the plunge - and it is also why what I call Toto's 'no frontman' period from 1990 to 1998, where Lukather really became the overall driving force within the band, is my least favourite Toto era. This probably makes it sound like I am not a huge fan of Lukather's singing or songwriting, which could not be further from the truth, but to me that bluesier sound is only a part of what he can do - and I have always preferred him in the context of Toto. Despite having heard a few of his solo albums, the only one which I ever truly digested was 2013's Transition (which was one of the first albums I reviewed on this blog - and the rather amateur results of that reviewing can be read here) - which I remember enjoying somewhat at the time, but I have not returned to it much at all in the past decade. I had every intention to pick up his next solo album, 2021's I Found the Sun Again, which was released on the same day as his Toto bandmate Joseph Williams' Denizen Tenant as something of an unofficial double album, but it came out during a busy period and it I never got around to buying it. As such, then, when a few months ago he announced that his ninth solo album would be released in June I made sure to take notice. What also made me sit up, too, was the fact that he described the album, Bridges, as the closest to a new Toto album that we were ever likely to get. The band have decided to stop releasing albums following a recent costly lawsuit brought against them by the widow of the late Jeff Porcaro - so Lukather instead approached Bridges with his Toto head on. Unsurprisingly, then, Bridges is a bit more varied and less bluesy - and there are a number of Toto alumni featured throughout. Williams co-produced the album, co-wrote a number of the songs here, and also contributed keyboards and backing vocals throughout. Toto's other core pillar alongside Lukather, David Paich, also co-wrote and played on a number of the songs - meaning that the album has Toto's DNA running through it. Other Toto alumni to feature here are bassist Leland Sklar, drummers Simon Phillips and Shannon Forrest, and current era keyboard player Steve Maggiora.

The album is easy to digest, too. Its eight tracks clock in at under 40 minutes - so again there are parallels that can be drawn to Toto's early output. The album really flies by, then, and there is a lot of strong material here despite the short length. The album opens with Far from Over, which was co-written by and features Lukather's son Trevor (Levara) and he is one of only two people to contribute to the album who have not previously been associated with Toto. Opening with a synth-backed riff, Far from Over is a pretty energetic opening cut. Nothing here really roars out of the blocks, though, and there is a smooth, laid back groove throughout the song which is generally typical of the rest of the album. The riffing is infectious, but tempered by synths and an overall whimsical approach, whilst Lukather's vocals are easy-going and somewhat summery for him. As is case throughout this album, the keyboards provide an atmospheric and melodic backing - whilst the ever-present backing vocals of Williams adds a dynamic which would otherwise be missing. Lukather is a fine singer, but he is not blessed with the greatest of range - so Williams helps with that, filling out the smooth chorus nicely, whilst Lukather later showcases his primary talent with a brief and tasty guitar solo. The riffy, groovy track gets the album off to a fine start - and is certainly a taste of what is to come. Not My Kind of People is tougher-sounding, and is the album's heaviest piece. The big opening riff is more what I expect from Lukather as a solo artist, and this strutting, bluesy riff is pretty catchy from the off - and it punctuates the verses throughout, sitting nicely in between keyboard-backed vocal passages. Williams and Paich add their keyboard talents to the track, whilst the smooth bass playing of Sklar creates a groove typical of the bearded session player's talents. The bass groove offsets the bluesy riffing perfectly, and the song has a real Toto-esque vibe as a result - despite the harder rock approach. The chorus is hooky, with Williams' vocals again adding depth, whilst the occasional blistering lead guitar barrage sees Lukather adding some anger to the track with his instrument. Someone then moves away from the riffier sound of the album's opening numbers and goes for something smoother and more atmospheric overall. Lukather's snappy guitar melodies and subtle bass playing sits perfectly against the big keyboard backdrop as the track builds up - and the smooth piece certainly has some yacht rock vibes as it moves along. Despite the smoother sound the track is not really a ballad, and it still feels pretty energetic throughout thanks to Forrest's busy drum approach and some typically-melodic piano and keyboard playing from Paich. The chorus is hooky thanks to Lukather's smooth vocal delivery, and it is enhanced by some off-kilter drumming. Sound-wise, then, the sound is a bit different from the norm for Lukather as a solo artist and it very much has that Toto vibe overall - and the prominent keyboards recall the breezy sound of Lukather's day job, whilst his slow-burning closing guitar solo is full of feeling.

All Forevers Must End is the album's first ballad, and it is very typical of Lukather's ballads of the past - re-capturing the spirit of Toto's I Won't Hold You Back nicely. Lukather handles the piano here as well as the guitar playing - whilst Williams harmonises with him during the chorus and plays the rest of the keyboards. The subtle rhythmic grooves from Sklar and Forrest back the other two perfectly - and the song has a shimmering power thanks to the rhythmic approach, whilst Lukather's playing becomes more intense as the song moves along. The piano dominates early on, but the song becomes more guitar-focused - adding more crunchy power chords before a short guitar solo explodes from this emotional weight. I would have actually preferred the solo to have lasted longer really, as it seems to end just when it gets going. There are some more leads as the song closes, but I really feel like a lengthier central solo would have taken the song to the next level. It is a great melodic ballad as it is, but it could have been something a bit more in my opinion. When I See You Again returns to something more up-tempo and rocking - and the song feels like a more amped-up version of Someone. It is not all that riffy, but the poppy rocker is brought to life by Paich's driving keyboard work and a smooth vocal from Lukather that showcases all of the character in his voice nicely. This is the sort of song that would have likely been sung by Williams had it appeared on a Toto album, but Lukather does a good job of the poppier material here - and Williams makes his presence felt regardless with some strong wordless vocal hooks which act as something of a riff. As such, this is likely the most Toto-esque song here. Paich's keyboards take on a prominence later, with a short instrumental section which really showcases his pomp side, whilst a blistering guitar solo injects a little grit into the poppy track. There is a lot for Toto fans to love here as a result, so unsurprisingly it is one of the album's overall highlights for me. Take My Love is another more ballad-esque piece, and it is the only song here not written by Lukather. Instead, the song was written by and heavily features Maggiora - whose expansive organ playing and backing vocals alongside Williams help the soulful piece shine. Lukather's guitar playing is somewhat mixed into the background here, despite his occasional bluesy lead, and this is very much a song built around the keyboards. Pulsing piano melodies and organ swells - whilst Jorgen Carlsson (Gov't Mule) adds some smooth bass grooves. Lukather does let rip a bit more during a solo section which is lengthier than is typical for this album - and his bluesy melodies fit the organ-drenched track perfectly, before a final reprise of the soulful chorus brings the song to a relatively delicate close.

Burning Bridges maintains a somewhat similar overall sound, but with a bit more of a harder, bluesy rock side added. The song feels soulful and smooth, but the driving electric piano throughout creates a strong groove, whilst Sklar's bass is high in the mix to create a rumbling feel that contributes significantly to the overall bounce. Despite the fact that the song is not all that heavy, the guitar and bass tones throughout are quite gritty - and this helps the track to stand out. Crunchy chords and the occasional bluesy lead characterise the song, then, whilst Paich's electric piano underpins everything. Williams also takes the lead vocally during a bridge section, which helps to give the track a different vibe. He still sings alongside Lukather, but the mix favours his delivery which gives the bridge a poppier feel - helping it to stand out before Lukather launches into a cutting solo. The song is a real mix of vibes, then, but the smoky, smooth piece is another strong cut for me - and the closing moments which feature a meandering and improvised guitar solo only add to the song's mish-mash of vibes and overall feel. The album then comes to a close with I'll Never Know, a more atmospheric overall piece which opens slowly. Lukather's guitar playing is quite low key here, gently picking a pattern against a dominant keyboard backing - before he launches into another bluesy solo after the opening vocal section, which sees the song move up into the next gear. The track is essentially another big ballad, but it feels a bit more epic in scope this time, and everything which follows that opening solo feels bigger and more strident. Later verses are still based around that guitar picking, but the keyboards are busier and the groove created by Carlsson and Forrest gives the song weight. The highpoint here, though, is the chorus - which is extremely melodic despite its quite mournful overall sound. Lukather excels at singing songs like this, and his characterful voice perfectly suits the darkness around him - whilst Williams' subtle harmonies adds plenty of depth. It is one of those choruses that sticks with me for quite a while after the album has finished. There are certainly poppier moments here, but the haunting melodies and overall sound of the song helps it to stand out - and Lukather's closing solo is another excellent example of his guitar playing as the album fades to a stop. Listening to Bridges over the last month or so has been the most that I have really engaged with Lukather's solo catalogue in a long time, and I have really enjoyed my time with the album. Possibly the strong Toto links have made this album speak to me more than the others of his which I have heard, and there is less of the more riffy, bluesy rock sound which I tend to associate with him. That being said, though, listening to Bridges has made me realise that I have generally neglected his solo catalogue - and it is very much time for me to revisit all of his albums and pick up the ones which I am missing, as my broader tastes now mean that I am more likely to find things to enjoy.

The album was released on 16th June 2023 via The Players Club. Below is Lukather's official lyric video for When I See You Again.

Extreme's 'Six' - Album Review

It seems that hair metal-adjacent bands who found some fame throughout the late 1980s and early 1990s have started to lose the ability to come up with interesting album titles. Earlier this year Winger released Seven (which I reviewed here), which is their seventh studio album, and last month Extreme released Six, which is, unsurprisingly, their sixth studio album. Given the length of time which both bands have been around for, and the respective numbers quoted, neither can be called particularly prolific - but what also links the two is that 2023 is the year which they made a successful comeback following a fallow period when it comes to new material. Seven was Winger's first album in nine years, but Six is Extreme's first album since 2008's Saudades de Rock - meaning that it has been 15 years since the Boston-based four-piece last graced us with their studio presence. In my opinion, then, Six has been a long time coming. I first started listening to Extreme in around 2010 I think, and 1990's Pornograffitti impressed me from the off. The varied and complex album is a classic of its time, and I slowly began to acquire the band's other albums over the next couple of years - and I also saw them live in both 2014 and 2017. Looking back, I think that Extreme have been talking about recording a new album ever since I started to listen them. I feel like I remember that around the time when I last saw them live in 2017 there were plenty of interviews floating around stating that progress on a new album was happening at a significant pace - so you have to wonder why Six has only just dropped. Musicians are not always known to be the most truthful, particularly 'older' bands when the question of a new album is raised, but I do wonder what happened to slow the album's progress so significantly. Despite all of that, though, it is the final product that counts - and Six certainly caught the rock spotlight for a while when lead single Rise was released back in March. Nuno Bettencourt's jaw-dropping guitar solo certainly turned heads for a while, prompting lots of reaction videos and tweets, and I am sure that the publicity did Six no harm. The album finally dropped last month, and I have been enjoying it quite a lot over the past few weeks. Saudades de Rock is an album which I have never really been able to get into all that much despite wanting to. The 2008 album has some standout songs, but it feels overlong - and quite a few of the songs have never stuck with me despite repeated listens. On that front, then, Six is a big improvement. Sound-wise there is not much to separate the two albums, as Extreme have generally stuck to their core sound of funked-up hard rock throughout their career, but Six is a shorter album overall and there is also a strong focus on hooks throughout. There are lots of strong, hard rocking songs here - as well some more whimsical ballads and acoustic-based moments which the band have also become known for over the years. As such, then, the album has a nice flow and variety despite it not really doing anything particularly out of the ordinary (with the exception of a couple of experiments) - but no-one else really sounds like Extreme, so the band was wise to play to their strengths.

The aforementioned lead single Rise kicks things off, and the track is a pretty straight forward hard rocker which is perhaps less funky than would be expected - but it packs a strong punch. Bettencourt's opening riff, which drives the verses, is simple but instantly catchy. As much of the band's best-known work was released in the 1990s, Extreme have often had a slight grungy edge to their up-tempo sound - and the riffing here is dry and very much out of that time period. Despite this, though, the band's natural inclination to groove is present, and the song is infectious and memorable. The verses are snappy thanks to the riffy backing, with frontman Gary Cherone sounding as expressive and unique as ever, whilst the chorus is somewhat more typical of the band's sound with an expanded riff backing, big backing vocals, and more of a swinging beat from long-time drummer Kevin Figueiredo. The solo which got everyone talking is impressive, and it gets better each time I hear it. It is an expansive guitar workout, featuring lots of Bettencourt's trademark licks and tricks - but the closing moment which features some muted shredding blows me away every time. Bettencourt is likely one of the greatest living guitarists, and Rise showcases both his simple approach to hooky riffing and his progressive approach to complex guitar solos - all wrapped up in a foot-stomping, anthemic piece with a big chorus and plenty of groove. #Rebel follows, and the song is another relatively straight forward hard rocker, but the riffing here is more expansive - and there is more groove from the off thanks to Bettencourt's bluesier opening riff and the percussive approach which is taken during parts of the verses. Figueiredo's drum beats during the verses are very punchy, and they tend to dominate here - with the guitars and Pat Badger's bass sitting in the background to add to the overall groove. The chorus feels more expansive, with the opening riff returning, and it sees Cherone going for it vocally - with some big cries which fit in around the fast-paced delivery of the lyrics. The song feels punchy and pacy as a result, then, and the overall speed never really lets up - with the big riffing and snappy drum patterns keepings things moving. Banshee closes out the album's opening trilogy of harder rocking singles, and it is the heaviest of the three - with a muscular Bettencourt riff phasing in from the off, with the rest of the track generally feeling pretty weighty thanks to chugging chords and a prominent bass presence from Badger. It also ups the overall level of funk on display. The opening couple of tracks were not as funky as they could have been, but Banshee is packed full of grooves. This is partly down to the bass, but I also feel as if Cherone approaches the song is a more old-school manner which recalls the earlier Extreme albums. His snappy delivery throughout locks into the song's grooves perfectly - and the classic Extreme sound is on show from the off as result. The chorus feels a bit heavier overall, too, with some drawling harmony vocals akin to something Alice in Chains might have come up with if they wanted to write something a bit more upbeat. This is in-keeping with Extreme's wider sound, though, and the snappy hard rocker is one that sticks in the brain thanks to the grooves and this harmonised chorus.

Other Side of the Rainbow is the first song here which changes tone, then, and it is also the first which breaks out the acoustic guitars. There are a few more mellow songs here, but Other Side of the Rainbow still goes for a big, layered sound despite the lack of massive riffs - and the space in the mix really allows Cherone to shine. He has lost none of his vocal power or charisma over the years, and he dominates this upbeat, if mellow, acoustic rocker. The chorus is one that has been stuck in my head since I first heard it last month, and the big jangly acoustic guitars create a warm backing - whilst subtle keyboards and harmony vocals add Queen-like depth. Queen have always been one of Extreme's biggest influences, and the arrangement of a song like this really showcases how Queen's production approach rubbed off on the band - and Bettencourt's excellent guitar solo does include a few Brian May-isms despite its busier overall approach. The solo is the only prominent moment of electric guitar here, too, but it works well - and those who like the band's jauntier side will find plenty to enjoy in this summery acoustic rocker. The acoustic guitar remains in Bettencourt's hand for Small Town Beautiful, which slows the pace overall and introduces the album's first ballad. The opening section of the song features Cherone singing alone against Bettencourt's mix of chords and occasional acoustic melodies, not unlike a certain mega-hit from the band's past, but the arrangement does expand as things move along - with the drums and bass joining in from the first chorus onwards. The piece also features Bettencourt quite prominently as a vocalist, too. He has always been a great harmoniser with Cherone, but he takes a few lead vocal lines here - with the second verse largely sung in duet fashion, before the two join forces for the strong and fairly mournful chorus. The guitar solo is brief, but cutting, and the song does a great job of slowing the pace and whipping up a downbeat mood which Extreme are such masters of creating. The Mask returns to something heavier after a couple of more acoustic-led pieces, and opens with Figueiredo's pulsing drumming and a strong Badger bassline. Bettencourt holds off from joining in for a while, with Cherone singing over this sparse backing in a register which is lower than is typical for him. Even the early part of the first chorus is sung against this bassy sound - but when Bettencourt joins in the song explodes into a funky, groove-based hard rocker. Later verses recall Marilyn Manson's The Beautiful People somewhat thanks to Bettencourt's stop-start riffing, whilst Badger's bass playing still drives everything. Due to this fairly simple arrangement, the song is one that repeats itself quite a lot - but for me it stays the right side of that line. The hooks are catchy, and they are not repeated too often so as to make them loose their shine. It also helps that Bettencourt lays down a swinging riff later on for a bit of a bridge section before launching into another fluid solo - but this vibe does not last for long before main groove returns for another reprise of the snappy chorus.

Thicker Than Blood is another snappy hard rocker, but it feels a bit more modern and industrial overall. Funnily enough, the Manson comparisons remain - largely thanks to a prominent synth riff which often surfaces throughout. It does not a recall a particular song, but the synth sound is very reminiscent of Manson's golden years. It doubles Bettencourt's guitar early on, which contrasts nicely with his heavy riffing, whilst the song overall feels a bit more modern and tougher with some gnarly guitar and bass tones. Bettencourt's guitar solo is strange and tortured, too, and goes more for creating a collage of noises than something more coherent. This suits the song's heavier approach, though, and the big hooks of the punchy chorus help the piece to sound more melodic despite this heavier and somewhat more discordant approach. Extreme have not really sounded like this before, but the overall change is not all that significant - as the grooves and overall vibe still play to the band's core strengths. Save Me returns to the more straight forward hard rock sound which opened the album, with songs like Rise and #Rebel comparisons here. This track is perhaps less hooky than those, with another somewhat grungy chorus that reveals the band's 1990s heyday, but Bettencourt's grinding riff is pleasing from the off - and the overall layering throughout gives the song a surprisingly big sound despite the relatively simple arrangement. The chorus benefits from a strong keyboard backing and harmony vocals which helps it to stand out - whilst effects-heavy wordless vocal hooks are used to add additional melody to the more riff-driven instrumental sections. A busy guitar solo, which has plenty of groove to suit the song's more mid-paced overall vibe, elevates the track further - although it is probably the least interesting of the songs heard so far for me as it generally plays it quite safe. Hurricane is another acoustic piece. It is another ballad and, like Small Town Beautiful, it opens slowly with Bettencourt's acoustic guitar picking. This is how the song remains, though, and like that aforementioned hit the arrangement does not significantly change - although some subtle keyboards do add depth as the song moves along. It is another piece which features Bettencourt vocally, too, and him and Cherone sing the song as a duet. They trade vocal lines throughout - and then often come together to showcase their ability to perfectly harmonise - which helps to create that classic Extreme acoustic sound which made the band so famous for a few years. This side of the band will always be important, and it is great that songs like Hurricane exist to break up the hard rocking of much of the rest of the album. Cherone shines vocally as expected, and the song is a beautiful and relatively brief distraction from the harder rocking which has come before and is still yet to come, too.

X Out gets back to something more rocking, but the song is a little strange overall. Like Thicker Than Blood there are some prominent synths used throughout. Sometimes the synths double Bettencourt's guitar riffing, and other times they essentially take over to create an atmospheric backing for Cherone's smooth vocal delivery. This is interesting, but I am not sure the heavy reliance on synths here works in the band's favour. One of Extreme's biggest selling points is Bettencourt, and his guitar playing feels quite watered down here to allow the synths to dominate. The dynamic arrangement is welcome, and I like how the song moves between more harder rocking sections and quieter moments, but I would have liked the rockier sections to hit harder with Bettencourt's big riffing. The song has a bit of a modern pop vibe overall, then, and for me this does not really suit Extreme's brash, funky sound. Everything feels a weak here as a result, and the song lacks that classic Extreme swagger. It is also the longest song here at just under six minutes. It outstays its welcome, then, and the song is easily my least favourite here. Beautiful Girls is very poppy, and changes the tone immediately. It is the sort of song which I imagine that some people will really hate - but I quite like it. Bettencourt's driving acoustic guitar has a bit of a reggae-esque vibe to it, with a simple percussive backing, whilst Cherone seems to enjoy the upbeat, sparse backing as he delivers a really fun collection of hooks here. The song feels a little throwaway, but at the same time I do not think that it is meant to be taken all that seriously. It is a fun song, with a little Caribbean influence, which is very easy to sing along to. The chorus is one of those that sticks in the brain after a single listen despite its over-sugary overall feel - and Bettencourt still manages to include a busy and shredded solo despite the poppy and acoustic vibes. There are certainly better songs here, but I like the sickly sweet melodies of Beautiful Girls - despite the fact it is likely to upset a few! The album then comes to a close with Here's to the Losers, another more acoustic-based track - but it is a song which feels pretty anthemic overall. The band have clearly tried to somewhat re-create the vibe which Hole Hearted had as Pornograffitti's closing track - and I think Extreme have somewhat managed to re-capture that spirit. The verses are simple, with Cherone singing against Bettencourt's acoustic guitar, whereas the chorus sounds bigger with choral vocals and the rhythm section joining in. Again, there are better songs, but I like the vibe which the song creates - and the warmth and whimsical sing-a-long nature is infectious in my opinion, which is entrenched when the song fades out only for a choir singing the chorus unaccompanied fades in to close out the album. It is an effective way to close the album, despite the likely temptation to end things with a bang. Given the 15 year wait, Six is very much welcome. There is quite a bit of variety despite the band generally sticking to their core sound, and the hooks throughout mean that basically every song is memorable in one way or another. It is great to hear that the long gap between albums has not dulled Bettencourt's riffing or Cherone's caustic delivery - and hard rock fans everywhere will no doubt find plenty to enjoy here.

The album was released on 9th June 2023 via earMusic. Below is the band's promotional video for Rise.

The Fallen State - Plymouth Review

Plymouth might not be a hotbed for live music these days, but living around a five minute walk from Mutley Plain means that a few good nights out a year are pretty much nailed on. The Junction is likely the city's best live music venue currently, despite its small size, and since moving to Plymouth in 2016 I have seen quite a few good bands there - including a handful whom were definitely too big to grace its stage in reality. As such, up-and-coming and younger bands often make use of the space - so last night I headed up to the venue to catch a young rock band who have started to make a bit a name for themselves over the past few years. Devon's The Fallen State have become one of my favourite newer hard rock acts. Despite initially thinking that they were a bit too wedded to that late 1990s post-grunge sound which permeates a lot of modern hard rock, I have grown to really like the band's albums and EPs - and I have seen them live a few times over the years. Prior to last night, it had been over a year since I had last seem them live - as I last caught them with Stone Broken last year in Exeter. I have seen the band opening for others a couple of times, but I have actually seen them on their own terms more times than by default. Being a Devon-based band, they often include Plymouth shows on their tours - and they always receive a strong reception in the city. I first saw the band headline in Plymouth back in 2017, and I also saw current frontman Adam Methven's first show fronting the band in 2021. The Fallen State have a decent history with Plymouth, then, so it was fitting that they decided to end their latest UK tour with a date back at The Junction. The band certainly have quite a strong following across the UK now, and seem to be able to attract healthy crowds wherever they go. As such, it is great that they keep coming back to Plymouth - as there are certainly some who would have stopped coming to the South West a long time ago if they were in a similar position to The Fallen State. The Plymouth crowd appreciate the commitment shown, though, and have generally turned out in decent numbers. Last night at The Junction was no different. Despite the horrific weather which likely kept some at home, the venue was pretty full throughout the evening. A few more bodies would have certainly been welcome, but the place was packed by those who are big fans of the band's work - so the atmosphere throughout the night was excellent. The tour seemed to have been a pretty big success in the lead up to the Plymouth show, too, so spirits were certainly high and it was clear that the crowd and the band were up for a great night.

Before The Fallen State took to the stage, though, the growing crowd were treated to decent sets from two support acts. Up first were Temples On Mars, a five-piece alternative metal/prog-esque group who stuck out quite a bit on a bill otherwise made up by more traditional hard rock acts - but they made their brief set count with a groove-heavy sound that mixed big riffing, which at times fell into the modern tech metal category, and somewhat grungy vocals. Quite a lot of the band's set was sung in harmony, which certainly recalled Alice in Chains in style if not in sound - but the biggest comparison I can draw vocally is actually Muse. There were certainly a strong Muse influence to be found in Temples On Mars' sound, albeit in more of a metal context rather than a rock one. I am not sure that I would call Temples On Mars a full-blown metal band, either, but there was quite a bit of heaviness in their sound - and plenty of groove thanks to the band's three guitarists and some tight double bass drumming. I am not sure that the live sound mix really allowed the band's intricacies to shine, though. One of the guitarists generally seemed to be playing discordant leads and strange alternatives to the big riffing, but his playing was a bit lost in the mix sadly, and it was only towards the end of the set that the bass had some prominence - which was a shame as the bass player seemed to be playing some really interesting melodies which, again, differed quite a bit from the main riffing. I think that I would have enjoyed the band's set more had the mix been a bit better, but it is not uncommon for opening bands to suffer somewhat in that regard. Despite this, though, I generally enjoyed what Temples On Mars had to offer. Their angular riffing and more alterative rock vibe overall certainly added some variety to the evening. They certainly got the evening off to a decent start and, despite a hesitant start, they managed to get a fairly warm reaction from the crowd towards the end, too.

Up next were Twister, a band who I was familiar with in name but not a lot else. Following Temples On Mars' heavier sound, Twister were more what I expected - with more of a classic rock approach and a hint of 1980s hair metal for good measure. In fact, Twister reminded me a lot of a number of bands whom I saw as support acts in the early 2010s when the Scandinavian hair metal revival was in full flow. As such, Twister seemed like a bit of a throwback to that time - but they sounded more classic rock-inspired overall, with more of a bluesy bent in the guitar department. Despite this, though, there were pop hooks aplenty throughout the band's set. There was a strong focus on vocal melodies throughout, with some decent harmonies, too, and the guitar playing moved back and forth between chunky, blues-based hard rock riffing and a more melodic, lead-based approach. It was also interesting to learn part-way through the set that the band's current line-up is very new - with the bass player having been in the band just over a month and the lead guitarist having been the bass player previously. Despite this upheaval, Twister were very tight - and the guitar leads and solos were melodic and fluid considering the change in instrument. Whereas Temples On Mars' set was generally pretty full-on and hard rocking throughout, Twister's material was a bit more varied, with a couple of more ballad-esque pieces sitting nicely alongside their more typical hard rock fare. Perhaps due to their more traditional sound, they seemed to find it easier to get the crowd onside, too. Temples On Mars certainly got a warm reception towards the end, but Twister were pretty well-received from the off - and there seemed to be a few fans in attendance. As such, there were a couple of decent sing-a-long moments during the band's set, and they helped to raise the overall atmosphere and coax more people down from the bar area towards the stage itself. I enjoyed Twister's set quite a bit, particularly the opening few numbers, and they are a band that I will have check out further - and it will be interesting to see in which direction they go with the new line-up locked in.

The changeovers throughout the evening were pretty swift, so it was not long after Twister's set that The Fallen State took to the stage. By this point there were a lot of people congregating down at the front, and the band took the stage to loud cheers - and proceeded to smash through a 13-song set which was just over an hour in length. The band even tried to make their stage show a bit more interesting with a video screen backing - which I am not sure I had seen someone attempt in The Junction before. It worked pretty well, but it would have likely worked better in a bigger venue as it was often hidden from view by the band themselves. Ambition is nice, though, but it was the music that everyone cared about - and the set was generally made up of crowd favourites and a few choice newer songs. The oldie Hope in Revival got the set off to a great start, and it was clear from the off that energy levels were high. I was down at the front, so the sound mix was not the best, but the energy coming from the stage negated this and everyone around me was singing along to each and every song. Methven has morphed into a great frontman, and has come a long way in two years. His voice sounded pretty powerful throughout, despite sometimes being a bit low in the mix, whilst the shapes thrown by both Jon Price (guitar/vocals) and Dan Oke (guitar) were enough to fill the venue's quota for a good while. Older favourites came thick and fast early on, with the anthemic Sinner seeing the first of a few sing-a-longs of the evening, before the perennial favourite Sons of Avarice slowed the pace somewhat and allowed for a more emotional vocal from Methven and a big solo from Price. It was perhaps some of the newer songs which hit the hardest, though. Standing Tall has become the band's latest anthem, and the hooky chorus ploughed through the somewhat rough sound mix. The punkier Knives was another highlight, too, and brought the best out of Adam Stevens (drums) - who is currently on loan from Liberty Lies due to Rich Walker's on-going hiatus. The more dynamic Mirror also shone, with its gentle intro from which the song gradually grows from - before it morphed into a heavy rocker, with some of the biggest riffs of the night. Following this spate of newer cuts, it was generally back to old favourites - including a frantic rendition of the fast-paced Lost Cause and a resurrected Torn. American Made, one of the lead singles from 2019's A Deadset Endeavour, was also resurrected, and it was great to hear the anthemic piece again - before a tease of Black Sabbath's Iron Man segued nicely into the newer River. By this point, though, time was running out - but there was time for a couple more. Burn It to the Ground has always been a big live favourite thanks to its wordless vocal hooks, and the crowd certainly enjoyed singing these sections back at the band - and then the pace was slowed for a set-closing rendition of the soaring power ballad Nova. Phone lights were held aloft here, and the emotionally-charged song saw the set come to a fine end - and one which ended the band's latest UK tour on a high. The setlist was:

Hope in Revival

Sinner

Sons of Avarice

For My Sorrow

Standing Tall

Knives

Mirror

Lost Cause

Torn

American Made

Iron Man [Black Sabbath cover]/River

Burn It to the Ground

Nova

The Fallen State rarely disappoint, and it was great to catch them again in Plymouth. It seems that this latest tour has been a success for them, so I am hoping that it will spur them on in the next stage in their career. It is not clear what is next for the band, but I imagine that they will likely be turning their heads to new material in the near future - but I will always make the effort to see them live if I can - and I hope for many more opportunities to do so going forward.

Scar Symmetry's 'The Singularity (Phase II - Xenotaph)' - Album Review

If I was the mastermind behind a planned trilogy of concept albums centred around artificial intelligence, I think the last thing that I would want to happen would be the first part to come out in 2014 and the second part following nine years later. Any excitement created by part one would have surely dissipated by 2023, and even the very presence of part two would have the status of something akin to a living meme. In my opinion, this release schedule, planned or not, should be avoided at all costs - but it is exactly what has taken place over the past decade in the world of the Swedish melodic death/progressive metal act Scar Symmetry. Since forming in 2004, Scar Symmetry were pretty prolific during their first decade - releasing six albums between 2005 and 2014. The band's interesting sound, which mixes the more extreme end of the Gothenburg-esque melodic death metal sound with both prog and power metal influences, helped to set them apart from essentially all of their peers and, despite a few big line-up changes along the way, Scar Symmetry carved out quite a strong little niche for themselves in the metal world. They were never a top division act, but they maintain a strong following to this day - and there really is not another band out there which sounds quite like them. This is why 2014's The Singularity (Phase I - Neohumanity) (which I reviewed here) caused quite the stir when it was released. I feel like at least couple of the band's older albums would generally be considered as 'favourites' by the wider fanbase - but Neohumanity certainly excited the prog crowd with its more intricate arrangements and sci fi themes. The fact that the album was a digestible 43 minutes long and crammed full of hooks helped, too, but it certainly felt as if the prog era of Scar Symmetry was about to really kick off. It is such a shame, then, that the band has essentially been dormant since. I saw them live in 2015 supporting Epica and Eluveitie, but since the conclusion of that tour the band's only real public activity, until last month, had been a handful of sporadic live appearances. Per Nilsson, the band's de facto leader, guitarist, and principal songwriter, kept teasing the second part of the trilogy - but I think a lot of fans gave up hope, particularly when Nilsson became the touring guitarist for Meshuggah for a few years. As such, then, the release of the band's seventh album The Singularity (Phase II - Xenotaph) last month was a long time coming. Finally, nine years on from Neohumanity, Scar Symmetry were back. Given how long they were away, though, the album's release has not been as much of a splash as I thought it might be. Some people probably really did lose interest, but Xenotaph is an album I looked forward to - so I have been digesting it over the past month or so. Scar Symmetry has changed somewhat since Neohumanity - with Nilsson becoming even more of a central figure than ever. With the exception of most of the vocals, the drums, and some of the guitar solos, everything here comes from him. Drummer Henrik Ohlsson once again wrote the lyrics, but everything compositionally and production wise is courtesy of Nilsson. As such, Xenotaph is the band's first album without bassist Kenneth Seil, who left in 2015, but it is the first with guitarist Benjamin Ellis (Bloodshot Dawn) who came aboard in 2016.

As with the last album, Nilsson even handles the occasional lead vocal line, but, as has been the case since 2008, Roberth Karlsson and Lars Palmqvist share the bulk of the vocals - with the former contributing harsh vocals and the latter singing clean. The album is longer than Neohumanity, and does feel a bit less progressive overall. There is generally much more of a focus on heaviness, here, but repeated listens reveal that the album is more varied and progressive than it first seems That being said, though, the album gets off to a more straight forward start with Chrononautilus. The last album built up slowly, but Xenotaph opens with a furious blast beat and some pulverizing riffing - and it really sets the tone for what is to come. As the album is heavy overall, and there is a strong focus on Karlsson's harsh vocals throughout. Palmqvist tends to handle the hooky choruses, but elsewhere the album is much heaver - and that is very much the case with Chrononautilus. The verses here are fast-paced, with Ohlsson's busy drumming underpinning everything, whereas the chorus features the band's trademark pop hooks - despite the overall faster pace remaining. Ellis introduces himself via the album's first guitar solo, which is high-octane and shredded, whilst Nilsson solos later - during a brief moment of respite which recalls the previous album's proggier moments. A longer clean vocal-led section follows, which does give the song a bit more of a dynamic arrangement, but this calm is relatively short lived - as the band soon toughen up again for an extremely fast section which borders on black metal at times thanks to Ohlsson's intense footwork. Scar Symmetry have really lent into their heavier side here - and the album gets off to an uncompromising start as a result. Scorched Quadrant, which follows, does rein it in somewhat - but there is still a toughness throughout. The main riff feels less extreme metal in nature and more old-school, with a bit of groove added by the bass, so there is a pleasing strut during the verses - which Karlsson barks over in an infectious manner. Scar Symmetry have always had a knack for making their harsh vocal lines hooky, despite Karlsson's genuine death metal pedigree, and the contrast between the harsh and clean vocals has always been a big part of their sound. The chorus here is likely one of the album's hookiest, with Palmqvist getting quite a bit of time in the spotlight - whilst Nilsson's shimmering synths add plenty of depth. The synths are more prominent here than they were in the previous song, especially during those sections which feel more progressive. The bass also shines during those sections, and Nilsson once again solos against a relatively cinematic backing later on - before Ellis ups the tempo with some shredding. This mix of vibes harks back to the previous album nicely, and the arrangement is not as relentless overall. Overworld opens with a soaring guitar lead, and the song generally feels a bit hookier and poppier overall. Karlsson's harsh vocals are utilised less here, and Palmqvist instead dominates - which is a relative rarity on this album. The verses, which are backed by a slightly off-kilter guitar riff, feature the two singers duetting. I wish there were more duets on the album, as the back-and-forth works well. Karlsson's long screams add some darkness to the overall more melodic piece, but it is the chorus that really pulls the listener in - with the strong synth backing harmonising well with Palmqvist's vocal lines. A busy solo from Nilsson pulls everything together, and the opening song trilogy is strong.

Altergeist ups the heaviness again, and returns to a sound more akin to the opening track. It is perhaps not as gnarly as Chrononautilus, but it certainly feels more like that song than the other two which have come before it. The focus vocally is back on Karlsson here, and his harsh vocals dominate throughout. Black metal-esque passages return, with Ohlsson's blast beats returning to the mix regularly - but these sections are made more interesting by a melodic keyboard backing and some choice guitar leads. This mix of heaviness and melody has long been a part of the band's sound, and I like how the contrast works during the sections which feature blast beats. Generally I find this song a bit less hooky than those which have come before - but it has grown on me quite a bit over repeated listens. There is definitely more of a progressive feel here - and the overall instrumental arrangements are more interesting. There is quite a good balance of light and shade, too, with a lengthy mid-section, bookended by solos, which features strong synths and Palmqvist's more gentle vocals. The trade-off solo between Nilsson and Ellis is great, too, and the song is one that showcases that there is still a lot of prog in this album despite the heavier focus. Reichsfall is another which opens with a big guitar lead, and the twin guitar harmonies which dominate early on give the song a bit of a 1980s feel - before a chunky riff kicks in and song becomes another pretty heavy platter. That being said, though, it still feels quite old-school. There are fewer modern extreme metal trappings here, and even the heavier sections have quite a bit of classic groove to them - with Karlsson growling atop something more organic-sounding, whilst Palmqvist interjects with the occasional clean line. This focus on a more old-school sound means that the song's chorus is a winner - and another which could be considered the album's best. Palmqvist's hooks here are great, and it is one of those which has often been stuck in my head after the album finishes. There are a few twists and turns, though, such a short section which sees Nilsson taking the lead vocally to add a different edge briefly - and another excellent solo section featuring trade-offs. I like the way the band fused a more organic sound with their technical approach here, and it does help the song to stand out nicely. Digiphrenia Dawn returns to something more fast and furious, though, and the opening Nilsson shredded solo sets the tone for what is to come. Karlsson is the dominant force vocally here, and the knotty verses only help his deep growls to stand out. The riffing beneath his barks is somewhat off-kilter, which gives the song a frenetic energy, and the song in general is a pacey number. Despite this, though, there is still quite a dynamic arrangement. The chorus, which switches to clean vocals, is pretty hooky - and there is another more calming mid-section which again features Palmqvist. What I like about this song, though, is that there are quite a few sections which see Karlsson and Palmsqvist singing together. The 'harmonising' of their two vocal styles works well when it is deployed, and, again, it is something that I would like to hear more of. It really suits the band's overall approach and tech-heavy sound - and the song stands out as a result.

Hyperborean Plains also opens with a guitar solo, and the overall arrangement makes it feel more progressive from the off. Nilsson's opening salvo is pretty lengthy, and the musical backing to his mix of melodic phrases and shredded passages is a bit more spacey overall. As such, the heaviness is paired back somewhat here. There are plenty of pop hooks, but overall the song feels pretty cinematic. Palmqvist tends to dominate vocally, but Karlsson does add character when required - and the song features a little more of the tandem singing between the two which I am such a fan of. The guitar riffing here is much less in-your-face than it is generally on the album - but this only allows Nilsson's keyboard playing to shine. He is a great keyboard player as well as a great guitarist, and the song has a great scope overall as a result - and it certainly harks back to the previous album somewhat. Ellis' later solo ups the heaviness somewhat with some on-point shredding - but overall this song is a bit more restrained in terms of weight, with Karlsson's voice generally being the heaviest thing about the track in which pop hooks and synths tend to shine. Gridworm ups the heaviness again, but also opens with a guitar solo. Nilsson really shreds this time, though, and the overall difference between this solo and the one which opened the previous number perfectly showcases the different approaches taken. Karlsson dominates vocally this time, but there is a good vocal balance overall despite the heaviness - with Palmqvist even singing against some hard-driving riffs at times, which is different to the synth heavy backing which he usually sings against. The song feels pretty varied as a result, and there is a strong progressive bent to the arrangement. The song is perhaps not as overtly 'prog' in sound, but the dynamics throughout give that impression - particularly when some stabbing AOR-esque synths rear their heads later and Ellis then shreds against a djenty riff. There is a lot going on here despite the heaviness, and arrangement-wise the song is one of the album's most interesting. A Voyage with Tailed Meteors returns to something much more extreme metal-influenced - and it is the album's heaviest track overall. Palmqvist does sing here, but he is utilised sparsely - with Karlsson dominating. The riffs throughout move back and forth between tech metal grooves and black metal-esque rasps, whilst Ohlsson's drumming also channels the black metal spirit with plenty of blast beats and intense double bass drum patterns. The song is very fast overall, too, and there is very little let-up in intensity. There is a brief section which sees the synths take over and the pace slowed for Palmqvist to sing, but this is very much a brief moment of respite before the song careers on chaotically - and it later features some of the most bonkers shredding on the album from both Nilsson and Ellis. The song is an intense explosion of heaviness, then, and fans of extreme metal will find a lot to like here.

By this point the album is nearly over, but Soulscanner makes sure to make its presence felt with another lengthy guitar opening - featuring some busy shredding from Nilsson before Ellis takes over to lay down something more melodic and cinematic. Given the tone set by this opening solo section, the song which follows is unsurprisingly quite typical of the band's core sound - with heavy verses and a melodic chorus adding hooks. The album's opening handful of songs were generally more straight forward arrangement-wise, and Soulscanner tends to return to that approach. There has been more prog and diversity immediately prior to this track, so in a way the focus on the band's core sound is welcome here - and the chorus is another which is packed with strong hooks. It is a less intense moment of melody, which contrasts with the previous song significantly, and I quite like the occasional use of synthy autotune during the chorus to add to the album's overall cinematic sound. There are certainly more intense and interesting songs here, but I like the fact that the album's penultimately song returns to something more simplistic to add some final hooks before the closing title track. Xenotaph, then, returns to something more progressive - and the song is the album's longest cut. The opening riffing is pretty tech metal in overall feel - and it is clear that Nilsson's time spent helping out Meshuggah rubbed off on him. The riffing is certainly not as intense and groove-based as Meshuggah's approach, but there is something more techy about it than perhaps is traditional for Scar Symmetry - and they open up the busy and proggy song nicely. Choral vocals are used here occasionally for effect, making the band sound bigger than ever, whilst the synths are also busier - with some sections even featuring keyboard leads to double some of the riffing or guitar lead lines. The song feels more traditionally prog metal, then, but the sci fi themes and the dual vocal approach still shines - with lots of screentime given to both Karlsson and Palmqvist. This is the case as the track features a good mix of heavier and slower sections - with perhaps more of a focus on lumbering, cinematic sections than ever. I like the space in the mix here, which is different to the more chaotic approach taken elsewhere. It feels like the band stretching out and indulging in their progressive influences - and I also like the fact that the song does not really feel like a defining statement. Despite being the closing number, it feels as if it is setting up what will hopefully follow as the final part of the trilogy by fading out without a bang - and leaving a closing, crackling keyboard melody to end the album in a strangely low key way. Overall, then, Xenotaph is another very strong release from Scar Symmetry. I have to say that, at first, I was a bit disappointed with the album as it did not feel all that progressive - but it has really grown on me. It is certainly more progressive than it first seems - and the arrangements only grow in stature over repeated listens. It might focus more on heaviness than anything else, but there is still a lot of variety here - and, more than ever, it is an album that needs to be digested and lived with to get the full experience.

The album was released on 9th June 2023 via Nuclear Blast Records. Below is the band's promotional video for Scorched Quadrant.

Rival Sons' 'Darkfighter' - Album Review

It is certainly fair to say that I was very late to the Rival Sons party. I had been aware of the California-based rock band for many years - and saw them live at the second and final iteration of the High Voltage Festival in London in 2011. The band played a set early in the day on the Main Stage, hot on the heels of releasing their second album Pressure & Time, but, at the time, they did little for me. With the exception of a handful of bands including The Answer, who I also saw at the same festival the previous year, I just was not that into bluesy, retro-sounding rock at the time. The throwback acts I tended to go for then were much more classic rock and glam metal based, so a whole generation of more Led Zeppelin-esque bands passed me by. Despite this, though, it was great to see the band grow in stature over the years. Rival Sons might not have been my thing, but a newer rock band getting a lot of press and building a fanbase is never a negative - and they have become pretty popular here in Europe over the years. Despite being aware of their stature, I essentially ignored all of the band's output until 2017 - when I saw them supporting Black Sabbath on the latter's farewell tour. I was not expecting much from Rival Sons, but went into their set with an open mind and ended up enjoying it. It was clear that the band had come a long way since 2011, and their sound felt more varied to me - plus they just seemed more assured on stage, complete with a keyboard player in tow to bulk out their sound. I picked up 2016's Hollow Bones, which was the band's newest album at the time, not long after seeing them - and enjoyed listening to it casually on occasion. My view on the band had changed, but I was not ready to fully take the plunge at that point. I think it was 2020, and the lockdowns, which finally persuaded me to dive in. I discovered a lot of music in 2020, largely as there was not a whole let else to do, and I finally bought the whole Rival Sons catalogue over a period of a few months and enjoyed going back through it. I would now consider myself quite a big fan of the band, although I am still certainly no expert. I need more time with all of their albums, but I am now an active follower - and have tickets to see them in London later in the year. A new album to enjoy was all that was missing, then, but last month the band released their seventh album Darkfighter - their first release since 2019's Feral Roots. Darkfighter appears to be the first of two 'linked' albums, with its companion piece Lightbringer due for release in the near future (although no date has been given as yet), and is the first Rival Sons album that I have bought on release. Sound-wise, it is not significantly different from what has come before - but, by this point, Rival Sons have established their sound and have become much more than a retro throwback. A blues rock group at heart, Rival Sons have always had an organic rawness to their songs - and there is quite a bit of soul to be found, too. The core four alongside aforementioned keyboardist Todd Ögren, who seems to possibly now be a fully-fledge Son rather than a session musician, have created another strong album with Darkfighter - which rocks pretty hard at times whilst also indulging in the occasional more progressive flourish despite its relatively short overall length.

Despite the album being typically guitar-led, opening track Mirrors actually starts with Ögren - whose organ textures create a warmth as the album slides into view. Despite this fairly gentle opening, the song soon morphs into a big hard rocker - and the arrangement is pretty dynamic, showcasing that slightly progressive flair from the off. Guitarist Scott Holiday takes over from Ögren, his off-kilter riff creating a catchy groove, whilst the rhythm section of bassist Dave Beste and drummer Michael Miley lock in perfectly with this bluesy strut. Ögren adds colour when necessary, the slab-like ends of each riffing cycle augmented by organ stabs, whilst frontman Jay Bachanan showcases his love of a soulful vocal delivery as he worms his way in between the guitar lines during the head-bobbing verses. These verses are pretty knotty, but they grab the attention right away - and the chorus which sits in between them is allowed to feel more epic as a result, building from a warm acoustic pre-chorus which explodes into something hooky, organ-drenched, and classic rock-inspired. The grooves of the rest of the song drop away during the chorus, with big power chords instead shining through. A tortured Holiday solo showcases his sometimes strange approach to lead playing, but it fits nicely within the song's dynamic arrangement - and it ensures that the album gets off to a great start. Lead single Nobody Wants to Die reins in the varied arrangement of the previous song, ups the pace, and focuses more on hooks. Rival Sons have often written no-nonsense hard rockers - and this is the latest effort in such a line of successful singles. Holiday's riffing here is more straight forward, with brash, bluesy melodies sounding nice and raw thanks to his tone - whilst the fat bass riffing of Beste drives everything and gives the song a heavier overall edge. Buchanan's vocals are right at the front of the mix, too, and this is very much a song which focuses on his strong delivery and snappy hooks. The pace of the song allows the verses to feature a rollocking vocal performance - whilst the chorus is one that grabs hold and never lets go. The song is likely to become a live favourite as a result, and the uncomplicated arrangement makes for a great single. Bird in the Hand strips the harder rock riffing of the opening two songs away, and instead somewhat goes for a more organic, acoustic based sound at times - which is smashed together with 1960s fuzz to create something that feels raw. Acoustic instruments dominate early on, despite a strong percussive stomp, but much of the song is based around a snaking guitar pattern - backed by Miley's booming drums and a hint of retro keyboards. The song still feels pretty hard rocking, then, but the overall vibe is different from the opening numbers. There is a smokiness to parts of the track, and the occasional surfacing of the intro's acoustic instruments allows the aforementioned rawness to maintain a presence, but there are still plenty of hooks - and the chorus feels a bit fuller overall thanks to a poppy Buchanan vocal which meshes perfectly against Holiday's gnarly guitar tone. Despite this mix of sounds, Bird in the Hand manages to hang together - and the song has become a favourite thanks to its mix of hooks and organic sounds.

Bright Light slows down somewhat, and expands on the acoustic elements of the previous song. Acoustic guitars are present throughout the track, adding depth, but it never really feels like a ballad - with the song instead feeling like a good mix of laid back bluesy rock and with a chorus hook that is not too dissimilar from something the Eagles might have come up with if they had more of a blues and gospel background. It is this chorus that really allows the song to shine for me. Buchanan is quite a varied singer, but his poppier edge shines here - mixing well with Ögren's organ backing and the tight mix of electric and acoustic guitars. Rival Sons might sound their best when they are operating at full-tilt, and I tend to prefer the band's harder rock efforts, but they also do this amped-up singer-songwriter sound very well. Their sense of melody suits that generally mournful sound, but they manage to inject enough of their rock sensibilities to keep interest levels high. Another slightly strange Holiday guitar solo adds an unsettling edge to parts of the song, too, and this contrasts nicely with the wistful chorus hooks. Rapture opens with a somewhat fuller sound, but it is another that ultimately is not all that much of a hard rocker. The opening riff is quite meaty, but the song in general is a varied, mid-paced bluesy piece that mixes soulful, guitar-led instrumental sections with acoustic moments that feature a rather plaintive Buchanan vocal. The verses feature a prominent drum groove, which feels like the main focal point, whilst Beste's bass snakes around in the space and Holiday adds choppy rhythms in the background. This is a strange bed for Buchanan's vocals, but it works nicely as he fits his vocal lines around the big snare hits - whilst the acoustic sections allow for additional warmth as the band step back to allow Buchanan to really shine. The song also features a more typical guitar solo from Holiday, who really cuts loose to lay down some bluesy melodies. The solo is quite brief, but it really soars - and it perfectly transitions into a heavier rendition of the previous acoustic sections, which feature some pretty raw screams from Buchanan as the song grows in stature. Those missing the harder rocking side of the band will love Guillotine, and the muscular song returns to something more akin to how the album opened. Despite this, though, the song is not exactly a snappy rocker - as its overall pace is fairly slow. Holiday channels Tony Iommi a little here, though, as his riffs have a bit of a doomy quality throughout. Black Sabbath started out as a blues band, so this heavier take on blues works - and a gritty verse grows from this riffing, with Beste's bass pulsing whilst Buchanan sings over a sparse backing. This only serves to make the riffing sound bigger when Holiday kicks back in, and other sections feature Holiday really powering through the mix - whilst Buchanan channels his inner Robert Plant and Miley unleashes some Ian Paice-esque jazzy drum rolls. This heaviness, despite the occasional acoustic-led moment, ensures that the song is another favourite of mine - and it is great hearing the band really go for it here.

There are only two songs left at this point, but both breach the six minute mark - meaning that the band have left their most expansive efforts until last. Horse's Breath is up first, which opens with buzzing keyboards that slowly loom into view - creating a strong atmosphere which suits the darker vibes that the band seem to be going for here. The keyboards still sound suitably-retro, though, and they maintain this atmospheric approach throughout - even when the rest of the band soon crash in. Holiday's main guitar riff is surprisingly hooky given how atmospheric the song is - but the melodies work well to contrast with the rest of the darkness going on around them. This riff is purely a hook, though, and does not go on to form the basis of either the verses or the chorus - with the former channelling the intro's darkness despite a slightly punky drum groove which Buchanan effortlessly croons over. Beste's bass playing is busy, whilst the guitars add a heavier depth - and Holiday does break into the main riff occasionally to break up the darkness. The chorus is similar mood-wise, but it features some of Buchanan's strongest vocal hooks on the album. They are pretty simple, but they have stuck in the brain from the off - and even before the song made a big impression on me I could remember the chorus hook clearly. There is something resigned about Buchanan's vocal delivery here, but this fits in nicely with the overall atmospheric depth of the song - and Ögren's understated keyboard work underpins everything and creates the song's unsettling overall feel as his synths crackle away. Closing out the album, Darkside sees Holiday returning to a doomy sound - and the song's main riff crashes in following the synths of the previous song fading out slowly. It gives the listener a real kick, then, but the song is another varied one overall - and the heavy riff actually gives a bit of false impression early on. Holiday briefly lets rip as the song opens, then, but the lengthy verse which follows is one of the album's most stripped back moments. Buchanan almost whispers his vocals here, and the musical backing is extremely minimal with some distant keyboards and the occasional clean guitar line all that is heard. This could not be more different from the opening riff, but the contrast works well - and when the riff reappears a little later it has a similarly powerful impact as it really jumps out of the speakers. This pattern repeats itself, albeit with the second verse feeling a little more expansive, but generally the mix of heavy, slow riffing and exposed vocals is what characterises the song - before it grows in stature towards the end with a screaming Holiday guitar solo which then morphs into a much heavier take on the song's main vocal hooks with the band really crashing away. The album somewhat ends on a bang, then, although it is left to Buchanan to properly close things out with some wordless humming. As I am still fairly new to much of Rival Sons' catalogue, it is hard to say where Darkfighter sits in the canon - but there is a lot to like here and the album says a lot in its 40 minute runtime. I like the slightly progressive leanings at times, but the rawness of the band's core sound still shines through - and the album generally feels like one by a band confident to do exactly what they want.

The album was released on 2nd June 2023 via Low Country Sound/Atlantic Records. Below is the band's promotional video for Nobody Wants to Die.

Avenged Sevenfold's 'Life Is but a Dream...' - Album Review

When it comes to modern mainstream metal bands, California's Avenged Sevenfold are one of the most successful. Whilst a relatively quiet period in recent years may have seen them drop down the overall rankings somewhat, the band nevertheless are global superstars who have released a string of albums over the years which contain a lot of memorable material. Despite being born out of mid-2000s metalcore scene, of which their second album, 2003's Waking the Fallen, is something of a posterchild for, Avenged Sevenfold have never really stuck to one thing - and I think that it is fair to say that each of the band's albums has its own identity and demonstrates a constantly-evolving approach to modern metal music. The fact that the band have been as successful as they have despite this constant desire to push forward and create something new shows how well-crafted much of their output has been. Many metalheads cannot really be called open-minded, so Avenged Sevenfold's want to follow their own path and rarely give the fans what they want should be applauded - even more so given the mainstream circles that the band have operated in for a number of years at this point. They not an underground, experimental act that few appreciate - but instead an arena-filling headliner with legions of fans worldwide. That is not to say that everyone has appreciated Avenged Sevenfold's trajectory, and there are often calls for them to return to a sound akin to Waking the Fallen, but in truth the band have not really sounded like that since - and they are a band where it can be genuinely said that each album sounds different from the last. This was especially the case when considering their last album: 2016's The Stage (which I reviewed here). Following the more stripped back and focused hard rock/old-school metal sounds of 2013's Hail to the King (which I also reviewed here), The Stage was a full on progressive metal album - moving away from accessible song structures and single-worthy material to create something much more expansive. The Stage is not an album for every occasion, then, but it is certainly an impressive piece of work. There was a lot to digest, but it is an album which I grew to like quite a bit - and it seemed to be one that the band really wanted to make. Given that relatively little has been heard from the band new material-wise since The Stage, then, I wondered how they would follow it up. The Stage was basically a surprise release, too, only announced a couple of days before it came out - but following it up has been a seven-year journey. The recording of the band's eighth album seems to have been a rather drawn out one, then, largely thanks to the pandemic. The band's latest opus was finally released last month, though, and Life Is but a Dream... finds Avenged Sevenfold feeling more experimental than ever. I am not even sure that I would call Life Is but a Dream... a progressive metal album - as it feels more 'out there' than that. It certainly feels more avant-garde than anything the band have done before, and there is a strong jazz element present throughout. The songs here mix traditional-sounding Avenged Sevenfold melodies and riffs with plenty of quite extreme left turns - with influence from acts like Frank Zappa, Mr. Bungle, and even Miles Davis permeating through a more traditional heavy metal façade.

Perhaps Avenged Sevenfold's MVP has always been lead guitarist Synyster Gates, who's distinct approach to his instrument has always elevated the band's material, but he plays more of a significant role than ever here - with the CD's booklet detailing all of the additional instruments that he played throughout the album. Much of the keyboard work heard here is courtesy of him, plus there are some occasional experiments with flute and harmonica. In fact his flute playing is featured during the album's opening song Game Over - which is likely one of the most traditional-sounding Avenged Sevenfold songs here. It opens with some delicate classical guitar melodies, backed by Mellotron, but this gentle nature does not last very long - as soon the band crash in and the song morphs into a fast-paced, somewhat punky metal anthem. Drummer Brooks Wackerman leads the charge here, his busy playing the perfect backing for frontman M. Shadows' machine gun vocal melodies, and much of the song steams ahead at a fast pace - which does actually recall the band's early days somewhat, but with a bigger overall sound. A more theatrical chorus sees the pace slowed somewhat, allowing Shadows' vocal melodies to shine - but in general the song steams ahead, with Gates occasionally taking the opportunity to really shred. The opening classical guitar melodies return later, this time with a flute accompaniment, which Shadows also sings over - and despite the general heaviness the song is extremely dynamic, which is a taste of what is to come. Mattel is somewhat similar, and opens with a relatively simple, heavy riff which is very typical of Avenged Sevenfold's core sound - and the song in general is another which is perhaps more instantly-recognisable as an Avenged Sevenfold song than some of what is to follow. The pace is slower than Game Over, and there is a strong focus on groove throughout. As such, the song harks back to the sound of the band's 2007's self-titled album somewhat - as there are strong hooks here complete with the big grooves and occasional experimental moment. Shadows sounds as good as ever vocally here, mixing the occasional harsh scream with his more typical theatrical approach - and he also shows a more restrained approach during some occasional piano breaks. The song takes a left turn, though, thanks to a 1970s-esque progressive rock keyboard solo from Gates, which is different from his usual shredded guitar expressions, which sits atop a Queen-esque layered backing - before things transition back into the established heaviness with a big scream from Shadows and some chaotic shredding. A jazzy piano expression brings the song to a close and, despite the variety already found, the band are just getting started. Nobody, which was released as a single before the album came out, is another mid-paced rocker. Big synth swells open things up, locking in nicely with Johnny Christ's bass playing to create a weighty sound, and the song soon settles on a strong groove which it never really deviates from. Arrangement-wise, then, Nobody is one of the album's simpler songs. Wackerman's busy ride work and plodding drum pattern allows for the bass and synth combo to dominate - whilst the guitars of Gates and Zacky Vengeance tend to crunch away in the background, allowing Shadows' somewhat tortured vocal delivery to really cut through the mix. Gates occasionally adds some busy guitar leads to the track, creating something of a chorus, and his note choices perfectly sync up with the drum groove - giving the song a strange, syncopated sound. Even the closing instrumental section, built around a big guitar solo, does not stray from the established groove.

We Love You returns to the somewhat punky sound featured during the album's opening song, but the fast-paced drumming feels more staccato overall - and the arrangement is much deeper this time. The song is a metal track at its core, but there is a lot going on here - and the album generally becomes more varied as it moves along. The guitars of Gates and Vengeance are pretty weighty here, the two locking together for some strident riffing - whilst Wackerman's drums either create Pantera-esque double bass patterns or stomp away in staccato rhythms whilst Shadows' fires words out of his mouth with real venom. The song feels pretty varied, then, and these vibes are constantly switched between. Synths fill many of the gaps, creating a strange atmospheric depth, whilst a faster-paced section later sees the band sounding something like Lamb of God briefly - before Gates launches into a lengthy and busy guitar solo. Slab-like riffing and a varied drum performance makes the song stand out, then, before everything drops away at the end to allow for acoustic guitars and bluesy leads to take over in yet another shift in tone. Cosmic opens with Shadows' singing, utilising his gentler approach, as clean guitar chords and subtle keyboards create a warm backing, and this vibe generally continues on throughout the song - as the band generally strip away the heaviness here and go for more of a ballad-esque approach. Despite this, though, there are strong progressive rock strains at play here. The song grows in stature early on, with the band layering in complexity behind Shadows' emotional vocal delivery - which then explodes into a lengthy guitar solo, packed with Brian May-esque tone early on before it morphs into something more chaotic and shredded. The song does get heavier here, but it still feels more rock than metal - and when Gates' solo closes the piano takes over and Shadows' starts to sing again against a mournful, piano-led section complete with a plaintive drum groove. Strange synths start to take on more of a prominence, though, soon overpowering the band and creating a pretty creepy atmosphere. This feeling then dominates the rest of the song - with Shadows singing into a vocoder to blend in perfectly with the synths. Beautiful Morning reinstates the heaviness which was generally absent from the previous song, and opens with some effects-heavy guitar chords before things morph into more of a mid-paced groove backed by some off-kilter drumming. The chugging guitar rhythms are actually pretty straight forward, with Wackerman providing much of the musical interest here with his busy performance - whilst a slow-burning, mournful chorus includes plenty of keyboard backing and hypnotic vocal melodies. There are slower moments, too, and a surprisingly jaunty, Mellotron-backed mid-section sees Shadows taking a gentler approach vocally - before Wackerman breaks the peace with his double bass drums and Gates launches into a jazzy solo. The more ponderous grooves from the song's beginning soon return, though, and the chorus is expanded on - albeit with more keyboards layered on top to create another strange atmosphere similar to how the previous song operated in its closing section. This all then drops away, leaving the piano to close things out.

Easier sees Shadows returning to his vocoder for a synth-heavy intro, but anyone thinking that the song is going to be poppy will be put in their place as huge riff soon crashes in - and this slab-like groove dominates early on. Slower sections which feature effects-heavy vocals do return occasionally, but generally the song is a slower-paced, almost doomy, piece with plenty more groove coming from Wackerman's drumming. From this point on, the album is made up of a number of shorter songs, so it is amazing how varied Easier is. The heaviness seems to dominate, but there is a lot going on instrumentally - and the piece gradually shifts into a jazzy guitar expression, with Gates taking over for the last half to solo until the piece comes to a synth-heavy close. The next three songs: G, (O)rdinary, and (D)eath; essentially make up a trilogy and all segue into one another. The suite feels like one piece of music, then, and opens with some proggy-sounding guitar leads, before Wackerman takes over with some snappy drum grooves that back the riffing perfectly. Despite the business of the riffing, which reminds me a little of the James Gang at times, the early portions of the suite are actually quite straight forward and fairly hard rocking - with the backing vocal harmonies of Taura Stinson and Brianna Mazzola only adding further to this retro edge. Transitioning into (O)rdinary, though, the suite takes a turn - and becomes much smoother. Christ's bass takes on a more prominent role, and some funky guitar stabs recall Toto somewhat. There is a bit of a yacht rock feel here generally thanks to the overall laid back grooves present and the smoothness of Christ's bass. This feeling only increases when a poppy chorus takes over and Shadows sings in a very 1970s-esque pop manner - with the effects on his voice increasing as the song moves along until he becomes part of the wider synth-based tapestry. He soon gives over to a busy instrumental section featuring poppy, jazzy melodies to provide the last upbeat hooks of the album - before (D)eath becomes mired in strings and feels like something from an old film soundtrack. The noir vibes of the song are different to anything the band have done before, with gentle horns and piano backing Shadows' swing-influenced vocal delivery whilst the orchestrations dominate. These strings get darker and more oppressive as the brief song moves along - before reaching a dramatic crescendo. The album then briefly pauses for breath, before the closing instrumental title track continues the overall film score approach. It is essentially a showcase for Gates' piano skills, and he spends the album's last few minutes laying down a pretty old-school-sounding jazz expression - with melodic and almost classical-sounding sections sitting side-by-side with busier and more atonal flourishes. In many ways, it is the perfect way to close what has been a very diverse album - which does not often really sound that much like Avenged Sevenfold. That being said, though, there is enough that links back to their various sounds over the years to help join the dots - but the variety on show here is impressive and shows a level of musicianship not previously displayed. There is a lot to like here, and not everything has clicked with me - but this is easily the band's most impressive album to date, even considering the prog leanings of The Stage. Many people will struggle with this album, but many others will find plenty to sink their teeth into here - and I have certainly appreciated the journey.

The album was released on 2nd June 2023 via Warner Records. Below is the band's promotional video for Nobody.

Sirenia's '1977' - Album Review

I am glad that I got back on the Sirenia train in 2021. I first started listening to the Norwegian gothic/symphonic metal act back in 2009, when the band's fourth album The 13th Floor came out - and kept picking up and devouring their albums up to and including the release of 2015's The Seventh Life Path (which I reviewed here). After that, though, the band somewhat dropped off my radar. I did not get either 2016's Dim Days of Dolor or 2018's Arcane Astral Aeons until much later, and it was not until the release of 2021's Riddles, Ruins & Revelations (which I also reviewed here) that I started to pay attention to the band again. Looking back, it is hard to say exactly why I stopped paying attention, but my interest in gothic/symphonic metal, along with power metal, definitely dipped a bit around that time - and I also think that perhaps I was getting a bit tired of Sirenia's formula by the time The Seventh Life Path rolled around. I always enjoyed the band's albums, but they can be quite heavy-going listens at times for what are essentially melodic metal releases - and bandleader Morten Veland's insistence on using rather cheap-sounding programmed drums also started to put me off. As such, until hearing Riddles, Ruins & Revelations, which I liked a lot, I had essentially missed out on the whole of the Emmanuelle Zoldan era of the band. Zoldan replaced former frontwoman Ailyn in 2016, and it is clear from the results of the 2021 album, as well as my still fairly limited explorations of the band's 2016 and 2018 releases, that the change was overall a beneficial one for Sirenia. I liked Ailyn, but I feel as if Zoldan is better suited for Veland's songwriting - and I also feel as if the band's focus has somewhat shifted since her arrival. The 2016 and 2018 releases certainly still maintained a lot of Sirenia's older sound, but by Riddles, Ruins & Revelations Veland had fully embraced a much poppier approach. For me, the 2021 album was a great blend of up-tempo electro-pop with the band's trademark gothic/symphonic metal sound. It was packed full of hooks, and it was an album that I listened to a lot around the time that it came out - and it could well be my most-played Sirenia album to date. The album attracted some pretty strong reviews, too, so it is clear that Veland wanted to capitalise on this success - and the band's newly-released eleventh studio album 1977 feels like an expansion of Riddles, Ruins & Revelations. The pop hooks of the 2021 album remain, and are sometimes more prevalent than they were previously. The gothic metal elements remain, too, but they have a light shined on them again a bit more brightly at times - although Veland's harsh vocals are deployed extremely sparsely. The overall core sound of the album remains poppy and rather synth-heavy, but towards the end there are a few heavier tracks which feel like something from Sirenia's past - so the balance between light and dark feels a bit more diverse this time. As usual, Veland has written and produced everything here - and he also played the vast majority of the instruments. Alongside Zoldan, both guitarist Nils Courbaron and drummer Michael Brush return from the previous album - with Courbaron handling all of the album's guitar solos.

The album opens strongly, but relatively serenely - as Deadlight starts out with some delicate piano melodies, which grow in stature against a backdrop of strings, before Zoldan begins to sing a lower key version of the later chorus. This melodic intro helps to set the tone nicely, but it is not long before the band crash in and the song becomes a mid-paced crunchy rocker. The piano remains present, particularly during reprises of the chorus, but the guitars take on more of a presence - with a good mix of crunchy chords and slightly funky rhythms throughout, whilst Brush's punchy drumming keeps everything moving. In many ways, the song is very typical of the album's core sound. The focus throughout is very much on Zoldan's vocal hooks, and she sounds as good as ever here. The classical tinge to her voice gives her a real elegance throughout - but the poppy hooks sound natural coming from her, too. The chorus is one of the album's hookiest moments as a result, and she blends with Veland's piano nicely - with the more metallic parts of the arrangement adding depth. Courbaron's first guitar solo here is quite simple, but it works well to enhance the chorus melodies in cutting fashion - and the song proves that Sirenia's current poppy approach still has legs. Wintry Heart opens in a similar manner, with a busy piano motif - but the song soon becomes a bit heavier overall as Veland crashes in with a big guitar riff which is backed by some double bass drum patterns from Brush. Tone-wise, the song is quite similar to Deadlight - but everything has been upped heaviness-wise. The pace is a little faster, too, so there is some looking back to the band's older work here. Veland's guitar riffing is on point throughout, mixing a crunching backing with hooky passages, whilst the piano and strings also remain to add that melodic depth. The strings are more prominent than the piano this time, though, which gives the song a more symphonic sound overall - which suits Zoldan's classical-tinged approach and allows the big chorus to hit in a dramatic fashion. Courbaron also lets rip a bit more here, with a busier guitar solo which comes to a end in a chaotic flurry of notes. The heavier nature of the song allows it to hit a little harder - and it is good to see that Sirenia have not totally abandoned this more riffy side. Nomadic returns to something more mid-paced, and goes for a more synth-heavy sound. A big synth melody opens things up - which is soon doubled by Veland's guitar to create a heavy, yet melodic, opening motif. The use of synths here rather than the piano of the previous songs ups the overall pop feeling that the song creates - but the guitars still pull their weight. The verses in general are very guitar-focused, with a surprisingly raw chugging riff seeing much of the synth backing drop away - but the chorus feels much bigger arrangement-wise thanks to a return of more prominent synth leads. The chorus is another hooky moment as a result, and the mix of tougher sections and poppier moments feels well balanced despite the pop hooks shining the brightest.

The Setting Darkness returns to the piano of the album's opening couple of songs, and, fittingly, the song has a bit of darker feel overall which harks back to the band's older albums. There are synths here, but they are generally colder and used in a more atmospheric manner - with the guitars generally dominating to allow the song to feel a bit heavier overall. This is another song which goes for a more symphonic approach, too, with Zoldan unleashing some subtle operatics during parts of the chorus - which feels more string-laced overall, in contrast to some of the colder synths used elsewhere. Despite the heavier tones, though, the song remains very hooky - and the pop melodies used throughout the album still manage to worm their way through the mix despite the more gothic overtones. This more gothic vibe continues on throughout A Thousand Scars, but the synths return to something more pop-focused - which creates quite a stark contrast from the off. Veland's main riff is pretty slow-paced and heavy, but the stabbing synths which back it are pretty upbeat - which does somewhat take the edge off of the song's doomy nature. I generally like the mix of pop and heaviness on Sirenia's recent albums, but I feel as if this song would have benefitted more from going down a heavier path. The main riff would have made for a great gothic set-up if it was not for the synths - and it would be great to hear Zoldan tackling something doomy. As things stand, though, the song is does not capitalise on its potential in my opinion. The verses are pretty low key, with synths and off-kilter drums backing Zoldan, but the chorus is another pretty strong one which includes some big vocal hooks. A later, more operatic bridge section changes tack, though, and it allows Zoldan to show off a different side of her voice - which would have fit perfectly alongside the doomy opening riff if it was not for the more typical meat of the song. The arrangement is a bit confused, then, which is a shame. Fading to the Deepest Black changes tack completely, though, and essentially presents as the heavier song which I wish A Thousand Scars had morphed into. There are still plenty of hooks here, but there is much more of a focus on traditional metal heaviness this time. Brush even launches into a blast beat occasionally, and this is how the song kicks off - which Veland lays down some fast-paced chugging over the top of. As such, the song feels like a love letter to Sirenia's past. The gothic tones are much more prominent here, and the synths are generally there to create atmospheric depth rather than pop hooks. Zoldan's vocal melodies are sufficient to carry the song melodically, and the arrangement is also more interesting - with a lengthy, clean guitar-driven, mid-section which features Veland's crooning clean vocals before Courbaron takes over with a shredding solo. Continuing on the clean guitar vibes, Oceans Away opens slowly with a hypnotic guitar melody which Zoldan soon begins to sing over. The song is essentially the album's ballad, and, as such, it is very atmospheric - despite building in heaviness towards an expansive chorus which sees Zoldan really let rip. This is probably the song here which sees her pushing herself vocally the most - or, at least, showing the most emotional depth. That classical training is put to good use here, and the dancing string backing and tough guitar rhythms help to create a bed for her - and the slower song feels fitting after the previous heavier number.

Dopamine picks up the pace again, and returns to something a bit poppier overall - despite a strong gothic overtone remaining. The heaviness and use of melody is probably perfectly balanced here, and the song is one of my favourites on the album as a result. If Sirenia are to continue this experiment with a poppier sound going forward - this is the sort of balance that I would like them to maintain. It includes a bit more of their classic sound than perhaps some of their other recent songs have, but is still pushes hooks to the fore. The guitars are perfectly crunchy throughout, and there is also a bit more of a focus on guitar leads than usual - with a few hooky melodies adding extra interest in between Zoldan's delivery. Brush changes things up a bit, too, and strays away from the more pounding approach taken elsewhere at times to lay into his double bass drums - before Courbaron lays down a great neo-classical guitar solo. As such, the song feels like a real band effort - and it brings the best out of everyone present with a knottier arrangement. Delirium maintains the heaviness, and also channels the band's gothic sound in a much bigger way - with both Veland's harsh vocals making their sole appearance on the album and Zoldan singing in a much more operatic manner. As such, the song feels very old-school - as Sirenia albums used to be full of tracks like this. I would have liked Veland to sing a bit more on this album, as his vocal presence is missed in my opinion, but this song presents a great duet between him and Zoldan - with him tackling the verses and her leading the charge during the chorus. The riffing and drumming are pretty busy again here, leading the song to be another heavier-sounding piece overall - with the pop synths used elsewhere being somewhat absent. Dense strings, choirs, and riffing characterise the song, then, and it is all the better for it. The last original song here is Timeless Desolation which returns to something poppier and more vocal focused - bringing the album's first few songs to mind. The rolling piano from those pieces returns, but there are also gothic strings employed to add depth. Zoldan sings in a more straight ahead manner here, too, the vocal hooks are pushed the fore again after a couple of songs which were more diverse in arrangement - and unsurprisingly the chorus is another strong moment. String melodies and tough riffing are used elsewhere, and the song is another good example of the band's more recent sound. The album then comes to a close with a cover of Tanita Tikaram's Twist in My Sobriety. Sirenia have taken to covering pop songs on their recent albums, and their arrangement of Tikaram's track works well in the context of the album. It very much sounds like something similar to the band's modern core sound - but some gothic strings add depth despite a strong synth presence to create the main pop hooks. It ends the album on a synthy, upbeat note - and the hooks are ones which stay with you after the song finishes. Overall, then, 1977 is another strong album from Sirenia. This album is perhaps more diverse than the previous one, and there is probably a bit more harking back to the band's more gothic sound now that their new core sound has been established. The mix works pretty well, but I would have liked to have heard from more Veland vocally - but fans of the band will enjoy this latest offering.

The album was released on 26th May 2023 via Napalm Records. Below is the band's promotional video for Deadlight.