Cyhra's 'The Vertigo Trigger' - Album Review

Whilst melodic metal has always been popular, it feels like, over the past decade or so, a brand of metal more strongly fused with bona fide pop elements has become big business. Poppy metal is enjoyed by die-hard metalheads seeking some respite from more extreme sounds and newcomers to the genre looking to get their feet wet alike - and one of the bands which has been doing something a bit more interesting overall with pop metal is Sweden's Cyhra. Cyhra debuted back in 2017 with Letters to Myself (which I reviewed here) - and the album was essentially a collaboration between frontman Jake E and guitarist Jesper Strömblad. Letters to Myself essentially fused E's love of pop hooks as a former member of Amaranthe with Strömblad's riffing and harmony guitar leads which made In Flames famous during his tenure with the melodic death metal forerunners. It leant more in the direction of Amaranthe than In Flames, but nevertheless the album was a good mix of light and shade - with a good balance of pop choruses and metal riffing. E and Strömblad, alongside guitarist Euge Valovirta, who performed on Letters to Myself as a session player and came on board formally after the album came out, followed up their well-received debut album in 2019 with No Halos in Hell (which I also reviewed here) - which saw Cyhra starting to forge more of their own identity. Letters to Myself was definitely an album made up of its constituent parts, but No Halos in Hell felt more like a band who had found their sound - despite strong similarities between the two releases. Valovirta's increased influence certainly moved the album away from the harmony guitar leads which characterised the debut - but the mix of metal riffing and pop hooks was still present, even if the focus shifted further towards the light. I was interested to see where Cyhra would go after No Halos in Hell - particularly when Strömblad was announced as a member of the In Flames spin-off group The Halo Effect. In truth, Strömblad's involvement in Cyhra has long been declining. He seems to be a musician who struggles to keep interest in one thing for an extended period, and he has not appeared live with either Cyhra or The Halo Effect for quite a while. I assumed that he had quietly left Cyhra at some point over the past couple of years, but the release of The Vertigo Trigger earlier this month reveals that not to be the case. Despite this, though, from reading the album's booklet it would appear that his contributions to The Vertigo Trigger were extremely minimal - or possibly non-existent. He is now credited as the band's bass player, as Cyhra have not had one since the departure of Peter Iwers early in their history, but the booklet also suggests that Valovirta played all of the bass on the album. He is not credited with co-writing any of the songs either, so I would suggest that Strömblad is now associated with Cyhra in name only. In his place, though, is Marcus Sunesson (Crown of Thorns; The Crown; Engel) who was recently brought into the band formally after filling in for Strömblad live since the relative early days. He has immediately made his presence felt, co-writing a few of the songs here, and has formed a strong guitar duo with Valovirta thanks to the years spent on the road together.

Rounding out the band is original drummer Alex Landenburg, meaning the four who largely make up The Vertigo Trigger represent the Cyhra live band of the past few years. E handles much of the keyboards and programming here, although contributions on that front are also made by Elias Holmlid (Dragonland), Vikram Shankar (Gravity; Meridian; Threads of Fate; Silent Skies; Redemption), and Jonah Weingarten (Pyramaze; Echoterra; We Are Sentinels; Catalyst Crime). As for where Cyhra would go following their previous album four years ago, the answer is that The Vertigo Trigger very much treads the same line as No Halos in Hell - although perhaps with a little more guitar heft thanks to Sunesson's involvement. The album kicks off with lead single Ready to Rumble, which I heard for the first time a year or so ago at Bloodstock Open Air. Ready to Rumble is an upbeat and catchy track which certainly does its job as a lead single. Pulsing synths open things up, before Landenburg's drum barrage gives way to a hooky guitar melody - which instantly sees Valovirta and Sunesson working well together. These opening guitar leads add some punch, resurfacing during the song's anthemic chorus, but the verses are more stripped back to allow E's voice to shine. The riffing throughout the verses is more crunchy, but the synths are generally mixed into the background to allow the song to have a good amount of crunch - whilst the chorus feels a bit more atmospheric thanks to the guitar leads and increased synth presence. E is the star of the show, though, and his vocal hooks are as catchy as ever. The verses feel built to showcase his melodic voice, with some wordless vocal hooks thrown in for good measure, before the chorus features some fists-in-the-air hooks and subtle gang vocals to create a big sound. A surprisingly shreddy guitar solo introduces some metal virtuosity, but at large the song is one that focuses on huge hooks - and it gets the album off to a fine start. Lets Have My Story Told is more synth-heavy, but it does open with some grinding, groovy guitar riffs - which soon give way to a more synth-laden passage with a faster overall pace. The song is very typical of Cyhra's sound up to this point, with a more metallic chorus sitting alongside poppy verses. The guitars here are generally less interesting, but they grind away beneath the keyboards nicely, whilst the synths provide the main hooks. E indulges his love of pop during the verses, which generally see the band step back to allow him to sing against a pulsing synth backing - before Landenburg crashes back in and the faster chorus adds some urgency without compromising on hooks. A melodic guitar solo later builds on some of the chorus hooks - and the poppy track is one of the album's strongest on a melody front. Live a Little is much more pop-focused. There is little riffing throughout this track and, whilst some of the hooks are strong, I do feel that this song crosses a line which is generally well-trodden. The chorus is pretty weighty, but the rest of the song is pure pop - with some programmed beats which even feel like hip hop. E does not rap here, but the rhythm of his verse deliveries are not far off - and, for me, the song lacks the band's trademark balance of pop and metal. It is easily the weakest thing here.

1.000.000 Fahrenheit gets the album back on track, though, and, following some big synths, the song gets underway proper - with a pretty melodic guitar lead mixing well with some synths and crunchy rhythms to create a punchy and hooky mid-paced track. The guitars here generally feel more present, which is good, and there is a bit more of the interplay between Valovirta and Sunesson which made the opening track work so well. There are some genuine metal sections here which feature interlocking guitar riffs and leads - whilst the verses feel a bit poppier, despite Landenburg's weighty drumming. Following the weaker previous song, this track strikes the band's trademark balance much better, and there is quite a lot of interesting riffing throughout - from some great groove-based sections to other parts which hark back to the first album. Everything is tied together by a massive chorus which is one of the album's hookiest overall - and the mix of pop and metal is sure to make the song shine live if the band choose to play it on their upcoming tours. Buried Alive is similar, and the track opens with a pretty weighty riff with a subtle keyboard backing. As is generally the case throughout the album, the heaviness does not last throughout - but there is enough weight here to give the song plenty of crunch. There is also quite a lot of interesting keyboard work throughout. The song is not as synth-heavy as others, with a few more organic keyboard textures utilised - including piano during the chorus which helps to bulk out the melancholic, yet somewhat upbeat, section. The different keyboard tones, as well as more of a focus on the guitar to add depth during some of the quieter moments, leads the song to be one of the album's most atmospheric cuts - but there is still plenty of riffing to keep the energy levels up throughout. The Voice You Need to Hear then slows things right down, and the ballad provides a nice mid-album change of pace. There is very little metal at all to be heard here, but it works given the song's slower overall feel - and the piano work throughout is strong. There are synths and programmed beats, but they are used sparingly to create depth - and generally the track focuses on E's voice the piano behind him. The song really showcases E's voice, then, and he actually sings a bit differently from the norm - utilising a higher part of his register more consistently, which makes the chorus here really stand out. Following the slower pace of The Voice You Need to Hear, the album returns to something more metallic with Life Is a Hurricane - a pretty powerful mid-paced track which is another that perfectly encapsulates Cyhra's core sound. The chorus does pick up the pace somewhat, but overall the track is pretty mid-paced - and it opens with a pretty groovy riff that roars through the speakers. The riff is allowed to make its mark, and the synths throughout are generally a little more restrained whilst the riffing is taking place - but they become more prominent during the quieter verses to back E's vocals. The slightly faster chorus is another of the album's biggest hooks, and it contains a few twists and turns to keep it interesting - whilst a screaming guitar solo is surprisingly intense given the album's general relative lightness overall. It is unsurprising that Life Is a Hurricane was also released as a single prior to the album's release - and it is a great representation of what Cyhra are all about.

If I feels heavier overall. It harks back to the old In Flames sound a little at times, although it is soon tempered by some synths. The riff does not contain any harmony guitar leads, so the synths act as the harmonic counterpart to good effect, and the song in general has more urgency throughout. The chorus is faster overall, and one that steams past in a flurry of energy, whilst even the verses here are a bit weightier - with ringing piano melodies set against a crunchy backing. There is a pretty lengthy guitar solo included, too, which is full of shredded melodies - before the tone is briefly changes to allow for a delicate acoustic-led section, which soon explodes into a final reprise of the chorus. As if the band wanted to channel that old In Flames sound further, the closing section adds some harmony guitar leads - and this is a track that feels like a hark back to Cyhra's early days. Fear of Missing Out feels like something of a minor drop following the excellent previous two songs, but there is still a lot to like. The main issue that I have with the song is that its chorus is lacking compared to many of the others here - so the song does not do enough to really jump out of the speakers. Music like this really needs big hooks to shine, but they are not as strong as elsewhere. That being said, there is a decent amount of crunch throughout, meaning that the song does not feel too lightweight, and there are a couple of guitar-based sections which are welcome - including some harmony guitar moments. The penultimate song ups the quality overall again, though, as Ashlight does something a bit different. It feels like another ballad, but there is a bit more to the song than that - and the track feels pretty atmospheric and emotional overall. Unsurprisingly, E is focused on throughout - and his vocal performance is excellent. He is a pretty expressive singer, and the slow-paced verses are all about his emotional performance - whilst the chorus feels bigger overall thanks to Landenburg's double bass drums. Later verses are more than the vocal/synth combo found early on, but they still feel relatively stripped back despite a strong groove throughout - but it is the chorus that really makes the song shine for me. The hooks are massive, and the chorus is another of the album's best thanks to E's excellent delivery. A crunchy, riff-led bridge section and a melodic guitar solo add something different - but the spotlight is not off E for long, as a final reprise of the chorus shows. He even unleashes a bona fide 1980s metal scream at the end of the chorus, which is not something he is generally known for. Closing things out here is the riffier Too Old for Fairy Tales. The song is very typical of the album's core sound, mixing a riffy intro and chorus with more synth-driven verses. Despite this, though, the song feels a bit weightier throughout than some of the tracks here. Whilst the verses do not feel as crunchy as the other parts of the song, there is still more of a guitar presence - and they are pretty present throughout, with the synths taking more of a backseat. There are a few moments which hark back to the debut album, too, with a few harmony guitar leads, but in general the track is just another strong, up-tempo groovy track with prominent pop hooks. As such the album somewhat ends as it began, with more of a focus on tougher riffing than is sometimes found elsewhere. Overall, then, despite a few weaker moments, there is a lot to recommend about The Vertigo Trigger. It follows on nicely from the previous two albums, and the mix of riffing and synths throughout is generally well-balanced. It is the hooks that really do the job here, though, and the strong choruses here should turn the heads of many.

The album was released on 18th August 2023 via Nuclear Blast Records. Below is the band's promotional video for Ready to Rumble.

Robert Jon & The Wreck's 'Ride into the Light' - Album Review

I am almost certain that the band whom I have listened to the most throughout 2023 so far is the American southern/country/blues rock band Robert Jon & The Wreck. The five piece have been around for quite a while, and released their first album in 2011, but I only started to pay attention to them this year when they announced a UK tour which included a date in the South West. I picked up a copy of 2021's Shine a Light on Me Brother to check them out, and was pretty much hooked from the off. Over the past few months, then, I have slowly amassed the band's entire catalogue (with the exception of the self-released first one, which seems to be extremely hard to find) and have enjoyed them all. There has barely been a week which has passed where at least one of the band's albums has not been played, and I have become pretty familiar with all of them in a relatively short space of time. It is always good to really devour a catalogue, and it seems that 2023 has been a good year to get into Robert Jon & The Wreck. Not only has a new studio album recently been released, but the band also released their first proper live album and concert video a few months ago. The focus here, though, is Ride into the Light, the band's eighth studio album which was released earlier this month. Robert Jon & The Wreck have always been pretty prolific looking at their releases over the years, but since signing to Joe Bonamassa's Journeyman Records recently they seem to have stepped up their activity further. As well as the aforementioned live album, the band also released the digital-only EP One of a Kind (which I reviewed here) back in March. At the time, the press releases stated that the band were going to release new material little and often throughout 2023 instead of putting out a traditional album. One of a Kind was the first batch of such new music and, true to their word, a couple of other singles followed not too long after. A couple of months ago, though, Ride into the Light was announced - an eight-track album which collects all of the band's 2023 releases into one - including One of a Kind. Despite how much I enjoy Ride into the Light, the fact that I have been living with half of it for a while has taken the shine off somewhat - and I had also heard two of the other songs online before the album dropped. I am never convinced that this 'no album' strategy that bands sometimes try to appear modern and forward-thinking in the streaming age ever quite works. Within Temptation have recently announced their latest album after having a similar strategy, and it will include songs which were released as far back as 2020! The rock and metal world still values the album as a format - so I am glad that Ride into the Light has been released, despite the slightly confused lead-up to it. It is the band's first album to feature keyboardist Jake Abernathie, although he only appears on two of the eight songs. The songs here were recorded in four sessions, with four different producers - with Abernathie featuring on the most recent recordings. The other songs were recorded when the band were between keyboard players - meaning that Doug Organ (Here Lies Man) and Jeff Babko (Crow Nuts; Band of Other Brothers) are also featured here in guest capacities.

The album's first four songs are the same which made up One of a Kind - albeit rearranged slightly. Had I known that this album was coming I would have likely skipped the EP and waited for the final product. These are the four songs which feature Organ on keyboards - with two being produced by Dave Cobb, famous for working with Rival Sons and Europe, among others, recently; and the other two being produced by Don Was, who has worked with a huge list of musicians including Elton John, Glenn Frey, and Jackson Browne. As the EP did, the album kicks off with the hard rocking Pain No More - co-written by Charlie Starr (Blackberry Smoke). Despite the album's short length, there is quite a lot of variety on show here, and Pain No More showcases the band's heavier side - as it kicks off with a barrelling riff, augmented by plenty of slide guitar from Henry James Schneekluth. Whilst Robert Jon Burrison fronts the band, and delivers fantastic vocal performances throughout, he often shares the spotlight with the lead guitar playing of Schneekluth. The two form a great guitar duo, with the tough riffs of the former mixing well with the fluid licks and slide bursts of the latter. Starr's influence can certainly be heard here, and the song is very Blackberry Smoke-esque - but it does feel a bit tougher overall. The riffing and focus on slide accents give the song a slightly heavier edge, whilst the prominent organ playing adds plenty of extra roar. Keyboards have always been important to Robert Jon & The Wreck's sound, and that remains the case here despite the revolving door of musicians featured. Organ and piano mix well here, with the former bulking out the strong chorus and the latter twinkling away during the slightly more laid back verses. A brief guitar solo adds some additional fire, too, and the track contains everything that is generally great about the band's harder-hitting side. Who Can You Love slows things down somewhat, and goes for more of a country rock sound overall. The Eagles are clearly a big influence on Robert Jon & The Wreck, and Who Can You Love showcases lots of Eagles-esque vocal harmonies - as well as a more organic sound overall featuring a lot of acoustic guitar, delicate guitar leads, and gentle organ flourishes. Despite the strong band presence, largely thanks to the guitar accents of Schneekluth, the song has a bit of a singer-songwriter feel, too. As well as the Eagles, there are certainly hints of artists like Browne and John Mellencamp to be found here - alongside the band's usual southern rock strut, which does rear its head somewhat during Schneekluth's excellent solo. The punchy Come at Me ups the heaviness again, treading a full-on southern rock path after a big drum barrage from Andrew Espantman. The main guitar riff is full of fire, which later forms the basis of the shout-along chorus, but the verses are somewhat more laid back, with a strong bass presence from Warren Murrel and some cutting guitar arpeggios. Despite this, though, the song still feels full of energy, and whenever the band explode into the chorus, which is packed full of organ, I can immediately see how well the track would work live.

One of a Kind follows, and the track is another harder rocking piece - but the melodies feel a bit smoother overall, with plenty of vocal harmonies bringing the chorus to life. There is less of the previous song's shout-along energy, but the track is still upbeat overall, with plenty of frantic drum fills, explosive slide guitar accents, and snappy riffs. If anything, the song is probably the one on the original EP which best represents the core sound of Robert Jon & The Wreck. The chorus has that Eagles vibe thanks to a strong reliance on vocal harmonies, whilst elsewhere there is more of a harder rock edge - with plenty of blues added by Schneekluth and his slide. The keyboards are a bit less prominent overall, though, but there is still plenty organ rumble to be found during the chorus - which gives the song its bursting-at-the-seams overall sound. Moving onto the album's 'new' material, the more expansive Bring Me Back Home Again, produced by Kevin Shirley, is a song that impressed from the off. The band's bluesy side has been explored quite a lot here, and the sound feels less southern overall - with more of an influence from the British blues rock boom mixing in with a few country and singer-songwriter moments. Schneekluth's slide work is heavily featured here, and his playing really elevates the song - whilst the depth added by subtle acoustic guitar and Abernathie's keyboards fills everything out. There are still southern rock vibes, of course, but the song's overall style feels much bluesier overall - and there is less of a strut this time, with a smooth, mid-paced groove underpinning the endless dirty slide licks. Brief acoustic-led breakdown sections add changes of pace, too, which are welcome - and Schneekluth's solo is likely the album's best thanks to his overall tone and note choices. West Coast Eyes returns to the band's love of the Eagles - but there are also shades of the country end of yacht rock here, too. It was co-written by Tom Hambridge, who was worked with artists like Buddy Guy and Lynyrd Skynyrd, and it sounds a bit different for the band, but I really like the song - and it focuses on strong melodies throughout. There is less of a focus here on explosive guitar playing and big riffing, with Burrison's plaintive vocal delivery instead driving everything. The subtle chorus is one that sticks in the brain from the off, and the track is sure to be a live favourite thanks to its poppy melodies, whilst the ever-present acoustic guitars and delicate piano movements from Babko add to that breezy, yacht rock feel which characterises the song. There is a lot to like about it and, given that the album overall is pretty hard rocking, having something more acoustic-based and poppy gives the album a different sound to explore. Schneekluth still manages to make his presence felt with a powerful solo, though, which ties the song back to the band's core sound nicely.

Don't Look Down returns to something more typical for the band, and the pace is picked up quite significantly here - and the song has quite an urgency to it with a driving drum performance and some choppy guitar rhythms which sit nicely against Babko's organ. Despite the pace of the song, the track is not overly heavy. There are tougher songs here, and Don't Look Down maintains a bit of the previous song's smoothness and mixes it nicely with a harder rock sound for a commercial, yet more organic, overall sound. The band have always written poppier songs, so it is nice to see that side of their sound getting showcased here - and it is good that they have managed to write melodic and poppy songs which still maintain a strong southern rock vibe. The song has a real strut despite the smoothness, and the mix of the aforementioned choppy riffing and Schneekluth's on-going love of slide means that the track is both poppy and familiar at the same time - and it is a song which has grown on me quite a lot since first hearing it. The album then comes to a close with its title track, which is a song with quite an old-school sound - and it certainly harks back to some of the band's older albums with some opening harmony guitar leads which recall The Allman Brothers Band. The song is a rocker, but it does not feel as tough as some of the other rockers here, with a strong focus on atmosphere throughout thanks to Abernathie's expansive keyboard playing. Despite only featuring on two songs here, he already seems to have slotted perfectly into the band's core sound - and Ride into the Light features lots of great organ playing from him, whilst the guitars of Burrison and Schneekluth constantly weave in and out of each other. There have not been a lot of twin guitar leads on the band's recent albums, so it is great to hear some here - but Schneekluth of course still throws in plenty of slide playing, with another strong solo which showcases exactly what he brings to the band. The chorus has a slightly plaintive edge despite the song's rockier vibes, but it works well to mix southern and country rock vibes together nicely - and the more expansive piece arrangement-wise is a great way to close out the album. Despite having heard most of this album before it came out, I am still very glad that Ride into the Light exists. These songs may not have been conceived as an album, given the different producers utilised throughout, but the eight songs hang well together and feature different sides of the band's varied sound. It is also great to see the band working with some big names here - and it should be noted that Bonamassa and Josh Smith produced the two songs not produced by Cobb, Was, or Shirley. Despite having been around for over a decade, things seem to really be happening for Robert Jon & The Wreck currently - and I am really looking forward to seeing them live for the first time next month.

The album was released on 4th August 2023 via Journeyman Records. Below is the band's promotional video for Bring Me Back Home Again.

Karnataka's 'Requiem for a Dream' - Album Review

With the exception of Mostly Autumn, who will always be one of my all-time favourite bands for a vast number of reasons, Karnataka are likely my favourite 'newer' UK-based progressive rock group. There have been a number over the years, many of which are no longer with us, but Karnataka have never thrown in the towel - despite a number of seismic line-up changes and quite significant gaps between releases. The band have recently released their sixth studio album, Requiem for a Dream, but prior to last month's general release (those of us who pre-ordered the album have had it since June) Karnataka had not released a studio album since 2015 - when the excellent Secrets of Angels (which I reviewed here) debuted. After the release of Secrets of Angels, the band were pretty active over the following couple of years - until the Secrets of Angels line-up came to an end at the end of 2017, with the band's founding bassist and songwriter Ian Jones once again the last man standing. This was essentially the third of such break-ups in the band's history, but those of us who have been following them over the past decade or so knew that they would likely be back - and Requiem for a Dream is the latest culmination of Jones' hard work, and the introduction of the latest era of the Welsh progressive/symphonic rockers. The time between Secrets of Angels and Requiem for a Dream has been an interesting one, though. The band's current line-up was slowly put together over the intervening period, and was finally debuted last year on the excellent New Dawn Rising UK tour, but Jones has been creative in other ways, too - releasing two albums with other projects. 2019 saw the release of the long-awaited debut album from Chase the Monsoon, No Ordinary World (which I also reviewed here), which has a much more folky and atmospheric sound overall, and was more of a collaborative effort by all involved than Karnataka has been of late; whilst 2021 saw Jones takes a slightly heavier and more gothic path with Illuminae's Dark Horizons (which I also reviewed here). Shades of Karnataka could be heard in both albums, but they allowed Jones to try new things - and he seems to have approached Requiem for a Dream with renewed fervour, with more of a focus on extended progressive rock arrangements than ever. Jones' main partner-in-crime this time is Sertari, Karnataka's latest frontwoman, with whom he co-wrote the whole album. Sertari's voice is different from that of any of her predecessors. Mixing folky and poppy melodies, Sertari unsurprisingly shines throughout - and she feels a bit more warm and organic when compared to Hayley Griffiths' more bombastic and classically-trained approach on Secrets of Angels. Each of the band's previous singers has brought something unique to Karnataka, and Sertari is no different. The album's booklet suggests that only her and Jones officially make up Karnataka on Requiem for a Dream - but plenty of credit also needs to go to guitarist Luke Machin (Maschine; The Tangent; Kiama) and drummer Chris Allan for their performances throughout. Both also make up the Karnataka live band, alongside keyboardist Rob Wilsher (Multi Story; Omega Point) - who recently came on board.

Speaking of keyboards, Jones handled much of the keyboard work here - although Gonzalo Carrera, keyboardist on 2010's The Gathering Light, whom re-joined and then re-left Karnataka during the past few years, is also credited with performing on the album - as well as co-writing three of its songs. Jones is also credited with acoustic guitars and the string arrangements here - meaning that he is very much the architect behind the eight songs that make up the album. The overriding theme of Requiem for a Dream is the climate crisis, with a few of the songs here referencing it - either directly or indirectly. As such, the album opens (and, indeed, closes) with the sound of a spoken 'tick tock' from Sertari - which slowly fades away as the opening keyboard swells of All Around the World fill the speakers. One of the three songs which was debuted on last year's tour, All Around the World is a great representation of the sound forged throughout the album. The relative heaviness of Secrets of Angels has largely been stripped away here, with Requiem for a Dream feeling a bit more like The Gathering Light overall in my opinion. It certainly shares that album's lushness - although Machin's approach to the guitar allows for a few crunchier moments. In fact Machin sets his stall out early on, with some choice guitar leads during the opening keyboard melody, before the song transitions into a slightly crunchy verse - which introduces Sertari proper. She won me over live immediately, and she knocks it out of the park throughout the album with her varied and accessible approach to melody. Using the crunch of the song's verses, she allows herself to take a direct and more rock-orientated approach - before the lush strings and keyboard hook of the chorus sees her transition into something more soaring. The first portion of the song is pretty typical arrangement-wise, then, with verses sitting alongside the hooky chorus in a traditional manner - but the song changes tack as it moves along. Quite a few of the songs here are quite lengthy, and All Around the World breaches the 11 minute mark - and it is the first of a few prog epics on the album. Sertari really gets to showcase her vocal diversity with a vocal-led bridge section, which sees her approach to choral arrangements and wordless hooks given some attention, whilst an old-school synth motif later gives way to an excerpt from one of climate protestor Greta Thunberg's speeches - before a drum barrage shines the spotlight on Machin for the first big guitar solo on the album. He is certainly more shreddy overall than Enrico Pinna was on the last couple of Karnataka albums - but his playing rarely feels like something from a metal album despite his approach. He adds some bite, though, which is welcome given the album's lengthier arrangements, and his solos are always a welcome addition to any song. By this time, the song is reaching its conclusion - and the final section is based around the chorus. A more stripped down chorus arrangement is played first, showcasing Sertari's excellent voice, before the band joins in again - and the upbeat hooks pour out of the speakers until the song comes to a close.

Sacrifice, another piece which was debuted live last year, reins in the ambition of the previous song somewhat - and goes for something a bit more restrained in comparison. The song is still relatively lengthy, at over six minutes in length, but compared to many of the others here it is a snappy number - and it definitely seems built to really push Sertari's love of a poppier hook. It is a very keyboard-driven piece, which opens with a piano motif that resurfaces throughout, and the verses build on this opening motif - with both strings and piano backing Sertari before Allan's drums and Jones' bass join in. The rhythm section give the second halves of the verses a bit more drive, but the lack of any prominent guitar parts stops the track from feeling like too much of an out-and-out rocker. The rhythmic approach works well, though, and Machin does include a few lyrical leads occasionally - whilst delicately filling the sound out elsewhere. Given the vocal-led approach taken, it is fair to say that the song is really built around its chorus - which is one that will certainly stick in the brain from the off. The hooks throughout are very memorable, and they are relatively upbeat despite the song's sombre overall tone and the thickness of the string and keyboard arrangements. Karnataka have often managed to achieve this, and Sertari's vocal approach certainly brings some joy to what could feel a bit more rote in less capable hands. The big chorus is a winner, and it is one of the album's most immediate moments, whilst the song changes tack somewhat at the very end - as the band allow Machin to carry them out with a guitar solo that takes some of the chorus' melodies and twists them into something new with a bit more overall vigour than is typical for the rest of the song guitar-wise. Look to the East changes tone again, and the snappier song is likely the piece here which most recalls the heavier sound found on Secrets of Angels. Some of that album's gothic tones are repurposed here, and the keyboards throughout take on a bit more of a symphonic approach - with Eastern-tinged melodies creating an atmospheric backing whilst pulsing synths add a modern edge. The verses feel a bit more in-your-face, with Jones' bass high in the mix - whilst Machin's guitars have more weight to them here, adding plenty of crunch during the verses and the occasional knotty, screaming lead. 'Heavy' is a relative term of course, but there is certainly more of a hard rock strut here and Sertari showcases a different side of her voice - as she goes for a more full-bodied and heroic approach overall. Elsewhere in the song flashy neo-prog synths hark back to the genre's 1980s heyday, although they are used sparingly and behind Sertari's vocals, whilst Machin's short, but punchy, guitar solo is full of tricks. Despite the harder edge, it is one of the songs here that took a bit of time to grow on me - but the relative urgency is welcome, and it has become a favourite over repeated listens.

The final song which was played live last year, Forgiven, is up next - and the lengthy track feels like a Karnataka song of old - filled with lush melodies, folky vocal arrangements, and soaring strings. It is another lengthy song, breaching the 11 minute mark again, but the focus on melody throughout ensures that it never drags. Like Sacrifice, the song opens with a keyboard motif - whilst like All Around the World the early parts of the song are typical in arrangement, with an emotionally-charged chorus sitting alongside more delicate verses. As the song moves on, warm synth melodies join in - adding hooks which would generally be reserved for a guitar. The keyboard leads throughout the song are excellent, and again they hark back to the neo-prog era somewhat without ever sounding dated. As with the previous song, the synth leads are used fairly sparingly, and they do not dominate the mix, but they add some drama as the track moves along - particularly as Sertari starts to sing the Latin bridge, which slowly builds in intensity before the track grinds to a halt. This leaves the piano alone, playing a twinkling melody in place of the dense arrangement which came before, although Sertati soon starts to sing over the top of it - with subtle choral arrangements slowly adding depth and building the song back up somewhat. This respite is welcome, though, and the vocal/piano combo works really well, with some of the piano hooks being classical in sound, but the denseness of the song soon returns with a reprise of the Latin vocals - and the band file back in slowly around some percussive Allan drumming before Machin launches into a lengthy and extremely lyrical solo. There are lots of great guitar moments on this album, but his solo in Forgiven may well be the album's best overall - and I like the way that a synth run is built into is seemingly closing moments, before the Latin lyrics return. Only it turns out that there is more solo to come, and its final coda explores a couple of repetitive melodies - before the song returns to its simple keyboard-led beginning for a closing final hook and a symphonic outro. Following on from one of the album's most complex pieces is one of its most simple - and the gorgeous The Night's Dance might well be my favourite thing here. This seems strange given the majesty found elsewhere, but the vocal hooks throughout are just so infectious - and the song has one of those choruses that with the tiniest of unexpected twists turns into something so memorable. The song in general is a relatively poppy piece, albeit with a slow-burn and a melancholic approach, but it is another piece which has clearly been written to once again showcase what a great singer Sertari is. Her delivery during the verses a little folkier than she sounds elsewhere, but the approach works, whereas the chorus is sung in her more typical manner - although the layered vocal harmonies make it sound huge. Describing the chorus twist is hard in words, but the 'You saved my life from me' section which just alters the melody somewhat turns the chorus from a great one into the album's best overall hook in my opinion. Musically, the song is pretty straight ahead - but it does not need to be complicated as Sertari is the star here. A few brief piano breakdowns and guitar leads are enough to inject to occasional spark - but this is a song all about the hooks and it is the one I have revisited the most since getting the album.

Going for a bit more of a symphonic approach, Say Goodbye Tomorrow is probably the song here which has grabbed me the least up to this point - but in typical Karnataka fashion there is still a lot to enjoy here. The opening pulsing symphonic keyboards feel pretty upbeat, and the song overall moves at a relatively swift pace compared to many of the songs here. Allan's drumming has quite a bit of life to it, and Jones' bass playing is quite high in the mix - rumbling away in more of a harder rock fashion. There is quite a varied approach to the guitar as an instrument here, too, with big ringing chords used early on - whilst other sections feature ringing notes and leads, before the solo is born out of a dense wall of strings. It almost fights to be heard, but I like this slightly chaotic approach to the mix - and it adds something different to what is otherwise a relatively simple song arrangement-wise, despite the mix of sounds mentioned. What holds the song back somewhat for me, though, is the fact that the chorus does not stand out enough for me. It does not feel different enough from the main verse structure to really pop, which is a shame, but the song has still grown on me a lot since first getting the album. I also like the genuine acoustic-led section, too, which is very simple and welcome - showing that even in the album's weakest song there is a lot to like, which speaks to the overall quality on show here. Don't Forget My Name is a slower track overall, and more ballad-esque in approach. It opens with some quite modern synths, but the song in general is lush and string-filled - which is the perfect bed for Sertari's floaty and emotional vocal delivery. The synths and programming essentially replace the drums during parts of the song, allowing the vocals more of a chance to float, whilst Allan joins in for the chorus which has more weight thanks to the change in arrangement. The slight grit that the drums bring only enhances the chorus' emotional punch - and vocal lines here might represent Sertari at her must pure. This is especially true of a later reprise of the chorus which sees her singing against just a string backing, which then gives way to some subtle guitar melodies and then another soaring guitar solo - featuring lots of emotional note bends which only build further on Sertari's good work elsewhere. It is another candidate for the album's best solo - but I am not sure that it quite tops the one found in Forgiven, although it does come close. Given the strength of this solo and the centrepiece chorus, it is not surprising, then, that the rest of the song essentially is built around reprises of the chorus with more complex choral arrangements - and this builds in complexity as the song fades to a melodic and string-filled close.

Rounding out the album is its 25 minute-plus title track, which is suitably epic overall - and easily the longest song in the band's catalogue to date. Secrets of Angels' title track was lengthy, but Requiem for a Dream is longer - and, unsurprisingly, goes through a number of different movements throughout its length. I like the song a lot, but I am not sure that I have fully got my head around it yet. Despite this, though, it is a great track - and it feels like the culmination of all of the prog ambition that has been featured on the album up to this point - particularly on All Around the World and Forgiven. Regular collaborator Troy Donockley (Iona; Nightwish) adds his folky magic to the song, contributing both his trademark uilleann pipes and some low whistle, whilst in general the song's overall sound is typical of the rest of the album - with big string arrangements dominating and Sertari's vocals high in the mix. Speaking of Sertari, though, she showcases some different vocal styles here - which helps to mix things up. There is a section approximately six minutes in which features her singing in a more classically-trained manner, which is different from her usual warm approach. This singing style works well to add some grandeur to the section of the song in question, though, which is then carried further with a lengthy instrumental section featuring lyrical guitar melodies and some majestic keyboard lines. Quieter moments which feature Donockley's additions are sprinkled throughout, and these sections enhance band's folk side. Karnataka have always had a strong affinity with folk music, despite the big sound of their songs, but the plaintive whistle melodies used during this song are a return to something more simple. In fact, the whole next section of the song is pretty low key in comparison, with some subtle Sertari vocals against a string backing echoing the approach of the whistle - before Machin launches into a lengthy guitar solo consisting of lots of long, drawn out notes which sound almost tortured at times. The closing moments of this solo essentially bring the song to the half-way point, and the band kick back in as Sertari sings with a little more grit and Machin takes off again - this time with a bit more flourish. The song never stays in one place for too long, though, and soon the band drop away again as distant uilleann pipes fill the speakers and some Eastern-tinged wordless vocal hooks add depth. Marching drums and dense vocal arrangements then see the song slowly build back up once again, culminating in a more upbeat keyboard-led section with crunchy guitar chords and some synth melodies. This is as hard rocking as the title track gets, but it works well to inject some melody as the song starts to draw itself to a close - and the rhythm section certainly gets a chance to shine with a few big drum fills and some knotty bass playing which occasionally cuts through the mix. This harder rock section is the start of the song's close, but the main closing section kicks in when Sertari starts to sing again - and the final lyric-led section is the closest thing that the song has to a proper chorus, with the melodies here feeling like a real rallying cry at the end of the album. These hooks are repeated a few times to great effect, whilst Donockley's pipes cry away in the background - and this melodic moment is the perfect fade out for the lengthy album, although the 'tick tock' from the start is reprised to bring the themes full circle. In conclusion, then, Requiem for a Dream is another masterful album from the Welsh band - and it is easily their most ambitious and progressive album to date. Each listen reveals something new, and I imagine that I will continue to hear new things which will only improve my overall appreciation of the eight songs here. The band have never disappointed, and I am really looking forward to the upcoming tour - as many of these songs are sure to shine live. This is an album that deserves to be a success, so fans of progressive and symphonic music owe it to themselves to give it a go.

The album was released on 28th July 2023 via Immrama Records. Below is the band's promotional video for The Night's Dance.

Massive Wagons - Plymouth Review

It is always good to get to a gig locally. I usually get to a few things a year in Plymouth, but compared to cities of a comparable size relatively few bands make the trip down the M5 and the A38 to the west of Devon. This is a shame, as Plymouth gigs are often well-attended, but the city's relatively remote location off the beaten path means that trips down to Devon do not often make practical sense for many bands. The lack of venue variety over the years has not helped, either. Whilst the controversial Pavilions caters for some larger bands, there is nothing within the city of a medium size. Whilst I love a night at The Junction on Mutley Plain, it is simply too small for most bands - and the city has been crying out for years for a venue that holds around 1500 people. Whilst The Depo on Union Street is not that size, it is significantly larger than The Junction - so has the potential to plug something of a gap. Whilst the building has hosted occasional gigs over the years, and I saw Glamour of the Kill there around 15 years ago when it was called Crash Manor, its recent significant refurbishment and re-opening as The Depo after it was closed for a number of years has the potential to add to Plymouth's gig options. Sadly, though, the venue has not hosted that many live shows since it re-opened a couple of years ago. Generally the place is run as nightclub, but there is no reason why The Depo cannot successfully be both a nightclub and a live music venue - as many of the country's best venues are. I had tickets to see Wednesday 13 at The Depo a couple of years ago, but that tour got cancelled due to the pandemic, and the handful of other bands which have played there have done little for me - despite decent names such as Therapy? and Reef having pulled decent crowds. I finally made it down to The Depo for the first time last night, though, as the Lancaster-based five-piece Massive Wagons decided to make the trip down to Devon for a one-off headline show amongst a glut of festival appearances. Massive Wagons are one of a fairly significantly large group of newer British rock bands which are currently making waves. They are certainly not a true favourite of mine, but I have become a fan of the band over the past few years - and had seen them three times previously as a support act. They are not the sort of band whom I would travel to see, but I was not going to pass up an opportunity for a Saturday night out in Plymouth - so I picked up a ticket when the show was announced a couple of months ago. I had wondered what the turnout would be like, but the rock fans of Plymouth showed up to The Depo in force. The place was pretty full throughout the night, and everyone in attendance was up for a good time - leading to a strong atmosphere throughout. Due to the venue running a club night afterwards, too, the show had a 10pm curfew - although everything was over by 9:30pm. This meant that there was little time for messing about or hanging around - and the night was a snappy one in a number of ways.

The venue was supposed to open at 6:30pm, but the doors opened around 10/15 minutes late - meaning that the crowd had not been in the building long when the evening's sole support act The Outlanders took to the stage at 7pm. I had seen The Outlands previously, opening for Scarlet Rebels last year, and the local band impressed with a pretty riffy set. I remember the band having a bit more of an indie vibe when I saw them over a year ago, but this time they generally seemed to rock a bit harder. They rocked last time, too, but they seem to have moved in more of a hard rock direction - which is welcome. Frontman Kalum Wilmot's voice has a bit of an indie edge to it, but there is still enough grit there to sit nicely alongside the riffs of guitarist Jake Walke - and the band's modern sound was pretty strong from the off. There were a few slower sections during the set, but overall the band rocked pretty hard - with Walke's riffs driving everything. A few more lead-based sections added some melody, but the songs in general were pretty chunky. A few solos added some bluesy tinges to the tracks, and the mix of harder rock elements with a more indie-esque vocal approach worked well. There were a few decent choruses contained within the set, and Wilmot also showcased a strong vocal range at times, too - with a few higher-pitched sections during a couple of the songs. I remember enjoying The Outlanders' set when I saw them previously, and I enjoyed them again this time, too. It seems as if the band have consolidated their sound a bit over the past year and have decided to go in a harder rock direction - which is certainly welcome. It is always good to see a local band getting better - and I will be interested to see how they progress going forward.

Half an hour or so after The Outlanders finished their set, Massive Wagons took to the stage with no fanfare and just cracked on - kicking off at 8pm with everything coming to a close just before 9:30pm. Massive Wagons' sound is a bit hard to describe. They are very much a hard rock band, but there is not much of a classic rock strut to be found - and they are certainly not all that bluesy. There is quite a big punk influence throughout their songs, and, for me, they stand out as being one of the more original bands of the current glut of newer British rock bands. Their recent handful of albums are generally pretty strong, but the band are one that come over better live - and their high-energy performance kept the large Plymouth crowd entertained during their 80 or so minute set. They kicked off with Gone Are the Days, a fast-paced number which saw frontman Barry Mills getting fired up early. He has always been a great frontman, but seeing a headline performance from the band really highlighted his ability to get the crowd going - and he was busy throughout the night, interacting with those in the front few rows and generally delivering a powerful vocal performance (despite being a bit low in the mix at times). The rest of the band were generally a bit more reserved, letting Mills take the majority of the spotlight, but there were plenty of solos from both Adam Thistlethwaite (guitar/vocals) and Stevie Holl (guitar/vocals) which occasionally shifted the focus away from Mills. Massive Wagons are a pretty to-the-point band, though. They are not generally about instrumental prowess, and instead focus on big riffs and big choruses - as early cuts such as the older Tokyo and the punky A.S.S.H.O.L.E. proved, with the latter seeing Mills encouraging the crowd to chant the song's title back at the band one letter at a time. It was clear by this point, too, that the crowd were out to have a good time. There was even a bit of moshing going on near the front, which seemed to upset a few around the pit, and the overall energy was one of a punky outlet - with the staccato Hero and the anthemic Fuck the Haters whipping up plenty of excitement, with the latter seeing many middle fingers in the air. Please Stay Calm slowed things down a little, introducing a slight melodic rock edge, whilst the genre-bending Generation Prime impressed with its reggae inclusions - with a portion of Bob Marley's No Woman, No Cry thrown in for good measure. By this point, songs from the latest album Triggered! had largely dominated the set, but the final third or so was made up of older pieces. The storming hard rock of Bangin in Your Stereo had plenty around me singing along, but it was the snappy China Plates which seemed to get everyone going - which also included a bit of Judas Priest's Breaking the Law. Perhaps the overall highlight for me, though, was the boogie of Back to the Stack, the band's tribute to the late Rick Parfitt. It is the sort of song which is made for being played live, and the anthemic chorus was latched onto by the whole crowd as one of the night's big sing-a-longs. The band could have left it there and ended on a high, but there were a few more tracks still to come - with the punk-cum-hard rock of Nails mixing chaos and a big chorus proving to be another high-energy moment with plenty of singing. It was left to the excellent In It Together to wrap everything up, and the anthemic track from 2020's House of Noise proved to be an powerful way to close out the set - and the crowd were left chanting for more despite the night being over. The setlist was:

Gone Are the Days

Tokyo

Germ

A.S.S.H.O.L.E.

Sunshine Smile

Hero

Fuck the Haters

Skateboard

Please Stay Calm

Generation Prime/No Woman, No Cry [Bob Marley and the Wailers cover]

Bangin in Your Stereo

Ratio

China Plates/Breaking the Law [Judas Priest cover]

Back to the Stack

Nails

House of Noise

In It Together

Having seen the band a few times as a support act over the years, it was great to see them headline to a packed house in Plymouth - and Massive Wagons did not let the early start or the unfamiliar surroundings put them off. Everyone in attendance certainly had a good time, and I hope that the strong turnout persuades the owners of The Depo that there is a desire in Plymouth for more live music. Given the turnout I would not be surprised to see Massive Wagons come back to the South West on future tours, and I will make the effort to go and see them again if they do.

The Raven Age's 'Blood Omen' - Album Review

I would like to think that, over the years, I have learnt not to completely write off a band whom initially do not impress. There are a number of bands whom I have warmed to over time despite not initially falling for them - and I would hope that I generally remain open-minded when it comes to reappraising bands. There a number of reasons why I have grown to like a band that initially did little for me - sometimes it down to the band themselves changing and improving and other times it is down to my tastes changing. When it comes to the UK-based metalcore-adjacent five-piece The Raven Age, I think the former of the two aforementioned reasons applies. The Raven Age are a band whom I have run into occasionally over the years, but I only started to gain an appreciation for them last year when I saw them open for Tremonti in Bristol. That was, I think, my third time seeing the band - and I first came across them back in 2014 when they opened for Steve Harris' British Lion side project locally in Plymouth. I did not think much at all of the band at the time, and concluded that they were only on the bill as they were formed by George Harris - Steve's son. The fact that they then went on to support Iron Maiden quite a lot over the next few years after limited exposure only cemented my opinion that they were driven by nepotism - and seeing them again open for Alter Bridge in 2019 did little to change my mind. Bands grow all the time, though, and when I saw them last year I felt as if things had been taken up a notch. Current frontman Matt James was in place by 2019, but he seemed to have come into his own when I saw the band last year - and he was a big step up from what I can remember of Michael Burrough's Plymouth performance nearly 10 years ago. Last year, though, the band welcomed the well-travelled Tommy Gentry (Zico Chain; Gun; Voodoo Six) on guitar alongside Harris. I enjoyed Gentry's playing whenever I ran into Gun, and his contributions to Voodoo Six's most recent album Simulation Game (which I reviewed here) were welcome. He perhaps gave me an 'in' when it came to The Raven Age, then, and I quite enjoyed the band's set with Tremonti last year - which was a pleasant surprise. I resolved to check out the band's previous album, 2019's Conspiracy, but for whatever reason it seems almost impossible to find anywhere for a reasonable price. It seems strange that an up-and-coming band's last album is already out-of-print, but that is perhaps telling of modern physical media production runs - so I somewhat forgot about them again until I saw that their third album, Blood Omen, was available to pre-order. I decided to take the chance, remembering the decent Bristol show, and I have been listening to the album since it dropped at the beginning of last month. I am glad that I decided to pre-order the album, too, as it has turned out to be rather enjoyable. It is certainly not going to be troubling my Albums of the Year list come December, or converting me into a life-long The Raven Age fan, but as a slice of modern alternative metalcore-adjacent music Blood Omen is enjoyable. It ticks all of the boxes of that still-popular genre: heavier riffs, pop-punk chorus hooks, the occasional shredded solo, and the occasional burst of harsh vocals.

Blood Omen seems to have been written during a transitional time for the band. Gentry replaced former guitarist Tony Maue last year - and Maue is credited with co-writing all of the material here. Despite this, though, the album feels cohesive - and the band's core sound which appears to have been established in recent years thrives throughout the album's nine songs. Opening things up is the relatively short instrumental Changing of the Guard, which is pretty typical of other such opening tracks - complete with plaintive classical guitar melodies, dense strings, and occasional synths. It is a subtly dramatic piece, and not as bombastic as some instrumental scene-setters - and it reminds me of the sort of quiet instrumentals often favoured by melodic death metal bands to provide a change of pace. It works well to set the tone, though, and by the time the band launch into Parasite the album feels truly underway. Parasite does not career off at pace, though, at least early on. It opens with a couple of aching harmony guitar leads, which give way to a mid-paced crunchy riff - which is pretty heavy in tone. There is plenty of snappiness throughout the album, but this mid-paced riff has quite a big impact - and it allows the faster-paced verses to feel more urgent. James shines during the verses, his gritty voice sounding strong against the metalcore-esque riffing and drummer Jai Patel's double bass work. The chorus is more overtly-melodic, and sees James pushing himself vocally - reaching a few higher notes. He has one of those voices which can handle gritty metal and pop-fused choruses with ease - and the chorus here, which features the strident mid-paced riffing returning, is pretty memorable. The closing section of the song sees this riff return again, this time much slower, giving the track a doomy bent as it comes to a relatively heavy end. Serpents Tongue follows, and the track is faster overall and feels much more metalcore-esque in nature. There are occasional harsh vocals here, which I assume are performed by bassist Matt Cox as he did some harsh vocals live when I saw them, but they are used sparingly - with James really getting plenty of space to shine with some excellent pop hooks during a stadium-ready chorus. Elsewhere, the guitar playing here is much busier. The song's opening features lots of knotty guitar leads, which often resurface throughout the song to act as bridges between the different sections - whilst a slow-burning solo section later sees the song's pace slowed somewhat for a busy, yet aching, solo. This leads into an emotional bridge - before a big roar heralds a massive reprise of the chorus. For me, this chorus it the album's hookiest moment - and the song is my favourite cut here.

Essence of Time opens slowly, with some clean guitar melodies, which James soon starts to croon over in a rawer manner than is typical for him. He is less expressive here than usual, but the more downplayed performance works given the slower melodies - but the song soon kicks into a higher gear with the arrival of a crunchy mid-paced riff and a pointed guitar lead which acts as a big hook after the more emotional opening moments. The song generally then remains a crunchy mid-paced track, and it mixes strident classic rock vibes with something akin to modern In Flames. The verses feel pretty old-school, with a swagger right out the 1970s, whilst the chorus is more radio-friendly with In Flames-esque pop melodies and a subtle underpinning guitar melody. An explosive guitar solo later gives the guitar-heavy song another kick - and the amount of lead work and strong riffing here gives both Harris and Gentry plenty to do. I really like the song's overall attitude, and the hard rock vibes are welcome given the general more modern approach taken to riffing and melody throughout the album. Nostradamus also opens somewhat slowly, but the quieter section is much less key this time - as the song soon explodes with another knotty guitar lead and bark of harsh vocals. As such, the opening draws to comparisons to Killswitch Engage, but the lack of significant harsh vocals throughout roots the song in that more melodic and alternative rock world in which The Raven Age inhabit. There are plenty of strong hooks here, too, with a mid-paced chorus taking on something of a more cinematic approach, whilst the approach to guitar leads here tends to be very focused on note selection - with the exception of the flurry of notes which opened things up. There is a later brief reprise of the song's slower opening, acting as something of a bridge, but the arrangement generally remains pretty full-on - with a reprise of the big chorus never too far away. Forgive & Forget ups the pace somewhat, opening with some harmony guitar leads, and in general the song is pretty energetic overall with plenty of double bass drumming and harsh vocal harmonies to fill out the verses. I like Patel's approach to the drumming here, with occasional double bass patterns used to create groove early on - whilst other sections see him laying into his kit to create something faster and heavier. Harris and Gentry enhance this groove, with a good mix of chugging and brief melodic runs, whilst James showcases his talent with a great mix of grit and melody - before the chorus explodes with a poppier overall sheen. The song is a strong representation of the album's overall core sound, then, and it is another memorable cut thanks to its mix of strong riffing and groove.

The Journey is another standout cut for me, and it is another that starts out slowly - with acoustic guitar melodies which James soon starts to sing over, returning to his lower register somewhat. Whilst the song is not exactly a true ballad, it is certainly the song here which comes the closest to such. It is slower overall, but there are enough crunchy and harmony guitar moments to keep the song on the heavier side. Parts of the verses are slower, building off the song's intro, but it is the chorus where the track really comes into its own - and it is another which could be considered the album's best. It feels very strident and anthemic, and it is certain to go down well should the band choose to play it live. The melodies are easy to latch onto, and it feels bigger thanks to how much slower overall the rest of the song is. The song's guitar solo is appropriately-melodic, too, as it builds on the chorus hooks - setting the scene for a final reprise of the chorus. War in Heaven also opens slowly, with some distant pounding drums and dense synths setting a darker tone. James does sing over this intro, but it feels different from the other slower intros featured here, and it is not long before the song truly kicks in and morphs into a pretty fast-paced metalcore-esque piece with snappy riffing and some busy Patel drumming. Patel's performance mixes precise double bass grooves, prominent ride cymbal work, and punky attitude - and everything comes together to make the heavier track feel weighty, even though another pretty hooky chorus adds a pop sheen. Some of the heavier sections again recall bands like Killswitch Engage, but there remains a strident hard rock approach during some of the poppier sections - and a shredded solo builds off some of the busy melodies which back another big chorus. The song is a welcome kick of heaviness following the slower previous song - showcasing the band's overall approach to riffing nicely. The album then comes to a close with Tears of Stone, which again opens slowly - with the classical guitar and strings of the album's intro reprised. Much of the track is pretty heavy overall, though, but the string-heavy intro creates a welcome diversity - and the song overall feels a bit more expansive which is fitting given it's status as an album closer. It feels like the sort of song which contains a bit of everything which has come before - with pointed guitar leads joining together sections propelled by fast double bass drumming - whilst James ties everything together with a powerful vocal performance. The verses bring out his grit, thanks to some faster riffing, whilst another pretty big chorus adds plenty of melody. The song does nothing overtly different from the rest of the album, but everything feels a little bigger in general - with the classical guitar once again reprised as the song comes to a close. Despite my reservations relating to the band over the years, Blood Omen is a strong album containing plenty of memorable songs. It very much occupies a certain space and does little to venture out of that metalcore-adjacent sound, but there are enough riffs and melodies here to appeal to metal fans and those who prefer something more hooky alike. It has been good to see the band grow in recent years, and I am sure I will get more out of this album as the months go on.

The album was released on 7th July 2023 via Music for Nations/Sony Music. Below is the band's promotional video for Serpents Tongue.

Pyramaze's 'Bloodlines' - Album Review

I have told the story a few times on this blog of how I discovered the Danish progressive/power metal act Pyramaze by taking a chance on a copy of 2006's Legend of a Bone Carver at a local used CD stall. Over the years, I have made a number of discoveries in such a way - and I continue to expand my knowledge of music through the odd random second hand purchase. For some reason, though, picking up Legend of the Bone Carver stands out. I had already started to branch out from the influence of friends and family to discover bands on my own - but perhaps the amount which I enjoyed Legend of the Bone Carver made the discovery stick. The album contained a lot of the hallmarks that I looked for in metal at the time - and the mix of Iced Earth-esque rhythms with a symphonic flair certainly impressed. Since then, Pyramaze have become one of my favourites of the lesser-known progressive/power metal acts - and a new album from them is always something to look forward to. The band have changed quite considerably since the Legend of the Bone Carver era, which was already over by the time I picked it up, but the current era has lasted since 2015 following a hiatus during the early portion of the 2010s. Whilst the band do not play live very often, they have been relatively prolific when it comes to new albums - and back in June they released their seventh album Bloodlines. For me, Bloodlines had a lot to live up to. Whilst Legend of the Bone Carver is likely to always be my favourite Pyramaze album due to how I first discovered the band, 2020's excellent Epitaph (which I reviewed here) is a close second. For me, Epitaph was the album that the band had been working towards since returning in 2015 with Disciples of the Sun (which I also reviewed here). The heavier, riffier sound of the early albums was replaced with something much smoother and more keyboard-focused overall - whilst placing more of a focus on soaring vocal hooks thanks to the pop-ready voice of then-new frontman Terje Harøy. 2017's Contingent (which I also reviewed here) was similar, but arguably more cinematic and progressive in scope, with Epitaph the perfect meld of the two - whilst also containing a lengthy closing track which harked back to the band's early days by bringing back both previous frontmen for a triple-vocal attack. I wondered how the band would follow up Epitaph, and they have responded by stripping away much of the progressive feel of the past couple of albums and going for more of a straight forward, but modern, power metal sound with crunchier riffing overall and plenty of huge hooks. As such, the album is a little different from what has come before - but the cinematic scope remains, and the distinct vocals of Harøy help to join the dots. It is also, interestingly, the band's first album as a four-piece following the departure of lead guitarist Toke Skjønnemand last year - leading to rhythm guitarist and producer Jacob Hansen to handling all of the guitar parts (bar a few guest solos) as well as the bass. I do wonder if Skjønnemand's departure has contributed to the snappier sound adopted this time - as he had become one of the main songwriters alongside Hansen and founding keyboard player Jonah Weingarten. Hansen and Weingarten have written all of the material between them this time, with the latter dominating - which allows his soundscapes and lush arrangements to shine.

As has been the case of late, the lyrics have been written by Henrik Fevre (Anubis Gate) and Christoffer Stjerne - but there are a couple of instrumental pieces here which bookend the album, too. A symphonic intro is not out of the ordinary for Pyramaze and the album opens with its lush instrumental title track. Rumbling piano and cinematic synths build up slowly towards the first song proper - showcasing why Weingarten has become such a sought-after composer of such tracks for other bands. The band do crash in somewhat as it progresses, with founding drummer Morten Gade Sørensen adding some staccato crunch. Bloodlines slowly fades out, and is replaced by the mid-paced chug of Taking What's Mine - a hooky song which showcases the somewhat more straight ahead sound which Pyramaze have forged here. The opening guitar riff is pretty groovy, and is augmented by some keyboard flourishes, but the focus throughout is one the excellent vocals of Harøy. He has shone on all of the Pyramaze albums which he has sang on, but this one seems ready made to showcase his talents. The verses of Taking What's Mine feature him singing in a somewhat lower register than usual; before he lets rip during a massive chorus which grabs hold form the off. He sings in his typical range during the chorus, albeit with perhaps a little extra grit than usual, but that works well against Hansen's crunchy guitar backing and the hard-hitting drum pattern. The arrangement is perhaps less cinematic than the band have become known for - but the riffing and the gritty vocal hooks make the song a winner, and Weingarten still adds his trademark embellishments. The first three 'proper' songs here are all very hooky, although Fortress moves away from the overt crunch of Taking What's Mine to deliver a more symphonic sound overall. It feels more like the past couple of albums as a result, but there is a strong power metal vibe throughout. Sørensen often lays into his double bass drums to propel the song forward, whilst Weingarten's keyboards really dominate here. The intro is a dancing, symphonic feast - whilst the verses strip some of the heaviness away to leave Harøy singing against a dense backing of synths. The best part of the song, though, and perhaps the whole album, is its chorus. Harøy utilises his subtle grit to allow the melodies here to sound huge, whilst the synths create a melodic bed above Hansen's crunchy riffing. The hooks here are to die for, and it is the sort of chorus that will not leave the memory in a hurry. A brief piano-led instrumental section provides a moment of respite - but generally this is a harder-driving power metal anthem built around huge hooks. Broken Arrow is another winner in my opinion, and the song sounds a bit like a mix of the previous two - with a good mix of guitar riffing and synths. Hansen's guitars are certainly more present in the mix this time, and he drives everything - but the snappy track is also pretty lush-sounding despite its no-nonsense attitude and overall pace. Much of the song is pretty riffy, then, but parts of the verses are somewhat stripped back again - this time letting Sørensen's busy drumming shine. There are lots of interesting patterns and grooves here which help the song to stand out - whilst the big synths add depth. The song has another big chorus, which has more of an urgency to it than many of the others here. Harøy sounds a little different during it as a result, but he still delivers the good against a pacy backdrop and the song feels very much like a mid-2000s power metal anthem delivered through more of a modern lens.

Even if You're Gone is not quite as strong as the album's opening trilogy, but it is still an enjoyable track which mixes a good amount of heaviness with neo-classical piano melodies. The opening guitar riff is pretty heavy, but the intro overall feels very expansive with Weingarten's piano becoming more prevalent as it moves along. The riffing resurfaces throughout, but generally this song feels a bit lusher overall - despite the crunch. The verses mix metal grooves with an ever-present piano melody - and this vibe even continues throughout the chorus. Perhaps what holds the song back a little is this lack of diversity - as it is only really Harøy's overall approach which separates the two sections. He soars during the chorus, delivering another memorable set of hooks, but the reliance on similar repeating piano motifs means that all of the song's sections roll into one somewhat. Despite this, the song is still a decent addition to the album - but there is better still to come. Alliance slows things down, and includes the vocal talents of Melissa Bonny (Ad Infinitum) duetting with Harøy. Bonny seems to be the melodic metal singer-in-demand at the moment, after her turn on Kamelot's The Awakening (which I reviewed here) earlier in the year, but her voice mixes well with Harøy's throughout this piano-led ballad - which actually has more than a hint of Kamelot's recent approach to such ironically. The song still sits nicely on the album, though, and the overall change of pace is welcome. The arrangement is pretty simple, and focuses on the vocal delivery, but Weingarten's piano breaks and string arrangements are suitably lush - and the rest of the band add a simple crunch when necessary. The vocal interplay between Harøy and Bonny make the song as good as it is, though, and the warmth throughout adds a lot to the album. The Midnight Sun returns to something more typical of the album's core sound, and opens with a ripping solo from Tim Hansen (Induction) - no relation of Jacob! Given Skjønnemand's departure, the album does lack guitar solos and leads - which is a shame. As such, The Midnight Sun stands out a bit as there is more excitement from a guitar perspective. It is testament to the overall songwriting that the album does not hugely suffer from the lack of solos, etc., but I do hope that the band bring in another lead guitarist going forward - as Tim's additions to this track to give it an edge. Outside of his lead work, though, the song is pretty typical of what has been heard up to this point. It is pretty crunchy overall, with big-sounding guitar chugs dominating - whilst Weingarten's piano backing is more muted this time. The song lacks some of the big vocal hooks of some of the standout tracks here - but the busier guitar playing makes up for that.

Stop the Bleeding returns to a sound a bit smoother overall, and harks back to something which could have sat on Disciples of the Sun with its synth-heavy and modern sound. Harøy sounds less gritty vocally this time, too, which also flashes back to his past performances. Given that this album is generally pretty crunchy, this look back into the recent past is welcome. It helps the album to have a bit of a dynamic overall sound - and presents a pretty hooky track which is not as in-your-face as some of the others here. There are nice dynamics within the song itself, too, with classical piano flourishes and a gentle bridge reining in the mid-paced rhythms found elsewhere - and there is even a somewhat progressive-sounding instrumental sections which sees some busier guitar playing from Hansen and some flashy keyboard flourishes from Weingarten. The chorus is another strong moment, too, and it ties the song together nicely thanks to its floaty melodies. The final vocal-led song here is The Mystery, which feels much more progressive overall - and harks back to the band's early days a bit more, largely thanks to a more of an old-school power metal sound and a lot more lead work. The song opens with a busy synth lead, setting the tone, before the verse slowly builds up around some busy drum grooves, a surprisingly prominent bassline, and lots of piano hooks. The chorus ups the pace, and I feel like it could have easily sat on one of the band's early albums. I can imagine Lance King singing it, and it is a good link to the band's early days in the context of a song which feels much flashier overall. There is a great instrumental section, too, which features a guitar solo from Andrew Kingsley (Archon Legion; Unleash the Archers; Sleeper Ship), followed by a great Weingarten synth solo, and then another guitar solo - this time from Olof Mörck (Dragonland; Nightrage; Amaranthe). This more intense use of lead playing really elevates the song for me, and it is one of the album's best moments overall thanks to great hooks and a powerful chorus - but it does make me wish that Skjønnemand had been replaced as, despite the album still being strong, a few more explosive moments like The Mystery's closing instrumental salvo would have been welcome here. The soloing closes the song out, and the album then comes to an end with Wolves of the Sea - a symphonic instrumental piece which has little genuine metal within it and feels more like something from a film soundtrack. It plays to Weingarten's strengths, and it sounds suitably epic, but given the overall more straight forward approach taken throughout the album as well as its relatively short length Wolves of the Sea does sound a bit overblown in its context. That being said, it works as a nice bookend to close things out - and with Weingarten on board something lush is to be expected. Despite the overall slight change in tack, Bloodlines is another strong album from Pyramaze. I feel like the band had to shake things up a bit after the excellence of Epitaph, and the focus on big vocal hooks and less complex arrangements generally works well - although the lack of a lead guitarist is noticed at times. This certainly feels a bit more of an 'everyday' album than some of the more involved works which have come before - and the plethora of hooks will no doubt keep me coming back.

The album was released on 23rd June 2023 via AFM Records. Below is the band's promotional video for Fortress.

Visions of Atlantis - Bristol Review

Whilst it was only at the beginning of July when I last ventured out of Plymouth to see a band, the gap between then and yesterday evening felt like a long one. The summer is generally pretty quiet when it comes to non-festival gigs, but a busy work schedule meant that a little break was long-overdue. It was nice to have a couple of days off work this week, then, and I headed up to Bristol yesterday lunchtime ready to catch the Austrian symphonic metal act Visions of Atlantis at The Fleece. I had left myself plenty of time, so after a late lunch and a tour of some of the local record and charity shops I had a bit of a break at my hotel, showered, and got ready for what promised to be a fun night. Despite the band having been around for over 20 years at this point, I only really started to get into Visions of Atlantis around the time that I saw them opening for Kamelot in Birmingham in 2019. I had picked up 2018's The Deep & the Dark in preparation for the show - and the five-piece impressed despite only having a short amount of time to play with. Considering that both Kamelot and the tour's other opening act Evergrey both put on excellent shows, Visions of Atlantis managed to hold their own - and I have been a fan ever since. A couple more albums have followed, and the current line-up of Visions of Atlantis has now managed to cement itself as the band's definitive era. Only drummer Thomas Caser remains from the early days, and the Visions of Atlantis of 2023 is almost a completely new band from that which previously existed before the release of The Deep & the Dark. In truth, much of the band's material prior to The Deep & the Dark still leaves me somewhat cold. There are standout songs, of course, but those early albums pale in comparison to the recent three - with the current vocal duo of Clémentine Delauney and Michele Guaitoli easily making up the best tag-team in the band's history. Guaitoli did not perform on The Deep & the Dark, but he joined the band later in 2018 - and since then the five-piece's line-up has remained stable, which has led to the release of two strong albums. I had been wanting to see the band live again, then, but I was unable to until yesterday. I had plans to see them in London in 2020, but that clearly did not happen, and unfortunately I could not make either of the shows which they played in the UK last year as part of a wider European tour with Xandria. With Visions of Atlantis playing at Bloodstock Open Air on the day which I am writing this, the band saw fit to organise a few UK shows around the festival - setting up the first proper UK tour in the band's history. Luckily for me, the dates announced were very southern-centric - and a Bristol show was a must-see despite it being mid-week. The Fleece is always a great place to see bands, and it is rare for a band like Visions of Atlantis to headline outside of London. Tickets were purchased and plans were made - and when I got to The Fleece around 10 minutes before the doors were scheduled to open I was pleased to see a decent amount of people waiting outside. Throughout the evening the venue was not full, but there was a strong crowd gathered for a week night and for a band who have never been superstars here.

Everyone was out to have a good time, too, and around 20 minutes or so after the venue opened the evening's only support act, Seraina Telli, took to the stage. Backed by a bassist and a drummer, Telli, who sang and sported a couple of rather colourful guitars, impressed with a to-the-point set which consisted of hooky, poppy, rock songs which occasionally contained a surprising amount of bite. Given that she used to front Burning Witches, it is perhaps unsurprising that Telli's music has an edge to it - but her solo work is much different to that of Burning Witches' traditional heavy metal sound. There was little metal to be found throughout her set, but her songs instead often had a bit of a pop-punk edge - albeit with more rock grit than is traditional for that genre thanks to her gritty voice and commanding stage presence. Her glow-in-the-dark hair and bright eye make-up certainly meant that her presence could not be missed - but it was her songwriting and forthright guitar playing that made the biggest impression. Each song was built around a couple of strong hooks, and the arrangements were generally simple enough to focus on her vocal talents - albeit with the occasional guitar solo or heavier drum barrage thrown in. I certainly was not familiar with Telli's work before her set, but the vast majority of the songs that she played were memorable. Some of the hooks have stuck with me, and I feel that I need to give her sole solo album from last year a listen. She did a great job of getting the crowd on side, too, particularly given the lack of metal in her set. At first the crowd seemed quite hesitant, but by the end quite a few seemed to be enjoying what Telli had to offer - with a decent sing-a-long section towards the end of her set seeing a decent amount of engagement. Much of the set was pretty upbeat, with only the ballad Soldier of Fortune slowing things down somewhat - with everything else largely being bouncy. Tracks like Addicted to Color and Modern Warrior certainly woke anyone up who might have been flagging following a day at work - and Telli very much did her job of getting the decent-sized crowd ready for Visions of Atlantis' set to come. Telli is certainly someone to watch, and anyone who likes strong vocal hooks and uncomplicated music should check her out.

Half an hour or so following Telli's set, the lights went down the symphonic opening strains of Master the Hurricane played over the PA - whilst the five band members took to the stage to start the song proper. Sets from symphonic metal bands can often be quite grandiose affairs, but Visions of Atlantis were clearly out to have fun - and the crowd was swept along from the off. Dressed in pirate garb due to the themes of last album Pirates, the band focused on the 2022 release throughout the 16-song set - with nine of its songs making the cut. Six of the other seven came from both The Deep & the Dark and 2019's Wanderers, with only one song, New Dawn, coming from the early days. The lengthy Master the Hurricane got the set off to a great start, with plenty of microphone time for both Delauney and Guaitoli, before the easy-going hooks of New Dawn allowed for a slightly poppier sound. Visions of Atlantis' sound is still pretty epic despite their sense of fun, and the band treaded the line perfectly throughout. Delauney and Guaitoli have a great chemistry, both when performing and when speaking to the crowd in between the songs, and their interactions made the show as good as it was. Both were good at working the crowd, and the vocal harmonisation between the two throughout made the set's choruses pop. The snappy hooks of Clocks shone a light on the band's fun side, whereas something like Mercy felt a bit heavier overall - and brought out more of a intense performance. With no keyboard player, there was of course a strong reliance on pre-recorded orchestrations and synths - but this was balanced out with a more in-your-face live mix which often favoured Christian Douscha (guitar). As such, the band felt heavier live, and Douscha's riffing was often chunky and prominent - with his solos also cutting nicely through the mix. Herbert Glos (bass guitar) was also pretty high in the mix, adding to the set's overall organic feel - with the backing track providing the symphonic lushness. The standout performers were the two singers, though, who did everything they could to sweep the crowd along with them. They had everyone in attendance singing along with The Deep & the Dark, whilst the slower pace of Freedom allowed Delauney a chance to showcase the somewhat more classical side of her voice. Darkness Inside would later do something similar, albeit against a somewhat heavier backing, but there were poppier moments in between such as the hooky A Journey to Remember. Elsewhere, the faster-paced Return to Lemuria showcased more of a power metal sound, with some busier riffing and fast double bass drumming, whilst Nothing Lasts Forever was the set's last ballad - and again featured some more emotional vocals from Delauney. It was left to two singles to round out the main set, with Heroes of the Dawn and the up-tempo Melancholy Angel acting as the perfect closing one-two punch. Guaitoli got the whole crowd jumping during the latter - and it prompted some huge cheers as the band left the stage. Plenty of clapping and foot-stamping brought the band back, though, and the two-song encore kept everyone sated. The more epic Pirates Will Return showcased the band's more bombastic side, and featured a segment where Guaitoli encouraged everyone to sit on the floor and row - which was certainly amusing. Following this, the night came to a close with the soaring Legion of the Seas, which, again, everyone sang along to - and there were more huge cheers as the band took their bows afterwards. The setlist was:

Master the Hurricane

New Dawn

A Life of Our Own

Clocks

Mercy

The Deep & the Dark

Freedom

A Journey to Remember

In My World

Darkness Inside

Return to Lemuria

Nothing Lasts Forever

Heroes of the Dawn

Melancholy Angel

-

Pirates Will Return

Legion of the Seas

I feel that the band probably took a bit of a risk with this run of UK shows, but based on the turnout and reception of the Bristol crowd last night shows that the risk was likely worth taking. It is always good to see European melodic metal bands venturing outside London, and Bristol is always a good place to visit - and usually sees decent turnouts. The band were certainly doing good business at the merch table due to an exclusive UK tour shirt, one of which I bought, and Guaitoli and Douscha soon join the few who were hanging around after the show to sign autographs and take selfies - so I got my copies of Wanderers and Pirates signed. The band hinted that they would begin working on a new album fairly soon, so I hope that once that has been released they will feel that another UK tour is worth their while - as I would love to see them again.

Fifth Angel's 'When Angels Kill' - Album Review

Until the band's third album The Third Secret (which I reviewed here) was released back in 2018, I am not sure that anyone genuinely expected to hear anything new from the Washington State-based metal band Fifth Angel. After all, with the exception of a handful of reunion shows in 2010 and 2017 at festivals which very much specialise in 1980s US power metal/NWOBHM nostalgia, the band had essentially been dormant since 1990 - following a two-album run that largely went under the radar. I am not exactly sure when I become aware of Fifth Angel, but it was probably around a decade ago. Their, at the time, two albums were not easy to find on CD - but I remember picking up 1989's Time Will Tell not too long after I first heard of them, and I eventually also got their 1986 self-titled debut album a few years later. Having now become quite familiar with both, it is hard to understand why the band did not make more of a name for themselves. I recall reading somewhere that the band never played live during the 1980s, so if that is true then that likely played a part in the band essentially fading into obscurity - but both albums are full of songs of the kind which were very much in vogue in the American traditional metal scene at the time. Comparisons can be made to the likes of Riot and Armored Saint to an extent, but Fifth Angel always felt a bit slicker - with a Dokken-esque sheen making the band's first two albums feel a bit more accessible. The modern incarnation of Fifth Angel feels much heavier, though. Perhaps this is due the absence of original frontman Ted Pilot, whose voice had a distinct smoothness, but it could just be that this is the sphere where the band now want to operate - particularly given modern production techniques and the fact that founding drummer Ken Mary went onto heavier things. The Third Secret upped the heaviness, and it was an album that I listened to a lot around the time that it came out - but, sadly, the line-up which put it together splinted a few months after it came out, with classic era guitarist-turned-vocalist Kendall Bechtel leaving. The band soldiered on, though, and rebuilt around the core of Mary, long-time bassist John Macko, and the returning Ed Archer on guitar - one of the band's founding members and key songwriters. The band, as things stand in 2023, then, consists of the aforementioned three alongside frontman Steven Carlson and guitarist Steve Conley (F5; Flotsam and Jetsam; Tragul) - bringing the band back to its traditional configuration. These are the five behind June's When Angels Kill, the band's fourth album. Given how strong The Third Secret was, I was very much hoping that we would hear more from the band, despite the line-up changes, and When Angels Kill has impressed from the off. It is the band's most ambitious album to date, and it is a lengthy concept albums with spoken word interludes. These additions come across as cheesily as they always do, but it works given the album's overblown nature - but the heaviness of The Third Secret has been retained. Whilst Conley is credited as the album's lead guitarist, Jim Dofka (Habitual Sins) is also credited. It is unclear how the lead guitar work has been shared here, but Conley is a relatively recent addition to the band so it may be that he did not contribute that much. He is credited with co-writing some of the songs, though, so he has clearly had some input - and former guitarist Ethan Brosh has also been credited with some writing, too.

As such, When Angels Kill was clearly recorded during a transitional period for the band - but it still sounds very coherent. I do not get the impression that Dofka was ever a member of the band, and likely was brought in following Brosh's departure to keep recording sessions moving - and regardless of whether he or Conley is soloing the lead guitar work is fiery. The album opens with the brief Descent into Darkness, though, which is an instrumental spoken work piece introducing main character Phoenix (voiced by a former colleague of mine, Scott Tunnix, which was certainly unexpected). I have not really followed the album's story, but it seems to be some kind of dystopian tale with fourth wall-breaking, self-referential elements. Strange stuff, then, but it is the music that matters - and the album's title track soon hits with a bang. Building on Mary's machine gun drumming from the intro, When Angels Kill perfectly sets the tone for what is to come. This is a hard-driving album overall, particularly early on, and the title track is a good representation of much of the material here. Archer's crunchy riffs keep the relatively mid-paced verses ticking along - whilst shredded lead guitar sections regularly raise their heads. The song also introduces Carlson, who does a fantastic job throughout the album. He has the perfect voice for this sort of old-school metal, with enough grit giving his voice a harder edge - whilst still having the warmth to carry the plethora of big chorus hooks. He has a decent amount of range, too, but he does not really let rip that often - which suits the band's no-nonsense heaviness. The chorus here showcases his love of a good hook, and it is one of many big choruses on this album - and it really drags the listener along for the ride from the off with its faster overall pace compared to the rest of the song. There are lots of memorable songs here, but Resist the Tyrant is one of my overall highlights. It is more of a groove-based, mid-paced song overall with lots of strong, crunchy riffing from Archer and punchy drums from Mary. Despite the opening track not exactly being thrash, it was faster overall than this - and the more deliberate pacing here allows the band's heaviness to shine. A neo-classical lead flurry openings things up, too, before a hooky guitar refrain which resurfaces throughout establishes the main groove. Despite the temptation to, the band never really speed up here - and the song is well-served by strong grooves as a result. This hooky guitar refrain is riff, and feels somewhat anthemic - punctuating a fists-in-the-air chorus which features plenty of subtle vocal harmonies. More neo-classical shred fills a brief guitar solo section, which is impressive, but this song is one that shines due to its riffing rather than anything more flashy. On Wings of Steel ups the pace somewhat, and returns to something more hard-driving akin to the album's title track. Of the three songs which have come so far, it is probably the least hooky - but the energy here helps the track to stand out. There is still a decent chorus, but it does not live as long in the brain as some of the others here - but I really like the overall pace of the song and the way that guitar leads are constantly used throughout to add spice to the rhythm guitar tracks. This helps to song to still feel hooky, and Carlson's gruffer overall vocals help to contribute to the song's faster, heavier feel.

We Are Immortal returns to something more anthemic overall, though, and the mid-paced riffy track continues the sound which was established back in 2018 on The Third Secret. Much of this album is faster overall, but We Are Immortal feels very much rooted in the 1980s - albeit with a tough-sounding modern production. It is a very vocal-focused piece, too, which is unsurprising given that it is one of the songs here co-written by Carlson. He shines throughout the album, but this song feels like it was made to really showcase him - and it should be no surprise, then, that the chorus is one of the album's biggest. It is definitely one of the choruses that stood out to me from the off, and the big melodies here are made to be played live. It has some big, shout-along refrains - which are later reprised against just a drum backing to make them stand out even more - and the Accept-like chug of the track with Mary's slower double bass patterns given the song a really pleasing overall feel. Empire of Hate opens with some King Diamond-esque guitar melodies, which establish a slightly different tone from what has been heard up to this point, but soon the song morphs into another pretty fast-paced number with some riffs which border on thrash at times. Whilst Fifth Angel have never been a thrash band, there are moments here which channel some old-school speed - and this is one of the most intense tracks on the album. Despite this pace, though, there is still plenty of classic rock strut to be found, and the chorus is another anthemic moment. The verses feel thrashier, and see Carlson channelling his inner Russell Allen to allow for something heavier, whereas the chorus is more melodic - with chanted hooks and some subtle harmonies. Given the song's pace, the shredded solo really roars out the blocks - injecting a few more neo-classical runs into the album. Run to the Black pulls back on the pace again, going for something more 1980s-esque and strident overall. Despite this, though, I feel that the song lacks some of the hooks of many of the pieces heard up to this point. The chorus, which should feel massive thanks to some decent hooks, for some reason has Carlson's vocals mixed quite low - meaning that the hooks lose some of their power. That being said, though, Carlson still manages to shine during the verses - which feature some of his most unhinged vocals here. There are a few longer screams, which help the song to stand out, so it is a shame that the chorus does not pack the punch that it should. I do not have many criticisms of this album overall, but it is a long one. As such, a track which does not quite hit the mark is going to stand out - and Run to the Black is one which could have been left out without having too much of an impact on the overall flow. Seven Angels ups the quality again, though, even if it does reprise a melodic guitar lead from the previous album for story reasons. It feels quite old-school overall, too, and it is a song which could have appeared on one of the band's 1980s albums quite easily if the production sounded less modern. Carlson sounds a bit more melodic overall, here, and the chorus sees him channelling the smoother style of Pilot somewhat. This helps the song to become one of the album's hookiest overall - and the chorus is a strong melodic rock moment in what is otherwise a pretty hard-driving metal anthem. The hooks here make the song one of the album's strongest in my opinion, and it is a fun look back to the past within the context of a heavier overall album.

Blinded and Bleeding ups the toughness overall, and returns to a pumped-up mid-paced sound akin to the album's title track. This is one of those song which injects some pace into the album, but the chunkiness of the riffing ensures that it retains a traditional metal feel rather than something more thrashy. Comparisons can be made to bands like Metal Church when Fifth Angel write songs in this manner - but Fifth Angel feel more theatrical and majestic overall. There has always been a bit of a progressive metal strain to Fifth Angel, which sets them apart from the meat and potatoes sounds of Metal Church and Armored Saint. This song showcases that despite the crunchy riffing, with the expressive voice of Carlson bringing another big chorus to life - whilst shredded solo sections and lead breaks inject plenty of life. This is another song that focuses more on big riffs, though, hence the comparisons to bands like Metal Church. Kill the Pain slows the pace down quite considerably, but the song is certainly not a true ballad. It feels quite a bit moodier than much of the rest of the album, but there is still plenty of weight to be found - although it does mark a bit of a shift in overall tone which permeates much of the album's final third, leaning on a murkier, more atmospheric sound. There are ballad-esque elements featured throughout, but the crunchy riffing under Carlson's excellent keeps the song from feeling like genuine respite. The piece is certainly more atmospheric, though, with keyboards and strings filling out the mix, whilst Mary's big-sounding drums give the song more of a heaviness than it otherwise would have had. The standout player here, though, is Carlson. He has delivered a lot of excellent vocal performances up to this point, but the more atmospheric approach really allows him to shine - and the chorus in particular brings the best out of him. His more emotional approach shines, whilst a hypnotic guitar lead adds extra depth. Given the overall heaviness of the album, the slower vibes of Kill the Pain are welcome - and help to break up some of the more relentless riffing found elsewhere. Five Days to Madness returns to something more typical of the album, though, with more big riffing, plenty of double bass drumming from Mary, and another hook-laden chorus which is easily the best part of the song. There are lots of songs on this album which have a similar feel to Five Days to Madness, so it perhaps does not stand out as much as it could have. Whilst the chorus is excellent, with a hook that latches on from the off, the rest of the song does not shine as brightly. That being said, though, there is nothing here to dislike. The song has all the hallmarks of the album's best moments, but it is perhaps another victim of the fact that the album is over an hour long. Sometimes less can be more - and I have mentioned a number of times on this blog before how many albums would be significantly improved if they were a bit shorter. This album certainly does not drag as much as some do, and the quality is pretty consistent throughout, but nevertheless a bit more trimming would have likely benefitted. The chorus makes the song worth hearing, as it is another section which showcases how great a fit Carlson is in Fifth Angel, but it is a shame that the rest of the song does not feel quite as strong.

Ashes to Ashes slows the pace again, and opens with some atmospheric clean guitar melodies which Carlson sings over in a much less gruff manner than is typical for him. Whilst there are some heavier sections here, the song feels more like a ballad overall than Kill the Pain. The song is more emotional overall, with soaring strings often overpowering the rest of the band, and Carlson uses this to great effect to showcase his range a bit more. I really like the way he sings the song, and it allows him to do something different. He sounds more like his usual self during some of the heavier sections - but he still sings in a more melodic overall manner throughout - and this suits the song's mood, which even includes some classical guitar runs at times to ensure that the album's use of such melodies can remain even in a more atmospheric setting. Given that the album is nearing the end at this point, slowing things down before the final two songs certainly helps to break up the overall heaviness of much of the material here. The End of Everything retains some of the atmospheric sounds of the previous song, but it fuses it with the album's core sound to create something epic-sounding. As mentioned earlier, Fifth Angel have always had a bit of a progressive metal feel to their material - and this song really mines that seam. The strings that have been used relatively sparingly on the album, and generally only during the slower songs, are utilised well to add plenty of depth - and the soaring chorus is made much larger overall thanks to dancing symphonics. Carlson really lets rip during this chorus, delivering possibly the most overblown moment on the album - but it really works into the context of a song which throws everything at the wall. Piano is used here for depth, even during some of the heavier sections, and as such the song explodes out of the speakers - mixing both the band's love of hard-driving riffs with some of the murkiness which has been utilised during this final third. The album then comes to a close with Light the Skies, which returns to the album's more typical faster-paced sound. The back third or so of the album definitely feels a bit moodier - so Light the Skies feels like the album coming full circle somewhat. The atmospherics which have been featured in the last few songs are largely absent here, and big riffs are once again the order of the day - with Archer laying down another hard-driving flurry of riffs which drive the song from the off. In many ways, then, Light the Skies is the band putting a final full stop on the album after deviating somewhat from their core sound towards the end. This is a final reminder as to where the band are now, with the muscular riffing and throaty vocals of Carlson taking the listener back to the album's opening few numbers. There is another big guitar solo here, too, unsurprisingly - and the song blends a traditional metal feel with thrashy elements perfectly, giving the listener a final kick before the album fades to a close following its lengthy run time. It does feel a little strange given the turn taken during the final third of the album, but the song is powerful and the hooks make it pop. Despite this slight twists at the end, then, the album still feels like a journey. Whilst it could have been improved with a bit of fat trimming, there is nothing here that really jumps out as being of a lesser quality - and the performances throughout from the band are excellent. I like the ambition of the album, and the band have done something here that feels more expansive than their previous three albums - and they seem to have settled on being heavier overall. I really hope that there is more to come from this line-up going forward, but for now there is plenty of material here for Fifth Angel fans to enjoy and truly get their heads around.

The album was released on 16th June 2023 via Nuclear Blast Records. Below is the band's promotional video for Resist the Tyrant.