I always enjoy being blown away by a support band whom I know nothing about. It does not happen all that often these days, but it is exactly what happened back in March when I went to see W.A.S.P. at KK's Steel Mill in Wolverhampton. W.A.S.P. were fun as always, but it was perhaps the Bournemouth-based five-piece South of Salem who somewhat stole the show. I had heard their name mentioned a few times, but I had not heard a note of the band's music until they hit the stage. From the off the band impressed, and I came away from the show a fan and with a freshly signed copy of their 2020 debut album The Sinner Takes It All. Since then, the album has been in regular rotation. The gothic and sleazy edges to the album remind me of some of my favourite 'new' hard rock bands of my teenage years. Heaven's Basement, Glamour of the Kill, theFALLEN, and Dear Superstar, to name a few, are all much-missed bands, and South of Salem sound to me like a hark back to that long-lost scene. As much as I like many of the new rock bands of today, there seems to be a lot of focus placed on both American post-grunge sounds and excessively retro blues rock. South of Salem are neither of those things, and the band's mash-up of Mötley Crüe and The 69 Eyes is one that really speaks to me. Another great thing about the band is that it seems that they are really pushing themselves. No sooner had the W.A.S.P. tour wrapped up they were out again with Wednesday 13 - and by all accounts they were one of the highlights of this year's iteration of Stonedead Festival. Given the buzz around the band, it was about time that they went out under their own steam - so they announced their first ever headline tour a few months ago. I knew that I had to make an effort, and a Bristol show on a Sunday made the decision to go an easy one. Tickets and a Premier Inn were booked, and it become one of the shows which I was most looking forward to. I love seeing bands of all sizes, but some of my favourite shows of the past have been packed out shows by up-and-coming bands - with a couple of Heaven's Basement and Glamour of the Kill shows in particular standing out. South of Salem at the small Exchange in Bristol promised to be such a night - and clearly many others thought so too, as it sold out fairly quickly. In fact, most of the dates on the tour sold out quite far in advance of it kicking off. This is a great achievement for the band on their first headline tour, and hopefully this means that next time they tour they will able to play some larger rooms. With their second album Death of the Party due out in January, there is a lot of excitement in the South of Salem camp currently, and with both this tour and the upcoming new album the band's fans are really being treated to a lot of great music.
Some of the shows had multiple support acts, but only the tour's main support She Burns Red joined South of Salem in Bristol. Given that it took an awfully long to time get into the venue, and then I bought a tour t-shirt and visited the toilet, it was not long after I had taken my spot in the main room that She Burns Red started their set. They were a band I had heard of, but I was not familiar with any of their music - and I enjoyed their 30 minute set without ever being blown away. There seemed to be a lot of people in attendance who were fans of the band, so there was a strong atmosphere throughout their set, but the band's grungy hard rock did not really connect. The multi-vocal approach of Andy Moore (vocals/guitar) and James McCulloch (vocals/bass guitar) worked well, and Naz Scanferato (guitar) impressed with a few strong bluesy solos. For me, though, the band were a bit 'meat and potatoes' in their approach. They were not as anthemic or as melodic as I would have wanted them to be, but I think that it is fair to say that She Burns Red are going for a different sound. The riffing throughout was pretty thick, with plenty of strong 1990s grooves, whilst the vocals were more emotional and raw than cultured. Despite not really being my thing, though, I thought that the band came across well live. Their songs are the sort that work well on stage, and the hard-hitting riffing and the powerful drumming of Scott Hanlon kept everything ticking. The fact that there were a lot of people around me singing along showcased that She Burns Red are doing something right, and I did enjoy my time with the band despite my previous comments. Some of the choruses did sink in somewhat, and there were a few moments where the crowd helped the band out - which is always impressive for a support act. They certainly helped warm up the capacity crowd for South of Salem, so it was a job well done for the Scottish four-piece.
Half an hour or so after She Burns Red's set finished, the lights went down and the five musicians of South of Salem trooped onto the small stage. A drum barrage from James Clarke heralded the arrival of Let Us Prey, and for the next 75 minutes or so the band rocked the Exchange as if they had packed out Wembley Stadium. The bands 14-song set contained essentially all of The Sinner Takes It All (minus one song), four songs from Death of the Party, and one cover thrown in for good measure. After spending lots of the year opening up for other bands, South of Salem seemed overjoyed to be filling the Exchange in their own right, and it was one of those shows where every song, even the new ones which most of the crowd would not have known, was greeted like an old friend. The band's typical supporting set covers the best songs from the debut album, with The Hate in Me immediately following the anthemic opener, but the longer set allowed them to pull out some lesser-played cuts. The slightly thrashier Another Nail in My Coffin allowed Kodi Kasper (guitar/vocals) and Denis Sheriff (guitar/vocals) to lock together for some powerful riffs - whilst frontman Joey Draper prowled the front of the stage and interacted with those down at the front. With the new album due out soon, everyone was looking forward to hearing the new cuts - and the album's title track was thrown out early on. It was probably my favourite of the new ones played, with another big chorus to add to all of those found on the first album. The new songs seemed a little heavier overall, but the band's usual sound remained. Static later certainly sounded meatier overall, but before that point the crowd were roped into singing along with Made to Be Mine - nailing the wordless vocal hooks perfectly - and the pace was also slowed for the more emotional ballad Demons Are Forever. The hard-driving new single Left for Dead and the aforementioned Static represented what is to come nicely - and a well-played cover of Billy Idol's Rebel Yell also prompted quite a bit of singing from the crowd during the poppy choruses. Perhaps my second favourite of the new cuts, though, was Bad Habits (Die Hard), another pretty anthemic piece with a shout-along chorus which is certainly going to become a setlist staple going forward. It whipped up the crowd again as the set was coming to a close, before the pace was briefly slowed again for a slightly creepy Pretty Little Nightmare. Sadly, by this point, the night was coming to an end, so it was left to the excellent No Plague Like Home, with its gang vocal-led chorus, to finish off the main set. Dee Aldwell (bass guitar/vocals) shouted the chorus lyrics along with the crowd - and the band received a big cheer as they left the stage. It was not long before they returned for one last track, though, and the band's big single Cold Day in Hell was the perfect way to cap off what had been an excellent show. The setlist was:
Let Us Prey
The Hate in Me
Another Nail in My Coffin
Death of the Party
Made to Be Mine
Demons Are Forever
Left for Dead
Static
Rebel Yell [Billy Idol cover]
Dead Hearts Don't Break
Bad Habits (Die Hard)
Pretty Little Nightmare
No Plague Like Home
-
Cold Day in Hell
As I had expected, the show turned out to be a special one. There is no substitute for the energy that young, hungry bands give off - and South of Salem seem to be on the cusp to taking things to the next level. Given how many tickets have been sold for this tour, it seems that there are plenty of people wanting the band to do well - and I hope that the band's album release next year makes a bit of a splash. The songs that the band played live have certainly whetted my appetite, and I am already looking forward to it dropping in January. Hopefully the band will want to tour some more behind the album next year - and I will certainly make an effort to get to a show if they do.
Having recently seen her previous band Karnataka play at The Wharf in Tavistock at the beginning of September, it seemed fitting to be returning to the venue so soon to catch Hayley Griffiths and her band on their first run of UK shows since releasing their album Melanie back in January. Griffiths was a member of Karnataka between 2011 and 2017, and was a big part of 2015's excellent Secrets of Angels. Following the previous Karnataka line-up's disillusion at the end of 2017, it was unclear what Griffiths would do next - but the following year she launched The Hayley Griffiths Band with two of her former Karnataka colleagues. Whilst I seem to recall that the band's first show was at a festival somewhere in Europe, their first UK show took place in 2018 at The Robin 2 - when they replaced Touchstone on a double bill with Mostly Autumn. I was at that show and, despite the band clearly being new and still finding their feet, they delivered a strong performance opening up for Mostly Autumn. Since that 2018 show the band has undergone some changes, with a new guitarist and bassist having solidified the line-up, but the core of the three former Karnataka bandmates remains - and the power of the band was fully realised on Melanie, which I have listened to a lot this year. Melanie was not the only album Griffiths released this year, though, as she also released the Celtic solo album From from Here back in January. In 2011, Griffiths released Celtic Rose - an album full of her favourite Celtic folk songs. Before joining Karnataka, Griffiths toured in both the Riverdance and Lord of the Dance productions - and become known for her interpretations of Irish folk songs. These essentially made up Celtic Rose, but the pandemic prompted her to produce a sequel. With her and the band writing for Melanie, I imagine recording some more of her favourite folk songs for Far from Here was a nice distraction - and the simultaneous release of two different albums allowed Griffiths to showcase both sides of her career. As such, then, Griffiths' current tour, dubbed Metamorphosis, was similarly set up to showcase these two sides. Promoting both her Celtic solo album and the debut album from The Hayley Griffiths Band, the Metamorphosis tour was supposed to cover much of the year - but getting the tour off the ground has not been easy. The Tavistock show, along with some of the other shows, was supposed to take place back in March, but a family medical emergency meant that the March shows were postponed. With regular keyboard player Çağrı Tozluoğlu unable to make the October dates, Griffiths had to find a replacement - but this also seemed to cause issues. Inglorious sideman Rob Lindop handled the keyboards at some of the shows, but he was not available to cover the whole tour - and it seems that Touchstone and Fish alumnus Liam Holmes broke his wrist just before he was scheduled to join up with the band. The show must go on as they say, so the band rolled into Tavistock without a keyboard player - which is never ideal for a band with a sound as lush as The Hayley Griffiths Band. They did not let this last-minute hurdle derail them, however, so it was all systems go by the time The Wharf opened its doors.
As was to be expected, the show was split into two halves. The first set focused on Griffiths' Celtic music, so was made up of a collection of her favourite folk numbers - with one original song from her latest Celtic album included. Drummer Jimmy Pallagrosi did not feature too much during the first set, but he did add some drums and percussion to a handful of the songs - so it was guitarist Mathieu Spaeter who drove everything with his delicate acoustic guitar playing, which included a few rather fluid folky leads and solos. Bassist George Price added depth, which included playing his bass with a bow at times, but of course the star was Griffiths - as the sparse arrangements really allowed her voice to shine. Much of the set was quite laid back, with the delicate She Moved Through the Fair kicking things off, but there were some moments that rocked a little harder such as the faster-paced Star of the County Down. As there was plenty of rock to come, the more laid back opening set was welcome, though. Folk music is not generally my thing, but it is clearly a passion of Griffiths', and that came across during the set. She often took time to address the crowd, which was not that large but was pretty enthusiastic throughout, and told the story of her association with Celtic music. With many of her favourite Irish songs already being on Celtic Rose, Far from Here featured folk music from throughout the UK and Ireland - and she seemed to enjoy getting to pay some tribute to her Scottish roots with a few numbers from 'up north'. Before that, though, the title track of Far from Here - the only original song in the set - impressed. Written by former Pallas keyboard player Mike Stobbie, the song merged folk and progressive rock - with a strong piano-driven arrangement and lots of beautiful vocals from Griffiths. Spaeter also cut loose with quite a lengthy guitar solo during the song, and it was the first of many excellent moments from him throughout the night. He is a real find for Griffiths. When I saw the band for the first time they had a different guitarist, but Spaeter has taken them to the next level - and his virtuoso precision was a big part of what made the whole show so enjoyable. He was generally more reserved during the first set, but Far from Home allowed him to cut loose. It was really the only moment during the first set that had that vibe, though. Given that folk songs are often quite short, the first set flew by. Classics like Scarborough Fair and the more plaintive When You Were Sweet Sixteen helped to create a laid back atmosphere - and a stripped back version of Loch Lomond, made famous by Runrig, was one that likely everyone knew. The first set then came to a close with Caledonia, and this led up to a 20 or so minute break - and what was to follow would be somewhat different.
If the first half of the show was laid back, then the second half was much more energetic - with the 10-song set featuring all of the songs from Melanie. The album was not presented in order, but it was great to hear all of the songs performed live none-the-less - and the set kicked off with a dramatic Haunted. Haunted was one of two songs which were repurposes from Griffiths' 2010 release Silver Screen, and the two work well in a more rock arrangement. Haunted in particular has been morphed into a spiky, gothic rocker, and it worked well to kick off the second set. As much as I enjoyed Griffiths' early singles, which were all included on Melanie, the seven songs specifically written for the album are a better representation of the band in my opinion. The slightly lengthier and more dynamic Dust to Gold was the first of the songs played, and the song mixed big riffing and more melancholic sections together nicely - before another older song in the form of Separated by Glass was dedicated to the late Jared Hancock, Griffiths' co-writer and producer on Silver Screen. The ballad helped to return some of the first set's energy to the second set, but this was soon changed with the harder-hitting Broken Lullaby, with its excellent chorus, and the more guitar-driven Perfect Lie - which was another showcase for Spaeter. The band did miss having a keyboard player during the second set, even though the keyboard parts were being played over the PA. Click track keyboard parts are never a substitute for a real musician for the band to bounce off - and it was strange hearing the synth solo of Broken Lullaby when no-one was playing it! The band soldiered on, though, and the dramatic Aurora was another strong moment. This was the song with which Griffiths' relaunched her career post-Karnataka in 2018, and the poppy, gothic number came across really well live - with Spaeter handling the aching solo perfectly. The more musical hall Made My Bed was later repurposed to encourage some audience participation, with Pallagrosi putting the crowd through their paces, before another somewhat Lloyd Webber-meets-hard rock piece in Little Star showcased a bit of a different side to the band with its slight Big Band arrangement. It was left to a couple more convention symphonic rockers to close out the main set, with the melodic Last Goodbye and the stomping hard rock of Melanie bringing the show to a close. The latter came across particularly well live, with Spaeter's big riff driving everything - and Griffiths sounded pretty gritty during the catchy chorus. After a brief step off the stage, Pallagrosi returned to perform a lengthy drum solo - and was joined at the end by Spaeter who added some shredded soloing of his own. This solo section acted as a rather lengthy introduction to the Karnataka song Borderline, and the upbeat, hooky number proved to be a great way to close out the show thanks to its bouncy atmosphere and excellent chorus. The setlist was:
She Moved Through the Fair [Traditional Irish folk song]
Siúil a Rún [Traditional Irish folk song]
Star of the County Down [Traditional Irish folk song]
Far from Here
Scarborough Fair [Traditional English folk song]
Black is the Colour [Traditional Scottish folk song]
When You Were Sweet Sixteen [Traditional Irish folk song]
Loch Lomond [Traditional Scottish folk song]
Caledonia [Alan Roberts & Dougie MacLean cover]
-
Haunted
Dust to Gold
Separated by Glass
Broken Lullaby
Perfect Lie
Aurora
Made My Bed
Little Star Last Goodbye
Melanie
-
Drum/Guitar solos
Borderline [Karnataka material]
Whilst I am sure that the band would have liked to have seen more people turn up to the show, particularly on a Saturday night, The Hayley Griffiths Band put on a great and varied show in Tavistock which those who did attend certainly enjoyed. The mix of folk and rock music worked well, and it allowed Griffiths to cover a lot of ground throughout the night. As Melanie is an album that I have been enjoying a lot throughout the year, it was good to hear all of it live - and I am looking forward to seeing where the band go from here, as I hope there is more to come from this group of musicians.
I have been a big fan of progressive and power metal for a number of years, but I have discussed on this blog before how my love of power metal in particular waned somewhat over the past few years. Recently, though, I have been getting back into the genre in quite a big way - and I have been enjoying plenty of new albums by some old favourites. Alongside these, though, I have also started to check out some other bands which I never got around to listening to previously - and one such band is the Georgia-based Theocracy. Almost straddling the line between progressive and power metal perfectly, Theocracy are a band whom I have been aware of for years. I remember their third album As the World Bleeds from 2011 attracting quite a bit of attention when it was released, but for whatever reason I never took the plunge. I remember hearing a couple of the album's songs and enjoying them, but my relationship with the band never went any further. I am not sure why, but there is always so much new music to listen to that I cannot get to everything - but it probably did not help Theocracy have never been all that active and their CDs are not always the cheapest here in the UK. Earlier this year I finally took the plunge, though, and picked up both As the World Bleeds and 2016's Ghost Ship. I have not listened to either album that many times, but I have enjoyed my time with both so far - particularly the former. I do not think I was aware that a new Theocracy album was on the horizon when I bought my first CD of theirs, but 2023 has proven to be a good time to start to properly get into the band - as earlier this month they released their fifth album Mosaic, their first release since Ghost Ship. The band tend to leave fairly lengthy gaps between their albums, and are not especially active live, so the seven year gap between Ghost Ship and Mosaic is pretty typical for Theocracy - but nevertheless I am sure their die-hard fans are relieved to finally have something new from the band. Despite having heard their last two albums, Mosaic is the first Theocracy album that I have really digested. Prog albums generally need plenty of listens to fully appreciate, but the power metal side of the band ensure that each song is filled with hooks - and it is really only the album's lengthy closing number which leans fully into prog metal territory. This album also comes after a couple of line-up changes in the band, and it is the first to feature lead guitarist Taylor Washington (Paladin) and drummer Ernie Topran (Halcyon Way; Project: Roenwolfe) - although Topran has been in the band since around the time that Ghost Ship was released. Founding member and frontman Matt Smith leads the line as always, and acts as the main songwriter, whilst long-time members guitarist Jonathan Hinds and bassist Jared Oldham also return. Hinds co-wrote a few of the songs, though, and Washington makes his presence felt with some excellent solos throughout.
What perhaps sets Theocracy apart from some of their peers is how guitar-driven they are for a power metal band. The flashy synths which tend to dominate the genre are not as prevalent here, but keyboards still add a lushness and an atmospheric depth to the album. No keyboard player is credited here, but given that Smith and Hinds have generally been responsible for keyboards in the past it is fairly safe to assume that they also handled them here. The album kicks off with Flicker, a relatively short song which sets the album's stall out early. It takes no time to get going, and Smith immediately starts singing against a knotty guitar riff - and this intro builds up quickly around his fast-paced vocal delivery before Topran's drums crash in and the band charge off at break-neck speed. This is very much a typical power metal piece, then, with lush synths providing plenty of depth, whilst the guitars of Washington and Hinds interlock for plenty of excellent riffs. At under four minutes in length, the song is not as expansive as some here - but it still crams a lot into its framework. Smith showcases his excellent set of pipes throughout, with a mix of frantic vocal lines and a more epic approach during the slower chorus. The band subtly harmonise with him throughout, but the focus is very much on Smith - with the guitars generally being more riffy than lead-based, with some hard-driving sections approaching thrash in intensity. Washington's first solo of the album shifts that focus, but like the rest of the song it is brief and to-the-point - but it introduces the fluid style which will become familiar as the album progresses. Anonymous follows Flicker, and the pace is reined in somewhat. The song is still on the faster side, but it feels more groovy overall - and there are some strong mid-paced moments to break up the sections which are more power metal in scope. The opening riff is very traditional metal in sound, and this crunchy groove returns occasionally throughout the song, whilst the chorus is faster overall - with a stronger keyboard presence and more of a choral vocal approach. Some power metal bands can sometimes feel a bit lightweight, but Theocracy never have that issue. They have plenty of crunch throughout this album - and Anonymous leans into this side of their sound thanks to the groovy approach to riffing and the hard-hitting drum performance of Topran. The hooks are still plentiful, though, and the chorus in particular is a winner with its mix of anthemic vocal lines and synth-based depth. Washington takes a lengthier solo this time, and his playing is more varied - which perfectly feeds into the slightly darker bridge section which follows. After two pretty hard-hitting songs, the album's title track opens more slowly - with some aching harmony guitar leads, before clean guitars take over and Smith starts to sing in a dynamic, breathy manner. The track is no ballad, though, but it does feel a bit less full-on than the opening couple of numbers - with more of a keyboard presence throughout, and a sound which recalls early Sonata Arctica a little thanks to the crunching guitar gallops which dominate and heavy focus placed on Smith's playful vocal melodies. There is still weight to the song, but it feels designed to be less heavy. Guitar leads are more prevalent, with a handful of melodic breaks, whilst the arrangement feels a bit more light and shade with some clean guitars often mixed in with the galloping and the aforementioned stronger keyboard presence. It does get heavier around Washington's solo, though, which adds further interest.
Sinsidious (The Dogs of War) returns to a heavier territory, and the piece opens with some dark-sounding riffing which soon gives way to a tougher-sounding instrumental section made up of a number of different riffs, occasional Mercyful Fate-esque guitar twists, and plenty of double bass drumming. Despite the darker tones which are present throughout the song, there is still plenty of the band's trademark power metal to be found. The synths are less present, but they add a gothic depth when needed, and the overall pace and Smith's vocals help the track to feel pretty melodic overall. Washington does add some additional vocals to the song, though, as he takes the lead during the strange-sounding pre-chorus. Whilst he is not adding harsh vocals, it feels as if the band wanted his darker, effects-heavy delivery to have that sort of impact - and his lower voice suits the tone of the pre-chorus, before Smith soars during the chorus which follows. The heaviness is welcome, though, following the previous song which was a little lighter in tone. One of Theocracy's strengths in my opinion is their ability to use light and shade so well in a power metal context, and this is a track with a bit more shade overall - but Washington's heroic solo and the soaring chorus certainly ensure that there is still a lot of melody. Return to Dust was the first song released online to promote the album a few months ago, so it is unsurprising that it is less knotty and much more hook-focused than some of the other cuts here. The song works well as a single, though, and it is certainly one of the most immediate on the album - with a huge mid-paced chorus and plenty of groove throughout. The riffing of Washington and Hinds is full of old-school 1980s metal power, whilst the bass playing of Oldham is often left to drive the song during the verses when the guitars briefly drop away. The chorus sees the keyboards taking on a more prominent role, and the amount of harmony vocals is very much in that early-2000s power metal mould. The song soars and is very hooky as a result, and it provides a nice change of pace after the heavier, darker song which preceded it. The Sixth Great Extinction returns to the more hard-driving sound that opened up the album, and it was one of the songs which really stood out to me on my first listen. It is perhaps not as furious as the album's first couple of songs, but it certainly feels like more of a hard-driving track than those which followed - with a strong mid-paced guitar-driven sound, and a simple main riff which often resurfaces throughout. The keyboards and harmony vocals are used more sparingly here, too, which allows the song to have plenty of crunch. Even the chorus does not lean into them too much, which gives the track a bit more of an organic feel. There is still an atmospheric depth, but it is not as prevalent - and the chorus feels more old-school as a result. Washington's guitar solo is knotty and feels rather progressive, too, particularly given the groove that it floats over, and other instrumental sections focus on heavy riffing to give the song further weight.
Deified picks up the pace again, and returns to a sound similar to how the album opened. The thrashy riffing of the opening song returns here, and the track is another shorter one which focuses on its pace and energy to get it over the line. Smith still soars vocally, but this is very much a song about the riffing of Washington and Hinds. Despite that, though, there is still a hooky chorus to be found - but Smith has less room to breathe thanks to the pace. I think he sounds better when he has more room to spread out, but these thrashier songs still sound powerful. Hinds takes the solo this time, and his neo-classical shredded approach works well given the song's speed. The Greatest Hope is the album's ballad, and it is also the album's shortest piece at just over three minutes. It largely just features Smith singing against a mixture of clean guitar melodies and distant piano - but the drums do join in towards the end to add some extra depth. It is one of those songs that works in the context of the album to provide a bit of a change of pace, but I am not sure it has enough to really stand on its own. Given the two lengthier songs which close out the album, though, the gentle song is welcome - and it really allows Smith to sing in a bit more of restrained way. Another real highlight on this album for me is the penultimate track Liar, Fool, or Messiah - which really roars out of the blocks following the gentle ballad. It is the second-longest piece here, but it has a great mix of the band's trademark styles - mixing heavy riffing in the song's opening with more melodic verses packed with keyboard depth. Whilst there have been progressive flourishes elsewhere on the album, they really rear their heads on this song and the next one. Arrangement-wise, this is the most complex piece on the album up to this point - and the amount of different riffs which are heard throughout gives the song its distinct character. The track also feels grander than most of what has come before. The keyboard depth and use of harmony and choral vocals is more prevalent here, and the song's chorus is one of the album's most instantly-recognisable moments thanks to this larger arrangement. Despite the song's complexity, the hooks are still massive - and the chorus is one of those that will stick in the brain long after the album finishes. There is also quite a lengthy instrumental section in the song, too, which includes a lot more excellent riffing from Washington and Hinds - before Washington launches into a lengthy guitar solo, which is suitably fast-paced given the song's hard-driving feel throughout.
The album then comes to a close with the lengthy Red Sea. At just over 19 minutes, it is one of the band's most epic songs - and it is unsurprisingly this album's most progressive piece. Early on, though, the song is pretty typical of the album up to this point - as it focuses on heavy, mid-paced crunchy riffing which Smith sings over in a gritty manner. The early parts of the song are pretty heavy and crawling, then, but things tend to get grander as it moves along - and the pace slowly increases, too. The first few verses are groovy and mid-paced, but as the instrumental mid-section is approached the song gains a bit more of an urgency, and the band's power metal vibes are put on display once again. The song operates in this manner for quite a time from this point, with the atmospheric backing getting more involved - and this section of the song comes to a close with a dramatic and choral rendition of a Bible passage, which sounds massive thanks to the layers of vocals and synths. This part then gives way to a lengthy instrumental section which builds up around the interlocking guitars and includes some great Middle Eastern melodies, befitting the song's lyrics, before Washington launches into a lengthy central solo which is easily his best and most involved of the album. It unfolds over many movements, and it fits into the song's wider mid-section perfectly. Once Smith starts singing again, the overall pace slows - and clean guitars take over. This slower vibe only continues for a brief time, though, as the rest of the song pretty upbeat - with Iron Maiden-esque guitar harmonies and some old-school power metal riffing, which Smith really soars over the top of. There is one last guitar solo, though, which Smith takes himself. He handled most of the instruments on Theocracy's early albums, so is a great guitar player in his own right - and his slow-burning guitar solo adds to the song's epic closing sections, and differs from the shredded approach taken elsewhere. This gives way to one last vocal-led section, which feels more cinematic in scope - and the song comes to a grand end, ending what has been a very strong album on a high. As this is my first proper foray into Theocracy, I have been very impressed with what I have heard. There are no real weak moments here, and the mix of knotty songwriting and hooks shines throughout. Theocracy are certainly a band whom I now intend to properly delve into, and they are recommended to any power metal fan who wants something a bit beefier.
The album was released on 13th October 2023 via Atomic Fire Records. Below is the band's promotional video for Return to Dust.
It is not too often that I review an album by a band or artist which I am not all that familiar with. It happens occasionally, but generally I cover bands which I am extremely familiar with - but the quest for new sounds often takes me down many untrodden paths. Whilst I would be lying if I said that I was totally unfamiliar with the work of the South African multi-instrumentalist Trevor Rabin, I am certainly no expert on his work. Prior to this month, I had heard precisely two albums which he had significant involvement in: his 1979 solo album Face to Face and the smash-hit Yes album 90125 from 1983. Whilst Rabin has been more prolific outside of Yes, it is likely his 'controversial' 12 year stint in the British progressive rock band for which he is most known. I think it is fair to say that by the end of the 1970s Yes were faltering. Their genre-defining albums were behind them, and the prog scene had nosedived overall. Following the well-received but commercially unsuccessful Drama in 1980, which was the first Yes album without their talismanic frontman Jon Anderson, Yes split up. It seemed that the band had run its course, and bassist Chris Squire looked to start something new. He started working with Rabin - but the band which was originally known as Cinema soon morphed into a new-look Yes for the 1980s, with Anderson returning alongside Yes alumni Tony Kaye and Alan White. The rest, as they say, is history - and Rabin stuck around until 1995 when he was replaced by a returning Steve Howe and Yes returned to their progressive rock roots. During Rabin's time in the band Yes released four studio albums. 90125 was easily the most successful, and rebranded Yes was a more pop-orientated band for the new decade, but 1987's Big Generator also sold well - and Rabin was also a part of the monolithic all-star Yes album Union from 1991 which produced mixed results. During his time in Yes, Rabin also maintained a sporadic solo career. He released Wolf not long before joining the band in 1981, and followed it up with Can't Look Away in 1989 - his final vocal-led album until earlier this month. Following his departure from Yes, though, Rabin has generally kept out of the spotlight - instead focusing on writing music for film. His music has been featured in many films including 1998's Armageddon, 2004's National Treasure, and 2006's Snakes on a Plane - but he also found time in 2012 to release the instrumental album Jacaranda. Yes, of sorts, came calling again, though, and between 2016 and 2018 Rabin toured with Anderson and another Yes alumnus Rick Wakeman as a version of Yes - which led to well-received shows but no new material. That version of Yes is no more, though, and Rabin instead turned his attention to his solo career once again - and released Rio earlier this month, his first solo album since Jacaranda and his first with vocals since Can't Look Away. Despite not being hugely familiar with Rabin's work, I have been enjoying Rio - and it essentially sounds how I imagined it would. It is a pop rock album first and foremost, but there is a lot going on throughout its 10 songs. There are strong prog influences throughout, as well as some jazz and country vibes, too. It is an accessible listen despite the variety, and Rabin was essentially responsible for everything heard on the album - with the exception of some of the drums. Rabin played a lot of the drums, but the other drummers here include his regular collaborator Lou Molino III (Cock Robin; Yoso) and jazz session king Vinnie Colaiuta.
Whilst there is more complex stuff to come, the album kicks off with its lead single Big Mistakes - which is one of its catchiest tracks. A short drum barrage from Molino opens things up, but a strident, mid-paced guitar riff soon kicks in - and this surprisingly muscular riff forms the basis of the rest of the song. The verses are based around this harder rock feel, with Rabin singing in something of a call-and-response manner with his guitar. Vocally, Rabin sounds virtually unchanged. His voice still sounds strong, and his higher register remains - and he channels his time harmonising with Anderson during the riffy verses. Synths swirl around, adding depth, whilst his busy bass playing makes a brief pre-chorus pop. The chorus is similarly riffy, but it sounds bigger overall. There is certainly a strident vibe during the anthemic chorus - and Rabin's vocal hooks are excellent, with co-writer Dante Marchi adding some subtle vocal harmonies. A brief guitar-led instrumental section adds some additional weight, but in general this is a track which focuses more on Rabin's vocals and its overall melodic nature - until a closing guitar solo changes tack slightly. It certainly reminds me of the pop rock of Rabin's past - but the album is only just getting started. Push is instantly different, and it opens with some busy acoustic guitars which remind me a little of Lindsey Buckingham's distinctive style - before stabbing electric guitars and some extremely fast-paced piano playing join the fray. This opening is quite frenetic, then, but when Rabin starts to sing his soothing melodies bring all of the instruments together - and Colaiuta's drums soon kick in, giving the song a bit more purpose. The track is not as riffy as the previous number, but there is a lot more going instrumentally. The bass really drives everything, bringing Yes to mind, whilst occasional bursts of bluesy lead guitar break up the verses to provide additional hooks. The song is not one which stays in one place for too long, either, and the chorus section goes for a more symphonic approach - with cinematic vocal melodies and plenty of pulsing pomp rock synths. Again, there are shades of Rabin's era of Yes, but it also feels a bit weightier - with some driving harder rock riffs kicking in during the extended chorus section, too, alongside some jazzy instrumental flourishes. Despite all of this chopping and changing, though, the song still contains plenty of hooks. Rabin's vocal melodies are well-crafted, and all of the instrumental leads are extremely tuneful - with his keyboard playing as good as his guitar playing. Folkiness is added by some violin courtesy of Charlie Bisharat which expands the song's scope further - but everything hangs together really well. Oklahoma also opens with acoustic guitars, but this time Rabin's playing sits somewhere between country, classical, and jazz - with his busy finger picking flying out of the speakers as the song grows around it. Dense synths and other keyboards add counter-melodies, before a more traditional guitar lead takes over and Rabin starts to sing against a sparse backing of distant bluesy guitar and percussion. It is not as busy as the previous song, then, and it perhaps feels a bit more atmospheric overall - and the country vibe of the song shines through as the chorus is approached. Rabin's vocals are less high-pitched here, and his full-bodied approach suits the overall bluesiess of the piece. Despite there still being some busier parts, much of it is given over to this more atmospheric sound - which gradually builds up around the subtle percussion previously mentioned. Rabin has clearly used his years of soundtrack composing to help craft this piece - as it certainly feels quite film score-like at times, even if the growling guitar leads that join the fray later on feel more organic overall. The guitar playing suits the song's grandeur, though, and the overall arrangement works really well.
Paradise gets back to something similar to the album's opening, with Rabin and Molino locking in together early on to create a mid-paced guitar and drum groove - whipping up an organic hard rock vibe that still feels quite expansive thanks to a mix which includes plenty of synths and acoustic guitars. Like the opening cut, too, this is a song which really focuses on vocal hooks. The chorus here might well be the album's best. The hooks lodge in the brain from the off, and the vocal harmonies throughout really elevate Rabin's voice. He sounds great throughout the album, but this chorus really seems him shine - whilst he takes a more restrained approach during the verses which are more acoustic-based. Banjo and mandolin are throw in to add depth and develop the album's country side - but the song overall is still a pretty strident rocker. It does not feel as weighty as the opening cut, but it is still a guitar-driven piece; and Rabin's solo is excellent at adding some business to what is generally quite precise and groovy. It is one of my favourite songs here thanks to its excellent chorus and it shows that Rabin has lost of none of his pop knack over the years. Thandi opens with some strange noises which soon morph into some extremely busy guitar melodies - and the opening instrumental section of the song really showcases Rabin's prog credentials. The guitar playing early on is extremely high-octane, whilst retaining a country edge, whilst there are also Yes-esque sections which are a bit more 'full band' in style with lots of retro organ stabs and driving bass playing. Once Rabin starts singing, though, the song slows down and it becomes another quite precise rocker. I like the mix of styles used here, with chaotic instrumental sections sitting nicely side-by-side with poppier vocal hooks. Even the vocal sections often have plenty going on, though, with the chorus here featuring some really busy guitar playing - but the best comes during the guitar solo section which contains some of Rabin's most frantic playing on the album, and it is perfectly backed by some fuzzy keyboard riffing. Those who like the country side of Rabin's playing will enjoy Goodbye, which really leans into that style. It is perhaps a bit too old-school country for me, but it is an upbeat piece with plenty of excellent acoustic guitar playing - with the banjos and mandolins previously featured making a reappearance. I would not say that the song is pure country, with the chorus feeling a bit more poppy and expansive overall, but the verses are very traditional country - and this style works with Rabin's smooth vocal delivery. There are certainly shades of the first couple of Eagles albums here, but the playing throughout is still blistering - with a fast-paced guitar solo and barroom piano section sounding very southern rock in style. Tumbleweed then changes things again, and opens with some Queen/ELO-esque treated vocal harmonies. These vocals dominate the early part of the song, essentially singing a cappella with a subtle synth backing for around a minute before some piano rolls in and the track becomes more of a ballad. Jangly guitars and dense synths add depth whilst Rabin sings over this surprisingly dark arrangement - but this vibe is broken by the occasional 1970s synth lead and some off-kilter percussion. The guitars take on a more prominent role towards the end, too, and the song closes after a brief solo and a melodic chord sequence.
These Tears is another slower piece, and the song opens simply with some shimmering keyboards - which Rabin sings over in a lower-than-usual register. Occasional percussion and the odd treated guitar stab add depth, but arrangement-wise this is possibly the simplest song here. There is little of the usual frantic shifting in tone which has been found elsewhere, and the song is a pretty typical ballad - but Rabin's excellent vocal delivery really sells it. The piece does grow in stature somewhat as it moves along, but only slightly. Some gentle drumming adds further depth, but generally the keyboards from the opening and the occasional rhythmic groove remain the overall focal point. Given how varied the album is, having a more traditional ballad here is welcome - and it acts as a nice change of pace from the frenetic arrangements heard up to this point. Some aching guitar leads are added to the piece as it comes towards a close - but the overall tone remains downbeat as it fades out. Egoli instantly feels more poppy and upbeat, then, and some knotty synth and guitar melodies set the tone from the off. A simple drum backing allows these busy melodies to shine - and Rabin's vocals are sung surprisingly straight given what is going on beneath him. The chorus feels a bit more tribal and rhythmic, though, which is a bit different - and perhaps a bit of a nod to some of the culture of his native South Africa. Given the business of the melodies, though, this chanting chorus fits in nicely and it helps the song to be effortlessly catchy despite the rather repetitive arrangement. The song does not really ever develop that much, but given it is pretty short this does not matter too much as the overall vibe is strong. The album then comes to a close with Toxic, which is another somewhat more organic and harder rocking piece. Based around a swinging drum groove, the opening guitar flourish has a strong progressive rock vibe - and there are more nods back to Rabin's time with Yes here. The verse vocal hooks sound very Anderson-inspired, but the fuzzy bass and heavier guitars provide a point of difference. There is certainly a bluesy edge to the piece throughout, and the use of wah-drenched guitars during parts of the song help to bed in that more organic vibe - and Rabin's lengthy guitar solo is suitably off-kilter whilst still retaining enough traditional bluesy bite to work. The song is perhaps not as busy as some of the others here, but it still feels pretty proggy throughout - and it showcases Rabin's way of making pop songs that bit more interesting. Occasional jazzy keyboard stabs and the varied vocal approach keep the song from being just another guitar-driven rocker - but that is what the song remains at its core, and in some ways Toxic closes the album in a similar manner to how it started, albeit with more of a jazzy flair. Overall, then, Rio is an album that has a lot going on within it, but its reliance on strong hooks draw the listener in despite the amount of ground covered. I am certainly no expert on Rabin's work but I have been enjoying this album a lot over the past few weeks, and I will be checking out his other solo albums in due course. Those who love his varied songwriting will be drawn in from the off, though, but anyone who like complex music with plenty of hooks should dive in.
The album was released on 6th October 2023 via InsideOut Music. Below is Rabin's promotional video for Big Mistakes.
After returning to the stage for the first time in a decade when he joined Ross the Boss at the 2019 iteration of Bloodstock Open Air to run through a handful of Judas Priest classics, Kenneth Keith ' K. K.' Downing Jr. clearly wanted to return to full-time active duty. Having left Judas Priest in 2011, Downing had essentially retired. Despite his departure from Judas Priest being presented as an amicable retirement at the time, over the years it has become clear that the split was pretty fraught - and Downing has often spoken at length, likely to his detriment, about the reasons that led to his departure and what appears to be his frayed relationships with many of his former colleagues, particularly Glenn Tipton. There are multiple sides to every story of course, but I do not think that Downing has done himself too many favours by airing his dirty laundry so publicly. The rest of the band have generally not been drawn into responding in a significant way - but the fact that he was not invited back into the band when Tipton's diagnosis with Parkinson's Disease essentially ended the latter's touring career probably speaks volumes. Downing has certainly burnt his bridges with Judas Priest, although he did perform with his former band when they were inducted into the Rock and Roll Hall of Fame last year - but, by all accounts, it was a pretty strained experience for all involved. In fairness to Downing, though, he does seem to have somewhat let his departure from Judas Priest go, if only because in recent years he has been focusing on KK's Priest - a band which he formally launched in 2020 following a show by a one-off, somewhat all-star, line-up at his own KK's Steel Mill in Wolverhampton which included former Judas Priest drummer Les Binks and former Megadeth bassist David Ellefson. With a less star-studded line-up solidified, KK's Priest set to work on their debut album, which came out in 2021 as Sermons of the Sinner (which I reviewed here). There was a lot to like about Sermons of the Sinner. It definitely harked back to 1980s and 1990s Judas Priest, with Downing's riffs being as sharp as ever - and the vocal performance of erstwhile Judas Priest frontman Tim 'Ripper' Owens was suitably histrionic. The album was let down by a handful of weaker cuts, though, and some of the worst lyrics ever written by a 'named' act. A number of songs about heavy metal itself would have even had Manowar, who famously take themselves extremely seriously, turning their nose up and sniggering at the childish lyrics. It was unclear at the time whether KK's Priest would become a permanent fixture or not, but it seems that the band are here to stay. Downing and the band trekked around the European festival circuit this summer, and have just completed a UK tour - which, by all accounts, was very successful. This recent tour tied in with the release of the band's second album The Sinner Rides Again - which came out at the end of September. In some ways, the new album is a step up in quality. The lyrics are never going to win awards, but there is nothing quite as braindead as there was on the previous album - and the compact length allows for each song to get in and get out without outstaying its welcome.
Perhaps the strangest thing about The Sinner Rides Again for me, though, is Owens' vocal performance. I have generally been a fan throughout his career, but I do not think that this album contains his best work - and his voice often seems to be drenched in effects which take the edge off his famous screams. Whether this was done to patch up some cracks in his performance or for genuine effect is hard to say - but I would have preferred a more natural vocal delivery throughout. He still sounds strong in spots, but the vocal effects hold this album back in my opinion. There is still plenty to enjoy here, though, and the album kicks off in fine fashion with Sons of the Sentinel. Generally I find the first half of the album to contain the stronger songs, and it also contains a number of songs with significant call-backs to Judas Priest favourites. The opening cut is one of them, but gothic keyboards and a harmony guitar lead intro set the tone nicely - before the first of the album's many big riffs kick in and the urgent track gets going. The guitar work throughout the song is snarling, whilst the pummelling drumming of Sean Elg keeps everything moving. Lots of double bass drumming ensures that the song has a pretty snappy pace, but a crunchy chorus slows things down to present a more anthemic tone. The chorus sees Owens singing in a rawer manner, which gives it more power, but his verse delivery is drenched in the effects mentioned previously. A more natural delivery would have been welcome, and I am not sure why this overly layered approach has been taken. Owens lacks some of his usual power during the verses, then, but he comes into his own during the fist-pumping chorus - and the guitar solo sections sees Downing and fellow guitarist A.J. Mills trading shredded licks back and forth. One of my favourite cuts here follows, though, and the barnstorming Strike of the Viper impressed from the off. It is a very short song, but as a result it just hits the listener between the eyes with its Painkiller-era power - which features a mixture of mid-paced groovy riffs and thrashier sections. The opening guitar melody harks back to The Ripper somewhat, whilst the rest of the song is heavy - and includes one of Owens' best vocals of the album. His voice generally sounds more natural here, and when there is some layering during the chorus it tends to serve the song nicely. The raw edge to the vocals really helps to the song to sound alive, and Owens showcases his power during the snappy chorus - and he also takes on a more haunting edge during a brief bridge section. Occasional shredded guitar leads and a brief solo section add colour - but in general the song is just full of energy. Reap the Whirlwind harks back to the 1980s a bit more, and it feels a bit less intense overall. The song is still pretty heavy, but the riffing and mix feel a bit more organic - and there is less of a thrash and groove influence here. The old-school riffing is welcome, and Elg's drumming is more straight forward - despite a few explosions of double bass drumming keeping the tempo high. Owens sounds a bit more organic here, too, and his screams are given a bit more space to breathe. He is a bit less over-the-top throughout, too, and his more restrained performance suits the song's 1980s feel - with the guitar solos of both Downing and Mills being a bit bluesier than average, too.
After three pretty fast tracks, the pace slows for One More Shot at Glory, which is much more of a mid-paced piece with an anthemic stomp throughout. It opens with the ominous bass playing of Tony Newton, before some trademark harmony guitar leads are laid over the top to create a surprisingly atmospheric intro. Once the main riff kicks in, though, the song becomes a heavy, groove-laden piece - with chugging guitar patterns throughout and a much simpler drum performance from Elg. Everything here serves the song's grooves, and the pace is deliberately kept on a leash to ensure that the anthemic mood remains throughout. This is best seen during the chorus, which features Owens really barking the vocals in a rhythmic manner that is sure to go down well live. It is certainly a song made for the stage, and the pumping grooves are sure to get a crowd going. There are moments that speed things up somewhat, such as during a pretty lengthy guitar solo section, but nothing ever really reaches the thrash territories that the band sometimes dabble in. The song is very much an old-school headbanger, then, and it is one of the real earworms here as a result - with the chorus being one that sticks in the brain from the off. Hymn 66 is a moodier piece, which opens with some more gothic keyboards and some rather demonic-sounding narration. It soon gets going, but it is another pretty mid-paced track - perfectly grounded throughout by Newton's bass playing, which is pretty high in the mix. The song pretty much chugs along, then, but there is quite a lot of focus placed on guitar leads - particularly early on. The opening guitar melodies recall Victim of Changes somewhat, but much of the song is creepier in tone - with crawling, chugging guitar leads and plenty of high-pitched vocals from Owens. Brief moments of respite occur when the keyboards from the opening return to add depth - and there are a few somewhat anthemic moments which see the keyboards acting as a bit of a choir over which Owens lays some wordless vocal hooks. These are the song's most anthemic moments, but the track on the whole is not one that goes for big hooks - with it instead focusing on presenting a strong atmosphere. The crunchy riffing does just that, and this is one song where the vocal effects do have a positive impact. The guitar melodies throughout add some additional hooks, though, and the atmospheric approach taken overall helps the song to stand out - as much of the rest of the album is much more in-your-face. The album's title track follows, and it initially sounds as if it is going to be another more murky piece. The opening keyboards and slow-burning guitar leads set a similar tone to the previous song, but this vibe is short lived as the track soon morphs into another mid-paced crunchy rocker - with some straight ahead drumming and plenty of power chord riffing. It is a bit of an old-fashioned headbanger, but this is the sort of music which Downing has been writing for years. The chorus could be a bit catchier, but Owens' vocals sound suitably evil delivering the snappy hooks. His pseudo-growls give the chorus a bit of a unique feel despite the hooks perhaps not being as anthemic as they could be - and a lengthy guitar solo adds some flashy shred to the mid-paced cruncher.
Keeper of the Graves also opens slowly, with a gothic choir and some acoustic guitar creating a creepy atmosphere - which Owens soon adds some slightly whispered vocals over the top of. Owens' vocals during the early part of this song remind me some of the performances he delivered on Iced Earth's Framing Armageddon (Something Wicked - Part 1), and the mix of gothic choirs, keyboards, and acoustic guitars is very typical of that Iced Earth album's quieter sections. The Iced Earth comparisons actually continue somewhat once the song kicks in proper - as the hard driving riff from Downing and Mills is like an anthemic and stripped back version of something Jon Schaffer might have written. As such, this song adds something a bit different to the album overall. Unsurprisingly, much of the material here has a strong Judas Priest vibe - but Keeper of the Graves does not actually remind me much at all of Judas Priest. It does not 100% sound like Iced Earth either, but there are plenty of similarities to the Owens era of Iced Earth - and it is perhaps fitting that he tends to shine throughout this song. Despite the grandness of the song overall, his vocals feel less processed here - and where there are effects used they fit in with the song's overall scope. The mid-paced chorus is pretty anthemic and epic-sounding - and the track is a highlight of the album for me thanks to its dynamic approach. Pledge Your Souls does away with the atmospheric intros of the previous few songs, and instead goes for a high-octane guitar lead to kick things off - before the song proper morphs into another mid-paced groove-fest. The song is generally slower than it perhaps often seems, with Elg's drumming deliberately holding back - before he takes the brakes off a little during other sections to up the overall energy. Again, the chorus could be better - but I do generally like the song's overall approach and groove. It feels typical of Downing's style, and the harmony guitar solo section sees him and Mills delivering some great guitar melodies straight out of the 1980s. The album then comes to a close with Wash Away Your Sins, which opens in a similar manner to Hymn 66 with demonic narration and gothic keyboards. Acoustic guitar and spacey guitar leads soon take over, and the more organic feel actually harks back to Judas Priest's early days somewhat - over which Owens delivers some melodramatic, but organic, vocals. The song slowly builds from this point, and it feels as if this is the song which the band consider to be the most epic and theatrical on the album. In some ways it is, but I think that many of the same tropes have been done better on previous songs - although there is something pleasing about the way the song explodes after a couple of quieter minutes, and morphs into a fairly up-tempo heavy rocker. There is a lot going on, though, and some great guitar showcase moments allow for some melodic soloing - whilst the mix of heavy and more atmospheric sections throughout gives the track and expansive feel. There are better songs here, but it does end the album well - showcasing a lot of Downing's guitar talent in the process. Overall, then, The Sinner Rides Again is, for me, a better album than the band's debut. My complaints about Owens' vocals aside, the album packs a real punch and there are plenty of hooky songs here. There is nothing original to be found, but as an old-school heavy metal album it ticks a lot of boxes - and many of these track would certainly go down well live.
The album was released on 29th September 2023 via Napalm Records. Below is the band's promotional video for One More Shot at Glory.
The four-piece modern southern rockers Black Stone Cherry will always be an important band to me. I am not as much of a fan of them as I once was, but their music was a big part of my teenage years - and I fondly remember a road trip up to Bristol from Plymouth to catch them live for the first time back in 2009. Funnily enough, I recently made a similar trip to Bristol to see the band live again - and the sold out show at The Fleece could well end up being one of the gigs of the year. The band recently undertook a UK tour of some of the smaller venues where they made their debuts in various cities which, considering that they are more used to large theatres and arenas when touring here, led to a string of memorable gigs. The show reminded me why I listened to the band so much back in the day, particularly around the time that Folklore and Superstition came out in 2008 - so it is perhaps fitting that the band have also recently released their eighth studio album Screamin' at the Sky. Black Stone Cherry's career has been an interesting one, and I see Screamin' at the Sky as perhaps the first album of the band's third unofficial era. Their first era, whilst they were signed to Roadrunner Records, saw the growth of the band to perhaps their commercial peak. They filled arenas for the first time on the UK tour for 2014's Magic Mountain (which I reviewed here), but the band have since hinted that this period was perhaps when they were their least happy. I get the impression that Roadrunner were trying to push the band in more of an American-friendly radio rock sound, and this led them to make a change - switching to the relatively more humble Mascot Records and reclaiming their identity with a trio of albums which felt more old-school in sound. Black Stone Cherry have always had a post-grunge side, but it seems that Roadrunner wanted the band to move further in this direction. To me, this second era came to an end with the release of The Human Condition (which I also reviewed here) in 2020. A strong album, The Human Condition was nevertheless a bit of a deck-clearing exercise. Some of the songs included were ones which had been partially written during previous album sessions and never finished - so the album included a mix of styles, including a few post-grunge efforts. It also turned out to be the band's last album with bassist Jon Lawhon - who left the band in 2021. Steve Jewell Jr. replaced Lawhon, and this change represented the first shift in the band's line-up since they formed in 2001. As such, it is easy to see Screamin' at the Sky as the first album of the band's third era. Fittingly, both of the eras I have described were capped off with excellent live albums - even if the most recent live effort featured Jewell rather than Lawhon. Screamin' at the Sky is the first studio album to feature him, though, and he seems to have slotted perfectly into the band - and is also credited with contributing some slide guitar to the album. Frontman Chris Robertson, guitarist Ben Wells, and drummer John Fred Young return here as ever - and Screamin' at the Sky sees very little in the form of outside influence from a songwriting or production perspective, although studio hand Jordan Westfall (who mixed and engineered the album) is credited with co-writing one of the songs.
Despite containing 12 songs, the album is pretty short - at just over 40 minutes long. As such, nothing here outstays its welcome, and it rushes by in no time. It is a pretty hard rocking effort overall, too, but the dynamic sound which fans of the band have come to expect at this point remains very much intact despite the change in personnel. The album's title track kicks things off, and it opens with one of the best guitar riffs that the band have come up with in my view. The guitar tones used by both Robertson and Wells sound full of character - and the punchy drum sound from Young has a real live sound. In fact, the whole album has quite a raw sound overall. There are subtle production additions, such as vocal harmonies and occasional keyboards - but the album overall captures the band's live power. Young in particular sounds unleashed here. His studio performances are often toned down compared to his live outbursts, but his playing here is busier - and the faster sections of the album's title track showcase this, even if the more mid-paced chorus finds him reining it in somewhat. The chorus soars, as is typical of the bands style, whilst a short, but chaotic, guitar solo should remind anyone that has forgotten what a powerful band Black Stone Cherry often are. The riffy song really sets the tone for what is to come - and this vibe is continued on with the mid-paced Nervous. Again, the song opens with a great riff - and it is one that harks back to the band's early days with some genuine southern rock grooves pouring out of the speakers. The arrangement is quite dynamic, though, with the hard-hitting opening soon giving way to a verse which is a bit more restrained - with chiming clean guitars backing Robertson's heartfelt vocals perfectly. The punch of the drums and Jewel's bass gives the song weight, though, and things grow in stature as the chorus is approached. A slightly off-kilter pre-chorus bridges the gap nicely, and the chorus builds on the song's opening riff to create another pretty anthemic and hooky passage. Guitar leads add depth to the chorus, and it is one of the album's most melodic sections in my opinion - which is only helped by the pounding riff beneath it. When the Pain Comes opens with some clean guitar melodies but another slab-like riff soon kicks in, with more mid-paced southern rock grooves establishing themselves early on. Like the previous song, though, there is a bit more of a dynamic approach taken - although this time the verses move back and forth between heavier and gentler sections, before a chiming chorus recalls some of the band's more radio-friendly moments. Jewel's bass fills the verses, and even dominates during the slightly heavier sections, but he really shines in the gentle moments just before the chorus - which are filled with snaking bass notes that transition nicely into the post-grunge chorus. A snappy riff later leads into a short guitar solo, which is surprisingly shreddy given the song's changing mood. Out of Pocket, which was released online at the beginning of the year, is another track which somewhat harks back to the band's early days. The main riff could have sat nicely on the first album, but the verse arrangement is a bit more involved overall - and feels more akin to some of the more adventurous tracks on Folklore and Superstition. Again, Jewel's bass does a lot of the heavy lifting during the verses, whilst choppy clean guitars and Robertson's laid back vocals inject plenty of colour. The song is still dynamic, but it is a bit more clean-cut this time - with the chorus being a much heavier moment overall, with a clear separation between the funky verses and the southern rock grooves of the shout-along chorus. As such, the song is likely to be a live favourite going forward - and it went down well at the recent Bristol show.
Show Me What It Feels Like ups the heaviness a bit, at least at first, and the opening riff is pretty metallic in tone. The guitar tones used are still pretty warm and organic, but the intensity of the riffing feels higher here - and it helps that it is backed by some hard-hitting Young drumming. Despite this, though, the song overall is not all that heavy. There is plenty of weight here, but the song instead is based around a hooky chorus which channels some funk and soul influences - with disco-esque clean guitars adding depth to what is already a groovy tune. The verses are once again pretty bass-heavy, which adds to that funk vibe, but the reprisals of the opening riff which kick in every so often are a good reminder of the band's heavy side - with a tight guitar solo also adding some additional melody. The song's chorus is sure to get stuck in the brain, and it showcases something a little different for the band - despite there being plenty of hard rock grit throughout. R.O.A.R. feels a bit more organic in contrast, and there is a bit of a heartland rock vibe throughout thanks to an aching opening guitar lead - which provides the opening musical hook in place of a more typical riff. The song still rocks, but it feels less riffy overall - and it really suits Robertson's lyrical vocal style, with the track building up to a chorus which harks back to some of the more soulful songs of the band's past. The song is also one that feels a bit more 'produced' overall. There is more of a focus placed on vocal harmonies throughout, and the more spacious arrangement allows for some subtle keyboards and more of a lead guitar presence. In fact, there is lots of great guitar playing throughout - with two excellent and pretty lengthy guitar solos making then cut, as well as the aforementioned opening hook and plenty of fills during the soulful chorus. Smile, World ups the heaviness again, and the track is one of the hardest hitting on the album. It is pretty short, too, but it throws quite a lot into its on-the-surface simple arrangement - with synths adding counter-melodies to the intro riff, and some talk box patterns during the hooky, mid-paced chorus. Despite this quirks, though, the song is pretty typical of the band's core style - with an upbeat message despite the heavy riffing and chaotic drumming. The chorus is one that sinks in after only a couple of listens, and the blazing guitar solo is full of trademark character. The Mess You Made opens in a similar manner to the album's title track, and it is blessed with another excellent riff. It does not quite reach the heights of the album's opening riff, but there is still plenty of excellent guitar playing throughout the track. The verses contain some of the album's most interesting guitar playing in my opinion, with Jewel holding down the groove with Young whilst Robertson and Wells add Allman Brothers-esque guitar harmonies in a call-and-response arrangement with the vocals. Black Stone Cherry are not always a true southern rock band, but these melodies are very much from that school - even if the chorus feels more modern overall with some stadium-ready hooks. Despite all this melody, it was not a song which hit me right away. It is likely to become one of my favourite cuts here, though, and the depth throughout this album is excellent.
Who Are You Today? returns to the more dynamic style which many of the album's early songs utilised - with cleaner verses sitting nicely alongside pounding riffs and a chorus out of the post-grunge canon. The main riff is another pretty heavy one, but the song overall is more murky, and it brings the best out of Robertson vocally. He always excels in my opinion, but he seems to relish songs like this - and he shows off his more soulful delivery during the quieter sections, before screaming a little as the riffs get a heavier. The chiming chorus makes subtle use of vocal harmonies to create a bigger sound, which suits the layered guitar approach nicely, before a somewhat off-kilter guitar solo takes the song in a different direction before a brief bridge doubles down on this with the album's gentlest moment up to this point. Not Afraid is much heavier overall, and the effects-heavy opening riff reminds me of Shooting Star from the band's debut album. It is definitely a song which harks back to the early days of the band, and it is another which is quite metallic overall. The chorus is somewhat less heavy, with melodic guitar patterns backing Robertson's sing-song delivery, but the rest of the song really steams along - with Young's bass drum making the speakers shake and the mid-paced chug of the verses reminding the listener just how tough Black Stone Cherry can sound when they want to. The chorus is pleasingly melodic despite the song's overall punch, and this is a track for those who like it when the band really rock out. A good chunk of this album caters to those people in fairness, but Not Afraid is a real throwback riff-wise - and I imagine it will become a firm favourite of long-time fans. Here's to the Hopeless is the album's only ballad, which is surprising given that some of the band's most popular tracks are their slower ones. Some of their albums may have included a couple too many slower songs in my opinion, and it is good that Screamin' at the Sky focuses on heavier things. That being said, though, Here's to the Hopeless is a great addition to the album. It still rocks pretty hard thanks to the raw production and Young's punchy drum performance, but the band feel a bit more reined in here - with more of a laid back arrangement overall which features clean guitars and some more soulful vocals from Robertson. The chorus reminds me of some of the more upbeat ballads of the band's past, and the subtle use of guitar melodies helps it to shine - whilst the final reprise of it includes some excellent bluesy leads to elevate it further. The song is a nice overall change of pace, and a song which perhaps throws a bone to those who came on board during the band's commercial peak. Closing track You Can Have It All returns to something more riffy, but the arrangement is a bit bigger overall - and the song is another with a bit of a dynamic feel. The chorus is another bigger moment with more 'production' and plenty of harmony vocals, where elsewhere there are plenty of big riffs and another bass-led verse. Jewel has really made his mark on this album in my opinion, and so many of the songs here hinge on his bass playing. The guitar riffs are still king, though, and the riffs here are powerful - as is the last solo section of the album. There are heavier tracks here, but the mix of vibes makes You Can Have It All a great closer - and its final moments return to something much heavier, too, so the album ends with a bang despite the more dynamic arrangement. Given how hard-rocking this album is, Screamin' at the Sky is likely to become my favourite Black Stone Cherry album for quite some time - maybe even my favourite following their first two. I have enjoyed all of the band's albums, but this one feels fierce and by a band ready to go again with new-found vigour - and I can see myself playing it a lot over the coming months.
The album was released on 29th September 2023 via Mascot Records. Below is the band's promotional video for Nervous.
For me, Rival Sons are an example of the fact that you can come to really enjoy a band despite first dismissing them. The California-based four-piece first came to my attention in 2011, when they played at the second, and sadly final, iteration of the High Voltage Festival in London. The band had a bit of a buzz around them at the time, and Classic Rock Magazine had even given away free copies of their 2010 self-titled EP, but their Main Stage set did not do a huge amount for me. I am still not hugely keen on excessively retro bluesy rock, but I was less keen on it still at the time - and Rival Sons passed me by despite it being clear that they were good at what they were doing. Despite the fact that they got more popular over the years, I made no real effort with them until 2017 - when I saw the band open for Black Sabbath in Birmingham. It had been six years since I had seen them previously, so I went into Rival Sons' set with an open mind - and I ended up really enjoying it. The band's sound seemed to have expanded and evolved since 2011, and they really rocked the large arena in Birmingham - probably as there were already quite a few in attendance who were familiar with them. I did not immediately delve into the band's catalogue, although I did pick up 2016's Hollow Bones not too long after the show. It was the early part of the COVID-19 lockdown which finally prompted me to give all of their albums a listen - so I picked up them up and listened more intently. There are still times when the band can be a bit too retro for me, with guitarist Scott Holiday's tone sometimes so fuzzy it sounds like his amp is about to blow up, but songwriting-wise I feel that I have 'got' Rival Sons - and frontman Jay Buchanan is blessed with a fantastic voice and general aura. I particularly enjoyed Darkfighter (which I reviewed here) when it was released earlier in the year, and I have its companion piece Lightbringer, which drops next week, pre-ordered. All that was left, then, was to see the band live again - so when a European tour was announced earlier in the year I snapped up a ticket to a show at the Roundhouse in London. There were closer options, but the London show made the most sense work-wise - and I have enjoyed my previous couple of trips to the Roundhouse despite not having been there too often. Shows there always feel a bit different thanks to the relatively classy surroundings - and it is well-located in the Chalk Farm area of Camden. As such, the show meant another trip up to the capital from Plymouth - and getting an early train meant that I had plenty of time for record shopping, food, and some relaxing in my Finchley-based hotel before heading down to the venue. I got to the Roundhouse around 20 minutes before the doors opened, and there was not much of a queue. Due to the nasty rain which started falling just after I got there, the staff opened up the venue early, which was welcome, so I managed to get quite near to the front. I was a bit concerned that the crowd was going to be a bit on the small side - but by the time the support band hit the stage at around 8pm the place was pretty full.
There was only one support act: L.A. Edwards, who are also from California. The five-piece band, centred around Luke Edwards (vocals/guitar/harmonica), had around 40 minutes to play with - and they made their time on stage count by giving a pretty good account of themselves. Whilst I do not think that the band were wholly for me, I enjoyed much of what Edwards and his bandmates delivered. Their sound was a mix of country rock and heartland rock with a hint of modern indie rock - but rather more cinematic in scope than that description perhaps sounds. The band were certainly not jangly at all, and their music was generally quite downbeat - with lots of dense keyboard work and ringing guitar chords, plus the occasional cutting guitar solo or burst of harmonica. There were certainly some strong Tom Petty vibes throughout the set, particularly the less biting end of Petty's canon, but otherwise I am finding it hard to compare L.A. Edwards to anyone in particular. The five-piece certainly had their own sound, which at times sounded very retro whilst sounding very modern during other moments. Their sound was a bit all over the place, then, but everything just about hung together - although I am not really sure what to make of them. I got the impression that quite a few of the crowd likely were having similar thoughts. The band certainly received a warm welcome and plenty of applause, but nobody was really going wild for them. In a way, though, this was fitting. The band's sound, despite being quite layered, seemed to suit a more muted atmosphere. Everything seemed very deliberately stripped back, quiet, and muted - and I think that the crowd were somewhat swept along for the ride. As such, it is hard to know what to make of L.A. Edwards. There was a lot to like about the band's set, but I am not sure that very muted heartland rock is really for me. I think that, for some, the band will really hit the spot - but I enjoyed their set, as they delivered something a bit different from the norm, which is always welcome.
Rival Sons hit the stage around 30 minutes after L.A. Edwards, and by this point the place was packed. There were a few empty seats on the balcony, but the crowd was extremely healthy - and everyone was out to have a good time. The band took the stage to little fanfare, with just the keyboard drone of opening number Mirrors playing over the PA - and they launched into the song proper when the five musicians were in situ (even if Buchanan, in the excitement, forgot to turn his microphone on for the first couple of lines). Joined by a new touring keyboard player, who was not name-checked, the band's raw sound filled the venue effortlessly. The sound mix was generally pretty good, although a bit more of a keyboard presence would have been welcome - but Buchanan's voice soared above the band, and Holiday's riffing was powerful. The 16-set was pretty forward-looking, with seven of the songs played either from Darkfigher or Lightbringer. There were still plenty of fan-favourites thrown in, and a couple of those were played early on - with the crowd chanting along to the mid-paced chorus of Do Your Worst before the driving riffing of Electric Man showcased the band's hard rock credentials. Of the new songs played early on, the highlight for me was the dynamic Rapture. Buchanan added some acoustic guitar depth to the piece, and it also allowed him to sing in a more soulful manner. The older ballad Where I've Been showcased a similar vocal performance, but also included plenty of melodic soloing from Holiday - before the snappy, groovy blues rock of Open My Eyes sent the crowd wild again. Drummer Michael Miley got to indulge himself somewhat following Open My Eyes with a powerful solo - which led into the somewhat funky Pressure and Time, which included some pulsing playing from bassist David Beste. It was part of a pretty hard rocking part of the night, which also featured more new songs. Sweet Life and Mercy, both singles from Lightbringer, kept the energy levels high - but perhaps the next overall highlight was Mosaic, the closing cut from the upcoming album. The song (along with Mercy) made its live debut last night, but I also think that the London crowd were the first members of the public to hear Mosaic in any context. The epic ballad really hit the spot, though, and I am really looking forward to hearing it again when the album drops next week. It ventured into heartland rock territory somewhat, and featured some excellent lyrics from Buchanan. I tend to prefer the band at their most rocking, but Mosaic is an exception - and it was one of the overall highlights of the night for me. Much of the rest of the set was made up of older songs, with a blistering version of Feral Roots upping the overall energy levels again, before the cinematic ballad Face of Light became a vehicle for Holiday who was left alone on the stage for a while to showcase his guitar talents. There is something very old-school about an unaccompanied guitar solo, but the band soon came back out to finish the song - after which Buchanan was then himself left alone to run through an acoustic version of the gospel-inspired Shooting Stars. The curfew was looming by this point, so the band quickly ran through two final numbers without the charade of going off and coming back on. The pulsing, creeping Darkside proved to be a great example of the band's slightly more progressive songwriting edge - before the bona fide hard rock of Keep on Swinging brought the excellent set to a powerful close. The setlist was:
Mirrors
Do Your Worst
Electric Man
Rapture Bird in the Hand
Where I've Been
Open My Eyes
Drum solo
Pressure and Time
Sweet Life
Mercy
Mosaic
Feral Roots
Face of Light
Shooting Stars
Darkside
Keep on Swinging
I get the impression that time rather caught up with the band, and that they had to cut at least one song from the setlist. That is always a shame, but Rival Sons still played for around an hour and three-quarters - with very little let-up once they got underway. The large London crowd certainly enjoyed their Friday evening in the Roundhouse with Rival Sons - and the atmosphere throughout the night was excellent. I certainly feel that I am much more on board with Rival Sons now, and I am going to continue enjoying their discography moving forward - starting with Lightbringer when it is released next week.
I always find it strange when I like the 'idea' of a band, but struggle a bit with their actual music. I suppose this is an acknowledgement that some music is objectively original and interesting but that it is just not for me. Lots of 'good' music is not for me, as I assume is common with most people, but some of the bands which I think that about I often find myself coming back to - in an attempt to 'get' them. Sometimes this works and sometimes it does not, but a band which I have definitely started to enjoy more in recent years is the Milton Keynes-based progressive metal act TesseracT. I am not exactly sure when I first came into contact with TesseracT, but I started to take notice when lots of the members of a music-based Facebook group which I am a member of started to talk a lot about the band's second studio album Altered State when it was released in 2013. The group is often dominated by progressive rock, with some of its members not so keen on heavier music, so I was intrigued that a metal band was getting so much love. I do not think that I properly checked the band out at that time, though, and it was not until 2016 when I gave them a proper listen - due to the fact that they played a local show here in Plymouth. I picked up the band's three (at the time) albums and went to see them live - and I had a good time at the show despite the band's angular and techy music not really hitting the spot. What impressed me, though, were the vocal talents of Daniel Tompkins. There are lots of bands that play the kind of djenty progressive metal that TesseracT have helped to pioneer - but TesseracT have always stood out to me because of Tompkins. Following that Plymouth show, I have seen the band a further three times live by default (once at a festival and twice as a support act) and each time Tompkins impressed. His soaring clean vocals are some of the purest in the progressive metal world, and his minimalist stage presence just oozes class. He is also a capable harsh vocalist when required, too, meaning that TesseracT can shift effortlessly between atmospheric sections and those which are much riffier. I still would not exactly call myself a fully-fledged TesseracT fan, but I am continuing to make an effort with the impressive five-piece - so much so that I pre-ordered their fifth studio album War of Being, which was released last month. It is the band's first album in five years, following on from 2018's Sonder, and it seems to be their most impressive and expansive to date. It is also probably their heaviest since 2011's One - their debut album. Altered State, the band's only album not to feature Tompkins, stripped away all of the harsh vocals which had been featured on One - but they were gradually reintroduced on 2015's Polaris and Sonder. They are much more prevalent again on War of Being, and the album as a whole feels much more progressive than the two shorter albums which came before. It is also a concept album, featuring a story put together by Tompkins and bassist Amos Williams - whilst the band's driving force, guitarist, and producer Acle Kahney is once again responsible for the polyrhythms, grooves, and techy riffing which make up the album's nine songs.
This re-established heaviness is evident from the off with the explosive Natural Disaster kicking things off. Those expecting a gentle, atmospheric intro will be shocked - as the sound of distant, angular guitars soon gives way to stabbing riffing. Tompkins screams atop this rhythmic groove, and the band's flirtations with metalcore are showcased early on. The song is very much mid-paced and staccato, but the screams really introduce the band in a big way - before the tone shifts to something more typical of the band's core sound with shimmering synths and a soaring vocal from Tompkins. Many of the songs here are not arranged in a typical manner, and Natural Disaster moves from section to section with a snaking ease. Tompkins' harsh vocals resurface occasionally, but much of the song is sung clean - albeit in a more forceful manner than is typical. There are floatier sections, but this is more a riffy song overall - with Kahney and James Monteith's mechanical guitars laying down groove after groove. As such, the song is fairly melodic - but the moments that really focus on melody shine the brightest. The early soaring clean vocal section already highlighted is one of the best moments here, but there is another interesting section which sees both clean and harsh vocals mixed together to create depth. The song does get more epic as it moves along, too, and the progressive nature of the band shines. The final third of so of the piece is much more cinematic in scope - with chiming clean guitar melodies sitting atop some slab-like riffing, which allows Tompkins' expansive range to soar. Due to the album being a concept album, many of the songs run into each other - and a brief drum roll from Jamie Postones heralds the arrival of Echoes - a track which harks back somewhat to the band's last couple of albums. There is less of the overt heaviness to be found here, and the track is instead very melodic - with a pretty strident chorus, with more of an overt classic rock strut, whilst slow-burning atmospheric sections feature some of Tompkins' high-pitched delivery. Much of the riffing throughout the song is based around the band's typical juddering approach to rhythms - and these techy grooves help the song move along at a strong pace, with clean guitar-led sections providing something of a contrast overall. The song may not be as expansive as the previous cut, but it channels the band's trademark sound perfectly - with plenty of big riffing present to please the metal fans. There are brief heavier sections, which feature some harsher barks from Tompkins, but these are generally still cinematic in scope - and the piece feels more atmospheric overall. The Grey is more of a straight forward song arrangement-wise, with a strong chorus which the whole piece is built around. Much of the album is significantly more progressive, so having a song like this is welcome. The main slab-like riff is typical of Kahney's style, and the stuttering grooves it creates pair nicely with Postones' simple drumming. The track moves back and forth between heavier and more melodic sections - with the song opening with a bit of a harsh vocal bang, before the chorus is a floaty and built around some snappy bass playing. Williams' bass playing is as busy as ever throughout this album, but verses here showcase his off-kilter style - before the chorus takes over with its more straight ahead vocal hooks and rhythms. Later the chorus backing is used for something akin to a guitar solo, whereby a few guitar leads mimic the vocal melodies. TesseracT rarely use guitars in such a way, so the passage stands out - and it helps to reinforce the more traditional arrangement used here.
Legion opens with some pretty cold synths, and the track is another which feels more like the style which the band employed on their last couple of albums. Once Tompkins starts to sing, there is more weight to be found - with Williams' bass forming a rumbling, stabbing foundation alongside Postones' staccato drum rhythms. These grooves, particularly those which comes from the drums, increase in complexity as the song moves forward - but the atmospheric nature remains. Synths and clean guitars add depth early on, but as the song grows in stature it does get heavier - with stabbing riffing incorporating nicely with the aforementioned bass groove. Harsh vocals are used occasionally to create punctuation, and there are also a handful of riffier sections to break up the more atmospheric flow. This gives the song a more progressive feel, and the heaviness they create is welcome - with some great interlocking riffs seeing Kahney and Monteith teaming up. Elsewhere, Anathema-esque spacey sections are some of the album's most mellow up to this point - and the whole song is a great mix of styles which come together nicely. Tender, unsurprisingly, is the album's main ballad, and it is easily the slowest piece here. There is little of the band's heavy riffing to be found here, with the track instead being more traditional arrangement-wise. Those Anathema vibes are present again here, particularly early on, with Tompkins' array of vocal harmonies creating a rich tapestry against a backing vocal clean guitars and synths. Postones' drums do add some basic rhythms later on, but for TesseracT the song is rather minimalist in tone. Occasional rock sections only serve to focus on the song's atmospheric bulk, and the moments which do feel a bit riffier are generally short in length. The focus on atmosphere and Tompkins' beautiful vocals is welcome, given the album's overall drive, and the song acts as a bit of a calm before the storm which is to follow. That storm is the album's lengthy title track, which was the first song from the album which was released online. It is one of the band's most ambitious compositions to date, and the heavy opening once again recalls those metalcore vibes previously referenced. Postones lays into his double bass drums a lot during the early part of the song, whilst the riffing of the two guitarists is tight and heavy. The band's trademark grooves are still present, though, and, as is to be expected, the song takes many twists and turns as it moves along. Tompkins gets many opportunities to stretch out, with plenty of vocal-led sections serving to really showcase him. He often transitions between clean and harsh vocals during these sections, giving the song a dynamic edge, whilst elsewhere the riffing takes over and the song sits back on one of the many infectious grooves which are included. There are lots of instrumental sections here, but they do not tend to last for a significant period. TesseracT are not the sort of prog band to indulge in lots of soloing or complex melodic playing - with the interlocking riffing and the band's want to shift the tone and time signature regularly contributing to their prog credentials. As such, there is always something new around the corner throughout the album's title track - with some strident vocal-led sections providing plenty of metallic hooks, whilst elsewhere the polyrhythmic riffing airs the band's trademark sound perfectly.
Following the expansive title track, Sirens opens slowly - with synth-based grooves, chiming guitar melodies, and some breathy vocals from Tompkins. Whilst not exactly another ballad, the song is another slower piece - and there is plenty of atmosphere to be found here. Postones' drums soon take over from the synth grooves, providing a bit more of an organic backing to some slightly more upbeat sections - but generally the song is another which shifts back and forth vibe-wise. The drum-led sections feel more like choruses, with layers of vocal harmonies befitting the larger arrangement - whilst the core sections are very synth-driven, with a more honest vocal display overall. There are a few groove-based moments, but overall this song lacks much of the energy of TesseracT's core sound to create a strong atmosphere - with the few moments of bona fide riffing just acting as brief reminders of what the band typically do. Burden feels more unsettling from the off, with Williams' bass being the driving force as the song opens up. Pulsing synths and wordless vocal hooks add additional melodies early on, but once the verse proper kicks off Tompkins' confident vocals sit perfectly against a knotty rhythm section pattern that showcases exactly what Williams brings to TesseracT. The guitars are not particularly prominent this time, with the bass playing getting plenty of screen time. The guitars tend to sit more in the background here, adding clean melodies when needed - with the occasional spacey lead adding lots of colour. The song is another atmospheric one, then, but again it does not feel like a ballad. In many ways the song has a strong old-school prog vibe, with lots of genuine lead guitar playing and shimmering synths. The grooves of the bass keep things interesting - and there is still plenty of choppiness as a result, with later verses also benefitting from a bit more of a guitar presence. These slightly heavier sections also see Tompkins singing in more of a gritty way - although he generally stops short of genuine harsh vocals until the closing moments. The album then comes to a close with Sacrifice, another pretty lengthy track which is packed full of progressive moments. Like many of the songs here, it opens pretty slowly - with synths and gentle guitar melodies growing in stature before Tompkins starts to sing and a more groove-based verse takes over. Despite these grooves, the song is not especially heavy early on. Tompkins is the centre of everything, but the piece grows around him - and it does get heavier as it moves on. The early grooves get thicker with each bar - and it is not long before the riffing overall is more metallic and Tompkins adds some weighty harsh vocals. The presence of the synths helps to retain the song's overall atmospheric feel, but there is certainly plenty of riffing here - and there is even a fairly lengthy section early on which features Williams' bass playing pushed to the fore. The song is another strong mix of light and shade, then, and given that it is the album's closing piece it feels more cinematic than ever. Everything about the song feels big, and Tompkins' vocals are heroic in stature during the more soaring sections - whilst the heavier riffing elsewhere has a finality to the overall crunch. It is a great way to end the album, and it caps off a quality release with real flair. I am familiar with all of the band's albums, but War of Being feels like the first which I have really digested. There is a lot to like here for fans of the band's core sound, but it feels more expansive than ever. The album is heavily recommended to anyone who likes things a bit out of the ordinary and the quality of the songwriting throughout is strong.
The album was released on 15th September 2023 via Kscope. Below is the band's promotional video for War of Being.
