Opeth's 'The Last Will and Testament' - Album Review

Whilst Dream Theater are often considered to be the quintessential progressive metal band, and it is fair to say that their sound is what most think of when they imagine progressive metal, the metal band which sits closest sound-wise to the original 1970s progressive rock scene has always been Sweden's Opeth. Formed back in 1990 as essentially an extreme metal act, the band wove their 1970s progressive rock influences into their songwriting from the off - with their debut, 1995's Orchid, likely sounding like nothing else at the time. It was a progressive metal release for the extreme metal fans and the 1970s progressive rock fans - and this balance has continually shifted over the years. Despite what many would say, I do not think that the tone and overall vibe of Opeth's music has changed that significantly over the years. There has always been a bleak, cold edge to the band's music - as well as an emotional heaviness. There was, of course, a literal heaviness for a good number of years, too, but the gradual shift away from their extreme metal roots actually started pretty early on. In my view, only Orchid and 1996's Morningrise feel like extreme metal releases through-and-through, despite the progressive influences, and from 1998's My Arms, Your Hearse onward the band gradually dialled down the extreme elements of their sound and upped the level of retro bleakness and Canterbury-esque fragility. The decision to essentially abandon their extreme metal roots entirely from 2011's Heritage onward has often been seen as a controversial one in metal circles - but when looking at the band's catalogue in hindsight this choice was perhaps inevitable. 2005's Ghost Reveries is a world away from 1999's Still Life which in turn is a world away from Orchid - and Heritage somewhat felt like the natural successor to 2008's schizophrenic Watershed. Hammond organs and Mellotrons had already been a big part of Opeth's sound before Heritage - and the embrace of a 1970s sound with occasional more metallic moments suited Opeth well. In truth, it has continued to do so - and Opeth remain as popular now as they have ever been, despite alienating some of their metal fans along the way. When it was announced, then, that the band's fourteenth studio album would see them somewhat returning to their metallic past, I was unsure how to feel. I have grown to really like much of Opeth's catalogue, although I still struggle a bit with the first two albums, so I was hoping that the return to a heavier sound was not prompted by bandleader Mikael Åkerfeldt finally giving into the fans. Thankfully, though, The Last Will and Testament might just be one of Opeth's best works to date - and the fusing of the growling progressive rock of the last couple of albums with some of the heavier vibes of Ghost Reveries in particular makes for a compelling listen. A concept album about the reading of a family patriarch's will following his death and the family drama which follows, The Last Will and Testament needs those heavier moments to tell its story - and Åkerfeldt remains one of the best growlers in the business.

Much of the album is similar in style to 2019's In Cauda Venenum (which I reviewed here), though, despite the added heaviness - so those who have enjoyed the band's recent trajectory will remain satisfied. The songwriting is much tighter despite the concept and the extreme metal elements, though, which is perhaps a surprise - and the album really feels like a true opus as a result. It is the band's first album with new drummer Waltteri Väyrynen (The Hypothesis; Paradise Lost; Abhorrence; Vallenfyre; Bodom After Midnight; I Am the Night) who came on board in 2022 - and it also features spoken word and flute from Ian Anderson (Jethro Tull). Seven of the eight tracks here are essentially unnamed, and are instead taken from the paragraph numbers of the will - with the final track taking the form of a letter received by one of the characters following the main story's conclusion. §1 opens with the sound of footsteps and the opening of a door - before a creepy musical passage built around a repetitive bass chug from Martín Méndez sees the band kick in. They create a strange staccato vibe early on, whilst swirling keyboards sit in the background, and this continues on throughout much of the early part of the song. Väyrynen's loose drumming is a hark back to the style on the band's older albums, mixing swinging grooves with double bass patterns, whilst the aching keyboards back Åkerfeldt as he sings clean initially - before he launches into the first growls of the album. His clean vocals generally dominate, but the heavier interjections are welcome - and early on Anderson doubles him up, repeating each of his growled lines in a thespian manner. This first track is extremely varied, though, and it moves through a number of different moods. The staccato swing from early on is often returned to, but there are much more jazzy and bombastic sections with some really theatrical Åkerfeldt vocals - and he sounds different to his usual more plaintive approach during this sections, perhaps channelling a little Arthur Brown. Opeth are not a band I would describe as bombastic usually, but parts of the first track are - and this vibe continues on into §2, which segues from the previous song thanks to a lengthy and warm-sounding keyboard passage from Joakim Svalberg. The second track kicks off in heavy mode, though, with a big drum barrage from Väyrynen which gives way to some snarling mid-paced riffing from Åkerfeldt and Fredrik Åkesson - over which the former growls in his usual venomous manner. The bombast is maintained, though, by a strange arrangement, which first sees Åkerfeldt then singing in a whisper above some retro synths - before possibly the album's most memorable passage kicks in, which sees Anderson speaking in his idiosyncratic manner against a chugging backdrop, whilst Joey Tempest (Europe) adds some dramatic and almost operatic backing vocals. Opeth have done nothing like this before, and the heaviness then kicks back in with more growls and a fast-paced, shredded solo. The overall arrangement is absolutely bonkers, and this does not even take into account the electric piano led-section later on - which morphs back into Anderson's monologue perfectly, before a faster-paced retro prog section sees the song out.

I am not sure that the album is ever quite as bombastic again, but plenty of twists and turns remain - with §3 opening is a busy fashion with some Ghost Reveries-esque heavy riffing, whilst dancing strings (arranged by Dave Stewart (Gong; Khan; Hatfield and the North; National Health; Bruford)) and Svalberg's keyboards create a tense backing. Whilst the song can be pretty heavy musically, though, it is sung clean throughout - and Åkerfeldt continues to showcase that he is not just one of the best growlers in the business but also one of the best clean singers. His voice always carries the emotion of whatever song he is singing perfectly - so he brings the album's story to life with his diverse delivery. This song is pretty wordy despite it also being pretty busy from an instrumental perspective. There is a lot going on, then, and the overall pace is pretty upbeat. Väyrynen seems to have given the band a boost, and his drumming really leads the charge on this song in particularly, whilst the duelling guitars of Åkerfeldt and Åkesson feel more potent here than they have done for a while. The song has a real urgency to it, despite the endless swirling keyboard backing, which recalls some of the more hard rock-adjacent parts of Ghost Reveries nicely. That album is brought to mind a lot thanks to the slightly reduced role that the keyboards play here compared to the last few albums. Svalberg is still all over this album, but he takes more of a supporting role this time - with the guitars instead generally dominating. This is certainly the case with §4, which maintains the pace of the previous song but injects back in the harsh vocals which were absent from it. The early part of the song does have some of the bombast which was heard earlier, but it is perhaps less circus-like - with the early back-and-forth between clean and harsh vocals setting a disturbing tone, under which Anderson's spoken word additions can sometimes be heard. Delicate acoustic guitar passages break up the heaviness, and one of the album's most memorable instrumental passages is included here, too, with Anderson picking up his flute and adding some bouncy melodies in his inimitable and trill-heavy style against a pulsing bassline and some aching guitar leads - which then morph into a cinematic guitar solo which sits atop other heavy guitars and growling keyboards. The band's heavier side then dominates the second half of the track - both vocally and musically. There are lots more growls during the last couple of minutes, plus the instrumental passages have an evil edge to them thanks to spiky guitar tones and cold keyboards. §5 tones things down somewhat, at least at first, and opens with some shimmering keyboards - before Åkerfeldt starts to sing against a jazzy drum groove which weaves acoustic guitar passages around it. There is plenty of the last few albums within this part of the album, then, and there is a strong organic feel thanks to the use of strings and the acoustic guitars - but there are very short bursts of heaviness, which see seconds of harsh vocals and big riffing acting as punctuation to this sound. Eastern-tinged melodies are used throughout the song, too, with a brief guitar solo channelling such - before a heavier sound takes over in a much more complete way with some busy bass drum work and a distorted organ backing. Brief moments of bombast return here, too, with Åkerfeldt singing clean against Queen-esque strings during a brief moment of calm in the heaviness of the song's second half.

§6 opens with the growing buzz of Svalberg's organ, which swells into view against a jazzy drum beat, over which brash guitar chords are soon laid - and the organ takes off, along with some strings, to create a melodic intro. Following the heaviness of much of the previous song, particularly its second half, this track is another which feels more akin to the band's last few albums than anything tougher. There is a much more organic feel here, with Svalberg perhaps playing a much bigger role this time - even during the heavier sections. Åkerfeldt does growl during the song, but his clean vocals dominate - and musically the track never feels all that metallic. There is a strong hard rock feel throughout, even during the growling sections, and it is great hearing Åkerfeldt growl against a snarling organ backing. The song also contains one of the best pure prog solo moments, too, which starts with Svalberg laying down a flashy synth run before a shredded guitar solo takes over. It is pure prog expressionism, but it works well in the context of the song - suiting the 1970s rock sound and the excellent vocals of Åkerfeldt. There are heavy moments, then, but the song does not sound particularly metallic despite the growls - and there is also one of the album's spaciest moments at the end which sees some bluesy guitar leads sitting nicely against an acoustic guitar and synth backing. §7, the last song of the story's bulk, immediately sounds heavier, with some staccato guitar stabs and more hard-hitting drumming - but the retro vibe of the previous song remains with lashings of organ. Åkerfeldt's early vocals are sung falsetto, though, and there is no real kick in from the band despite the early stabbings - and soon Anderson's flute takes over and he delivers some more of his monologue. The song moves back and forth between these storytelling moments, which are dominated by Anderson vocally and musically, albeit with some delicate piano at times, whilst other sections roar with old-school heaviness and some more growls. There is a lot of heaviness throughout the song, then, despite these moments of calm and stark coldness - and it is the last song where which feels in any way hard-hitting. The last of the growls are heard here, and there are plenty of them - with one particularly memorable section featuring Åkerfeldt growling against a synth melody. The song then fades out slowly, with gothic strings and a mid-paced drum groove, and it feels as if the album is going to end - only for it to transition slowly into A Story Never Told, which acts as a coda. Deliberately very different from the rest of the album, the song is very sparse - and reminds me a bit of the sound of 2003's Damnation. Delicate guitar melodies open the track up - but generally this is quite a piano-heavy piece, with Åkerfeldt generally singing against Svalberg's piano melodies, although the band do add some weight and tight vocal harmonies during some sections. Occasional flute additions add depth, too, and there is a surprising amount going on despite the sparse nature of the piece. It lacks the bombast and heaviness of the rest of the album, but this works well in my opinion as it somewhat sits apart from the main story of the album despite it being tied in. It feels like a post-credits scene, then, and I like the laid back approach taken and the delicate piano melodies throughout. There is a warmth to the song which is not generally present elsewhere - and I think it ends the album on a real high due to how different it is. Taken as a whole, then, The Last Will and Testament is excellent. I think that, in time, it will likely be viewed as one of the band's true masterpieces - and the fusion of various facets of their sound works so well. It is one of 2024's best releases, that is certain, and the buzz around it has certainly helped to bring Opeth back into the limelight once again.

The album was released on 22nd November 2024 via Reigning Phoenix Music. Below is the band's promotional lyric video for §4.

Rosalie Cunningham's 'To Shoot Another Day' - Album Review

One of the most interesting solo acts in the progressive sphere these days has to be the multi-instrumentalist, singer, and songwriter Rosalie Cunningham. Whilst many likely found her via her leadership of Purson, who were active between 2011 and 2017, she has arguably kicked on creatively since the band's sad demise - and last month she released her third solo album since Purson folded: To Shoot Another Day. In some ways, it is hard to sum up what Cunningham does. Her music is very much rooted in a mid/late 1960s and early 1970s psychedelic rock sound, but there is still plenty of progressive rock, hard rock, and whimsical pop in her songwriting - with each song often containing multiple different influences and really taking listeners on a journey. Her music will not be for everyone, and often requires attention, but it always gets better with age - and this latest solo offering is just as varied, dynamic, and creative as what came before. Purson's sound always felt more solidified, with less variation despite similar influences being present, but Cunningham as a solo artist really spreads her wings. Each of her albums has touches of Purson, and even whole songs which could have comfortably sat on either of Purson's albums, but they also contain so much more - which keeps each album interesting. As mentioned before, this latest opus, To Shoot Another Day, is her third - and it follows on from her 2019 self-titled debut album (which I reviewed here) and 2022's excellent Two Piece Puzzle (which I also reviewed here). Both are strong albums, but the latter in particular was a winner - and my opinion of it has only increased over the past couple of years. To Shoot Another Day certainly builds on the 2022 release in some ways, and there are some progressive pieces which would feel at home on the last album, but overall this latest album feels a little lighter in tone. There are strong pop sensibilities this time around, but there are still plenty of layers to the album's 10 songs - aided by the use of plenty of retro instruments throughout. As usual, much of what is heard hear is down to Cunningham. She plays guitars, bass, and keyboards throughout - as well as singing of course. Her partner Rosco Wilson handles some guitars and drums, and also co-wrote some of the songs, but generally Cunningham is on hand to provide what is required. There are guests here, though, with former Purson bandmate Raphael Mura playing most of the drums and singer-songwriter David Woodcock contributing some extra piano and organ on a few songs. Others pop up here and there, but the bulk of what is heard here comes from the four musicians already mentioned - and the guests all feed into Cunningham's retro mindset perfectly. As with her previous work, including Purson, the retro vibes all feel genuine. There are no contrived sounds here - with the album having an authentic, old-school pop sound which compliments her past work whilst doing something a bit different.

As with everything Cunningham has done in the past, too, there is a real sophistication to the album. Everything here is really well produced and sounds great, despite the old-school sound, and this is evident throughout the opening title track - which has a real grandeur to it that is a bit different to Cunningham's usual approach. Swirling dual guitar leads and rumbling Hammond organ kick off the track with a slow-burning feel - and once Cunningham starts to sing the track sits back on something of a lounge/jazz-esque groove. Cunningham's organ and Woodcock's piano create this warm, full sound which is packed full of character - whilst the groove from the bass and the drums (played here by Itamar Rubinger (Uncle Acid & The Deadbeats)) creates a 1930s feel, over which Cunningham sings in a sultry manner. This vocal approach is perfect given the song's historic and jazzy feel - whilst the soaring guitar leads root the song in the 1970s progressive rock scene, which is later expanded on during a playful solo which flits around rather unexpectedly. The solo channels some of the bounce of the song's prominent piano playing, too, and the swelling chorus vocals allow the melodies to stick in the brain early on. The slow-burning, yet epic, piece is a great way to open the album - and it immediately showcases a bit of a different side to Cunningham's songwriting. Timothy Martin's Conditioning School, which follows, is a bit more typical-sounding, though. It is a much spikier rocker overall, with Cunningham responsible for everything apart from Mura's drumming, and it is certainly a track which harks back to Purson quite a bit. The vaudeville rock sound channels that Purson feel in quite a bit way - and it is a high energy piece throughout with hard-hitting guitar riffing and some dark electric piano backing at times to add depth. Circus-like vocal breaks and Cunningham's powerful delivery keep the track rocking at all times - and it is only a short piece at under three minutes in length, so it really gets in and gets out. Those who really like Cunningham at her most prog will certainly find a lot to like in Heavy Pencil - which builds on some of the Jethro Tull vibes experimented with on the last album. Ian East (Gong) adds plenty of flute to the track, which encourages those Jethro Tull comparisons, but the fuzzy riffing and the pulsing Hammond also create similar vibes - whilst wah-drenched guitar lines throw things back to the 1960s. Playful basslines route the verses, which Cunningham sings in a deeper delivery than is often typical for her, whilst ethereal harmonies add depth. The bass dominates during the verses, then, but there are occasional wah-guitar stabs and Hammond swells. The vocal-led passages are less Jethro Tull in character, but as soon as the flute returns later during an instrumental break there are more comparisons to make - and there is a really playful flute-led section where East duals with some guitar leads which resurfaces around some powerful vocal moments. East also adds some brief saxophone moments towards the end, too.

Good to Be Damned has more of a band feel as it features all four of the album's main players contributing in a big way - with Wilson co-writing the song and playing the main snaking guitar lines. Cunningham drives everything with her pulsing bass playing, whilst Woodcock alternates between his Hammond and piano. The track feels at first as if it is going to be a slow-burning and slightly doomy track with Wilson's big guitar melodies leading the way - but the chorus is much bouncier, and returns to some of the vaudeville sounds which Cunningham often enjoys. The contrast between the crawl of the verses, with their shimmering organ depth, and the chorus is striking - but the chorus is one which is easy to latch onto and sing along with after a few listens. Cunningham often likes to veer in different directions with her songwriting - and the boogie piano from Woodcock really brings the chorus to life. Cunningham takes the guitar back from Wilson for the solo, though, which is similarly playful atop a spiky groove. In the Shade of the Shadows slows the pace down and somewhat returns to the jazzy feel of the album's opening title track - but the vibe is a bit grimier overall and it lacks the smoothness and film score vibe of that previous effort. There is more of a blues edge thanks some slide guitar moments from Wilson and some more saxophone parps from East. Leftfield piano countermelodies, too, from Woodcock keep the song from sticking to the typical path - and it is one of those songs that just continues to surprise despite it essentially having a pretty typical verse-chorus arrangement. It helps that the simple chorus, with its jazzy saxophone melodies and Cunningham's sultry vocal delivery, is so memorable - and it is one of those moments on the album which lodges itself in the brain pretty easily. The busy piano playing and the bluesy edge certainly brings to mind groups like The Allman Brothers Band at times, which is something a bit different for Cunningham, but her usual touchstones are also referenced - and it is an album highlight for me. The brief instrumental piece The Smut Peddler then provides a bit of groove, with a hypnotic guitar melody and distant drum groove providing an early grounding - before a big guitar riff takes over, with lashings of Hammond and the odd busier guitar melody providing a bridge between the two tracks either side of it. It does not segue into Denim Eyes, though, with the instrumental coming to a sudden stop before the slower vibes of the next song get underway with Pink Floyd-esque acoustic guitars and whimsical piano melodies providing a strong backing for Cunningham's vocals. Following a couple of more harder rocking pieces, this is certainly a more reflective track - and there is more of a pop feel overall. There are lots of interesting vocal arrangements here, with plenty of big harmonies, whilst there is a strong acoustic guitar presence throughout to add depth as the piano and occasional electric guitar melodies swirl around. The chorus is a bit bigger, with a strong organ presence, and some real earworm melodies - and it is nice to hear a more paired back sound here, along with a strong closing guitar solo.

Following on from the more laid back previous song, then, it is fitting that things get a little heavier again with the spiky Spook Racket. The early portions of the song again have Pink Floyd vibes, actually, but this time more akin to the chaotic moments of The Wall - but when the band kick in proper the track turns into a lumbering, Hammond-led rocker with some bluesy riffing from Wilson. This is another of the tracks which he co-wrote and he handles all of the guitars this time - with Cunningham busying herself with some potent bass playing and all of the track's enveloping Hammond. Due to the heavier sound and the grind of the organ, plus the strong guitar presence, this is a track which could certainly have sat nicely on a Purson album. The arrangement is a bit more straight forward, then, at least during the track's bulk, with it generally being more of a rocker than anything else - although there is a spacy breakdown later on which includes some delicate piano playing and the bass leading the way. This later morphs into a folky closing section with acoustic guitars. Stepped Out of Time slows things down a little again, and the track is essentially a piano-led, slightly waltzing piece that returns to some of the jazzy vibes heard elsewhere on the album - whilst also showcasing some strong pop sensibilities. Cunningham's vocals always cut through the mix, even on the more complex songs, but this track feels like one which has really been written to showcase her excellent turn of phrase and melody construction. There is less to focus on musically, then, but given the strength of the vocal performance this is not an issue - and it nice to focus on Cunningham as a bona fide singer given that sometimes her songwriting distracts from the vocal delivery due to the complexity of the arrangements. Woodcock should also get a lot of credit for his piano playing throughout the song. He creates the groove of the track perfectly which allows Cunningham to soar and his keyboard playing throughout the album where he appears really helps to elevate things. The album then comes to a close with The Premiere, a similarly grand track to the opening title track - but there is no jazz backdrop this time, with the song instead feeling more typical of Cunningham's usual approach. Arrangement-wise, then, the song is pretty busy. Acoustic and electric guitar passages alternate throughout, whilst Cunningham's vocal delivery takes on a brasher tone occasionally - whilst the are some effects used on her voice during some spikier, faster sections which again recall Purson somewhat. Some of the guitar riffs here are pretty potent, too, and the drumming from Mura is varied - creating a cinematic backing during some sections before settling into a hard rock groove elsewhere. The use of Mellotron throughout parts of the track certainly gives the song an appropriately late 1960s/early 1970s sound, too, and it adds that theatrical backing that was so prevalent during the heyday of the prog scene. It is fitting that the two biggest songs bookend the album - and the busy track brings things to a strong close. Having spent nearly a couple of months with To Shoot Another Day now, it is clearly another strong release from Cunningham. Whilst Two Piece Puzzle likely has some better standout tracks, this latest album feels like a more complete work overall - and it is her strongest from start to finish, despite it also being the most varied.

The album was released on 1st November 2024 via Esoteric Antenna/Cherry Red Records. Below is Cunningham's promotional video for In the Shade of the Shadows.

Quireboys' 'Wardour Street' - Album Review

Given the run which The Quireboys were on between 2013 and 2019, which saw six albums released in seven years, it is amazing to think that it has been five years since we last heard any original material from the British rockers. 2019's Amazing Disgrace (which I reviewed here) was the last album of that largely stellar run - and it turned out to be the last original album from the core of the band which had been in place since 2004's Well Oiled. Whilst bassists and drummers came and went, founding vocalist Spike, classic-era guitarist Guy Griffin, long-time guitarist Paul Guerin, and long-time keyboard player Keith Weir had made up The Quireboys since then - with the band enjoying a fruitful 2010s in terms of album releases and tours. A pandemic-delayed 30th anniversary re-recording of 1990's classic A Bit of What You Fancy from 2021 ended up being the line-up's swansong, though, as in 2022 Spike and the rest of the band went their separate ways. Griffin, Guerin, and Weir attempted to carry on as The Quireboys for a couple of years, releasing the disappointing live album Orchestral Quireboys Live in 2023, but have since decided to rebrand - with an album due for release next year (which, interestingly, had been available for pre-order as a Quireboys album since 2022). Spike clearly was not going to let the band which he formed back in 1984 go, though, and later in 2022 he launched his new Quireboys (minus the 'The', as had been the case in the early days) with a chaotic and memorable show in London where he was joined by some old faces from the past. 2023 was quiet, but this year has seen quite a lot of activity from the band - which culminated in the release of their thirteenth studio album (not including the re-recording of A Bit of What You Fancy) Wardour Street. The band's first without Griffin, and the first since 2001's This Is Rock 'n' Roll to not feature Guerin or Weir, Wardour Street is very much still classic Quireboys - and it also sees the return of some old faces. Spike's right-hand man in this venture seems to be founding bassist Nigel Mogg, who plays on his first Quireboys album since Well Oiled here, whilst founding keyboard player Chris Johnstone and classic-era drummer Rudy Richman both feature for the first time since 1993's Bitter Sweet & Twisted. Rounding out the core band, then, is guitarist and producer Luke Morley (Terraplane; Thunder; The Union) who came on board last year. Spike, Morley, and Mogg now seem to be the mainstays of the band, with Johnstone and Richman contributing when they can - but others also helped out on the album, including Willie Dowling (The Grip, Honeycrack; Sugar Plum Fairies; Jackdaw 4) and Mark Stanway (Magnum; Grand Slam) who also played keyboards. The only slight disappointment, though, is the lack of songs written by the late Guy Bailey - who founded the band with Spike back in 1984. Spike had stated that he had written a number of songs with Bailey before the latter died last year and that he would continue the album which the duo started. None of the songs here are written by Bailey, though, with Morley and Mogg being the main writers alongside Spike. This is not necessarily a bad thing in and of itself, as the album is strong, but it is a shame that none of those Bailey-penned tracks made the album.

The album is dedicated to Bailey, though, and, despite all the turmoil, it just sounds like The Quireboys. At first I felt that the album was a little soft, and could have done with a couple more rockers, but essentially everything here has now grown on me quite a bit - and it is an album that I have been playing a lot over the past couple of months. There is nothing complicated here, and the album kicks off with the boogie blues single Jeeze Louise. With a Chuck Berry-esque shuffle, bursts of bluesy harmonica, and rollocking barroom piano, Jeeze Louise is an infectious and upbeat rocker in the vein of past classics such as Can't Park Here. The song wears its rock and roll influences on its sleeve - but as Spike always says: "this is rock 'n' roll!"; and it has proved to be a great opening track at the band's shows this year. Morley's years of experience and clear production bring the track to life, his later guitar solo full of character, whilst Spike sounds as good as ever. His raspy voice is powerful throughout the album - and he is perfectly suited for a barrelling rocker such as this, whilst the piano constantly cuts through the mix to create an infectious groove. There is nothing fancy about the song, but the hooky backing vocals and bluesy guitar turns easily lodge in the brain - and the album gets off to a great start. The only song not written by the band, Raining Whiskey, follows. Spike is known for his love of Frankie Miller, and his friendship with the Scottish singer, so the band recorded one of Miller's unreleased tracks - and even used some of Miller's vocals from an old demo to create a duet between him and Spike. Miller has not been able to sing and perform following an aneurysm in 1994, so it is great to hear him again here - even via the past - and his voice mixes well with Spike's as the groovy, mid-paced rocker crawls past. The chorus is one of the album's hookiest moments, with more big piano notes, whilst the lazy guitar chords give the song a perfect loose feel atop Richman's tight drum groove. Morley's solo is busy, bringing some fire to the track later on, but generally the song feels like a rocked up folk/drinking song - which is a perfect fit for Spike and his likeable rockstar persona. The acoustic-led You and I is the first slower track on the album - and it opens with Morley's acoustic guitar chords over which Spike sings. I still feel that the album would have been better if one or two of the slower songs had been replaced with rockers - but quite a few of the more recent Quireboys albums have featured a number of slower songs, and they all end up being memorable after a few listens. There remains a bluesy feel throughout this track as it gets going, too, thanks to the piano melodies which kick in later on and Richman's shuffling drum groove. Mandolin melodies bring oldie Last Time to mind at times, whilst Mogg's walking bassline adds plenty of depth as the whimsical chorus fills the speakers. This is one of the songs which has grown on me quite a lot since first hearing the album, as it felt a little throwaway at first, but it came across well live when I saw the band last month - and Spike's songs always have a way of getting their hooks in eventually thanks to his way of delivering melodies.

A big highlight for me, though, is the Status Quo-esque boogie of I Think I Got It Wrong Again. The song opens slowly, with a grinding bluesy riff and a punchy shuffle, over which Spike soon starts to sing at his gravelly best. It seems as if the song is going to be a tough, slower track - but the intro is just there to deceive, as soon it explodes into a real boogie rocker with some Status Quo chords and plenty more up-tempo, busy piano melodies. The track is not a fast one, but there is a real energy and strut to the song once it gets going - and Spike really cuts through the tough guitar and piano riffing to showcase why he has often been heralded as one of Britain's most underrated rock singers. All of his character comes to light in the slightly faster chorus section, which has subtle backing vocals and plenty of piano to make it sound big, whilst the bluesy guitar soloing later on perfectly suits the song's overall vibe. The more laid back Myrtle Beach is another slower track, but it does not feel like a ballad - with the track instead feeling like another drinking song, albeit this time with a folkier feel. Upbeat acoustic guitar chords and some subtle bluesy leads set the tone early on - and the song just generally sits back on this groove throughout to create a laid back but summery feel over which Spike sings. He has often been good throughout his career about writing storytelling songs, and this one is no different - with stories from the band's early days woven around Morley's bluesy guitar playing and the loose drum groove of Richman. Filled out by piano accents and some fluid bass playing, the track is a feel-good folk anthem that has become a real favourite of mine. Those who like the band at their most snarling, though, will find plenty to like in Happy. The first of two really brash hard rockers, the track is another highlight in my opinion - with Morley's best riff on the album and a sultry blues rock chorus that instantly sticks in the brain. There is nothing slow-burning or ballad-esque about this song, with it instead being a tough-sounding mid-paced rocker with one of the strongest overall grooves on the album - with the interplay between the bluesy piano and the rock guitars being well-struck. For those who like the heavier side of The Quireboys, this song will become an instant favourite - and it certainly shines a light back to the early days when Rolling Stones-esque riffs and even a hint of southern rock made up the core of the band's sound. Slowing things down again, No Honour Amongst Thieves, which was co-written by A Bit of What You Fancy producer and long-time Rod Stewart sideman Jim Cregan, is another acoustic-led piece. Unlike Myrtle Beach, though, No Honour Amongst Thieves feels more like a traditional ballad - with subtle organ backing Morley's acoustic guitars and Spike's voice early on. There is a folky rock side to the song as it gets going, but it always feels quite downbeat and reflective - which brings the best out of Spike vocally. He has always sang songs like this really well, and his delivery here is full of emotion - which is then built on later by a brief piano solo.

Perhaps the only track here which does not really do all much for me, though, is Howlin' Wolf. It presents itself as more of a hard rocker, but it feels a little tame compared to how The Quireboys generally sound when they cut loose. The early opening riff and harmonica bursts have a certain brashness to them, but the song never really lives up to this dirty blues feel. There is a rawness to the production here, but the song feels a little lightweight. I would have preferred it to really rock out, with nastier guitar tones and perhaps some growling organ instead of the piano utilised. Some of the vocal harmonies feel a little messy, too, although I do like Spike's harmonica solo which is something a bit different for the band. This is a strong album overall, with essentially everything having grown on me, but sadly Howlin' Wolf remains a weak link in my opinion. It Ain't Over Now is the last traditional ballad here, with acoustic guitar chords and a hint of piano setting an early tone - as the song builds towards a heartfelt chorus, which is easily the best of the album's slower choruses. Whilst not as powerful as the classic I Don't Love You Anymore, this song is clearly cut from a similar cloth - with an organ-drenched chorus that is filled with Spike's broken-hearted lyrics and some tasteful backing vocals which add a touch of soul. Morley's guitar solo is heartfelt, too, and it is one of his longest guitar showcases on the album. It is full of emotion and lots of tasteful leads which build on Spike's vocal melodies perfectly - and the track has become another real favourite despite it not really connecting with me at first. The second snarling track here is the pointed Like It or Not, which feels like Spike's rebuttal to his former bandmates who thought they could be The Quireboys without him. He states categorially here that he is the band's singer 'like it or not', flaws and all. It is the sort of heart-on-the-sleeve songwriting that we have come to expect from Spike - and it is backed perfectly by some dirty blues riffing and plenty of groove from the rhythm section. Saxophone melodies are tastefully added throughout by Andrew Griffiths - and he even takes a solo later following on from a cutting guitar effort from Morley. There is a soulful edge to the band's harder blues thanks to the saxophone - with another strong chorus and warm organ stabs given the song real character. The album then comes to a close with the darker and slower title track which sounds like nothing they have ever done before. Opening with the voice of former Marquee Club manager Bush Telfer, the smoky, jazzy Wardour Street feels like something Spike could have written at 3am - with Morley's simple acoustic guitar melodies driving everything, whilst organ and more saxophone add plenty of jazz-fuelled character. There are actually shades of Roger Waters' solo work throughout the song, which is not a comparison I ever thought I would make. I think it is the tone of the saxophone throughout which makes the comparison apt - whilst the organ creates an unsettling tone and Spike sings in a slightly half-hearted way which really works. It is a hard song to describe as it is very atypical for the band, but it is a fitting closer with a dark, reflective tone which showcases Spike in a new light. Having somewhat got off the train following all the drama, the shows this year and Wardour Street have me back on board fully. I have been enjoying this album a lot and it continues to grow on me - with the core of Spike, Morley, and Mogg bringing the band nicely into a new era. Whether this current iteration of the band is in it for the long haul remains to be seen - but 2024 has been a great year for them and I hope that there is more to come.

The album was released on 1st November 2024 via Real Vision Records/Cadiz Music & Digital Ltd. Below is the band's promotional video for I Think I Got It Wrong Again.

Kings of Mercia's 'Battle Scars' - Album Review

Whenever a new collaborative project releases a debut album, it is often unclear whether those involved are in it for the long term or not. Some projects are only ever supposed to be one-off, lightning-in-a-bottle moments which see established musicians coming together briefly before going back to their main bands - whereas others take on a life of their own and grow into something more substantial. Whilst I am not sure that Kings of Mercia fall into the latter category, they have certainly transcended the former. Kings of Mercia are, of course, a collaboration between melodic rock vocalist Steve Overland and progressive metal guitarist Jim Matheos - which launched back in 2022 with a solid self-titled debut album (which I reviewed here). If you had asked me which two musicians that feature heavily in my music collection would collaborate unexpectedly back in 2022 it would have taken me a very long time to give Overland and Matheos as an answer - but Kings of Mercia showed that there was legs in project. The end product ended up being closer to Overland's typical sound than Matheos', but the album could well be the toughest thing that Overland has sang on to date - with Kings of Mercia being much more of a genuine hard rock album than anything FM have done in the past. I cannot say that I am familiar with much of Overland's solo work or any of his other projects outside of FM, but I imagine that they are all of a type - with Kings of Mercia being the odd one out. Considering Matheos' history in progressive metal, too, Kings of Mercia is a much more straight ahead band for him. Miles away from the knotty, anthemic metal of Fates Warning's early days and the more atmospheric, emotional sound that they tackled towards the end - Kings of Mercia sees Matheos letting his hair down and rocking out somewhat, with riffs straight out of the 1970s and 1980s. As such, the 2022 album was something of a change of pace for both musicians, then, but given Overland's perfectly preserved voice it was always going to have an AOR sheen. There was a lack of keyboards throughout, though, and there was a rawness to the album despite the smoothness of Overland's voice - which allowed him to showcase a bit more of a bluesier approach at times. He is certainly apt at aping singers like Paul Rodgers when he wants to and Kings of Mercia was an opportunity to do so. It is clear that Kings of Mercia have no intentions to be a live act, but clearly Overland and Matheos thought that there was more in the band's tank - and back in October they released their second album Battle Scars. Style-wise, the latest album picks up exactly where the last one left off. There are no real surprises here, with the album essentially being more of the same. Overland shines as always vocally, and he is always going to be a highlight on whatever album he sings on, whilst Matheos' guitar playing is crunchy and full of character. Joining the duo again on Battle Scars, too, is bassist Joey Vera and drummer Simon Phillips - ensuring consistency between the two albums.

This is very much feel-good but muscular rock music, then, and the anthemic opening track Guns and Ammunition highlights this vibe from the off. The opening barrelling guitar riff is interspersed with bluesy guitar leads, which set the tone nicely, before a slightly longer than expected instrumental section allows a groovy riff to really bed in. The rhythm section always ground the album's songs nicely without ever overplaying, whilst Matheos constantly reaches into the classic rock past for riff ideas. The verses here are very much out of the 1970s, despite Overland's smooth vocal delivery, whilst the chorus feels a little more AOR-inspired despite a toughness remaining. Vera's bass is high in the mix, his rumbling basslines keeping the song moving, whilst the UFO-esque crunch of the verses allows Overland to feel bluesier than usual despite a few higher notes. There is a pleasing groove and strut throughout the song, then, and this extends to the anthemic chorus - which is one of the album's most memorable moments. Phillips' ride cymbal work really leaps out of the speakers, keeping the chorus ticking, whilst Overland's big vocal hooks are sure to sink into the brain. Matheos then builds on some of the bluesy leads of earlier during a lengthy solo section which starts off slowly and speeds up - before a final reprise of the chorus brings things to a close. Eye for an Eye is similar, although the pace is perhaps slowed down a little - giving the song a real mid-paced and hard rocking crunch. Whilst a bluesier sound was flirted with during the opening track, it is doubled down on here - particularly during the verses which are very much Bad Company inspired. The chorus is more typical, with Overland's big vocal hooks shining and some inventive bass drum work from Phillips adding colour, but the verses have a real snaking strut to them - which sees Overland singing in a slightly lower register than is usual for him to allow bluesy vibes to really seep through. He utilises such a style with FM occasionally, but throughout this album it is something which he gets to showcase a bit more - and the verses here are really memorable thanks to his sultry tones, before the chorus explodes and feels bigger in comparison. Matheos also expands on the song's blues feel via his guitar solo, which is less busy than the previous one - but it is full of character. Between Two Worlds opens with a tougher-sounding guitar riff, which lays down a few stabs alone before the rest of the band join in. The pace is slowed down again here, and the blues vibes are increased further. Each track so far has become bluesier, then, and I like the journey that the album takes early on. The stabbing riff and the occasional bluesy guitar leads are really memorable - and the ZZ Top-esque groove conjured up by the rhythm section is dependable and infectious. Overland adds some light, though. He maintains his blues feel from the last song but he also injects some of his usual sense of melody into this performance - with the more expansive chorus feeling a bit more cinematic given the chug of the rest of the track. Matheos' solo is surprisingly light, too, given his heavier riffing - but it is quite short to ensure that the riffing is not away for too long.

Legend ups the pace following the gradual slowdown which had been happening up to this point - and the track is a pacy hard rocker with a Led Zeppelin-esque opening riff and a stop-start verse which allows Overland to really dig in and lay down a dynamic vocal performance. Most of FM's songs are mid-paced AOR anthems, so he does not get to sing faster rockers all that often - and he sounds great here, with a slight gritty edge to his voice shining through. This suits the song's slightly heavier vibe and there is plenty of punch in Phillips' drumming to help it sound big. Occasional cutting guitar leads are thrown in, but mostly this is another pretty riffy track - with the verses built on the aforementioned stop-start groove. There are larger-sounding sections, such as a smoother bridge which later gives way to a busy solo, but generally the song is more guitar driven and influenced by 1970s hard rock. The title track follows and it slows the pace down quite considerably - acting as the album's ballad. Subtle percussion opens up the track, before murky clean guitars create a dark-sounding backing - over which Matheos lays down some cutting leads. Overland has been singing ballads in his sleep for years, so his performance here is as smooth and emotional as ever. The verses see him essentially just backed by the clean guitars and percussion, whilst the first chorus, which is also stripped down, feature a few subtle vocal harmonies as a point of difference. The song does grow in stature as it moves forward, with later verses featuring more of a proper drum beat and some bass depth - and the guitar tone takes a slightly brighter overall feel. The second chorus returns to a more mellow vibe, though, with very little backing Overland's voice - before the band crash in in a bigger way for a guitar-led instrumental section which features subtle bluesy guitar melodies and repeated vocal melodies from Overland to bring the song to a close. Don't Ask ups the pace again quite considerably, and it is easily the toughest piece on the album up to this point. It is another pretty fast paced rocker and everything here is driven by the chug of the guitars and the propelling groove of the rhythm section. There is no big standout riff of similar here, with the track just being a real headbanger with something of a NWOBHM chug and a few cutting guitar leads and short solos. Vocally it is perhaps not as memorable as some of the other cuts here, though. The chorus is decent, with something of a call-and-response approach taken - but it is perhaps not as anthemic as it could be - and a snappier chorus may have worked better given the energetic approach taken. Aftermath opens with an atmospheric swell which gives way to some pulsing guitar melodies mixed into the background - over which Vera's bass really rumbles. The opening moments do not sound like anything else on the album, and it is interesting to hear such a bass-heavy song in the context of an album like this. Vera's playing is all over this song, even when the guitars kick in more later on, and arrangement-wise it shows that the band are not just about one thing. Overland's voice works well against the bass-heavy backing early on - and the contrast between the slower verses and the heavier chorus works well, with brash guitars joining in as Overland belts out the anthemic chorus.

Hell 'n' Back is another pretty upbeat rocker, but it opens gradually with some big bass swells from Vera and busy drumming from Phillips - which Matheos noodles over before launching into a meaty riff and the song gets going proper. It follows a similar pattern to Guns and Ammunition from this point on, with the track being another strong bluesy hard rocker with a melodic rock influenced chorus. The chorus is another very memorable one, and another contender for the album's best possibly, whilst the tougher verses allow for some more of Overland's bluesy vocals. Matheos' guitar solo is another blues-fest, too, but it is perhaps not as long as it could have been. I would have liked it if he had really cut loose here - but that has never really been his style - even with Fates Warning. The solo is tasteful, though, and it is fast enough to fit in with the song's hard rocking overall style and the big drum grooves which Phillips lays down. Cold is another song which opens with Matheos' guitar alone, as he lays down a pretty simple guitar chug early on - over which a busier riff is then laid before the rest of the band crash in and the song turns into a pretty mid-paced and groovy rocker. The energy of the previous song is more tempered this time, but the bluesy vibes of some of the early mid-paced tracks are not really present this time. Instead, the song overall feels a bit more melodic rock influenced - and there is more of Overland's day job here than is typical of the rest of the album. There is still a toughness throughout, but the more liberal use of vocal harmonies just makes the song feel and sound bigger overall. This is very much a showcase piece for Overland, then, and he displays throughout the piece why he remains one of the very best rock vocalists in the world. The verses and the chorus are both hooky, with lush harmonies despite the crunch, and Matheos' brief guitar solo is in a similar vein. The album then comes to a close with Angels & Demons - which opens with busy acoustic guitar lines, over which some emotional acoustic guitar melodies are laid. There has not been a big acoustic guitar presence on the album up to this point, but the layers of such create an interesting sound early on - and Overland sings over them in his usual emotional manner, even if there are some strange effects on his voice early on. The song is set up to be something of a ballad, then, and it is a slower track, but it feels a bit more strident and anthemic than most ballads - as when the band crash in there is a real weight to the proceedings despite the slow pace early on. The song is not consistently slow, either, as it does speed up quite considerably part way through - upping the pace and heaviness quite a bit and going for a chugging, mid-paced sound with some really big vocal hooks from Overland. He lets rip in particular during the chorus, which is packed full of shimmering vocal harmonies, and the track is one of the album's most epic moments as a result - which is fitting as it closes things out. Whilst Battle Scars is not all that much different from Kings of Mercia's debut album, it builds on the sound of the first album nicely and offers up more of the same. The songwriting is strong throughout and I never tire of hearing Overland sing. Matheos showcases his bluesy side, too, and overall the album is an unpretentious and old-school bluesy hard rock album with a touch of AOR occasionally - and such a sound never really goes out of fashion.

The album was released on 25th October 2024 via Metal Blade Records. Below is the band's promotional video for Battle Scars.

Cats in Space's 'Time Machine' - Album Review

Over the past five years, there are few bands I have listened to and seen live more than Cats in Space. Despite having heard of the band before 2019, and had even seen them opening for Deep Purple in 2017, it was not until then that I started to get into them properly - and I have not looked back. It was actually when local musician Mark Pascall joined the band that I started to take notice - but his stint in the band was a short one, and by the time he was replaced by current frontman Damien Edwards I was already hooked. As someone who listened to bands like Status Quo, Queen, and T. Rex as part of my early musical education - Cats in Space's 1970s-inspired bombast spoke to me when I started to take notice properly. I remember enjoying the band's set in 2017, but it was 2019's Daytrip to Narnia (which I discussed briefly here) which made me a fan - by which time they had upped the bombast further and were channelling plenty of other influences such as Boston and Styx alongside the UK glam rock scene of the 1970s. For me, too, the band has only improved since bringing Edwards on board. 2020's Atlantis (which I reviewed here) was likely written with Pascall in mind, but Edwards knocked it out of the park - and 2022's Kickstart the Sun (which I reviewed here) saw the band incorporating more influences than ever before and pushing their sound to new epic heights. Whilst Kickstart the Sun is not my favourite Cats in Space album - it is objectively their best. It was the logical endpoint of all of their experimentations with bombast over the years - and there were even occasional moments of progressive grandeur throughout the lengthy album. Wisely, too, the band dined out on its success. Two lengthy UK tours saw the band take the album on the road - with the latter of which being a theatre tour which featured an impressive stage set for a band of Cats in Space's stature and much of Kickstart the Sun in the setlist. This tour was immortalised on the live album Fire in the Night which dropped earlier this year - which also acted as something of an end of an era, as it was the band's last independent release. Cats in Space recently signed to Cherry Red Records and released their sixth studio album Time Machine back in October - launching them into a new era as a signed band. It is the band's third album with Edwards, meaning that they have now released as many albums with him as they did with original frontman Paul Manzi, and, unfortunately, it is the first album from them which has come as something of a disappointment. Time Machine is certainly not a bad album, and there are some really strong songs here, but it is lacking the band's usual spark. It was always going to be hard to top the extreme bombast of Kickstart the Sun, so a reining in of such was perhaps to expected, but the band's usual dynamism feels tempered here. For starters, there are an overabundance of slower songs for my liking, meaning that the band's usual energy is less overt this time, and the album also seems to lack a lot of the usual bells and whistles. There are parts of this album which feel quite generic, too, which is not something I could have ever said about any of the band's previous releases.

Sadly, at times, there is an air of some of Frontiers Records' less inspiring output here - but thankfully there remains some strong moments. The album is not a disaster by any means, though, and it opens in fine fashion with the bombastic title track. Despite the main riff essentially being The Who's Baba O'Riley, the hard-hitting rocker is exactly what Cats in Space fans have come to expect. Spacey synths set an appropriate early tone, but a big Steevi Bacon drum roll soon kicks in - and the aforementioned riff sets the mid-paced rocker in action. It may not be one of the band's hardest hitting rockers, but it has a pleasing and anthemic sound - with Andy Stewart's driving piano chords keeping the punchy verses moving, whilst Jeff Brown's pulsing bass playing adds depth. The guitars are a bit less present during the verses, but they kick in for the big chorus - which is simple and lodges in the brain from the off. Later verses feature bigger vocal arrangements, with layers of harmony vocals backing the excellence of Edwards - whilst later chorus renditions also some plenty of additional vocal layers as the band once again showcase their love of Queen. There is not really a guitar solo spot here, but instead principal songwriter and guitarist Greg Hart deploys lots of his guitar orchestrations - and there are a number of memorable lead-based sections later on, again showcasing a Queen-esque sound. It was the first song to be released from the album and it certainly got me excited for what was to follow - and the anthemic title track remains a favourite and will certainly become a live staple going forward. The second advance single was My Father's Eyes, a track which did not particularly impress at first but it has grown on me quite a bit. It is one which starts off fairly slowly, but it does grow in stature as it moves along - so it does not really feel like a genuine slower song. It retains some bombast early on, too, with some big guitar stabs in between acoustic guitar-led vocal passages - whilst the band gradually builds up around this acoustic guitar base as the chorus is approached. By the time the chorus rolls around, then, the song is pretty much a typical Cats in Space rocker - and there are plenty of big vocal arrangements during the memorable chorus. There are better choruses here, but it still sticks in the brain after a few listens - and there is a fluid guitar solo later on from Hart, as well as some fun effects-heavy drum hits during a later instrumental section. Crashing Down is the first genuinely slower song on the album, and for me it highlights some of the issues I have with the album as a whole. Cats in Space have always done ballads, but they have generally been my least favourite cuts on each album - so to have so many of them here gives the album a strange overall balance. Edwards sings ballads really well, but, for me, they do little to highlight the band's core sound. It is not a terrible song, and the chorus is pretty memorable after a few passes through the album - but the song lacks spark. It feels somewhat pedestrian overall, with a much more straight-faced sound than is typical for the band, whilst the lyrics are pretty generic and lacking in the band's usual knowing humour.

Occam's Razor (Not the End of the World) is much better, though, with the rocker feeling like the Cats in Space of old. There is plenty of bombast here and the song feels like it could have sat on the previous album. Stewarts' keyboard playing is busy throughout, mixing barroom piano and rumbling rock organ with ease, whilst there is brass added by Jack Birchwood - which harks back to the some of the biggest moments of the last album. The song's intro is filled with big guitars, keyboards, and brass, then, whilst the verses are up-tempo thanks to Stewarts' busy piano playing and the drive of the rhythm section. Plenty of vocal additions come and go, creating depth, whilst brash guitar chords keep the song feeling tough as it moves along. It really builds towards its chorus, with lots of choral vocals and a huge overall arrangement, whilst Edwards lets rip through the boogie of the chorus - with brass parps harmonising well with him. A bridge section later builds towards a ripping guitar solo from Dean Howard, too, and the track never really lets up from the off - and it showcases the band at their high-octane and bombastic best. Forever & Ever slows things right down again, though, and the piano-led is not hugely different to Crashing Down. Cats in Space's slower songs all tend to feel quite similar, which is part of this album's issue, and the excellence of the previous song highlights the lack of an interesting arrangement this time. The opening synth melody, which resurfaces throughout, is nice, and there is a subtle use of strings which adds depth, but it can only boost the piano ballad so far. Howard does add a brief slide solo later on, though, which sees the song feeling a little proggy, but the core piano-led sound is returned to almost as quickly as the solo started - despite the drums being retained to add a little punch. The brief piano-based instrumental Ivory Anthem then acts as an extended intro to Run for Your Life - which sees a more rocking sound returned to. It was not a rocker which stood out to me at first, but it has grown on me - and there it a lot of strong keyboard playing from Stewart throughout. His driving piano and swirling synths early on give the track character, whilst the simple, brash verse riff is memorable. For me, though, what makes this song is its chorus - which is full of Sweet-like grandeur. If the chorus was not as strong as it is then I do not think that the song would hit that hard - but it is saved by the excellence of Edwards' chorus delivery and the interesting vocal arrangement. Other moments of the song feel a little generic AOR but on balance it is a strong effort - especially given the excellent synth and guitar solo later on. This Velvet Rush is another slow song, but it bucks the trend and does something different. This is no piano ballad, with the track instead being a lush soft rocker that sounds like nothing else the band have done before. It is one of the album's most interesting songs as a result - and it shows that not every ballad needs to sound the same. There is plenty of piano throughout the verses, but there is a synth-heavy vibe throughout which elevates things - whilst Edwards sings the song differently, employing some of his musical theatre traits at times. Subtle slide guitar moments later add to the overall smoothness of the track - and the track is an unexpected highlight thanks to its different vibe and Edwards' excellent performance.

Yesterday's Sensation feels like a throwback to the band's first couple of albums - in the sense that it is a short, bouncy track which deals with the tale of an old musician who is past his best. It is a fun song, but it is another which feels a little generic when compared to how Cats in Space's sound has grown over the years. It would have probably sat nicely on 2015's Too Many Gods, but given the bombast I expect from the band now it feels a little quaint. That being said, though, the chorus is pretty infectious. Edwards delivers the vocals with a surprising amount of venom, whilst there are some more big harmonies to make the sound bigger, whilst the yacht-rock-on-steroids keyboards which pulse away throughout the song keep the bouncy feeling in place. There is no real drop in energy here, which is welcome given the plethora of slower songs here, and the dual guitar solo between Hart and Howard is great. As such, then, the song is a decent inclusion. The last real highlight for me, though, is Immortal - which, along with Occam's Razor (Not the End of the World), represents the album at its best. Immortal is similar to that aforementioned track in the sense that it is another high-octane rocker which rarely lets up energy-wise - creating a truly bombastic sound which features everyone at their best. Busy piano once again keeps the track moving, but the brashness of the guitars gives the song a great hard rocking edge, with the chorus in particular packing a punch, whilst the hard-hitting grooves of the rhythm section ensures that the track is a real headbanger. Howard unleashes another busy and searing guitar solo during the song, too, and it is always the mark of a good Cats in Space song when he is allowed to cut loose and show all of his hard rock power. The chorus is one of the album's best, too, and it sticks in the brain from the off - with the track sure to become a live favourite going forward thanks to its energy and sing-a-long vibe. The album then comes to a close with When Love Collides - another slow song. As such, it is the third almost identical piano-led ballad on the album - and when My Father's Eyes and This Velvet Rush are taken into account that means that half of the album consists of slower songs. The balance between light and shade is off as a result for me - and previous Cats in Space albums have contained ballads without having them dominate. There is nothing majorly wrong with the songs in and of themselves, they just all sound so similar. Cats in Space have generally not found a way to make their ballads as interesting as their rock songs, This Velvet Rush aside in the context of this album, and having so many of them here highlights that. That being said, When Love Collides does grow in stature somewhat later on, with some big choral vocals and another strong Howard solo, but overall the vibe is very similar - so, for me, the album ends on a bit of a downer. Overall, then, I just cannot help but be somewhat disappointed. Expectations were high following Kickstart the Sun and Time Machine feels like a step back despite some strong songs. There are too many ballads here and some of the rockers feel a little generic. The best songs here really shine, though, and I hope that the band can continue to build on their best assets going forward despite this blip.

The album was released on 25th October 2024 via Esoteric Antenna/Cherry Red Records. Below is the band's promotional video for Time Machine.

Skarlett Riot's 'Caelestia' - Album Review

It has been quite a while since the Scunthorpe-based four-piece Skarlett Riot was mentioned on this blog in any meaningful capacity. I briefly covered their strong Main Stage-opening set at 2022's iteration of Bloodstock Open Air - but the last release of theirs I covered was the 2016 EP Sentience (which can be read here). 2016 is quite a while ago now and, for whatever reason, I dropped off the Skarlett Riot train not too long after covering Sentience. I remember enjoying Sentience at the time, but I have not heard it for many years - and I also remember thinking that it was not quite as strong as 2015's We Are the Brave, the band's preceding EP. I first came into contact with Skarlett Riot properly in 2014, when I saw them open for Edguy in London. I also saw them twice in 2015, opening for both Gus G. and Kamelot - and I found it strange that Skarlett Riot had seemingly become the go-to opening band for power metal shows, considering that they are not at all a power metal band. I remember trying 2013's Tear Me Down, the band's debut album, not long after seeing them with Edguy - but it did little for me. By the time the 2015 shows came around, though, We Are the Brave was out and it contained some memorable songs. I remember buying the EP at one of the 2015 shows and I ended up listening to it quite a bit - which led to me picking up Sentience. Perhaps the fact that I did not enjoy Sentience as much as We Are the Brave caused my drop-off - but, for whatever reason, I did not listen to Skarlett Riot much at all between 2016 and 2022. As such, I missed out on both 2017's Regenerate and 2021's Invicta - the band's second and third albums. I still followed the band on social media, so I was aware of both, but I had come to the view that, despite enjoying We Are the Brave, they were just not really for me. I have often struggled with modern UK bands who seem very influenced by American post-grunge and what is sometimes called radio rock - but I have generally gotten over this aversion in recent years, and am now big fans of bands like The Fallen State and Stone Broken who could be said to fall into such a sound. In the run up to 2022's Bloodstock, though, I decided it was time to catch back up with Skarlett Riot - so I picked up the albums I missed and found myself enjoying them. They are heavier than anything I remember the band doing in the past - with the injection of some harsh vocals and much more of an overtly metallic sound. I have kept up with the band since Bloodstock, then, and would consider myself a pretty big fan again - so, when it was announced earlier in the year, I pre-ordered the band's fourth album Caelestia, which dropped at the end of October. Sound-wise, the album is not hugely different to the last two - but it is heavier still. Frontwoman Chloe Drinkwater's voice is as easy on the ear as ever, and her occasional heavier screams are well done, but bassist Tim Chambers' harsh vocals have much more of a presence this time - with a bit of a metalcore vibe present throughout the album's 10 songs. It is the band's second album with their current line-up, with guitarist Daniel Oglesby and drummer Luke Oglesby rounding things out.

Lead single Chemicals kicks things off, and the heavier side of Skarlett Riot is deployed right from the off. There is no slow build up here or reliance on pop hooks to draw the listener in - instead a metallic riff and plenty of Chambers' harsh vocals set the tone. Chugging guitars and anthemic drums set the tone during this chaotic intro - whilst a brief pause for breath soon introduces what serves as the main verse riff before Drinkwater starts to sing the strident mid-pace verse with all of her melodic character. The contrast between her voice and Chamber' harsh vocals is a big part of the album's sound. She dominates, but the harsh vocals add plenty of depth - with the verses including some heavier moments due to harsher backing vocals and riffy injections. The chorus is a bit poppier, with a synth sheen adding to the more cinematic, mid-paced guitar pattern - with Drinkwater's melodies memorable from the off. There are plenty of strong choruses on this album, and Chemicals ensure that it starts with a bang. The melodies are pleasing throughout - and a later breakdown section introduces some of the heaviest riffing on the album overall, before both Drinkwater and Chambers scream in unison as the track comes to a close. Spiralling ups the pace, and the faster track opens with a pretty venomous riff - and the overall energy levels are upped from the off. Whilst the song's chorus, which is another very hooky one, is much more mid-paced and, again, cinematic - the verses showcase that metalcore influence referenced earlier. Daniel's guitar riffing is much faster here, with a spikier and thrashier feel, whilst Luke employs plenty of double bass drum patterns to keep the overall pace up. Harsh vocals are again utilised during the verses to harmonise with Drinkwater but, despite the faster overall pace, there is less of a focus on harsh vocals as a whole this time - although there is a groovy breakdown section with a rather nu-metal-esque feel which includes some effects-heavy growls. Lullaby, despite its name, is not a calm song - but it certainly slows things down compared to the previous two tracks. It is much more dynamic overall, mixing light and shade nicely, but there remains plenty of the band's heavier sound as it kicks off - with a big riff leading the charge early on. The song opens in a similar manner to the others so far, the, but when Drinkwater starts to sing the band drop away quite considerably - with clean guitar melodies backing her sweet voice, whilst occasional bass slides and fills add depth. I would not exactly call the song a true ballad as there are enough harder rocking moments to make it feel weighty - but it certainly plays with its arrangement more than the previous two. The chorus sees the band return to something more akin to the album's trademark sound - with a mid-paced, hard-hitting groove which features strident melodies from Drinkwater and some occasional backing growls. A guitar solo is thrown in later, too, which is not a tactic that the band employ on every track - but given the song's varied arrangement its inclusion works well.

Run returns to more of a mid-paced hard rock sound, with Daniel laying down a hooky guitar lead to set the tone early on - whilst wordless vocal melodies and a strident groove from the rhythm section sit behind him. Once Drinkwater starts to sing, the song continues in a similar vein - with parts of the verses feeling quite staccato overall thanks to plenty of drum stabs and guitar chugs. As the song moves forward, though, the vibe somewhat shifts - going for much more of a metallic sound. Following the first chorus, which is another big one that really sticks in the brain, the band go for a much heavier sound - with breakdown-esque grooves and plenty of screams from Drinkwater. Her harsh vocals are strong. They are perhaps not as full-bodied as Chambers' efforts, but they work well when they are employed - and the second verse is full of anger thanks to her. The mix of heaviness and melody is a welcome one, and the final chorus benefits from the opening guitar lead being reused. Hold Tight slows the pace down quite considerably, with dense synths and murky clean guitars creating a soft sound early on - over which Drinkwater soon sings. Her voice is somewhat mixed into the background here to give the song a distant and unsettling sound, which works well, but it soon grows from this humble beginning thanks to a heavy riff and another strong chorus - which transforms the song when it kicks in. The track never really returns to that murk again, and from this point on it is generally another mid-paced rocker - with a good mix of metalcore riffing and bursts of harsh vocals. There is a brief return to the opening vibe just before the final breakdown and chorus, with Drinkwater's voice chiming once again out of the darkness, but generally the track is very much the band's core sound. Limits also opens fairly slowly, with some hooky synths and Drinkwater's strident vocals - but it is clear from the off that the track will explode into something bigger pretty quickly. It never gives the impression of being a ballad, so when a big drum roll and guitar riff kick in business is usual is restored. Whilst the song still rocks, and the presence of a bit of a breakdown section with harsh vocals, it is perhaps less heavy than some of the others here. There are shades of the band's older sound somewhat - with post-grunge and and pop punk vibes sitting alongside more metallic sounds. Who Do You Think You Are? is similar overall, and the melodic track reminds quite a bit of those shows I saw in 2015. Some versions of the album come with a recording featuring Ambre Vourvahis (Xandria) providing additional vocals as a bonus track - but either way the song is one of my overall favourites on the album. It is less heavy than most of the tracks here, but it still rocks pretty hard - and there is a real emotional edge to the piece. Drinkwater sings really well throughout the album, but this song might include her best vocal performance here. Her chorus delivery really drips with emotion, and some parts of the song are much more atmospheric which really allows her voice to stand out. She also really lets rip later on, during a heavy closing section, with some powerful screams that see her sounding more vital as a harsh vocalist than she has before. The song is really memorable thanks to the powerful chorus and the surprise heavy ending - and it is an overall album highlight for me.

Shatter is another that opens slowly. Subtle synths slowly fade in as the track starts and it takes a little while to get going - but soon Drinkwater starts to sing in a bit of a distant, stop-start manner. This creates a bit of an unsettling tone - and much of the song actually channels such a feeling. Once the rest of the band kick in, the song morphs into something of a tech metal anthem - with juddering djent-adjacent riffing which is something new for Skarlett Riot. The band have never really gone for this off-kilter, groove-based approach before - but the riffing is pretty powerful as a result, and Chambers' harsh vocals are utilised liberally. The verses are essentially sung as a duet between him and Drinkwater - before a more strident and less knotty chorus is more typical of the band's usual sound, despite a few stop-start drum fills during it. Another rare guitar solo is utilised here, too, although it is less lengthy than the one which was featured during Lullaby - and it is largely used to intro the final chorus and add some extra guitar interest under Drinkwater's vocals. Violence returns to opening in a heavier manner following a few slower starts - with harsh vocals setting the tone from the off against some grungy guitars. The song's overall vibe is quite mixed, though, and it mixes these heavier sections with really anthemic moments which hark back to the band's older EPs. The chorus feels like old-school Skarlett Riot, despite the inclusion of some harsh vocals, whilst other parts of the track are very much metalcore-inspired due to Luke's relentless double bass drumming and plenty of snappy riffing. The riffing here contrasts nicely with the grungier guitar tones utilised during other parts of the song - and it is great that the band continue to look to diversify their sound. This may be the most diverse song on the album in terms of different heavier vibes sitting side by side - and it shows that slower moments are not always necessary to ensure variety. The album then comes to a close with Luminate, another track which opens slowly. Whilst not ballad, it is a song which retains its slow feeling throughout - even when things get heavier. Drinkwater sets the tone early on, singing against a backdrop of synths and clean guitars as the song opens up - before a slow, yet heavy, riff kicks in. There is almost something doomy about the heavier parts of the song. The riffing is sludgy, with backing harsh vocals adding depth, and there is never an injection of pace to spice things up. As such, the song has a crawling and monolithic sound - which, again, is pretty different for the band. Parts of this song might be the nastiest that Skarlett Riot have ever sounded, but a strong, melodic chorus is still included - and it shows how much the band have evolved over the years. The heaviness suits them, though, despite Drinkwater's poppy vocals - and the band's strong mix of accessibility and heaviness likely serves them well. Overall, then, I am glad to be back on board the Skarlett Riot train. Caelestia is a very memorable collection of songs which sees the band pushing in a heavier direction whilst still maintaining their core identity. Evolution is always welcome and the band have managed to do so well on this album - and hopefully I will get to see them live again sometime soon now that I am much more familiar with them.

The album was released on 25th October 2024 via Despotz Records. Below is the band's promotional video for Chemicals.

Kris Barras Band - Exeter Review

'Local boy done good' stories are always heart-warming. They can be a bit cliché, but it is always good to see a local person make waves nationally, and even internationally, in their field - and that is how many in Devon feel about Kris Barras (vocals/guitar). Sadly, I cannot say that I have been following his career since the beginning - but since 2021 I have been championing his work after finally taking the plunge, and in the few years since I started paying attention his star has risen further. Whilst I had heard his name a few times before I came into contact with him proper, given his reputation as a blues player I had decided not to check him out. I am just not the biggest fan of the blues, so when I saw him live for the first time opening for Black Stone Cherry in 2021 I was surprised at how hard-hitting his set was. In truth, 2021 found Barras on the cusp of a bit of a change - with his next album channelling some much more modern hard rock influences as he left some of his bluesier roots behind. The blues will always be a part of Barras' DNA, and he still throws in such moments on his more recent albums, but his later work is generally more to my taste - and he is an artist that has improved with age in my opinion. In recent years, then, I have seen him and his band live quite a few times. Given his Devon roots, he generally plays at least one Devon show as part of every tour. I have seen him in Exeter, Tavistock, and even in his hometown of Torquay previously - with that aforementioned Torquay show taking place back in April to launch the touring cycle for latest album Halo Effect (which I reviewed here). The show even acted as a listening party for Halo Effect, with the album being played over the venue's PA before the sole support act kicked off, and it is an album which I have listened to quite a lot over the year. Whether it makes my Albums of the Year list remains to be seen, but it is a very enjoyable album of modern, anthemic hard rock - with a few ballads and bluesier moments thrown in. With the album reaching number 5 in the Official UK Album Chart, too, 2024 has certainly been a successful year for Barras. He has been pretty busy on the road, too, touring in both the UK and in mainland Europe, and has continued to receive strong reviews wherever he goes. Given the success of Halo Effect, then, just one run of UK shows this year was not going to be enough - so following the April tour concluding, Barras announced another run of shows for the winter. The last show of the tour, and the year as a whole, was scheduled to be in Exeter - so I picked up a ticket immediately. Barras' local shows are not to be missed and, unsurprisingly, it sold out. He is one of the best Devon rock exports currently, but he always remembers his roots when it comes to touring - and it was great to be able to see him live twice this year fairly locally.

The venue of choice, as it was back in 2022, was the Phoenix - and I got to the venue just as the night's opening act The Nocturnal Affair were starting their set. The Las Vegas-based five-piece turned out to be quite decent, and forged a metallic gothic rock sound with occasional heavier moments to create a generally pretty captivating vibe which the crowd seemed to enjoy. Frontman Brendan Shane had a great voice and easily managed to build a rapport with the crowd - and he even threw in a few bursts of harsh vocals into some of the songs. The band did not feel all that metallic overall, though, and their music was much more rock-based overall I thought - despite a few crunchy riffs and busy, shredded solos. The overall melancholy of the band's gothic sound likely tempered the heaviness and there was a strong synth backing throughout many of their songs - with Shane adding some piano lines here and there when needed, too. Probably the song which stood out to me the most during the set was the early anthem A Thousand Ways to Die - which was likely the hookiest of the night. In truth, none of the songs really disappointed - but that one felt the most anthemic and memorable. It was a shame, then, that none of the other songs stood out in quite the same way. The band's sound is certainly enjoyable, but I would have liked a few more anthemic moments in the set - despite the rest of the songs generally still being enjoyable. The Nocturnal Affair's sound contains a lot of tropes which I tend to like, though, so they seem like a band that I should check out further. Gothic music sometimes takes a few listens for the atmosphere and melancholy to hit home - and based on their strong showing last night I think The Nocturnal Affair merit further investigation.

Sadly, though, I cannot say the same about Scotland's North Atlas who followed. Whilst it is accurate to say that I have never seen a band quite like North Atlas before, their caustic and industrial sound did little for me - and when this electronic sound was fused with a strange, almost folk metal, aesthetic, the whole package just seemed rather confused. The singer was dressed all in white, in what at first I thought was a tracksuit but it was not, whereas the rest of the band were all in various states of rugged dress with Norse-esque warpaint. The mix of styles was very strange - and they even adorned the stage with some Pagan-esque folk horror statues. The music, though, did not really give off a folky vibe at all. There was one very percussive number early one which had strains of a Viking-esque war cry underneath all of the leaden riffing and percussion, but generally the band's overall sound was pretty modern and electronic driven - with both the guitarist and bassist often abandoning their main instruments to fiddle around with synths. As such, I am really not sure what to make of North Atlas. It is always good to see a band doing some genuinely different, and I doubt there is another North Atlas out there, and they certainly put on a memorable performance - but not necessarily for the right reasons. Aesthetics only go so far, but I cannot remember what any of their songs sounded like 24 or so hours on. I can picture the band and their stage set, but I cannot hum any of their songs - which would suggest that their music made very little impression. It did not seem all that melodic, and the band seemed like one which preferred to create a caustic and noisy vibe than craft strong and memorable songs. That being said, there seemed to be a few down at the front who seemed pretty into what North Atlas were doing - but most around me towards the back just seemed a bit bemused by the whole thing. I imagine that North Atlas are used to being divisive, and perhaps even revel in it, but it is fair to say that their set was not really for me - and I imagine I was not alone in feeling that way.

Thankfully, though, Barras and his band were soon on-hand to set things straight - and for the next 90 minutes they delivered a strong 14-song set of modern rock. With seven cuts from the new album played, and only three of the songs featured not from the last two albums, the setlist was very forward-looking - with many of his best modern anthems roaring out of the speakers. The riffy Hourglass got the set off to a fine start, with Barras appearing at first without his guitar to prowl the stage before one was brought to him just in time for the solo, whilst the anthemic Dead Horses, a personal favourite, completed a great opening one-two punch. I did wonder, though, if Barras was perhaps suffering from illness a little. His voice sounded a little rougher than usual, particularly early in the set, but he still sounded great - and perhaps his guitar playing was better than ever. There are plenty of bugs going around, and touring is famously an unhealthy pastime, but he battled through whatever the issues were - with his tight band sounding as good as ever. Savages was the first big crowd sing-a-long of the night, thanks to its big chorus, whilst Josiah Manning (guitar/keyboards/vocals) delivered a shredded guitar solo of his own. The energy barely let up at all throughout the first half of the set. Hard-hitting rockers like Unbreakable and Who Needs Enemies sat nicely alongside slightly more cinematic pieces such as the melodic These Voices - before a powerful version of With You brought this early onslaught to a close. Barras and the band have made a bit of a change to the live set this year and have started to reintroduce some keyboards back into their sound - after abandoning them during their heavier transition. Manning has added his piano playing to the set with him and Barras then playing a couple of songs in a stripped back manner. New cut Landslide was the first piano-led track played, which Manning capped off with a lengthy, classically-inspired solo, before Barras came back armed with a guitar - launching into a bluesy solo which transitioned nicely into Watching Over Me, the first older cut played. The ballad always feels like the centrepiece of any Barras show, and the piano-led version worked really well again - with plenty of room for Barras' soloing before the rest of the band joined in towards the end to add weight. The rest of the set was heavy again, though, following this little break - with the anthemic Fall to Fly and the metallic Apocalypse the last new songs played before a lengthy rendition of Ignite (Light It Up) was a vehicle for soloing. There was a lot of back and forth between Barras and Manning, but the spotlight was also turned over to Frazer Kerslake (bass guitar/vocals) and Billy Hammett (drums) for some rhythmic playing. This then led nicely into a main set-closing version of My Parade, which ended with Barras in the crowd conducting a big sing-a-long. The cheers were huge as the band left the stage - but there was time for one more. Hail Mary will likely be the song which Barras is remembered for, and it remains his anthem despite all of the sound shifts in recent years. The song always goes down well live, too, and it worked well as a powerful encore - with the whole crowd singing along one last time before the night came to a close. The setlist was:

Hourglass

Dead Horses

Savages

Unbreakable

Who Needs Enemies

These Voices

With You

Landslide

Watching Over Me

Fall to Fly

Apocalypse

Ignite (Light It Up)

My Parade

-

Hail Mary

Barras and his band never disappoint live and I have really enjoyed seeing them a number of times over the past few years. He is showing no signs of slowing down, either, and with each album he seems to go from strength to strength. He is a genuinely big name in the UK scene currently and I can only see that growing further thanks to his songwriting ability and affable personality. I am sure that it will not be too long before he returns to Devon - and I will be there when he does.

The Almighty - Wolverhampton Review

As I write this blog entry, it is now December. I have two gigs left to look forward to in 2024, one tonight and one just before Christmas, and 2025 is already shaping up to be another pretty busy year - with tickets for Sabaton, Arch Enemy, and Saxon picked up over the past couple of days following being paid. The gig train keeps on rolling, but I am actually looking forward to a few quiet weekends at home now before my last trip away of the year to catch Mostly Autumn in Bilston on the Sunday before Christmas. December can sometimes be a busy gig month, but the past couple of Decembers have been fairly quiet for me. It kicks off in style later with the Kris Barras Band in Exeter - but generally it is going to be quite a quiet month. Given how busy both October and November were, though, this is no bad thing - and November came to an end with a fantastic night in Wolverhampton with the recently-reformed The Almighty. Following a strong showing from Robert Jon & The Wreck in London the night before, I headed up to Wolverhampton on Friday ready for another excellent night at KK's Steel Mill. I had a bit of a wander around town before checking into the hotel, picking up a couple of LPs at the city's only record shop, and then I enjoyed a quiet couple of hours in the hotel before heading down to the venue. Since KK's Steel Mill opened a few years ago and the Civil Hall complex finally re-opened last year after a lengthy refurbishment project, Wolverhampton has become one of my favourite live music destinations. It became a real wasteland for a few years whilst the Civic Hall was closed - but with that larger space now open again and KK's Steel Mill on the scene the city is a real hotbed of gigs again. KK's Steel Mill has fast become one of my favourite venues in the country - and Friday's trip there was my third of the year following excellent showings from both Mr. Big and Kamelot. As mentioned before, the reason for this latest trip to Wolverhampton was to catch The Almighty live again. I saw the band live for the first time last year in London, and it ended up being one of 2023's best gigs. I had expected to enjoy the show, but I enjoyed it far more than I ever thought I would. I only got into the band after they had previously broken up - as my first exposure to Ricky Warwick (vocals/guitar) was when he joined Thin Lizzy. Since then I have seen him many times live with Thin Lizzy and spin-off group Black Star Riders - as well as as a solo artist. He is a great singer and songwriter, but last year's Almighty show in London was the best of the lot. Despite the band only originally reuniting for three shows last year, by the time London show rolled around it was clear that more was to come. Warwick hinted at such during the show -  and shortly after the short tour, two more similar short tours were announced for 2024 and 2025. I have a ticket for Nottingham next year, too, and I bought my Wolverhampton ticket at the same time - high off the excellent London show. It is clear that the band want to keep things fairly casual and not return in a full-time capacity - but the four musicians are clearly enjoying being together again, having headlined Steelhouse Festival earlier this year and Japanese shows are on the horizon.

Whether the band would be as good second time around remained to be seen, but first the large Steel Mill crowd were treated to around 45 minutes or so from NWOBHM legends Girlschool. I had only seen the band live once previously, and that was a rather forgettable performance opening for Saxon a couple of years ago on a bill where they were also overshadowed by Uriah Heep and Diamond Head. As such, I was keen to check them out again. I remember that their set two years ago was plagued with sound issues, and there were monitor issues also, but sadly this Wolverhampton set was not much better. I do not think that there were monitor issues this time, but the overall sound was quite mushy and very drum-heavy. Given the band's legendary status within the NWOBHM movement, too, I have never really warmed that much to Girlschool. I have spun 1980's Demolition a few times over the years but I have never really looked beyond that debut album - and I tend to find the band's material very one-paced and lacking in any sort of variety. In fairness, that could be said about quite a lot of NWOBHM bands, but given that Girlschool tend to sit towards the top of the NWOBHM tree I always seem to expect more from them. They gave it their all, and Kim McAuliffe (vocals/guitar) still has a powerful voice, but they came over as quite lightweight - even with stand-in drummer Larry Patterson, currently of Alcatrazz, really hitting the drums hard. There are still some good songs in the band's catalogue, though, with the opening duo of Demolition Boys and C'mon Let's Go setting the set on the right path initially. I also thought that newer cut It Is What It Is was pretty enjoyable, though, and it is good to see that a band of Girlschool's vintage is still creative - as so many are not. After a while, though, as I mentioned last time I saw them, all the songs started to roll into one. Girlschool are good at what they do but what they do wears thin after a while - with very simplistic punky riffs and rock 'n' roll leads being all they really have to give. The poor sound did not help, which is rare for the Steel Mill, but given that I have seen the band twice now and both times they have had poor sound when other bands on the same bills did not I do have to wonder if they are the common denominator in this situation. Nevertheless, though, the band did not outstay their welcome - and the atmosphere did pick up as they moved through their set. Their customary cover of Motörhead's Bomber went down well, with plenty around me singing along, whilst their signature tune Emergency brought their 45 minutes on stage to a high-energy close.

Following 30 or so minutes, the lights in the venue went down - and drummer Stump Monroe took to the stage to launch into the drum intro to the fast-paced Crucify. The Almighty are not a fancy band, so the drum barrage was a perfect way to start the show - with the punky, thrash-adjacent song getting the next couple of hours off to a great start. Whilst the band have a number of live favourites which they are always likely to play, especially given the part-time nature of their reunion, the setlist was pleasingly different from last year's shows - which helped to keep things interesting whilst ensuring that a number of key anthems were still hit. Warwick was in fine form as usual, his voice soaring above the band - whilst the cutting lead playing of Tantrum (guitar/vocals) added some classic rock flair to the band's tough sound. Fan-favourites and deeper cuts sat side-by-side throughout, with the Thin Lizzy-esque Destroyed hitting the spot early on - before a rare trip to 1996 and the Just Add Life album saw the punky Do You Understand wheeled out. Whilst some in attendance had also likely seen the band live last year, I imagine that for many this was their first Almighty show for many years - so the atmosphere was electric from the off. Overall, the vibe was very similar to last year's London show - with everyone singing along. The huge chorus of the mid-paced groover Wrench echoed around the venue as the band chugged through it - whilst the Alice in Chains-esque riff of personal favourite Addiction was another early highlight. Given the band's long layoff, too, it is amazing how tight they have been at these recent reunion shows. Tantrum had not been in the band since 1991 and the rest of the guys had not played together since 2009 - but these shows have seen the original line-up feel tighter and more powerful than ever. Warwick spoke briefly of the band's early days, before wheeling out the first song they wrote together, Gift Horse, but generally he let the music do the talking - with the slower burn of Little Lost Sometimes and the folk punk of the shout-along Jonestown Mind showcasing the variety of the band's songwriting ability. As was the case last year, the atmosphere never dipped at all. Each song was greeted by the crowd as warmly as the last - and whenever Warwick wanted the crowd to sing they did. The rest of the band were animated, too, with bassist Floyd London in particular being active - at one point getting down into the gap between the crowd and the stage to rock out with those down at the front. Apart from a couple of slower tracks, including the depressing Bandaged Knees, the band just kept rocking. Metallic anthems such as Power and Takin' Hold were highlights of the later portion of the set - before a number of real fan-favourites were wheeled out to bring the main set to a close. Old single Devil's Toy had everyone singing along towards the end - but the biggest crowd interaction moment came with main set closer Wild & Wonderful, during which Warwick had the large KK's crowd sounding as if they were filling an arena. It was a great end to a 19-song run, but there was still time for a two-song encore - with one last slower track and a final anthem. Jesus Loves You...But I Don't always shines live, and the final heavier section was shouted back at the band perfectly - before old single Free 'n' Easy brought the curtain down on another fantastic evening of live music. The setlist was:

Crucify

Destroyed

Do You Understand

Wrench

Ultraviolent

Addiction

Gift Horse

Praying to the Red Light

Little Lost Sometimes

Crank and Deceit

Way Beyond Belief

Jonestown Mind

Power

Takin' Hold

Bandaged Knees

The Unreal Thing

Devil's Toy

Over the Edge

Wild & Wonderful

-

Jesus Loves You...But I Don't

Free 'n' Easy

I did wonder whether the novelty would have worn off somewhat seeing The Almighty twice within the space of a year - but it really had not. The band were just as good this time as they were last year, and the confines of KK's Steel Mill perhaps only enhanced my enjoyment of the show given how great the venue is. There are few bands like The Almighty in reality, and their no-nonsense hard rock and metal is music for any occasion. I am glad that they are back, even if their reunion is a sporadic and laid back one - and I am already looking forward to Rock City next year.