Caligula's Horse - Bristol Review

May has been an extremely busy month. There has not been a weekend where I have not travelled away for at least one concert and, in truth, I am starting to feel it! It is not as easy as it was to get on the train for multiple weekends in a row to see bands live - but I still enjoy it. I am quite glad to have a bit of a break in June, though, despite having some local shows to look forward to, as, following last night in Bristol, I am not spending the night away again now until early July. I will certainly enjoy catching up on some sleep over the coming weekends - but May has been full of excellent shows, with lots of 'firsts' including shows by The Black Crowes and Bruce Dickinson as a solo artist. Yesterday's trip to Bristol was also for a 'first', as I boarded the Thekla in the evening to catch the Australian progressive metal four-piece Caligula's Horse on their latest European tour. I had been familiar with Caligula's Horse in name-only until earlier this year, but I decided to take the plunge with the release of their sixth album Charcoal Grace (which I reviewed here) back in January. I have been slowly branching out when it comes to prog metal in recent years - and I have more of an appreciation for the modern take on the sound now than I did previously. I think TesseracT were the band which helped me to bridge the gap somewhat - but Caligula's Horse have enough classic-sounding prog metal in their sound thanks to the soaring guitar leads of Sam Vallen to draw me in. I have listened to Charcoal Grace quite a bit this year, and have also dipped my toe into both 2015's Bloom and 2020's Rise Radiant, but I am still certainly no Caligula's Horse expert. There are still three of the band's albums I am yet to experience, some of which seem quite hard to find physical copies of, but when I saw that they were playing in Bristol as part of their latest European tour the trip seemed like a bit of a no-brainer - especially as the tickets were under £20. It is rare that a gig is less than £20 these days and I knew that I would still have a good time at the show despite not being fully versed in the band's catalogue. I always enjoy going to the Thekla, too. Whilst I imagine the views would be pretty awful from further back by the bar, the sound and atmosphere when stood closer to the stage has always been excellent in my experience. It had been a while since I had last boarded the Thekla, too, so it was nice to return - and there were plenty of others who clearly fancied a Thursday night out with Caligula's Horse, as the venue was pretty much full throughout I would say. It was certainly packed down by the front of the stage and it was clear from the off that the band have some very dedicated fans - as some were very intense in their enjoyment of the show, particularly given that Caligula's Horse are certainly not the heaviest of bands.

Before the main event, though, there were two support acts to warm the crowd up. Up first was the American three-piece Four Stroke Baron - a band whom I had heard of thanks to Pete Pardo recently reviewing their latest album Data Diamond on the Sea of Tranquility YouTube channel. Given his comments about the album I expected the band to be weirder than they ended up being, but I think that it is fair to say that the band are not that conventional. Disappointingly, though, a lot of the band's sound relied on a backing track. In fairness that could sometimes be said about Caligula's Horse given that they do not have a keyboard player and are essentially a guitarist down compared to their historic configuration, but Caligula's Horse are driven by Vallen's riffing primarily and the synths are generally background ambiance - whereas with Four Stroke Baron there was a lot of emphasis on pre-recorded synths and even synth bass which sometimes left the band's actual bass player standing around not doing anything. Despite some techy riffing at times, much of the riffing was not exactly that memorable. I was expecting something much more chaotic, but it seems that the band's main quirks come from their use of synths and also plenty of strange and sometimes quite obnoxious vocal effects. The singing was hard on the ears sometimes thanks to these effects, and this sound was occasionally doubled down on due to the use of some talk box guitar melodies. My main issue with the band overall, though, is that nothing really stuck with me. None of the vocal or guitar melodies were especially memorable and thinking back to their set now there are no melodies at all which I can recall. The strange vocal effects certainly did not help on that front, and likely cloaked any potentially memorable melodies in layers of processed sounds, but I also wonder if Four Stroke Baron are one of those bands who just enjoy sounding weird and off-kilter for its own sake - rather than actually doing something memorable songwriting-wise. I think it is fair to say that Four Stroke Baron are not for me, then, and I was pretty glad when their set came to an end.

The German three-piece The Hirsch Effekt followed and, whilst they are not the sort of band I would sit and listen to at home, I generally enjoyed their genre-bending and pretty heavy set. There was a lot more variety to be found here than there had been in the previous set - and much of this came from the interplay between Nils Wittrock (vocals/guitar) and Ilja John Lappin (vocals/bass guitar). Some of Wittrock's guitar playing was jaw-dropping and Lappin was also a busy bass player - generally doing more than just traditional rhythm-keeping to allow Wittrock to go off on one. Vocally, though, I thought the band were a bit weak. The heavier sections when the two of them screamed sounded pretty strong - but I did not think that either had particularly tuneful or strong clean voices. This did stop the band from really grabbing me, but many of the instrumental passages were impressive - again particularly those which were faster and heavier as these really allowed the two instrumentalists to go crazy. The speed of the guitar playing during the chaotic and frantic closing song was unlike anything I had seen before really - so the band certainly need to get some credit for originality. Despite finding the band's set a lot more enjoyable than Four Stroke Baron's, though, I do get the impression again with The Hirsch Effekt that there is likely an element of experimentation for its own sake. To me, a carefully crafted and original core sound is always going to beat a chaotic melting pot of different sounds in an attempt to be 'out there' and original - but at least The Hirsch Effekt's songs were generally more memorable musically, largely thanks to the guitar playing, than what came before. In fairness I think I am likely in a minority in thinking so - as the band received a pretty strong reception throughout their set, particularly as it progressed. There seemed to be a few fans in attendance and there was a lot more warmth directed their way than Four Stroke Baron had received previously. I certainly enjoyed The Hirsch Effekt's set a lot more but, as I said before, I cannot ever see myself sitting down at home and listening to this band's wide-ranging music.

After two so-so support acts, then, I was glad when the lights went down later and Caligula's Horse took to the stage. For the next 90 minutes or so the band delivered a strong 12-song set which was packed with lots of memorable prog metal anthems - which took in their four most-recent albums and particularly focused on Charcoal Grace. The album's opening two songs got the set underway, with Vallen nailing the soaring opening guitar lead of the lengthy The World Breathes with Me before frontman Jim Grey took to the stage and showcased that he could pull off his various melodic vocal deliveries live - with the crowd helping him out during the song's chorus. As a frontman, though, he did grate on me a bit after a while. He was funny sometimes, but he clearly loves the spotlight - and some of his between-song banter was a bit 'look at me', which did get a bit tedious. That being said, though, as a singer he was flawless. The punchier Golem showcased his grittier side somewhat, with the crowd jumping during the heavy main riff, whilst drummer Josh Griffin laid down plenty of intricate grooves. After this opening of new cuts, the set then moved back to Bloom and then moved forward in time - taking in each album which followed. The first two songs of Bloom were next then, the mellow title track and the driving Marigold, which again featured a lot of singing during the drawn-out chorus. The highlights of the set for me, though, were the two songs played from 2017's In Contact. I have not been able to track down a copy of the album on CD yet, so was unfamiliar with the two songs played, but they really impressed. They were both some of the heaviest and upbeat moments of the set, with some excellent guitar playing from Vallen throughout. It is certainly an album which I need to hear, but it seems to be out of print sadly - and no-one seems to be looking to offload their CD copies on eBay or Discogs. I am sure I will get hold of it one day, but Dream the Dead in particular really impressed - with less of the band's usual atmospheric sound and more weight overall. This punchier sound was then retained during three songs from the more straight ahead Rise Radiant - with Slow Violence perhaps being the pick of the bunch. Rise Radiant is the band's least progressive album overall and there was a big focus on melody instead - with the chorus to Slow Violence perhaps being the band's best yet. It was sung pretty loudly by the crowd, as was Oceanrise which followed, before the band moved back to the modern day to close out the main set with the relatively heavy The Stormchaser and the epic Mute. Mute was another overall highlight for me, with Grey's opening vocals really setting the tone and Vallen's lengthy closing guitar solo perhaps the evening's best guitar moment overall. The curfew was fast approaching at this point, but the cheering brought the band back out for one more - and they powered through another pretty heavy track overall in Daughter of the Mountain which brought a memorable and high-octane set to a powerful close. The setlist was:

The World Breathes with Me

Golem

Bloom

Marigold

Dream the Dead

The Hands Are the Hardest

The Tempest

Slow Violence

Oceanrise

The Stormchaser

Mute

-

Daughter of the Mountain

Despite the strange support bands, which probably suggests that I am pretty out of touch with what is generally considered to be prog metal these days, I enjoyed my time with Caligula's Horse in Bristol. It was great to see a band like Caligula's Horse attract such a decent-sized crowd on a weeknight and the atmosphere was great throughout. I have really enjoyed my journey with the band over the past few months and I hope that it continues - as they have a great core sound which I am looking forward to delving even deeper into.

Riot V's 'Mean Streets' - Album Review

I have recently written about albums by both Vanden Plas and Unleash the Archers, bands which regular readers of this blog may have been surprised to learn had not been covered here before, and I think that it is fair to say that another glaring omission over the years has been the New York-based heavy metal legends Riot. Given how long the band have been going and how important they are considered to be in the context of the American metal scene, particularly the US power metal sound, it took me an awful long time to actually give them a go. I think I first checked them out properly in 2019 after picking up their classic 1988 release Thundersteel having likely heard some discussion about the band on the Sea of Tranquility YouTube channel. I have been turned on to a number of bands through Pete Pardo and his various collaborators' discussions, and Riot was certainly one I should have listened to before I did - although I think that I had previously heard the live version of Road Racin' which was featured on the 1980 compilation album to commemorate the inaugural Monsters of Rock festival prior to my first listen to Thundersteel. I soon picked up 1981's Fire Down Under and the band's last album, 2018's Armor of Light, and started to immerse myself in the band more - and I think it is fair to say that I am quite a big Riot fan these days. I still do not own all of their albums, as they have released quite a few, but I own most of the big ones and a few of the lesser known ones - and have enjoyed all of them to a greater or lesser extent. Crucially, too, I have spent quite a bit of time with their last couple of albums: 2014's Unleash the Fire and the aforementioned Armor of Light; the two albums released by the band since re-branding themselves as Riot V in 2013 to acknowledge that they were entering a new era without any founding members following the death of guitarist Mark Reale in 2012. Given the negative reaction the metal world generally affords to bands continuing on with questionable line-ups, Riot V continuing on Reale's legacy has largely been supported. Perhaps the simple addition of 'V' to the band's name, to highlight that current frontman Todd Michael Hall is the band's fifth singer, showed enough respect to Reale that Riot was no longer the same to bring everyone along with them - but I also think that the quality of both Unleash the Fire and Armor of Light likely helped, too. Riot V certainly carry on the power metal sound the band established on Thundersteel, which is not a surprise given that bassist Don Van Stavern co-wrote a lot of that album, but rarely hark back to the bluesier, more hard rock sound of the band's early years. The sound of Riot V is very much one of up-tempo metal, then, with Hall delivering plenty of high screams on the past two albums - and he continues this on Mean Streets, the third studio album under the Riot V name and the band's seventeenth overall. The same line-up which has been in place since Riot V was launched with Unleash the Fire remains, too, with Hall and Van Stavern joined by guitarist Mike Flyntz, a mainstay in the band since 1989, drummer Frank Gilchriest, who shared some time in the band with Reale during the mid-2000s, and relative newcomer Nick Lee on guitar. Those who have been following the Riot V story will not be surprised by Mean Streets' razor sharp, yet melodic, classic US metal sound - and this latest release is packed full of hooky anthems and plenty of memorable riffs.

There's nothing pretentious or especially different about this album compared to what came before, but the songs are strong and the production is hefty. Things get underway with Hail to the Warriors, an anthemic piece which essentially sets the tone for everything else which follows. The opening guitar melodies are a bit more atmospheric, though, to set the scene - but this vibe is short-lived and soon the first of the album's many riffs kicks in and Gilchriest uses his double bass drums to drive the piece whilst also using some staccato snare/tom stabs to create something of a groove. Once the song gets going proper, then, it never really lets up. Hall demonstrates why he is the man to carry to the torch for Riot V during the verses, which see him sing in a slightly high-pitched manner. He channels former vocalist Tony Moore quite often throughout this album and the power metal of this opening cut is the perfect setting for his vocal talents. Songwriter Van Stavern's bass is pretty high in the mix, especially during the chugging verses, before a smoother sound takes over for the faster chorus which features plenty of double bass drumming and some big screams from Hall. Many of the choruses here are pretty memorable and this one gets the album off to a great start on that front - before a lengthy, shredded solo section keeps the pace up. Feel the Fire slows the pace somewhat and goes for a crunchier, groovier approach. A staccato riff and a slightly off-kilter drum groove back a hooky guitar lead - before the bass again dominates during the verses. The guitars, bass, and drums all seem to be playing a slightly different rhythm, but the result of the three instruments mixing sounds great - and Hall sings over the top of this mix of grooves in his usual strident manner. Whilst the band tend to channel their power metal past, this is one song that does somewhat reflect the band's early few albums. There is more of a classic rocks strut to the guitar riffing and overall vibe, which lacks the polished 1980s sound of much of the rest of the album. Hall's higher-pitched delivery ensures continuity, though, and his chorus delivery is very anthemic - even if the chorus itself is a bit more meat and potatoes overall than some of the others here. This is a song which gets by on its grooves, then, but it still remains memorable. Love Beyond the Grave is a somewhat moodier piece overall, but there is still plenty of heft thanks to a main riff which sounds like it could have easily sat on a Black Sabbath album during the Tony Martin era. It is not as furious as some of the tracks here, but the mid-paced groove feels more involved than the stomp of the previous track - with a strong guitar lead setting the tone early on and a hooky chorus which features some subtle gang vocals and a drum sound that really punches out of the speakers. The guitar solo is a bit more controlled and less shreddy than normal, too, with the track being an exercise in precise songwriting and a bigger overall sound.

High Noon then returns to the break-neck pace of the album's opening cut - and it is one of the songs which really stood out to me from the off. This is the sort of song I generally imagine this line-up writing and it speeds off right from the beginning with some busy drumming and a slightly thrashy riff which retains the band's core sound thanks to a slightly smoother overall production and Hall's power metal vocal performance. The pace never lets up at all here and the song is easily one of the album's most intense pieces. I can already see the track becoming a live favourite going forward - and this is due to the pace and just how hooky it is overall. The verses are machine gun-paced, but the slightly more reined-in pre-chorus allows for a big vocal hook which sets up the faster chorus nicely - which has plenty of vocal harmonies to really help Hall's voice to soar. The chorus is one of the best here and it is extremely easy on the ear despite the song's overall heaviness. Crowds will certainly enjoy singing along to it - and I also really like the lengthy guitar solo section which sees Flyntz and Lee trading off licks and leads. Before This Time is also pretty fast, although it is not as frantic as the previous song - with a slightly crunchier sound overall thanks to some ringing power chords and subtler riffing, as well as a great, heroic guitar lead which sets the tone early on. The opening guitar lead feels a bit more rooted in classic rock, with some Michael Schenker-esque melodies on show, but the song overall is still very power metal in tone - thanks to Gilchriest's busy drumming and the overall intense feeling of the production. It is unclear who produced the album, although Bruno Ravel (Danger Danger; Westworld) mixed it, but the production is great throughout. There is a lot going on in the mix guitar and bass-wise, but everything is nice and clear. Van Stavern's bass is always audible and this song is another which showcases him somewhat - with his busy riffing filling in the gaps between the ringing chords and the Schenker-esque leads. Another chorus sees Hall shine, too, with the track being another strong effort. Higher feels a bit more epic and heavy overall, with a slow-burning opening guitar lead sitting against a bit of a murkier backdrop with some slower, weightier drumming setting the tone - although the pace gradually speeds up before some dual guitar leads kick in and the power metal returns. The arrangement is a bit more dynamic than some of the other songs here, then, but in truth there is not too much of a difference once the song gets going proper - and the song is another furious metal anthem with some excellent interlocking guitar leads and plenty of vocal harmonies during the chorus. These harmonies and leads do perhaps make the song sound bigger than some of the others, though, and the pace and the precise nature of the guitar playing really helps the track to sound pretty exciting overall.

The album's title track follows and it slows down the pace somewhat to establish an Iron Maiden-esque gallop. The twin leads from the previous song do not return, though, to stop the song from sounding like proper Iron Maiden worship - but the crunch of the rhythm guitars and the presence of Van Stavern's bass in the mix certainly bring the British band to mind at times. Elsewhere, though, the song is pretty much a classic-sounding modern Riot V track. Many of the tropes which have been heard on the album up to this point are present again, but the slightly slower pace does allow the grooves a little more time to breathe - with Hall's voice just generally more present this time. He sounds great during the real barnburners, but perhaps he really excels during the more mid-paced numbers due to the space within the mix he is afforded. This is very much evident during the song's chorus, which features some more vocal harmonies to give him a boost - with his higher-pitched delivery really roaring out of the speakers in the powerful manner. Open Road opens with a big drum barrage before a crunching rhythm takes over - over which a really hooky guitar lead sits. This song slows the pace further compared to the previous track and feels like a true mid-paced effort - with a strong classic rock vibe thanks to Van Stavern's punchy bass and the slower riffing which is less frantic and more 'open' sounding. There is still plenty of weight, though, with Gilchriest's drumming employing plenty of double bass tricks to retain a metallic approach, and the guitar tones throughout are still pretty sharp-sounding despite the roominess of the riffing generally. A slightly progressive-sounding bridge section later contains some off-kilter riffing before a somewhat neo-classical solo section - whilst another big chorus is full of character thanks to Hall's strident vocal hooks. Mortal Eyes picks the pace up again and goes for much more of a power metal sound - albeit with a fat bass tone and a rollocking feel to some of the riffs which feels more rooted in the 1970s than the 1980s. The intensity of the drumming and much of the snappy guitar rhythms are very much based in the band's classic power metal sound, though, but there are occasional moments which seem to hark back to the band's first few albums a bit more than is typical. The chorus is a bit less involved than usual, with simpler hooks that recall those early days - despite Hall's love for plenty of sharp harmonies and a higher-pitched tone. A few whammy bar tricks within the solo section are very much based in the 1980s, though, as the song switches back and forth between vibes quite regularly. This mix of sounds works well, though, and it is nice to see the band sometimes still harking back to their early days - even if Thundersteel is very much the seam they wish to mine these days and the sound which best-suits the re-branded Riot V.

Lost Dreams is very much a power metal piece, though, with plenty of big guitar leads setting the tone from the off. There is a lot of strong guitar playing throughout the album, but this track feels a bit more involved than some of the others. The main riff is a real barrelling effort which features lots of knotty interplay between Flyntz and Lee and the crunch behind the verses feels a little more expansive than is typical. Perhaps the standout part of the song guitar-wise, though, is a pre-chorus section which slows the pace somewhat and channels Schenker's style again for a few tasty note runs which act as a contrast to Hall's pre-chorus vocal lines. Each iteration changes the notes slightly for an escalating sound which works really well - and the guitar solo later also includes a section which seems to pay tribute to this pre-chorus with some controlled similar runs within a more shredded effort. Vocally the song is not as memorable as some of the others here in my opinion, but the guitar playing makes it stand out as there are lots of memorable riffs and passages which showcase the talents of the band's two guitarists. Lead into It slows the pace somewhat and goes for more of a mid-paced sound which features some of the album's most clattering drumming overall. Whilst much of the song is based around some pretty typical drum grooves, there are moments where Gilchriest, Ian Paice style, goes a little rogue and essentially plays controlled fills behind the vocals. This approach is pretty different from the norm but it is done tastefully enough to make the drum barrage work. It helps that the song includes one of the album's best mid-paced choruses, too. Generally most of the standout choruses here for me are the faster ones, but the slower pace of his chorus seems to really give Hall's vocals a boost - and he sounds extremely anthemic as he delivers the simple, but hooky, melodies; further establishing his talents as a key member of the band's overall legacy now. The album then comes to a close with No More, a faster track which again goes for something of a slightly more dynamic approach overall. Whilst the track generally feels pretty speedy, especially during the double bass-propelled verses, the chorus does see the pace slowed somewhat to allow for a more anthemic sound. The difference is not exactly night and day but the subtle change does help the piece to stand out - and it feels fitting for the album's closing song to feel a bit grander than some of the other cuts here. The chorus is another big standout moment for me and Hall perhaps sounds bigger than ever during some of the more drawn out notes which it includes. It is just an epic piece overall and one that ends the album on a true high. There really is nothing here that is weak, though, as Mean Streets overall is a very strong and memorable album from the band. The is no let up, either, with no ballads in sight - and the band seem to be firing on all cylinders throughout thanks to some tight songwriting and the excellent production. This album may be the current line-up's best yet - and it is certainly one that I imagine will satisfy a lot of fans thanks to its up-tempo and razor-sharp sound.

The album was released on 10th May 2024 via Atomic Fire Records. Below is the band's promotional lyric video for High Noon.

Unleash the Archers' 'Phantoma' - Album Review

Considering how much I tend to enjoy power metal, and particularly the heavier end of the genre, I am surprised that it took me so long to check out the Canadian five-piece Unleash the Archers. They were a band I kept hearing about but I did not bother to give them a go until 2021 - when I picked up a copy of their fourth album Apex from 2017 and gave it a few spins. Whilst I would not say that I was immediately hooked, I certainly found plenty on it to enjoy. I enjoyed the band's riffy, and sometimes thrashy, take on melodic power metal, which owes more to the European power scene than the American one, and, in particular, I was impressed by the band's founding frontwoman Brittney Slayes. She differs quite drastically from most female singers in melodic metal - with a voice that is both pretty smooth and melodic but with a hint of grit. She is no pseudo-opera singer nor a Doro clone, and I think that Slayes' distinct voice and her somewhat more subtle and nuanced delivery helps to set Unleash the Archers apart - alongside the occasional harsh vocals of guitarist Grant Truesdell which add some additional weight when needed. It took me a while to move past Apex, though, but I eventually picked up 2020's Abyss - an album which I have now also heard a handful of times. I have not moved further back through the band's catalogue, and incidentally some of their older albums seem quite hard to find copies of, but both Apex and Abyss are albums which I have come to enjoy - even if I would still say that I am not expert on either or, indeed, the band as a whole. With the news of the band's sixth album being announced earlier this year, it seemed like the perfect to time try and jump properly on board the Unleash the Archers train. I think it is fair to say that both Apex and Abyss were well received in the metal world - so Phantoma, as the band's sixth release is called, was probably one of the anticipated 'second tier' metal releases of the year. Given that I have not fully absorbed either of the band's previous albums, I essentially went into this latest effort with an open mind. I have not been on a journey with the band so I do not want to compare this release to what came before - but I can say that I have been really enjoying it over the past few weeks. Compared to my limited exposure to the previous albums, I would say that this latest effort feels a bit smoother and more polished production-wise overall - with less grit and perhaps less of a progressive flair. The songwriting feels a bit more streamlined, then, but the band's core sound is still very much present - with more emphasis than ever placed on Slayes' vocals. Truesdall and his fellow guitarist Andrew Kingsley perhaps rein it in a little, but there are still plenty of riffs and solos to enjoy, and there is a bit more of a keyboard presence throughout. The core of the band has now been in place since 2014, featuring on all but their first two albums, but Phantoma is their first release with bassist Nick Miller (Obduracy; Killitorous; First Fragment) who joined the band in 2021 and partners founding member drummer Scott Buchanan in the rhythm section.

Some may feel this latest album reins it in a little too far, and would have preferred something a bit heavier and more technical, but most of the songs here are extremely memorable. The larger emphasis on vocal hooks ensures that many of the songs stand out - and the album seems to fly by despite it being just under an hour long. There is no slow build to get things going, either, as Human Era pretty much kicks in from the off following some atmospheric weather noises - with a hanging guitar riff and groovy drum beat over which Slayes vocalises in her rich, slightly deeper-than-average voice. Despite the lack of a symphonic intro, the song still take a little bit of time to get going around this riff - but once Slayes starts to sing the lyrics the song gets going proper, with a verse which is relatively slow and atmospheric. Ringing chords and the pulsing bass dominate the early parts of the verses, but they do grow in stature as they move along - with the guitar riffing getting busier and heavier. Slayes' voice gets richer as the song moves along, too, and she grows in line with the riffing. She is probably one of the best vocalists in power metal at the moment and this album is a real showcase for her. The way she expands during the verses, and continues such growth naturally during the chorus, is an example of her talents - and a later wordless vocal-led section ensures the song feels somewhat anthemic. The song is not as hooky as many on the album, though. The chorus is not one of the best here, but the overall vibe of the song is strong - and it does not feel as conventional arrangement-wise. The song works well as an intro to the rest of the album, then, and it transitions nicely into the title track which is much faster and heavier. Written obnoxiously as Ph4/NT0-mA, the title track is more typical of the band's sound on the past couple of albums. A big scream from Slayes opens it up as Truesdall and Kingsley launch into the heaviest riff heard so far; and the song proceeds at a pretty fast pace - creating a pretty typical power metal feel. Unlike the previous albums, though, there is much more of a synth backing this time. Given the AI themes which permeate the album, this more futuristic sound is fitting. The band is still very much guitar driven, but the synths do help to set this album apart - and some of the synth melodies help to add depth during the verses before driving double bass drumming backs the soaring chorus. Following the lack any overt vocal hooks during the opening piece, this epic chorus is welcome and it really allows Slayes to show off. The arrangement is much more typical, too, with the inclusion of a busy guitar solo later on. The guitar solo section does rein in the heaviness a little, though, with a limited rhythm guitar backing to really allow the shredded notes to jump out of the speakers - before the chorus returns, this time beefed up with extra harmony vocals, to bring the anthemic title track to a close.

Buried in Code opens with an a cappella rendition of part of its chorus, before some high-octane dual guitar leads kick in the song charges off at a pretty high speed. Despite the fact that this album feels a bit less gritty than those which came before, much of it still feels pretty fast-paced. The band have not cast aside that power metal trope, then, and Buchanan often lays into his double bass drums throughout the album - and this song is no exception, with the opening guitar melodies bringing to mind many classic heavy metal bands of the past. The verses do not feel quite as heavy, and the arrangement allows the vocals to shine, but the chorus returns to that opening guitar melody to act as a backing to Slayes' grittier vocal delivery - before a riffy instrumental section later adds a groovy and progressive twist in the build up to another burst of shredding. The Collective opens with more of a synth-heavy sound, but this is short-lived as the song is one of the fastest and heaviest on the album up to this point overall - as the opening guitar riff and accompanying lead feel somewhat grittier than what came before, which contrasts with the opening synths nicely. Funnily enough, once the song gets going proper the synths are rarely heard from again. This song does not have as overt a synth backing as some of the others here do and the track feels like it could have sat on either of the band's previous albums. It feels heavier overall, with a grittier guitar tone, and Slayes seems to have a bit more gravity to her delivery this time. She has sounded a little smoother elsewhere and her lower tones this time suit the heavier song - with the furious chorus bringing some rallying cry-type vocals out of her as the band speed away beneath her. It is also the first song here to feature Truesdall's harsh vocals, with his black metal-esque screams adding nicely to a slower-paced bridge section which features grinding riff and a doomy atmosphere before the pace kicks in again thanks to a high-octane and lengthy guitar solo. I like the band's occasional use of harsh vocals, as it does help to set them apart from other power metal bands, and this song feels more diverse thanks to its bridge section. Green & Glass is not as furious but it still feels pretty pacy overall. Like the opening track, though, there is a bit more of a dynamic approach taken during the verses which feel a bit more stripped back compared to the rest of the song. The guitars during the song's intro are still pretty busy, with a hooky lead setting the tone, but the verses are generally more synth-heavy - with a more atmospheric tone for Slayes to sing against, albeit with the occasional metalcore-esque riff crashing in for heaviness. The track does build towards its chorus, though, and later verses so feature the occasional burst of harsh vocals, with the chorus being much more typical of the band's core sound with plenty of anthemic hooks. A lengthy guitar solo section featuring both fast and more lyrical runs makes up for the more atmospheric verses.

Gods in Decay is more of a mid-paced piece, which is welcome after all of the faster tracks which have generally characterised the album up to this point. Miller's bass drives the verses, which kick in after a chugging intro topped by a bright synth hook. This is one of the songs on the album which goes for a synth-heavy sound in quite a big way and the knotty riffing and lead playing generally found elsewhere is not as prevalent here. The guitar backing throughout is generally pretty basic and chugging with the bass tending to be somewhat busier than usual - and the chorus is backed by a reprise of that opening synth hook. Whilst I said earlier that Unleash the Archers' sound is more rooted in European power metal than the US' equivalent, the band tend to be heavier than most European power metal bands. This song feels more typical of the European power metal scene, though, thanks to the synth melodies and the reduced focus on big guitar riffs - but there is still a busy solo section to add some flash. Give It Up or Give It All is slower again and acts as the album's ballad - albeit it still feels quite weighty at times. Jonah Weingarten (Pyramaze; Echoterra; We Are Sentinels; Catalyst Crime) is responsible for the keyboards here, although the song does not feel especially more synth-heavy than anything else here. The rest of the album's keyboards are not credited, so I am not sure why this song needed a different touch - but the slower, yet still anthemic, piece is a strong addition to the album. There is still some crunch thanks to the guitars, but overall this is a mid-pace piece with some slower sections and a strong focus on Slayes' voice. The arrangement really allows her to breathe and she is the star of the show - with a good mix of a smoother delivery during the verses and something grittier during the heavier choruses. A brief piano coda perhaps reveals why Weingarten was employed here but the song is not all that different from the album's core sound despite the more restrained pace. Ghosts in the Mist opens with some symphonic metal-esque synths, but once the guitar backing kicks in overall heaviness of the song takes over - and the piece is a pretty groovy, yet pacy, track which is filled with big riffing and plenty of melodic guitar leads. The song is not as furious as some of the previous tracks, but it feels more urgent than many typical mid-paced metal tracks - and the opening riff and guitar lead combo is one of the hookiest musical motifs on the album in my opinion. The synths from the intro do resurface during the verses, which back Slayes gritty vocal delivery, but the driving bass and chugging guitars add plenty of weight - and the song is another which builds towards its chorus - which is one of the album's best in my opinion. The groovy riff from the song's intro returns for the chorus and the mid-paced rhythm creates a suitable backing for the anthemic and drawn-out vocal delivery which Slayes goes for. The heaviness of the track is also cemented thanks to some more harsh vocals from Truesdall. They are used sparingly, but there are a couple of short bursts of such - with one bridge section giving way to another shredded guitar solo spot.

Seeking Vengeance ups the pace again after a few slower or more mid-paced pieces, with the track returning to something more furious akin to the album's first half. The guitar riffing feels a bit more venomous this time and Buchanan returns to a big double bass drum arrangement to ensure that the pace is kept pretty up-tempo throughout. This is likely the album's heaviest song overall, too, as it features Truesdall's harsh vocals in a much bigger and more integrated way. Generally he is used in sparse bursts to add moments of heaviness, but his vocals are integrated in the verses in a much greater way this time - with him delivering lots of counterpoint and even harmony vocals. The chorus sees the pace slowed which allows for something of a more epic sound. There are no harsh vocals here, but the grand-sounding chorus benefits from the slower pace and Slayes' vocals are full of her usual gravitas. A busy and prog metal-esque guitar solo section ensures that the heaviness is retained, too, and the track is one that shows that the band still enjoy a heavier sound. The album then comes to a close with Blood Empress, a more mid-paced and crunchy piece which allows for one last anthemic moment before the album comes to a close. It is a bit more straight ahead than some of the pieces here and it very much seems designed to push Slayes as much as possible as the guitar riffing throughout is much more basic overall - with the mid-paced groove feeling a lot more stomping and primal than anything else here. Whilst I do like the track it does feel like a bit of a strange way to end the album. It is so different from everything else here, despite a decent chorus, and it feels a bit out of place overall. It does change towards the end, though, with some surprising blast beats which do up the heaviness quite significantly out of the blue. I think that ending the album with something more fitting with album's core sound would have worked better, but the song is still decent on its own terms. Overall, then, Phantoma is another strong album from Unleash the Archers. It is the first of theirs which I have properly digested, but it certainly has flashes of what came before even though it seems to tread a more melodic and cleaner overall path than the previous two albums. There are hooks aplenty here and the guitar playing is still suitably busy throughout to keep the band's busy and knotty sound on full show.

The album was released on 10th May 2024 via Napalm Records. Below is the band's promotional video for Green & Glass.

Bruce Dickinson - London Review

Considering how busy Iron Maiden remain, both when it comes to touring and their semi-regular new album release schedule, I am not sure that too many expected that frontman Bruce Dickinson would get much of an opportunity to operate as a solo artist again. He released his first solo album whilst still in Iron Maiden, but his solo career took off in a big way when he left the band in 1993 - and much of his solo work released between 1993 and him re-joining Iron Maiden in 1999 is likely better than a lot of what Iron Maiden released in that time (despite my general enjoyment of the Blaze Bayley years). With the Iron Maiden fanbase often divided over the band's recent gargantuan releases, I think that some yearned to hear something more concise and heavy from Dickinson again - so with the release of his seventh solo album The Mandrake Project (which I reviewed here) back in March many got their wish. In truth, whilst I was casually familiar with some of Dickinson's solo albums prior to this year - it was the announcement of both The Mandrake Project, his first solo album since 2005's Tyranny of Souls, and its accompanying tour that really made me dive into his catalogue. I had always meant to properly digest his solo work and the prospect of a rare solo tour was a good reason to do so. A handful of UK dates were scheduled as part of a fairly generous set of dates worldwide - and I opted for the London show at the O2 Forum in Kentish Town. Given that Dickinson tends to headline festivals and arenas with Iron Maiden here in the UK, seeing him in a smaller theatre certainly promised to be an event. It is also good to see him putting together such a healthy-looking solo tour, too, given that Iron Maiden are still very much in the midst of their touring cycle for 2021's Senjutsu (which I also reviewed here). I get the impression that releasing a new solo album and touring it is something that Dickinson has wanted to do for quite a while - and it is great that 2024 has become his year in that regard. From the stage he even said that he wanted to get back in the studio and do another solo album soon, and I got the impression with the band assembled for this tour, and given how well The Mandrake Project and this tour have been received I doubt that too many would complain about more from Dickinson. Speaking of Dickinson's band, whilst it contained some musicians which had previously contributed to his albums, none of its members had played live with him prior to this tour. Both Dave Moreno (drums/vocals) and Mistheria (keyboards/vocals) played on Tyranny of Souls and The Mandrake Project, and Chris Declercq (guitar/vocals) contributed a solo to the latter, but Philip Näslund (guitar/vocals) and Tanya O'Callaghan (bass guitar/vocals) are new faces. Nevertheless, though, the band were extremely tight and already seem to have good chemistry. It would be great to see what Dickinson could achieve in the studio with them if he does intend to work on another album - although it was a shame that his long-time collaborator Roy Z was unable to commit to the tour.

Unsurprisingly, the London show sold out - so it was a large crowd which greeted New Zealand's Black Smoke Trigger, the evening's sole support act, when they hit the stage at 8pm. I had not see the band live before, but I remember checking out a couple of songs of theirs two or three years ago for some reason. I never delved any deeper, though, so when they were announced as Dickinson's support I considered it an opportunity to do so. Given the molten metal of what was to follow, the four-piece's bluesier, grungier sound did not exactly compliment Dickinson's trademark approach - but I think that over time the band won quite a few in the crowd over. This was despite having to battle through some classic support band sound issues - with an overly low volume and frontman Baldrick's (I can only assume Blackadder did not make it to New Zealand...) voice was sometimes on the quiet side compared to his bandmates, too. The sound did improve as the band's set progressed, though, and I think that their alternative/grungy rock sound ended up having the desired effect. Iron Maiden's, so by extension Dickinson's, fanbase are not famed for being kind to support acts. They are one of those obsessive fanbases that generally needs to get out more and realise there are other bands out there, and the sheer amount of Iron Maiden t-shirts being worn hinted at such, but Black Smoke Trigger seemed to win over quite a large portion of the crowd - especially those down on the floor around me. The first couple of songs did not do all that much for me, but as the set progressed I thought that the songwriting improved along with the sound. Baldrick has a good voice, and when he cut through the mix he sounded pretty strong - whilst the guitar playing Charlie Wallace also impressed. Late on in the band's set they even managed to get a pretty decent sing-a-long going, which helped to warm the crowd up for the many to come later in the evening, and a couple of bigger anthems like Caught in the Undertow and Blindfolds & Rattlesnakes ended the set on a bit of a high. For the most part, then, I enjoyed Black Smoke Trigger's set - and I feel like I will likely give them a proper listen in due course as their Free-meets-Alice in Chains sound was something which generally impressed.

It was about half an hour following Black Smoke Trigger's set that Dickinson and his band took to the stage - with both the opening music/narration for the 1960s TV series The Invaders and Dickinson's own Toltec 7 Arrival setting the tone. Once the band crashed into Accident of Birth, though, the set got underway proper - and it was clear that the night was going to be a pretty special one. With Dickinson having not toured as a solo artist since 2002, this meant that nothing from Tyranny of Souls nor The Mandrake Project had been played live before this tour. Both albums were represented in the set, and the 16-song set included material from five of his seven solo albums - with many of his best-known songs being played. Accident of Birth was a great opener, with the anthemic chorus prompting the first big sing-a-long of the night, but an early highlight for me was the melodic and hard rocking Abduction. Dickinson really brought the chorus to life - and the dual guitar leads from Declercq and Näslund certainly conjured up thoughts of Dickinson's day job. Mistheria also spent much of the set wielding a keytar, so was often down at the front alongside the guitarists. He took on some of the solos, too, which meant that he really got to shred, although there were moments where he retreated to the back to use a proper keyboard. The whole band looked like they were having fun, though, and it is clear that there is already a strong chemistry between all of the musicians - with the thick groove of Laughing in the Hiding Bush and the more atmospheric Afterglow of Ragnarok benefitting from the band's tightness. The latter in particular featured some excellent drumming from Moreno, but in truth the whole band continued to excel.

Dickinson was in fine voice throughout, too. He seems to be stronger than ever since the pandemic-enforced touring break and he seemed to relish getting the opportunity to play these songs live again. It was fun seeing him in a more stripped back setting, too, without all of the props and bombast associated with an Iron Maiden show. There was a big screen at the back, but that was all there was in the way of a 'show' - with the entertainment coming from the excellent musicians on stage. Much of the set rocked pretty hard, such as the Deep Purple-influenced Many Doors to Hell with its Hammond organ backing, but songs like Jerusalem showcased a different side to Dickinson's songwriting - with Näslund setting the scene with his acoustic guitar as the slow-burning piece grew around him. There were quirky moments, too, such as the semi-spoken Rain on the Graves, and the band then got a show off with a version of Frankenstein which acted as a vehicle for soloing. Moreno kicked it off with a short drum solo, before Edgar Winter's memorable riff acted as a bridge between each member shredding. Dickinson clattered around on some percussion during this part of the show, but he ended it with some theremin antics - before normality resumed for the lengthy The Alchemist. By this point the main set was coming to a close so, following a lengthy acoustic guitar intro, the legendary ballad Tears of the Dragon was played - which acted as another big sing-a-long moment. Declercq took the song to the next level with his solo and the main set then came to a close with another lengthy piece in Darkside of Aquarius - which everyone around me was also singing along to. A three-song encore followed, which kicked off in relatively sedate fashion with the acoustic-based Navigate the Seas of the Sun - but the two songs which followed were much heavier. The occult-sounding Book of Thel went down well, before Dickinson introduced his band over a backdrop of O'Callaghan's bass and launched into the bass-led The Tower - which brought the show to an anthemic and high octane finish. The setlist was:

Toltec 7 Arrival

Accident of Birth

Abduction

Laughing in the Hiding Bush

Afterglow of Ragnarok

Chemical Wedding

Many Doors to Hell

Jerusalem

Resurrection Men

Rain on the Graves

Frankenstein [The Edgar Winter Group cover]

The Alchemist

Tears of the Dragon

Darkside of Aquarius

-

Navigate the Seas of the Sun

Book of Thel

The Tower

Despite having seen Dickinson a couple of times with Iron Maiden, it was a real treat to get to see him as a solo artist in London last night. I do hope that he manages to find time to keep the solo career going alongside Iron Maiden now, as it is not likely he can really wait another 20 years before doing another tour. Like all veteran musicians there is only so much time he has left and I really hope that the success of his latest album and this tour spurs him on to keeping the solo career going - although I am sure that Iron Maiden will always need to come first whilst the band is still together.

Crownshift's 'Crownshift' - Album Review

Nuclear Blast Records is certainly not the label it once was. It was only in recent times when a significant portion of the world's biggest and most popular metal bands, especially those from Europe, were signed to the label - but following a split in recent years which saw some former Nuclear Blast employees leave and set up Atomic Fire Records, taking quite a few bands with them its roster has been depleted. With Napalm Records also recently picking up a few long-time Nuclear Blast bands, too, the label's heyday is seemingly over - but with HammerFall recently resigning after a few albums on Napalm and, crucially, Nightwish renewing their long-term association with the label in the past couple of months not all seems to be lost. Despite this, though, the label has had to resort to other tactics - and something which they have seemingly dipped their toe in a little is a Frontiers Records-esque penchant for home-grown supergroups. Last year's Horns for a Halo (which I reviewed here), the debut album by the Richie Faulker-led four-piece Elegant Weapons, certainly felt like a heavy metal version of Frontiers' numerous curated AOR projects - and the album I am going to cover today feels similar. That is not to knock Horns for a Halo, as it is a very enjoyable album, but I do wonder if Faulkner was encouraged by the label to give them something - especially as some of the musicians who contributed to the album have not played live with the band. The fact that Elegant Weapons have played live, though, makes them more legitimate than most of Frontiers' projects - and the band I am going to talk about today also have already played live. That band is Crownshift, a newly-formed Finnish metal band made up of some well-known journeyman musicians - but it seems to be spearheaded by guitarist Daniel Freyberg (Naildown; Norther; Children of Bodom; Bodom After Midnight). He wrote all of the music for the band's self-titled debut album and co-wrote the lyrics with frontman Tommy Tuovinen (MyGrain; Damnation Plan) - and on Crownshift the two have created a sound which merges traditional Finnish melodic death metal with elements of modern-sounding alternative/groove metal as well as the occasional hint of power metal. Considering that Freyberg and Tuovinen are joined here by bassist Jukka Koskinen (Norther; Wintersun; Cain's Offering; Amberian Dawn; Nightwish) and drummer Heikki Saari (Virtuocity; Norther; Amberian Dawn; Tuoni; Whorion; Finntroll) this mix of sounds should not come as a surprise. All three of the instrumentalists here contributed to Norther's final album Circle Regenerated in 2011, so Crownshift is something of a reunion for them - and there are certainly hints of Norther and Children of Bodom to be found throughout the eight songs here. There are plenty of other sounds, too, with the diverse vocals of Tuovinen helping the band to step away of the traditional Finnish melodic death metal sound fairly often. He sings clean more than most of the genre's singers do - but there are still a lot of harsh vocals here. The synths and keyboards which form part of the Finnish melodic death metal fabric are here, too, albeit not as prominent as they generally are. Without a keyboard player in the band their diminished role is not a surprise - and this is very much a guitar-heavy album with Freyberg really getting to show off after often being seen as the 'second' guitarist in many of his previous bands.

Despite the variety on show here, the album kicks off with one of its more straight ahead songs in Stellar Halo - which is very much a traditional melodic death metal anthem which shows that Freyberg's time working alongside the late Alexi Laiho rubbed off. Following a brief synth-led intro the song proper kicks off with a strong, snappy guitar riff, backed by the same synths, which then morphs into something more snaking and groovy - with plenty of bass from Koskinen behind it. There are strong Children of Bodom vibes in the guitar playing here, particularly in those moments which are more lead-based, but the vocals from Tuovinen are a bit more groove metal-inspired. His bark is deeper than the higher rasps of Laiho and his peers - and his clean vocals channel a slight gothic vibe, which add a lot to the song's hooky chorus which features a strong synth backing and less of a knotty guitar approach. That being said, the song still feels very traditional overall. Freyberg's approach to the lead guitar has Laiho's neo-classical touch, whilst the rhythm section never really run away at break-neck speed - with the pace being at the faster end of mid-pace to allow the hooks to shine. The song feels heavy, though, thanks to the fat guitar tones used - but there are plenty of hooks thanks to the synth flashes and Tuovinen's clean chorus vocals. A couple of busy guitar solo sections allow Freyberg to show off. Again, there are moments of a neo-classical style on display at times - but other parts of his solos are much busier and more thrash-inspired. This gives the song a variety, but the band's influences can easily be traced here - and it gets the album off to a strong start. Rule the Show opens in a thrashier manner, with plenty of fast double bass drumming from Saari, before the pace slows down and a thick, bass-heavy groove takes over. The synths of the opening song are dialled back here, and the dominance of groovy riffing and a more modern-sounding vocal approach sets the song apart from the traditional melodic death metal approach of the opening cut. Tuovinen generally sings clean here, although he mixes between his more melodic gothic approach and something somewhat gruffer more akin to Phil Anselmo. Given this vocal style and the strong bass presence throughout there are big groove metal vibes which define the song's overall sound. Freyberg reins in the temptation to throw in some traditional melodic death metal guitar leads this time, with his playing generally being very riff-based - with a mixture of groove metal and even metalcore-inspired riffs. His solo is much shorter this time, too, and the song treads a different path - showcasing the desire of the band not to re-tread their collective pasts.

A World Beyond Reach returns to something more similar to the opening song sound-wise - with a lengthy intro which mixes synth runs, melodic guitar leads, and plenty of up-tempo grooves from the rhythm section to again recall some Children of Bodom-esque sounds. Once Tuovinen starts to sing, though, the vibe changes a bit somewhat, with more of a chug present during the verses which is backed by some atmospheric synths. After generally singing the previous song clean, he uses his harsh vocals for the verses this time - but returns to a clean delivery during the chorus which is backed by a very hooky guitar melody. I really like how the band are already starting to formulate their own sound on this album. The history of the band members can clearly be heard during parts of all the songs here, and they are not scared to throw in moments which ape those sounds, but the mix of everything together does sound different from anything they have done previously. The chorus here exemplifies that - with the traditional-sounding guitar lead and the modern vocal approach creating something different. If You Dare seems to mine the well of Children of Bodom's mid-period (think 2005's Are You Dead Yet?) - and the song's title is even similar to many of the hits from that era. There is more of a synth presence here, with the song built around a keyboard hook and a thrashy guitar backing - before a similarly-thrashy verse takes over and sees Tuovinen laying down some pretty fast-paced and potent harsh vocals. So far so typical, but there are other influences on display here, too, with the chorus slowing the pace down behind a more percussive drum beat and effects-heavy clean vocals. The build to the chorus is very mid-2000s melodic death metal, though, with a mix of thrashy riffs and groovy sections - all led by some of Tuovinen's most ferocious vocals on the album. The only slight disappointment here is the guitar solo - which is very short. Given the song's generally fast pace, a more explosive solo would have been welcome - and it would have been great to hear Freyberg really cut loose and take the song's pace to the next level. My Prison slows the pace down overall and opens slowly - with a synth melody over which Tuovinen soon starts to sing whilst backed by a mournful groove from the rhythm section. Koskinen's bass is very prominent during the song and his snaking melody really drives the verses. Freyberg holds back early on, although as the verse progresses he does start to add some melodic leads in the background - but the lack of any big riffs during the verse gives the song a ballad-esque feel. It is certainly the album's slowest song overall, but it does sound fuller the more it moves along - with the chorus having more of a riffy backing than anything else in the song, albeit with Tuovinen paring such with some relatively poppy vocal hooks. Later verses are a bit fatter, but there is still less of a heaviness present throughout - even though Freyberg does launch into a pretty busy solo later on which is backed by plenty of fast double bass drumming from Saari. Perhaps a more emotive solo would have worked better given the vibe of the song, but the shredding is certainly exciting - and the change of pace overall is welcome.

The Devil's Drug opens with some stop-start riffing and drum acrobatics, but once the main riff kicks in alongside a subtle keyboard backing the trademark melodic death metal sound is re-established - and the song generally proceeds in this expected manner. The keyboards are not that present in the mix throughout, though, save for some of the instrumental sections, but the guitar playing of Freyberg is generally full of that old-school metal/thrash sound which generally characterises melodic death metal rather than going for something more Lamb of God-inspired as there have been flashes of up to this point. As such, the song channels some Children of Bodom-esque moods again - albeit with a more stripped back sound thanks to the general lack of keyboards. The chorus, with Tuovinen's clean vocals, feels a bit more hard rock/heavy metal inspired, too, with a couple of higher-pitched screams - and this helps the song to remain hooky throughout. The album's last two songs feel as one - with the instrumental Mirage acting as a build up to the lengthy closing song to follow. It is not a particularly furious piece, with the song instead feeling pretty atmospheric overall. Clean guitar melodies set the tone early on, and later sections feature relatively folky leads against a bass-heavy backdrop. The synths add depth throughout, and the song does get heavier as it moves along, but it never feels truly heavy - with even the weightier sections generally featuring the same folky melodies already mentioned, just against a meatier backing. The song feels like the album's true change of pace - as My Prison was still quite heavy in places. This calm before the closing storm is welcome - and I like how the song focuses on a bit of a different side of Freyberg's playing, even the approach to guitar leads and not all that dissimilar to what has come before.

The closing moments of the song are much riffier, though, and this leads nicely into the strident opening of the 10 minute-plus To the Other Side - the album's closing song and the band's most ambitious composition yet. It opens with a snappy guitar riff which could have sat on a Firewind album without sounding too out of place, but something more typical soon kicks in and the pace is upped - with fluid guitar melodies sitting against a thrashy backing. Due to the length of the piece, too, all of the influences which have been present on the album up to this point are represented here. There are moments which very much channel the classic Children of Bodom approach to melodic and neo-classical guitar leads, and there are spooky keyboard runs which hark back to that band's early days, but then there are also thicker, groovier riffs which sound very different - alongside more atmospheric sections with a strong bass presence and gentler clean vocals. There are also lengthier instrumental sections, too, and it seems that Freyberg has saved much of his power for this track. There are a few moments which almost stray into progressive metal territory, with knotty riff-led sections showing how tight the band is - alongside some pretty busy solos, including a memorable moment which sees the guitar and the synths shred in unison. I wish that this band had a keyboard player as it would have been great to see the synths' role expanded upon here - alongside the inclusion of synth solos to off-set the guitar solos. I assume that Freyberg was responsible for the album's keyboards, and they do the job they need to do, but this sort of music is always better with a proper keyboard player - and it would be great for the band on stage, too. The song takes a turn about three-quarters of the way through, too, and becomes much more piano-led for a moment. This slows the pace down nicely, creating a different vibe, before Freyberg takes back over with a more cinematic guitar solo and a reprise of the song's chorus. Despite its length, the song never feels over-long and it is a great way for the band to show off a little more - with all of the styles which have been explored on the album up to this point coming together nicely. At this stage it is unclear whether Crownshift are in it for the long haul or whether this album will be a one-off, but there is certainly a lot of potential here. The eight songs here are all enjoyable and the different vibes on display makes the album fly by - with the relatively short run-time overall meaning the album feels like one for any occasion. There are lots of strong hooks and plenty of great guitar moments on show - so I would be very interested to hear where the band go from here if they do decide to do a second album, as I feel that the progressive flourishes in the album's final song could be a hint of what is to come.

The album was released on 10th May 2024 via Nuclear Blast Records. Below is the band's promotional video for If You Dare.

FM - Exeter Review

This past weekend was another busy one gig-wise. Following Saturday's trip up to Wolverhampton to see The Black Crowes live for the first time, who were excellent, I headed back home to Devon on Sunday - stopping off en route to Plymouth to catch one of my very favourite live bands, FM, once again. The British melodic rock/AOR act are a band I have seen most years since I first properly discovered them back in 2014 when I saw them opening for Foreigner and Europe - and some years have contained multiple FM concerts. They are one of those bands who tend to play a decent number of shows each year, so fitting in an FM show alongside other plans is usually quite easy. They also have a penchant for participating in package tours with other similar bands - and, in fact, my previous FM concert last year saw them joining forces with Tyketto and Dare. As such, I will always make the effort to see FM live. They are extremely reliable and always deliver on stage. They could perhaps shake up the setlist a little more than they do sometimes, but their brand of AOR always comes alive on stage - and in frontman Steve Overland they have one of the best singers in the business. As I recently mentioned in my review of their latest album Old Habits Die Hard (which can be read here), 2024 is a special year for the band - as it marks their 40th anniversary. FM formed back in 1984 from the ashes of Wildlife and they have been delivering the goods ever since (bar their hiatus between 1995 and 2007). Since reuniting in 2007, though, and solidifying their current line-up in 2008, FM have been extremely busy. Their want to stay creative and regularly release new music is welcome and, as mentioned, they are still pretty busy when it comes to touring. This year they seem to really be pushing the boat out for their anniversary, though, and have already undertaken a South American tour - with plenty of mainland European dates to follow. Thankfully, there were still plenty of UK dates on their schedule - and it seems that the band made an effort this year to visit some different places. Prior to Sunday, they had not visited Exeter for a long time - and it was great getting a chance to see the band relatively locally (especially as their Plymouth show a couple of years ago clashed with another concert I already had tickets for). The venue chosen was the Phoenix, which is always a great place to take in live music. It is one of the South West's best venues in my opinion, with nights there always being memorable, and the band attracted a pretty healthy crowd for a Sunday night and considering that the city is off the band's usual beaten path. Given that my train journey from Wolverhampton included a replacement bus between Birmingham and Cheltenham I was concerned that I could end up being pushed for time if there were delays - but thankfully all of the travelling went to plan and I arrived into Exeter in plenty of time for a trip to Wetherspoons for dinner before heading up to the venue in time for the action to start.

Opening the show were the Welsh hard rockers Hand of Dimes - a band I had been familiar with for a long time but had never seen live before or had never really even checked out. I am not sure why I had slept on them, given that I quite like frontman Neville MacDonald's former band Skin, but after enjoying their set on Sunday I think that I need to give them a proper go. I was not sure what to expect, really, but the band's sound was not all that different from Skin's first album - albeit with a slight southern rock and bluesy edge at times. The band's music was more keyboard-heavy, though, with Neil Garland (keyboard/harmonica/vocals) appearing to be their main driving force alongside MacDonald. Colin Edwards (guitar) still had plenty of chances to shine with some big solos, but generally Hand of Dimes' sound was less focused on showboating - with big riffs and choruses dominating. MacDonald, like Overland, is another extremely underrated British rock singer and it seems that he has lost none of his chops over the years. I saw Skin with Little Angels in 2012 and MacDonald sounded no different 12 years on - with his voice being high in the mix throughout the band's set. In fact, Hand of Dimes' generally had a great live sound. There was no typical support band muddiness, with each instrument sounding clear. There were plenty of keyboards in the mix to allow Garland's organ and piano to really cut through and the vocal harmonies, which were needed to boost the choruses, were tight and loud. Given that I had not heard any of the band's songs before Sunday, the fact that I can still remember a few of the choruses at the time of writing having heard them once is testament to the band's songwriting. They only appear to have one album, Raise from 2016, so I am certainly intending to check that out in the near future. Given it was released eight years ago, I would assume that the band are working on a follow-up - so I will have to keep an eye out. In conclusion, then, I am glad to have finally made the acquaintance of Hand of Dimes after many years - and I really should have made the effort to check them out before now. Better late than never, though, as they say - and I am sure that I will catch the band live again at some point.

Half an hour later and it was time for FM to hit the stage - and what followed when the lights went down was close to two hours of melodic rock goodness. Given the 40th anniversary nature of the tour, the setlist covered quite a few of the band's albums - including a couple of tracks from the new album and an old deep cut which had not been played live since the 1980s. The set kicked off with Digging Up the Dirt, which I had not heard the band do live for a few years - and the bluesy hard rocker got the set off to a great start. Early on Jim Kirkpatrick (guitar/vocals) was a little low in the mix, but the levels evened out soon - with the keyboards from Jem Davis toned down slightly. The harder rocking opening cut set really set the tone for what was to follow, though. There were a few slower tracks played, but generally the band rocked out - with the older Tough It Out and the huge sing-a-long of Killed by Love getting the decent-sized crowd onside from the off. Whenever Overland wanted the crowd to sing they did - and they only got louder as the set progressed. Even the newer songs were greeted with plenty of cheers. Don't Need Another Heartache saw much more singing than is generally expected in a song which is barely a month old and the yacht rock vibes of Out of the Blue later allowed for a slight moment of smooth calm during what was generally an anthemic set. There are very few FM songs which do not feature huge choruses, which meant that each track played brought a new anthemic moment to sing along to. Even older album cuts like The Dream That Died could have been hits under better circumstances - and the newer, funky Synchronized is one of my favourite FM songs from the current era so hearing it live again was a bit of a treat.

The real treat in the set, though, especially for die-hard fans, was Say It Like It Is - which was a b-side on some versions of the That Girl single from 1986. That Girl was, of course, played later - but the piano-driven hard rocker Say It Like It Is went down really well. I had heard the song before, but it was not one that I was really that familiar with - and the chorus was really easy to latch onto as the band were playing it. FM had lots of strong b-sides in the early days so it is good that this one got an airing again. The songs which followed were generally more well-known, though, with Overland taking the solos in the power ballad Closer to Heaven before a number of bigger singles brought the main set to a close. The funky bassline of That Girl brought the best out of Mervyn Goldsworthy (bass guitar/vocals), before the Desmond Child-written Bad Luck reminded everyone in attendance that, somehow, FM were never a stadium band when they certainly should have been. A pacy version of the generally more sedate Hot Wired was next, but a more modern cut in Turn This Car Around brought the main set to a close. It has become a real fan favourite over the past couple of years and there was plenty of singing from the crowd during the chorus when prompted by Overland. The band did not stay backstage for long following the main set, finishing, though, with Overland and Davis returning to deliver a stripped down rendition of Story of My Life - before the whole band returned to rock through the punchy harder rock of Don't Stop and the driving AOR of Other Side of Midnight, which saw Davis armed with a keytar. It was a great end to a lengthy set and the band certainly earnt the loud applause which followed. The setlist was:

Digging Up the Dirt

Tough It Out

Killed by Love

Someday

Don't Need Another Heartache

Everytime I Think of You [Eric Martin cover]

Out of the Blue

The Dream That Died

Synchronized

Say It Like It Is

Closer to Heaven

Does It Feel Like Love

That Girl

Bad Luck

Hot Wired

Turn This Car Around

-

Story of My Life

Don't Stop

Other Side of Midnight

Seeing FM live is always a treat and I am sure that I will do so again plenty more times in the future. This show was my first full headline show of theirs in a couple of years, so it was great to really see the band doing what they do best again. The new album is very good, too, so 2024 will no doubt be a memorable year for the band - and I am looking forward to their next tour already.

The Black Crowes - Wolverhampton Review

Given the number of gigs that I have been to over the years, it is relatively rare these days that I see a headline act whom I have not seen live before. I usually cross a few key names off the list each year though, and 2024 is no different. I will be seeing AC/DC later in the year, a band I never thought I would get to see, but this past weekend I saw another band live for the first time - when the Atlanta-based act The Black Crowes returned to the UK as part of their latest European tour. I have been a fan of the band in some capacity for over a decade, but it is only really in recent years that I have become a much bigger fan. My appreciation of jammier music has increased in recent years, which has meant that my love of the band's rootsy, expansive, southern rock sound has expanded beyond their hookier anthems - and I have spent quite a bit of time with the band's studio and live albums recently. I was supposed to see the band in 2020, as part of their 30th anniversary celebrations for Shake Your Money Maker, but the tour was postponed due to the pandemic and by the time the shows eventually rolled around the gig I was supposed to be going to was no more and none of the other dates really made sense with work and other commitments in mind. Missing out on gigs in 2020 and 2021 is something many can relate to, though, but given that The Black Crowes reunited in 2019 ahead of the much-postponed tour I hoped that their third era was not to be a one-off anniversary tour. So far, though, it seems that the band are in it again for the long haul. The famously tempestuous relationship between brothers frontman Chris Robinson and guitarist Rich Robinson appears to have been patched up - and with a largely new line-up in tow behind them they have been busy on the road since 2022, and even found time to record the excellent Happiness Bastards (which I reviewed here) which came out back in March. The band's latest European tour was announced back in January and I bought tickets for the Wolverhampton show as soon as they went on sale. Despite the expensive price, which was quite a bit more than their peers tend to charge given that The Black Crowes have never been a stadium band, I really wanted to experience the loose and raw rockers live. Bands like The Black Crowes tend to really come alive on stage - and I always enjoy a trip to Wolverhampton to see bands live. I last visited the city in March, so I was happy to return again so soon - especially chalking up another visit the Civic Hall so soon after my first. Clearly quite a few others were also excited by the prospect of seeing the band live, too, as the large room was pretty packed throughout. It is great that Wolverhampton has become a real gigging destination again over the past few years - with the re-opening of the Civic Hall after many years last year a bit statement of intent for the city. I am sure I will visit the venue again many times over the coming years - but I think a band will have to do well to top The Black Crowes as far as experiences at the venue go.

Before The Black Crowes' set, though, the growing crowd was treated to half an hour or so of chaotic and raucous music from the Jim Jones All Stars. I was not familiar with Jones prior to his band's set on Saturday, but he seems to have been a feature on the British rock scene since at least the mid-1980s - with the Jim Jones All Stars being his latest venture. It is hard to describe the band's sound, but something akin to the 1970s British pub rock scene dialled up to eleven with a horn section does somewhat do it justice. From frontman Jones' gravelly vocals, through punky basslines and barroom piano, to the soulful blasts from the horn section - the band never really stayed in one place for too long. As such, I am not really sure what to make of their set - and it was quite hard to take it all in really, especially given that so much happened within a short space of time. Some of the songs played were pretty good, especially those which were up-tempo, heavy on the piano, and featured plenty of saxophone. I cannot say that I really warmed to Jones as a singer, though. His voice was very rough-sounding - so much so that during the heavier sections he sounded almost as if he was just growling away incomprehensibly. He was not always that high in the mix, which did not help, but it would be lying to say that his voice was easy on the ear. I am not a big fan of the rawest end of 1960s garage rock for the same reason, and there was certainly plenty of that in Jones' sound, but I think the pub rock descriptor is more apt - given the slightly soul and blues influences present thanks to the horns and piano. Despite not really warming to Jones, though, it is certainly true that his set entertained. I was constantly left wondering what was about to come next. It was a fun set in that regard, then, but I cannot see myself listening to Jones' music in my own time. Whilst a few around me near the front did seem familiar with this work, I would imagine that many others in the crowd felt similar to me. The reception his set received was warm but not exactly rapturous - so I imagine there was quite a bit of confusion in the venue during the half an hour of chaos which was the Jim Jones All Stars' set.

Half an hour later it was time for The Black Crowes - and when the lights went down the place went wild and the band trooped on stage. Augmented by two backing singers, the six-piece band did not really stand on ceremony - kicking things off with the opening two songs from Happiness Bastards. Bedside Manners got the set off to a blinding start and it was clear from the off that the crowd was in for a treat. The sound mix was generally very good and Chris was in excellent voice - and he was the ultimate frontman throughout the show, throwing plenty of rockstar poses as the set went on. Whilst the focus was of course on the Robinson brothers, everyone else on stage played their part, too. Nico Bereciartua (guitar/vocals) was an excellent foil to Rich, handling many of the busier solos with ease, whilst the funky playing of long-time bassist Sven Pipien held everything together. I would have liked Erik Deutsch's keyboards to have been a bit higher in the mix, but generally the levels were excellent - and the set proceeded at a fair click, with little of the band's famed jamming. The set was a pretty tight one, then, with over half of the new album played and plenty of old favourites. The new songs were welcomed as warmly as most of the classics, but the old favourite Twice as Hard did receive a strong reception early on - before a relative deep cut in HorseHead upped the overall heaviness and saw Rich lock into a strong groove via a big guitar riff. Despite the large and receptive crowd, though, there were a few in attendance who had little respect for those around them - and two incidents actually brought comments from the band. Two ladies pushed their way next to me a few songs in and then proceeded to get in an argument with those they displaced and later someone else threw a record on the stage which hit Rich - much to his understood annoyance. The crowd did not crown themselves in glory, then, but thankfully the band handled the upsets professionally - and just rocked on, with the snappy Cross Your Fingers and the delicate ballad Wilted Rose showing the variety on the latest album. There were some excellent bluesy moments, too. A rollocking version of Bo Diddley's Road Runner upped the rawness levels, before the old favourite Thorn in My Pride was dragged out with plenty of soloing from the two guitarist. It was the only song in the set that was stretched out in such a way, so it felt like a real centrepiece moment - although two hits from the early days in Hard to Handle and She Talks to Angels likely received the biggest receptions of the night. There was plenty of singing from the crowd during both and they seemed to banish the harsh words previously had for individuals in the crowd, which was good, and the last third of so of the set was full of energy thanks to the barrelling southern rock boogie of Jealous Again and the creeping, melodic set-closer Remedy. This one-two punch was an excellent way to end the main set - but the band did not hide back stage for long and came back for one more. They opted for some more blues in the form of God's God It which they covered on the Warpaint album - and the strutting retro vibe was a great way to close out a set which and generally been hard rocking and high energy. The setlist was:

Bedside Manners

Rats and Clowns

Twice as Hard

HorseHead

Stare It Cold

Cross Your Fingers

Wilted Rose

Road Runner [Bo Diddley cover]

Thorn in My Pride

Wanting and Waiting

Hard to Handle [Otis Redding cover]

She Talks to Angels

Bleed It Dry

No Speak No Slave

Jealous Again

Remedy

-

God's Got It [Rev. Charlie Jackson cover]

After missing out previously, it was great to finally get to see The Black Crowes live. I expected to enjoy the show, but I think that the set was much more powerful than I had really expected - and the band were much heavier live than even their live albums suggest. Perhaps the more streamlined approach to the songs' arrangements aided this, but either way the band really gave it their all - and the large Wolverhampton crowd certainly left the venue having enjoyed a great evening of live music.

FM's 'Old Habits Die Hard' - Album Review

In my previous album review on this blog I noted how, in recent years, there have been a lot of strong albums released by veteran acts - particularly in the metal genre. I also noted that there have been a good number of such released already this year, but it is not just in metal where a lot of old hands have been doing what they do best - as the British melodic rock/AOR legends FM have also been busy, and released their fourteenth studio album Old Habits Die Hard earlier this month. In recent years, though, a new album from FM has not exactly been a rarity. Nine of their 14 albums have been released since their 2007 reunion, meaning that long-time fans of the band have had plenty of excellent new material to enjoy in this second era of the five-piece - which has also seen the band largely keep a consistent line-up together and tour pretty significantly. Alongside releasing Old Habits Die Hard, 2024 is also a landmark year for FM - as the band are celebrating their 40th anniversary. Despite being dormant between 1995 and 2007, FM have packed a lot of music and touring since forming from the ashes of Wildlife back in 1984 - and they are one of those bands whom I tend to see at least once a year as they often come around either on their own or as part of a package tour with other similar bands. Funnily enough I will be seeing them live again this coming weekend, as they are currently undertaking a pretty lengthy UK tour to celebrate the aforementioned milestone - and they have also toured in South America recently and have plenty of other European dates to follow. They are really pushing the boat out this year as far as touring goes - but it is great that they have also found time to release some new music, with Old Habits Die Hard following two years on from 2022's strong Thirteen (which I reviewed here). In truth, though, everything that FM have ever put out could be described as strong. Whilst the band's first two albums: 1986's Indiscreet and 1989's Tough It Out; will always be considered their classic releases - everything which has followed has been very enjoyable, with some of their more recent albums likely better than some of the others released during their original run. Thirteen perhaps was not as strong as some of the other recent releases, but it still contained its fair share of modern classics - and Old Habits Die Hard is much the same. One thing that I have noticed about the band's last few albums is that they have drifted back to a much sweeter, poppier sound again following a few tougher-sounding releases. The albums released between 2010's Metropolis and 2018's Atomic Generation (which I reviewed here) had a Bad Company-esque bluesiness to them - but from 2020's Synchronized (which I also reviewed here) onward the band's material has felt more overtly AOR again. The difference was never that stark, but it is interesting none-the-less - with keyboard player Jem Davis really coming into his own more recently given the somewhat pairing back of the bluesy guitar riffing which was given more prominence previously. Old Habits Die Hard continues on this trend and delivers another fun collection of melodic gems just in time for the improving summer weather.

The album kicks off with its two lead singles, both of which shine a light on the band's core melodic sound and exemplify the recent return to a much more keyboard-heavy sound. Much of the album is bright and hooky and that sound is established from the off thanks to Out of the Blue. The song opens with a hard-hitting drum groove from Pete Jupp, over which Mervyn Goldsworthy's pulsing bass and some synths create a pseudo-yacht rock foundation - but a more AOR-esque sheen is soon added thanks to some melodic guitar leads from Jim Kirkpatrick. Despite these leads, though, the whole song is floaty and smooth. Yacht rock is not a bad way to describe the song's overall vibe - even if frontman Steve Overland's vocals are much more powerful and hard rocking than those typical of that genre. Occasional harmony vocals and a spacious chorus reinforce that yachty feel - but there is enough punch from the drums to keep a more anthemic groove ticking. The floaty synth melodies really tend to dominate, though, with the guitars pushed into the background. There is less of a hard rock feel than is typical of FM's sound here, then, but there is still plenty for Kirkpatrick to do thanks to a tasty solo part way through - and the closing section of the track also features some busy lead playing. The song very much feels like FM thanks to the punch of the drums and the unmistakable vocals and melodies from Overland - but I do quite like how smooth this opening cut is as it brings something somewhat different to the table. Don't Need Another Heartache is much more traditional, though, with the guitars returned to their rightful place. The opening moments of the song are already more muscular thanks to some strong riffing and a few cutting leads - whilst Davis tends to use more organic keyboard textures this time, with organ backing the sparser verses. The song ticks, though, due to the rhythm section's groove. Goldsworthy and Jupp always give each FM song energy - and they are generally why the band pack such a punch. This song features a stark drum groove throughout - but Kirkpatrick's riffing is also pretty rocking in spots, whilst some dual guitar leads later on hark back to the 1970s classic rock era. The chorus here is perhaps not as immediately fun as the one from the previous song, but the mid-paced, melodic section is very typical of choruses found on the band's other recent albums. It sticks in the brain as a result and the track is another strong effort.

No Easy Way Out, sound-wise, feels like a more obvious throwback to the band's first two albums. The drum sound is a little tempered here, giving the song more of an 1980s feel, whilst the subtle guitar chugs and melodies throughout mimic tropes which the band relied on back in the day. Driving piano chords and shimmering keyboards add depth, but generally this is a piece which feels less focused on riffs and musical motifs - with all of the attention instead on Overland. Considering that FM have been in the business for 40 years at this point, Overland still essentially sounds the same as he did in the 1980s. He has really looked after his voice over the years and he gives it his all during this track - with the subtle chorus vocal harmonies sounding like a long-lost cut from their early days. A tasty guitar solo adds some further melodic hooks later on, but this is a song that really belongs to Overland - with his easy-on-the-ear vocal approach and breezy hooks shining as ever. Lost feels tougher from the off and the track is a return to the more riff-based approach of the early part of the band's reunion. It is much more guitar-driven than anything on the album up to this point, with Kirkpatrick's cutting, bluesy riff driving everything - with a simplified version of it even backing what is still a pretty atmospheric verse. That aforementioned Bad Company influence can be heard here, particularly during the more full-on rock moments, whilst slower moments are more keyboard-heavy to allow for the band's smoothness to shine through. A mixture of organ and synth sounds ensure that the keyboard tones are varied, but this is a track which focuses heavily on guitar playing - with chiming clean melodies joining in from the second verse onward to add to the bluesy riffing. The chorus is another strong one, too, thanks to the main riff filling itself out again - and it should also be no surprise that the song's guitar solo is longer and busier than many of the others here. Whatever It Takes treads a much more anthemic path and the song is pure AOR - with a few more glances back to the past. Whilst perhaps not as weighty as some of the band's more anthemic pieces, as far as pure Foreigner-esque melodic rock goes it is a great example of the sound which brought the band some fame in the 1980s. The opening moments, which also form the basis of the chorus, mix crunchy power chords with a keyboard hook - whilst flashy synth stabs and guitar leads form the majority of the linking moments between each part of the song. The verses are that aforementioned mix of cleaner guitar melodies and chugs which was featured so often on the band's early albums - whilst the harder rocking call-and-response chorus features Overland really letting rip whilst the rest of the band add tight harmonies. Due to its focus on hooks it was one of the first songs on the album which really jumped out at me on my first couple of listens. Throw in a really well crafted guitar solo and the song sums up pretty much everything I love about FM - and this is the sort of song that I really look forward to on each new album.

Black Water goes for a bit of a different approach, taking a somewhat slower, groovier path with big ringing guitar chords and organic keyboards setting a bluesy bed for Overland's smooth vocals. It is not a particularly heavy song, but the verses here feel murkier than is typical - before a much more melodic chorus, complete with some excellent piano runs, explodes out of the darkness. The strut of the verses works well, though, with Kirkpatrick throwing in some cutting bluesy leads when appropriate - whilst Goldsworthy's bass is high in the mix to allow his busy playing to dominate. Whilst the song is not a southern rock piece, there is clearly a bit of an influence of such here - at least in the verses, as the chorus is much more typical of the band's sound. The experiment works for me, though, and the song is an unexpected highlight. Cut Me Loose sees the band back on familiar ground, though, thanks to a bright drum pattern and a mid-paced guitar riff setting the early pace. The song is not as riffy as the intro suggests, though, as the verse then proceeds with a strong keyboard backing and some funky guitar rhythms - before it morphs into a much more strident and anthemic rocker with a foot-stomping pre-chorus and a stadium-ready chorus with lots of big harmony vocals. FM have written plenty of songs like this over the years, but the formula never really seems to get boring. It helps, too, that Overland is still one of the best singers in the genre. All of the songs here feature him at his best - but this one pushes him more to the fore thanks to how anthemic it is, and he really sells what is another excellent chorus. Leap of Faith at first slows things down quite considerably, with a delicate acoustic guitar and keyboard intro, but any pretence of the song being a ballad is soon pushed away when a pretty bluesy rock riff kicks in with a strong organ backing. The song then proceeds to become a pretty up-tempo hard rocker. Whilst not as tough-sounding as some of the band's previous albums, there is still a strong Bon Jovi-esque feel throughout - with a snaking guitar riff backing the verses whilst Overland adopts a slightly grittier vocal tone. The chorus is a bit brighter, but there is still a bit more weight thanks to Kirkpatrick's riffing again - which remains in situ behind the vocal hooks. The ever-present guitar riffing and the occasional organ stabs make this song what it is - and the riffier nature of the track is welcome given the stadium-ready cut which preceded it.

California is a return to a much more overt AOR sound, albeit with a slightly grittier guitar approach than some of the band's smoother cuts tend to have. The verses have a bit more of a slashing sound, then, thanks to this guitar tone - whilst piano and keyboards ensure that an overall smoothness is still present. This guitar tone is changed for the chorus, though, and goes for a more cutting lead-based approach - with guitar leads sitting nicely below Overland's anthemic vocal hooks. The chorus is another good one, but it perhaps suffers a little from not being as strong as some of the others here. It does not quite jump out of the speakers as expected - but it still memorable thanks to another excellent vocal delivery. Another Day in My World goes for a bit more of an expansive sound. It is surprising that there are no ballads on this album, as FM usually throw in at least one, but this is probably the slowest and most emotional piece here - although it is still pretty groovy overall. The band have opted for a more cinematic sound, though, with a big guitar and keyboard tapestry creating a melodic and sweeping sound - whilst slow-burning piano-led sections join the dots. Given the overall space in the mix and the fat bass grooves, there is plenty of space here for Overland's voice to shine. The verses in particular see him really operating as his most smooth, whilst the bass pounds away behind him, with the chorus going for some subtle vocal harmonies to create a bigger sound befitting the cinematic approach taken. The album then comes to a close with the more up-tempo Blue Sky Mind - which has a bit of a strange sound overall thanks to a repeated guitar refrain which really reminds me of the main guitar hook in Status Quo's Down Down. Unfortunately, now I have identified that connection it is all I can hear when it listen to the song - and it gives the track an uncharacteristic boogie vibe for FM. When the guitar lead recedes the track is pretty typical for FM, with another big, synth-backed chorus giving Overland plenty to play with - but then that guitar lead kicks back in and it sounds like Francis Rossi has joined in. The song is a fun, faster-paced track which helps to end the album on an energetic note - it is just a shame that I cannot disassociate the track with another song as it stops me from being album to enjoy it fully. Despite that, though, Old Habits Die Hard is still another excellent release from FM. There are plenty of real earworms here and it is the sort of album which could be put on at any time and enjoyed. It is an easy and enjoyable listen, then, and it is great seeing the band sounding so vital 40 years deep.

The album was released on 3rd May 2024 via Frontiers Records. Below is the band's promotional video for Out of the Blue.