As I have mentioned a few times this year, I have been enjoying making a lot more effort with extreme metal of late. I have covered more genuine extreme metal releases on the blog this year than I likely ever have before - and it is great to finally feel like I am getting something of a foothold on the huge and expansive death metal genre. I intend to keep picking up some of the genre's biggest releases each year going forward - but it is likely that today's review will be my last extreme metal foray for 2024, as there is nothing else on the horizon which I have earmarked to check out. I am rounding up 2024's extreme metal coverage, then, with something a bit closer to my pre-existing heavier tastes - and it is the turn of the American melodic death metal act The Black Dahlia Murder to finally get some attention. I have been a melodic death metal fan for many years at this point - and I can trace this back to the late 2000s when I transitioned from my love of certain metalcore bands over to the melodic death metal scene, with Arch Enemy being one of my first big discoveries. The Black Dahlia Murder, though, are a bit different when it comes to melodic death metal - at least what the genre is in my head. Clearly it is a broad church, like most metal subgenres, but the image of melodic death metal that I tend to subscribe to is the Swedish take on the sound - with bands like At the Gates, Arch Enemy, Dark Tranquillity, and In Flames being real touchstones. The sort of melodic death metal I tend to like, then, is that with big guitar hooks, anthemic choruses despite the use of harsh vocals, and perhaps even an atmospheric depth thanks to the presence of keyboard player. Clearly there is more to the genre than that, but it is the sound which I have always gravitated towards - and it was not until more recent times that I started to listen to other examples of melodic death metal, including The Black Dahlia Murder. I first started to listen to The Black Dahlia Murder in 2022 in the lead up to that year's iteration of Bloodstock Open Air - which they were scheduled to play. In May 2022, though, the band's founding frontman Trevor Strnad died. Whilst the cause of his death has never been officially revealed, it is heavily assumed that he took his own life - so it was unsurprising that the band cancelled all of their upcoming shows and many wondered whether they would continue on at all. Most would have understood if they had split up given the tragic circumstances, but later in 2022, following some consideration, the band announced that they would carry on with founding guitarist Brian Eschbach taking over on vocals - with former guitarist Ryan Knight returning to allow Eschbach to focus on singing. Eschbach had often been a secondary vocalist in the band, particularly live, so the move made sense - and with him being the only original member left it also made sense for him to be the new leader and focal point. Four years on from their last album, 2020's Verminous, then, and two years on from Strnad's death, The Black Dahlia Murder unleashed their tenth studio album Servitude last month - their first without Strnad and their first with Knight since 2015's Abysmal. Rounding out the line-up, then, are guitarist Brandon Ellis, bassist Max Lavelle, and drummer Alan Cassidy - all of whom have been in a band a fair while at this point.
The Black Dahlia Murder's take on melodic death metal is much less flashy than those aforementioned Swedish bands - and it is much closer to traditional death metal and thrash. The band's songs tend to be short and fast - with higher screams than traditional death metal growls and shredded solos. There are some flashy lead guitar moments, but they are more restrained overall - with pace and energy the core identity. Despite Strnad's death, the band's sound has not really changed at all. Eschbach is certainly a strong vocalist and his style is not all that dissimilar to Strnad's - so Servitude picks up where Verminous left off despite the tragedy. Like most of their albums, it is not much longer than 30 minutes - with most of the songs being around three minutes long. Evening Ephemeral kicks things off and the band's classic sound is present from the off. It does start off somewhat atmospherically, though, with some weather sounds and haunting piano melodies - but this scene-setting does not last for long, as a staccato riff and massive drum barrage soon kick in. Before transitioning into the song proper, which is very thrashy, there is a mid-paced riff which establishes an early groove - but once Eschbach starts to sing, the guitars of Ellis and Knight thrash away with fast-paced riffs whilst the blast beats and fast footwork of Cassidy create a whirlwind beneath. The song is somewhat on the dynamic side at times, though, with the mid-paced feel of the intro returned to during something of a bridge later on - although this moment is short lived as it soon explodes into the album's first guitar solo. The solos here are generally fast-paced and shredded, and this one conforms, whilst there are a few subtle lead guitar moments in the song elsewhere - albeit, apart from a couple of more heroic moments, they tend to be mixed into the background. Panic Hysteric dispenses with any scene-setting or groove-based moments, and launches into an extremely thrashy riff from the off - and never really lets up. There are a few more grinding moments riff-wise, but the pace does not really slow. The guitar approach changes subtly to create a point of difference - but the drumming never really lets up which means that the song maintains its overall break-neck attitude. Lead guitar work is a bit more prevalent here, though, with a few riffs throughout which feel like Killswitch Engage on speed - whilst there is a breakdown section which showcases some great harmony runs between Ellis and Knight, before one of them launches into a furious solo. The track is full of caustic vigour, but the riffing feels more hooky here - which helps the song to remain memorable. Aftermath acted as the album's lead single, so it was the first look which the band's fans had of the new-look The Black Dahlia Murder. Perhaps unsurprisingly, then, the track stays very true to form - and is perhaps even more intense than the two which came before. Cassidy's drumming is very much based around blast beats during the verses, and the intensity never really lets up - even during more galloping sections which feature more of a classic metal flow. Eschbach impresses vocally with a mix of higher screams and some deeper growls than is typical of his approach - with a slower-paced bridge seeing some of these guttural vocals before a more restrained and howling guitar solo is deployed. The rest of the song picks the pace back up, though, this mid-section a brief respite, and it introduced the new era nicely back in June.
Cursed Creator is a bit different from what has come before and it slows the pace down somewhat - going for a chunkier, mid-paced approach which does not feel as intense but does not lack for heaviness. Generally the band operate at thrash-type speeds, but there is a bit more of a traditional death metal chug here - with less busy drumming to allow the double bass rolls to feel natural and the riffing consists of some more traditional motifs which feel more expansive and less pin-point. I like the grooves which the song conjures up, then, and it is a welcome change of pace from the fast speeds of the previous songs. The slower pace allows for some more lead guitar moments, too, and the chorus has a few choice leads to back it - whilst the later solo is more expressive thanks to the reined in pace. The guitarists really get to lit rip during the song's closing minute or so, too, which includes plenty of excellent runs and melodies beneath Eschbach's screams. Following the brief, acoustic-based instrumental An Intermission, which returns to the atmospheric manner in which the album opened, albeit guitar-based, the pace is picked back up again by Asserting Dominion - a thrashy track which fuses the sound of the previous song with the sound of the opening three. It is perhaps not quite as fast and intense as those opening cuts and there are moments which groove a little more. The riffing is a good mix of 1980s death metal weight and thrash speed - but there is also a great and much more defined chorus here which features Gothenburg-esque harmony guitar melodies and some hooky Eschbach vocals. There are other moments in the song, too, which feature Ellis and Knight teaming up for some NWOBHM-inspired guitar leads - but they are not overused to limit the comparisons to the Swedish scene. The melodies are very memorable, though, and the song is one of the overall highlights on the album as a result in my opinion. This sense of melody follows into the solo, too, and it one of my favourite solos on the album as a result. The album's title track follows and it is a proper thrasher with little of the more dynamic approach of the previous song - with the band instead just going for the throat. The riffing is extremely in-your-face this time and the flourishing lead guitar moments of the past couple of songs are generally absent. The rhythms and pace are what make this song what it is, with some blast beats returning, but there are some brief moments which feature what sound like some sweep-picked melodies behind a slightly less intense riff - and these sections bring early Sylosis to mind somewhat. The lead guitar dominance does reassert itself towards the end, though, with the last portion of the track being much busier and interesting from that perspective when compared to the much riffier early movements.
Mammoth's Hand is another track which brings the pace down quite considerably - and the song opens with some soaring, emotionally-charged guitar leads. These sort of very 1980s-esque guitar moments are not something which are that common on the album, so they help the song to stand out, and the much more deliberate pace also helps with such. Whilst parts of the song are a bit faster than what would generally be considered as mid-paced, given how fast much of the album is it feels much more mid-paced by comparison - and it is great that a few grooves are allowed to really develop here, alongside some mournful backing guitar leads. I would also shine the spotlight on Cassidy, who turns in an excellent drumming performance. Rather than laying into his double bass drums and relying on tight thrash beats here he instead is forced to do something a bit different - and there is something jazzy about some of his beats here which include rogue tom hits and a few jagged bass drum patterns which differ from the norm. They are a big part of the grooves, too, alongside the slower riffing and leads of Ellis and Knight - and the more restrained backing brings the best out of Eschbach's growls. Transcosmic Blueprint returns to business as usual, though, with the track picking up the pace following the fatter grooves of the previous track. It is perhaps not as thrashy as some of the other songs, though, and instead harks back to some of those more metalcore-inspired moments referenced earlier. I have often thought that there is a thin line between the heavier end of metalcore and the most accessible end of melodic death metal - and this is a song which would likely appeal to most Killswitch Engage and Trivium fans. Some of the guitar melodies which surface throughout are used in a similar manner to how those bands create those heroic-sounding patterns - whilst a great trade-off guitar solo sees both Ellis and Knight trading licks and soloing in unison at times. The song is still fast paced, but the riffing feels much more defined overall and less chaotic - which helps some of them to stick a little more and also ensures that the chorus feels somewhat more weighty. The album then comes to a close with Utopia Black, which is somewhat more diverse than much of the rest of the album. It opens with a bit more of a mid-paced riff, which sounds powerful, before evolving into something much more extreme. This song is the one here which is likely closest to being genuine extreme metal - with some of the most intense and long-lasting blast beats on the album. Parts of the verses are close to a black metal aesthetic, then, thanks to these prolonged periods of blasting - but the whole song is not like this. There are much more traditionally thrashy moments, too, as well as the occasional break in the pace to introduce a more slab-like riff. This is a song which takes many twists and turns, then, and it is clearly one which builds on a few of the ideas flirted with elsewhere on the album and expands on them. It could have done with perhaps being a little bit longer, though, to fully allow some of these ideas to flourish - as it comes to a rather abrupt end, as things transition back to the weather sounds and piano which opened up the album. Overall, then, this is the first album from the band which I have truly digested and I have been enjoying my time with it. It sounds very similar to the few other albums of theirs which I have heard - but it is good to hear the band sticking to their well-established formula, especially given the necessary reinvention.
The album was released on 27th September 2024 via Metal Blade Records. Below is the band's promotional video for Aftermath.
Whilst messy band break-ups are always sad to see, often positive things can come from such strife. The schism which occurred in the Dutch symphonic metal band Delain in early 2021 came as a shock, as the band were one of the best and most creative in the genre at the time, and they seemed to be on really fine form following the release of 2020's Apocalypse & Chill (which I reviewed here) - an album which saw the band pushing themselves further than ever before. It easily the most expansive and experimental Delain album to date - but, sadly, it is one that never really got its flowers due to it being released a month or so before the COVID-19 pandemic. I saw one of the few shows which took place in support of it and the band were on fire - so I was genuinely surprised when news of the split came a year later. Perhaps there had been on-going disagreements behind the scenes or perhaps the pandemic saw focuses and views shift - but, whatever the reason, Delain's founder Martijn Westerholt was left as the only remaining band member, with the other members all leaving together. Westerholt has since assembled a new line-up of Delain, comprised of some new and some returning faces, and released the strong Dark Waters (which I reviewed here) last year. Delain are still a force to be reckoned with despite the major line-up change, then, but what became of those who left back in 2021? Thankfully, they are still working together - although vocalist and songwriter Charlotte Wessels is the one leading the charge. After Delain's split, she started to write and record new music herself - and released it via Patreon, dropping new songs here and there for her fanbase. To my shame, I have not heard any of the music from this period. I am not a streamer and I do not like to consume music one song at a time via Patreon - so I never really got on board the Wessels train. I have loved her voice and songwriting since first getting into Delain in the late 2000s, and I also have the album she did under the Phantasma name with Serenity's Georg Neuhauser, but I was not interested in the bite-sized manner in which she was releasing the songs and, from the snippets I have heard, the style of music she was pursuing was not really for me. She has since released all of her Patreon songs as two albums: 2021's Tales from Six Feet Under and 2022's Tales from Six Feet Under Vol. II; but I am yet to take the plunge. I really should, but I am not convinced that they will be for me. What is for me, though, is her latest album, The Obsession, which was released last month. Whilst it is technically her third solo album, it was the first to actually be conceived as such - with the previous two feeling more like compilations. It also sees her returning to her metal roots - mixing her knack for huge vocal melodies and snappy songwriting with tech metal riffing, a slightly progressive feel, and shades of the symphonic metal with which she made her name. Guitarist Timo Somers (Vengeance; Delain; Carthagods; Arjen Lucassen's Supersonic Revolution), bassist Otto Schimmelpenninck van der Oije (Detonation; Delain; Coldbound), and Joey de Boer (Purest of Pain; Delain; Dear Mother) all return from Apocalypse & Chill - with Sophia Vernikov on keyboards rounding out her core band.
There are a few guests along the way, but Wessels and the aforementioned musicians drive everything heard on The Obsession - with Wessels writing all of the songs and Somers helping with the arrangements. Vikram Shankar (Meridian; Gravity; Threads of Fate; Silent Skies; Redemption) is also credited with working on the arrangements, as well as with orchestrations and keyboards, so he was likely an unofficial sixth band member as this album was coming together. The Obsession does not sound like Delain all that much, but Wessels' distinctive voice and vocal mannerisms help to link the songs here back to her past. The opening keyboard motif to kick-off track Chasing Sunsets and the melodic guitar lead which takes over are somewhat reminiscent of some of Delain's more recent work, though, but once the song's main grinding riff crashes in the vibe is much heavier overall. Somers' riffing throughout this album is pretty dry and tech metal-inspired - and this works nicely alongside Wessels' shimmering voice and the plentiful orchestral and synth work throughout. Not every song here is heavy, but there is certainly plenty of metal to found on the album. The riffing here drops away during the verses, though, which are very vocal-focused, despite some jazzy grooves whipped up by the rhythm section, before Somers crashes back in for a hooky pre-chorus and chorus which are tough and memorable. A later, stripped back version of the chorus brings the best out of Wessels vocally, alongside some fluid synths, whilst a prog metal instrumental flourish later brings the song to a loud conclusion. Dopamine features the first of two guest vocal spots, with Simone Simons (Epica) adding her voice to the driving anthem - which reminds me quite a bit of the Dutch gothic metal scene of the 2000s. There are certainly shades of Delain here as a result, then, with a furious opening riff backed by some double bass drumming, whilst the verses are a bit more stripped back with chugging guitars sitting behind the vocals. Wessels sings the first verse with Simons taking over for the second one - with the two ladies joining force for a playful and memorable chorus which is one of the album's hookiest moments, particularly when the main hooks are sung against the returning opening riff. The two ladies have sung together previously and their voices always work well in harmony - and they sing a later bridge section in tandem, under which some knotty guitar leads sit. The Exorcism opens slowly, eschewing the big riffs of the past couple of tracks. Mournful clean guitar melodies and some simple percussion sit behind Wessels' distant vocals, which set a somewhat gothic and atmospheric tone, before the heavy guitars crash in - further emphasising that gothic feel. The dynamic piece shifts back and forth between this oppressive guitar-led heaviness and the somewhat dark folk of the intro - with the verses generally feeling hypnotic and atmospheric, and the chorus a barrage of heaviness and repeated vocal hooks. A heavier bridge section later sees Wessels deploying some harsh vocals, too. There is at least one instance in Delain where she did this in a very limited capacity which I can think of, but this bridge section sees her growling in a big way - and it works well as a contrast to her usual hooky delivery.
Soulstice also opens slowly, with some stark piano chords - over which a staccato drum beat forms a base for Wessels to sing over. This is a very interesting song vocally, with Wessels laying down a lot of different vocal layers to create a big and atmospheric sound. Instrumentally, the song is more stripped back than anything else here up to this point. The piano chords are the main driving force, but the drums are perhaps what stand out the most - whilst there is a bit of a guitar chug at points, albeit mixed into the background. This sparse sound allows all of the vocal layers to shine, and the interplay between all of the different vocal tracks creates an ethereal and interesting sound. Occasional bluesy guitar leads add depth, and there is one slightly crunchier chorus later on, but overall the song is pretty compact - providing something of an atmospheric break following three heavier pieces. The Crying Room was one of the songs which stood out on my first listen to the album, and it remains a favourite. It also starts slowly, but like many of the tracks here it is a mix of slower, atmospheric moments and heavier, metallic moments. It is not as heavy as some of the earlier pieces, but there remains plenty of crunch - with the chorus really kicking through the speakers thanks to the tight riffing and some strident vocal hooks. There is something mournful about the chorus hooks, which again remind me of that Dutch metal sound of a couple of decades ago - with crunchy guitars and some soaring synth leads sitting nicely behind Wessels' emotionally charged vocal delivery. The verses are slower, though, and a piano-led bridge section later adds to the song's varied feel - with this bridge later expanding into a more involved version of the chorus, complete with some melodic guitar leads. Ode to the West Wind features the second guest singer of the album - with Alissa White-Gluz (The Agonist; Arch Enemy) lending her talents to the track. The track returns to a heavier sound overall, with a cold synth pulse opening things up before a verse with staccato guitar/synth stabs sees Wessels singing in a slightly mechanical manner alongside these industrial vibes. White-Gluz is another who has sung with Wessels a number of times in the past - and their voices again intertwine nicely during the spacier parts of the track, before she unleashes some of her signature growls during the song's heavier moments. The track is pretty rocking throughout, with even the verses containing a strong groove, but the chorus and a later bridge section are much tougher overall - with plenty of harsh vocals and a symphonic metal flair thanks to some big orchestral arrangements and occasional guitar lead. Serpentine calms things down by opening with some delicate piano melodies - over which Wessels starts to sing. The opening moments of the song are melancholic, with the piano and vocals essentially all that is heard - although some distant drumming soon adds a little more depth. The song does grow from this slow start, but it never really becomes a metal monster like some of the other tracks here - with the track feeling like a big ballad throughout. There are crunchier moments, with later choruses feeling a bit more metallic, and Somers also cuts loose with a pretty big guitar solo - which suits the ballad-esque feel. This is not an album packed with solos, but the guitar solo here adds some extra spice to the track which is welcome.
Praise opens with a mid-paced guitar riff, and the track overall takes a bit of a different path to many of the others here. There is something of a strange classic rock strut here which differs from the more metallic and atmospheric sounds heard elsewhere - with bands like Muse and Queen a bit of a touchstone. Bass-heavy verses and some strident piano melodies help to drive the mid-paced verses - before an epic chorus takes over which features big choral vocal hooks and a driving hard rock beat. Some of the choral vocals feel a little gospel-esque in their delivery, which brings late period Queen to mind, whilst the song overall just has a different and grander overall sound without relying on the guitar crunch or the paired back sounds which generally define the album. All You Are is another somewhat slower piece, with ballad-like tendencies, but its overall sound is dense and gothic - with a good mix of heavier sections and ethereal vocal-led moments with simple atmospheric backings. Piano and strings do a lot of the heavy lifting here alongside Wessels herself - whilst there are sections which rumble with a little more heaviness thanks to a strong guitar backing, which later culminate in a soaring guitar solo which Wessels harmonises with. It is a hard song to describe, really, as it shifts in tone so gradually as it moves along, with even the heavier sections not feeling all that different from the more atmospheric moments, giving the song a chameleon-like feel. Vigor + Valor returns to a much heavier sound. It opens slowly, with some distant vocals and strings, but it is not long before a massive tech metal riff kicks in - with Somers' dry heaviness giving the album a real kick following a few less heavy moments. As is typical, though, the song is not heavy from start to finish - but it certainly feels more weighty than the last few tracks. Wessels also takes a different path vocally, too, particularly during the verses. Her verse vocals are drenched in effects, and she sings in a fast-paced manner against grinding backing guitars and ringing piano notes - before a heavy chorus kicks in which sees her singing more traditionally against a doomy riff. The variety of the piece helps it to stand out and it is the last truly heavy piece here. Following the brief orchestral instrumental Breathe;, the album then comes to a close with a full band version of Soft Revolution - one of the songs from the Patreon sessions. I have not heard the original but I imagine that this new version is quite different. Distant drums and synths early on back Wessels' vocals as she sings the verse lyrics - before the chorus feels heavier overall, adding weight to another song which feels somewhat ballad-adjacent. The more straight forward chorus, when backed by the chugging guitars and synths, actually sounds quite a lot like Delain - something which I cannot say about too much else on the album. The rest of the song does not, but it is perhaps one of the most straight ahead choruses here and it reflects the poppy edge which Delain always had. There is a melodic guitar solo, too, and the easy on the ear track rounds out the album nicely - even though it feels a bit less quirky than anything else here. I like how Wessels has explored quite a few different flavours on the album, though, and her songwriting feels more expansive here than it did within the confines of Delain. I am glad to see her return to more metallic sounds, too, following her previous solo work - and I hope that she manages to keep this core band together, as I would love to hear this sound developed further going forward.
The album was released on 20th September 2024 via Napalm Records. Below is Wessels' promotional video for Chasing Sunsets.
There was a time, not all that long ago, when a UK tour in October/November from the American hard rockers Y&T was an annual occurrence. Y&T have always been popular here in the UK, and have embraced the love of their UK fans in a big way, but, sadly, in recent years they have been kept away from these shores. I first saw the band live back in 2016 in Bristol - and I also saw them in 2017 in Nottingham and in 2019 in Cardiff. There was no UK tour in 2018 due to illness - and then clearly the pandemic put a stop to the band visiting here for a while. I had tickets to see them again in 2022 I think it was, but sadly the tour was cancelled following Dave Meniketti (vocals/guitar) being diagnosed with prostate cancer. I did wonder at that point whether I had seen my last Y&T show. Meniketti is now 70 and prostate cancer is often very serious - so even if he survived the cancer battle he may no longer want to travel long distances or have the energy to perform live. Thankfully, though, following a successful course of treatment, Meniketti's cancer is in remission - and Y&T have been picking up the pace again ever since, with this year seeing the band's first shows in Europe since 2019. When the tour was announced earlier this year, I knew that I had to go. I had hoped to return to Nottingham to see them, as Rock City always delivers for Y&T, but logistics and other existing plans meant that a London trip was the most sensible option. The venue of choice for the band was the O2 Academy in Islington - a venue which I get to pretty regularly and one that I tend to like despite it being one of the more corporate of the city's smaller rooms. Given Y&T's popularity, though, it seemed a bit on the smaller side. I had expected that somewhere like the Islington Assembly Hall or the O2 Shepherd's Bush Empire would have suited a band like Y&T's stature better - but Islington it was, and my experiences at the venue have generally been positive in the past. It also meant that all four of my Y&T concert experiences have taken place in different cities - which is a fun, if meaningless, piece of information. I had to get an early train up from Plymouth thanks to other options being more expensive - so I had a rather lengthy walk around East London during the afternoon following a pizza lunch, before checking into the Aldgate East Travelodge. The Travelodge was one of the grottiest I have stayed in for ages - and it looked like nothing had been done to the place for years. This combined with the extremely noisy railway right outside the window means that I will not be returning if I can help it - but I managed to have a bit of an afternoon nap before heading up to Islington. The evening was billed as an 'Evening with...' to celebrate the band's 50th anniversary - so I presumed there would be no support act. This assumption was correct, but with the doors opening at 7pm and the band not coming on until 8:15pm there was quite a bit of waiting around. It took ages to get into the venue, though, thanks to some extremely sluggish security checks - and given that the show was sold out there were lots of checks to do!
The place was packed and I think the only time I had seen the venue so full previously was when Rhapsody brought their reunion tour to the venue in 2018. I started off about halfway back, though, and was in a good spot to witness the band take to the stage and launch into Hurricane. From the off, the band looked really up for it. Meniketti did not look like a man who has recently had a significant brush with cancer - and he has lost none of his energy, voice, nor guitar playing ability in the five years since I last saw him. He was on fine form, his rich voice cutting through the mix with ease, whilst his guitar playing packed a punch - alongside fellow guitarist John Nymann. Given the anniversary nature of the tour, the band played at least one song from every studio album during the course of the night - with a few deep cuts included alongside plenty of favourites. Y&T have always been great at mixing up the setlist, though, which is one reason I keep coming back - with the anthemic Rock & Roll's Gonna Save the World impressing early on, with Nymann playing a shredding solo during it. Nymann played a few more leads than usual, which was likely just down to the song selection. He was busy early on, taking the lead on the bluesy 25 Hours a Day from the band's first album - before him and Meniketti teamed up for a number of unison runs during the heavier Struck Down. Despite these deeper cuts being played, the sold out crowd did let their interest waver. Clearly most people in attendance were big fans - with even the newer cut How Long being sung along by plenty around me, although fan-favourites like Mean Streak certainly saw bigger receptions. I had to use the facilities during Mean Streak, so sadly had to give up my good spot to stand near the back. The place was so full that some people were even stood in the doorway - and I was not going to try and force my way back into a better spot. The view from the back was not always ideal, but the sound was still very good - and everyone at the back was just as into the show as those nearer the front. This was evident during the amount of singing during Midnight in Tokyo and Contagious, two anthemic numbers which really kicked the energy levels up a notch - before a lengthy rendition of the ballad I Believe in You saw some of Meniketti's best soloing of the night. The band could do no wrong by this point, with 1990s deep cut Gimme the Beat receiving a strong reception - before a run of real classics rounded out the main set. Poppier cuts like Summertime Girls and Don't Be Afraid of the Dark had everyone singing long, whereas riffier pieces like Black Tiger and Dirty Girl showcased the band's heavier side. The latter also showcased plenty more soloing from Meniketti, and he proved why he remains one of the best in the business, but sadly the band were running out of time by this point - with the bouncy newer anthem I'm Coming Home and the evergreen Rescue Me rounding out the main set. There was time for a three-song encore though, and the band came back out after a short break and launched into the fast-paced Open Fire, which felt like one of the night's highest energy moments - before a rare outing for Don't Wanna Lose was a treat for long-time fans. The night was then brought to an end with the band's signature tune Forever - which saw plenty more singing and lots of big drum barrages from Mike Vanderhule as the piece came to a punchy close. The setlist was:
From the Moon
Hurricane
Rock & Roll's Gonna Save the World
25 Hours a Day
Struck Down
Don't Stop Runnin'
How Long
Mean Streak
Long Way Down
Midnight in Tokyo
Contagious
I Believe in You
Gimme the Beat
Summertime Girls
Don't Be Afraid of the Dark
Black Tiger
Dirty Girl
I'm Coming Home
Rescue Me
-
Open Fire
Don't Wanna Lose
Forever
Y&T never disappoint live and they were not about to start doing so in London last night. They are a band that always give the fans their money's worth - and they played for well over two hours for the sold out crowd. It was great to see that nothing had changed in five years, too, despite Meniketti now being 70 years old and a cancer survivor. He puts people half his age to shame with his sustained talents and lasting energy - and I will keep going to see Y&T as long as they keep coming back to the UK.
Being a fan of the Swedish hard-hitting AOR act Eclipse is one that generally reaps rewards. The four-piece, headed up by prolific songwriter and frontman Erik Mårtensson, always seem to be working on something new - so their fans rarely have to wait that long for each new album. Even by the band's usual standards, though, the turnaround between last year's strong Megalomanium (which I reviewed here) and last month's Megalomanium II was extremely quick. Megalomanium dropped on 1st September 2023, with its sequel following just over a year later on 20th September 2024. I think that both albums came from an even more prolific writing session from Mårtensson than usual - and I also think that both of the albums were recorded at the same time. Looking back at the previous album's cover, the 'i' in the title has been fashioned to look like a Roman numeral number one - with the latest cover having the 'i' replaced by a Roman numeral number two. The sequel was clearly planned at the time of the last album's release, then, which suggests that the band recorded a huge amount of songs and decided to split them between two releases. In my opinion, this was wise. I am not sure Eclipse are the sort of band I want to listen to an hour-plus of music from in one go - and they would not really suit releasing a traditional double album. Eclipse are a band who write bite-sized anthems which are perfectly suited to the old fashioned 40-45 minute album runtime. If the Megalomanium sessions had been released as one large album, I think it would have been too much - and I doubt I would have spent half as much time with Megalomanium as I did last year if it had been twice as long. As much as I like Eclipse, they are not a band I tend to go back that often. I generally really like each new album as they come out, and give them a lot of playtime for a few months, but then they tend to go on the shelf and rarely come back off. Megalomanium was an album I did listen to quite a few times last year, though, so it did break the trend a little. It was an album which did something a little different and featured a few more modern influences among Eclipse's classic tropes. Whilst I do not think that Eclipse have released a weak album, perhaps 2021's Wired (which I reviewed here) was their least interesting. I cannot remember much about it now, whereas all of the band's other albums have standout tracks which I can instantly recall - so Megalomanium felt fresh. In some ways, then, Megalomanium II is a bit more traditional. Interestingly, the 2023 album featured a lot of co-writes from bassist Victor Crusner, the band's newest recruit, who's influence clearly shifted the album's sound somewhat. Megalomanium II is much simpler affair songwriting-wise, though, with Mårtensson writing most of the tracks alone. Victor and founding guitarist Magnus Henriksson get one co-write each, and some of Mårtensson regular non-band collaborators chip in on a handful of songs - but generally this album is very much Mårtensson through and through. It is also the band's third album in a row with the current line-up, with Victor's brother Philip Crusner once again handling the drums.
There are a lot of proper anthems on this album, in typical Eclipse fashion, but there are also a few slower songs and ballads. The classic Eclipse songwriting tropes are very much present and correct, then, and the album opens up with one of its biggest tracks: Apocalypse Blues. Despite being co-written by Victor, the song lacks some of the modern touches of the last album - and instead it just feels like the big singles of Eclipse's past. Henriksson's big main riff, which kicks in following a big drum barrage and some early atmospheric synths, channels John Sykes in a big way - and all of the band's usual hard-hitting energy immediately pours out of the speakers. The main riff is hooky, whilst the verses are a bit more stripped back - with the bass leading the charge whilst the guitars pop in and out with riff snippets and the occasional flashy lead. The pace is up-tempo from the off, though, and even the verses feel pacy. This is a high-octane rocker, then, and it really sets the tone for the rest of the album - showcasing Eclipse's hard rock credentials. They might be a melodic rock band, but they have always been one of the toughest in the scene - although this does not stop them from writing soaring choruses as this song can attest to. A busy guitar solo further showcases Henriksson's guitar prowess, before another big drum barrage brings the track to a close. The Spark is similar, although the pace is not quite as urgent this time. The song is more mid-paced overall, then, but there is still plenty of zest throughout thanks to the guitar riffing and a strong bass presence. There is much more of a synth-heavy sound this time, though, with the opening riff augmented by some cold synth stabs - and these synth sounds resurface throughout the track. They back the chorus, giving it some depth, whilst the main riff is reprised throughout to create some strong staccato grooves. Elsewhere, the bass is once again a main player during the verses, which are also somewhat stripped back to allow the chorus to really pop, whilst the chorus is packed with big vocal harmonies. To complete an excellent and memorable opening trilogy, Falling to My Knees opens with a punky 1-2-3-4 before exploding into a massive-sounding mid-paced melodic rocker with a hooky opening guitar lead and a smoother overall sound than the two songs which came before it. Eclipse are certainly a hard rocking band, but they still can possess an AOR smoothness when they want to - and this song showcases such at times, at least until a strident verse riff takes over behind Mårtensson's powerful vocal melodies. The two choruses on the album up to this point have both been big, but the chorus here might be the biggest of the three - with proper AOR hooks and less of an overall pace to allow them to bed in nicely. The chorus is a real earworm, then, and Henriksson also stretches out his solo to include lots of melodic phrases.
All I Want is perhaps not as strong as the opening three, but Eclipse rarely miss the mark in a big way - and there is still lots to like about the pacy rocker. It is a track which returns to some of the more modern rock vibes of the last album - but perhaps they do not quite gel as well this time. The chorus is a bit too frantic which means that the melodies do not quite hit home - but I like the bass-driven verses which showcase some of the positive traits of the last album. For me, though, the guitar playing here is less interesting. The band managed to mix both sides on their last album, but there riffing is more chord-driven this time - and I miss Henriksson's traditional heft. There are some melodic leads, though, which are enjoyable - I just wish there was more of a riff focus. Still My Hero is stronger, though, and it is the first somewhat slower track here - although it still packs quite the punch when it wants to. Opening with some melodic clean guitars, it is not long before a pretty hefty riff kicks in - albeit with a melancholic synth hook over the top of it. The synths perhaps temper the riffing slightly, but it works in this context given the more dynamic approach taken - whereby the verses are slower and more atmospheric before the chorus kicks in to rock things back up again. The bass drives the verses again, which is very much a theme so far, but there is also a strong keyboard presence to create an atmospheric feeling. The chorus is much tougher, though, albeit with the synth hook referenced making a return. This forms the basis of a strong chorus, though, and it is another earworm thanks to Mårtensson's vocal hooks and the synths. Dive into You slows things down further and it is the album's first ballad. Whilst Eclipse clearly prefer to operate at full-tilt, given Mårtensson's love of heavier music than he writes, they are also strong at crafting strong ballads - and this is another enjoyable effort which makes the most of Mårtensson's vocal abilities and the varied guitar playing of Henriksson. The song is not all that riffy, which is not a massive surprise, but his clean guitar playing throughout sets a great 1980s tone - with the rumble of the bass providing a reassuring grounding as Henriksson goes for a more atmospheric sound. The chorus is heavier, but it still retains a similarly atmospheric sound overall - and the song works as well as it does thanks to Mårtensson's vocal talents which carry all of the weight. Henriksson's guitar solo is expressive, though, with all the ingredients coming together nicely. Until the War Is Over is much rockier again, with the band returning to more of a mid-paced hard rock sound - despite maintaining some of the dynamic twists of the previous couple of numbers. As with Still My Hero, there is a bit of a synth melody accompanying the guitars early on - which creates some folky melodies that bring Thin Lizzy to mind at times. There is less of a focus on keyboard depth this time, though, and the track is generally a more hard rock piece. The chorus is much tougher overall, with some grittier vocals from Mårtensson, although the verses are on the slightly slower side again with cleaner guitars and a more open sound.
Divide & Conquer is heavier again, and the song opens with some chugging guitars which grow in stature before a more juddering riff kicks in - and the track morphs into a pacy hard rocker with a 1980s guitar tone driving everything and some frantic vocals from Mårtensson. Unlike most of the tracks here, the verses do not feel all that bass-driven - with the guitars instead doing all of the heavy lifting. There is a real crunch throughout as a result and Henriksson's guitar tone is perfectly suited for the song. The guitars sound huge and it is fitting that after the first chorus Henriksson launches into a shredded solo. The chorus is one of the album's hookiest, too, despite the song's heavier feel - and this shows Mårtensson's ability to make heavier tracks feel very melodic. Another couple of lengthier guitar solos are included later on, too, which makes the song the most lead guitar-heavy piece here - which ties in nicely with its overall riffy nature. Pieces is another somewhat more atmospheric song, but it retains plenty of the band's usual hard rock crunch. Instead of going for a more 1980s take on atmosphere, though, the synth and production choices feel more modern. The track is a bit of a hark back to the last album, then, but I think the choices work better here than they did on All I Want earlier. There is still an urgency and a decent chorus despite the cold synths used throughout and I also do not feel as if the guitars have been side-lined this time. A lengthy and very melodic guitar solo help to cement this feeling, but there are also a couple of decent riffs thrown in alongside the more chord-driven approach of the song overall. To Say Goodbye returns to ballad territory and, as much as I like Dive into You, I think this one is better overall. This is largely because of the chorus, which is just packed full of hooks. It is one of those choruses which takes a turn part-way through and tweaks the melodies and delivery slightly to make everything that bit more interesting. It is a chorus which has been in my brain since first hearing the album and, even though the rest of the song is a typical ballad arrangement with clean guitars, the chorus makes it shine. It is hard not to sing along - and a Queen-esque guitar solo is also a fun addition. The album then comes to a close with One in a Million, a song also on the slower side - but in a much more epic hard rock context. It is no ballad, despite some swirling early synths, with the track evolving around an Eastern-tinged guitar riff that is augmented by some synths and some snappy drum footwork. Eclipse have written a few of these more expansive hard rockers over the years and this is another good example of such - and it works really well as an album closer, as it expands on the band's core sound in a powerful way to make everything sound a bit larger. The guitar riffs really breathe here and the subtle keyboard and harmony vocal layers inject a lot of depth. Philip's busy drumming adds a lot, too, and some of his bass drum work here borders on metallic - but it adds a lot to the expansive riffing to create a few counter points of interest. A hooky, cinematic chorus and another excellent guitar solo pull everything together - and the album ends on a real high. Eclipse rarely disappoint and this album certainly does not. It compliments the last album nicely thanks to the slightly different overall tone, whilst most of the songs here are real winners which will no doubt become fan favourites over time.
The album was released on 20th September 2024 via Frontiers Records. Below is the band's promotional video for Apocalypse Blues.
Sometimes when walking out of a venue after a concert you think that what you have just witnessed was something special. Most concerts are special in a way but, in truth, the vast majority of them are a routine day's work for the band in question - but every so often a show comes around which feels like a momentous occasion, and a key touchstone in their history going forward. Last night's show by Dream Theater in a packed O2 Arena in London felt like one of those nights. The American progressive metal band are a true favourite of mine, and I had seen them live before a handful of times, but last night's showing was the best of the bunch - and by quite a significant margin. For those who have been paying attention, earlier this year Mike Portnoy (drums/vocals) returned to the band after a 14 year absence - following his somewhat acrimonious departure back in 2010. As one of the band's founding members and a significant contributor both musically and lyrically from their 1985 genesis until his departure in 2010, Portnoy was certainly missed. Dream Theater carried on successfully without him, with the excellent Mike Mangini behind the kit, but after seeing the band last night it was clear that something had been missing over the past 14 years. My first Dream Theater show came back in 2011, when they headlined the second and final High Voltage Festival, which was one of Mangini's first shows as a member of the band. I had only gotten into the band properly over the preceding couple of years, so had not seen them with Portnoy until yesterday, but I managed to see them six times over the Mangini era - which each show being an excellent and memorable experience. I had seen Portnoy a number of times, too, with Transatlantic, Twisted Sister, and Sons of Apollo, so I had been somewhat keeping up with his myriad of projects, but I remained fully committed to Dream Theater despite his absence - and, in my view, the band put out plenty of excellent albums over the past 14 years. As I said, though, I now realise that something had been missing - at least from a true chemistry perspective. It was clear from last night just how much natural chemistry and camaraderie there is between the band and Portnoy - particularly between him and John Petrucci (guitar/vocals) - in a way that there just never was between them and Mangini. This is to take nothing away from Mangini, who put in some monstrous performances behind the kit over the past 14 years, but I am not sure I truly appreciated how important Portnoy was to the band until last night. Speaking of the night, then, the show at the O2 was the first night of their lengthy 40th anniversary tour - which extends well into 2025. The band will release a new album Parasomnia next year, too, but the next few months are all about getting back out there again on tour - and a packed arena in London was the best way to get this new era underway. Given that Dream Theater have often been caught between venue sizes here, and their Birmingham show last year was not exactly bursting at the seams, I thought that the O2 was ambitious for them - but they packed the place out, even if some of the top-most tier was closed off. I imagine the show being the first of the tour meant that some people travelled from far and wide, though, and this was not just another London show.
Having reverted to more traditional set lengths post-pandemic, and having support bands on their last couple of tours, this tour sees the band return to their 'Evening with...' format - something which has generally served them well over the years. With a strict 10:30pm curfew and lots of music to squeeze in, the lights went down at 7:25pm to ensure that everything could fit. By this point, the venue was filled with a few thousand fervent fans - and the atmosphere was electric. Everyone was up for the show and the anticipation was apparent. Being the first night of the tour, too, no-one had any idea what songs the band would play - although it was clear that it was going to be a long one. I had not given the setlist too much thought, as I did not want to get caught up in it, but I had thought that the perfect opening track would be Metropolis - Part 1: The Miracle and the Sleeper - so when some classical music stopped playing over the PA, the lights went down, and the opening sound effects of the track could be heard, I was not all that surprised. It is a long-time fan-favourite that has not actually been played live that much in recent years - and as the curtain dropped as the band truly kicked in the place went wild. Dream Theater crowds can often be reserved and more appreciative than rowdy - but this was a loud crowd, with plenty of singing and air instruments on display throughout. It helped, too, that the sound, at least where I was sat, was excellent - particularly for an arena. The band sounded heavy, but Jordan Rudess' keyboards were always audible and frontman James LaBrie cut through the mix nicely. The mix allowed the intricacies in the band's music to shine through - and every solo and riff was lapped up by the expectant crowd. It was great not knowing what songs were to come so each in turn was a surprise. Following Metropolis - Part 1: The Miracle and the Sleeper, the band cleverly segued into the opening two songs from its sequel album - with the barnstorming Overture 1928 being a surprisingly emotional moment before Strange Déjà Vu upped the heaviness with some excellent riffing. With Portnoy back on backing vocal duty, too, there just seemed to be more vocal heft. He is not even a great singer, but his backing vocals always added a gruffness when needed - and he backed LaBrie nicely. LaBrie was, as is typical, a bit up and down. He sounded a bit rough during the first couple of songs in particular - but was generally pretty solid after that, with the heavier songs suiting his aging voice more. The first set was pretty heavy overall, in truth, and the crowd favourites came pretty thick and fast during this first hour-plus. The Mirror, which included a portion of Lie as the band often used to do, saw Petrucci rocking a seven-string guitar, whilst the snappy and riff-driven Panic Attack saw the band operating in full-on metal mode with very little prog to be seen. There was some respite with the more melodic and flowing Barstool Warrior, one of two Mangini-era songs played, and a fantastic rendition of Hollow Years. The latter was a bit of an overall highlight thanks to its extended guitar intro, sing-a-long chorus, and a lengthy outro which was led by Rudess' piano - giving the song something of a country/southern rock feel. There was more heaviness to come, though, with a huge version of Constant Motion and a real crowd-pleaser in As I Am bringing the first set to a metallic and hard-driving close.
A 20 minute break was announced, but it only turned out to be around 15 minutes in the end - and before the band took to the stage a video was played which showcased all of their albums, ending with flashes of the Parasomnia artwork. This meant that it was time for something new, and the second set kicked off with the first ever live performance of new single Night Terror. Given the heaviness of the first set, Night Terror fit in nicely. The vibe of the song certainly harks back to the sound of the last few albums the band did with Portnoy - so it sounds like they are picking up where they left off in 2010. The near-10 minute track has clearly already become a favourite, though, as plenty around me were singing along - and it featured some pretty impressive instrumental moments, with Rudess playing some more traditional Hammond organ at times and Petrucci really laying into his whammy bar. The second set was a bit more involved than the first, though, with more of a varied overall feel and more of a focus on lengthier pieces on the whole. A lot of big fan-favourites and some riffier pieces kept the first set feeling pacy, whereas the second set felt a bit more 'prog' in that sense - although a beautiful rendition of the rarely-played ballad This Is the Life acted as a breather after Night Terror. It was nice to hear a couple of Mangini-era songs in the set. I do not like it when bands essentially disown certain periods of their catalogue following line-up changes, particularly songs written when certain key players were not in the band. The two songs played were not obvious choices, either, with This Is the Life not having been played since the A Dramatic Turn of Events touring cycle. Under a Glass Moon felt a bit more expected, though. It is another old favourite which has not been played live too often in recent years, but it has always been one of my favourites from the band's early days - and Portnoy nailed the knotty drum intro as if he had never been away. The last three songs of the main set were all big surprises, though, with the short and delicate ballad Vacant a real showcase for both LaBrie and bassist John Myung - before LaBrie took an extended break to allow the band to run through the gargantuan instrumental Stream of Consciousness. Neither song had been played for the best part of 20 years and the latter was a real showcase for all four musicians - with the soloing from Petrcci and Rudess some of the evening's most impressive. The real treat for die-hards, though, was the main set closer: Octavarium. Another song which had not been played live for a long time, the 20 minute-plus epic was one of the overall highlights. It has never been a particular favourite of mine but it nevertheless was a fantastic addition to the show - from Rudess' lengthy continuum and lap steel intro, through some emotional vocals from LaBrie, to some full-on metal later on, the track was likely to be the song of the night for many. It felt like the big surprise everyone was waiting for, too, and the band rightly received a standing ovation as they left the stage. A three-song encore followed, though, and the band returned to some other old favourites. The riffy and anthemic Home kicked off a two-song suite of songs from Metropolis - Part 2: Scenes from a Memory, which was fitting giving how the show opened. A huge sing-a-long rendition of The Spirit Carries On was next, with plenty of phones in the air, before the mammoth evening was rounded out with the band's 'hit' single Pull Me Under - with plenty more singing and air guitaring as a memorable night came to a close. The setlist was:
Metropolis - Part 1: The Miracle and the Sleeper
Scene Two - Part I: Overture 1928 Scene Two - Part II: Strange Déjà Vu
The Mirror/Lie
Panic Attack
Barstool Warrior
Hollow Years
Constant Motion
As I Am
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Night Terror
This Is the Life
Under a Glass Moon
Vacant
Stream of Consciousness
Octavarium
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Scene Six: Home Scene Eight: The Spirit Carries On
Pull Me Under
It is only right to describe last night's show at the O2 as a triumph. Dream Theater always impress live, but last night was on a whole other level to previous experiences. Portnoy has clearly given the band a real kick again - and it seems fitting to have him back in the band he helped form. I probably would have been against it a decade or so ago, but there has been a lot of water under the bridge since then and the band seem in rude health. This tour is likely to be their biggest for some time - and with a new album to look forward to next year I cannot wait to see how this latest era pans out.
I surprised myself in 2020 when I did not include the Finnish symphonic metal band Nightwish's ninth album Human. :II: Nature. (which I reviewed here) in my Albums of the Year list. There was a time when a new album from Nightwish would have been almost a dead cert to top such a list - but Human. :II: Nature. could not crack the top 10 of 2020 for me. I felt bad leaving it out at the time, but in retrospect it easy to see why I did. Easily the most divisive album in Nightwish's generally fantastic canon, Human. :II: Nature. saw the band push the film score-esque side of their sound further than ever - with bandleader and keyboard player Tuomas Holopainen deciding to tack the eight-part 30 minute long classical suite All the Works of Nature Which Adorn the World on the end of a strong 50 minute long modern-sounding Nightwish album. As much as I like the album's first half, the second half has still not grown on me - and, as such, Human. :II: Nature. rarely gets pulled off the shelf these days. Considering that the four albums which preceded it, despite the line-up changes and shifts in overall tone, are four of my favourite metal albums of all time - Human. :II: Nature. still feels like a bit of a disappointment overall looking back now, even though I like most of the actual 'songs' written for it. It did not help, either, that long-time bassist and secondary vocalist Marko Hietala, who had seemingly become Holopainen's right-hand man over the years, perhaps tempering some of the latter's stranger ideas, left the band at the beginning of 2021. He did not have writing credits on Human. :II: Nature. and his vocal contributions were significantly reduced, too, so Hietala's departure was not actually that much of a surprise in retrospect. In truth, the Nightwish camp has not seemed all that happy since Human. :II: Nature.'s release. The tour was obviously significantly impacted by the pandemic and Hietala's departure also had an impact on the band's dynamics. Frontwoman Floor Jansen has also given some rather negative interviews over the past few years, too, even criticising the band's management at one point - and, of course, she has had significant health struggles to contend with, too. As such, I was not sure what to expect of Yesterwynde - Nightwish's tenth studio album which dropped last month. The fact that the album is not going to be supported by a tour further points to a potentially unhappy camp - and another, more recent, interview with Jansen suggested that she was perhaps not thrilled with this and how the album turned out. Despite the strange few years for the band, though, I went into the album with my love for Nightwish burning bright - and generally I have been having a great time with it. It feels much more like 2015's Endless Forms Most Beautiful (which I reviewed here) than Human. :II: Nature. - and there are some heavier moments which hark back somewhat to 2007's Dark Passion Play. Hietala is missed, particularly vocally, but I do not mind the increased vocal presence of multi-instrumentalist Troy Donockley. This is a view not likely to be shared by all, though, but it goes without saying that Jansen sounds excellent as ever. It is the band's first album, too, with bassist Jukka Koskinen (Norther; Wintersun; Cain's Offering; Amberian Dawn; Crownshift) - who officially replaced Hietala in 2022 and toured with the band in support of the last album.
Nightwish's albums always take plenty of listens to fully appreciate and there are still some songs here which I do not think I have fully digested yet. There are complexities in the arrangements which are typical of Nightwish's style - but there are some songs which flirt with new ideas. There is a bit more of a prominent heaviness at times, which is welcome, although, at times, the overall mix could be better in my opinion - and Jansen does occasionally suffer due to all of the bombast going on around her. Perhaps uncharacteristically, though, the album starts out slowly - with the short, folky title track. In truth the last album's opening track built from a slow start and 2011's Imaginaerum had a more acoustic-based intro - but Nightwish tend to go for bombast from the off. Yesterwynde is a delicate scene-setter, though, opening with what sounds like a film reel spinning - before a chamber choir takes over, singing a multi-layered and rich refrain, over which some gentle strings add depth. Acoustic guitars and Donockley's folk instruments then replace the classical introduction - and Jansen starts to sing in a more restrained, floaty manner. Donockley adds gentle harmonies at opportune moments and the song packs a lot into its short runtime - before the epic and heavy An Ocean of Strange Islands takes over, and the album seems to start proper. A crunchy guitar riff from founding guitarist Emppu Vuorinen leads the charge from the off, under which the extremely fast footwork of drummer Kai Hahto ensures that the nine minute-plus epic is one of the fastest and most aggressive pieces here. The emphasis on big guitar riffing and the dramatic vocal melodies of Jansen are one of the aforementioned harks back to the sound of Dark Passion Play. The orchestrations are perhaps less lush and varied here than they have been on the band's other recent albums - instead the strings provide dramatic stabs and a warm backing, with the keyboards and guitars generally feeling much more prominent. There are shades of power metal here at times, especially during a rare and pretty high octane guitar solo from Vuorinen which hits early on, whilst there are heavier breakdowns which focus on doomier and much more chugging riffs which are very typical of the Nightwish sound of a decade-plus ago. Some of the band's older crunch has been missing on recent albums, but this song sounds like a throwback in that regard - with Jansen using the grittier side of her voice at times to add to the overall heaviness, whilst a few more melodic moments see her more playful side come out. Arrangement-wise, too, the song is a bit different. There is not really a chorus here, with the track moving through a number of distinct movements. There are a couple of vocal hooks that do resurface, but in general this is a piece which keeps moving forward - building towards an epic crescendo which sees some pretty high-pitched operatic vocals from Jansen and a reprise of the opening riff, all of which follow a brief folky section with acoustic guitars and floaty vocals. A brief instrumental coda returns to this folk sound, with Donockley's uilleann pipes adding some mournful melodies as the lengthy track draws to a dark close.
An Ocean of Strange Islands is easily one of the best songs here, but the album continues to give. The first half in particular is very strong, but each listen reveals more to me - with The Antikythera Mechanism up next. The song opens with a mid-paced drum and bass groove, over which some swirling choral vocals sit, but it is not long before Jansen starts to sing - unleashing her powerful voice as the guitars kick in. This opening is very percussive, then, with the band rocking out around Koskinen's bass playing - but the song is very dynamic, moving back and forth between these groovier and folkier moments. Donockley does a fair amount of lead vocals on this album, and his first foray alone on Yesterwynde comes during an early low key moment here - his warm voice sitting nicely against a string backing during a short break in the mechanical bombastic seen elsewhere. Later expansions of this formula see him and Jansen singing together to create a bigger sound - and the song is the first here with a proper chorus, with the dramatic and staccato vocal melodies Jansen belts out also feeling like something from the band's past somewhat. There is a lot more of a guitar grind during most of the song, too, and it is nice that the bass is also pretty prominent. This allows the song to really groove along, not something typical of Nightwish's sound, and there is a raw heaviness to parts of the track as a result - whilst other moments see the keyboards and the orchestra really letting rip with a dynamic symphonic metal flair. The Day Of... retains the groovy feel of the previous track - but it places it in a much more overtly melodic backing. The track is one of the simplest and poppiest of the album - and it was one of the songs released as a single prior to the album dropping. The heaviness of the previous songs has been stripped away here with Koskinen's bass again the driving force. He and Hahto really lock in well together here to create an infectious groove, whilst Holopainen embraces some more overt synths than usual. There is a slight industrial edge to the track at times, then, but there remains a string backing at all times - and Vuorinen does add an edge later in the song with some snappy riffs and lead guitar melodies which play nicely off the grooves and vocal hooks. Jansen's vocal melodies are easy to latch onto, too, given the simpler arrangement - whilst a children's choir adds depth at times and a symphonic instrumental mid-section sees an explosion of grandness which contrasts with the rest of the song's simpler sound. This is the sort of song which is likely to be quite divisive, as it eschews a lot of typical metal trappings for something more overly pop - but I like it quite a bit. It does something different in my opinion - and it works nicely as a single without having that typical Nightwish single sound which has served the band well over the years.
The song which was released to kick off the album's promotional campaign first, though, was the lengthier Perfume of the Timeless. In some ways, this song does that that trademark single sound previously mentioned - albeit stretched out and played out over eight minutes. I liked the song from the off, though, and its lengthy introduction and build up returns to the vibe of some of the folkier moments of The Greatest Show on Earth - which links the album back to Endless Forms Most Beautiful nicely. In fact, the song overall feels like a call back to that album - with Jansen singing in a much more delicate way once the verse finally kicks in, and the band moving back and forth between lighter verses and heavier choruses. Donockley's pipes and wind instruments dominate during the symphonic intro, but the song gets going proper once the guitars kick in and a heavier riff takes over. This riff is short lived, though, as the verses are slower as mentioned - but the chorus sees it return and is typical modern Nightwish with plenty of choral additions and dramatic strings. I do feel that Jansen could be higher in the mix during the chorus, though, as she does get a bit swamped by the orchestra and the choir - but the melodies still cut through. It is an easy chorus to sing along with and this is partly why the song feels like the typical Nightwish single - despite the arrangement being a bit deeper. Another heavy and fast-paced symphonic instrumental section later features some excellent drumming from Hahto and plenty of crunch from Vuorinen. The song had me excited for the album following hearing it for the first time, despite all of the strange vibes currently surrounding the band, and Donockley's gentle vocals and some delicate piano during the closing coda perfectly see the song fade to a close. Those who really like Donockley's vocal contributions to Nightwish will find a lot to like in Sway - a much slower track which reins in the bombast heard so far to deliver something much folkier. His acoustic guitars and some gentle strings open the track in a surprisingly busy manner - but the track is very low key overall, with Donockley and Jansen singing together to create a warm, harmonised sound. There are strong vibes of bands like Mostly Autumn and Karnataka at times here, particularly the early albums from both, with Donockley's voice leading the charge. I like his voice quite a lot and it meshes well with Jansen's - even if she generally operates in a more supporting role here. Harvest was Donockley's big vocal moment on the last album, but I think that this track is better - largely as it feels a bit less forced from a folk perspective. The guitar melodies are memorable and I like the occasional breaks to let some darker strings take over. It gets more percussive as it moves along, creating an underpinning rhythm, with low whistles and dancing strings adding a majestic side to the song's core folk sound. It is a song which has grown on me in a big way - and it has become one of my favourites of Nightwish's acoustic-based pieces.
The Children of 'Ata returns to a heavier sound, but the song takes a little while to get going. It opens with a Tongalese choir singing in their native language, as the song is based on the true story of some children from Tonga getting stranded on the island of 'Ata, before Jansen starts to sing against a very sparse backdrop - with only a sparkling synth refrain for company. The track builds quite slowly around her vocal hooks, then, although the orchestra and synths do grow in stature - and some acoustic guitar is also added at times. Once the first chorus is reached, though, the band are back to operating at full tilt - and the heavy guitars kick in, taking the album back to some of the heavier moments of the past few songs. The overall sound is perhaps not as crunchy, so there are shades of the past couple of albums as a result, but there is still a big feel - albeit Vuorinen's guitar tone is a little warmer overall. The chorus is another hooky one, though, and the ethnic choir is used to great effect throughout the song - with the occasional deep burst from them really keeping things sounding different to the typical Nightwish approach to choral vocals. There is less diversity arrangement-wise, despite the slow build up, but the song is still a memorable ones due to the Polynesian influences which have been weaved into the band's traditional sound. Something Whispered Follow Me opens with a pretty expansive lead guitar moment from Vuorinen. His role in the band has generally reduced over the years, and he is essentially a rhythm player these days, but the mid-paced and spacious opening to this track really benefits from his melodic playing - and he adds a lot of vibrato to his hanging leads to create a memorable and effective sound. The song is not all that riffy, but these guitar refrains are returned to throughout the track - and they help to create a pretty expansive sound overall, with the bass creating a deep rhythmic pulse beneath these snaking leads. These instrumental sections have weight and feel quite progressive, but when Jansen sings the band take a backseat initially - with a simple beat and string arrangement accompanying her. Occasional guitar leads sit beneath, though, and another hooky chorus sees her delivering her lines with real warmth - as the chorus is not all that heavy with the band instead conjuring up an excellent bed of strings and a swinging groove. This is not a song which did a lot for me on first listen, but it has become a real favourite of late. The focus on more prominent lead guitar moments is welcome and there is still a dense and memorable sound throughout despite the lack of any real heavy moments. Opening with classical-sounding piano melodies and some effects-heavy clean guitar playing, Spider Silk feels different again - although once Jansen starts to sing in her trademark playful manner the song sounds like classic recent Nightwish. The melodies here are very typical of the band's recent approach and it is another piece which grows in stature as it moves along. The guitar crunch absent from the last track returns here, slowly worming its way into the mix, before a big chorus drops in - with more heavy guitars and a grittier vocal from Jansen. Hypnotic moments with repetitive vocal hooks and a more mechanical guitar groove help to shake things up - whilst elsewhere Donockley harmonises nicely with Jansen to add depth. Like The Children of 'Ata there is simpler arrangement here, but the strong hooks and typical Nightwish flair keep the song interesting - even if the extended outro feels somewhat superfluous.
Hiraeth is another slower and more acoustic-based track - with acoustic guitars and some delicate wordless vocals opening things up, over which some mournful strings and a greater vocal presence is soon added. This is another song which features Donockley vocally in a big way - although this track is generally sung more as a duet, with him and Jansen both taking the lead during different parts of the song. He sings in a deeper manner than is typical for him, which sounds a bit strange, but given the song's downbeat nature it works well - and he contrasts nicely with Jansen's more floating delivery whenever she takes over. She is the light to Donockley's shade - and, whilst Hietala is definitely missed vocally here, there is still a nice vocal diversity when they sing together on this album. Unlike Sway, though, this song does get heavier. The band all kick in later on, with Vuorinen laying down a folky guitar lead, whilst a busy instrumental section later sees Donockley's pipe playing some strong melody lines against a fast-paced drum beat. There are shades of I Want My Tears Back as a result, but the song feels more grounded in a folkier sound - with the more metallic sections there to add a darkness. The Weave is a shorter piece than many of the tracks here, and the penultimate track goes for a bit of a different sound overall - with a synth-led intro soon giving way to a drum and bass groove which leads the charge, over which Jansen sings. The organic presence of the rhythm section gives the song a different feel - but the orchestra still add some dense strings over the top at times, and there is a real heaviness injected into the album once Vuorinen joins in - his tough guitar rhythms perfectly matching the fast footwork of Hahto. It is rare to have such a focus on the rhythm section on a Nightwish album, though, so the song does stand out as a result - but it does still hit a lot of typical symphonic metal sounds with dramatic instrumental sections and some soaring vocal-led moments. It does not hit as hard as some of the other tracks here and the symphonic moments are less bombastic - but the heavy moments are welcome. The album then comes to a close with Lanternlight, a ballad which opens with sombre piano melodies - over which Jansen soon starts to sing. She sings, at least initially, in a deeper tone than is typical for her - but, given how diverse of a singer she is, this tone gradually shifts as the song moves along. She sounds more expansive as the track progresses and strings join Holopainen's piano. There is also plenty of focus on Holopainen's piano playing, too, with a lengthy instrumental section playing out like a classical composition - after which the melodies slow down further and Donockley adds his warm voice to the mix. His harmonies and the dense strings add darkness to the piece - although the strings later become a bit busier, which leads to a more urgent-sounding vocal. The song never gets heavy, either, and the slow-burning ballad closes the album on a plaintive note with Donockley actually having the last say vocally and the album closing as it opened - slowly and with the sound of the film reel. Even just listening to the album again whilst writing this review, more nuances have jumped out at me. There is plenty more to discover I am sure but I already know that I like this album a lot - and I am sure that my opinion will only improve. It is certainly stronger than Human. :II: Nauture. overall but where it sits in the canon is hard to say. There are familiar moments here but also some experiments - most of which succeed. I can see this album getting plenty more attention from me over the coming months - and I really hope that, one day, some of these songs get played live.
The album was released on 20th September 2024 via Nuclear Blast Records. Below is the band's promotional video for Perfume of the Timeless.
It is getting harder to write about each new Stryper album. The California-based melodic metal band, who became popular during the hair metal movement of the 1980s thanks to their guitar prowess, melodic hooks, and Christian lyrics, have been extremely prolific in recent years - and have churned out a number of very solid albums during the past decade. Considering that so many of their peers from the 1980s seemed to run out of creativity many years ago, with many having not released anything of note for a long time, Stryper are one of the few bands from that era left still regularly writing and recording new music. I think that it would be quite easy to make the case, too, that much of Styper's recent work has been some of their best overall. 1985's Soldiers Under Command and 1986's To Hell with the Devil are classics for a reason but, for me anyway, the heaviness of the recent albums and how well frontman Michael Sweet's voice has held up has meant that each new Stryper album is one to look forward to. The latest in the long line of excellent recent releases, then, is When We Were Kings - the band's fifteenth studio album overall (thirteenth of all-original material) and their first release since 2022's The Final Battle (which I reviewed here). Following a break-up in 1993, Stryper returned as a full-time going concern in 2003 - but their current run of excellent albums really started in 2013 with No More Hell to Pay (which I reviewed here). They had released a couple of original albums prior to 2013, alongside a covers album and a collection of re-recorded classics, but I think 2013 saw the band re-solidify their trademark sound, albeit heavier, after a couple of experiments throughout the late 2000s. Clearly looking back at their influences via the covers album and revisiting their classic tracks by re-recording some of them helped to revitalise the band in a big way - as there has been very little wrong with anything they have put out since 2013. Not every song has been a classic, but each passing album has been extremely enjoyable - with one generally dropping every two or three years. The band's last album, The Final Battle, was a little more varied than some of the band's other recent albums - but it was essentially just classic Stryper at heart. In contrast, though, When We Were Kings reins in those experiments and just goes for it. This may be the band's heaviest album overall for a while - meaning that it feels more in line with 2018's God Damn Evil (which I reviewed here) than anything else in their recent canon. The band line-up which has been in place since 2017, and featured on the last couple of albums, returns again here - with frontman Michael, his drumming brother Robert Sweet, guitarist Oz Fox, and bassist Perry Richardson, the only non-classic-era member in the line-up, all returning. Paul McNamara helps out on keyboards as always, but as stated When We Were Kings is a heavy release - so the focus is very much on the guitars of Michael and Fox throughout. The pair riff and solo away throughout the album's 11 songs - showcasing why they were one of the best guitar duos of the 1980s.
There remains light and shade as always, and Michael often has a ballad or two in him, but When We Were Kings is very much a riff-fest. At this point I do not expect anything else from a new Stryper album - and they have become one of those reliable bands that know what their fans want. Opening track End of Days is a great example of this, with the heavy opener setting the tone for what is to follow. Following a big drum barrage, the first of many big riffs kicks in - with the stuttering pattern sounding like a throwback to the 1980s - before a harmony guitar lead kicks in, showcasing the melodic tendencies of Michael and Fox's partnership. This guitar lead often rears its head throughout the song, acting as a bridge between the verse-chorus cycle repeating, whilst the verses feature the heavier riff from the song's opening - over which Michael sings in his evergreen and powerful manner. Subtle vocal harmonies add depth as the verses progress, and they are also utilised during the chorus in a typical 1980s manner, but Michael's vocal hooks are memorable regardless. The chorus slows the pace down to allow for a more anthemic and memorable series of hooks - and it is the latest in a long line of memorable Stryper choruses. A lengthy and busy guitar solo section is later the icing on the cake - with both Michael and Fox shredding away before coming together at the end. If End of Days felt like a pacy opener, with harmony guitars and driving drums, then Unforgivable feels much meaner. The pace is slowed overall, with a chugging main riff and a hollow drum pattern providing the song's backbone, and things never really speed up - with the song creating a strong groove and a heavier atmosphere overall. The guitar riffing is much simpler, with a throwback to the 1970s felt at times, and Michael's vocals feel a little grittier, too - despite there still being plenty of lush harmonies and melodies to latch onto. Lead guitar moments are less prevalent, with the song emphasising a slight doomy edge, but the chug-along chorus is still extremely memorable thanks to its hooks. The guitar solo section feels a bit more stripped back, too, with less high-octane and more bluesier leads - and all of the elements of the song hang together well to create something meaty. The title track, which follows, is a real anthem. It possesses one of the album's best choruses and it is another more deliberate, mid-paced track - albeit with more of a focus on lead guitar moments. The heaviness of the previous song does return but it does not feel as crunchy overall as the riffing is a bit more varied - with big chords sitting nicely alongside a few moments of more melodic playing. Leads are used throughout the inject some additional colour into the song - and the aforementioned chorus feels so big thanks to a huge wall of vocal harmonies and some underlying melodic guitar playing. Stryper have often written stadium-ready choruses and this is another one - with a simple hook that is made to be sang by a crowd, with the slower overall pace helping the hooks to really sink in. Another two-part guitar solo maintains the overall pace of the song, too, but there are a few more flashy moments this time to spice things up somewhat.
Betrayed by Love maintains the mid-paced feel of the last couple of songs, but there is more of an organic depth from the off thanks to some acoustic guitar added to the mix. The song is not a ballad and it is another pretty crunchy mid-paced track overall - but it does feel a bit more paired back and warm than the last couple of pieces. The verses expand as they move along, with the acoustic guitars and some subtle keyboards taking on a more prominent role, but the trademark guitar crunch remains - and the track is packed with a strong groove thanks to the ever-present heavy guitars, even if the acoustic moments create the most interest. The chorus has depth thanks to the acoustic guitars and keyboards, but it is probably not as hooky as some of the choruses heard on the album up to this point. Despite this, it has a pleasing warmth - and the guitar solo builds from it nicely thanks to its choice melodies. Loves Symphony (which joins the 'no apostrophe' Hall of Shame) feels like it should be a ballad given its title, but it is another pretty varied piece like the previous track. There is no acoustic guitar depth this time, but it does open somewhat slowly with some relatively atmospheric guitar lines - but it is not too long before another pretty crunchy verse takes over. There remains a warmth, though, thanks to Michael's vocal delivery - and the chorus is slower again with Queen-like vocal harmonies and a strong keyboard presence. The chorus is perhaps the most ballad-like moment on the album to this point and it does help the song to feel pretty dynamic thanks to the crunch of the verse, some more up-tempo harmony guitar lines, and a busy guitar solo section. It is an expansive and enjoyable song, then, and a good example of the band's songwriting abilities. Trinity returns to a much heavier sound, but the pace does not really pick up. Stryper's heaviness throughout this album generally comes from mid-paced crunching riffs - and this song is another which relies on such. It might not be as dynamic as some of the others here but there is a pleasing groove throughout and I like how the band really metal it up on this track. The chorus is a little faster, with some shout-along vocal hooks that help to break up what would otherwise be a rather one-paced song. Simple twists and turns can help a song from feeling the same all the way through and the chorus here is a fun addition to the heavy track - adding some overall excitement to differ from the crunch. Rhyme of Time is similar again, at least initially, but the opening riff feels a little more bluesy and old-school overall. Mournful harmony guitar leads are soon added over the top of the main riffing - but the main change comes when Michael starts to sing, as the song slows down quite considerably and goes for a ballad-esque verse with clean guitar melodies and some subtle keyboard textures. The song is pretty slow overall, but it does get heavier again as it approaches the chorus - with crunchier guitar tones taking over again, despite the keyboards remaining a presence. There is just a bit more light and shade with this track, which is welcome. As much as I like the band to be heavy, some variety is needed - and the ballad-esque feel of parts of the track and a rather neo-classical guitar solo shake up the formula here.
Following the much slower previous song, Raptured ups the pace somewhat - but only back to the album's core mid-paced sound. Despite this, though, the track feels a bit different overall compared to some of the others here. There is a bit more focus on groove this time, and the riffing is less chugging - and there is a sharpness and a spring in the step on the main opening riff and the verse which follows. This allows Michael to let rip a bit more, his expressive and well-maintained voice soaring above this groove, whilst the chorus is a return to the classic big Stryper sound with much more of a typical chug and lots of big vocal harmonies. It is a very easy song to sing along with thanks to this chorus and the overall grooves - and I feel that the track is likely to be one that really comes across well live if the band choose to ever play it on tour. Grateful is another track with a more organic sound. There is a lot of acoustic guitar in the mix again this time and, early on at least, there are some subtle Hammond organ swells. This is not an organ-driven piece but there is certainly a warmth throughout thanks to it and the acoustic guitars - and the song reminds me a bit of some of those lesser-known Boston tracks which feature a lot more warmth. Those tracks which are not exactly ballads but they feel more organic overall with a big arrangement and a more plaintive feel. The song really brings the best out of Michael, too, who sings his heart out against this cinematic backing - whilst the harmony guitar solo him and Fox cook up actually has shades of Lynyrd Skynyrd at times thanks to the grooves and song arrangement. Divided by Design returns to this core sound, though, and it opens with a really muscular riff - which could well be one of the most memorable here. The band have generally been quite chugging on this album, but the riff throughout this song feels much more Michael Schenker-inspired - albeit much heavier. The one downside of this song, though, is the lack of a killer chorus. It feels likes it builds towards a chorus that never really comes - as the chorus which does come is a bit on the weaker side. The main riff and some of the verse hooks, which are accented by some big vocal harmonies, hit harder than the chorus - which feels a little limp in comparison. The guitar solo is a scorcher, though, so the song is still full of memorable moments despite the slight misstep. The album then comes to a close with Imperfect World picking up the pace - and it is the only genuinely faster-paced song here alongside the opening cut. Even then, this song is not as fast - but it is good that the end of album is served by a burst of energy. The riffing and harmony guitar leads here fizz with cutting melodies and the chorus here feels big and bright following the flatter one in the previous track. Stryper do this galloping sound pretty well overall and it gives the album a kick as it comes to a close - with another excellent harmony guitar solo and a huge scream from Michael as the song ends. There are more memorable moments here but I like the tone the song sets as the album ends. As such, the album is another strong one overall. There is little to separate the recent Stryper albums as they all have their standout moments - and this one is no different despite its slight focus on a heavier sound overall.
The album was released on 13th September 2024 via Frontiers Records. Below is the band's promotional video for When We Were Kings.
Whilst they may not have been one of the biggest names of the original NWOBHM movement back in the 1980s, Newcastle's Satan have certainly become one of the most consistent and prolific bands from those times who remain active. In truth, though, the NWOBHM movement could well be stronger now than it was during its heyday. Saxon are playing to bigger crowds than ever and have released so many excellent albums in recent years, whilst smaller bands like Praying Mantis and Tygers of Pan Tang remain active and continue to release enjoyable material. Plenty of other bands from the time still tour and sporadically release new material, too, so the scene which spawned so many memorable bands and the DIY attitude which remains a vital mindset in metal more broadly seems as vital now as it did in the 1980s. Satan may not be one of the genre's initial shining stars, but 1983's Court in the Act is seen as a bit of a classic of the genre's original era. Sadly, though, the band never really capitalised on the album's success. The history of Satan is a messy one, as they soon changed their name to Blind Fury, before reverting to Satan, and then changing their name again to Pariah. In the pre-internet times, I imagine such chopping and changing would have been hard to keep up with - so it is not really a surprise that the band never really established themselves early on. There were a few line-up changes around this time, too, particularly relating to the frontman position - so I imagine it was hard to build up any sort of meaningful momentum given the regular changes of singer and the numerous rebrands. The band's classic Court in the Act line-up has been together again since 2011, though, and, since then, Satan have really started to gain the respect they should have received back in the 1980s. It helps that they have been prolific in terms of new albums - as since reuniting they have now released five studio albums as well as a live album. I am yet to hear all of these albums, but the ones I have heard are all very good. Both 2018's Cruel Magic and 2022's Earth Infernal (which I reviewed here) are very strong - and the latter was the first of the band's albums that I bought when it came out and properly digested. Last month, then, the band's latest effort Songs in Crimson was released - two years on from Earth Infernal. It is the band's fifth album since reuniting and the seventh overall to be released under the Satan name. As has been the case since 2011, frontman Brian Ross, guitarists Russ Tippins and Steve Ramsey, bassist Graeme English, and drummer Sean Taylor have produced another really strong album of organic-sounding heavy metal - with excellent lead guitar work throughout and a number of memorable choruses. Of the Satan albums which I have heard, too, this could be my favourite yet. It is a little shorter overall than the others and it seems that there is more of a focus on hooks than ever - with Ross in particular shining thanks to a number of big choruses.
Despite this hookier and slightly more condensed feel, the band's core sound remains intact. The raw and relatively low-fi production style which has served the band so well in recent times is present - but the album still sounds powerful, with the balance between rawness and clarity being nicely struck. Frantic Zero opens things up and the high-energy song opens with a flurry of guitar leads - which sit atop a percussive drum and power chord pattern, setting an early groove, before a fast-pace riff takes over which recalls early Iron Maiden a little. The song generally proceeds at this fast pace throughout, with the deep, theatrical voice of Ross rumbling atop the machine gun guitar riffing, whilst the simple drumming of Taylor keeps things moving at pace. Brief mid-paced sections are included to vary things up somewhat, where a hypnotic riff and a percussive beat take over. The song does not really have a proper chorus, with a shredded guitar melody somewhat taking on that role, with the mid-paced section acting as something of a pre-chorus. There remain plenty of hooks despite this, though, with the guitar playing of Tippins and Ramsey producing a vast number of memorable melodies - and the overall structure is classic of the NWOBHM era's want to sometimes do things differently from the norm. As such, the song is a great opener thanks to its frantic pace and focus on strong guitar melodies - with the Satan sound well and truly established again from the off. Era (The Day Will Come) slows things down somewhat and goes for more of a mid-paced and groovy approach - with a hooky riff kicking in from the off and another later riff forming the basis of the song's memorable verses. Unlike the previous song which went for a full heavy metal approach, this song contains more of a classic rock strut, something commonly found within the NWOBHM, but there is an edge to the track which keeps it within the metal realm. The band's approach to lead guitar playing is not hugely dissimilar from Mercyful Fate's - so there is a creepy atmosphere whipped up by the playing of Tippins and Ramsey, particularly during a later effect-laden solo, but the chorus is a real hooky moment which does up the pace somewhat and features some call-and-response vocals which are sure to stick in the brain. A personal favourite song of mine here is the anthemic Whore of Babylon, which opens with some of the creepiest harmony guitar lines on the album - before the band launch into a slightly faster riff, which is underpinned by some suffocating bass playing and the hard-driving snare hits of Taylor. It is not as fast as the opening track but it feels more urgent than the last song - but despite the pacier feel there remains a strong groove thanks to the prominent bass playing. The verses feel a little more restrained, with Ross belting out the lyrics against a couple of different snaking riffs, whilst the chorus feels much more of a shout-along moment thanks to some melodies which are easy to latch onto. It is the sort of chorus that is sure to go down very well live thanks to this more anthemic approach - and there is also a lengthy and shredded guitar solo which adds some metallic flair to the piece, building on some of the creepy melodies from the song's opening.
Sacramental Rites opens in a more atmospheric way, with some subtle keyboards and busy clean guitar melodies - but the song slowly grows around this slower feel, with the rhythm section gradually increasing in intensity before the band transition into a hooky and mid-paced riff and the song gets underway proper. Whilst the band do go full throttle sometimes, I think that they generally operate more successfully when they go for a mid-paced and groovier sound. This tends to bring the best out of Ross' booming voice, as he has more space to operate, and the riffing of style of Tippins and Ramsey is allowed to feel knottier and groovier. That is certainly the case here, with English adding some great counter melodies on the bass at times, and the song is another really hooky moment thanks to the driving verse riff and a chorus which again features something of a classic rock strut - which makes it easy to connect with. Lead guitar breaks and a two-part guitar solo which opens slowly and concludes with some busy shredding add plenty of magic to the song - and it is another favourite as a result. Martyrdom picks up the pace somewhat and opens with a melodic guitar lead which sits atop some galloping riffing. Due to the pacier nature of the track, there are some further shades of very early Iron Maiden here - but the classic Satan sound is retained thanks to that slight darkness their sound conjures up as well as some guitar moments which feature some strange, yet bluesy, effects. Snappy riff-led breakdowns inject some further interest into the piece, over which a screaming guitar solo soon does its thing, and this is very much a song for the guitarists. I do not find the song to be as memorable from a vocal perspective. It is another song which lacks a big chorus, so it does suffer a little in my opinion, but the guitar playing remains impressive. Turn the Tide is another fast-paced track, and it returns to the frantic feel of the album's opening song somewhat - albeit this time with the addition of a massive chorus. As is often the case with such songs, the main riff and verse are pretty fast-paced, with the band really charging out of the blocks - over which Ross croons with his rich delivery. There are some great headbanging moments here, but perhaps the best part here is the song's hooky chorus which is much more mid-paced and includes some repetitive hooks which easily sink in. Ross even throws in the odd scream, which is quite rare for him given his deeper voice, and another busy solo is packed with hooky phrases and fast shredding - and the song is another highlight as a result. Captives maintains a relatively fast pace, but it does not feel as frantic - with a groovier, almost southern rock-esque rhythm which sounds a bit different for the band. As such, there is a bit of a boogie vibe throughout, but the fuzzy guitar tones and the strident vocals of Ross keep the track firmly rooted within the album's core sound - even if the grooves push through a little more than usual. There song is pretty hooky, then, and it is certainly one that would encourage quite a bit of movement from a crowd if the band chose to play it live. The overt boogie feel is a little strange for Satan, but it throws back to the classic rock roots of the NWOBHM - so it does somewhat work.
Curse in Disguise returns to a more familiar territory, though, with a great Mercyful Fate-esque guitar intro kicking things off - before a hooky and groovy riff takes over. I like how the riff is given time to bed in, with a short break to allow English's bass to take over and add additional colours throw in, which gives the song a slightly progressive edge. This is further emphasised as the track moves along, as there is a lot of space here given over to instrumental moments. Ross still has a prominent role, but the general guitar breaks and riff-led moments are more stretched out and expanded upon here - with a lengthy lead guitar break injecting some excitement, whilst each riff seems to be given more time to breathe before Ross starts to sing. The song's guitar solo section is great, too, as it opens with Tippins and Ramsey harmonising with some old-school Thin Lizzy-esque melodies - before one of them takes over alone and delivers a shredded platter. The song is another pretty fast one despite the varying riffs and grooves throughout - and it is great to see a high-energy piece here which retains the band's general variety and groove despite the pace. Truth Bullet returns to the band's core mid-paced sound, though, with a simple chugging riff early on which is underpinned by some prominent bass playing, soon giving way to a strangely atmospheric verse complete with underlying effects-heavy clean guitar melodies and a slightly more restrained vocal from Ross. He still sounds massive, as he can only really operate in an epic way, but he does pair it back a little - only to go for it a bit more as the song progresses towards a heavier chorus. The mix of a relatively lighter feel and the heavier chorus gives the song a dynamic feel - although in truth most of Satan's songs feel dynamic in one way or another due to the plethora of riffs which each track tends to contain. This song is more dynamic in a traditional way, though, with the light and shade - and there are also some moments which return to the harmony guitar leads of the previous song, with another solo which contains such. The album then comes to a close with Deadly Crimson, another generally mid-paced track which showcases the band's core sound in a big way. Despite this, though, there are a few tweaks to the formula - and there are some fast-paced leads which evoke a folky feel at times, but again they have shades of Mercyful Fate's approach to ensure the band's creepy vibe is retained. An epic chorus slows the pace down further, and is likely to another very memorable moment thanks to Ross' expressive vocals, whilst there are more slower sections later in the track which actually see the band operating a more doomy territory with some slow-burning riffs and a dark chug that is heavier and slower than the band generally go. It works well, though, although the pace does pick up again as another busy guitar solo takes over. It is a great closing number thanks to this slightly variation on the band's core sound - and it ends things on a heavier note. As mentioned earlier, this might be my favourite Satan albums so far of all of the ones I have heard. The songs here are generally snappier with strong hooks but there are still deviations throughout the ensure that interest levels remain. The band are one of the best in class currently when it comes to NWOBHM in the 21st century - and I am sure there will be more to come from them in the future.
The album was released on 13th September 2024 via Metal Blade Records. Below is the band's promotional video for Turn the Tide.
