Music of 2024 - Part 1

It feels like summing up each musical year on this blog rolls around more quickly each time. Of course, as we grow older, each year is a less significant milestone in our lives - but nevertheless 2024 seems to have flown by. It has been a busy one for me, both relating to my work and personal lives, and a lot of good music has been consumed along the way. As you will see when you read tomorrow's post relating to my albums of the year, 2024 has been another excellent year for music. In truth, since I really started paying attention to new music releases around 18 or so years ago, I cannot think of a poor one. So many seem hellbent on decrying the current music scene because their favourites from the past have stopped releasing new albums - but those of us who are paying attention and who make an effort know just how much great music is released each and every year, from new and old bands alike. I always enjoy reading others' Albums of the Year lists, as it makes me realise just how much I have missed out on during the past year. There are always new albums coming out, and I can only get so many each year. It would be great to dedicate a whole life to just exploring new music, as it would be extremely fulfilling, but sadly one must earn a living - but the shift towards more home working has certainly allowed me to consume more music in recent years than I managed to previously. This trend will no doubt continue over the coming years, and there are already a number of new albums I am looking forward to next year, but it is time to look back over 2024 one last time on this blog before moving on. As is always the case, I will run through my albums and gigs of the year tomorrow - but today I am going to shine a light on a few other releases which I did not manage to cover this year for whatever reason, as well as declare my favourite live release of the year. I do not review live albums, so it is always nice to highlight one each December - and it is also nice to give some love and attention so some other albums I would have otherwise liked to review. I only review albums close to their release date, and I also tend to review them in order of release, too (special circumstances allowing). This means that, during particularly busy periods for new releases, some albums miss out on coverage. I would like to review everything that I buy each year, but sadly that is just not possible for a number of reasons. This year, though, picking five albums for this post was actually quite tricky - as there were not too many albums that I bought this year which I did not review. According to my list, I picked up 86 new studio albums this year - which does not include live albums, EPs, and other releases. There are not many of these which I have not reviewed - and those which were not reviewed are generally albums I have not spent a lot of time with. As such, I have been largely cramming on the albums featured below - but it has been great to get to know them better. I also went to 47 gigs this year, which I believe is the joint highest ever alongside 2022.

The first band to get some late love, though, is the Swiss four-piece Ad Infinitum - who released their fourth album Abyss back in October. September and October were both extremely busy months for new releases, so sadly this one got lost in the shuffle. I had planned to cover it after reviewing last year's Chapter III - Downfall (which can be read here) and as I saw them live for the first time with Kamelot in November, but it was just an album too many in that busy period. Following the band blowing Kamelot's other support acts out of the water in Wolverhampton, I had to pick the album up - and I have been enjoying it sporadically since. Ad Infinitum are a hard band to describe. At times they do feel like a symphonic metal band, and they do align themselves with that scene somewhat, but they feel much more modern than any of the big hitters of the genre. There are definitely orchestral arrangements within their songs, but they are much more straight ahead in terms of songwriting - and they are much more guitar-focused, too, with Adrian Thessenvitz often leading each song with his djent-adjacent riffing and dry guitar tone. There are plenty of strong grooves throughout each song, then, which really helped the band to shine live - but it is frontwoman Melissa Bonny that truly elevates the band. Her no-nonsense attitude and knack for a strong pop vocal hook elevates songs which would otherwise perhaps sound a little lacklustre - and she is a real rising star in the metal scene as a result. She is no symphonic metal siren, but is instead a powerful, yet poppy, singer who brings a hook to each track - and can add some growls when required, too. Abyss feels less symphonic than the previous album, too, and there is a stronger use of synths throughout - leading to more grooves and a modern pop sheen. This is no bad thing and it is great to see Ad Infinitum really establishing themselves as an interesting and original band in the congested melodic metal world - and I will not be sleeping on album five.

Up next is an album which was released much earlier in the year, but that I did not get my hands on until earlier this month. In fact, I had not heard of Marisa and the Moths until a month or so ago - when it was announced that they would be playing a show at a venue local to me next year. I generally check out the bands that local venues put on and after sampling a couple of songs I decided that Marisa and the Moths were worth investigating - and I picked up a ticket to the show and a copy of their second album What Doesn't Kill You. Sitting somewhat in that current British post-grunge scene which many young rock bands are a part of, the four-piece is built around frontwoman and songwriter Marisa Rodriguez - a powerful and pretty soulful singer who really carries the album's 14 songs proper. It is generally a pretty hard rocking affair, despite some quieter ballads and interludes, but there is nothing particularly complex about the arrangements. This is very much an album which is designed to be anthemic and memorable - and after a few listens I can say that many of the tracks here have stuck. Rodriguez has a great voice, and is a strong songwriter, but she has also surrounded herself with a tight band - including the guitar talents of Doomsday Outlaw's Alez D' Elia. What Doesn't Kill You, then, is not a hugely original release - but I do not think that it was ever intended to be. None of the songs are very long, and they get in and get out after hitting you with a memorable chorus and some decent hard rock riffing. I imagine that the songs will really come alive on stage, so I am looking forward to seeing the band in April, and I will need to check out the band's self-titled debut release from 2019, too.

Moving onto rock royalty now, it is the turn for guitar legend Slash to feature. Generally I would review a new Slash album, but Orgy of the Damned, his second bona fide solo album and sixth overall when taking the albums with Myles Kennedy and The Conspirators into account, consists of a number of covers of well-loved blues standards. I do not review covers albums or collections of re-recorded material on this blog, but I have mentioned Whitesnake's The Purple Album and The Quireboys' White Trash Blues (which is similar to this album) in my yearly round-up before - and I actually enjoyed Orgy of the Damned more than I expected to. I am much more of a blues fan than I have ever been currently and I am looking forward to explore the genre more in 2025. Slash has turned 11 classic blues/blues-adjacent tracks into blistering hard rockers with his hard-hitting riffing and fluid soloing - and his tight backing band which includes of former Slash's Snakepit Johnny Griparic on bass guitar and former Guns N' Roses sideman Teddy Andreadis on keyboards really brings these classic songs to life. With the exception of the closing original instrumental piece, all of the songs here are sung by guests from the rock and pop worlds - which brings his original self-titled solo album from 2010 to mind somewhat. The Black Crowes' Chris Robinson tackles Hoyt Axton's The Pusher, ZZ Top's Billy Gibbons growls and solos throughout blues standard Hoochie Coochie Man, whilst Free and Bad Company legend Paul Rodgers adds all of his class to Albert King's Born Under a Bad Sign. In truth there are songs on here which are so overplayed that I do not really ever need to hear them again - but if I do hear them again then I hope that one of these versions is the one playing.

I was prepared to review the third album, Never, Neverland, from the Oregon-based gothic rockers Unto Others - but it was released during a very busy September (which was followed by a very busy October) and it was one that I just did not get around to. I did not actually even get around to listening to it until a couple of weeks ago, but I really enjoyed it during the run-up to Christmas. I have seen the band live a couple of times, opening for both Arch Enemy and Carcass, and I will be seeing them at least once next year as they are playing with Green Lung in February. I have also given 2021's Strength a listen in the past but, despite this exposure, I would not call myself especially familiar with the band's work. I am not the biggest listener of bona fide gothic rock music, but every so often I enjoy some poppy darkness - and there is something fun and infectious about Never, Neverland. In some ways, it feels like the band are at a bit of a crossroads sound-wise. This is a 16-track album, but it is under 50 minutes in length - so quite a few of the songs here are quite short. There are some different styles attempted, including a couple of harder-hitting and punkier songs, but I think that the band shine the brightest when frontman Gabriel Franco's voice is really allowed to soar - and when Sebastian Silva lays down plenty of infectious guitar leads. Some of the songs here could probably have benefitted from being a bit more 'developed' in favour of some of the stranger, more experimental pieces - but I like the creativity on show throughout, and it is clear from listening to the album why Unto Others have often been considered one of the most exciting up-and-coming bands in rock.

The final album of the five was released far too late in the year to cover. I was hoping to review Veils of Illumination, the fourth album from Italy's Virtual Symmetry, but its 6th December release date means that I have not been able to get it covered properly before now. I discovered the band in 2022 when they opened for Evergrey, and I reviewed their self-titled third album positively (which can be read here). As such, I had quite high expectations for Veils of Illumination - and I am not sure that it quite reaches the height of the previous album. Whilst I have not listened to Virtual Symmetry for a while, I remember that many of its songs, despite being longer progressive metal pieces, were very hooky and memorable. This latest album feels less hooky overall, and there seems to have been a lot more focus on technical songwriting than presenting big melodies. There are memorable moments, of course, but there is less of a sheen this time - which is a bit of a shame. Frontman Marco Pastorino seems to have been less involved in the songwriting this time, which may have contributed to such, and it is also the band's first album with keyboardist Ruben Paganilli (who also plays some saxophone) and drummer Andrea Gianangeli - so there is perhaps a bit of a different dynamic within the band this time. If I had more time to digest this album then I would probably like it more, as each listen has revealed a lot of interesting textures, including some jazzier elements this time due to the saxophone, but at the moment it has not really sunk in.

That does it for rounding up 2024's new album releases, but I always like to use this yearly post to highlight my favourite live release of the year - as I do not cover live albums typically. My choice for such this year, though, is the freshly-released Live at Budokan from the German power metal legends Helloween. Currently eight years deep into the metal reunion of the millennium, the seven-piece band continues to go from strength to strength. I am not sure that anyone expected Michael Kiske and Kai Hansen's return to the band to last beyond a tour - and yet the band are currently working on their second album with the current line-up and are going on tour again next year. This live album was taken from a show in Japan last year, as part of the touring cycle of 2021's Helloween (which I reviewed here), and it shows the band in all their glory. Both Kiske and fellow vocalist Andi Deris sound great throughout, with their chemistry apparent from the off, whilst Hansen also delivers vocally - as well as being a part of a fantastic guitar triple-attack with Michael Weikath and Sascha Gerstner. The setlist includes classic tracks from the 1980s, fan-favourites from the 1990s, and a handful of songs from the latest album - as well as pulling a few deeper cuts out of the vaults for a capacity crowd at one of the world's best and most prestigious music venues. The show is really well filmed, too, and the sound mix is raw enough to sound like a live release but full of clarity at the same time. Following the slightly messy live concert film from the first of the reunion tours, it is great to finally have a coherent live document of this era of Helloween.

 

That just about does it for 2024, but come back tomorrow and launch the new year with me by running through my albums and gigs of 2024. There is a lot of great stuff to look back on and enjoy, but I do generally like to end each year with a brief look forward at what is to come. The album which I am looking forward to the most which is coming out shortly is Mostly Autumn's latest opus Seawater. Whilst there is no firm release date for the retail version yet, the special edition pre-orders are likely to be posted out in late January or early February. A new Mostly Autumn album is always an event for me, so I am very much looking forward to it, but I am also really looking forward to Dream Theater's Parasomnia - which is dropping in February and will be their first album with returning drummer Mike Portnoy since 2009. I am also very much looking forward to the second album from the melodic death metal supergroup The Halo Effect, which will likely be 2025's first review, as well as what seems like it will be a promising release from Arch Enemy following a couple of weaker albums. I am sure that 2025 will be as good as ever, though, and thanks to all who take the time to read my reviews here - see you next year.

Marilyn Manson's 'One Assassination Under God - Chapter 1' - Album Review

Even by his high standards, the last few years have been controversial ones for Marilyn Manson. Whilst he has attracted, and to an extent courted, controversy all of his career - up until a few years ago this tended to be of the 'think of the children!'-type from hysteric do-gooders scared of anything different to the norm. He has certainly faced plenty of pressure from 'the establishment' over the years, particularly in America, due to his counterculture music and image - and there was a period of time fairly early on in his career where it felt like someone was forever trying to link him to every national tragedy going. In recent years, though, Manson's controversy has been much more serious and personal - as he has been accused by a number of women of sexual assault and other crimes. Whilst nothing formal has really come from these accusations as of yet, with some of the cases having been dropped and others potentially revealed to be spurious and orchestrated, it nevertheless remains a serious cloud for Manson - and at least one case has been settled out of court which perhaps suggests that he did not want certain things to be aired in public. Euphemistically, Manson has lived a rather decadent lifestyle which perhaps was going to catch up with him at some point. I am not alleging any wrongdoing here, and I have not been following the stories closely, but this controversy, rightly or wrongly, was likely always going to be something that would play out at some point. I bring it up for context, though, and to note that Manson has not really had much of career at all over the past few years. He released his last album We Are Chaos (which I reviewed here) in September 2020, so he was unable to tour it due to the pandemic, and the first set of allegations against him were made a few months later - which led to his record label dropping him and his career was essentially put on ice. Apart from statements relating to the allegations, then, we heard very little from Manson until earlier this year - when he started to hint at a return. 2024 has been quite a big year for Manson, as he undertook his first tour since 2019 - as part of a big American trek with Five Finger Death Punch, which included a few headline shows along the way. The reviews from the first show onward were excellent - with many saying that the performances were some of his best for many years. Having lost quite a lot of weight and had a break from the road, he looked and sounded better than he had for probably around a decade - and I am looking forward to seeing him live for the first time when he comes to the UK next year. Crucially, too, 2024 also saw his return to releasing new music - with his twelfth studio album One Assassination Under God - Chapter 1 dropping last month. Given the title I assume that there is more to come in due course, but the 44 minute long album feels like a vital piece of work. Following working with different people on We Are Chaos, One Assassination Under God - Chapter 1 sees him writing again with multi-instrumentalist and producer Tyler Bates - whom Manson last worked with on 2015's The Pale Emperor (which I reviewed here) and 2017's Heaven Upside Down (which I also reviewed here). Both of those albums had more of an organic, blues-based sound, but this latest release feels more like classic Manson - with plenty of shades of 1998's Mechanical Animals throughout - as well as continuing on the relatively heavier sound of We Are Chaos, too.

Bates is responsible for essentially everything here musically, with the exception of the drums which are performed by the returning Gil Sharone (Stolen Babies; The Dillinger Escape Plan) - completing the trio which recorded the 2015 and 2017 releases. Bates and Sharone also returned to Manson's live band this year, with newcomers Reba Meyers (Code Orange) on guitar and Piggy D. on bass guitar (Amen; Wednesday 13; Rob Zombie) - although neither contributed to the album. The nine-track album gets underway with its title track, and the song opens up with some retro-sounding organ and other keyboards - under which a subtle drum loop starts and over which Manson starts to sing. Whilst his live performances in recent years have been patchy, he has always sounded strong on his albums - and his voice during these opening moments sounds great. His trademark spooky vibe is conjured up by his deeper, slow delivery over the aforementioned keyboards - and once the drums proper and some guitars kick in for the chorus he lets rip a little more, in melodic Mechanical Animals mode. In fact, this song generally feels like a hark back to that album - with heavier guitars continuing throughout the rest of the song although without the real metallic crunch of some of Manson's heaviest work. There is a strong atmospheric vibe throughout, although Sharone does lay down some pretty metallic drum beats at times - with machine gun-esque snare and bass drum work during a couple of hard-hitting instrumental sections, one of which contains a pretty tortured guitar solo. The last moments of the song are heavier, though, with Manson unleashing his first big scream of the album, which leads into another guitar solo - this one more melodic - before a tougher final chorus sees the song come to a close. No Funeral Without Applause is somewhat similar, which is theme throughout this album. Manson's best works have generally had coherent vibes from start to finish, and I think that this album generally sticks to a formula which works. A jagged clean guitar melody sets an early tone this time, though, whilst spooky synths add some flashes of melody in the background - whilst Manson again starts to sing against the sparse backing. The song overall a bit heavier than the opening cut, though. There is a punky feel to some of Sharone's drum beats, particularly during the upbeat chorus, whilst other moments feel more percussive and primal thanks to an organic drum sound and more of a guitar focus. Slow-moving yet screeching guitar leads which really hark back to Manson's past fill this track, particularly during the chorus, whilst a lot of the synth tones are also akin to some of his best work. Whilst Manson might not be as furious these days, there is certainly plenty of his classic atmosphere here - and the song's chorus has a monotonous memorability. Nod if You Understand is a bit more to the point, and it rocks harder from the outset. There are a few scene-setting synths early on, but this part of the track is short-lived, and instead the song is a punky hard rocker with driving guitars from Bates and some hard-hitting Sharone drumming. The main guitar riffs here are memorable and create a strong energy, whilst Manson sings in a more fast-paced manner - including a few more venomous whispers and screams, with the latter dominating a powerful chorus. The song does slow down a little later on, via a doomy riff, but this feeling does not hang around - as a faster bassline soon takes back over.

The creepier vibe of the early part of the album returns during As Sick as the Secrets Within - the song with which Manson relaunched his career with a few months ago. It kick started this new era nicely, and harks back somewhat to the other Bates-led albums, alongside a few more Mechanical Animals-esque vibes. The song reminds me a bit of I Don't Like the Drugs (But the Drugs Like Me), if it had been slowed down a little and made more atmospheric. There are heavy guitars, but they tend to sit in the background and create a strong tapestry, with the main melodies here coming from Manson himself and plenty of treated guitar leads which are filled with hooks and effects - again recalling Manson's heyday. Atmospheric synths and the occasional industrial synth lead fill out the rest of the song - and it is one of the best songs here at really creating a vibe. This is emphasised later during a slower, piano-led section (courtesy of Lola Colette) which sees Manson reducing his voice to something of a harsh whisper - before the gothic chorus kicks back in with Bates' guitar leads and Manson's repetitive, smoky vocals. Sacrilegious reins in much of the album's atmospheric feel and goes for a harder rock edge - with industrial-sounding drum grooves and buzzing guitar riffs. The glam rock-esque stomp of Mechanical Animals is very much repurposed here, and it is fitting that the album's shortest piece is its most simple. The punk vibe of the album's previous heavier moments is not really present here, with the overall vibe being one of old-school hard rock. There are strong rock grooves throughout, despite the drums feeling less organic than they do elsewhere, whilst Bates' guitar tone feels warmer - and his bass playing is pretty prominent. Synths are generally used in a more supporting capacity this time - and Manson's vocal performance generally feels less treated and creepy, with snappy chorus hooks and plenty of natural character. Sometimes Manson excels when he does something simple - and this fun song is an example of such. Death Is Not a Costume returns to the album's core sound, though, and feels like much more of a slow-burner following the driving rocker which came before. Opening synths set a creepy tone, before a percussive drum loop creates a simple beat early on. The drumming here feels like a mixture of loops, electronic drums, and real drums, which has been a classic Manson trope over the years, whilst the song itself is pretty bass-focused. Again, the bass has often been a key instrument for Manson's band, particularly during slower songs. The pulsing bass gives this song a lot of character, whilst the synths shimmer in and out to create an atmospheric backing and chiming guitar additions and bluesy leads flesh out the arrangement. There is something quite cinematic about the song as a whole, too, which is aided by Manson's expressive vocal performance - which hypnotically sits atop the sonic tapestry which Bates has created beneath him.

Another somewhat more rocking piece is Meet Me in Purgatory. This is a much more organic piece overall, and it feels like a more expansive take on the sound found throughout Sacrilegious. The synths are once again generally pushed to the background, although they open up the song in fine fashion and flash in and out as needed throughout. The song is much more guitar-driven as a result, then, with a memorable guitar lead opening things up and acting as a repeating motif throughout. As mentioned before, though, there is again a strong bass presence during the track. This sees some of the punk vibes mentioned earlier return, but the song is not as frantic. The pace is more controlled and that 1970s glam rock stomp is back - but the bass gives the song more potency, especially when it is joined by some chugging power chords. The chorus is a bit more playful and poppy, though, with synths adding some fluid melodies against Manson's hooky vocal lines - with later choruses feeling a bit more intense, too, with rawer vocals and a bit more urgency. Raise the Red Flag was another advance single, and it was designed to showcase the heavier side of the album in contrast to the more atmospheric side shown off by As Sick as the Secrets Within. The song is not the heaviest here, but it certainly has an old-school industrial grind to it thanks to some pretty dirty guitar tones and a hard-hitting drum beat. Cold synths add flourishes of further darkness, but there is a classic Manson approach to hooks here - with the song being pretty memorable despite the song's overall grinding nature. Vocally, the song sees Manson doing a few different things - with a good mix of more intense, shouted sections and those which feature his creepy whispered approach. Whilst the song certainly feels more rooted in Manson's modern work, there are certain production techniques and sounds which recall his early days working with Trent Reznor. This song is not as heavy as those songs - but some of the tones and synth sounds are of that time, which provide further links to the past. The album then comes to a close with Sacrifice of the Mass, which is a much more slow-burning piece overall and the album's longest song at just over six minutes. Cold synths create a suitable tone early on, and the song takes a little bit of time to get going, but given the general brevity of the rest of the album this is no bad thing. The synths set a creepy tone, over which acoustic guitar and Manson's effects-heavy voice are soon laid. The song is very ballad-esque, then, and it generally retains its acoustic base even when other sounds join in - including an early chorus which features drums and some high-pitched vocals from Manson. At one point it feels as if the song is building towards something heavier, with some repetitive vocal melodies and a doomy guitar chug, but it is a bit of a false alarm - as the acoustic-based chorus is returned to instead, before Bates launches into a strange and surprisingly lengthy guitar solo. This is the last big moment on the album, but the acoustic coda which follows features some plaintive Manson vocals - with the album closing on this quiet note. Over the last month or so I have been enjoying my time with One Assassination Under God - Chapter 1, and it is potentially Manson's best work for a number of years. The brevity is welcome and there are a number of memorable songs here which generally stick to a vibe despite the pace shifting throughout. One assumes there is more to come and that this album is planned to be part of a series - and I am already looking forward to what is next.

The album was released on 22nd November 2024 via Nuclear Blast Records. Below is Manson's promotional video for As Sick as the Secrets Within.

Mostly Autumn - Bilston Review

I could probably write a review of a Mostly Autumn concert in my sleep at this point. As of last night, I have now seen the band live 48 times and, whilst not every show of theirs I have been to is documented here, many of them have been written about on this blog. I am now approaching the big 5-0 when it comes to Mostly Autumn concerts, which I could well hit next year, but I never tire of seeing the York-based progressive rock act live. I first saw them back in 2006 and, with the exception of 2020 for obvious reasons, I have seen them live at least once in each year which has followed. My last Mostly Autumn concert came back in May, when the band made their seemingly annual trip down to The Wharf in Tavistock for another memorable night of live music. It was a notable show in so far as the band pulled a few songs out of the vault which had been out of the setlist for a few years. In recent years, the band have generally focused on newer material, which is great, but it was fun to hear a few oldies make a return after quite a while - and the show capped off what had been a very busy month of live music. Yesterday, though, I made the trip up to the West Midlands, something which I seem to do quite a lot these days, to catch the band again - at their regular stomping ground of The Robin 2 in Bilson, just outside Wolverhampton. The Robin 2 is a great venue, and one that I have been to a few times over the years. Most of my trips there in the past have been to see Mostly Autumn, but I have also seen other bands there over the years such as Uriah Heep and Vega. It is a venue that bands seem to love playing despite it not being in a big city - and Mostly Autumn tend to play two shows a year there: one in the summer and one around Christmas time. I last saw the band there in November 2021, which was my first Mostly Autumn show since 2019 due to the pandemic, and I remember it being a real standout. Whilst it was not the band's first show back, they did not play too many in 2021 - so it felt like a real release, and a big crowd enjoyed a lengthy set which included much of 2021's Graveyard Star (which I reviewed here) during the first half of the night. As the show was in November, though, it was not a traditional Mostly Autumn Christmas concert. Shows in December tend to include additional Christmas cheer - and the band are often in particularly red hot form during them. I last saw the band do a Christmas show back in 2018, also in Bilston, so I was looking forward to some Christmas cheer after six years. As I was staying at the venue's hotel, I did not have to worry about getting 'home' afterwards from Bilston - and the show was an early one, too. The doors opened at 4pm and the band got underway at 5pm - so everything was all wrapped up by just after 8pm. This all felt very civilised for a Sunday, but it did mean that I had to rush around quite a bit to get to the venue as my train up from Devon was heavily delayed. I did have time for a brief rest in the hotel before the music, though, and I was more than ready for the lengthy set which was to follow by the time the band hit the stage.

The setlist was different from the show I saw in May. Some of the older songs which have recently been brought out of their slumber were retained, whilst other recent regulars which were absent from May's show returned. It was a good mix of old and new as a result - and with a new album due for release early next year it may be the last time for a while that some of these songs are played live. As is often the case with the band's shows, the main set was split into two. The first hour or so of music, before the traditional beer break, was filled with nine excellent songs - many of which set a wintery tone. As has often been the case in recent times, the show got underway with a big barrage from Henry Rogers (drums) which heralded the snaking guitar riff intro of In for the Bite. The gothic rocker has worked well as an on-and-off opener in recent times, and it always provides a dramatic entrance for frontwoman Olivia Sparnenn-Josh - who sung the track with her usual power. Bands always sound good at The Robin 2, and last night's show was generally no different. It took perhaps a couple of songs for the sound to truly level out, but once this had happened all the nuances of the band's sound were easily discernible - with the pop hooks of the sleek Into the Stars and the harder rock of Winter Mountain setting an early up-tempo vibe. The latter was a particular highlight, with a pulsing intro from Andy Smith (bass guitar) and a later synth solo from Iain Jennings (keyboards). It was also the first of a number of songs which seemed to evoke winter somewhat, with the following keyboard-heavy Western Skies also having a chilly undertone - despite the warmth of Angela Gordon's (flute/keyboards/whistles/recorder/vocals) flute intro. It has become a real live favourite in recent years, with the slow-burn of the first half and the symphonic rock of what follows providing a real contrast. Speaking of Gordon, she had a couple of big showcase moments during the first set, with The Last Climb being the first of them. The folk/blues track has been a semi-regular inclusion in the set during the past decade or so, having previously been absent for quite a while, and it always adds an air of melancholy to any show. Gordon's flute solo was full of character and all of her folk talents - and it preceded the first massive guitar solo of the evening from Bryan Josh (vocals/guitar), who was in primal form. The wintery feel abated for a bit following The Last Climb, though, with the warmth of Passengers providing a big sing-a-long as it often does, before the more cinematic Back in These Arms added some initial darkness before its folk rock explosion later on. Songs from Graveyard Star have perhaps not featured live as much as they could have, but Back in These Arms feels like a real regular now - and it gave way to a soaring version of Silver Glass, sung fantastically as always by Chris Johnson (vocals/guitar/keyboards). The first set then came to a close with one of the best songs of the night, The Night Sky. The wintery vibes were back in force during this one, and I am glad that the band have pulled it out again this year. Gordon's second big flute solo came here, and of course the set was rounded out by a fantastic Josh guitar solo as the song came to a powerful close.

Following a break, the band came back for another eight-song set which was filled with a good mix of epic-length pieces and more bite-sized rockers. The synth-heavy Tomorrow Dies falls somewhere in the middle, though, with the up-tempo rocker always feeling at home in the set - with Sparnenn-Josh unleashing some siren-like vocals during the chorus, before the twin guitar leads of Josh and Johnson saw the track transition into the much earthier Nowhere to Hide (Close My Eyes). A sing-a-long favourite from the first album, which was actually the album featured in the set the most, the folk rocker always goes down well live - and the big chorus was latched onto by the crowd as it always is. Another relatively compact piece then came in the form of the bass-heavy Broken Glass - one of the tracks reintroduced to the set earlier this year. It is a track which has perhaps never quite sounded like a Mostly Autumn song, but it always gives a live set it is part of a bit of a kick - and it is always good hearing bands do something a bit different. Not many songs feature Smith in such an obvious way, either, and it is always nice to see him come to the front of the stage and rock out a bit. The spotlight was then turned back over to Johnson for his alt-rock classic Changing Lives - and the closing wordless vocal section was actually sung pretty loudly by the crowd. The healthy-sized crowd were certainly up for the show and the atmosphere throughout was excellent as always - as was particularly apparent during the later encore. Two big showcase pieces for Sparnenn-Josh followed, with her soaring ballad This Endless War featuring some of her best vocals of the night, alongside another emotional Josh guitar solo, before the sparser Heart, Body and Soul saw her singing in a more fragile manner - with Gordon providing plenty of gorgeous harmonies whilst backed by Jennings and Johnson on keyboards. Two epics finished off the main set, with Mother Nature back again after being left out earlier in the year. The song is arguably the one which showcases the band's older sound the best, with folk and rock elements sitting side-by-side - including a big sing-a-long chorus and a fantastic Pink Floyd-esque keyboard solo from Jennings. The mammoth White Rainbow closed out the main set, though, and the lengthy song always comes across well live. Josh always sings the track with such conviction, and when Sparnenn-Josh joins in part way through the piece always comes alive. Rogers laid down a lot of powerful drumming during the heavier mid-section of the piece - and the acoustic-led closing section always feels like a great way to end a show. Of course, though, it was not the end - and the band came back for a four-song encore. Heroes Never Die, as always, was up first - but what followed was some feel-good Christmas cheer, with three classic covers. Josh sung the prog classic I Believe in Father Christmas with his usual from-the-heart delivery, before Johnson delivered a great rendition of personal favourite A Spaceman Came Travelling. The night then came to a close with Josh and Sparnenn-Josh duetting on the evergreen Fairytale of New York - with Gordon adding lots of excellent flute melodies as the show came to a close. The setlist was:

In for the Bite [Bryan Josh solo material]

Into the Stars

Winter Mountain

Western Skies

The Last Climb

Passengers

Back in These Arms

Silver Glass

The Night Sky

-

Tomorrow Dies

Nowhere to Hide (Close My Eyes)

Broken Glass

Changing Lives

This Endless War

Heart, Body and Soul

Mother Nature

White Rainbow

-

Heroes Never Die

I Believe in Father Christmas [Greg Lake cover]

A Spaceman Came Travelling [Chris de Burgh cover]

Fairytale of New York [The Pogues cover]

Mostly Autumn shows are always special, and they always seem to really deliver in Bilston. They really rocked the house, with Josh's soloing feeling particularly inspired, and there was a lot of Christmas cheer in the room at the end. It was a great way to end 2024 as a gigging year and I now feel very much in the mood for Christmas later this week. With the band's latest album Seawater due out soon, too, it is very much an exciting time to be a Mostly Autumn fan - and I am looking forward to hearing it next year and seeing some of the songs played live.

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

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

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

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

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

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

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

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

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

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

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

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

Quireboys' 'Wardour Street' - Album Review

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

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

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

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

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

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

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

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

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

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

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