Tiktaalika's 'Gods of Pangaea' - Album Review

It is always interesting when a solo project takes on a life of its own. The Swedish progressive rock giants The Flower Kings are named after a solo album from their founder Roine Stolt - and something similar also happened with the sadly-defunct British band Breathing Space. Sometimes solo projects can grow in scope, but sometimes musicians just prefer to work under another name - and I think that is more the case with Tiktaalika, the on-going solo project of Haken guitarist Charlie Griffiths. Haken are one of the current premier bands on the prog circuit. Mixing progressive rock and progressive metal influences, the band's heavy, yet atmospheric, sound has brought them plenty of success - and I properly jumped aboard their train again in 2023 with Fauna (which I reviewed here) having originally flirted with them in the early 2010s. I would not call myself a huge Haken fan, but I now have all of their albums and enjoy them quite a bit - and I understand why they are so highly regarded. I am sure that I will be a big fan in due course, but more recently I have been delving into Griffiths' solo output following a run-through of Haken's discography. Griffiths has been a part of Haken since 2008, so has contributed to all of their studio albums, but I have always had the impression that fellow guitarist Richard Henshall is the main driving force behind the band creatively. This is what the early albums' writing credits suggest in any case, although this may have changed over time, but this is perhaps why Griffiths has also undertaken a solo career in more recent years. I have no doubt that he contributes a lot to Haken's songwriting, particularly the heavier end of their sound, but his solo work has allowed him to express himself in a purer way. His first solo album, Tiktaalika, dropped in 2022 and it essentially sounded like a heavier version of Haken. I did not hear it until earlier this year, but I remember it receiving strong reviews at the time - and it was essentially Haken without the more atmospheric side. Big riffs and progressive arrangements made Tiktaalika tick, then, and I enjoyed delving into it earlier this year. The reason I decided to finally give the 2022 release a spin, though, was the news of Griffiths' second solo release - this time released under the name Tiktaalika, mirroring the progress of those aforementioned bands. Gods of Pangaea, then, is essentially Griffiths' second solo album although it is the first under the Tiktaalika branding - and it is an album that sees him move away from the sound of Haken towards a more overtly metallic approach which is both progressive and quite old-school in tone. The artwork looks like an 1980s underground thrash release - and, at times, the music contained within the album's seven songs echoes such. This is a much riffier album than even Tiktaalika, and there is very little soundscape work - with Griffiths' guitar playing dominating. The arrangements still have plenty of progressive flair, but thrash feels like the biggest influence here - and it is great seeing Griffiths cut loose as a guitarist. His Haken bandmate Conner Green handles the bass guitar here, whilst session king drummer Darby Todd (Hot Leg; Martin Barre; Devin Townsend; Jordan Rudess) returns from the previous album. Some of the singers from the previous album return, too, with Daniël de Jongh (Textures; Crown Compass), Vladimir Lalić (Abonos; Organized Chaos; Stellar Seer), and Tommy Rogers (Between the Buried and Me) all lending their talents to Griffiths again here - whilst new face Rody Walker (Protest the Hero) sings one track.

Despite the songs generally being on the relatively lengthy side, the fact that there are only seven of them keeps the album feeling relatively svelte. Gods of Pangaea is not an overblown release, then, and the songs generally feel pretty lean and heavy despite their progressive arrangements. The vocal diversity does not harm the album much, either. Sometimes I struggle a bit with a multi-singer approach as the final product can sometimes feel a bit messy - but this album does not really suffer from such. de Jongh handles the vocals on the first two songs, then, and the album kicks off nicely with Tyrannicide - a heavy track which sets the tone for what is to come. Opening with a buzzing guitar riff, which Todd soon underpins with some busy drumming, Tyrannicide is generally a pretty mid-paced thrasher with riffing that could have easily sat on a mid-period Megadeth release. Despite this essentially being the solo album of a guitarist, the songwriting here is tight. These songs are not just a vehicle for soloing - and there has been plenty of thought given over the vocal melodies and the lyrics throughout. I am not hugely familiar with de Jongh as a vocalist, but his gritty clean vocal delivery and occasional harsher screams suit the riffing nicely - with the initial verses again channelling some Megadeth vibes before a barked chorus feels heavier and slightly more anthemic. There is plenty of big guitar to be heard here, though, and the aforementioned chorus is packed with melodic leads - whilst some of the instrumental breakdowns are a little longer to allow the riffing to flesh itself out somewhat. Despite the song being mid-paced, it is packed full of energy. It keeps moving nicely, with lots of double bass flurries from Todd, whilst the more aggressive vocal sections add plenty of punch to what is already a pretty weighty track. At around four minutes in length, too, it is the shortest track here - but it segues nicely into the lengthy title track which follows, so the initial de Jongh duo sit nicely side by side. The title track essentially feels like an extension of the ideas of the previous song, although everything is expanded upon somewhat. As such, the song is another pretty mid-paced track - and, again, there are strong Megadeth vibes throughout. The slightly grungy chorus sees de Jongh singing in a cleaner manner, and there is less of his barked delivery in general here, whilst hooky and soaring guitar leads often permeate the riffing to showcase Griffiths' melodic approach. The riffing is less furious here, instead feeling more progressive overall - and the track just feels more groove-based thanks to a more deliberate pace throughout and some moments which allow Green's bass playing to shine through. There are some more slightly atmospheric moments here, too, with clean guitar melodies and gentle vocals providing some respite from the harder riffing found elsewhere - and these sections also allow Todd to showcase a more percussive drumming approach. These more mellow sections are not very Haken-esque, though, and they just slow things down to allow the next big riff or solo to hit hard - which is certainly the case here when Griffiths' mammoth shredded solo takes over from the relatively lengthy period of downtime. The second half of the song is dominated by extended guitar workouts, too, although de Jongh does interject with hooky vocal punchlines on occasion - breaking up the technical, yet melodic, guitar playing.

The next two songs are handled by Lalić vocally, and The Forbidden Zone opens with a spooky and dark-sounding clean guitar melody - which soon expands into a slow-burning, yet groovy, main riff that ups the heaviness of the previous track quite considerably. Whilst the track is not fast-paced, it is easily the heaviest thing heard on the album up to this point - and this is largely down to Lalić's vocal style. Utilising harsh vocals much more liberally than de Jongh, Lalić growls his way through the initial verse here - adding some genuine death metal vibes to the song's early moments. His growls are creeping and doomy, which nicely suit the pulsing and groovy riffing of the track as a whole - but he also showcases quite a bit of vocal diversity later in the track by sounding a little like Nick Holmes during a grittier section and then by delivering some strange clean vocals during a more melodic section. He is a better harsh vocalist than a clean singer, but his thin clean vocals still work quite well when deployed - as they work against a pretty busy guitar melody behind them to create an interesting overall sound. There is little in the way of soloing here, with the guitar diversity instead feeding the overall riffing and approach to lead playing throughout - which, given Lalić's vocal diversity, helps to create a strange and diverse song which moves from death metal to something more progressive. Mesozoic Mantras also opens with clean guitar melodies, but these are much brighter - with the doom of the previous song immediately banished to allow for a more layered and atmospheric sound. Lalić sings again, but this time he opens with his clean delivery. He showcases much more of a diverse clean delivery here, moving away from the thin sound deployed earlier to this time actually sound like a strange mix of Haken's Ross Jennings and the late Warrel Dane - which is not something I was expecting. His tone and vibrato just sounds quite Dane-esque at times - and it works well over this expansive clean guitar soundscape early on. He continues to sing clean even when a heavier riff kicks in - although the song generally retains a much more melodic approach throughout. The riffing is less pronounced this time, with the song overall much more vocal-focused. The vocal melodies and the guitars tend to work in tandem quite a bit here, in that early Black Sabbath mode, but there are times when Lalić cuts loose and diverts from the pattern to allow the vocal melodies to pop. This is clearly a more hook-focused track in that sense, then, but there is still plenty of groove generated from the guitars and the bass - alongside some excellent guitar leads from Griffiths which sit behind the vocals. Fault Lines follows, the sole track to feature Walker, returning to a much more thrash-centric approach - and the song ups the pace, too, easily being the fastest thing on the album up to this point. The track is a real tour-de-force of thrash influences, with staccato riffing and vocal patterns which recall Anthrax at their most fun - whilst some of the NWOBHM influence on the thrash scene can be heard during some more Testament-adjacent moments that up the heaviness. Griffiths' progressive background is on display throughout, though, with some cleaner moments which feature discordant clean guitars and popping bass lines shaking things up - whilst the chorus feels more typical prog metal with Walker's more emotive vocal delivery and plenty of subtle guitar textures instead of the pummelling riffing elsewhere. The song is easily the fastest piece up to this point, but that does not mean that there is not variety - and Walker's strange vocal diversity and some slightly more atmospheric parts allow for such, before a busy and high-octane guitar solo brings the song crashing back down.

Penultimate number Give Up the Ghost sees de Jongh return for one last song, and it is another pretty high-octane thrashy track which builds on the pace and energy of the previous number. It is perhaps less progressive and intricate than the previous song, though, with more of a straight ahead old-school Metallica feel - albeit with the use of harsh vocals at times. de Jongh generally focuses on clean vocals throughout but, like during the opening cut, he goes for a more anthemic barked vocal style at times - which helps to create a strong gang vocal-esque feel at times. This is very in-keeping with the album's more traditional thrash approach, as those sort of choruses were commonplace, but the more aggressive vocal style helps to ground the song in the modern day. The harsh vocal-led chorus is pretty hooky, though, and it is expanded by some groovy guitar playing from Griffiths - which expands into a clean vocal-led section which follows to lengthen the chorus and add some more hooks. The vocal melodies here are pretty infectious, which helps the relatively shorter song to stick, whilst there is a short guitar solo here which is also full of big melodies. Most of the songs here are hooky in one way or another - but this one is perhaps hookier than most. The album then comes to a close with the nine minute-plus Lost Continent - the only song here to feature Rogers. Opening with some big bass notes from Green, the track is the most expansive and progressive on the album - but the classic thrash influences are still very much present. Rogers is known for being a very diverse vocalist - and his early screams suit the fast-paced riff which sit behind them. Todd also lets rip a bit more here, really going all-out to lay down some aggressive and technical drum grooves - with Between the Buried and Me's chaotic and technical sound fused here with Griffiths' thrash influences. The song moves back and forth between these abrasive sounds and moments which are more melodic and smooth, too, with mid-paced sections featuring a mix of screams and clean vocals hitting later - alongside some strange, more robotic, sections which feature snappy riffing and metalcore-esque grooves. There is certainly more prog to be enjoyed here in terms of the song's arrangement, then, and given its length it is unsurprising that there is a lot more lead guitar featured. Lots of little solos pop in and out as the song progresses - and the fast-paced guitar melody which sits beneath Rogers' clean delivery during the main chorus is very memorable. Rogers' vocal diversity and prowess helps the song to feel varied, too, and he forms a great team with Griffiths here to bring the lengthy song to life. Despite the main chorus section, very little here repeats itself. There are always new ideas and riffs being introduced - as well as plenty of time set aside for soloing. Not every song here goes for soloing in a big way, but this one allows everyone to cut loose a bit more. The last big solo here is the album's best - and it is fitting that this lengthy track nicely pulls the album to a close. Overall, then, I have really been enjoying Gods of Pangaea. It showcases a different side of Griffiths' playing from even his first solo effort - and it really showcases what he can do in a more metallic setting outside of Haken. Haken's success will no doubt take up much of his time - but I am sure that we will hear more from him a solo artist in due course, and the Tiktaalika project certainly has legs. The mix of old-school thrash and prog works really well, and I hope that Griffiths decides to write more songs in this style going forward.

The album was released on 14th March 2025 via InsideOut Music. Below is the band's promotional video for Gods of Pangaea.

Coheed and Cambria's 'The Father of Make Believe' - Album Review

I have a bit of a strange relationship with the New York-based four-piece Coheed and Cambria. I have been a fan for a long time, as I remember buying 2007's Good Apollo, I'm Burning Star IV - Volume Two: No World for Tomorrow when it was still a pretty new release, but I can often go for long periods of time without listening to them - and they also somewhat disappointed the one time I saw them live, although this was largely down to a really poor sound mix. That being said, each time they release a new album I tend to get back on the train again for a while - and I have essentially enjoyed all of the band's albums up to this point, even if some are quite a bit better than others. The first four are always something of a sweet spot, as there really was not anyone else like Coheed and Cambria during the 2000s, but the two The Afterman albums from 2012 and 2013 are also favourites. I still find magic in the band's intricate arrangements, progressive scope, and complex storylines even if I do not listen to them as often as I once did - and if some asked me if I was a fan I would certainly say yes. I am currently back on the Coheed and Cambria train, too, as last month the band released their eleventh studio album The Father of Make Believe - their first since 2022. With the exception of 2015's The Color Before the Sun (which I reviewed here), which is probably my least favourite Coheed and Cambria album, all of the band's albums have been concept albums. Whilst I have never fully understood the stories being told, the concept and the images created by the lyrics significantly add to the band's overall vibe. The 2015 album lacks this vibe, which is probably why it is my least favourite, but everything else has it - and The Father of Make Believe is no different. The  band's on-going concept can be split into three eras, too, with their first four albums telling the main story - with album five acting as a direct prequel so is part of the same era. The second era consists of the aforementioned The Afterman albums - whilst the third, ongoing, era started back in 2018 with The Heavenly Creatures (which I reviewed here). The Father of Make Believe is the third instalment in this specific conceptual thread - following both the 2018 release and 2022's A Window of the Waking Mind (which I reviewed here). Despite picking out other albums in the band's catalogue as favourites, both of the last two albums are strong. The Unheavenly Creatures was the band at their most progressive, with dense and complex arrangements rewarding repeated listens, whilst A Window of the Waking Mind was a much more melodic feast, with plenty of anthems and earworms throughout. Each album sat at one end of the band's sound spectrum, then, whilst The Father of Make Believe attempts to do a bit of both. Whilst this latest album has certainly already grown on me somewhat, I do not feel that it is especially strong - especially compared to its two predecessors. There are songs here I like, the vibe remains, and frontman Claudio Sanchez's knack for an off-kilter vocal melody remains intact, but I have been struggling with this album somewhat - as it neither feels that complex and interesting nor upbeat and anthemic.

It feels closer to the 2018 release, but the songwriting does not feel as dense nor as layered. I tend to find that the band's albums are growers, so I feel like my overall view will improve in time, but as things stand it is not pushing all the buttons. It starts out slowly, with Yesterday's Lost being one of those classic Coheed and Cambria scene-setters. Sometimes they are instrumental and sometimes they are not - and this one is not, with Sanchez being introduced vocally after some distant piano melodies set a melancholic tone. The band often open their albums in such a way, with short melancholic or acoustic-based pieces, and Yesterday's Lost works well in that vein - with the piano then giving way to acoustic guitar, synths, and Sanchez's plaintive vocals. These scene-setters are always far less bombastic than the band's typical sound - and this one works as a strong intro to Goodbye, Sunshine, the first rocker here. Goodbye, Sunshine is perhaps less bombastic than the band's typical first big statement on each album, though, but it remains a strong effort which is pretty hooky. There is no big opening riff, with Sanchez singing as soon as things start - with chugging guitars beneath his voice. Whilst he adopted a more laid back approach during the opening cut, his usual higher-pitched delivery is very much intact here - with the song's verses packed with his idiosyncratic vocal delivery, which is always fun to listen to. Whilst drummer Josh Eppard adds lots of busy fills during the verses, the guitar playing from Sanchez and Travis Stever is a bit restrained and chugging. A later chorus is backed by some melodic leads beneath a hooky vocal melody, but the verses and much of the song are a bit chunky when it comes to guitar rhythms - which lack the band's usual dynamic approach. I think that is what disappoints me the most about this album, as the guitar playing throughout is nowhere near as busy. Stever's intricate leads and Sanchez's interesting chord sequences always make the band's songs pop - but here the guitar playing is just less interesting overall. There also seems to be a bit more of a focus on synths, too, as Searching for Tomorrow shows. The opening musical motif here comes from a keyboard, and this resurfaces throughout. I would have much preferred a guitar to deliver something similar - but, in fairness, the song is a bit more guitar-heavy, too, with a snaking and slightly discordant lead coming early on before the verses feature a bit more of the guitar presence expected from the band. The chorus is more synth-driven, given the song's intro, but it remains hooky thanks to Sanchez's vocal presence and ever-present energy. There is a guitar solo, too, but it is distorted and tortured in a Nine Inch Nails-esque manner - and the song overall is pretty strong.

The title track follows, which opens with a hypnotic guitar melody and a punchy drum groove from Eppard - but after what is quite an upbeat opening the track morphs into something more mid-paced and atmospheric. Effects-heavy vocals and synths dominate early on, and even when Sanchez starts to sing the first verse properly the song feels somewhat more off-kilter overall - with a strange sound reminiscent of the less memorable moments of 2010's Year of the Black Rainbow. The band have clearly tried to go for something more progressive here, but overall I do not think that all the parts really hang together. The chorus has some decent hooks, but the slower pace means that it never feels like it gets going - and the overall mix feels a bit messy with all the synths and strange vocal layers. Meri of Mercy opens slowly, with what sounds like a toy piano laying down a simple melody - over which Sanchez soon starts to sing. Like many of the band's best songs, though, it evolves slowly as it moves along - with Eppard showcasing why he is one of the most interesting drummers in rock with some great grooves, whilst subtle guitar leads interweave beneath the hypnotic piano line. Bassist Zach Cooper is busy throughout, too, adding plenty of depth given the lack of a crunching guitar presence and, despite it being a slow burner, the song is a winner. Coheed and Cambria often do these quite cinematic half-ballads and do them well - and there is a lot of emotion throughout thanks to Sanchez's vocal delivery. I really like the part towards the end, too, which sees the band drop away and leave Sanchez singing distantly against some piano melodies - only for everyone to soon crash back in for one last run-through of the chorus. Blind Side Sonny is very different, with the sub-three minute track being a pretty punky one overall. Coheed and Cambria have had a hardcore influence from their early days, although it not something which has been shown off too often recently. This song is essentially a slab of punky hardcore - with a repeating guitar melody throughout the verses and some of Sanchez's most aggressive vocals for years. He essentially sings the whole track in a harsh vocal style, whilst the guitars throughout are full of metallic crunch. A hooky chorus with poppier vocal melodies offsetting the heaviness helps the song to stick - and there is some great, busy drumming from Eppard which is all the more impressive knowing that he does not use two bass drums. It is easily the album's most energetic moment - and it transitions into Play the Poet which takes on a more industrial edge. The big guitars of the previous song are essentially stripped away to leave fuzzy synths and electronic beats leading the charge during the verses - over which Sanchez sings with plenty of effects on his voice. It is a strange song overall, as the chorus is another which feels quite poppy - with a strident guitar lead typical of the band's older sound and Sanchez really belting out the lyrics in trademark fashion. It is a shame, then, that the song is another with a messy mix. This is another song with strange synths and effects that seem to get in the way of some of the best moments - and the chorus would have been better with a cleaner sound. The band is certainly trying for a heavier sound here, and it sort of works, but the industrial trappings are an odd choice - and they hold the song back in my opinion.

One Last Miracle reins things in following the noisy couple of previous tracks, but there remains a slightly heavier approach to parts of the track. Sanchez once again employs his somewhat harsher vocal delivery during a snappy pre-chorus - but overall the song is much groovier. Eppard is really high in the mix here, his fills and smooth grooves really driving the track, whilst Cooper's bass also does a lot to fill in the gaps between these drum explosions. Guitar leads are a bit more prevalent here, too, and the chorus is hooky - so overall this song feels much more like classic Coheed and Cambria, at least in terms of melody and its slight experimental tendency. It is a short track, but then most of the album's middle third is - and the hooks are plentiful. Corner My Confidence, which Sanchez put together with producer Zakk Cervini, slows things right down - and is essentially a ballad. It is not miles away from how the album opened - but this song is much more about acoustic guitars and Sanchez's voice, and his singing is much more full-bodied than the more distant approach employed during the opening cut. As the song moves forward it does expand in a subtle way, with occasional strings and other guitar leads weaving into the mix. The song is basically all about Sanchez's vocal delivery, though, and overall it is a simple piece which has a singer-songwriter vibe and offers a bit of respite from the heavier few songs which came before it. Someone Who Can gets back to Coheed and Cambria doing what they do best, though, as the song is a poppy feast which could have easily sat on the last album. It is perhaps a little more synth driven than that album was, but there is enough guitar meat for the band's classic sound to shine through - and those subtle guitar melodies which the band are known for fill the verses behind Sanchez's unique voice. The reason this song excels, though, is thanks to its huge chorus. It easily the hookiest chorus on the album and it sticks in the brain thanks to Sanchez's soaring and snappy vocal hooks - whilst guitar and synth melodies dance around under him. The best Coheed and Cambria songs all have infectious choruses, and Someone Who Can understands this. It is a song which hits the brief of just being an upbeat and infectious pop song - but there is enough of the band's rock drive to keep it interesting.

The album's last four songs make up The Continuum suite. Coheed and Cambria used to write multi-part suites quite often, but it is not something that they have done for a while. The first part, Welcome to Forever, Mr. Nobody ups the heaviness compared to the last track - and in many ways it is a classic-sounding Coheed and Cambria rocker. Eppard's drumming throughout is packed full of grooves, which drive everything, whilst a great mix of heavy rhythm guitars and occasional leads help the mid-paced rocker come to life. Sanchez adds a rougher edge to his voice here, adding to the overall heaviness, and the song will certainly get heads banging thanks to old-school rock drive and crunch. Another strong chorus really helps the song pop - and these few minutes are a real hark back to the band's 2000s sound. The Flood, the longest piece here at just over six minutes, reins in the heaviness - instead going for a smoother intro which soon gives way to a strangely staccato verse. There are a lot of big drum hits and a percussive feel permeates the song - whilst juddering synth melodies sit behind Sanchez's smoother vocal delivery. It is a bit of a strange song overall. The chorus feels a bit more typical, with an underpinning guitar lead and a smoother feel, but the hooks do not really stick - whilst there are some quite discordant interludes with abrasive synth textures and occasional heavier guitars. It is another song which does not really hang together that well in my opinion - despite some strong individual moments. Tethered Together opens slowly, with more piano melodies - but the song in general is another pretty mid-paced typical rocker, despite the band taking a more atmospheric approach. Parts of the verses feel pretty dreamy, with strange synths and clean guitars backing Sanchez's floaty vocals, but much of the song is more rocking - such as the chorus which feels like it should be more cinematic than it turns out to be. It is another song which has a lot of the band's trademark ingredients, and there are some really good guitar leads here, but again the song does not really grab me that much. It is certainly decent, but this closing suite should be epic - and, apart from the opening piece, it has felt a bit flat so far. The closing piece So It Goes is better, though, although it is certainly a bit strange. It is full of quirky melodies, which the band are certainly no strangers to, and there is also something of a vaudeville/circus feel to some of the melodies which add some energy to what is generally a pretty laid back piece. It is not a ballad, but it is certainly not a hard rocker, either, and there is a strong progressive feel to the arrangement overall in my opinion - as there is a lot going on. The mix does not sound messy this time, though, which shows that the band can do denser arrangements and have everything sound coherent. The circus vibes return as the song closes out, too, with horns and big percussion playing a busy and bombastic outro which builds on some of the song's other melodies. It is a strange ending, but it works quite well - and the bookends of the closing suite are certainly worth the time. Overall, though, I find this to be a mixed bag. The strong moments are classic Coheed and Cambria, and are full of groovy and melody, but some strange effects and mix choices leave some of the songs wanting - and the songwriting is also lacking in places. It is certainly not as strong as the last two, but there is enough here for fans to be entertained - with a few tracks here destined for the live set.

The album was released on 14th March 2025 via Evil Ink/Virgin Music Group. Below is the band's promotional video for Searching for Tomorrow.

South of Salem - London Review

In a way, the two gigs I got to this past week illustrate the differing fortunes which smaller, newer UK bands can face. On Thursday I saw The Fallen State on what could end up being their final tour, as the band have made clear that this tour is very much a 'use it or lose it' situation, whereas on Friday I headed up to London to see South of Salem at a packed out Underworld in Camden - as part of a headline run supporting last year's charting release Death of the Party (which I reviewed here) which included many sold out shows. One band has clearly caught on in a big way whereas one has not, despite The Fallen State seemingly having a lot of momentum when their debut album dropped in 2019, and it is not always easy to tell why one band succeeds and another does not. In truth, and South of Salem very much aside, I tend to find that it is the bands I find the least interesting in the current British rock scene which seem succeed. Those Damn Crows, a band I saw opening for The Quireboys back in 2018 and did not think much of, have just announced a headline show in a 4000 capacity venue here in Plymouth - and they are not the only comparable example. In fairness, Those Damn Crows have basically had a whole career since that 2018 show and have no doubt grown as a band, so I intend to give them another go, but I would not have guessed in 2018 that they would go on to have that sort of career trajectory. South of Salem, if their current momentum continues, could have something of a similar trajectory - and if they do it would be very much deserved. They are one of the exceptions which proves my rule - as they are currently getting a lot of attention and they are a band that I have loved since I first saw them back in 2023 opening for W.A.S.P. in Wolverhampton. As much as I always enjoy seeing W.A.S.P. live, I came away from the show more excited about South of Salem - and, before Friday, I had seen them live twice more. Their headline show in Bristol in 2023 is one that really sticks in the brain, and I also saw them last year in Torquay opening for the Kris Barras Band. South of Salem are a band with quite a cross-genre appeal. Metalheads, older rock fans, and gothic music fans alike all find something to enjoy in South of Salem's hooky, riffy music - and that is a big part of why they seem to really be catching on. The reason I really like South of Salem, though, is that they remind me of the British rock scene of the late 2000s/early 2010s when bands like Heaven's Basement and Glamour of the Kill seemed on the verge of bigger things. South of Salem would have sat nicely on a bill with any of those bands - so it is nice to see them doing well now as they are very different from the rest of the current British rock scene, which is made of bands which are either very bluesy or full of American post-grunge influence. I will keep seeing them as long as they keep touring - so getting to a show on this headline tour was a no-brainer. Bristol would have made more sense, but London worked out better in terms of work commitments - and the Underworld is generally a good place to catch bands.

The venue opened at 6pm and everything was over by 10pm. I quite like nights like this in London, especially as I was not staying that close to the venue, and when I got to the venue just before it opened there was already quite a long queue forming. The show was sold out, and the heat in the room made this very apparent as the evening went on, but thankfully the evening was a snappy one in terms of changeovers so, despite the doors opening a little late, the show flew by. The two support bands on this tour were both very different - so the evening was also extremely varied. Up first were In Search of Sun, a funky hard rock/metal act that certainly felt like the late 1990s/early 2000s reborn. There were strong doses of both pop-punk and nu-metal in their sound, but there were also some more traditional hard rock and metal influences, too, and the band's half an hour on stage certainly warmed the crowd up for what was to come. The venue was not too hot yet, so there was quite a bit of energy in the room as the band took to the stage. In Search of Sun were full of energy for the next 30 or so minutes, then, and there were clearly quite a few in attendance who were already fans. There was a bit of singing to be heard from the crowd during some of the choruses - and the band had a likeable stage presence and energy which drew more people in. In truth, the band were not really my thing - but it was hard not to get swept up in the energy of their music. The riffing from the two guitarists kept the tracks feeling pretty bouncy throughout the band's set - whilst frontman Adam Leader really helped to get the crowd going with his big personality and strong vocal presence. His voice was sometimes a bit low in the mix, which was a shame, but generally the mix was pretty good - and the band impressed despite them not really being my thing. I cannot see me listening to them in my own time, but as a live act they were a strong addition to the bill - and they kicked the evening off in fine fashion, adding some unadulterated fun to the proceedings.

High Parasite, who followed, were very different. Fronted by seemingly AWOL My Dying Bride frontman Aaron Stainthorpe, a real legend in the British metal scene, the five-piece gothic metal band were easily the heaviest thing on the bill. Whilst High Parasite are not exactly a million miles away from Stainthorpe's day job sound-wise, the band's album reminds me more of mid-period Paradise Lost with the addition of harsh vocals - so for the next 40 or so minutes the underworld was filled melodic gothic/doom metal with the dual vocals Stainthorpe and Tombs (vocals/bass guitar) - alongside the melodic guitar leads of Jonny Hunter. I listened to the band's debut album Forever We Burn a few times before the show, but it did not really stick with me. I like a lot of the ingredients, but the songwriting was not really connecting. Despite this, though, I enjoyed seeing the band live - so I intend to persevere with the album. Whilst the band somewhat stuck out on a bill of what was generally more up-tempo hard rock, High Parasite still garnered a strong reaction. There were plenty of High Parasite shirts on display throughout the venue - and the band gave it their all despite being crammed towards the front of the stage. It must be strange for Stainthorpe to be playing somewhere like the Underworld and not evening headlining. He did not seem to mind the less than salubrious surroundings, though, and the band looked like they were having a great time despite the gloom of their sound - with Stainthorpe being witty between the songs and the rest of the band throwing plenty of great rock and roll shapes. I recognised many of the songs played, which suggests that the album stuck with me more than I thought, with the opening cut Parasite being a strong first impression - whilst later tracks Concentric Nightmares and Hate Springs Eternal saw plenty of headbanging from the large crowd. Stainthorpe was in fine voice throughout, mixing harsh and baritone clean vocals, whilst Tombs added some occasional more melodic clean vocals - all whilst being the most active musician on the stage in his face paint. The band's performance and demeanour added a lightness to what could have been a very downbeat set given the slower grooves of their doomy material - but a number of the choruses stuck, as did the plentiful lead guitar moments. The heaviness and atmosphere were a great addition to the night, though, and it was a treat to see Stainthorpe live given his standing in the metal world. The band ended on a high with the title track of their debut album, with plentiful vocal melodies from Tombs, and it seems that, currently at least, this band is where Stainthorpe's heart lies - so it will be interesting to see how they progress from here.

Following two very different support acts, which had both been well received, South of Salem were ready to take things to the next level. Despite the extreme heat in the room by this point, which definitely effected the energy levels of the crowd, the band delivered a strong set which showcased why they are one of the most exciting prospects on the scene currently. The show was the final night of the tour, too, so spirits were high - and from the opening drum barrage of Let Us Prey it was clear that the band meant business. Whilst the set was generally dedicated to Death of the Party, the first few numbers took in both the past and the future. Let Us Prey always works well as an opener, and the band were joined on stage by two cheerleaders who would resurface occasionally throughout the set. The gang vocals during the chorus were handled well by the crowd, too, and frontman Joey Draper did not have to do much to get anyone on side. The band's newly-released cover of Savage Garden's To the Moon and Back came up next, which saw plenty of singing despite it only being a few weeks old, whilst the smooth hooks of Pretty Little Nightmare also impressed early on. It is clear that the band are not wanting to rest on their laurels, either, as this tour has also seen the debut of a new song - which I assume will end up on album number three at some point. The song in question, Fallout, may well be the band's heaviest yet - at least in terms of riffing. The chorus was easy to latch onto, and packed with the band's usual hooks, but the rest of the song felt more metallic overall - and I would certainly be keen for the band to explore some heavier territories in the future. It has made me look forward to what will come - but then it was time to turn our attentions back to last year, as the rest of the main set was made up of a full performance of Death of the Party. The debut might still be slightly stronger overall, but Death of the Party is fantastic - as the opening trio of Vultures, Static, and Jet Black Eyes proved. The latter two are two of the band's best songs, and both were sung loudly by the crowd. I had seen a number of the songs done live before, either before it dropped or on that tour with Kris Barras, but there were a few which I had not. Stitch the Wound was one that was new to me in a live setting, with the riffy track really working well live. Two of the main highlights come later in the album, though, with the sleazy Bad Habits (Die Hard) again seeing plenty of singing thanks to its Glamour of the Kill-esque hooks - whilst the title track is a real party anthem which again saw the cheerleaders joining the band to perform some dance routines. Following a brief drum solo from James Clarke, the last two songs of the set were then delivered - with A Life Worth Dying For really coming alive on stage. The set came to a close with Villain, which I think is the weakest song on the album - but it nevertheless came across well live, and the band took a brief step off stage following the song's conclusion. Despite the crowd being vocal throughout the show, the cheers to bring the band back for an encore were pretty weak. I imagine the heat was catching up with everyone by this point - but the band still came back anyway. The slow-burn of Demons Are Forever kicked off the two-song encore - before their signature anthem Cold Day in Hell brought the night to a close, with plenty more singing despite the heat. The setlist was:

Let Us Prey

To the Moon and Back [Savage Garden cover]

Pretty Little Nightmare

Fallout

Vultures

Static

Jet Black Eyes

Stitch the Wound

Left for Dead

Hellbound Heart

Bad Habits (Die Hard)

Death of the Party

Drum Solo

A Life Worth Dying For

Villains

-

Demons Are Forever

Cold Day in Hell

Despite the heat, South of Salem delivered another excellent set in London which showcased why they are really climbing the ranks when it comes to newer British rock bands. A sold out Underworld is always a good achievement for an unsigned band - and many of the other shows on the tour also sold out. I would imagine that the next time the band come around as a headline act they will be playing bigger venues again - and it will be very much deserved. The new song played has got me looking forward to the future, too, and I am sure that I will be there again when South of Salem next tour.

The Fallen State - Plymouth Review

Over the past few years it has basically been a given that if The Fallen State are on tour then they will be visiting Plymouth as part of it. Whilst The Fallen State are not from Plymouth, they are a Devon-based band so have been playing in the city since their early days. Currently, though, the band seem to be at something of a crossroads. Following a hiatus which essentially lasted all of 2024, The Fallen State are currently back and on tour - but they have been open with the fact that it could well be their final tour. I get the impression that whether or not the band carry on beyond this tour will depend on how well the tour does financially. Life for a small, unsigned band is harder than ever - and I have followed so many over the years which have just fallen by the wayside. Balancing full-time work, a family life, and being part of a touring band is not easy - and so often the band can become a financial and emotional burden which is, sadly, no longer sustainable. I get the impression that The Fallen State are teetering on that balance. They want to carry on, but that may no longer be possible - and I have seen this tour been described as something of a 'use it or lose it' situation. It has been refreshing, if sad, of late to see a few bands lay out the realities of existing in the current climate. Vega's Nick Workman recently put out a video giving an update relating to the band's current lack of activity, and also somewhat called out the fans for not supporting their last couple of tours. Too many fans seem to think there will always be a next time, or seem unwilling to travel pretty short distances to see a band live that they supposedly really like - and I agreed with everything Workman said, despite it likely being hard to take for some. Whilst it is not always easy to go to gigs, and life certainly can get in the way, I have always found the UK's attitude to travelling to be extremely poor - especially given how relatively small the country is. Some will not even drive an hour to the nearest city, instead complaining online that a band is not playing in their small town - and I feel for all bands when they have to constantly fend of such complaints. The Fallen State have not been as blunt as Workman - but they have strongly hinted that this tour needs to succeed for the band to live past it. Whether that message will get through or not remains to be seen - but the band cannot have done more to promote the tour and make the situation clear. The tour is pretty extensive, too, covering much of the UK - so there are plenty of opportunities for people to get out and see the band for what could be the last time. This tour also sees the return of the band's original frontman Ben Stenning - who last performed with them back in 2019. His replacement, Adam Methven, has stuck around, too, making The Fallen State a six-piece for the first time. Drummer Rich Walker, who sat out of the band's 2023 tour, is also back - meaning that all of the band's core members over the years are back for this big celebration of their career to this point.

After my pontification relating to the UK in general being poor at 'making the effort' - I made the herculean walk from my flat to The Junction in Plymouth, which takes all of about five minutes, on Thursday evening, reaching the venue just in time to catch the first support act. In truth, a gig I can walk to is a rarity, and anyone who reads this blog will know that I regularly 'make the effort', travelling all over the country, to see bands. Opening the show, and playing for around 30 minutes, were the Austrian three-piece Psycho Village. Seemingly without a drummer, Walker played drums for the band wearing some sort of fox mask - but sadly the band's slightly industrial, synthy rock did very little for me. Whilst there were a few decent choruses throughout the set, and some of the industrial grooves were hooky, I just did not find the band very compelling. I did not think that the singer had a particularly great voice for starters, and I also did not like just how much the band were relying on a click track. I am not a neanderthal when it comes to these things - but the singer barely touched his guitar during some of the songs, and there was so much 'help' going on vocally, too, that the set just did not feel all that authentic. When most of what I am hearing is not live then I soon start to loose interest. The band have clearly toured with a lot of other bands, though, as nearly all of their songs included a guest vocal from someone which, you guessed it, magically came through the speakers as the band was playing. It did not help that the singers were all from bands that I am not interested in (Hed PE for example) - but it also just felt like name dropping after a while, as I would say that around two-thirds of the set featured some kind of guest appearance. I have seen worse, but Psycho Village are very much not for me - and I was quite glad that they only had 30 minutes to play with.

Thankfully, what followed was much better. I was not really looking forward to watching Liberty Lies, as I had seen them twice before and had not enjoyed them either time - but this time I was pretty much hooked from the off. In fairness it was in 2017 that I last saw them, so the band have likely evolved quite a bit since then, but they were different from what I remember. I remember them being more metallic, with something of a clunky nu-metal sound, but this time they just seemed like a sleek, modern hard rock band with the occasional more metallic moment. I also remember not thinking much of frontman Shaun Richards - but he was the star of the show this time. His voice really powered through during the band's 45 minutes on stage - and there were a number of massive choruses which really stood out during the set. Whilst I had not been following the band over the years, I was under the impression that they did not really exist anymore - so I was surprised to see them added to this tour. Richards did say that it was their last tour, though, so perhaps The Fallen State convinced them to saddle up one last time as they had played together quite a few times over the years - and the band received a strong reception throughout with plenty in attendance knowing their songs. It was Adam Stevens (drums/vocals) who filled in for Walker on The Fallen State's 2023 tour, too, so there is clearly a strong bond between the two bands - and Liberty Lies' bass player was not available for all of the dates on this tour so members of The Fallen State stepped in. Clearly I was not familiar with any of the band's material, but some of it made a strong impression. The opening cut Someone Else was a great way to kick things off with its soaring chorus, but it was perhaps a later ballad Day in the Sun which stood out the most. Having not expected much, Richards showcased what a great singer he is during that emotional number - with Josh Pritchett (guitar/vocals) then delivering a massive guitar solo. Most of the set rocked pretty hard, though, and the band is another with a strong post-grunge sound which has really permeated the British rock scene in recent years - albeit with perhaps a bit more of an old-school approach to lead guitar which I appreciated. Their 45 minute set flew by, with Are You Listening? bringing the band's time on stage to a close. I picked up a copy of 2019's It's the Hope That Kills You on the way out later - as my view on the band was completely changed by this set. It is a shame that I finally came around as the band is coming to an end - but such things happen sometimes, and I am glad to have had my view changed.

Following one last changeover, and seemingly some technical issues relating to the video screen at the back of the stage, the lights went down and the new-look The Fallen State took to the stage - immediately launching into the old single Hope in Revival. Setlist-wise, with the exception of the encore, the songs played were the same as those played on the 2023 tour. It would have been nice if the setlist had been shaken up somewhat - but given that many of the main fan-favourites were included I doubt that many were complaining, and the decent-sized Plymouth crowd responded to the songs played with plenty of singing. The band's last couple of shows at The Junction have been a bit hit and miss sound-wise, but this one was better overall. Sometimes the vocal balance was not quite right, but generally everything else shone through. It was the band's first show with Stenning back in the fold, and he seemed to be finding his feet a bit early on. It had been a while since he had sung these songs live - but by the half way mark he seemed more like his old self, even if his overall look did not quite suit the band's vibe these days. The longer hair and the more typical rock attire from the past were gone - but he still had a strong stage presence once he had felt his way back into the set, and he worked well with Methven throughout the night. The harmonies between the two, particularly during the choruses, were strong - and the way the vocals were split up ensured that both had plenty of time to shine and the new arrangements did not feel gimmicky. Apart from this obvious change vocally, the band just powered through their set as would be expected. There were some early crowd interaction during the chorus of the anthemic Sinner - whilst the more low key Sons of Avarice was a highlight as it always is. The dark ballad always really shines live, and it generally becomes a showcase for Jon Price (guitar) due to it including one of his biggest guitar solos. The Fallen State fans have clearly heard Methven sing the old songs a lot by this point, but it was interesting hearing Stenning tackle the newer material - and the heavier tracks like Standing Tall and Knives sounded powerful with the two singers duetting. The latter was one of the highlights of the set for me, with another following fairly soon after in the form of Lost Cause. The fast-paced, almost metallic, track is one that has always come across well live - and its big chorus filled the venue as the band rocked out. The last part of the set was generally filled with anthems and the atmosphere continued to be strong. American Made is a song which could have been something of a hit, but sadly was not, with its strong chorus and slightly mournful atmosphere - but perhaps the big highlight of this last section was the riffy Burn It to the Ground, before which Stenning and Methven encouraged plenty of singing. The main set then came to a close with the soaring ballad Nova, a track definitely should have been a hit - and is the closest thing the band have to a signature song. Everyone was singing along by this point, and it brought an hour or so of music to a close nicely. Following a brief step to the side, though, the band came back for one more - with the oldie You Want It pulled out of the vaults. The fast track also saw plenty of singing from the crowd and it was a great end to what had been a powerful set of hard rock from a great band on the current scene. The setlist was:

Hope in Revival

Sinner

Sons of Avarice

For My Sorrow

Standing Tall

Knives

Mirror

Lost Cause

Torn

American Made

River

Burn It to the Ground

Nova

-

You Want It

If this tour is to be The Fallen State's last, then they are likely to go out on a high. Getting Stenning and Walker back meant that all of the band's key faces were present - and the setlist covered all of their releases nicely. I really hope, though, that this tour is not the end. The British rock scene needs bands like The Fallen State to thrive - and if people want to keep seeing new bands coming through then they need to support them. Hopefully enough people turn up to the band's shows over the next couple of weeks to make them consider that carrying on is worth it - but if not then the band being put to rest cannot come as a surprise. I have managed to see the band seven times over the years, and I always enjoyed doing so - and hopefully, one day, that number will be eight.

Ricky Warwick's 'Blood Ties' - Album Review

The last few years have been pretty busy and exciting for the Northern Irish singer, songwriter, and guitarist Ricky Warwick. He is someone who generally seems to keep himself busy, but even by his standards the past couple of years have been pretty hectic. The big news in Warwick's world was the reunion of his first big band The Almighty in 2023. Whilst their touring activities have not exactly been extensive, the reunion is one of the most exciting in recent times. The Almighty was a band that I never thought I would get the chance to see - and now I have seen them live twice and will see them again for a third time in November. They played a few shows in Japan earlier in the year, too, and are also playing a festival in the summer - so the band's activity seems to slowly be increasing. Whether they will ever be back as a full-time, hard-touring band remains to be seen - but just having The Almighty back is a reason to celebrate. 2023 was also busy in so far as it was the last time that Warwick released an album. The fifth album from Black Star Riders, Wrong Side of Paradise (which I reviewed here), dropped early in 2023 - and the band followed it up with a tour celebrating their 10th anniversary, which ended up feeling like something of a swansong. Whilst Scott Gorham played with the band on the tour, he had actually left prior to Wrong Side of Paradise being recorded. Without Gorham or Damon Johnson, who left in 2018, Wrong Side of Paradise was a let down - and I feel like at least one of those two guitarists has to be present to made the band truly tick. Only Warwick now remains from the band's founding as a Thin Lizzy spin-off - and without that link back to Thin Lizzy I am not sure that Black Star Riders have much of a purpose. The tour was great, but the album was disappointing - and it is telling that, bar a couple of festival appearances, Black Star Riders has essentially been dormant ever since. Getting The Almighty back together likely took up a lot of Warwick's time, though, but he has also been maintaining a pretty busy solo career throughout all of this - having last released a solo album back in 2021. When Life Was Hard and Fast (which I reviewed here) was certainly an enjoyable slab of melodic and folky heartland rock, and its tour in 2022 was great. Unless Black Star Riders can regroup with at least one of Warwick's key collaborators in that band then I would prefer him to operate as a solo act going forward. It is a shame, but perhaps Black Star Riders have just come to their natural end - with Wrong Side of Paradise comfortably weaker in my opinion than When Life Was Hard and Fast. I have different expectations when it comes to both projects, but if he is not going to write with Gorham nor Johnson then I would rather him operate as a solo act - particularly given his strong songwriting partnership with Keith Nelson (Buckcherry), which fuels his newly-released seventh solo album Blood Ties and also dominated the 2021 release. Warwick and Nelson are essentially responsible for everything here, with the latter playing most of the bass, keyboards, and drums, but there are a few guests throughout who add plenty of sparkle.

Blood Ties very much picks up where When Life Was Hard and Fast left off. Warwick's songwriting style is pretty well entrenched at this point - and this is a short album that gets in and gets out. There are a good mix of harder rock tracks, more plaintive moments, and that folky punk sound that Warwick likes to employ occasionally to ensure there is some variety, though, and the album gets off to a strong start with Angels of Desolation. Opening with a brash guitar riff, topped by a fluid lead, the track is that great mix of up-tempo hard rock and smooth melodies which characterises Warwick's songwriting. Nothing here ever reaches the intensity of The Almighty, but there is still plenty of meat here - with a Bruce Springsteen-esque rhythm guitar tone and the bright guitar leads worming their way into the brain after a couple of listens. Chugging verses packed with pulsing bass playing and laid back distorted guitars are the perfect backing for Warwick's storytelling vocal style - whilst the chorus has some subtle vocal harmonies, which build up over an slightly anthemic wordless melody which also stick in the brain. The song is not exactly a fists-in-the-air rocker - but there is a great sense of melody throughout, with enough crunch to add a hard rock flourish. Rise and Grind features the guitar prowess of Charlie Starr (Blackberry Smoke) throughout. Starr's appearance does not mean that the song suddenly takes a southern or a country rock path - with the hard rock song rooted very firmly in Warwick's core sound. There is perhaps more of a traditional bluesy approach, with less of the folkiness of his typical delivery, and the song does crunch a little more. Warwick has always made strong use of lead guitar playing throughout this songwriting, but Starr is all over this song - his wah-drenched accents during the verses packing a punch whilst bluesy leads during the chorus and the opening riff really elevate the track. A strong chorus, with a hypnotic core hook, further draws the listener in - before a bona fide guitar solo sees Starr let rip. The solo could have been longer in truth - but there is enough here to ensure that the track is a strong effort. Lead single Don't Leave Me in the Dark is less of a hard rocker - and instead goes for more of a cinematic heartland rock vibe with more of a keyboard presence. There are tough Tom Petty vibes throughout, with ringing and brash clean guitar melodies, and the aforementioned keyboards, provided here by session king Steve Ferlazzo, sound big and bright. Lita Ford (The Runaways) duets with Warwick here - her smooth and melodic voice contrasting nicely with Warwick's slightly rougher delivery. The chorus is another strong one - but perhaps the overall highlight of the track is a strong bridge section later on which features both singers harmonising well, before lots of big guitar leads add further hooks.

The somewhat folky The Crickets Stayed in Clovis shows that Warwick can still write songs that have a Black Star Riders vibe and have them feel at home on his solo albums - which is even more reason, in my opinion, why Black Star Riders should fold without Gorham and Johnson. The guitar leads here have strong Thin Lizzy feels throughout, with the opening folky lead paired with an up-tempo rock backing really channelling the songwriting of Phil Lynott nicely. Hearing songs like this make it obvious why Warwick was brought into Thin Lizzy in the first place - and the years of singing Lynott's songs has clearly rubbed off. The folky melodies throughout, both from the vocals and the guitars, are very easy on the ear - and the track is another with a strong chorus. The whole song is an earworm in truth - and it is a real sing-a-long number that is sure to go down well live. Don't Sell Your Soul to Fall in Love is the first of two songs here to feature Billy Duffy (The Cult) on guitars. After the generally hard rocking nature of the album up to this point, Don't Sell Your Soul to Fall in Love feels a little more reined in. A later chorus feels tougher, with striking power chords stabbing away behind Warwick's strident vocals, but the opening and the verses are smoother overall. This is another song with a bit more of a keyboard presence, which creates a bit of an atmospheric feeling, but generally the clean guitars and simple drumming provide a folk rock beat over which Warwick croons in a slightly more restrained manner than usual. Duffy later makes his presence count with a piercing guitar solo - which is perfectly suited to the vibe of the song. The solo section builds from the heavier chorus, but the solo itself is suitably restrained and does not really cut loose - instead building on the song's more precise nature overall. Dead and Gone opens with a gruff spoken word poem, which nicely sets the tone for the slightly more raucous hard rock track which is to follow. The drumming feels punchy from the off, over which Warwick lays down some brash and distorted guitar chords - somehow tapping into the punk side of his playing despite the track generally being pretty mid-paced. The later chorus is a bit smoother, with subtle vocal harmonies and cleaner guitar tones, so the song is somewhat the reverse of the previous one. This time, the verses are a tougher part of the track - and they build on nicely from the staccato drumming of the opening with some busy bass playing and gruff vocals. The Hell of Me and You also features Duffy, and the track opens with a really gnarly riff which sounds like a slight reworking of Guns N' Roses' You Could Be Mine. The guitar tones have that old Guns N' Roses bite, likely thanks to Duffy's additions, but despite this sleazier opening the track is very typical of Warwick's songwriting overall. Despite some slashing, bluesy guitar leads which scream in and out of existence, the album's core sound is retained. There is plenty of energy throughout, though. The chorus is catchy despite its simplicity, building from the opening riff, whilst Duffy really lets his hair down here. Warwick sings really well as always, but this really feels like Duffy's showcase. His guitar leads are essentially ever-present - and he sounds busier than he has done with The Cult for many years. The song is an album highlight as a result.

Crocodile Tears is another slightly folky rock piece - although there is plenty of crunch throughout. Warwick has done acoustic/mostly acoustic albums in the past, but that is not what this album is - so the folkier pieces are instead presented in a harder rock format, relying on hooky guitar lines to bring folky melodies to life and Warwick's storytelling lyrical approach. This is a song, though, which is essentially all about its chorus. The verses are pretty one-note, with a simple rock chug and Warwick's voice, whereas the chorus is packed full of excellent lead guitar playing and simple vocal harmonies. It is another very hooky piece as a result, with the chorus sticking in the brain from the off, and following a number of guest spots Nelson really lets rip during the solo section. Wishing Your Life Away opens with a punky drum groove, and this no-nonsense attitude essentially sets the tone for everything else to follow. This is another straight ahead rocker, with a punk edge, but it feels a bit more energetic overall. This is the song here which comes closest to the sound of The Almighty - and if it was given a bit more of a boost by the other members of the band it could work well in that canon. Presented the way it is, though, that folk/punk edge that Warwick often likes to feature really shines through - and it feels a bit deliberately pulled back at times so that it does not sound much heavier than everything else here. It would have been nice had the song really been cranked up, especially as Nelson lays down another busy solo, but there is a certain smoothness and folky edge to all of Warwick's solo work - so I can see why he sometimes pulls back to allow a more consistent sound to develop from song to song. The album then comes to a close with The Town That Didn't Stare, a track which does not really do anything different compared to what has come before - but packs a nice punch as a closing number. It is not a song which stood out to me from the off, and on my initial listens to the album I actually thought that it ended on a weak note - with the final two songs not really doing much for me. Whilst I do think that this is a front-loaded album, with much of the best material featured early on, the later pieces have grown on me quite a bit - and the staccato rock of The Town That Didn't Stare now feels stronger. The chorus stands out thanks to the staccato call-and-response style that it employs and it gives the song a strident feel as the album comes to a close. Nothing here ever truly diverges from Warwick's long established path at this point, but I generally feel like his formula is a memorable one. Perhaps his best work has come in other bands where he collaborates with other songwriters, but as a solo artist his work always delivers memorable and heartfelt material that sticks to a core sound. Despite some clear influences, his work is always his own - and Blood Ties is another very solid solo album which follows on from the last couple of rockier affairs he has put out under his own name. He will be taking the album on tour later in the year and I am looking forward to hearing some of these songs live - alongside classics from the back catalogue.

The album was released on 14th March 2025 via Earache Records. Below is Warwick's promotional video for Don't Leave Me in the Dark.

Jethro Tull's 'Curious Ruminant' - Album Review

It is always great when bands which had long seemed creatively spent suddenly find themselves in the middle of something of a late career renaissance. Both Deep Purple and Uriah Heep have spent the last decade-plus producing some of their best work since the 1970s following periods where new material was not forthcoming, for example, but the British progressive/folk rock band Jethro Tull currently also find themselves in particularly rude health. In some ways, too, Jethro Tull's comeback is perhaps more remarkable. When the band split up in 2012, they had not released a full album of original material since 1999's J-Tull Dot Com. The band's 1990s output was not exactly stellar, so they spend their last decade before splitting just touring - with main man Ian Anderson instead releasing some pretty adventurous solo albums rather than writing anything new for Jethro Tull. Funnily enough, though, when Jethro Tull broke up and Anderson embarked on a full-time solo career, he started writing music which sounded more like Jethro Tull. His solo albums from the 1990s and the 2000s are more world music-influenced, with some being fully instrumental, which really allowed him to focus on his flute playing rather than being a frontman. Those who have followed Jethro Tull throughout the years know that Anderson's voice is not what it was, and perhaps these experimental albums allowed him to remain creative whilst not having to push himself vocally. His two post-Jethro Tull solo albums, though, 2012's Thick as a Brick 2 and 2014's Homo Erraticus, sounded more like Anderson's writing from the past. The former was, of course, a sequel to Jethro Tull's classic 1972 release - but there were Jethro Tullisms throughout both albums, and slowly Anderson's solo band morphed into being a new era of Jethro Tull. I am not exactly sure when one become the other, but touring as Jethro Tull clearly shifts more tickets - and following the two well-received solo albums perhaps Anderson thought his writing was once again worthy of the Jethro Tull name. It took the band a little while to get something new out, but in 2022 they released The Zealot Gene (which I reviewed here) - their first full new album since 1999. Despite this, though, it very much felt like the natural successor to Homo Erraticus. The same musicians made both after all, and RökFlöte (which I reviewed here) followed hot on its heels the following year. Anderson was clearly feeling fired up and both albums impressed - particularly the former. When RökFlöte was released he hinted that he was still not done - and earlier this month Curious Ruminant dropped, the third Jethro Tull album in four years. Reading the liner notes, though, it seems that much of the music on this album has been floating around for a while - and started out life as a solo project. Current Jethro Tull members bassist David Goodier and keyboard player John O'Hara, alongside drummer James Duncan who featured on some of Anderson's 1990s/2000s solo albums, worked with Anderson on these songs originally - so feature as the core musicians here alongside new Jethro Tull guitarist Jack Clark (Albion). Current Jethro Tull drummer Scott Hammond is also featured here on a couple of tracks - whilst former keyboard player Andrew Giddings also features on one song.

Line-up-wise, the album is a little more varied than usual - although all of the current Jethro Tull members feature. Clark makes his debut with the band in the studio throughout the album's nine songs - but the age of some of the material and the personnel tweaks have not really impacted the band's sound. Curious Ruminant feels like the natural successor to RökFlöte in tone - but there is a bit of a folkier edge throughout, which reminds me a lot of the band's late 1970s era. This does mean that Clark does not get to really put his stamp on the material all that much - but the late 1970s era of Jethro Tull contains some of my favourite songs by the band, so this similarity is not a bad thing overall. Despite this, though, I do not think it is as strong as the last two - but there is a bit more variety here, and there remains plenty to enjoy. The opening two tracks are two of the best, though, with Puppet and the Puppet Master getting things underway. Opening with O'Hara's sombre piano, the song soon morphs into a pretty upbeat folky track. Busy acoustic guitars and playful flute melodies dominate following the opening piano chords - and the folky vibe described before is prominent throughout. Clark's big electric guitar chords add depth, alongside Goodier's busy bass playing, but the main hooks here come from the flute interludes and a subtle accordion backing from O'Hara. The drumming keeps the song moving, though, and it feels pretty jaunty throughout - with Anderson's vocal delivery snappy and bright. His vocals throughout this album are similar to those on other recent albums. They lack power but they remain melodic - and the delivery overall suits the tone being set. There is no real chorus here, with the flute interludes acting as such, but the vocal hooks are still snappy in that classic Jethro Tull approach - whilst a busy instrumental section sees a guitar solo, a flute solo, and an organ solo following each other in quick succession. Perhaps my favourite piece here is the title track which follows, though. Again, there are some piano melodies to open things up - before distant acoustic guitars and flute melodies start to filter in. The song gets going proper, though, when a crunchy guitar riff kicks in - with the rest of the band laying down a tougher groove and Anderson adding some renaissance-esque flute melodies over the top. This is probably the most overtly rock track here - and it is the one which Clark gets to shine on the most. His guitar crunch adds plenty of depth throughout, and there are a few times where he gets to take over and deliver some soaring leads. An early solo really cuts through the speakers, his bluesy phrasing bringing the song to life, whilst other instrumental sections see Anderson delivering similar feelings with his flute. Musically, the song is quite varied. Heavier sections sit nicely side-by-side with acoustic and piano-led pieces - but some big guitar playing from Clark is never too far away, and there is another later solo which is much longer. The hooks here really stick in the brain, too. Anderson's vocal melodies are typical of his quirky delivery - whilst the regular flute and guitar breaks keep things interesting.

Dunsinane Hill is a slower piece, which opens with gentle acoustic guitar chords and some plaintive flute melodies. More than ever, Anderson has focused on his flute playing on this album. This is fitting given the more acoustic nature of much of the material here - and it is clear that he has lost none of his talent for the instrument over the years. The opening to this track features lots of lilting and slow-burning melodies - before Anderson starts to sing in a semi-spoken manner against a similar backing. Arrangement-wise, the song is a bit of a strange one. It does grow in stature as it moves along, with percussive drumming from Duncan soon giving the song some depth, but the guitars and keyboards rarely feel all that important. The groove of the rhythm section instead provides the song's propulsion - whilst the ever-present flute melodies provide a main hook, even behind Anderson's vocals at times. He mixes a semi-spoken word delivery with more traditional singing elsewhere - but the main focus here really is on the flute playing. The vocal hooks are not that memorable this time, and the song is one overall that has not really grabbed me. The Tipu House, however, is very hooky. The upbeat track is another which feels a bit more rocky overall. It is perhaps not as crunchy as the title track, but Clark's guitar riffing is a bit more prominent this time - whilst the ever-present accordion from O'Hara during the verses adds a surprising darkness. Despite this, though, the song bounces along nicely. Anderson's vocal melodies are playful and really stick in the brain - whilst his flute playing is, again, plentiful. Some of the flute hooks are full of those breathy trills which has characterised his playing throughout the years, adding a heaviness to the instrument, whilst other sections are cleaner and more soaring. Occasional guitar leads double the flute and accordion melodies, too, which help to add depth - whilst the mixture of crunchy electric guitars and warm acoustic guitar chords keeps the song moving along at pace. Savannah of Paddington Green is another acoustic-based piece. Clark is not featured here at all, and it is one of only two songs to feature Hammond's drumming. Acoustic guitar chords and a full-bodied bass performance given the song its depth, whilst accordion again is utilised quite liberally during the verses. Unlike some of the other folky pieces here, though, this one feels a bit plodding. Jethro Tull tend to excel at this sound when they inject some energy into a song - but this one lacks real purpose. Anderson's semi-spoken vocals do not really work for me this time - and I feel that by this point I already heard enough accordion and would have preferred O'Hara to use his keyboards more. Stygian Hand on the other hand, though, is much better. There is more accordion, which could have been replaced by organ for a better sound, but the song is full of energy and it utilises lots of classic Jethro Tull tropes to bring the folky track to life. Clark is featured this time, which means that occasional crunchy chords and melodic leads are added, whilst the acoustic guitars and mandolin are just much busier - which allows Hammond to add some busier drumming. It is certainly no hard rocker, but it is an enjoyable and up-tempo track which ticks a lot of classic folk rock boxes - including some of the album's best flute hooks.

Over Jerusalem feels a bit more involved following the last couple of folky numbers - and it feels a bit more like something which could have sat on either of the two previous albums. There remains a folky vibe at times, with ever-present acoustic guitars and plenty of flute melodies - but the flute is not as much of a constant force this time with the guitars instead taking over a bit more. Clark's tougher backing adds depth throughout - and there is also more of a focus on his lead playing here. Bluesy interludes are occasionally thrown in - whilst some of the flute solos are backed with crunchier riffing to help set the track apart from some of the others. Busy guitar melodies also back some of the vocal-led sections - and the track overall is just much more progressive and muscular than many of the others here. It is one that has grown me quite a lot since first hearing the album - and it is the only song here apart from the title track where Clark really gets to let rip. He gets a screaming solo part-way through, and his playing just generally elevates the song as mentioned - with the flute, whilst still important, taking a step to the side a little. It is Clark's last contribution to the album, though, as the epic length Drink from the Same Well which followed features no electric guitar at all. The 16 minute-plus piece features Giddings in place of O'Hara, too, and it really focuses on Anderson's flute playing. Those wanting a sequel to Baker St. Muse or similar will be disappointed - as this is not so much a prog epic but a classical flute workout. The first half of the song is instrumental, and features Anderson's flute playing against various different Giddings backings. The latter's keyboard playing is varied, whilst the rhythm section add a gentle groove, but this is all about Anderson's different flutes and playing styles - harking back to those aforementioned solo albums. This will not be a song for everyone, but I actually quite like it. I am not sure I need around eight minutes of constant flute playing - but it is varied enough to keep things interesting, and there are moments which are more piano-focused to shake things up. The song later transitions into vocal-led piece with a sparkling keyboard flourish - and the rest of the track is more typical of the rest of the album. The song's chorus is perhaps the album's hookiest individual vocal segment - but there is still a lot of flute to link back to the opening segment. Some of those earlier flute melodies are repurposed here to act as interludes - and there are further lengthy flute-led sections even during this second half. If someone had described this song to me before I heard it I think I would have assumed that I would not like it - but it is a surprising overall highlight for me. I really like the flute explorations throughout and the vocal melodies and lyrics are some of the album's most interesting. It feels folky and expansive without really being 'prog' - and many of the individual moments are very memorable, vocal and instrumental alike. The album then comes to a close with the short and gentle Interim Sleep - which essentially consists of Anderson reading a poem against a subtle musical backing. He is responsible for all the instruments here, with sparse acoustic guitars and flute the only backing for his poetic delivery. It is a slow-burning way to close the album, but it is not all that different from some of the band's acoustic closers of the past - and it feels like a poignant full stop following the grander previous track. Overall, there are some weaker moments here as described - but the strong songs keep the album interesting. It might not be as good as the last two, but the best material here is on a level with those albums - and there is enough here to keep me coming back. It is always great to hear more from Anderson and this album does some different things which should be applauded.

The album was released on 7th March 2025 via InsideOut Music. Below is the band's promotional video for Curious Ruminant.

The Wildhearts' 'Satanic Rites of the Wildhearts' - Album Review

A few years ago it looked like The Wildhearts were dead and buried - again. Whilst I cannot claim to be completely au fait with the band's long and messy history, I know enough to know that the band has often been a turbulent force - breaking up a few times previously and coming very close to doing so on many other occasions. The band's last break-up came in 2022, when the line-up which is generally considered to be the band's classic line-up of Ginger Wildheart, CJ Wildheart, Danny McCormack, and Ritch Battersby came to a crashing halt - following a rather fraught few months on the road and their first run of shows since the pandemic. I saw the band in Exeter in 2021, very early on in the touring cycle for 2021's caustic 21st Century Love Songs (which I reviewed here), and it was memorable for all the wrong reasons. The show started off well, but it soon became clear that Ginger had no desire to be on tour at that particular moment - and some tech issues a few songs into the set only worsened his mood. The show became quite an uncomfortable experience after that - and it concluded with Ginger throwing his guitar with real force at the barrier between the band and the crowd. Unsurprisingly, no encore followed - and the writing was on the wall from that point on. A few months later, the band was over - and Ginger seemed to indicate that it was for good this time. The rest of 2022 for Ginger was largely then dedicated to his heartland rock-esque project Ginger Wildheart & The Sinners - before that band also crashed and burned due to an incident which happened at one of their concerts and a huge public spat on X which followed. I am not 100% clear on the timelines, but I think this incident prompted Ginger to seek help - and he spent some time receiving treatment for his well-documented mental health issues. He has always been very open about his struggles, and it was clear that 2021 and 2022 were particularly poor years for him on that front. Since seeking help, though, he seems to be in a much better place. He took some time away from the road and recorded some digital-only acoustic albums - before seemingly turning his gaze back towards The Wildhearts. I think it was in 2023 that Ginger started to record a new Wildhearts album with a new-look line-up - but it was last year that the band was officially re-launched with the returning Jon Poole on bass guitar, alongside new members guitarist Ben Marsden (The Spangles; The Warner E. Hodges Band; Grand Theft Audio) and drummer Pontus Snibb (Bonafide; Jason & The Scorchers). I think that the album was recorded before the new-look The Wildhearts were fully formed, though, and I am not sure if Snibb is even still in the band as he is currently not on tour with them, but the band's eleventh album Satanic Rites of the Wildhearts still ticks all of the band's trademark boxes despite this. The core band throughout the 10 songs here is Ginger, Poole (contributing to his first Wildhearts album despite having had numerous stints in the band previously), and drummer Dudge (Gong; North Sea Radio Orchestra). Dudge is not playing live with the band either, so likely just recorded the album on a session basis, but also playing additional guitars throughout the album are Marsden and Kavus Torabi (Cardiacs; North Sea Radio Orchestra; Knifeworld; Gong; The Utopia Strong).

Unlike the last album, which was pretty heavy and a bit of a hard listen at times, Satanic Rites of the Wildhearts is a bit more upbeat (in relative terms) and melodic. It certainly feels like an album which is trying to recapture some of the band's early accessibility whilst also writing knotty and heavy songs - with the album cover clearly being a homage to 1993's classic debut Earth vs the Wildhearts. There are some songs here which evoke that anthemic album's overall vibe - but there are also other flavours here, despite Ginger's songwriting tropes being evident. The album is around 45 minutes long, with the 10 tracks generally being short and to-the-point, but it is bookended by longer pieces. Opening cut Eventually, like knottier tracks such as Inglorious before it, is more stretched out than many Wildhearts tracks - with plenty of different riffs and sections coming together to form an impressive whole. Opening with a screeching guitar lead, a riff which recalls early 1990s Metallica soon kicks in. The song is generally a mid-paced hard rocker despite the toughness of some of the riffing, but there is plenty of groove throughout, too, with staccato stabs early on creating something of a hypnotic guitar pattern - before the bass takes on more of a role and the verse proper gets underway. Ginger utilises a number of vocal styles throughout the album - and he sounds pretty aggressive early on here. A few harsher barks are his first introduction, before the first verse is screamed with punk/hardcore-esque energy - and he sounds heavier than usual vocally here, which suits the percussive backing and some of the big riffs which are introduced here. His more melodic, and typical, delivery is reserved for the chorus, though, and the chorus here is extremely hooky. It feels pretty anthemic, with sing-a-long hooks and a real fists-in-the-air vibe which harks back to the debut album. Spacey interludes with clean guitar melodies and laid back leads punctuate parts of the song, adding breaks in between the riffing, with one such moment being stretched out later on to allow for a foray into a more atmospheric vibe. This instrumental section lasts for quite a while, too, getting heavier as it moves along - culminating in a pretty high-octane and shredded guitar solo. It is a song which hooked me in from the off thanks to its big chorus, but over repeated listens it has grown further - and it gets the album underway in fine fashion. Scared of Glass reins things in somewhat arrangement-wise, but the song is another pretty riffy and mid-paced rocker - very typical of the band's classic sound. There is always a strong punk feel to the band, and that is evident throughout this track, with gang vocals during a bouncy chorus latching on from the first listen - although the riffing throughout is always a bit more technical and classic rock inspired. The song's main riff is busier than it seems, which rewards repeated listens, whilst Ginger's pleasing North East delivery vocally helps to add a folky/heartland rock edge which, again, has often characterised the band's approach. It is a memorable song, which generally rocks pretty hard - and there is another fairly lengthy instrumental section here, too.

The more straight ahead Troubadour Moon, which acted as one of the album's singles, feels like melodic Wildhearts 101 - recalling the vibe of 2003's The Wildhearts Must Be Destroyed somewhat. It is a song which was written to be catchy, with Ginger singing in a very melodic and accessible way throughout - and the whole song is built around a poppy and bouncy chorus with a slight pop-punk edge that is another which sticks in the brain from the off. Despite this, though, there is a slight southern rock feel to parts of the song. Similar to the bits of Ginger Wildheart & The Sinners I have heard, there is a more organic feel to the guitar playing throughout. The riffing is not as intense this time, with more twin lead guitar melodies and the occasional slide lick adding a bluesy and southern rock feel. These melodic guitar leads sit nicely alongside the bounce of the chorus - and the song is very easy on the ears as a result. Fire in the Cheap Seats is very different, as it ups the heaviness and goes for a pretty abrasive and chaotic sound overall - with plenty of metal and punk thrown into the mix. Similar to some of the more feral moments on the last album, alongside some of the more listenable parts of 1997's Endless, Nameless, the track is angular and unpredictable - particularly as the song opens with crackling clean guitars and distant vocals. The song's main riff, when it kicks in, is hard to compute - as it does not follow conventional rhythms and patterns, with the strange, light touch drumming behind it still managing to sound heavy. Discordant clean guitars, pulsing bass, and some of Ginger's most tortured vocals to date later characterise the song's verses - whilst the chorus is a little more conventional, with poppier hooks and cleaner vocals. I am not sure that all of the song's disparate elements all hang together, but it is certainly a listening experience for those who prefer their Wildhearts to be more challenging. Kunce leans heavily into the punk side of the band's writing style. It is the shortest song on the album, and it moves along at a fair pace - although it retains a strong 1970s punk vibe throughout. This is not some break-neck piece of hardcore punk - as it is very traditional in its scope, but the typical rhythms and vocal patterns, with gang backing vocals, is very pleasing overall. It is a very knowing song. It knows that its quite cliché in terms of its arrangement and use of tropes - but the lyrics are cutting in that typical Ginger fashion, and the band ensure that the grooves remain infectious. Maintain Radio Silence is one of the few songs here which has not grabbed me all that much. Whilst I may not like Fire in the Cheap Seats all that much, it remains a striking and memorable song, but Maintain Radio Silence is just a bit weak overall - and does little to really stand out. Ginger generally sings the song using the rougher end of his voice, so there is a heaviness throughout, but the riffing is not that memorable in my opinion. I do like the prominence of the bass throughout, which gives the song a real pulsing feel, but the 1960s-esque pop vocal refrains used during parts of the song feel a bit out of place - and the chorus does not really draw me in.

Blue Moon Over Brinkburn is much better, though. It is not a track which really stood out to me at first, but over repeated listens it has grown on me. I am not sure why it took a few listens to open up, as it is quite a straight ahead punky rocker, but perhaps the slightly jerky rhythm throughout put me off a little at first. The chorus is one of the album's best in my opinion, with a strong pop rock feel pushing through distorted guitars and crashing drums, whilst the verses feel a bit more staccato with jerky guitar stabs which feel punky, albeit slightly offbeat - which nicely suit the machine gun pace of Ginger's vocal delivery. The chorus and the verses are perhaps at odds with each other, then, but it does all manage to hang together in my opinion. Hurt People Hurt People is the album's only ballad, and it is a surprisingly melancholic, yet hopeful, song which sees Ginger really detailing his recent struggles and reaching out to others who feel similar. It is quite a positive song, then, despite what may be expected - and it is great that Ginger really seems to be in a much better place than he was just a couple of years ago. He seemed to be spiralling at the time, but this song is him saying that he got throughout it - and others can too. It is quite atmospheric, too, with bluesy guitar leads and ringing clean guitar chords - whilst Dudge's drumming is quite percussive and Ginger's heavily-accented vocal delivery really helps to ground the piece and ensure that it sounds authentic. I'll Be Your Monster, another of the album's singles, gets back onto firmer ground in terms of typical Wildhearts fare - and the track is another pretty hard rocking mid-paced anthem with a strong, gang vocal-led chorus and riffing. Poole's bass generally fills the verses, though, alongside some shuffling drums, but occasional stabs of guitar add heaviness - whilst squalls of saxophone from Jørgen Munkeby (Jaga Jazzist; Shining) add a different vibe. There is a saxophone solo later on, too, which is fun - as well as a jazzy outro with more. The album then comes to a close with the relatively lengthy Failure Is the Mother of Success - the first song from the album which was released. Arrangement-wise, it is quite similar to how the album opened. The song is made up from a few different parts, which are all based around a strong riff, and the overall pace is pretty high-octane throughout. The vocals throughout feature those classic Wildhearts vocal harmonies, which are not as prevalent generally here due to CJ's absence, which really help to ground this track in particular - whilst the main riff is another Metallica-adjacent moment with double kick drumming and a hard-driving feel. The chorus maintains this heaviness, with call-and-response vocals being shouted from different sides of the speakers in a jerky, yet hooky, manner, whilst other moments of the song feel much more atmospheric - with spacey guitar leads making a return during a few more stripped back sections. It seems like a strange song to kick off a promotion campaign with given its length and multiple parts, but The Wildhearts have rarely been conventional - and the song is another which has grown on a me a lot. The quieter moments feel quite heartfelt, whilst the heavier bulk of the track packs a real punch. It ends the album on a real high - and overall Satanic Rites of the Wildhearts is a winner. The more esoteric moments do not do a lot for me, which is generally the case with their albums, but the big anthems and the riffing throughout keep me coming back. Given the drama and the fresh band line-up it is just great to see Ginger in such rude form - and the album ticks a lot of boxes that the fans would expect.

The album was released on 7th March 2025 via Snakefarm Records. Below is the band's promotional video for Troubadour Moon.