Crazy Lixx's 'Thrill of the Bite' - Album Review

Whilst the Scandinavian sleaze/hair metal revival which took place throughout the 2000s and 2010s has somewhat died down, with an AOR craze instead now taking hold throughout that part of the world, many of the big hitters of that leather and hairspray scene are still going strong - with one of the most prolific and reliable bands now seemingly Sweden's Crazy Lixx. Funnily enough, though, Crazy Lixx were not initially a band I took to. I never got into their Mötley Crüe-adjacent debut album and when I finally tried to give the band a proper listen a few years later I found 2012's Riot Avenue to be somewhat lacking in quality. As such, I moved on from my attempts and chalked Crazy Lixx up as another band that just were not really for me - despite my love of the genre which they belong to. During the pandemic, though, I tried again - and picked up a copy of their 2016 live album Sound of the Live Minority. It must have been cheap, but I found myself enjoying it quite a lot - so I started to pick up more of the band's work. They are certainly a band that has improved over time. I still do not have all of their albums, as some of them are quite hard to get hold of for a sensible price, but I am familiar with much of the band's catalogue now - and the newer albums tend to be better than the older ones. As things stand, I think my favourite of theirs is 2019's Forever Wild - an album which is just one anthem after another. Despite their sleazier beginnings, the Crazy Lixx of today have fused their hair metal sound with a strong dose of AOR. Despite being on Frontiers Records, though, the band have not morphed into a fully-fledged AOR outfit - and they still retain plenty of sleazy crunch through the guitar playing of Chrisse Olsson and Jens Lundgren, both of whom have been in the band for quite a few years at this point. The band's focal point, though, has always been their frontman, founder, and principal songwriter Danny Rexon. He is the only original member left in the band at this point, but his songwriting and production has helped them evolve over the years - and he once again dominates the band's newly-released ninth album Thrill of the Bite. It is their first album of original material since 2021's Street Lethal (which I reviewed here), not counting last year's Two Shots at Glory which, despite including a handful of new songs, largely featured re-mixed and partially re-recorded versions of old songs. Despite thinking that the band have gotten better over the years, I was actually a bit disappointed with Street Lethal. It is not one I have gone back to that often, but it does contain some strong songs despite it being quite a step down from Forever Wild. Thrill of the Bite is no such disappointment, though, and it is packed full of memorable tracks - with perhaps more of a sleazier edge than anything the band has done for a few years. It is also their first album without drummer Joél Cirera, who left the band last year, who has been replaced by Robin Nilsson (The Cruel Intentions). Nilsson does not feature here, though, with the drums instead handled by Mats Ericsson (Degreed) on a session basis.

Perhaps the album was recorded before Nilsson was brought on board, but there are a few session players credited here - including former members Andreas Eriksson and Edd Liam both adding additional guitars throughout. Perhaps the album was put together with less of a traditional 'band' approach, then, but the overall quality of the songwriting and performances ensure a tight sound. There are few weak songs here, but the album feels pretty front-loaded - with perhaps the best three songs being the first three. The sleazy vibes are on show right away, too, with the fast-paced Highway Hurricane getting the album off to a strong start. The song opens with some juddering guitar patterns and hanging chords, which build towards a pulsing hard rock riff which is straight out of the late 1980s heavier hair metal scene. As time has moved on, though, Crazy Lixx have often tempered their hair metal sound with lusher production techniques and AOR-esque moments - and this song is a perfect example of Rexon's core approach. The riffing is pretty hard-hitting here, cutting through the mix nicely with a strong bass backing, but there are plenty of big vocal harmonies throughout - with the verses seemingly alternating line-by-line between Rexon singing alone and the band harmonising with him. There are strong Def Leppard vibes in the band's approach to harmonies - and this is evident during the song's big chorus, which is has something of a call-and-response approach at times, occasional gang vocals, and a core hook which is really hard to shake. It was a song that grabbed me from the off, and the bluesy guitar solo which comes later on also helps - which is perhaps less high-octane than would be expected, but is packed full of melody. Who Said Rock n' Roll Is Dead reins in the pace somewhat, and the track is a mid-paced anthem from the off - with a tease of the chorus hitting right way before another crunching riff kicks in. This track is less sleazy overall, despite a dose of such remaining, and there is much more of a traditional classic rock strut on display instead - with a bluesy main riff which forms the basis of the muscular verses. The pre-chorus feels a bit more 1980s, with snappier vocal hooks and plenty of harmony vocals, but the chorus then takes things to the next level - even though there is some subtle Hammond organ grounding everything, giving the song a retro edge despite some soaring harmonies. It is a shame, then, that the guitar solo is so brief. The song could have done with a much flashier instrumental moment - and the very short guitar solo feels like a missed opportunity given how strong the rest of the track is. A real favourite here, though, is the sleazy Little Miss Dangerous - which was co-written by long-time bassist Jens Anderson. This song is another which perfectly mixes the band's older hair metal sound with strong AOR vibes - with a strong, mid-paced groove throughout and a lush production which mixes a rougher edge with harmony vocals. Crazy Lixx have rarely been a synth-heavy band, but they are used to good effect to add depth - with the guitars always leading the charge. The riffing here is powerful, and the song's longer runtime allows the guitar solo shine this time - with lots of tapped melodies flirting again with the 1980s. The chorus is where the song really shines, though, and it could be the album's best moment overall. It will not leave the brain once it gets in - and I can see the track being a live favourite for years to come.

Whilst the opening three songs might represent the best of the album - what follows rarely slouches. Those who want something a bit more high-octane will love Call of the Wild, which is a much more fast-paced and crunchy track with plenty of energy. The opening hypnotic guitar melody and bass underpinning certainly draw the listener in, building tension, before a faster riff kicks in and the verse gets underway with Rexon delivering a slightly gruffer vocal. His voice is surprisingly diverse I think - with both grittier and smoother approaches in his locker. This is very much a song which needs something tougher, and he delivers with a gravellier approach that suits the crunchy riffing and busy drumming which characterises the song. There is little of the band's AOR side this time, too, despite plenty of vocal harmonies during the machine gun chorus, and the guitar solo is much more fleet-fingered - building on the opening melody line and expanding on it. Recipe for Revolution takes a much smoother approach - which allows it to contrast nicely with the song before. There is more of a keyboard presence this time, with warm, pulsing synths backing the guitars during the song's intro - and it reminds me of the more AOR-centric sound which was found throughout Forever Wild. It is one of two songs here co-written by Olsson and I tend to like his writing contributions with the band. He helps to add to twist to Rexon's core songwriting style - and there is more of a lead guitar approach throughout, with a hooky opening lead and some other busier lines sitting under the vocals at times. The vocals and guitar tones still deliver a sleazy sound, with a bass-led breakdown later adding depth, whilst the chorus feels smooth and full of hooks - with the song being one of the real growers here in my opinion. Run Run Wild returns to something more akin to the album's typical sound, but there is some of the smoothness of the previous track retained. The Hammond during the song's intro adds a 1970s classic rock weight to the heavier riffing, but the opening parts of each verse are much more stripped back - leaving Rexon singing against a backing of bass, drums, and clean guitar melodies. It is less riffy than usual, then, although the verses do expand as they move along - with the guitars getting tougher as the chorus is approached, which morphs into a much sleazier sound. Big gang vocals and shout-along hooks pack the chorus - and it showcases the best of the band's hair metal side with plenty of easy melodies and quite a lot of attitude. In terms of a sleazy vibe, though, Midnight Rebels really doubles down on this vibe. It is probably one of the weakest cuts here in my opinion, but there are still positives here. The chorus is pretty fun, as it injects a strong pop vibe which is a bit different to anything else on the album, but the riffs here never really get a chance to breathe. Rexon is essentially singing throughout the whole song, from the moment it starts, so the instrumental side of the track never really gets a chance to shine - apart from during a decent guitar solo section. There is a bit of a punk feel to the verses then, due to this urgency, with the chorus feeling a bit too sweet in comparison to the rest of the song - thanks to layers of vocal harmonies and some synths.

The quality is really upped again, though, with Hunt for Danger - Olsson's second writing contribution. Compared to many of the other songs here, it is a pretty dynamic track with quite an expansive arrangement and some different overall sounds which still sit nicely within the core hair metal and AOR sounds on display here. Keyboards play a much bigger role, with the opening riff being backed with a strong synth counter-melody, whilst large parts of the verses are more stripped back with Rexon singing against a synth-heavy backing. As with Olsson's other writing involvement, too, there is a lot of room for lead guitar. There is perhaps less riffing than usual, albeit the opening riff is still very memorable, but a lot of the instrumental sections are more lead guitar-driven than riff-driven - and this adds to the song's overall cinematic feel. There is just a lot more scope there thanks to the strong keyboard presence and the soaring guitar leads - and it also helps that the chorus is one of the album's strongest overall, with hooks aplenty and loads more harmonies. Final Warning is much more high-octane, and after the smoother previous song the hard-driving and riffy track hits hard. The main riff is juddering and fast-paced - with a strong John Sykes feel which is not something typically in the Crazy Lixx playbook. The song sounds massive as a result and it is one of the most energetic pieces on the album. Ericsson's drumming is busy, with plenty of double bass patterns backing the Sykes-esque guitar riffing which creates a strong late 1980s Whitesnake or Blue Murder vibe. Vocally, though, the song is much lighter than those influences - but Rexon weaves plenty of excellent vocal melodies, with his delivery having the energy throughout to match the song's overall power. A suitably shredded guitar solo is also included, and the song never really lets up at all throughout. There is no lull in the energy - and it is great to really hear the band going for it and upping the heaviness overall. The album then comes to a close with Stick It Out, another song which feels a little weaker compared to the bulk of the album. Whilst the album's best songs are the first three, both Hunt for Danger and Final Warning are up there in quality - and I feel that Stick It Out with its stripped back riffing and bluesier overall approach fails to live up to the two previous songs. Perhaps it should have been swapped in the tracklist with Final Warning to let the ripping track close things out - but as things stand the album does end a little limply compared to how it could have. There is nothing wrong with the song, and it does have a decent chorus, but as it is one of only two weaker songs here I feel my interest waning as the album comes to a close. This is a shame, as it is always good when an album ends on a bang, but there is so much quality elsewhere on the album that Thrill of the Bite overall is a very enjoyable release. I do not listen to a lot of new hair metal these days, so it is good to hear something new which is packed full of quality songs - and Crazy Lixx rise up in my estimations the more I hear. I am looking forward to seeing them live for the first time later in the year, too, and I hope that a few songs from this album are played - as many of them would go down really well.

The album was released on 14th February 2025 via Frontiers Records. Below is the band's promotional video for Little Miss Dangerous.

Marko Hietala's 'Roses from the Deep' - Album Review

Since releasing his debut solo album Pyre of the Black Heart (which I reviewed here) worldwide in January 2020, a lot has happened in Marko Hietala's world. The album was actually available in his native Finnish under the title of Mustan Sydämen Rovio the previous year, but I imagine that most people came to it in 2020 - when it was re-done in English and released worldwide via Nuclear Blast Records. He managed to complete a brief European tour in support of the album in early 2020 - but the start of the pandemic in March 2020 put a halt on any further plans to promote it, if any were indeed planned. In truth, the rest of 2020 was likely going to be taken up with Nightwish duties. Human. :II: Nature. (which I reviewed here) was released in April 2020, with touring planned for the rest of the year, but by the time Nightwish managed to get on the road to support their sprawling ninth album Hietala was no longer part of the band. He announced in January 2021 that he was leaving the band due to depression-related issues as well as a growing disillusionment with the music industry. His lengthy statement suggested that he would withdraw from public life for a while, perhaps indefinitely, and it was unclear at the time whether Hietala would make music again. Nightwish have definitely become a weaker unit since his departure, both in the vocal and songwriting departments as he seemed to be the only person Tuomas Holopainen would trust to write for the band, but it was clear that Hietala needed a break - and to get away from the huge touring commitments and pressure that comes from being in a band as big as Nightwish. I hoped that he would be back one day, but if he was done with music then I would have understood. Hietala's career can be traced back to 1982 when he formed Tarot with his brother - and he has been very active since, playing in a number of different bands and turning up on plenty of other albums as a guest. It was great, then, when he started to resume his career in the summer of 2022 - playing a few shows with his all-star cover band Northern Kings as well as with his solo band. Since then, Hietala has been pretty active again. Whilst certainly not hitting Nightwish levels of activity, Hietala has been getting out and about - playing more shows with his solo band, bringing Tarot out of the slumber it had been in since the death of drummer Pecu Cinnari, and even collaborating with his former Nightwish colleague Tarja Turunen by joining her on tour and recording a new song with her (more on that later). This increased activity clearly prompted him to write again and, following the release of some singles over the past few months, Hietala released his second solo album Roses from the Deep last month. Keeping the same band as last time: guitarist Tuomas Wäinölä, keyboard player Vili Ollila, and drummer Anssi Nykänen; Roses from the Deep has similarities to Pyre of the Black Heart - but this latest release is much more upbeat and bombastic. There was a darkness and slow-burning organic prog feel to the last album, but this one is much more fun overall - and likely heavier, too, whilst still having a progressive streak and varied songwriting.

There is certainly a quirky side to this album, then, differing from the more straight ahead heavy/power metal which would likely characterise a new Tarot album. There remains a big influence from 1970s prog and the flamboyance of bands like Uriah Heep and Queen - whilst also feeling heavier and hookier than the previous release. All of these elements are summed up during the opening cut Frankenstein's Wife - a real earworm of a track that stood out to me from the off. Ollila's swirling keyboards open the track, before Hietala sings part of the chorus against this sparse backing - creating an atmospheric vibe before the rest of the band crash in with a bouncy, mid-paced guitar riff. The riff is full of classic rock grooves, with the organic drumming of Nykänen grounding everything, but the verses are a little more low key - with Hietala's bass playing providing the main backing, along with a drum groove and a keyboard depth. The song's main riff acts as a heavy bit of punctuation throughout the track, though, whilst the chorus is much more upbeat to match the drive of this riff - with Hietala's playful hooks really lodging the brain whilst Ollila adds some sparkling synth melodies. A brief guitar solo from Wäinölä adds further to the bluesy classic rock vibes of the track, and showcases his prowess, but this is largely a song which is all about its grooves and a chorus which highlights Hietala's songwriting style nicely - which sets the tone for the overall hooky nature of what is to come. There are two duets on this album, and the first of them is Left on Mars - the aforementioned collaboration with Turunen which was previously released. It is nice to see these two former colleagues working together again, particularly given how publicly Turunen was sacked from Nightwish back in 2005, and this song showcases that their voices still work really well together. It does not sound like a throwback to Nightwish's old sound, and the track very much fits in with the groovy, up-tempo vibe of the rest of the album, but Turunen's classically-trained voice certainly adds a symphonic edge to the piece - which Ollila's keyboards reflect. There is certainly more of a sweeping feel to parts of the track, with strings and a larger overall arrangement - but the guitars still feel rooted in muscular classic rock mode and there is little of the kitchen sink approach Nightwish tend to adopt. The riff is backed by some symphonic strings, though, so there is a grandeur to the piece - but generally the arrangement allows both Hietala and Turunen to shine, and their harmonies during the chorus certainly turn the clock back somewhat. Proud Whore opts for a heavier sound following the hooky hard rock of the album's opening and the sweeping second cut - kicking off with a tight mid-paced riff which soon morphs into something slower and more Black Sabbath inspired. Hietala sometimes includes a Black Sabbath cover in his solo shows, so they are clearly a favourite - and the main verses here hark back to 1970s Black Sabbath in quite a big way, with some bluesy, doomy guitar lines the backing for Hietala's slightly more restrained vocal performance. The production here feels quite raw, with the keyboards only joining in around half way through each verse - building towards a more expansive chorus which sees more emotive vocals, chiming guitar melodies, and retro synths. There is a lengthier and busier guitar solo here, too, which features plenty of shredding from Wäinölä - and this helps to elevate the track further, adding to the overall heaviness in contrast to the doomier riffing.

Two Soldiers is the second duet, and the song is an acoustic-led ballad featuring the deep, gothic tones of Juha-Pekka Leppäluoto (Charon; Poisonblack; Northern Kings; Dark Sarah) - whose voice is very different from Hietala's, meaning that the contrast throughout is excellent. The two have worked together in Northern Kings so their harmonies are nothing new, but the dark ballad is a great use for Leppäluoto's talents - with the early part of the song essentially just featuring acoustic guitars and a string backing, which allows both voices to take centre stage. A spoken word section later takes over, with a delicate piano backing, and the track does grow somewhat from this point - with soaring strings and a more expansive piano-led instrumental section. The rest of the band never kick in, though, despite some occasional percussion adding depth - so the track is a pure acoustic number despite the grandeur added by the production and the soaring vocal performances. In contrast, The Dragon Must Die, at just over eight minutes, is the album's longest and most involved piece. It opens with percussive drums and a slightly tribal feel - but as soon as the main guitar riff kicks in the piece feels much more expansive. The melodies here feel somewhat folky, but there is also an Eastern tinge to their overall sound. Hietala's progressive edge is showcased here, as the overall arrangement is quite varied, but there are still plenty of melodies throughout. The chorus, as is generally the case throughout the album, is very memorable, with Hietala's vocal melodies following the folky vibes of the opening riff, but elsewhere there are acoustic-led verses which double down on the folky elements found during the song's melodies - as well as a fast-paced instrumental section which includes raw, metallic riffing and a later sparkling synth solo. There is a lot of variety within the song's eight minutes, then, and the lengthy instrumental section, as well as a bombastic closing portion, showcases both Hietala's songwriting and the tightness of his band (Wäinölä and Ollila also contributed significantly to the album's songwriting). The Devil You Know reins things in somewhat, opening with a folky acoustic guitar pattern and Hietala's expressive vocals, but it remains a song during which quite a lot happens. At first it seems as if it is going to be a simple, acoustic guitar-led piece, and the verses throughout are generally such, but the rest of the band join in for the chorus - which has a bouncy, quirky vibe which somewhat returns to the overall feel of Frankenstein's Wife. Hietala has a knack for witty-sounding vocal melodies and the band know just how to create strong rhythms to bring them to life. Rebel of the North then returns to a more typical hard rock sound - and there is less of the quirk of the past couple of tracks. This does not mean that it is any less melodic, as it remains another very memorable song, but it is more typical in its arrangement than some of the other cuts here - with a more strident classic rock-adjacent chorus and some snaking guitar riffs throughout. It is a much more organic piece, with a constant guitar presence throughout - including some wah-affected guitar during a later bridge section and a bluesy, emotive solo which follows a flashy, 1970s-esque synth solo.

Impatient Zero is another track which opens in a pretty low key manner, with staccato clean guitars and a percussive backing over which Hietala sings in a slightly ridged and unusual way. There is a slight folky feel to this intro, but the overall vibe is a bit off - and it creates an unsettling tone which helps to set the song apart from the rest of the album. This is another song which has quite a breadth of vibes throughout, though, as things get a lot more expansive as the chorus is approached. All the choruses here are memorable, and this one is no different - with snappy hooks that feel very different from the vocal delivery found elsewhere throughout the song and rumbling Hammond organ. There is real bombast to the chorus, and the two main elements of the song feel so different that it is a testament to the band that the transitions feel pretty natural. There is also a lengthy, heavier section later which featured another Black Sabbath-esque riff which forms something of a bridge and also a backing for Wäinölä's busy guitar solo. The track then closes with a great synth solo from Ollila. Tammikuu (Finnish for January) is the album's penultimate track and, unsurprisingly, it is sung in Finnish. Despite this difference, though, the song is very much rooted in the core sound of the album. It is a pretty up-tempo hard rocker - although there is a bit more of a 1980s vibe throughout thanks to Ollila's keyboard sounds. The more organic sound of the rest of the album remains present, with Wäinölä's main guitar riff feeling like a snappy proto-metal piece from the 1970s, but the later shredded guitar solo is more 1980s and high-octane in vibe - whilst the hooky chorus is full of pulsing synths, again from the 1980s. These differences to help to the set the song apart from the crowd, but I do not feel that the differences are so stark as to make the song really stick out in a negative way - and there is enough of the core organic vibe of the rest of the album, with a dose of quirk, to make everything feel very much at home. The album then comes to a close with its title track, which is much of a slower-burning piece overall. Much of the upbeat and quirk of the rest of the album is largely abandoned here -as the song instead feels like a much more conventional and pretty emotive ballad. Acoustic guitars and strings form the basis of the slow and dense verses, with Hietala singing in a less expansive manner - although he still manages to inject plenty of emotion in his delivery, which only increases through a chorus which feels more expansive due to a drum backing and a denser keyboard arrangement. Bluesy guitar leads are thrown in occasionally, which are then expanded upon by Wäinölä during a slow-burning and lengthy guitar solo that further increases the song's emotional weight. Unlike many of the songs here, there are not really any specific twists and turns. The song essentially plays out how it would be expected to, but the strength of the chorus and the overall feel of the song mean that this is not a problem - and the Hammond during the closing moments of the song is a great way for the album to fade out. I enjoyed Pyre of the Black Heart back in 2020, and it grew on me significantly even after reviewing it, but I think that Roses from the Deep is better overall. There is a real focus on melody throughout and the songwriting twists and turns are very much welcome - meaning that this is an album that can do straight forward and complex in equal measure. I can see this album getting a lot of playtime over the next few months and I hope that Hietala brings this band to the UK one day as I would like to hear these songs live.

The album was released on 7th February 2025 via Nuclear Blast Records. Below is Hietala's promotional video for Frankenstein's Wife.

Fish - Bristol Review

I seem to be going to a lot of farewell tours at the moment. Given that many of the bands I like started life in the 1960s, 1970s, and 1980s, this is perhaps unsurprising, but we are certainly at something of a musical turning point. It will not be long before none of the legendary rock bands from the past still exist, at least in any meaningful form, and those from the newer generations will have to really step up. It was only last week that I saw Uriah Heep on their farewell tour - and on Wednesday I headed back to Bristol, and back to the tarted-up Beacon, to catch Fish on his farewell tour, dubbed the Road to the Isles tour as, following its conclusion, he will be moving to a small Scottish island and properly retiring. Farewell tours have almost become a bit of a running joke in the music industry given how many bands return after a few years away - but, I think, with Fish I believe him. Since leaving Marillion in 1988, he has maintained a successful solo career - but I think it is fair to say that there have been peaks and troughs throughout, and keeping his head above water has often come at a quite significant cost (both literally and figuratively). Given that he has essentially done everything himself since a few years into his solo career, it is impressive that he has managed to maintain such a high profile. He has always managed to punch above his weight in many ways, then, despite some wilderness years and slight identity crises in terms of musical direction, and he has often managed to conduct himself with great dignity despite the many rocks in the road which came from trying to have champagne presentations on lemonade resources and staffing. He should be applauded, then, and since seeing him live for the first time in Tavistock back in 2008 I have been a big fan. Including Wednesday night in Bristol, I managed to see him live 12 times - counting the two nights of the Leamington Spa convention in 2012 as two separate gigs. This included the aforementioned convention, which was an excellent weekend, acoustic evenings in strange venues, loud nights in small clubs, and Marillion-centric shows in larger clubs. All the shows have been memorable, with the convention in particular standing out, but Wednesday in Bristol may end up, in time, being seen as the best of the bunch. Following a lengthy European trek last year, this current UK leg of the tour mark Fish's last ever shows - and he is playing some of the biggest venues he has played for quite a while. The Beacon is a grand venue, so is fitting for Fish and his farewell tour - so it was great to see it largely full despite quite a few shows being included on the tour. Not every seat in the top tier where I sat was full, but it was busy - and the atmosphere throughout was excellent, with Fish in good spirits and the crowd ready to sing and engage in some typical Fishy banter.

Wish no support act and the doors opening at 7pm, there was a bit of a wait before the music started at 8pm. The place slowly filled up, though, so when the lights went down and strains of Rossini's La Gazza Ladra started to fill the venue there was a real buzz in the room - and Fish's band slowly took to the stage as the classical intro gave way to the opening keyboard drone of Vigil. For the next approximately two hours and 20 minutes, the Bristol crowd was treated to a powerful tour of Fish's career - focusing on his best-known solo albums and fan-favourite deep cuts, alongside a smattering of Marillion. Fish's live band has changed a lot over the years, but many of the same few faces have come and gone throughout - and the band for this final tour was almost a who's who of Fish collaborators throughout the years. Three of his main songwriting partners from throughout his career: Robin Boult (guitar), Steve Vantsis (bass guitar/vocals), and Mickey Simmonds (keyboards/vocals); made up the core of the band, which was rounded out by long-time drummer Gavin Griffiths and semi-regular collaborator Elisabeth Troy Antwi on backing vocals. It was a relatively all-star affair, then, and the comradery between the six was clear throughout - wish Fish and Simmonds in particular engaging in plenty of banter between themselves and with the crowd. Vigil ensured a measured start, though, and Fish walked on stage to huge cheers as Simmonds' keyboards swirled around - with the lengthy epic kicking things off nicely. Fish's voice has certainly deteriorated over the years, but a few relatively quiet years has certainly helped it. I last saw him live in 2021, and he sounded the best that he had for years then - and this past Wednesday was no different. He cannot hit the high notes anymore, but his delivery and charisma remains unique - and he oozed the lyrics to both Vigil and the following snappy groove of Credo with all of his years of experience. The setlist has been changing slightly throughout this farewell tour, but the core of it has remained intact. It very much has a flow to it, then, and it ticks off a lot of big-hitters from throughout Fish's career. The harder rock of early single Big Wedge saw the band kicking things to the next level following the relatively slow-burn of the opening two numbers, with Boult laying into his guitar, whilst the rawer folk rock stomp of A Feast of Consequences showcased some of his more recent work. Nothing from his most recent album was played, but that material was showcased back in 2021 and the last tour before the pandemic which focused on Marillion's Clutching at Straws, and this was a night for some different vibes.

Bristol was treated to snarling version of the muscular Long Cold Day, which stood out given the lush arrangements seen elsewhere, whilst a personal favourite in Shadowplay has been a fixture of the tour - and it was a treat to finally get to hear it live. I have always felt the song to be a hark back to Marillion in some ways - with Simmonds' upbeat piano melodies and a tight groove elsewhere. Fish took plenty of opportunities to talk to the crowd - and his banter and jokes are as much a part of the show as the music. A humorous story about unexpectedly receiving his pension added a lot to the vibe of the evening (i.e. getting older), but generally Fish was just his usual self - with a few hecklers down at the front getting involved in the banter to keep him amused. Another standout moment of the set was Just Good Friends (Close), which Fish sang as a duet with Antwi. I thought that Antwi added a lot to the set, her vocals helping Fish out on many occasions - and the duet was her moment to shine, her bluesy voice contrasting well with Fish's well-worn delivery. The next two songs then really allowed Boult to shine. Fish's solo work is not always that packed with solo opportunities for his band members - but Cliché has always been one for the guitarists. Boult nailed the soaring leads throughout the emotional ballad - and he also delivered during a punchy version of Incubus, the only Marillion number in the main set. This was preceded by Fish starting to introduce another song, before being reminded what was next, which was another humorous moment - but following a powerful Incubus the crowd were treated to the song he was trying to introduce: the lengthy, six-part epic Plague of Ghosts. This was another song I had not seen him do live before, at least in full, and it was great hearing the complex piece. It has never been a personal favourite, but it is one of those legendary deeper cuts in his catalogue that many really love - and it showcased all sides of his songwriting, from groovy hard rock, to folky ballads, and even some spoken word. It acted as the main set's closing number - and the crowd kept singing the final vocal refrain long after the band had left the stage. A five-song encore followed, though, in two parts, with Fish and Simmonds returning alone for the delicate piano ballad A Gentleman's Excuse Me, which hit the spot as it always does, before the rest of the band returned for a suite of songs from Marillion's Misplaced Childhood - including the big singles Kayleigh and Lavender. As expected, there was plenty of singing during these Marillion numbers - but perhaps the biggest sing-a-long was left to the final encore. After another brief step to the side of the stage, the band were back and Fish led everyone through a rousing rendition of his signature anthem The Company - which was a perfect way to cap off an excellent evening. The setlist was:

Vigil

Credo

Big Wedge

Long Cold Day

Shadowplay

A Feast of Consequences

Just Good Friends (Close)

Cliché

Incubus [Marillion material]

Plague of Ghosts - Part I: Old Haunts

Plague of Ghosts - Part II: Digging Deep

Plague of Ghosts - Part III: Chocolate Frogs

Plague of Ghosts - Part IV: Waving at Stars

Plague of Ghosts - Part V: Raingods Dancing

Plague of Ghosts - Part VI: Wake-Up Call (Make It Happen)

-

A Gentleman's Excuse Me

Kayleigh [Marillion material]

Lavender [Marillion material]

Heart of Lothian [Marillion material]

-

The Company

In a way it is hard to imagine that it is nearly all over. As Fish stated on stage, he is Fish for another two weeks - and then it all really will be over. I have been lucky to have had the chance to see him live quite a few times over the years - and all of the shows I managed to get to were memorable for the right reasons, even if there were some bumps in the road along the way. Wednesday night in Bristol was up there with the best, too, and Fish will bow out on a high with this excellent tour - and he deserves this last curtain call before walking off into the sunset.

Pantera - Birmingham Review

Following a lengthy long weekend of live music, where I took in four concerts in four days in three cities, I am finally back home. I do sometimes wonder if I am getting a bit too old for these lengthy treks away, as they do take it out of me, but I always look back on them fondly - and they are generally a pretty cost-effective way of seeing multiple bands. Getting in and out of the South West is often where much of the expense lies, with inter-city train travel generally relatively more reasonably priced, so it makes both financial and annual leave sense to try and group gigs together where I can. Much of the past weekend was spent in London, but yesterday I travelled up from the UK's capital to its unofficial second city of Birmingham - where I was planning to spend a night at BP Pulse Live, which is the latest ridiculous sponsorship name of the concert arena which is part of the NEC complex outside of the city itself. I recently saw Toto deliver what will likely be seen as one of the gigs of 2025 in a much reduced capacity and relatively intimate version of the venue - but last night the venue was back to full capacity as the Texas-based metal legends Pantera were rolling into town on their first European tour since reforming in 2022. They did play at last year's iterations of Download Festival, so the run of UK shows included at the end of the wider European tour were not their first since reforming - but they were their first headline gigs here since the early 2000s. I have to admit from the outset that I have only ever really been a casual Pantera fan - and that remains the case. They arguably were the band to kick-start a new metal scene in the 1990s, following the implosion of the glam metal and the stagnation of the thrash scenes - with their groovy riffs, blues influence, and trappings of extreme metal helping to essentially create the groove metal scene and arguably the later nu metal scene, too. Pantera can trace their history back to 1981, and were releasing albums in the 1980s, but it was a drastic sound and image change on 1990's Cowboys from Hell that launched the Pantera we know today - and it remains a landmark release in heavy metal history. The aggressive, yet melodic, vocals of frontman Phil Anselmo and the instantly-recognisable riffs of the late Dimebag Darrell essentially created a new form of metal - and the late Vinnie Paul basically set the standard for how metal drums would sound going forward. Pantera burnt out in acrimonious fashion in 2003 following plenty of success during the 1990s - and following Dimebag's murder in 2004 and Vinnie's death in 2018 a reunion always looked unlikely (even before Vinnie's death a reunion was unlikely due to ill-feeling between him and Anselmo). This changed in 2022, though, when Anselmo and bassist Rex Brown announced that they were putting Pantera back together and go on tour as a tribute to the late Abbott brothers - with Zakk Wylde (guitar/vocals) and Charlie Benante (drums) filling in for them. Whilst there was a lot of excitement, there was also a fair amount of scepticism and cynicism following the announcement - so when the European tour was announced I decided to see for myself. Pantera were not a band I ever thought I would see live - so passing up an opportunity to do did not really cross my mind.

I got the venue and was in my seat about half an hour before the music started. I had opted to stay in the on-site Premier Inn this time, rather than in Birmingham itself like usual, but the 'on-site' hotel turned out to be quite a significant walk away - in a very pedestrian unfriendly part of the wider site. I ended up having to walk through the backlot of the NEC itself, where I definitely was not supposed to be, to get to my hotel and back to the venue. I made this walk three times within the space of a few hours, in the rain, so that was not ideal. I did find a more legitimate, but even longer, route back this morning - but that involved walking through the NEC itself so may not have been possible late at night. I will just stay in Birmingham again as normal in the future and play train roulette. Anyway, and more relevant to the gig, the opening act were Australia's King Parrot - who played a thrashy take on grindcore which, predictably, did very little for me. Despite my recent more in-depth foray into extreme metal, particularly death metal, grindcore has never done it for me. I had a few friends in my teenage years who were into it, and there was a relatively thriving local scene here around the same time, so it is certainly something which I have been exposed to over the years - but it never rubbed off on me. I find it borderline unlistenable for the most part, but King Parrot were at least on the more palatable side thanks to their strong thrash influence which meant that there were some decent riffs thrown in alongside the abrasive punk-inspired chaos which generally made up their set. Frontman Youngy did not really indulge in those pig-like squeals which were popular in the late 2000s, either, but his screams and general delivery were still hard on the ears. There was much better to come, but King Parrot only had about 30 minutes on stage so thankfully I was not subjected to them for too long. Despite their importance in metal history, Pantera are considered a pretty mainstream act these days - so a band like King Parrot was likely to struggle to get people on board, but they seemed to do a reasonable job with a few mosh pits opening up down at the front during their short set.

I was on much more familiar ground with Power Trip - another Texan band who acted as the night's main support. I first came across them in advance of the 2018 iteration of Bloodstock Open Air, as they were on the Main Stage bill, so I picked up 2017's Nightmare Logic in advance of seeing them. The thrash band connected with me pretty quickly, and their set was one of the festival's most memorable. They pulled a big crowd for early in the day and everyone thought that the band was destined for greatness - only for their talismanic frontman Riley Gale to die in 2020. The band seemed to be over, but in 2023 they slowly started to resurface, with new frontman Seth Gilmore, so I was excited to catch up with them again on this tour. Whilst Gale was a big part of the band's appeal, I still found them to be an exciting live act. Gilmore might not be as maniacal as Gale was, but his slightly more assured performance and slightly gritter voice worked well for me - and I am glad that the band have found someone which has allowed them to carry on. Much of the set was culled from Nightmare Logic, with the fast-paced Soul Sacrifice kicking things off. The band's anthem has always been Executioner's Tax (Swing of the Axe), though, and that song really kicked the set into the next gear - with plenty of headbanging going on during the mid-paced riffing and the chorus gang vocals reverberated around the arena. Gilmore spoke well to the crowd, and got everyone excited for the rest of the set, whilst the shredding from Blake Ibanez (guitar/vocals) added a touch of class to the band's raw, punky take on thrash. Power Trip have always been a band in a few camps, but they tick a lot of the thrash boxes for me despite a strong punk influence - and there were enough crunchy riffs throughout the set to keep any metalhead satisfied. Much of the set was fast-paced, too, with newer single Hornet's Nest feeling pretty venomous - before a mash-up of Drown and Crucifixation was dedicated to Gale. Considering that Power Trip seemed dead and buried until a couple of years ago, they seemed really happy about being on such a big tour. Waiting Around to Die was dedicated to Pantera as a thank you for letting them hop on board - but it was left to the title track of 2013's Manifest Decimation to round out a snappy 40 or so minutes of music. Hopefully the success of this tour will spur the band on to write a new album - as the world is sorely due a follow up to Nightmare Logic. The setlist was:

Soul Sacrifice

Executioner's Tax (Swing of the Axe)

Firing Squad

Hornet's Nest

Nightmare Logic

Drown/Crucifixation

Waiting Around to Die

Manifest Decimation

A curtain covered the stage whilst Pantera's gear was uncovered and checked - but it did not feel that long before the lights went down and a video showing lots of footage of the Abbott brothers was shown on the big screens. These shows are meant as a tribute to them, which Anselmo later reiterated, and when the curtain dropped and the band launched into A New Level with real venom. Wylde managed to capture Dimebag's style nicely, whilst injecting a little of his own bluesiness into the songs, and Anselmo impressed vocally. He is clearly not the singer he was in the 1990s, and I felt he did struggle a bit with A New Level - but from the second song onwards he sounded assured and pretty powerful. The crowd did a lot of heavy lifting, too, with each chorus belted back at the band from the floor - with Mouth for War and Strength Beyond Strength which followed also benefitting from the same treatment. Anselmo talked to the crowd quite a bit between the songs, which was nice, and I did get the vibe that the sentiment around the reunion was genuine. I am not sure that big names like Wylde and Benante would take so much time away from their own bands to participate if it was not - and a whole new generation of fans has now had the chance to hear many of these legendary 1990s anthems live. The band only played for around 90 minutes, so could not play everything that the die-hards would have wanted them to, but they managed to throw in a few extra riffs here and there as teases within other songs - such as how the massive sing-a-long I'm Broken ended with a portion of By Demons Be Driven. The band mostly stuck to groove metal staples culled from 1992's Vulgar Display of Power and 1994's Far Beyond Driven - but they did dip into all five of their major label releases. A frantic take on Suicide Note - Part II showcased the band's more extreme metal side - which really came to the fore on the caustic The Great Southern Trendkill from 1996. It really pushed Anselmo's current vocal capabilities but he still sounded decent - and 5 Minutes Alone then saw the band return to more familiar ground. There was a bit of a lull in vibe to kick off the set's final third - as two slower numbers in This Love and Floods were played. The latter was Wylde's big showcase moment, and he took an extended solo during the song - whilst more footage of the Abbott brothers was shown on the screens. This felt like the set's emotional climax - and everything which followed was a victory lap of classics. Walk then brought arguably the biggest reception from the crowd, before another mash-up saw Domination and Hollow getting an airing. The main set then came to an end with the band's signature anthem Cowboys from Hell - which was another to feature a lot of singing from the crowd. The main riff really filled the room and there was a lot of movement down on the floor - before the band left the stage briefly to loud cheers. A two-song encore followed, though, and following a tease of Mountain's Mississippi Queen the band launched into the thrashy Fucking Hostile. That could have been it, but they decided to break out a relative deep cut in Revolution Is My Name to close out the night. The song had not been played on the European tour up to this point, so it was a treat for the Birmingham fans to enjoy before the band took their bows. The setlist was:

A New Level

Mouth for War

Strength Beyond Strength

Becoming/Throes of Rejection

I'm Broken/By Demons Be Driven

Suicide Note - Part II

5 Minutes Alone

This Love

Floods

Walk

Domination/Hollow

Cowboys from Hell

-

Mississippi Queen [Mountain cover]/Fucking Hostile

Revolution Is My Name

I might only be a casual Pantera fan, but I had a great time with the band in Birmingham last night. It was great to have a chance to see them live, as I never thought that I would, and I came away with a new appreciation for the band's music and legacy. It is unclear how long this reunion will last for, especially as it does not look like any new music is coming and Wylde and Benante will likely want to get back to their day jobs, but it seems to have been a great ride so far - and I am sure that many were grateful for the chance to hear these legendary songs live again.

Green Lung - London Review

These long weekends of gigging really take it out of you. It is amazing what a couple of days of trains, a poor diet, and unfamiliar sleep surroundings can do - but over the years I have been on many weekends away like this so am somewhat used to it. Despite that, though, even following a quiet day yesterday I was not really in the right headspace at first to trek across London to Kentish Town to catch Green Lung live at the O2 Forum. I had not really done much with my day, hoping to rest and catch up on some TV, but I was still feeling a bit rough by the time I had to leave. I did half consider bailing on the show and saving my energy for tonight's final night out of the weekend - but I persisted and soon found myself in the queue outside the O2 Forum. Green Lung are probably not a band I would have travelled to London to see were it not for the other plans around it. I am fairly new to them, having first started listening to them when This Heathen Land (which I reviewed here) dropped in 2023, but I gave that album a positive review at the time and still enjoy it quite a bit. Nothing else that the band have done has grabbed me in quite the same way, though. In truth, I have not heard 2019's Woodland Rites as it is very hard to track down here in the UK - but 2021's Black Harvest never felt as strong as This Heathen Land. Despite this, though, I wanted to see essentially what all the fuss was about. Green Lung are one of those bands who have really shot up in popularity over the past couple of years - to the point where they can pack out the O2 Forum. I am not sure if the show was officially sold out or not, but it was extremely busy throughout the night, especially down on the floor, so it is clear that Green Lung are really on the rise. I wanted to catch them in this somewhat transition period, then, as there is a chance that, if the current trajectory continues, they could soon be onto bigger venues than the O2 Forum - which for a new UK doom band would be quite an achievement. I have been to the O2 Forum many times over the years, but it had been a while since my last visit. As I was not 100% feeling up for the show, I decided to stand near the back - but after a while I remembered why I stopped doing this in the past. The venue is good when you are stood down in the pit - but the views and vibes from near the back are not great. I managed to find a pretty decent spot for Gren Lung themselves but for the support acts I struggled to really see and hear properly over those at the back who were there to talk and not there to enjoy the music. There was also someone nearby who was smoking weed on and off during the show, which is always annoying when there is no escape from it. I realise that I am sounding pretty miserable during this introductory paragraph - but there are good things to come. Not all gig experiences are great from start to finish - but it is frustrating when others do not think of those around them.

The opening band did not do much to change my mood, either. The Virginia-based four-piece Satan's Satyrs were the first band of the three-band bill, and their fuzzy, bluesy, doom music did little for me. I should probably state that I am not the biggest doom fan - especially at the bluesy/stoner end of the scene. I like epic doom and death/doom, but the weed-fuelled blues that makes up a lot of doom does little for me - so I was likely always on to a loser with Satan's Satyrs. Green Lung have bits of that in their locker, but they have much more of a traditional heavy metal base overall which appeals to me - were as Satan's Satyrs do not. A lazy sound mix likely did not help, but in some ways I feel that they are a band who probably like to sound messy. Their guitar tones were so fuzzy that it was almost indiscernible what was being played at times - and Clayton Burgess' (vocals/bass guitar) voice was pretty weak and strained, so there was no way it was going to rise above the pounding drums and two guitars with deliberately obnoxious tones. There are plenty of newer bands like Satan's Satyrs who seem to want to go for this overly retro sound which never really existed back in the 1970s. They all want to be Black Sabbath or similar, but those bands never sounded so messy - and Tony Iommi's guitar tone was always great. Retro sounds can certainly be taken too far. There are bands who do it well, and Green Lung is generally one of them, but in my opinion Satan's Satyrs are not one. They only had half an hour on stage and I am not sure I can remember one riff or vocal hook from any of their songs. Perhaps there were some songs there to be heard, but drowning them in awful guitar tones in an attempt to ape the 1970s is rarely a good idea.

The Oregon-based four-piece Unto Others were the evening's special guests - and they upped the quality quite significantly. I had seen the band twice before, opening for both Arch Enemy and Carcass, and have since picked up a couple of their albums - but, as is the case with Green Lung's early work, not everything they have released is that accessible here in the UK. Whilst I knew some of the songs played, then, there were large chunks of the set which I was not familiar with. I was looking forward to seeing the band again, who I think are actually headlining some of the shows on this European tour if they are bigger than Green Lung in the relevant territory, and they put on another strong show. Unfortunately, though, they played during the portion of the night where I found myself stood in the worst place. It was quite hard to move to somewhere better at the time, and the group of people directly in front of me would not stop loudly talking and laughing throughout the band's set - and occasionally they would push past to go back, yet again, to the bar. Thankfully I managed to move and I found a better place for Green Lung's set, but Unto Others were diminished by those around me. The band still played well, and did not seem to suffer from any sound issues, but they were hard to hear at times due to all the talking so I was not really in the right frame of mind to enjoy them. They played some of the hookier songs from last year's strong Never, Neverland (which I talked about briefly here), including the opener Butterfly and the hypnotic Suicide Today, as well as plenty of other songs from their other albums and EPs. Frontman Gabriel Franco's voice sounded as deep and strong as ever, and the guitar interplay between him and fellow guitarist Sebastian Silva made for some of the set's more exciting moments. The band's take on gothic rock is a pretty unique one, too, and I like what they do with the sound. Nothing sounds too contrived or ripped off from other goth bands - and each time I have now seen them live they have impressed. The situation yesterday did hamper my enjoyment of them, though, so previous experiences are likely to be more memorable in a positive way than this one.

During the changeover whilst people were moving around, and a few likely left who had only turned up to see Unto Others, I managed to find a much better spot to watch the rest of the show from. I was still at the back but I was slightly away from the main throng - so had a good view of the stage when the lights went down and Green Lung took to the stage. I had not been in the best of moods up to this point, but a couple of songs into Green Lung's set that changed - and I was glad that I had made the effort and not bailed on the night. I might not be familiar with all of Green Lung's work, but it did not really matter. The set consisted of essentially all of This Heathen Land and a few songs from Black Harvest - with only a handful coming from their debut. Those early ones which were played, though, were very easy to latch onto - and I had a great time from the off. Woodland Rites from the first album kicked things off, but the set really got going with the barrelling opening riff of Mountain Throne. The band's mix of early Black Sabbath, early Uriah Heep, and early Ghost really shone during this song - with Scott Black (guitar) really laying into his Gibson SG whilst John Wright (keyboards/percussion) added lashings of abrasive Hammond organ. For the next 90 or so minutes, then, Green Lung showcased why they are rising up the ranks. Great stage presence and a powerful sound mix helped to bring the songs to life - whilst frontman Tom Templar covered every inch of the stage and came across as down-to-earth whilst addressing the crowd. For me, the band are at their best when they are going all-out. As such, cuts like Reaper's Scythe in particular was an early highlight - but the band like to slow things down somewhat. Oceans of Time is probably my least favourite cut on the latest album, but live it really came across well. It showcased a bit more of a progressive side of the band's writing, with more intricate arrangements and keyboard textures - and it led into a more downbeat part of the set with slower, folkier songs like Song of the Stones and May Queen. The band were joined by a backing vocal trio called The Oosettes from this part of the show onward - and the three ladies also added some folky instruments to the former. They generally added vocals to all of the other songs in the set, too, which added some depth - and they created a vocal-only intro for the heavy The Forest Church which worked well and gave the song a different spin live. The rest of the main set was largely packed full of anthems, then, with the fast-paced Hunters in the Sky containing one of the evening's best choruses, which was duly sang loudly by the crowd (who were really into Green Lung), and a similar vibe continued during the slightly spookier Maxine (Witch Queen). It was left to another slightly longer and doomier piece Graveyard Sun to see the main set out, then, which was another track which came across better live than it does on record. It was a fitting end to what had been over an hour of music at this point, and the crowd really cheered for more as the band left the stage. There was plenty more to come, though, with a four-song encore kicking off with the related pieces The Harrowing and Old Gods, with the ladies again adding a lot to the former - before the band's fast-paced anthem Let the Devil In saw plenty of singing from the packed venue. I would have left it there personally, but there was one more - with the slow-paced One for Sorrow seeing things out. I am not sure the dirge was the best choice as a closer but we should not complain about more - and I doubt that most did. The setlist was:

Woodland Rites

Mountain Throne

Templar Dawn

The Ancient Ways

Reaper's Scythe

Oceans of Time

Song of the Stones

May Queen

The Forest Church

Hunters in the Sky

Maxine (Witch Queen)

Graveyard Sun

-

The Harrowing

Old Gods

Let the Devil In

One for Sorrow

Despite not enjoying the opening act and struggling to enjoy Unto Others due to not feeling 100% and those around me, Green Lung's excellent performance made the trip out worth it. They are very much a band deserving of the hype they are getting - and it is great to see a retro-sounding band out there doing things properly and actually sounding good. They seem to be going from strength to strength - and with a new album due to be recorded fairly soon I hope that this upward trajectory can continue.

Marilyn Manson - London Review

I am now half way through my big weekend away and I am planning to have a fairly quiet day in London today before heading out again for another night of live music. Later on I will travelling across from Acton to Kentish Town for Green Lung and Unto Others' show at the O2 Forum - but for now I need to write about last night's trip to the Eventim Apollo in Hammersmith. Following a rather uneventful train journey across from Bristol, and a quick trip to a Notting Hill record shop, I checked into my Acton Travelodge ready for what promised to be another great night. The reason for the trip was Marilyn Manson - someone I have liked since my teenage years but had never seen live before. I am not quite sure why I did not see him back then, but I am assuming that a sensible opportunity to do so did not present itself, but in recent years it always seemed like he had dropped off in terms of quality when it came to his performances. I actually think that his albums throughout the 2010s were generally pretty good, but the reports from his live shows were often less than positive - and judging from some of the footage I have seen over the years it is hard to disagree. As such, I was quite content with not seeing him live - but when his tour with Five Finger Death Punch in America kicked off last year the reviews were flooding in regarding how good he was again. Whilst not exactly a return to his late 1990s/early 2000s best, there was certainly the sense that Manson had got his mojo, and his voice, back. Following years of being overweight and struggling to sound powerful, Manson was once again looking like his old lanky self - and sounding strong despite his voice still showing natural signs of age. At the time I was not necessarily expecting a European tour to follow, but it was not long before a new album was announced and some European tour dates were booked which included a handful of UK shows. If I was to see him live, then, I felt that this was the best chance to do so. Following his enforced break from touring due to a myriad of legal issues, some of which do not seem to be resolved as of yet, this tour felt like something of a comeback for him. He was hungry and somewhat had something to prove again - so I felt as if those lacklustre shows of the past would not be what Europe were treated to - particularly if he carried over his form from that US tour last year. It also helped that his latest album, One Assassination Under God - Chapter 1 (which I reviewed here), was also very strong - which later validated my decision to pick up a ticket for the tour. As I said, though, I do not think that his recorded output significantly saw a drop off in quality - but I do think that One Assassination Under God - Chapter 1 felt a little more inspired than perhaps his last album, and the shades of 1998's Mechanical Animals were particularly welcome. Of the few shows UK announced, the one in London made the most sense. The Eventim Apollo is always a great place to see bands - and it also fitted in alongside some other plans I had.

The venue opened at 7pm, but by the time I had got to the front of the long, snaking queue and inside it was probably around 7:20pm. Nothing started until 8pm, so there was not too long to wait, and the sold out venue soon filled up. There was only support act, the French rockers The Blackmordia, and their half an hour set flew by but never really made much of an impact. In truth I did have to spend some of it answering a call of nature - but the synth-driven glam rockers felt a little lightweight opening up for Manson despite some good ideas and a few decent choruses. The main issue the band came up against, though, was the sound. Sadly, the lead singer's voice was generally very low in the mix - which meant that the choruses, which generally sounded decent, did not have much of a chance to hit home. He did not have the most powerful of voices, either, instead having more of a poppy tone which perhaps did not help. The crowd did not really seem all that interested, either. The last song of the set saw a little bit of interaction in terms of phone lights being held aloft - but the cheers between each song were muted at best, and The Blackmordia failed to generate any sort of significant reaction. I somewhat felt sorry for them, as they seem like they could be quite an interesting band with a strong mix of 1970s-esque glam rock and synth driven pop rock - but neither side of their sound really was able to shine through last night. In truth, they were probably the wrong band for this tour. Whilst Manson has never fully been associated with the metal scene, he is nevertheless a generally pretty heavy artist - so something heavier would have likely worked better. There were a few chunky riffs in The Blackmordia's set, but nothing approaching Manson levels of heaviness - and I think that sadly quite a few people were bored. In the right context and with a better sound mix they might be a band that can excel and impress - but they did not leave much of an impression last night despite having some interesting ideas.

Around half an hour following The Blackmordia's set the lights went down again and Manson and his band took their places on the stage behind a curtain - which dropped during the opening bass strains of opener Nod if You Understand. For his first UK headline show since 2017, Manson struck a fine balance between new material and old favourites. Over half of the new album was featured throughout the night, which was a wise move in my opinion, but plenty of classic tracks were also included. Generally, much of the set was pretty heavy, too, although there were a few slower, more atmospheric moments. The first three songs were all up-tempo, though, with the riff-heavy Disposable Teens and the groovy Angel with the Scabbed Wings following the aforementioned opener. Manson's band for this tour features some old returning faces and some new names, with Tyler Bates (guitar/vocals) and Gil Sharone (drums) back in the fold and Reba Myers (guitar/vocals) and Piggy D. (bass guitar/vocals) coming on board. The band were tight and allowed Manson to shine, with D. in particular standing out. The bass has always been a huge part of Manson's sound, possibly more important than the guitars at times, and he nailed all of the classic grooves whilst Bates and Myers riffed away and laid down atmospheric and discordant leads. Torniquet proved to be an early chance for some atmosphere to be injected into the evening - with Manson's classic croon filling the venue. Vocally, I thought he sounded strong for the most part. Whilst not exactly back to his best, he sounded strong and confident throughout, with even the big screams sounding venomous, whilst between songs he chatted with the crowd more than I expected him to. He seemed very happy to be back out on the road and the crowd was really into the show from the off - singing along to all the songs played, old and new. It was the old favourites that really struck a chord, though, with This Is the New Shit and mOBSCENE both coming about half way through the set to really kick things into the next gear. The amount of jumping and movement down at the front for the latter was impressive to see from my vantage point near the back - but the pulsing Meet Me in Purgatory earlier on had still gone down well. The latter portion of the main set was a bit more subdued and groovy, with tracks like Great Big White World and As Sick as the Secrets Within showcasing a creepier, more atmospheric sound, whilst the glam rock stomp of The Dope Show was full of D.'s bass and Manson's snarled, sarcastic vocals. This atmospheric sound was continued on with his famous cover of Sweet Dreams (Are Made of This) before the main set came to a close with the riff-heavy and anthemic The Beautiful People. The main set was a bit shorter than average, but that seems to be typical of Manson's approach, but he came back for two one-song encores before the night was done. The title track from the latest album proved to be a real winner, and maybe the best of the new songs live, before the soaring ballad Coma White saw the evening come to a close. The setlist was:

Nod if You Understand

Disposable Teens

Angel with the Scabbed Wings

Torniquet

Meet Me in Purgatory

This Is the New Shit

Death Is Not a Costume

mOBSCENE

Great Big White World

The Dope Show

As Sick as the Secrets Within

Sweet Dreams (Are Made of This) [Eurythmics cover]

The Beautiful People

-

One Assassination Under God

-

Coma White

Despite all the positive vibes leading up to the show, I still was not sure how things would turn out. Manson has not really been known for his live shows for some time now, so it could have been a disappointment - but I really enjoyed my time at the Eventim Apollo last night. Manson put on a powerful show and the atmosphere in the room was excellent. Seeing him feels like a big tick off the list of those artists I have not seen live - and it is good to have a positive experience of him rather than having seen him previously and likely coming away disappointed.

Uriah Heep - Bristol Review

I am not sure that I can remember a start to a calendar year being so busy when it comes to gigging. Generally, I find the spring and autumn to be the busiest times of the year - but following my first show of the year in January things have barely let up. In truth, both March and April are much quieter, before May gets busy again, but January and February 2025 have been packed full of gigs. I had a rare weekend at home last weekend, even though much of Saturday morning was taken up with travelling back from Bristol, but I am now in the midst of what is likely to be my busiest gigging weekend of the whole year - as I am taking in four gigs in four days in three cities. As I write this I am currently in London, having travelled up from Bristol this morning, and am looking forward to seeing Marilyn Manson for the first time shortly, but this post is about last night's excellent show in Bristol - where I saw Uriah Heep rock a packed Beacon at the start of their long goodbye. Dubbed The Magician's Farewell, the band's current tour is stated to be their last extensive globe-trotting affair. The band have not ruled out festival appearances and the odd shorter jaunt following the conclusion of this lengthy trek, which is likely to take two or three years, but in terms of an all-encompassing and traditional tour this appears to be it. Given that the band formed back in 1969, though, this want to slow down is not a surprise. Considering all of the talk surrounding Black Sabbath's recently-announced farewell show, and how much an ailing Ozzy Osbourne will be able to contribute, the fact that Uriah Heep can even contemplate such a lengthy tour is impressive. Admittedly, only Mick Box (guitar/vocals) remains from the band's founding - but some of the 'newer' members are not exactly young so it is great that much of the world will get at least one last chance to see Uriah Heep live. Since I first saw the band at the 2009 iteration of the Cambridge Rock Festival, I have been a big fan. Including last night, I have now seen them live nine times - and each night has been memorable. Whether it was the most recent show, where I saw them deliver a short set opening for Judas Priest last year, or the most memorable show, a lengthy set in 2022 belatedly celebrating the band's 50^th anniversary, Uriah Heep always deliver. It helps that the current line-up is long-solidified now, with newest member Dave Rimmer (bass guitar/vocals) having been in the band since 2013, and also that they have stayed creative - putting out a number of strong albums this century. I was always going to get to a farewell tour, then, and luckily the Bristol show slotted in nicely alongside other pre-existing plans. It was also my first visit to the Beacon since its lengthy closure and re-brand - and only my second ever visit to the once-legendary venue. When I went in 2018 I thought it looked very tired, but last night it was clear that a lot was done during its closure - and given that I will be visiting the venue a few more times in the near future this facelift is a welcome one.

There was plenty of good stuff to come before Uriah Heep's set, though, as the crowd were treated to a couple of support acts before things got underway. The crowd was pretty large, too, and even when Tyketto took to the stage at 7:15pm there was already a healthy number of people in. I have seen Tyketto many times, and they are always a great live band. I have travelled all over the country to see them previously, so seeing them open for another band I like relatively close to home was something of a treat. I had previously seen them in Bristol, on board the Thekla back in 2017, a gig which frontman Danny Vaughn referenced from the stage, so it was nice to see them on a bigger stage - even if they only had a limited time allotted to them. They managed to make a strong impression during their seven-song set, though, and all of the power of Tyketto as a live band shone through despite the crowd not always seeming that receptive. The set was largely made up of anthems from the past, but the newer Reach kicked things off, with Vaughn armed with his acoustic guitar for the smoother verses as Ged Rylands (keyboards/vocals) laid down a big synth hook. Tyketto have weathered many storms in terms of line-up changes, with Vaughn the only original left standing, but the current line-up is as good as any from the past - with Harry Scott Elliott (guitar) nailing all of the key riffs and solos. This was evident during an early double-salvo of Wings and Rescue Me, which upped the tempo following the mid-paced smoothness of Reach - and, with the exception of one song, the band generally rocked pretty hard. Johnny Dee (drums/vocals) has also slotted in nicely over the last couple of years, and the returning Chris Childs (bass guitar/vocals) just meshes everything together with his years of experience. He even got to show off during a pretty shreddy bass solo during Lay Your Body Down - but before this Vaughn managed to whip up a bit of a sing-a-long during the muscular and bluesy Strength in Numbers. Despite the crowd being a bit on the stand-offish side at times, both of these songs did attract a bit of singing during the chorus - but given how upbeat and easy on the ear Tyketto are it was a shame that more did not join in. The band still rocked, though, but did slow it down one song from the end with the gorgeous ballad Standing Alone - which is generally the centre piece of any Tyketto show. Vaughn always sings the song with real emotion and last night was no different - and Elliott later nailed the distinctive and flowing solo to take things to the next level. Sadly there was only time for one more at this point, but Forever Young always works well as a set-closing anthem - with the mid-paced rocker's huge chorus soon filling the venue thanks to Vaughn's voice which has lost little of its power over the years. The band certainly got the evening off to a flying start, but there was still plenty more to come. The setlist was:

Reach

Wings

Rescue Me

Strength in Numbers

Lay Your Body Down

Standing Alone

Forever Young

Following a brief changeover, the lights went down again and the four members of the Canadian hard rockers April Wine took to the stage. Whilst I am not hugely familiar with them, I have heard some of their late 1970s/early 1980s albums and enjoyed them - but I would not say that I went into this set with huge expectations. April Wine are now one of a growing numbers of older bands with no original members - although Brian Greenway (vocals/guitar) has been in the band since 1977 and was therefore part of their classic era. Their founder and driving force Myles Goodwyn died in 2023, but Greenway has kept things going with Marc Parent (vocals/guitar) taking Goodwyn's place. As such, Parent was largely the focal point of the evening - and his bluesy guitar playing and strong voice helped bring I Like to Rock to life (which, of course, featured on the official Monsters of Rock LP following the band's appearance at the first ever Monsters of Rock in 1980). April Wine seemingly had a brief love affair with the UK back in 1980 and 1981, but this current tour marks their first return to these shores since. Only Greenway remains from those days, but the meat and potatoes rockers still delivered an enjoyable set - even if they lacked the flair and star power of Tyketto. Tyketto are often hard to follow, as H.E.A.T found out last summer at Chepstow Castle, but April Wine had enough straight forward riffs and decent choruses to make it work. I knew some of the songs played, with I Like to Rock working well an opener - but during the set we also got to hear snappy tracks like Crash and Burn and the more expansive Before the Dawn, which was sung by Greenway. He sang a couple of tracks, but generally Parent did the singing - with anthems like Big City Girls certainly enjoyable. Greenway did much of the talking between the songs, though, and he made reference to the band's long absence from the UK. The band even played the same venue back in 1981, so the night must have held some nostalgia, but like Tyketto the band were generally only afforded a polite reception. Things did pick up somewhat as the set went on, though, with minor hit Just Between You and Me seeing a bit more of a reaction - as did the harder rocking Sign of the Gypsy Queen which morphed into a bit of a wig out with both Parent and Greenway soloing. It was left to the bluesy hard rock of Roller to see thing out, then, and it capped off what had been an enjoyable set. April Wine were not a band I was desperate to see, but I am glad I have had the opportunity to given their lack of recent visits to the UK - and I will need to revisit those few albums of theirs I have and delve a little deeper into their vast catalogue.

Following a slightly longer changeover, Uriah Heep hit the stage at just after 9:15pm and for the next 90 or so minutes rocked the house with a set that largely consisted of their best-known songs. The more expansive set from a few years ago, which featured a lengthy acoustic portion to kick things off, was filled with deeper cuts - but the setlist for this tour feels like a celebration of the band's best work throughout the years. A couple of deeper cuts were included, alongside some newer material, but generally the set was a sing-a-long affair based in their 1970s heyday. Despite this, though, three newer songs kicked things off - with Rimmer's two compositions for the band, Grazed by Heaven and Save Me Tonight, opening the set in furious fashion. There were slower moments during the evening, but generally Uriah Heep's set was a high-octane one - with plenty of wah-drenched soloing from Box and roaring Hammond organ from Phil Lanzon (keyboards/vocals). The sound mix was generally pretty good, too, although frontman Bernie Shaw was occasionally a little low in the balance - but he still sounded as powerful as ever, with the band's trademark harmonies bring the bombastic 2008 anthem Overload to life. The track is one of my favourite recent cuts so it was great to hear it live again - and it capped off this opening salvo of recent material perfectly. Bar a couple of other new songs, though, the rest of the evening was very much rooted in the past. A rare outing for the lengthy and progressive Shadows of Grief was up next, with spooky vocal harmonies and a lengthy instrumental mid-section which saw the band really giving it their all. The crowd had not exactly covered themselves in glory during either support band, but the atmosphere throughout was still decent. Uriah Heep received a warm reception throughout the show - but the sing-a-longs were a bit poor, with Stealin' not raising the roof as it should. Seated shows often sap away at an atmosphere and whilst some did stand there were plenty of others rooted to their seats not joining in. This was a shame, and is often the case when seeing legacy bands, but there was enough singing to let the band know that there was a crowd out there. The remaining newer songs, Hurricane and Hail the Sunrise, both felt at home in a set full of classics - and a later juxtaposition of the acoustic-based The Wizard and the party anthem Sweet Lorraine showcased both sides of the band's diverse sound. The rollocking Free 'n' Easy also showed the band's likely influence on the NWOBHM movement which would follow a few short years after the song's 1977 release - but the set was then turned over to one of the two big epics played: the deeper cut The Magician's Birthday. I had not seen the song done live before, and it was a progressive rock epic - with Box taking a lengthy solo in the middle accompanied only by drummer Russell Gilbrook. There was not too much time left at this point, but a hard-hitting take on the proto-metal of Gypsy and the lengthy July Morning, with plenty of Hammond from Lanzon, saw the main set come to a close. Following a brief step off stage, though, the band were back for a two-song encore. The cinematic and harmony-filled Sunrise was up first, before the band's signature track Easy Livin' brought the curtain down on another great night of live music. The setlist was:

Grazed by Heaven

Save Me Tonight

Overload

Shadows of Grief

Stealin'

Hurricane

The Wizard

Sweet Lorraine

Hail the Sunrise

Free 'n' Easy

The Magician's Birthday

Gypsy

July Morning

-

Sunrise

Easy Livin'

Given that this UK tour is the start of the band's wider farewell tour, I may have just seen Uriah Heep live for the last time. Hopefully they will be back, as they have not ruled out further UK shows, short tours, and festival appearances - but given the age of the band it makes sense for them to start winding down whilst they can still deliver a world-wide tour with the power they are known for. If last night was it then they certainly went out on a high - and I am glad that I got to see the band quite a few times over the years.

Dream Theater's 'Parasomnia' - Album Review

I think that it is fair to say that one of the biggest pieces of news in 2023, at least in the heavy metal world, was Mike Portnoy returning to the American progressive metal legends Dream Theater following a 13 year absence. Portnoy helped to found the band in 1985, and became one of their main driving forces alongside fellow founder and guitarist John Petrucci, but the drummer left rather dramatically in 2010 - citing a want to pursue other projects and burnout from constant Dream Theater-related activity. It later transpired that he had wanted the band to take something of a break, but the other four members did not agree with this idea - so Portnoy left and spent the next 13 years working with a diverse selection of bands and projects including Avenged Sevenfold, Transatlantic, and Sons of Apollo. Mike Mangini was brought in to replace Portnoy, and Dream Theater essentially carried on as normal - releasing a further five albums. I first starting listening to Dream Theater in around 2008, which means that 2009's Black Clouds & Silver Linings, the last album before Portnoy's departure, was one of my first Dream Theater albums. As such, I do not think I appreciated at the time how big a change this was for the band. I have since realised that they did well to navigate the change as well as they did, but at the time I was just keen for more Dream Theater - and I saw the band live for the first time in 2011 (with Mangini) and absolutely loved A Dramatic Turn of Events when it dropped later the same year. My Dream Theater fandom never wavered, then, and I have continued to love everything the band have released since. Even 2016's mammoth concept album The Astonishing (which I reviewed here), which is much maligned, is something I return to every so often - and I enjoyed seeing the band each time they returned to the UK. Clearly my Dream Theater knowledge is much greater now, though, so when Portnoy announced his return I realised just how big this news would be. Whilst Dream Theater remained a big band without him, I definitely started to notice a bit of a stagnation in terms of turnout at their live shows - and I know that not everyone shares my view on the overall quality of the Mangini era albums. Portnoy returning was clearly big business for all involved, then, and last year's tour of Europe saw the band playing larger venues than they had done for a while. It is clear that Portnoy's return brought some lapsed fans back on board - which is both a shame and understandable. Those lapsed fans missed out on some strong years, and contributed to that stagnation, but Portnoy was always more than just the band's drummer - and seeing them live with him last year in London made it clear how much of a boost he gives them. Mangini could never hope to replicate that natural understanding formed over years of friendship, despite likely being the better player, and it seems that the decision to bring Portnoy back was the right one. Could they recapture the magic in the studio again, though? That was the big question - and it was answered earlier this month when Parasomnia, the band's sixteenth album, was released. The band's first since 2021's A View from the Top of the World (which I reviewed here), Parasomnia certainly has a lot weighing on it - so does it live up to the expectations?

In my opinion, yes. It should be reiterated, though, that I liked the Mangini era, plus I never thought that the first Portnoy era significantly dropped off in quality. Essentially, then, I like every Dream Theater album - so I had no hopes that Parasomnia would be some magical return to form. I just wanted it to be more of the Dream Theater I love - and Parasomnia certainly is that. I must admit, though, that it is a treat to hear Portnoy's drumming on another Dream Theater album. His drum sound is so distinct and his style is instantly recognisable - so there is something of a nostalgia about Parasomnia. It is easily the heaviest album the band have done since he was last in the band, too, with shades of 2003's Train of Thought, 2007's Systematic Chaos, and the aforementioned Black Clouds & Silver Linings present throughout. There remains some of the smoothness of their most recent releases, too, so Parasomnia still feels like a natural continuation despite the twinge of nostalgia. The album opens in relatively rare fashion, though, with an instrumental piece. The band have done this before, but they do not often have scene-setters on their albums - which is essentially what In the Arms of Morpheus is. In true Dream Theater style, though, it is no brief intro - and is instead a weighty and riffy full-bodied instrumental which re-introduces that heaviness from the mid-2000s. It takes a little while to get going, though, with atmospheric sounds such as traffic and footsteps setting a realistic tone - before a distant piano melody is heard. There is a loose concept running throughout the album relating to sleep disorders, so the ticking and the eventual brash alarm clock help to create this vibe - with the latter accompanying the first big riff of the album. By this point the piano has faded away, following a creepy twist, and Petrucci crashes in with a muscular mid-paced riff - which Portnoy backs up with some busy tom fills and a bass drum pattern which is reminiscent of A Nightmare to Remember. There is something overture-esque about the piece, though, and it moves through a few different riffs before Jordan Rudess' keyboards take on a more prominent role - adding growling organ before he launches into a lengthy synth solo, the first real instrumental workout of the album. This then morphs into a melodic guitar solo, over a much more expansive and lighter backing. This solo really shines, in classic Petrucci fashion, and it carries the latter portion of the album opener to new heights - perfectly setting the tone for some of the more cinematic moments to follow.

The next big riff marks the transition into Night Terror - the album's first song proper. This song was released before the reunion tour kicked off last year, and was featured in the setlist, so the fans are familiar with it by now. Its slow-burning opening is slightly doomy and more mid-paced than much of the song, with hanging riffs and lengthy drum fills - but the song kicks off proper once Petrucci's riffing speeds up to create a headbanging pattern. This riff forms the basis of the verse, with a simplified version sitting behind frontman James LaBrie's voice - whilst Rudess again utilises some organ for depth. LaBrie sounds great throughout the album. He might not have the range he used to but his tone is still intact - and the later chorus is a real earworm thanks to his melodies, Rudess' busy piano, and Portnoy's distinctive backing vocals. As is typical of the band, though, the song takes many twists and turns. An off-kilter version of the main riff later takes over for a different verse arrangement, which allows Portnoy to throw in a few interesting grooves - and there is a really groovy riff which kicks in after the second chorus which sees the band change tack immediately. This riff feels like it could have come from one of the band's more recent albums - and it is great to see the overall sound still reflecting their recent work. Parasomnia is not a pure throwback, then, but I think when it comes to the approach to drum fills it is. Portnoy loves to throw in chaotic and lengthy drum fills - and that is very much evident during the song's lengthy solo section, which is packed with some of Petrucci's fastest shredding, Rudess' excellent synth work, and a later bluesy guitar solo which showcases something a bit different. All of these sections are filled with intense drum fills - and it is very much clear that Portnoy is back just by listening to this part of the song. The discordant opening to A Broken Man also feels very Portnoy. He was often behind many of the band's heaviest moments in the past, and the intense riffing and drumming during the opening seconds of this second vocal-led piece do not sound like they could have sat on the last few albums. Despite this opening, though, the song as a whole probably reins in some of the more overt heaviness of the previous track - and actually, ironically, ends up sounding like something from the recent albums. The lengthy instrumental intro feels a bit more cinematic overall following the chaos subsiding, with strings and subtle keyboards backing Petrucci's riffing-come-melodic playing which dominates early on. LaBrie gets to really showcase some of his vocal power and diversity on this track, too. The less intense arrangement gives him plenty of space in the mix to breathe - and the verses feature a mix of more melodic singing and a more urgent delivery which sees his range being pushed. The chorus here is not as strong as it could be melodically, particularly following the previous earworm and some which are to follow, but the song has grown on me quite a bit despite it being one of my least favourites at first. The cinematic approach is welcome, showcasing that this is not just an all-out metal album, and the later solo section is one of the most bombastic on the album - with Rudess delivering a great organ solo and the band then moving through some different vaudeville-esque grooves.

Dead Asleep is the album's second longest song and one of two that breaches the 10 minute mark. Its opening returns to the ambient noises from the album's intro - before some distant piano melodies and what sounds like a mournful violin fade in, creating an unsettling tone. This vibe continues on for a minute or so, but it is not long before Petrucci takes over with another big riff - which is thunderous, mid-paced, and one of the heaviest on the album. Parts of the album may feel faster and more chaotic, but the opening riff to Dead Asleep is pure heavy metal goodness - and there is nothing to really spice it up groove-wise as nothing is needed. The song moves onto other vibes as it progresses, but this Black Sabbath-esque opening is a big nod in the direction of their metal fans - before Petrucci changes tack entirely and launches into another lengthy, floaty guitar solo against a spacey backdrop. This sees the band turn and nod to their prog fans - and this track is one that scratches both itches. It retains plenty of weight, with the verses featuring a repurposed version of the intro riff, Deep Purple-esque organ, and LaBrie's gritty vocals - before piano joins the fray for a pretty memorable chorus which sees LaBrie sounding a little smoother and aided by some subtle harmonies. Those who prefer something a little more retro-sounding will love a later instrumental section, which sees Petrucci soloing without a rhythm guitar backing. John Myung's bass playing really shines here, as he backs Petrucci's 1970s-esque fluid leads - and there is also some more organ from Rudess to add depth. This raw instrumental section feels different from many of the other solos here which tend to sit against big riffs - and normal service soon resumes once Rudess starts to lay down a busy and flashy keyboard solo with another big riff in the background. This instrumental section is pretty lengthy, though, with both Petrucci and Rudess really stretching out - but no time appears to have passed before LaBrie returns with another reprise of the song's chorus and the track then closes out on a lengthy riff-led workout which takes on a slightly gothic edge. Midnight Messiah is easily the heaviest song here, despite the piano-led intro and the haunting clean guitar melodies which open things up. It might take a little while to build fully to the heaviness, but an early spiky riff and some discordant passages create some tension - before a groovy and driving riff takes over the song never looks back. This is Dream Theater showcasing their Metallica influence during some of the muscular passages here - and LaBrie also goes for a gritter approach throughout. The song could have easily sat on Train of Thought and it rarely lets up. There is some piano added to the pre-chorus which does add a lighter touch, but the riffing still remains - and the chorus ups the pace and goes all-out for a thrash approach. This is one of the fastest and most potent sections on the whole album - and LaBrie delivers Portnoy's lyrics with real venom. He has not sounded this snarling on a Dream Theater album for quite some time, and the chorus is one of the album's best and most memorable moments. Funnily enough the later soloing is not as high-octane as it could have been - but the grooves remain and there is still plenty of melodic shredding. Due to its energy and thrashy riffing, this song is sure to become a real live favourite going forward.

Following the true metal of Midnight Messiah, the album then follows its heaviest cut with its mellowest. The brief, atmospheric Are We Dreaming? essentially acts as an extended intro for the song which follows - and the interlude again returns to some of those real-world noises from before. Chiming clocktower bells add to the album's overall themes, before some dense horn-like synths, which could have come from a Roger Waters album, create this low-key soundscape as whispering creeps around the edges of the speakers. Once Petrucci's clean guitars join in, though, Bend the Clock starts - and the album's ballad gets underway. Dream Theater have often written great ballads in the past and Bend the Clock is no different. In fact, this is likely their best ballad for quite some time - and it is an overall album highlight for a number of reasons. The main reason, though, is LaBrie and his fantastic vocal performance. His performances are always under so much scrutiny, and he has come in for quite a lot of unfair criticism over the years for just getting older - but there is no-one else out there who could sing Bend the Clock with the emotion and control that he does. The first verse and chorus are quite low key, and are filled with that breathy, floaty vocal style which characterises his ballad delivery - but the track does grow in stature as it moves along which necessitates a more full-bodied delivery. By the time the second chorus is reached, then, LaBrie is singing in a different way - and the second chorus hits with a different sort of power. It helps that the vocal hooks during the chorus are real earworms. It is easily the best chorus on the album overall, behind the thrash snappiness of Midnight Messiah, and it is a truly classic Dream Theater moment - which is later built on by Petrucci's heroic guitar solo which is packed full of melody. He solos a couple of times during the song, but the main one is my favourite due to its real focus on melody - with the second one being much lengthier and acts, David Gilmour-esque, as a closing motif.

The album then comes to a close with the 19 minute-plus epic The Shadow Man Incident - which does not stand on ceremony and opens with a memorable mid-paced riff which repeats whilst it is subtly changed and different drum accents are utilised. Marching drums then take over, and Rudess creates a few different soundscapes - but the song then really feels like it gets going with a snappier riff that follows and another lengthy, cinematic guitar solo. Despite the song's length, many of the vocal-led sections throughout are actually quite low key. It is a few minutes before LaBrie starts to sing, but following three big riffs and a lengthy solo the heaviness drops away and LaBrie once again utilises that breathy vocal delivery during a slow-burning verse filled with atmospheric guitars and occasionally creepy, effects-heavy vocal additions. Unlike many of the band's epics, though, this one feels like it evolves more organically. It is not as bombastic as many longer Dream Theater cuts, then, which gives the song a slow-burning feel - but this makes it interesting in my opinion. Given how heavy much of this album is, and how the song starts, the plentiful slower moments, spoken word interjections, and more plaintive overall feel work well - and the chorus which reappears a few times throughout is a rare moment of urgency in a song which feels more interwoven and expansive than ever. It is not a song which reveals all at first, then, but over repeated listens I feel that I have a good handle on it - despite it remaining the song here I am the least familiar with. Despite what I have said, though, it is not a 19 minute ballad. There is noticeably a lot of atmosphere here but there are still heavy moments. The instrumental moments really stretch out, too, with one around the 11 minute mark seeing plenty of guitar and keyboard back and forth before Portnoy lays into his double bass pedals and the heaviness returns with some high-octane shredding. In fact, this instrumental section is easily the album's longest and its most progressive expression - and by the time LaBrie returns to sing an expansive last few lines the song is almost over. This last vocal section perfectly caps off the song's themes, though - and it is left to Petrucci to close things out definitively with one last soaring solo, coming full circle with atmospheric noises and an alarm clock the last things heard. To circle back around, then, for me Parasomnia very much lives up my expectations. It looks to the past and the present, fusing some the band's older heaviness with their more recent approach - and the songwriting is tight despite the lengthy arrangements. Some of the band's best choruses for a while are here and the riffing throughout is some of Petrucci's heaviest to date. Portnoy sounds great back in the saddle, too, and it is clear that this era of the band is just getting started - so I imagine there is only more to follow.

The album was released on 7th February 2025 via InsideOut Music. Below is the band's promotional video for Night Terror.