Moon Halo's 'Trichotomy' - Album Review

Whilst it may no longer be quite the case, at one point it really seemed that much of the UK's best modern progressive rock could be traced back, at least in part, to the city of York. A sadly departed friend once joked that there must be something in the water up there - and it often seemed as if the next best progressive rock release was coming from someone with a connection to the city. I do not quite get the same feeling these days, but given my enduring love for Mostly Autumn I will always consider the city a musical wellspring - and, in truth, many of the other bands and projects which used to release those anticipated albums were often somewhat linked to Mostly Autumn. Sadly a lot of those bands and projects no longer seem to exist, and solo work from those involved has slowed, too, but one act which is still active is Moon Halo - an atmospheric and song-based progressive rock band formed around the core trio of vocalist Marc Atkinson, keyboard player Iain Jennings, and bassist David Clements. Both Atkinson and Jennings are long-time members of the York scene, the former as a member of Gabriel and Riversea and the latter as a member of Mostly Autumn and Breathing Space - with both also operating as solo artists. They have both been involved in a large number of albums over the years - many of which form a part of my vast music collection. I am generally more familiar with Jennings' work, given how much I love Mostly Autumn, but I have also followed Atkinson for a while - with his work with Riversea particularly standing out. The two more recently joined forces with Clements, who had worked with Atkinson a lot over the years, and formed Moon Halo - which debuted back in 2020 with the excellent Chroma (which I reviewed here). I listened to the smooth and somewhat symphonic album quite a lot during the following pandemic - and the pandemic also led to the creation of the follow-up Together Again (which I reviewed here) which came out in 2022. I enjoyed both of the albums quite a bit, and I am always going to support the York scene - so when another Moon Halo album was announced I knew that I would have to check out it. Dropping last month, then, Trichotomy is the band's third album - and it pretty similar sound-wise to the last two. Jennings' keyboard playing tends to dominate the soundscape, and the band seems to be his main outlet from a songwriting perspective these days, but Atkinson's heartfelt and emotional vocal delivery is just as key to the experience as ever. Fleshing out the trio as before, too, are guitarist Martin Ledger (Stolen Earth) and drummer Alex Cromarty (Mostly Autumn; Halo Blind) - very much keeping Trichotomy in line with the other two albums personnel-wise. Ledger's big guitar moments feel less prevalent this time, though, with this album perhaps being more atmospheric than ever - with more emphasis on soundscapes and vocal melodies and more explosive musicianship. This is not necessarily a bad thing but, as a result, Trichotomy feels more of a grower than what has come before.

Opening with Siren Song, Jennings' piano melodies slowly fill the speakers - and the lack of any synth backing actually takes me back to those early Mostly Autumn albums briefly. Once the melodies speed up, though, this feeling fades - and a piano hook becomes apparent as Ledger's guitar joins in. The song gets underway proper once Cromarty's drums kick in, though, and Ledger transitions to a tougher guitar tone - adding a slightly crunchy backing to Jennings' aforementioned piano melody. This melody forms the main musical hook of the song - with it sitting behind Atkinson's vocals during the verses whilst the guitars and bass add a subtle backing. Atkinson may not have the biggest vocal range, but his warmth as a singer always means that his performances are full of emotion - and there is a smoothness to his delivery which suits Jennings' songwriting, with subtle vocal harmonies during the chorus only enhancing this vibe further. Perhaps showcasing who drives this project, Jennings later takes a lengthy synth solo - which is interspersed with organ stabs, showcasing differing keyboard tones and styles early on. The subtle crunch from the guitars and Cromarty's relatively up-tempo drumming helps to give the song a bit of a kick, too, and Ledger also closes things out with a brief guitar solo. Empires Burning opens with some programmed noises and beats, over which Jennings soon adds a distant synth melody. Like the piano hook from the last track, this synth melody becomes quite a focus throughout - and it dominates the verses behind Atkinson's vocals, whilst Ledger adds some crunchy guitar rhythms to give them a slightly heavier edge. This crunch is less present during the chorus, despite some big guitar chords coming and going, which is more swirling and atmospheric overall - with a big synth soundscape and mournful piano melodies taking over. Moon Halo are never a heavy band, but their use of crunching guitar rhythms occasionally does help to add a bit of a punch when necessary - and this song certainly feels tougher overall compared to many of the others here thanks to Ledger's efforts. Later on, too, Jennings' uses some grittier keyboard textures - with organ and distorted synths adding to the heavier feel of the piece, whilst Ledger throws in a lengthy closing solo. Whilst most of the music here is written by Atkinson and Jennings, Punchline was written by Clements. He started contributing to the band as a writer on the last album, so it is good that he has also contributed here, and his effort is typical of the band's core sound - albeit with a bit more of a bass-driven feel. Atkinson's warm vocals seem to be more powerful than ever here, perhaps thanks to the arrangements and use of vocal harmonies, whilst the verses have more of a rumble thanks to Clements' bass playing. Arpeggiated guitar melodies and subtle synths fill in the gaps, but the crunch of the opening two numbers is gone - with bass grooves and occasional bluesy guitar leads taking over, whilst Jennings' adds a slow-burning synth solo later on which morphs into a snappy bluesy guitar solo.

The Things That I've Done really reins things in, and opens with a very laid back drum beat, acoustic guitars, and warm keyboards. Whilst many of Moon Halo's songs can feel like ballads thanks to Atkinson's vocal approach and the band's soundscapes - this song is the album's first true ballad, with Atkinson really pouring his heart out during the verses and Jennings' sombre keyboards creating a mournful atmosphere which is occasionally pierced by Ledger's guitar leads. Like many good ballads, though, the song does expand as it moves along - feeling bigger and bolder as it progresses. The drumming becomes punchier over time, with the acoustic guitar backing also growing, whilst Atkinson's voice becomes more powerful. Unison guitar and keyboard melodies also inject some melodic interest - whilst Ledger's aching guitar solo is more typical of his work on the previous Moon Halo releases when he cuts loose. Are You with Me feels more upbeat and poppy overall. Generally, Moon Halo's work is more laid back and atmospheric - but they have occasionally gone for a groovier and poppier approach, and Are You with Me is another strong example of such. Clements' bass playing is pushed to the fore here, his grooves having a slight disco edge, whilst Cromarty's drumming is similarly groovy - and Ledger's guitar melodies are busy and intricate. Atkinson takes a less emotional road on the vocal delivery front, too, instead singing in a slightly higher register to allow for the song's pop hooks to really shine. It is an easy song to latch onto thanks to these vocal melodies and strong grooves - with Ledger also adding some aching guitar leads as the song progresses. Don't Go Changing returns to something more typical of the band's core sound, with programmed loops opening things up - before Cromarty adds some subtle cymbal work and Jennings' synths join in. The early part of the song, then, is very laid back, with these synths and subtle percussion backing Atkinson's vocals, but once Cromarty starts to drum properly there is more of a punch to the track - with the bass adding plenty of depth despite the keyboards dominating. There is very little guitar weight here, with Ledger largely making himself felt during the chorus with some slow-burning leads, as it is the drum punch and the soundscapes which dominate. This contrast between atmosphere and a harder rock punch works well, though, although it does recede during the chorus to allow for piano chords and Ledger's guitar leads to shine. You, Me & Everybody is another track which goes for a poppier and groovier overall feel - but the song feels closer to the classic Moon Halo sound than Are You with Me. It is not as poppy as that previous cut, then, but there is still plenty of groove added by Clements' prominent bass playing - whilst the electronic piano melodies utilised throw the song back to the late 1970s somewhat. The slightly crunchier guitar rhythms heard earlier in the album return here, too, with parts of the track feeling a little heavier thanks to Ledger's playing - even though the bass playing and piano melodies dominate. There are grooves and hooks aplenty here, but the song is not as upbeat as Are You with Me so its melodies are more slow-burning and typical of the band's usual approach - and the closing guitar solo is another big Ledger moment.

Worlds Collided opens slowly, with Atkinson's mournful vocals against some droning synths, and it sounds as if the song is going to be a real slow-burning ballad - but it actually soon morphs into something of a mid-paced rocker with a bit more of a punch than is expected. Ledger's guitar melodies and occasional leads give the song its rockier edge, whilst the rhythm section has a real snap to its overall performance. Big piano chords and melodies add to Ledger's guitar playing, and the song overall feels quite intricate and melodic thanks to the interplay between the guitars and the keyboards. The song reminds me a little bit of Cats in Space in places - at least the more laid back and less bombastic end of that band's sound. There is a positive and relative up-tempo feel which is similar to that band's overall sound - with the ringing piano melodies feeling bright and Atkinson's vocals feeling strident. Ledger also adds a folky guitar solo to the song's closing moments, adding to the overall upbeat and somewhat different feel of the track. Nobody Is Perfect is perhaps the ballad that the previous song was teasing - and it is the most stripped back song on the album, at least at first. Based around Jennings' piano and Atkinson's voice, the song is simple in its arrangement - and it really brings the best out of the latter in particular. The way that Jennings plays here, which leaves lots of room between each batch of notes, really gives Atkinson's voice the spotlight - and the opening section of the song really shines thanks to this lack of production and additional instrumentation. Eventually, though, Ledger does join in, adding some guitar melodies, and this is then the cue for the rest of the band to join in - and the rest of the track is backed by a sombre groove and some layers of synths. The focus on the vocals and the piano does not really change, though, and they still dominate despite the fuller arrangement - whilst the occasional, Pink Floyd-esque guitar lead is welcome. The song is quite a lengthy one, but the guitar leads and the dominant piano playing create a strong atmosphere - and Atkinson continues to shine throughout. Truth ups the pace again, and the song is more of a rocker with some crunchy guitar rhythms and a poppy synth hook which surfaces throughout. Jennings' keyboard playing is generally less prominent here, despite the aforementioned hooks and a synth bed during the verses, with Ledger's guitars largely dominating. His crunchy riffing and rhythms give the song a bit of a punch, which the rhythm section help to expand on, whilst his solo part way through is lengthy and more typical of his contributions to the previous albums - despite it feeling a bit more hard rock and high octane than before. Not to be outshone, though, Jennings also adds a synth solo towards the end of the song. This builds on the synth hook mentioned before, as well as compensating somewhat for the reduced keyboard presence throughout the rest of the song.

The album's penultimate song, Back to You, returns to the core Moon Halo sound following the more up-tempo and rocking previous number - with Jennings' piano and synth work creating a bed for Atkinson's emotional voice, whilst the rhythm section add something of a groove. Despite parts of the song feeling very atmospheric, with the chorus perhaps being Moon Halo 101 in terms of approach, there is a little more bounce elsewhere - with the verses feeling more upbeat, albeit in a subtle manner. Programmed synths and a prominent bass presence help the verses to tick and feel a bit more bouncy - whilst the rumbling piano of the chorus, alongside some shimmering synths, are the perfect backing for Atkinson and his heartfelt lyrics. Jennings also adds a big synth solo in the middle of the track, with the cutting tone of the keyboard adding to the bounce heard elsewhere, whilst Ledger, whose playing is generally relegated to the background here, takes over as the song closes out for another guitar solo. The album then comes to a close with The Masterplan, a very typical Moon Halo track which covers a lot of the ground referenced throughout the album. There is a bit more weight here thanks to Ledger's guitar playing. His crunchy rhythms from earlier in the album return here, giving parts of the song a tougher feel, whilst Jennings also uses organ and some more oppressive keyboard tones to further this feeling in places. Grooves are also present, with snappy guitar lines locking in with Clements' bass playing during the verses - whilst Jennings' piano melodies operate slightly separately to provide additional interest. Atkinson sings well against this somewhat dense backing, with the use of subtle vocal harmonies adding to the song's overall big feeling - which is particularly prevalent during the chorus thanks to the shimmering synths and the layers of additional vocals to bulk out the sound. As the song progresses, too, it becomes a lot more dramatic - with a symphonic instrumental section crashing in with big drums and synth stabs, rocking up the piece unlike anything else on the album. This then morphs into a lengthy Jennings synth solo, which is somewhat Pink Floyd-esque too - although it is more harder rocking than that, which is exemplified when Ledger takes over, replacing the synths with his busy guitar soloing. This extended passage is the album's biggest and most bombastic instrumental workout - and it is fitting that it falls within the closing number to really give the album a kick as it comes to an end. Overall, then, Trichotomy is another strong album from Moon Halo. I did not find it immediate as some of the band's previous work, but over time many of the songs here have really grown on me and there is some subtle variety throughout which helps the album to shine. The core sound remains, but a few moments of experimentation and a harder rock approach help - even if the band's atmospheric approach very much dominates. There is a lot to like here for fans of the current progressive rock scene, and the melodies throughout are strong.

The album was released on 2nd May 2025 via Moonhalomusic. Below is the band's promotional video for album, featuring snippets of many of the album's songs.

Young Gun Silver Fox's 'Pleasure' - Album Review

A type of music which has become a real favourite of mine over recent years, particularly as a respite from all the heavier music I tend to consume, is all that falls under the rather nebulous umbrella of yacht rock. I had often, wrongly, thought that yacht rock was just another term for AOR and melodic rock due to Toto often getting tagged as such - but following watching an excellent two-part documentary on the yacht rock sound I learnt that I was wrong, and watching the programmes made me finally play those handful of Doobie Brothers LPs I had previously acquired cheaply. Funnily enough the Doobie Brothers LPs I had were some of the early ones, from before their yacht rock period, but they nevertheless led me to the band's late 1970s smoother era - alongside the works of acts like Daryl Hall & John Oates, Christopher Cross, and Boz Scaggs. It also made me realise that bands I already liked, such as Toto and Steely Dan, often flirted with such a sound - and the smooth sounds of the 1970s American West Coast has become just as much a part of my listening habits as harder rock and metal. It is very much a sound which characterises a time and a place, though, so it is not generally being made today. There are newer yacht rock acts, obviously, but they tend to operate on the fringes - often as uncool as many of the big yacht rockers were even when they were selling millions of records. Back in 2022, though, I was introduced, via Facebook, to the UK/US duo Young Gun Silver Fox - and after a couple of listens to their 2020 release Canyons I was sure that I had found the best modern yacht rock act around. Three years and two more albums on, I still feel the same. Admittedly I have not delved into the modern yacht rock scene, if such a thing even exists, but compared to anything else which I have heard in recent times that even attempts to be yachty Young Gun Silver Fox truly rises above. They are easily one of my most listened-to acts over the past couple of years - and after I saw them live for the first time at the beginning of 2023 I actually had to force myself to stop listening to them for a while so that I would not burn myself out on their albums. I listen to them more in moderation now, but I still love them - and I have seen them live three times in total, with the most recent time coming just last month in Bristol. The reason for that latest UK tour, their most extensive as a headliner, was the release of their fifth studio album Pleasure - which also dropped at the beginning of May. The duo's first since 2022's Ticket to Shangri-La (which I reviewed here), Pleasure sees multi-instrumentalists and songwriters Andy Platts and Shawn Lee in truly fine form. All of the duo's albums have been great, but the vibe throughout this latest record is joyous - and there is perhaps more of an upbeat pop vibe throughout the 10 songs here than on previous albums. There are still plenty of smooth grooves and the occasional slower number, but Pleasure is a great, feel-good record - with occasional 1970s disco vibes thrown in alongside a typical yachty approach. As usual, Platts and Lee are essentially responsible for everything here - although a horn section of Nichol Thomson, Tom Walsh, and Graeme Blevins flesh out some of the tracks as has often been the case in the past.

Whilst I have my favourites here, there are really no weak numbers on Pleasure. The album is a digestible length, too, which makes it perfect for any occasion - and the variety in the songwriting, despite the duo's core sound, keeps things interesting. The album's lead single, Stevie & Sly kicks things off - and the track feels poignant given the very recent passing of Sly Stone. It is not a plaintive track, though, with an upbeat groove showcasing that slight disco edge hinted at - whilst strong Motown and Steely Dan influences ensure that a core smoothness is retained. The prominence of the opening bassline, courtesy of Lee, sets a groove which never lets up throughout - whilst spiky drumming, metronomic guitar lines, and dreamy Fender Rhodes melodies create a warm bed for Platts' voice. Despite the great songwriting and production of the duo, it is Platts' vocal melodies which really make Young Gun Silver Fox. He generally sings in quite a sultry, Scaggs-esque register - but his falsetto is excellent, too, and the song's pre-chorus really benefits from this approach whilst synths swirl around. He also utilises some higher-pitched vocals during the infectious chorus, which may be one of the duo's best choruses yet, which sees an even more enhanced bassline create yet more grooves - whilst Platts' layers of harmony vocals ensure that the classy yacht rock 'produced' sound is very much present. The opening song is a future classic for the duo - and it is sure to become a staple in their live sets over the years. Upping the overall pace somewhat, though, Born to Dream is much more overtly pop in approach - and it may be the most unashamed slice of up-tempo pop rock in the duo's canon yet. Based around a tight Rhodes melody, the song moves along at a faster click than is average for yacht rock's groovy approach - but there remains a smoothness thanks to the pulse of the Rhodes and the bass, whilst Lee's guitar playing is subtle and melodic. The musical arrangements are perhaps less intricate here than the duo's often are, but all of the classic touchstones are still there - with Platts' once again knocking it out of the park vocally. Lots more falsetto vocals are utilised here, with the chorus in particular containing shades of Queen's more whimsical moments, but some deeper backing vocals from Lee add a playful edge. Lee also throws in a short guitar solo, too, which is effects-heavy and slow-burning - but it is melodic and suits the song's overall melodic approach nicely. This is a track which is all about hooks and its overall vibe - and it achieves this without sacrificing too much of the duo's usual layered approach. If Born to Dream looked to strip things down somewhat, then Late Night Last Train returns to the duo's true sound - with the smooth semi-ballad showcasing every yacht rock trick in the book. This is a song which could have easily been sung by Michael McDonald, so it is fitting that it is based around a Rhodes and synth bed - with arpeggiated guitar melodies, big acoustic guitar chords, and another pulsing bassline. I call the song a semi-ballad as many yacht rock songs could be seen as ballads due to their pace, but in reality the song is just a classic of the genre - and recalls the duo's own Mojo Rising somewhat for pace and vibe. Lee cuts loose a little here, too, with a lengthier guitar solo, adding Eagles-esque aching melodies to the piece, whilst the slow-burning chorus is another which Platts owns thanks to a more laid back delivery and plenty of soul.

Burning Daylight is somewhat more upbeat - introducing a strong dose of funk thanks to the prominence of Lee's bass playing and the introduction of the horn section for the first time here in a big way. Despite feeling more upbeat than the previous song, the track is still a mid-paced piece overall - with the bass playing giving the song a kinetic feeling, whilst bigger guitar chords and Rhodes flourishes add some drama. The track is less laid back than some of the duo's efforts, and there are some bigger musical flourishes throughout in general - with the horn section adding colour and the Rhodes taking the lead at times to accent certain parts of the track. Blevins throws in a pretty lengthy saxophone solo, too, and the this jazzy excursion only enhances the song's funky overtones in a positive way - with the call-and-response chorus vocals also having a similar impact. Holding Back the Fire reminds me of West Side Jet from the previous album - in the fact that the smooth groove feels especially Scaggs-esque, with sparse bass playing creating a slightly off-beat feel whilst acoustic guitar chords tend to dominate. This especially applies to the verses, which feel somewhat restrained and plaintive - with the Rhodes melodies feeling more mournful behind Platts' slightly quieter vocal delivery. The chorus is a bit more upbeat, though, with strong gospel influences in the approach to vocal harmonies and the presence of the horn section which kicks in as the pace becomes a bit more intense during the chorus. Occasional Toto-esque synth stabs add to this upbeat feel during the chorus, with Platts later laying down a Rhodes solo in a change of pace to the usual guitar-based approach. Just for Pleasure somewhat builds on the approach of the previous song's chorus, as well as doubling down on some of the disco vibes heard elsewhere throughout the album. The bassline, particularly in tone, reminds me of Michael Jackson's Thriller album - and this track has a similar overall vibe to the more laid back songs on that all-time classic. Some of Platts' vocal harmonies are Jackson-esque during the chorus - and there are synthy moments which also recall the 1980s, too, building on those synth stabs during the previous song. The classic Young Gun Silver Fox sound is retained, though, with a smooth chorus still managing to exist in amongst the funkier vibes throughout. Everything manages to hang together despite this variance of influences, and it is fun to see the duo operating on a poppier plane during parts of this album. Put Up Your Dukes returns to something much more typical of the duo's core sound, though, with another excellent bassline generally driving everything - whilst Rhodes melodies and subtle guitar lines once again return to the fore. This is the sort of song which the duo have written since the beginning, but the formula has not run dry yet. The duo's core approach still sounds fresh five albums in - and it helps that Platts' ear for a massive vocal melody endures, with the song's chorus being another hooky one despite a smooth approach and slightly pared back harmonies.

The Greatest Loser is another which treads a slightly more typical pop-based path - albeit with the duo's core sound retained, particularly during another smooth chorus. Instead of the prominent Rhodes sounds used throughout the album, which do still surface throughout this track, The Greatest Loser feels more typically piano driven, especially early on, with the opening verse actually reminding me of early Elton John thanks to Platts' slightly different vocal approach and a more stripped back arrangement. There is certainly less groove here, with the song having more of a typical pop rock drive. The bass is less important here than is typical, with the piano chords the song's most prominent facet - even if the harmony vocals during the chorus and Platts' melodies are very typical of the duo's core sound. Platts' guitar solo is a bit more rock-orientated than is typical, too, and it really screams out of the speakers at one point - adding some strong additional melodies to a track which feels more strident despite it having ballad-esque qualities. Stealing Time returns to something much more yachty, though, with a prominent horn hook heralding the start of another smooth, grooving number which may be the album's biggest grower. This is not a piece which really grabbed me much at all early on, but repeated listens to the album have brought it to the fore - with the chorus' slightly off-kilter vocal melodies helping it stand out. It helps that the horn section really adds a powerful depth to this track - and there is an instrumental section part way through which really turns the clock back to classic Chicago. This horn-led moment showcases the duo's penchant for tight arrangements - and there is quite a lot going on beneath the core melodies from the trio of horn players. A big bassline drives everything as always - and the mix of this horn-led approach and another excellent chorus have really elevated the song for me. The album then comes to a close with the breezier One Horse Race. It returns to the poppier feel of Born to Dream somewhat - but with more of the duo's core yacht rock sound retained, which gives the song a snappy feel despite a smooth groove being present throughout. The bass playing is not as busy here as it often is, but the gaps between the notes add as much to the groove as the notes themselves - and the ever-present acoustic guitar helps to add a level of class and depth. A bit like Journey's Don't Stop Believin', the song's chorus is only really fully revealed towards the end - and the brightness overall increases during this eventual chorus, with huge vocal harmonies and a driving Rhodes chord sequence providing once last sing-a-long with Platts. Subtle horns and synths add depth, too, and the track closes out the album nicely with its breezy vibes. We are now five albums in and I am not sure that Young Gun Silver Fox know how to disappoint. The duo have crafted an excellent set of new songs here and the arrangements and layers throughout only help to enhance the base melodies and chord sequences within. These are songs that keep giving despite their pop hooks and easy-going melodies - which is what tends to make yacht rock special to begin with. This is pop music written by expert musicians who are masters of their craft - and the album is already one of the band's best for me.

The album was released on 5th May 2025 via Candelion. Below is the duo's promotional video for Stevie & Sly.

Machine Head's 'Unatoned' - Album Review

Each time the American groove/thrash metal band Machine Head release a new album, I generally realise that it is has been quite a long time since I last listened to them. They are one of those bands who I like, and would consider myself a fan of, but that I reach for rarely. I generally have an aversion to a particularly chest-beating brand of American modern metal, and Machine Head have certainly ventured into that territory at times, but I think my main issue with the band is just how patchy their back catalogue is. There are some great albums in there; with 1994's Burn My Eyes, 2003's Through the Ashes of Empires, and 2007's The Blackening being some examples of such; but they have also released albums which do little for me - and there have also been a few identity crises along the way, particularly during the early 2000s. That being said, though, in recent times I have generally found the band's output to be on the stronger side. The first album of theirs I properly investigated when it dropped was 2014's Bloodstone & Diamonds (which I reviewed here), which I listened to quite a lot at the time. It is certainly overlong, a common problem when it comes to Machine Head's albums, but there are plenty of strong songs within - and I saw the band live for the first time on its supporting tour and they delivered a memorable show. The initial reviews for 2018's Catharsis meant that I did not end up picking it up until years later - but I did not find much to hate on it despite a handful of rather juvenile-sounding songs and the overlong curse striking again. Perhaps the album from the band that I like the most, though, is 2022's Of Kingdom of Crown (which I reviewed here) a powerful concept album which did not really outstay its welcome - and it was one I listened to a lot in 2022. I saw the band again around that time, and was disappointed that only one song from the album was included in the set. The amount of strong, and varied, songs which graced Of Kingdom and Crown made it a real highlight for me - and it demonstrated that Machine Head is capable of so much more than they often seem to be. As such, I was really looking forward to what was to come - so I picked up the band's eleventh album Unatoned when it dropped back in April. The album cover and font continues on the look of Of Kingdom and Crown, but this latest album is quite different. For one, it cannot be described as overlong. It is easily the band's shortest album at just over 41 minutes long - and it is clear that bandleader Robb Flynn has really tried to create a number of hard-hitting anthems here, whilst also continuing on some of the experimental moments from the last album. My initial view was not all that positive, despite the album's punchy nature, but the songs here have grown on me quite a bit - and it is actually nice to have something bite-sized from the band. It sees the band's current line-up debut in the studio, too, with guitarist Reece Scruggs (Go Smack Alice; Monolith; Havok) making his mark since permanently replacing Wacław 'Vogg' Kiełtyka last year. Scruggs joins Flynn, long-time bassist Jared MacEachern, and drummer since 2019 Matt Alston - with Alston also performing on his first Machine Head album as pandemic-related travel restrictions prevented his involvement with Of Kingdom and Crown.

As always, Flynn leads the way here from a songwriting perspective, but both Scruggs and MacEachern also made significant contributions on that front - and the concise nature of the songs, alongside the duelling guitar leads of Flynn and Scruggs, make Unatoned feel like a real band effort. The opening instrumental piece Landscape of Thorns is so brief that it really lacks any character. It essentially just sets a cold tone with some synth work and effects - before the first big riff of Atomic Revelations kicks in and the album gets underway. Despite a slightly percussive opening following the first big guitar chord, Atomic Revelations is a fast-paced, thrashy track - very reminiscent of Machine Head's classic sound. There is a lot of that throughout this album, but there are also mid-paced, groovier moments - as well as the odd slow-burner. Atomic Revelations generally goes for the throat, though, with Flynn's gruff vocals driving the fast-paced verses - whilst the punchy drumming of Alston cuts through the mix. The drum production here is very typical of that groove metal sound of the 1990s, but it works well here - and Alston shines on his first album with the band. The song does vary the pace as it moves along, though, with a chorus that feels a lot more mid-paced and atmospheric, breaking up the heaviness of the verses - with Flynn adopting a cleaner vocal style as subtle synths fill in the gaps between the less intense riffing. A blistering solo section follows later, too, which is kicked off by Flynn and finished by Scruggs - the latter showcasing his talents early on. It is a powerful opening statement despite the strange little intro which preceded it - and Machine Head feel as venomous as ever. Those preferring something a bit groovier will find a lot to like in Unbound, though, a song which straddles the thrash and groove line a bit more closely. The opening guitar riffing is intense and fast-paced, but there are more mid-paced moments here - particularly during large chunks of the verses which are built around southern-friend guitar slides and monolithic power chords. The verses are multi-part, though, and do speed up as the chorus is approached - moving to a thrashier sound with a more pronounced chug. The chorus, again, is cleaner, though, with Flynn actually soaring vocally - which is a contrast to the harsh vocal-adjacent sound he uses during the song's groovier moments. In fact, there is a lot of vocal variety from Flynn throughout the whole song - with a death metal-adjacent style, a thrashier approach, and his chorus cleans, nicely backed by MacEachern, all adding character. Outsider opens with a simplified rendition of its chorus, which Flynn singing clean against a cold and synthy backing - before the song launches proper, where it takes on a somewhat groovy, mid-paced approach with a slight industrial edge. Machine Head have often thrown in synths and more modern effects to give their songs an edge, but that side of their sound is more prominent here - particularly during the verses which have occasional techy additions, whilst Flynn's vocal patterns and delivery feels very early 2000s. The chorus is much smoother, though, although later renditions are fuller than how the song opened. Flynn and MacEachern's vocals swirl around to add a cleaner side to the song - and the poppier melodies are very memorable, contrasting to the barked approach of the rest of the song.

Not Long for This World is the first song here to slow things down quite significantly - and it feels like something of a ballad compared to what has been heard so far on the album. Machine Head have often included downbeat, grungy songs on their albums - but I feel that this side of their songwriting has improved a lot in recent years, with the last album really benefitting from this approach. I was initially a bit sceptical of this song, though, but over repeated listens I have felt that the melodies have shone through the murk - with Flynn delivering an emotional vocal throughout, whilst synths and guitar leads help to elevate the song further. There are still riffs here, and moments of the track do feel heavier - but even these parts still feel restrained compared to much of the rest of the album. They help to give the song a dynamic feel, and the chorus sees backing harsh vocals adding character behind the soaring clean hook, but generally this is a song which revels in its murk - with synth melodies adding to the colder guitars and a lengthy instrumental section sees interweaving guitar leads from Flynn and Scruggs replacing a traditional guitar solo. The band ups the pace significantly again on the thrashy These Scars Won't Define Us - a song which feels like a true anthem. It is likely to become a live favourite going forward thanks to its pit-ready riffs, strident, hooky verses, and a chorus which will see fists in the air and crowds shouting along. A version of this song was released in advance of the album with guests vocals from members of Lacuna Coil, In Flames, and Unearth, who Machine Head were touring with at the time, but this version features Flynn singing alone - and that is probably fitting given the overall sound of the album. It perhaps also features Scruggs' best guitar solo on the album. It is a really explosive and fast-paced lead guitar moment which remains hooky despite the speed at which he plays - and it adds to the song's overall melodic approach despite the intensity of the riffing throughout. The instrumental Dustmaker follows, and it provides a bit of a mid-album break thanks to some programmed drum beats, distant guitar drones, and cold synths creating something of an atmospheric feel. Spoken word lines later weave in and out of these synth pulses - and the song acts as a nice bridge between the anthemic These Scars Won't Define Us and the similarly memorable Bonescraper. There are a number of songs here which seem to have been written purely to be hooky and memorable - and this mid-paced anthem really feels like one example of such. It taps into the groovier side of the band's writing - with mid-paced and angular riffing dominating. There is little of the band's thrash side here, with chugging riffing setting a nice headbanging pace - whilst slight industrial additions help to flesh things out. It feels like the song was written around its chorus, though, which is a very hooky one with wordless vocal melodies, and anthemic feel thanks to Flynn's vocal performance, and a bigger synth presence despite plenty of guitar crunch.

Addicted to Pain then returns to a much more intense sound, and it is another song which treads the line between thrash and groove nicely. There are some really fast moments here, particularly during the song's opening and the instrumental hooks which resurface throughout - but the verses feel a bit groovier, with some more percussive drumming from Alston which speeds up as the chorus is approached. As is typical here, though, the chorus is pretty hooky. It is another with big clean vocals from Flynn and supporting harmonies from MacEachern - with the pair singing in a smoother manner against some guitars and synths to contrast with the intense riffing of the rest of the song. It is a song which is very typical of the album's core sound, then. Bleeding Me Dry opens slowly, with programmed drums and cold synths, but the song is not another ballad - and it soon kicks off proper with a really mechanical riff that has a Fear Factory-esque vibe. This is probably the song where the band's industrial side shines through the most, then, and it mixes heavier and quieter moments together to create a varied sound. Despite some slower moments, where Flynn sings clean against a sparse backing, the song as a whole never really feels like a ballad - as so much of it remains heavy. The verses are slow-burning, then, but the chorus is packed full of tougher grooves and a gruffer vocal performance - and there are some instrumental sections which are packed full of heavy riffs, alongside another dual-guitar moment which adds a lot of melody. Shards of Shattered Dreams returns to a thrashier sound overall, and it is the album's last heavy moment. Despite the thrash pace throughout much of the song, it does feel somewhat groovy and industrial, though, so it is a song which includes all of Machine Head's sides in one track - whilst holding together well. Flynn's barked vocals hark back to the early 2000s, with those rapped rhythms which Machine Head have often made use of returning - whilst bleeping guitar noises and Flynn's own chaotic guitar solo adding to the song's overall pace and heaviness. The chorus is a bit cleaner, then, but it still retains a fair amount of heaviness - meaning that the song is less overtly hooky than some of the other efforts here. The album then comes to a close with Scorn, the album's second and final ballad. There is little metal at all here, until the later moments, with Flynn's emotional vocals sitting against a background of synths, chiming guitar melodies, and genuine strings. He might not have the biggest range as a clean singer, but he can deliver an emotional performance when he needs to - and the chorus here does soar surprisingly well, with MacEachern adding some subtle harmonies to fill out the sound. Guitar leads add to the song as it moves along, and there are a few heavier riffs thrown in towards the end - with the final verse and chorus feeling tougher despite the overall tone being retained. It ends the album on a downbeat, but worthy, note and, overall, I have found a lot to like on this album despite being initially disappointed. It is not as epic and inventive as the last album, but as an exercise in concise and anthemic songwriting Flynn and the rest of the band have largely succeeded. There are some future live favourites here for sure - and the riffing, production, and hooks are as vital as ever.

The album was released on 25th April 2025 via Nuclear Blast Records. Below is the band's promotional video for Unbound.

Harem Scarem's 'Chasing Euphoria' - Album Review

Even accounting for my love of AOR and melodic rock, I already seem to have reviewed a lot of it here this year. It does generally get featured quite regularly given my love of the genre, but 2025 seems to have been particularly fruitful for all things chorus-centric so far - and there is certainly more to come given what else I have to look forward to. My last review here also featured some melodic rock - so this latest entry feels like something of a sequel to Saturday's post, but we are moving from Sweden to Canada to discuss the latest album from genre stalwarts Harem Scarem. The band, led throughout by frontman Harry Hess and guitarist Pete Lesperance, are one of those bands that have been around for a while, and have generally been quite prolific over the years, but that I am not all that familiar with. I started my journey with their self-titled debut album from 1991 many years ago, which is considered something of a classic in the melodic rock world, but I am not sure that I genuinely digested one of their albums until I covered 2020's Change the World (which I reviewed here). Given that Change the World was released just before the COVID-19 pandemic really took hold, the upbeat and melodic album became a bit of companion during those early months of lockdown - and I remember listening to the album a number of times on my daily walks in the lovely spring weather of that year. Perhaps associating the album, and by extension the band, with that time, then, I have not really gone back to them that often since. I said at the end of my review of Change the World that I intended to check out more of the band's albums - but, sadly, I have not really done so. I have played their debut a few more times, and I did pick up 1993's Mood Swings, another melodic rock semi-classic, but besides that I have barely listened to the band since 2020. I have occasionally looked to buy some of the band's albums, but many of their earlier ones seem to be long out of print - and with many of the newer ones on Frontiers Records some of these are also proving hard to track down. I am sure that I will find copies of them eventually - but when the band's latest album was announced earlier this year I decided it was time to get back on the Harem Scarem train. This latest album, Chasing Euphoria, was released at the end of April and I have been enjoying it over the past month or so. Harem Scarem's sound is generally considered to be a mixture of AOR and more traditional hard rock. They are not as smooth and as keyboard-heavy as most AOR bands, with Lesperance's guitar very much the dominant instrument, but they are not as riffy nor as gritty as most true hard rock bands - with Hess' love of a huge chorus and AOR-adjacent vocal delivery a key pillar of Harem Scarem's sound. This latest album is very much typical of what I am familiar with from the band - but it does perhaps lean a little more in the AOR direction than previously. This is a very smooth album, then, with the choruses feeling hookier than ever - with many of the songs being based around one. There is also a bit more of a keyboard presence this time, too, with Hess contributing such alongside guests Ray Coburn (Honeymoon Suite) and Brendan Waters.

Aside from these guest musicians, Hess and Lesperance are joined on drums by regular studio collaborator Creighton Doane - although original drummer Darren Smith, who still tends to play live with the band, contributed backing vocals throughout and actually sings one song, too. It is a concise album, too, at just under 40 minutes long - so there is very little fat within the 10 songs featured. One of the strongest cuts opens things up, with the album's title track really setting the tone for the smooth sound and big melodies to come. Percussive drumming and a slow-burning melodic guitar lead create a cinematic opening to the anthemic song - and I really like how things open slowly, building towards an explosive chorus which signals the rest of the band to truly crash in. The first verse is built around this percussive drum pattern from Doane, then, with the guitars moving back and forth between the aforementioned lead and the odd arpeggiated melody - over which Hess sings in his confident, melodic manner. His voice is perhaps a little rougher around the edges than it once was, but his clear, melodic qualities still shine through - and the rougher edges only serve to add a little character. The drums kick in properly for the chorus, which sees some soaring vocal melodies which immediately stick in the brain - whilst subtle gang vocals add a melodic counterpoint. Later verses are more straight ahead, and a melodic guitar solo allows Lesperance to showcase his abilities, but overall this track is about its chorus - and it is one that is sure to become a fan-favourite thanks to its hooks. Better the Devil You Know immediately feels smoother overall - and it showcases that harder lean towards a more overtly AOR sound previously described. There is no such build-up this time, with the song being much more typical with a pulsing verse driven by the bass playing of Andy Curran (Coney Hatch; Soho 69; Envy of None), who guests on this one track, and some melodic guitar playing - over which Hess sounds much smoother than he did on the harder rocking previous song. Like the last track, though, it is the chorus which really shines - and the effort here has a Foreigner-esque touch of class thanks to Hess' smooth vocal delivery and the subtle vocal harmonies throughout. The strident nature of the rhythm section keeps the track nicely grounded, though, and it feels punchy despite the huge melodies. Lesperance's guitar solo is busier this time, though, in contrast to the more deliberate vibe of the rest of the track. Slow Burn picks up the pace somewhat, and this feels like more of a typical harder rock piece - similar of the band's core sound of the past. There are still plenty of smooth melodies, with Hess' soaring chorus melodies and harmonies adding plenty of AOR goodness despite a more urgent place throughout - with Lesperance's guitar and bass playing (he handles the majority of the latter throughout the album) busier and more potent. The verses are filled out by some somewhat punky bass playing, which are countered by Hess' strong vocals - whilst the guitar riffing over the top is very much 1980s hard tock in tone. These elements all fuse together nicely, though, to create an upbeat and infectious song which breaks through the usual AOR mid-paced wall to deliver something a bit more hard-hitting. Lesperance even shreds a bit during his solo - but the hooks of the chorus will keep any AOR loving coming back for more.

Gotta Keep Your Head Up features Smith singing in place of Hess. Smith has sung a few Harem Scarem songs in the past, and also previously sung for guitar legend Jake E. Lee, so he has somewhat established himself as a singer as well as a drummer - and his voice is not all that dissimilar to Hess' in truth, despite a slightly rougher overall tone. He sounds a bit 'heavier' throughout the song, then, but the core Harem Scarem sound is still very much retained, though. Hess adds harmonies throughout, particularly during the chorus, and the track is, again packed full of melodies. Like the last song, though, there are some heavier vibes here - with a crunchy guitar pattern which drives the verses and a weighty drum groove. The chorus is another winner, though, with the vocals of both Smith and Hess really bringing it to life. World on Fire then slows the pace down and acts as the album's only real ballad - with sparing guitar chords and big piano chords setting the tone as the song opens up. The first verse is very much based around this arrangement, then, and it takes until the chorus for the rest of the band to really join. This is the only song on the album which Hess wrote alone, and after hearing it that fact is not a surprise. Lesperance's playing very much takes a backseat here, although he does add some delicate melodies to later verses, with Hess' vocals taking the spotlight - both during the verses and throughout the aching chorus. Musically, the song is quite sparse, then, but this just allows the vocal melodies and Hess' emotion to shine through - although Lesperance does include a short, but potent, guitar solo. In a Bad Way returns to a harder-hitting sound, and Lesperance immediately roars back into the spotlight with a creeping, mid-paced, bluesy riff which forms the basis of much of the song. Whilst the same riff is simplified somewhat for the verses, to allow the vocals to shine, the overall groove it establishes remains - and the track is a good example of Harem Scarem's core sound. This is because there are strong melodic moments, with another memorable chorus and some keyboard additions creating a smooth verse texture, but there are hard rock riffs and grooves to help toughen things up. Whilst this album has been a bit smoother than is perhaps typical, In a Bad Way still very much feels at home here - and the riffing of Lesperance is a big part of why this song is a strong addition to the album. Reliving History is perhaps a bit more typical of this album's core sound, though, with a smoother sound overall and an arrangement which builds towards its chorus. Perhaps what holds this song back, though, is the fact that it sounds quite similar to Better the Devil You Know. Better the Devil You Know is the better song, with a stronger chorus, so Reliving History suffers somewhat given that the former already feels familiar after only a few listens. The verses, melodic guitar approach, and the chorus build are very similar - whilst the chorus itself feels a bit different to create a point of difference. It is not a bad song in and of itself, but this similarity makes it one of the weaker cuts here for me.

A Falling Knife immediately returns to a harder rocking sound - racing out of the blocks with a busy guitar riff which is right out of the 1970s. Following the smooth, slow-build of the previous track - there is a noticeable urgency this time, and Hess allows the rougher edge of his voice to dominate a little here which adds to the song's overall tougher sound. There is little AOR to be featured this time - with Lesperance's big guitar riffing really leaping out of the speakers and Hess pushing himself vocally to match these riffs. Even the chorus is more typically hard rock than AOR and there is none of the band's usual soaring approach here - with fast-paced melodies and a snappier approach working well considering the riffing and the drive of the rhythm section. Occasional organ chords in the background add depth, too, and the song is a late highlight on the album. Understand It All, despite being built around a pretty strident guitar riff, reintroduces plenty of smoothness following the rollocking hard rock of the previous song - whilst also injecting a somewhat funky groove. Whilst Lesperance's opening riff is perhaps what is latched onto initially, it is his bass playing during the verses which really sticks. There is a really infectious rhythm as this song moves along and it makes the track another which sticks in the brain. There are also some interesting guitar melodies during the verses, which expand somewhat as the song moves along, but the bass is generally the focus throughout - and this is even somewhat the case during a typically melodic chorus. There is more of a guitar presence during the chorus, but the bass playing still adds a lot - and Hess' vocal melodies are excellent as always. Lesperance also gets to shine during a lengthy guitar solo section, too, which starts off busy with lots of acrobatics before settling into a more mid-paced mode with some melodic phrasing. The album then comes to a close with Wasted Years, another pacier number which treads that line between AOR and harder rock in a very typical manner for Harem Scarem. The faster pace does mean that it feels pretty energetic, which means that it does lean more towards the harder rock side of things - but there are still plenty of hooks throughout, with even the faster chorus still filled with AOR-esque melodies. The fast pace allows for some crunchy guitar riffing, too, but I would still say that the vocal melodies shine the brightest - with Hess using gritter vocals during the verses and his smoother delivery during the chorus. Throw in another pretty busy guitar solo and the song is another very enjoyable cut - with the closing moments of the solo being especially fast-paced. It really ends the album on an energetic high, then, and given the smoother overall sound of this album this harder rocking end feels like a nice bit of punctuation. As is likely apparent, this is an album which I have been enjoying a lot - and each listen only enhances that view. As much as I have enjoyed the few other albums by the band which I have heard, Chasing Euphoria might be my favourite yet - even compared to the classics from the early 1990s. Nearly every song here is memorable and packed full of hooks - and there is a surprising amount of variety, too. Harem Scarem very much sound like themselves, too, and it is nice to hear a new melodic rock album which is not just trying to ape the legends of the 1970s and 1980s.

The album was released on 25th April 2025 via Frontiers Records. Below is the band's promotional video for Chasing Euphoria.