Alice Cooper's 'The Revenge of Alice Cooper' - Album Review

Each passing year tends to include a few interesting rock and metal reunions. It is always nice to see bands get back together, especially if everyone involved is doing so for the right reasons, even if the results are not always quite what the fans would have hoped for. Sometimes it is just good to see certain musicians working together again, regardless of how things turn out, and one of 2025's most notable reunions to date is the coming together of the remaining remembers of the original band named Alice Cooper to release their first full album of new material since 1973's Muscle of Love. Unlike many, though, I have never really drawn much of a line between Alice Cooper the band and Alice Cooper the singer. It is true that Cooper's first seven albums all featured the same musicians - but I have never felt like there was a huge shift in tone between Muscle of Love and 1975's Welcome to My Nightmare, Cooper's first true solo album, particularly as armies of session players had already started to participate on the band-era albums before the solo era got underway. Also unlike many, too, I have never held Cooper's early 1970s albums in especially high regard. There are plenty of stand-out tracks between them, that is for sure, but I tend to prefer most of the albums he has put out since the mid 1980s over everything else - and the more metallic Cooper gets the more I tend to like him. I might not be sounding like the biggest Cooper fan here - but I do like him quite a lot. I just tend to feel that he is quite hit and miss when it comes to songwriting - and I am not sure that he has ever released an out-and-out classic album. All of his albums are patchy, but there is a lot to enjoy within his catalogue - and I have reviewed some of his more recent efforts pretty positively here. Cooper's last album, 2023's Road (which I reviewed here), was one I enjoyed a lot for the most part. Mostly written and recorded by his current live band, which differed from the session musicians and songwriters approach he has tended to take more recently, Road felt raw and upbeat. There has certainly been something of a shift back to a more 1970s-esque sound on Cooper's albums of late - but there always remained something of a harder edge which had crept in over the years. Two years on from Road, though, and we have The Revenge of Alice Cooper - Cooper's thirtieth album overall and the first with his original band since 1973. Guitarist Michael Bruce, bassist Dennis Dunaway, and drummer Neal Smith have all contributed small amounts to many of Cooper's recent albums - but The Revenge of Alice Cooper is the first full album he has written and recorded with them in over 50 years. The late Glen Buxton, who died in 1997, appears on one song via the use of an old recording of his playing - whilst his lead guitar is replicated throughout by Gyasi Heus and Rick Tedesco. Producer Bob Ezrin, who produced many of Cooper's 1970s albums and has worked with him a lot more recently again, also returns - and the session musicians are also kept to a minimum. As such, this album does feel like a true reunion - and it is more of a shift in tone back to the 1970s than any of Cooper's other recent releases. Given the side of Cooper which I tend to prefer, it is perhaps unsurprising that I enjoy some of his other more recent releases more than this one - but as a retro throwback and a gathering of old friends, The Revenge of Alice Cooper is certainly enjoyable.

If anything, the album is too long. Cooper's recent albums tend to generally be on the long side, and he is certainly not alone in this, but 14 songs is a bit much given the general patchy nature of his songwriting. There are some strong, memorable songs here, but there are also some throwaway moments and too much rote blues - so the album could have done with some fat trimming. The early portion of the album, though, is pretty strong. Opening with lead single Black Mamba, which features Robby Krieger (The Doors) on lead guitar, the creepy vibe of Cooper's early work is re-established quite quickly. Rumbling bass notes and occasional screaming guitar leads set an early tone, before Cooper starts to deliver a creepy spoken monologue - evoking early horror B-movies (as does the album's cover art). When Smith's drums kick in, though, the song morphs into a snaking, mid-paced rocker - with a groovy bassline that expands on the intro melodies and some wah-drenched guitar rhythms. Occasional guitar leads cut through the murk, with Krieger adding some of his trademark blues to the piece, but generally this track is psychedelic garage rock in tone with the prominent drive of the rhythm section leading the way. Cooper sounds great vocally throughout, as he always does in fairness, and he occasionally returns to the spoken word of the intro for effect. Some repetitive wordless vocal hooks which act as a chorus can grate a little after a while, but generally the tone here is strong - with Krieger adding a lot with his laid back playing. Wild Ones is more of an up-tempo rocker, and it is one of my favourite pieces here. It is the sort of song I can imagine Cooper playing live today, and it opens with a fast-paced drum beat and some thrashy, yet hooky, lead guitar. The sound of this album is pretty old-school, with garage rock vibes throughout, so the rumble of the rhythm section always has a big presence. Dunaway's pulsing bass playing drives the song, whilst the rhythm guitars are generally in the background more to create raw chord patterns - whilst the cutting leads feel more present. The guitar takes over a bit more for the snappy chorus, which is one of the album's most anthemic moments, but generally this is Dunaway's song in terms of riffs and basslines - which is unsurprising given that he co-wrote it. It is a song which grabbed me from the off and it remains a real favourite - and I hope that Cooper introduces it into his setlists. Up All Night opens with Smith's punchy drumming, before Bruce lays down a gritty guitar riff - and this track is much more guitar-driven than the last one. The bass is still busy, but there is much more of a roar from the guitar riffing this time - with the stop-start guitar playing during the verses backing Cooper's vocals and the ever-present drumming nicely. Cooper delivers the verse vocals in a semi-spoken manner, but the chorus is much more melodic - with 1960s, Beatles-esque vocal harmonies and pop melodies clashing against the scratchy guitar leads which are also thrown in. The song is another memorable one thanks to this poppy chorus, then, and there is a good mix of grit and melody here - with a snappy guitar solo towards the end, too.

Kill the Flies is a much creepier track overall, and it really harks back to some of the denser numbers on Cooper's early albums. Smith's drumming is quite laboured here, but that only helps the song to sound heavy and lumbering (in a good way), whilst slab-like guitar rhythms and proto-punk bass playing gives the song quite a bit of punch. Ezrin adds some organ and other keyboards here, too, which allows the song to feel much deeper than many of the other cuts here. Despite its rocky edge, then, the piece still has a real atmosphere to it throughout - which is largely created by the subtle keyboard playing and some relatively intricate vocal harmonies. There is a bit of a theatrical feeling, then, which is later built upon by some glockenspiel and a proggy guitar solo with slide and plenty of effects. A pretty hooky chorus manages to operate within this framework, too, which is a bit of an in - and the song is another highlight thanks to its variety, even if it is one that takes a few listens to fully appreciate. One Night Stand is another pretty bass-driven piece. Ringing guitar chords create a bit of an atmosphere, but it is Dunaway's bass playing that drives everything here - his melodic playing busy and ever-present. Slightly aggressive drumming again adds a proto-punk edge, and this gives the song a bit of bite - as otherwise it feels a bit more laid back with the ringing guitars and slinky bass. Cooper almost croons the song, too, singing in quite an affected lower register which sounds a bit strange. There is a Doors vibe here for sure - albeit with a later screaming guitar solo which is welcome. Blood on the Sun is a bit of an mini epic, and it opens with prominent acoustic guitar melodies - over which Cooper starts to sing. The opening moments of the song are quite organic, then, with the acoustic guitar dominating, but the song soon opens up following a lower key version of the first chorus - which is another of the album's hookiest moments. Cooper's vocal approach during the chorus is more typical hard rock, with some strong harmonies to back him, and some of the guitar riffing as the song gets going, particularly following each chorus, feels quite uplifting in a Pete Townshend-esque manner. Bruce's big chords and riffs here feel much more strident than they sometimes can, then, and the piece feels like a bit of a stadium rocker at times despite the slow-burning intro and the fact that part-way through the band drop out to allow Smith to lay down some marching drums as a slow-burning guitar solo takes over. This solo is quite lengthy, but the section is memorable - and it helps the song to be another highlight here. It is likely the most involved song on the album, and when the final chorus reprise later crashes back in the song feels like it comes full circle. In contrast, Crap That Gets in the Way of Your Dreams is a short, proto-punk piece with a bit of a sense of humour and little to write home about. Cooper and his original band often channelled some of those garage/proto-punk vibes of bands like MC5, and this short, faster rocker is a song which goes back to that sound somewhat - with a more aggressive vocal from Cooper alongside snarling guitar rhythms and occasional cutting leads. Slightly humorous lyrics and infectious riffing make the track enjoyable for what it is - but it is not one of my favourites here. The guitar solo is welcome, though, and as a bit of throwaway garage rock the song does the job.

Famous Face is more of a grinding, mid-paced rocker with much crunchier rhythm guitar riffing throughout from Bruce - who wrote the song. Dunaway's bass still does a lot of heavy lifting, especially during the chorus, but this track is much more guitar-driven throughout the verses - with a grinding riff really setting a strong tone here, and sustained leads later joining in for effect. This is another song with a slightly bigger sound, though. Organ is added at times by session player Tom Booth, which is especially evident during the chorus, whilst Bruce himself adds some piano and other keyboards, too - with the piano noticeable again during the chorus in particular. As such, this mix of crunchy guitar riffing, various retro keyboard sounds, and plentiful guitar leads is a strong one - and the slightly sluggish, mid-paced rocker generally does the business, with Cooper again delivering another decent chorus. Money Screams ups the pace somewhat and goes for a faster, punkier feel with snappy guitar riffing and a lighter-hearted tone. In some ways, the song feels like a slightly expanded version of Crap That Gets in the Way of Your Dreams - with a bit more of a serious tone and more of a classic rock feel. The vocal melodies during the pre-chorus and chorus again recall the 1960s somewhat, with the melodies throughout the chorus not hugely different from what Cheap Trick might try if they were opting for a rawer sound, whilst another pretty memorable guitar solo is packed full of melody. The song is pretty unremarkable really, but some nice melodies and a strong chorus can go a long way - and the track is another decent effort for those who want something which mixes pop and rock well. What a Syd opens with a very generic sounding bluesy motif, and the track is another pretty throwaway piece in my opinion. It has a very deliberate old-school, 1960s sound - but it sounds twee in my opinion, with a bluesy bassline and some clean guitar chords in the background. The shuffling, swinging drum groove which pulls everything together only enhances this strange vibe, too, with Bruce also switching his guitar for an electric piano to add to the slightly twee feel. The song is one of the weaker efforts here for me. Intergalactic Vagabond Blues is better, though, and it picks up the pace immediately with some snappy, old-school blues riffing and Cooper adding some harmonica. The previous song was bluesy in a swing/lounge manner, but this song is bluesy in a harder rock manner - with the snappy riffing, hooky backing vocals, and occasional harmonica all coming together to create a quite infectious piece. A screaming bluesy guitar solo later adds quite a lot to the song, too, which is enhanced in part thanks to the harmonica playing along. The song is unapologetically retro, like the last one, but it is just much more up my street. There is a decent energy created throughout thanks to the riffing and the harmonica wig outs - plus the band seem to want to really rock out here, as there is quite a lot of lead guitar throughout, with another lengthy solo bringing everything to a close.

What Happened to You is the song here which features Buxton's guitar playing. Given that Bruce and Heus are also both on the song, it is unclear exactly which bits came from Buxton - but it is nice that he was able to be part of the album in a small manner. In truth, I think his contributions to some of the 1970s album were quite limited due to his substance issues - but he was nevertheless a great player when he was at his best. Like the last song, too, What Happened to You is generally an upbeat and bluesy rocker. Rollocking piano from session player Ross Harwood adds some barroom vibes at times, especially the countermelodies to the vocals which he plays during the verses, but generally this is a guitar-driven song with crunchy, bluesy guitar riffing conjuring up a nice swing as the faster-paced song moves along. The guitars are perhaps a bit less busy in terms of leads this time, with the piano doing a bit more heavy lifting, but there is a short solo early on - as well as another lengthy one as the song comes to a close. I Ain't Done Wrong is the only cover song here, as the band here tackle the old Yardbirds piece from the 1960s. Unsurprisingly, given The Yardbirds' blues background, this piece is another bluesy rocker - but this time the song is more mid-paced and overtly blues in quite a rote manner. Cooper again adds some harmonica here, which adds some additional texture, but generally I find this song to be quite lumpy. Smith's drumming feels weighed down and leaden here, and not in a good way this time, and the barrelling guitar riffing is just repeating tropes that we have all heard hundreds of times before. It might seem silly to make this complaints during a cover of an old British blues boom tune, which are often songs that can sound as rote as anything these days, it just shows that little imagination went into making this track anything different from the last few - and given that it sits at the end of a run of bluesy pieces it ends up feeling like more of the same. Given the number of songs here, this cover version could easily have been left out and the album would not have lost anything as a result. Thankfully, the closing number See You on the Other Side breaks away from the band's obsession with the blues which has crept in during the album's latter half - instead returning to something a bit more atmospheric and interesting. A bit of a slow-burning piece, the song is something of a cinematic semi-ballad with early clean guitar melodies, strong bass countermelodies, and a bit more of an atmospheric depth thank to some interesting guitar and vocal arrangements. A strong chorus helps, which actually has a slight emotional edge thanks to Cooper's vocal delivery and the aforementioned vocal harmonies - whilst melodies elsewhere from an acoustic guitar depth and clean guitar additions keep things interesting. The song is not as expansive as a couple of the other longer tracks here, but there is certainly more going on than is often typical of this album - and it returns, vibe-wise, back to the first half the album, which, in my view, is stronger than what follows. Whilst I am not sure that this album lives up to the reunion hype, especially given how bluesy it gets towards the end, there is enough strong material here to say that it is enjoyable overall - and it sounds like the band were having fun putting these songs together. Where they lean into the spooky, atmospheric vibe which characterised Cooper's early work, alongside some of the punkier moments, the album really shines - but the handful of twee moments and the excessive amount of bluesy later on holds it back from being a classic. It still ticks a lot of boxes, though, and it is a fine addition to Cooper's expansive canon.

The album was released on 25th July 2025 via earMusic. Below is the band's promotional video for Wild Ones.

Kerry King - Bristol Review

When it comes to gigs, the summer is generally a quiet time. My July was surprisingly busy, where I took in extreme metal, prog, and classic rock all within the space of a fortnight, but August has been pretty barren. The Doobie Brothers in Birmingham back in July was starting to feel like a distant memory, but yesterday I took a mid-week trip up to Bristol for some thrash - as Slayer's Kerry King brought his solo band to the Electric Bristol as part of a festival-centric run of European shows. When Slayer came to an end in 2019, King started suggesting that he would carry on on his own. I think that Slayer would still be a significant going concern if he had his way, so I am sure he has been enjoying the band's recent slightly low-key reunion which has seen them play a handful of notable shows, and he was clearly not ready to retire after the band's last big-scale world tour came to an end. The pandemic likely forced him to have something of a break - but, last year, following plenty of teasing, King released his first solo album From Hell I Rise (which I reviewed here). It was King's first batch of new songs in nine years, and it nicely carried on the Slayer legacy. I think that some were a bit disappointed that the album was so much like everything Slayer ever put out - but I am not really sure what those people were expecting. From Hell I Rise is exactly the album I expected King to make as a solo artist - and it was an album I listened to a lot last year and enjoyed. Since the album dropped, too, King has been pretty busy taking it on the road. There have been breaks in the schedule which have allowed Slayer to play some big shows, including two mini festival-type shows here in the UK which looked like they were a lot of fun, but with Slayer's reunion likely to be a bit-part affair I think that it is only right that King pours most of his energy into his solo project. He played a London show last year, which tied in with his appearance at Download Festival, but until this week they were his only UK shows as a solo artist. Clearly looking to add to his UK appearances this year, then, King added two shows to the schedule of his wider European run - which seems to consist of a handful of headline shows booked in between a number of appearances as some of the continent's biggest metal festivals. When he announced the two UK shows I assumed that he would also be playing at Bloodstock Open Air, and the shows were tagged on as a result, but that booking never materialised - which made the two shows in Manchester and Bristol seem a little random given the number of shows and their locations. I was certainly not going to complain, though, as a Bristol show is always welcome - particularly mid-week. They mean that I can work in the morning and get an early afternoon train - meaning that I save on annual leave. The number and the quality of venues in Bristol, too, means that there are rooms for most tastes and sizes - and the Electric Bristol (a recent re-brand for what was SWX) is one of the city's many mid-sized venues. It is not my favourite venue in the city, but it is certainly not bad - and I have seen a few shows there over the years. King, unsurprisingly, attracted a large crowd - so the room was full and hot throughout the night.

Perhaps adding to the overall appeal of the show for many, the American industrial/groove/post-thrash pioneers Fear Factory were later added as special guests for both of King's UK dates - which the four-piece did tag onto an appearance at Bloodstock. I have never been the biggest fan of Fear Factory - largely as I am just not really into that 1990s metal scene from which they came. I generally consider the 1990s to be a nadir for metal of all kinds - but over time I have found more of an appreciation for bands like Pantera and Machine Head, and in the run-up to this show I did give Fear Factory a bit more of a listen. I have owned a copy of their seminal release Demanufacture for years, but beyond that I knew very little. Luckily, though, 2025 is Demanufacture's 30th anniversary - so Fear Factory have been touring throughout the summer supporting this milestone. Only Dino Cazares (guitar/vocals) remains in the band from 1995, though, and there has been quite a lot of line-up churn in recent years - but the number of Fear Factory shirts I saw in the queue and the wider crowd suggested that most did not mind. The band were afforded an hour, which meant that the whole Demanufacture album could be played - and I generally thought that the band put on a pretty strong set. I saw a few moments of their set at one of the Bloodstocks a few years ago and did not think much of them - but the sound last night was pretty clear and there was a decent amount of energy in the room despite many seemingly saving themselves for what was to follow. The album's mechanical title track kicked off the 12-song set, with drummer Pete Webber impressing from the off with his tight double kick work and ability to pull off the band's trademark industrial beats without sounding too much like a computer. Cazares' riffing was solid throughout, but Fear Factory have never been a guitar hero band, whilst frontman Milo Silvestro, who came on board in 2021, did the songs justice - with a good mix of harsh and clean vocals. He made the chorus of Self Bias Resistor soar, whilst the old single Replica felt like a true anthem. Cazares, as the only original member left, did much of the between-song talking, but he did not have much of note to say - and it would have been nice to have heard a bit more context around the album's 30th birthday with some stories from the time. Perhaps the clock was against them, though, as generally the music was left to do the talking, with the grungy Dog Day Sunrise later acting as a bit of a mid-set change of pace - whilst perhaps the most crushing moment of the night was a powerful rendition of H-K (Hunter-Killer) which saw quite a bit of singing from the crowd. Despite the number of Fear Factory shirts I saw, I did think that the crowd was a little quiet at times - but the bill was a little odd so it was likely that some of King's fans were not really into what Fear Factory were doing. Songs like the ambient A Therapy for Pain, which was the set's penultimate number, likely added to any existing confusion that some had - but the raging Linchpin, the only non-Demanufacture song played, acted as a powerful closing number - bringing some back on-side. The band's set ended up largely being a strong one, then, and I am glad to have seen Fear Factory live - even if they will never really be my thing. The setlist was:

Demanufacture

Self Bias Resistor

Zero Signal

Replica

New Breed

Dog Day Sunrise [Head of David cover]

Body Hammer

Flashpoint

H-K (Hunter-Killer)

Pisschrist

A Therapy for Pain

Linchpin

Following 30 minutes or so, during which I had to get a drink as it was very hot in the room, the lights went down and the instrumental Diablo filled the speakers as King and his band took to the stage. The band is very much a supergroup of notable thrash players - with Death Angel's frontman Mark Osegueda and former Vio-lence and Machine Head guitarist Phil Demmel perhaps the two most notable inclusions. Despite this being King's band, though, he did not attempt to steal the show at all. I would say that Demmel likely soloed more than King himself - but King still did solo regularly, and the two guitarists worked well together, with the opening duo of the fast-paced Where I Reign and the groovier Rage immediately showcasing the power of the five musicians on stage. Osegueda did all of the between-song talking, too, and owned the stage as he tends to with Death Angel. He is one of the best singers in thrash and sounded powerful throughout - even owning the handful of Slayer songs performed. In terms of setlist, it was very much focused on the now. Every song from From Hell I Rise was played, but six Slayer songs, from a variety of eras, were also performed - as were two covers. The band's 90 minute set flew by, then, and there was plenty of energy from the crowd throughout - with a permanent hole left in the centre of the crowd for use by the moshers. The first third of the set was all solo material, with the slower-paced Residue and the neck-snapping Idle Hands perhaps being the stand-outs. The band sounded great, too, with Osegueda's voice soaring above the band and the screaming guitar leads also cutting through. It was a powerful display of thrash, then, and King still rocked out as hard as he did when I last saw him with Slayer back in 2016. Repentless was the first Slayer song played, but the Slayer material was not afforded any additional reverence - with the band treating the new material as equals. Whilst some of the classics did get a slightly louder crowd reaction, I was under the impression that most were familiar with King's album - and it did not feel like one of those shows were people were just waiting for the next one they knew. The punky Toxic showcased this, as it received a strong reception, but the cheer which greeted the sing-a-long Disciple did show that there was still plenty of love for the old favourites. The first of the two covers played was Iron Maiden's Purgatory, in memory of Paul Di'Anno. King and Demmel joined forces for some great harmony leads during it - and the crowd helped Osegueda out on the choruses. Slayer classics Chemical Warfare and At Dawn They Sleep were later also well-received - but perhaps it was the mash-up of Black Sabbath's Wicked World, in memory of Ozzy Osbourne, and King's own Shrapnel which went down the best. The bluesy riffing and leads of the former bled nicely into the thrash of the latter - with the Sabbath track returned to again as the latter came to a close. By now there was not much time left, but an atmospheric drum intro from Paul Bostaph signalled that it was time for Raining Blood, which perhaps saw the biggest mosh put of the night, with the evergreen classic then morphing into the older Black Magic for a great one-two punch of old-school Slayer for the die-hards. With no encore shenanigans, it was left to the title track of King's album to close out the night - and there was plenty more moshing and energy in the room as the 90 minutes came to a powerful close. The setlist was:

Diablo

Where I Reign

Rage

Trophies of the Tyrant

Residue

Two Fists

Idle Hands

Repentless [Slayer material]

Toxic

Tension

Everything I Hate About You

Disciple [Slayer material]

Purgatory [Iron Maiden cover]

Chemical Warfare [Slayer material]

Crucifixation

At Dawn They Sleep [Slayer material]

Wicked World [Black Sabbath cover]/Shrapnel

Raining Blood [Slayer material]

Black Magic [Slayer material]

From Hell I Rise

Despite seeing Cradle of Filth last month, which was something outside of my general comfort zone, last night in Bristol felt like the first proper all-out metal show I had been to for a while. Thanks to Fear Factory's mechanical grooves and King's fast-paced thrash, there was very little respite from the riffs - and live thrash is often a great experience. A clear sound mix and an energetic crowd helped the night at the Electric Bristol to shine, despite the heat in the room, and King seems to have picked up exactly where he left off with Slayer - so I hope there is more to come from this group of musicians.

California Irish's 'The Mountains Are My Friends' - Album Review

It has been quite a busy couple of years for the Northern Irish singer-songwriter Cormac Neeson. Following a quiet few pandemic and pandemic-adjacent years, he returned to the spotlight in 2023 - when his band The Answer returned from a hiatus and released the excellent, raw, and bluesy Sundowners (which I reviewed here), their first album since 2016. At one stage, I thought that The Answer were going to be one of the big rock bands of today, but sadly that rising through the ranks never really seemed to happen - and I would not be surprised if this inability to break through the glass ceiling was responsible, at least in part, for their hiatus. Following a break, though, the band are back - and plenty of shows have followed the release of Sundowners, even if their touring activities have perhaps not been as intense as they once were. I am just glad that the band are back, and pacing yourself is never a bad thing, but Neeson clearly also wants to explore other sounds - ones which would not suit The Answer's relatively hard-driving, Free-inspired blues rock sound. In 2019, during The Answer's unofficial hiatus, he released his debut solo album White Feather. For whatever reason, I did not pick the album up when it came out - but I did finally get around to it earlier this year. I remember that it was well-received at the time, but I think the reports that it was essentially a folk album put me off. I was mourning the apparent loss of The Answer at the time, and was probably not ready for something so different from Neeson, but when I finally heard it earlier this year I found it to be a delicate and moving album - given the subject matter dealt with within. It is fair to say that White Feather is not wholly my thing, but I appreciate it for what it is - and it was clearly the album that Neeson needed to make at the time. Fast forward six years, then, and what was intended to be Neeson's second solo album is here - but California Irish's The Mountains Are My Friends is certainly a band effort in terms of presentation. Neeson wrote the 10 songs with a plethora of songwriters, none of whom appear here, but after performing with some of the musicians featured as part of a Neil Young tribute show he decided to turn his second album into a band effort. The Neil Young link is fitting, too, as the songs here were very much written with the Laurel Canyon scene of the 1960s and 1970s in mind - and Neeson has indicated that he always wanted to write an album in such a style. As such, there are hints of Young here, both with and without Crosby, Stills & Nash, alongside other acts like The Byrds, Jackson Browne, and the Eagles (at least their early work). This scene, alongside other acts such as The Band and even the mellower end of Little Feat, fill the 10 songs found on The Mountains Are My Friends. It is a fuller album than White Feather but, a couple of songs aside, it is not all that much rockier - but the layering of instruments and the organic sound here set the two albums apart with this latest record being much rootsier.

Joining Neeson here are guitarists Donal Scullion and Chris Kelly, bassist James Doone, keyboard player Simon Templeton, drummer Conor McCauley, and supporting vocalist Suzy Coyle. The seven-piece band makes a big sound here even if many of the songs are quite low-key and slow-burning - but Pete Miles' production ensures that all the nuances shine through. The album was essentially recorded live in the studio in the old-fashioned analogue way - perfectly harking back to the influences which are on show throughout. One of the rockier tracks opens things up, though, with Live Fast Die Free laying down a vibe for the rest of the album to follow. A shuffling drum groove and bluesy guitar chords are overlaid with lashings of warm Hammond organ - and the song conjures up a pleasing mid-paced groove from the off which is maintained throughout. Kelly's lap steel melodies and Templeton's organ are the main touchstones here - but the spotlight generally throughout this album is on Neeson. His storytelling style and emotional delivery are very much on show throughout - but he reins it in somewhat compared to his work with The Answer. His tone very much remains, though, and Coyle harmonises well with him throughout - either adding wordless melodies in the background or boosting the sound during the pre-chorus and hooky chorus. Hand claps add to McCauley's shuffling rhythms, boosting the subtle hooks of the chorus, and the song overall is a feel-good soft rocker with plenty of soul. There are not many more moments like this here - with Old Friends perhaps more typical of the album's core sound. Neeson and Scullion, both armed with acoustic guitars, create a warm acoustic bed early on - with the Hammond from the opening track returning to create a halo around everything. The drumming is subtle and percussive, never really crashing through, likely utilising brushwork - whilst, again, the lap steel and the organ tend to provide the main musical flourishes. This is not an album about big soloing or melodies - but the occasional organ motif or slide lick give the song character. Neeson sings gently, with some of the rest of the band joining him, with the chorus in particular bringing mournful, Eagles-esque harmonies to the table. Later in the song, Coyle adds some thumb harp - giving the closing moments a plucked, percussive feel. Julie Ann, one of my favourite pieces here, feels a bit larger in scope. With three guitars, including a 12-string, there is a strong country bed over which everything is laid - whilst the slightly more hollow drumming and yet more organ create a deep, organic sound. Scullion sometimes swaps his acoustic guitar for an electric equivalent, throwing in some bluesy, melodic leads, but generally the acoustic instruments dominate - whilst lots more harmony vocals and organ flourishes create a surprisingly cinematic sound. A rare guitar solo is later included, with Neeson adding some cowbell in the background, with Scullion's slightly psychedelic yet bluesy melodies nicely rising above the rest of the band's dense sound. The scope and the focus on the guitar melodies here makes the song stand out for me.

Side by Side opens with a slow-burning drum beat - over which simple acoustic guitar chords and effects-heavy electric guitar melodies are added. Whilst not as cinematic as the last song, there is also quite a lot going on here to create a warm bed for Neeson's emotional, plaintive vocals. Coyle's harmonies feel a bit more pronounced in parts, her voice adding character, whilst the return of the lap steel adds emotional swells where needed - especially during the chorus. Templeton sticks to his organ, even if its growl is not as prominent here as it has been, whilst Neeson adds some percussive piano melodies at times - particularly as the song progresses. Something Different sees Templeton behind the piano, so the song opens with delicate piano melodies - backed by the hollow percussion of McCauley. Even compared to many of the songs here, this song is pretty low key. There is little of the warmth of what has come before. The sparkle of the piano creates a different sound, whilst the stark acoustic guitars feel slightly colder than the album's typical sound. The vocal arrangement is also different. Neeson sings in a slightly higher register than he would generally do - and the harmonies are essentially ever-present this time, creating a shimmering and slightly ethereal sound throughout. The song has a strong old-school folk feel then - and this is a track which really leans into the album's influences in a big way. The folkier feeling is only enhanced later on, too, when both Neeson and Coyle add some recorder melodies - adding woodwind to the acoustic guitar and organic piano vibes. Returning to the relatively more upbeat feel of the album's opening song, Big Questions has a bit more of a southern rock edge - with electric piano melodies driving everything and slightly brasher guitar tones adding depth. Hammond organ is also used in places, particularly during the chorus, but the boogie of the piano is a big part of the song's infectious energy. This song is probably the closest in style to The Answer - and Neeson sings more in his typical manner here, allowing his bluesy rasp to shine through on occasion. It is jauntier than The Answer, with more of an acoustic guitar base and a less defined drum sound - but some blues rock elements are on show thanks to a Kelly guitar solo and some prominent bass playing. Given that most of this album is quite laid back, this fun, up-tempo song is a strong addition to the album - and I can imagine it going down well live. Can't Let Go returns to the album's more typical sound, though, but it is the first song here to feature Coyle more prominently. Whilst she generally is utilised as a harmony vocalist, this song is sung as a duet - with Coyle dominating early on. Her smooth, warm voice differs from Neeson's slightly more ragged delivery - with the two singers contrasting nicely. It is why Coyle's harmonies work well elsewhere - and Neeson's harmonies here during the first verse and chorus work similarly well. Neeson takes over for the second verse, and he sings in a much deeper manner than is typical - whilst a good mix of organ and piano create the main drive of the song whilst acoustic guitars add depth. Templeton gets to showcase his abilities later on with a piano solo - with this extended instrumental moment probably the album's longest.

Sunday Morning also opens slowly, with sparse and slightly brash guitar chords, despite the slow vibe, whilst slide guitar melodies nicely add some mournful melodies behind Neeson's vocals. Given the slight brashness of the opening, it is unsurprising when this song morphs into a slightly more full-bodied piece. It is not as rocking as the couple of faster tracks here, but it certainly feels brasher and more hard-hitting than much the rest of the album. Screaming, bluesy guitar leads are utilised occasionally, whilst, again, a mix of organ and piano creates a varied backing for a strong mix of electric and acoustic guitars. Electric guitars dominate here, though, which is rare - whilst Coyle's harmonies and counterpoint vocal additions feel a little more cutting than usual, which adds nicely to the song's overall sound. Hard We Fall is much more typical of the rest of the album - with layered acoustic guitars, Neeson's plaintive vocals, and Coyle's subtle harmonies setting an early warm tone. Neeson adds some harmonica throughout, which only enhances the album's more organic feel, whilst as the song progresses its arrangement grows in a subtle, yet noticeable, way. The drumming later adds some depth, as do the long-held bass notes, whilst subtle organ washes and occasional piano flourishes add to the song in a similar manner the harmonica. As the song progresses, too, Neeson's vocals become more intense and ragged. The closing moments see him really pushing himself, which allows him to deliver an emotional performance which reminds me of some of his more hard rocking moments with The Answer - albeit toned down and set against a more acoustic backing. The album then comes to a close with I Am Free, a slightly more cinematic piece which reminds me somewhat in scope of Julie Ann from earlier in the album. Big acoustic guitar chords, crying lap steel melodies, and dense backing vocal arrangements help to create a scope which sets the song apart from much of the rest of the album. There is a bit of a groove from the rhythm section despite the slow-moving feel, whilst busy piano playing from Templeton is full of character. This song is also another which features Coyle more prominently, and she takes over vocally later in the song - with a vocal delivery which feels a little more cutting than she did when she previously sang lead here. She adds quite a bit of grit to her sections - and when Neeson joins back in, which is accompanied by noticeable organ swells, the two sing together in a pleasing manner to bring the album to a close, with the last section featuring limited instrumentation as the two of them, plus other members of the band, harmonise together. It is a warm and enjoyable end to the album - with I Am Free being another highlight overall for me thanks to its scope and interesting vocal arrangements. The Mountains Are My Friends is certainly a bit of a different album from Neeson but it is not one that I am surprised that he has made. This sort of music suits his voice and some of the slower moments on The Answer's albums have previously hinted at what was fully realised here. It is an enjoyable album with lots of heart and an atmosphere which feels genuine. I like it for those reasons, even if it is not the sort of album I am likely to play regularly - but those who enjoy warmth, strong songwriting, and a nod to the past should find plenty of enjoy here.

The album was released on 18th July 2025 via 7Hz Productions Ltd. Below is the band's promotional video for Something Different.

Styx's 'Circling from Above' - Album Review

I have spoken recently on this blog, when reviewing Little Feat's strong latest album Strike Up the Band (which can be read here) in particular, about the current trend of veteran bands, some of whom had not released new music for a number of years, suddenly seeming keen to once again write and record. Whilst some older bands have never stopped being creative, with new albums dropping every few years, some slow down. It is understandable if all band-related activity slows down, but when a band continues to tour regularly playing the same old greatest hits set night after night the lack of any new material really starts to become apparent - but, thankfully, some bands start to realise this and force themselves to be creative again, often with positive results. I also recently covered the excellent Walk This Road (which can be read here) by The Doobie Brothers, a band which could have been described as in a creative slump not all that long ago, and today I am turning to another band which has righted such wrongs in more recent years - the Chicago-based rockers Styx. Before 2017, Styx had not released anything new since 2003's Cyclorama. Cyclorama has certainly grown on me, and I like quite a bit of it these days, but it is no classic - and in 2003, a time when fewer people seemed interested in new music from veteran bands, it almost certainly sank without a trace. I imagine that it took the band a while to come to terms with this lack of success - particularly as the 1999 album Brave New World, which saw the band's classic three singer-songwriters reunited, had also struggled to make much of an impact. Styx had a lot of success in the 1970s and 1980s, with even 1990's Edge of the Century a gold-selling album in the US, so it must have been hard to adjust to a lack of big sales. I think this is often the reason why veteran bands stop releasing new music - but those who adjust their mindset and expectations often find an audience for their new albums, and I also think that audiences seem more receptive to new music now than they were a decade or two ago. Styx underwent this change of perspective just under a decade ago, with the stunning The Mission (which I reviewed here) from 2017 honestly rivalling some of the 1970s/1980s classics in my opinion. It brought back some of the band's progressive influences in a big way - and perfectly fused prog rock ideas with pomp rock bombast and pop songwriting. All of the classic Styx hallmarks were present throughout The Mission, and 2021's Crash of the Crown (which I reviewed here) was almost as good. Both were easily better than anything Styx had done since 1981's Paradise Theatre, with The Mission potentially going back further. I was hoping for more, and earlier this year the band surprise dropped their eighteenth studio album Circling from Above. It officially came out last month, but physical copies were available directly from the band prior to this official release - with this old-school approach and focus physical media a welcome one. The Mission will always be a high-point for modern Styx, and Circling from Above is not as strong - but it is another enjoyable album with plenty of memorable moments.

Sound-wise, though, Circling from Above is less bombastic and hard rocking than usual. This is more of an overt pop-prog album, with a good mix of retro synths and organic guitar tones - alongside power pop-esque vocal harmonies and melodies. It still sounds like a Styx album, but it does have its own feel - even if, like the last two albums, it is made up of lots of shorter songs which segue together. There has been a line-up shift since the last album, too, with bassist Terry Gowan having replaced Ricky Phillips last year. He shares bass duties with original bassist Chuck Panozzo here, but I would imagine that Panozzo's contributions were fairly limited - as has been the case for many years at this point due to his health. The other change sees the band's producer Will Evankovich (The Guess Who) credited as an official member this time, contributing guitars, keyboards, and even some vocals. Evankovich was a big part of the last two albums, so him coming on board formally makes sense. As has been the case of late, too, Evankovich makes up a third of the main songwriting triumvirate here - with guitarist Tommy Shaw and keyboard player Lawrence Gowan completing it. Opening with the fairly brief title track, the album gets underway with an organic feel. Shimmering keyboards get things going, with old-school prog tones on show from the off - and even when the rest of the band join in a slow-burning Pink Floyd feel is established with a sombre drum groove, prominent bass playing, and Shaw and Lawrence joining forces vocally. Spacey guitar melodies and prominent acoustic guitar additions only enhance this atmospheric feel - and the song soon transitions into lead single Build and Destroy with some synth melodies and a bit of a change of pace. The song is a bit more up-tempo, with electric piano melodies and synth leads ensuring that the organic feel remains. Lawrence sings this one, his slightly throaty voice adding some grit over the keyboard-heavy sound - whilst occasional crashes of guitar and a prominent bassline create a strong groove. Long-time drummer Todd Sucherman adds to this groove, too, and there is a slight funk edge thanks to the driving electric piano, bass, and drums - but the synth flourishes and big chorus vocal harmonies are full of vintage Styx-isms. A wah-drenched guitar solo sounds like the work of founding guitarist James Young, as it has his hard rock edge, but generally the leads here come from the keyboards. Michigan opens with some buzzing guitar notes and fizzing synth tones - but the smoothness of Shaw's voice acts as a nice contrast. Shaw sounds as good as ever vocally here and his sense of melody is very much intact. His melodic hooks rise above the guitar-driven semi-rocker - which feels rawer thanks to a big acoustic guitar presence, plenty of bass, and less keyboard flash. Chorus vocal harmonies conjure up old-school Styx memories, though, whilst the occasional warmer synth lead also contrasts nicely with the rawer guitar tones and the percussive nature of Sucherman's drumming. It is not exactly hard rock, but little here is - and there is a nice energy to the piece which is welcome.

King of Love is the only song here which features vocals from Young. Young's input in Styx's new material seems fairly limited, with this album the second in a row without a Young writing credit, and his vocal presence has also reduced. In truth, his voice is not what it was, so this is probably no bad thing - but his deeper croon does suit the slightly sultry vibe of the song. Again, there are strong grooves here. The drum and bass playing is a bit different from the norm - whilst a big chorus returns to more of a bombastic sound thanks to some rumbling Hammond organ, huge vocal harmonies, and Shaw's heroic vocals. Young takes the verses and Shaw takes the chorus, then, whilst another pretty busy guitar solo is also likely from Young - showing that he still has plenty to offer. Synth runs add plenty of melody elsewhere, too, and the track is a highlight. It's Clear reins in the energy of the last track, and it instead opens slowly - with building synths and Lawrence's gritty vocals. I have always loved his tone, and he suits the atmospheric opening of this track nicely - whilst percussive drumming and flashy synth melodies fade in and out, again creating a progressive feel. Shaw takes over for the chorus, which is more pop-focused and fast-paced. The two main singers have really gelled over the past couple of decades - but especially on these newer albums. Their harmonies are tight and lush - and Lawrence adds plenty to the chorus here despite Shaw dominating. A harder rocking bridge, more synth flashes, and a country-tinged closing section all contribute to the track being another strong one. Forgive is more of an acoustic number, at least early on, with big acoustic guitars dominating, subtle organ washes, and gentle percussion creating an initial bed for Shaw's plaintive vocals. Lawrence sings quite a bit of the song, but the two go back and forth throughout - with Lawrence later expanding the overall tapestry with some piano melodies. The song continues to grow throughout, though, and it is another which has some Pink Floyd vibes in the second half as the scope widens quite significantly. Allowing for a jauntier sound, Everybody Raise a Glass feels rockier than the previous song, with driving piano from Lawrence the core of the piece whilst early Queen vibes fade in and out. Flamboyant vocal harmonies, vaudeville rhythms, and a sunny disposition - the song is a lot of fun. It is quite different for Styx, but the band have often had a theatrical side - and it is certainly on show somewhat here. There is less of the prog instrumentation here, with jaunty piano and guitars instead backing Lawrence's powerful vocals throughout. Blue Eyed Raven is different again, with Shaw leading throughout and the song having an infectious country/bluegrass feel. Acoustic guitars dominate throughout, with simple percussion backing the thrashed acoustic chords - with Shaw's urgency apparent throughout. The percussion adds a lot here, as do Lawrence's subtle vocal harmonies, but the guitar and Shaw's voice drive everything for the most part - with a busy acoustic guitar solo later adding plenty of melody. A hooky chorus refrain keeps the song interesting given the stripped back vibe - but later on the band do join in in a more meaningful manner, with a fiddle solo added by session player Aubrey Haynie. The final chorus feels bigger, too, and the song is a lot of fun thanks to its sense of urgency and melody.

She Knows is the first Styx song to feature lead vocals from Evankovich - and his voice sits somewhere between Shaw's and Lawrence's. He has a bit of a gritty edge like Lawrence, but he lacks the drama - as there is also a hint of Shaw's smoothness. I am not sure that his voice adds anything to the song which Shaw or Lawrence could not add - but he has a pleasing voice and given his big part in making Styx creative again it is nice to hear him sing. The piece is also quite acoustic-driven, but there is more of a band feel from the off and there is also a lot of piano throughout - with Lawrence adding harmonies when needed. Big acoustic guitars, cinematic drumming, and synth flourishes add depth. The short Ease Your Mind is essentially a piano bridge with Lawrence taking the lead - and it acts as the intro to The Things That You Said, which opens with staccato piano melodies and Shaw's smooth voice. Like many of the songs here, Sucherman's drumming is quite percussive here, with lots of tom work to create some strong grooves - whilst the piano generally acts as the driving force. Subtle strings later add a grandness, whilst some Queen-like melodies during some more cinematic moments create bombast - as does a flashy synth solo which dominates later on, before Queen is again referenced with some thin guitar leads. The last moments of the song are much rockier, too, with heavy guitars building on the piano of earlier to create a big sound as the song comes to a close. We Lost the Wheel Again also features Evankovich on vocals, with the track feeling more upbeat and organic - thanks to some strident acoustic guitar chords, busy bass playing, and crashing drumming. There is a bit of a Who vibe here thanks to the strutting nature of the rhythm section and the brash acoustic guitars - and Evankovich's voice suits the track, as he leans into his grittier side a bit more here. It is another somewhat different song for Styx - as it lacks most of the band's usual flair and bombast early on. Lawrence does take over vocally during a bridge section, which features piano playing and more of a lush feel, but once a big guitar solo kicks in the song returns to its more organic base. The album then comes to a close with Only You Can Decide. Shaw sings this closing number, whilst slow-moving acoustic guitar and piano melodies sit beneath him. Again, there are shades of Pink Floyd here - especially when Sucherman's drums come in to create a sombre vibe. Spacey synths are added at the same, too, with the vocal harmonies from Lawrence adding some class - even though Shaw is the dominant force here. A cinematic guitar solo builds on this further, taking the song to the next level, but I like how things soon return to how things opened initially after that - with the acoustic guitars and piano seeing the song to a close, albeit with some additional vocal harmonies this time. It may lack some of Styx's usual pomp and bombast, but Circling from Above has certainly grown on me quite a bit - with each listen revealing something new. There are some classic-sounding Styx moments here, but there are also a few songs that do something different - and for a veteran band that is always welcome. There is a dreamy vibe and a retro feel here which I like - and the album shows a bit of a different side to Styx whilst adding another enjoyable album to their catalogue.

The album was released on 18th July 2025 via Universal Music Enterprises. Below is the band's promotional video for Build and Destroy.

Malevolence's 'Where Only the Truth Is Spoken' - Album Review

It feels like quite a while since I last reviewed something heavy. It seems like most of my reviews of late have covered more traditional hard rock, melodic, and progressive acts than all-out metal. There is quite a lot of metal I am looking forward to later in the year, so expect more heaviness to come, but coming along today to redress the balance and inject some riffs back into this blog is the Sheffield-based five-piece Malevolence - a band that are, perhaps, the UK metal scene's ultimate rising stars. They can trace their history back to 2010, and released their debut album Reign of Suffering in 2013, but I feel like over the past five years the band's stature has significantly increased. Their first decade seemed like a bit of a slow-burn, but the release of EP The Other Side in 2020 and, particularly, third album Malicious Intent (which I briefly discussed here) in 2022 brought Malevolence into the light in a more significant way. I was certainly not aware of the band before 2022 - and I remember picking up Malicious Intent a little while after it came out following the many positive reviews of it I had read - alongside the fact that I would be seeing them open for Trivium in January 2023. I would not say that I was hooked on the band from the off, but in the months leading up to the gig I warmed to Malevolence. Their mix of old-school metalcore, hardcore, and 1990s sludgy groove metal started to click, despite me not being the biggest fan of the latter two, and it helped that the songwriting was tight, with two distinct and powerful vocalists shaking up established formulas - as well as the band's willingness to throw in plenty of huge guitar melodies and solos. Malevolence's sound really is a mix of lots of different types of metal, then, which I think is what makes them stand out and likely why they have become so popular - but it also helps that they are a venomous live act. They really owned the stage opening for Trivium - and I saw them again as a headline act later the same year with Sylosis in tow. Sylosis were largely the reason I bought a ticket, but I knew that I would enjoy Malevolence again and it was impressive seeing the band command quite a large and sold out room with apparent ease. They are headlining the O2 Academy in Brixton later this year, so Malevolence's star has only risen further since, and it helps that this has come alongside the release of their fourth studio album Where Only the Truth Is Spoken - their first since Malicious Intent. Malicious Intent felt like a step up from what had come before, and it was also the band's first release on a major label, and Where Only the Truth Is Spoken feels similarly such. Working with Josh Wilbur, who has produced bands like Gojira, Lamb of God, and Trivium, feels like a big achievement for the band - and there is also a guest appearance here from Randy Blythe (Lamb of God). This would all count for little, though, if the songs and the performances were not top notch - but they are. The first half of the album in particular is excellent, with endless riffs, anthemic choruses, and solos filling all of the songs - with the band's craft having been honed by keeping the same line-up for the past 15 years. Frontman Alex Taylor, guitarists Josh Baines and Konan Hall (the latter of whom also doubles up as a secondary vocalist), bassist Wilkie Robinson, and drummer Charlie Thorpe are as tight as anything at this point - and Where Only the Truth Is Spoken, despite some big name 'help', feels like an album honed through years of touring and camaraderie.

The last album opened with a short, sludgy track which set quite a nasty tone from the off, but this album opens in a more typical fashion - with the powerful Blood to the Leech kicking things off nicely. The first six songs here represent some of Malevolence's best work to date. This is not to belittle the second half of the album, but the first half is particularly strong - and Blood to the Leech is a fine opening statement. Plentiful snare rolls and a fast-paced riff kick things off, with the opening instrumental moments of the song soon morphing into a more groovy and hard-driving section - with a good balance of more straight ahead beats and plenty of double bass drumming. The main riff mixes great groovy patterns with a hardcore attitude, whilst the rest of the song moves back and forth between mid-paced power and thrash-adjacent speed. Taylor is a hugely powerful harsh vocalist. He may not be the most diverse of singers, but his tone and diction is great - and he works well above the snapping riffing and drumming of this mix of thrash and sludge, with the chorus in particular sounding powerful thanks to some gang vocals from the rest of the band. Despite not featuring any clean vocals or lead guitar moments, which does set this song apart from many of the band's others, the mix of riffing styles and speeds allows for a dynamic approach. A brief spoken word section then segues into Trenches - a real groove/hardcore effort which largely stays in a more mid-paced lane, sticking its chest out with real attitude. Taylor dominates during the intro, spitting out the opening vocals against staccato riffing and drumming - whilst the darker verses which follow feature more prominent bass playing, with more reined in guitars, to allow for a little light and shade, despite the heavy tone remaining. Hall's roaring clean vocals add a lot to the later chorus. He does not sing as much here as he sometimes does, but he backs Taylor's growls nicely - and the chorus sticks in the brain as a result thanks to this vocal approach and a more old-school metal riff. A brief guitar solo also adds a lot. If It's All the Same to You really harks back to the previous album, and it is one of the album's biggest anthems. It feels as if the band has focused a lot more on anthemic songwriting in recent years - and this song is another example of such. The opening mid-paced riff is an immediate ear-worm, and one sure to open up pits live, whilst a great mix of thrashy verses and a slower chorus with more of a clean vocal presence really is Malevolence 101 at this point. After a couple more riffy songs, too, there is a lot more lead guitar here. Baines throws in some bluesy and effects-heavy leads following the first chorus, only adding to the melodic nature of the piece following Hall's gritty chorus vocals, and some of the riffy moments feature leads over the top of them. A hardcore breakdown later adds further grooves - and I can see this song becoming a real fan-favourite.

Counterfeit opens with distant riffing and vocals, with the band fading into view as Taylor bellows the song's title - only for another big mid-paced riff to kick in. There is definitely a strong Lamb of God influence to what Malevolence do, despite the hardcore edge, and this riff feels somewhat influenced by that band - despite the drumming not being as intricate. This is not to take anything away from Thorpe, who puts on a great show throughout the album, it is more to note the different vibe between the two bands - although there is a pre-chorus moment which does feature some more intricate drumming as if to prove me wrong! Despite lots of mid-paced riffing here, this is a song which feels pacier overall. It is certainly at the higher end of mid-paced, and Baines' guitar solo is set to a backdrop of real thrash, with the speed allowing for some more technical riffing and some slightly higher-pitched vocals from Hall than is typical. Salt the Wound is more of a change of pace, with the song showcasing much more light and shade. It has ballad-like tendencies, and has vibes of Higher Place from the last album - but this is a heavier track overall in my opinion. Still, clean guitar melodies and slow-burning drumming kick things off, with Hall taking the lead vocally during the verses. His deep, rumbling voice is able to carry quite a bit of emotion, and he suits the murky clean guitar backing here - before the band take things up a notch during a groovy, mid-paced chorus which ups the heaviness and sees Taylor take over. Bluesy guitar interludes add to the atmospheric nature of the piece early on - but once the riffing takes over properly after the second chorus it is very much business as usual for the rest of the song, with mid-paced grooves building on the early murk, even if Hall sings more than would be typical. So Help Me God is another song which is very typical of the modern Malevolence sound - insofar as it is a song which was clearly written to be an anthem. Despite this, it feels thrashier than some of the band's other anthems, which means that the verses really barrel along at pace, but this pace only helps the song to feel memorable overall. Occasional slower, groovier moments take over, but generally the track steams along - although the hooky chorus is somewhat more mid-paced, with Hall's vocals more overtly melodic than is typical. I am not sure the band have done a chorus quite so melodic before, but it works well - and the thrashy pace and riffing elsewhere help to maintain the overall heaviness. Imperfect Picture opens with some percussive drumming and a slow-building riff, which soon morphs into a simplified Lamb of God-style groovy opening - with the rest of the song generally sticking to a similar pace, despite a murkier overall vibe. Hall's vocals are generally reserved for chorus hooks or ballad-like moments - but he sings quite a bit of the song, with his clean vocals over the heavier verse riffs giving the song a grungy feel. Taylor's harsh vocals weave in and out, but the clean vocals tend to dominate - and that gives the song a different vibe. Due to this murky feel, with effects-heavy guitars in places, the song never feels as heavy as is typical for the band - with the grungy feeling making the song stand out. I have to say it is not a song that has really stuck with me, but I appreciate the intent to try something new.

Heavens Shake returns to something more riff-driven, although the opening moments and later chorus do feel a bit different from the band's typical sound, The riffing is a bit more slow-burning despite it retaining the band's heaviness, but there are some quite prominent synths which add a slight coldness. The intro and chorus repeat this vibe throughout, whereas the verses are more typical with groovy, headbanging riffs and Taylor's staccato, barked vocals giving strong hardcore vibes. Lead guitar moments are quite plentiful, too, with a shredded lead acting as a hooky pre-chorus - whilst a later solo builds on these. Hall and Taylor join forces for the chorus, battling against the synths, whilst a slow hardcore breakdown throws things back to the band's early days. This song shows the band's mix of styles nicely, and is one which really opens up after repeated listens. In Spite features Blythe and, following a couple more slightly experimental tracks, Malevolence return to their core sound here. The track is a venomous, mid-paced anthem with numerous big riffs and plenty of knotty lead guitar interludes. Slightly faster verses and a headbanging, groovy chorus are packed with the band's usual attitude - with Hall adding some clean hooks to the sweeping chorus, and Taylor's barks elsewhere powerfully rise above the mix of thrash-adjacent riffing and hardcore grooves. Blythe is added later in the piece, initially adding moody spoken word before be gradually morphs into his distinct growl over a building and groove-laden bridge section. Demonstration of Pain is also a fairly typical Malevolence track at this point, although it is another which plays with pace quite a bit. Parts of the song are quite thrashy, with instrumental riff-led moments upping the pace and allowing for some brief moments of shredding, whilst the vocal-led sections tend to slow the pace somewhat - with the verses in particular taking on a sludgy groove. The chorus is more typical and mid-paced, with a subtle anthemic quality, and I like how the song constantly plays with pace - which is built on again later during a bridge section which slows things down further and introduces some death metal-adjacent riffing briefly. The album then comes to a close with With Dirt from My Grave, which opens with some thrashy riffing - that tends to characterise the song throughout. This is one of the fastest overall songs here, and it leaves the band's usual groovy approach behind for the most part. The chorus feels somewhat groovy, with strong anthemic vocal hooks, but it is still pacier than would be typical - whilst Thorpe's ride-led drumming is perfect for the pace of the track. This is another song which has grown on me quite a bit - with the chorus hooks now shining through, and the energy levels being upped a welcome closing statement. Baines' guitar solo is excellent, too, and the fast song is a powerful way to close out the album. With some strong, anthemic statements and a few moments of experimentation, Where Only the Truth Is Spoken is a powerful effort from Malevolence. It builds on the more straight ahead Malicious Intent, showcasing perhaps a little more variety, whilst ensuring that the good work established in the past remains intact. It might not feel as immediate but the album rewards those repeat listens - and Malevolence are certainly deserving of all the love coming their way.

The album was released on 20th June 2025 via Nuclear Blast Records. Below is the band's promotional video for If It's All the Same to You.