I was only talking recently about how I do not generally write many EP reviews each year. I do not think that the EP as a format is that popular these days, outside of perhaps punk and extreme metal, but every so often one worth my time comes out - and today's piece covers a new one from the Florida-based metalcore act Trivium. I always feel that calling Trivium a metalcore act does them a bit of a disservice - but it is the scene that they are most associated with. It is true that both 2003's Ember to Inferno and, in particular, 2005's Ascendancy were pivotal to the development of the that scene in the early-to-mid 2000s - but since then the four-piece have branched out, channelling various influences from traditional heavy to thrash metal, and from progressive to extreme metal. In my view, Trivium's discography is interesting because most of their albums have a distinct flavour. From the 2003 debut to 2017's excellent The Sin and the Sentence (which I reviewed here), each album featured a subtle shift in tone which made it unique. Each album was identifiably Trivium - but the band never stood still, with each album pushing their sound in new and interesting ways. Since The Sin and the Sentence, though, this has happened far less. I read this as the band finding their true sound and the best balance of all of their influences on the 2017 release - with both 2020's What the Dead Men Say (which I reviewed here) and 2021's In the Court of the Dragon (which I also reviewed here) both largely continuing on its sound. As such I was, and remain, a little disappointed with What the Dead Men Say. It contains a number of strong songs, but I missed that trademark shift in sound - and it felt like a less interesting version of the previous album. I was never disappointed with In the Court of the Dragon, though, as the band upped the heaviness and dialled back in some progressive sounds despite largely sticking to the same formula. The 2021 release remains a favourite, then, and the lengthy post-pandemic tours throughout 2022 and 2023 which celebrated both releases put Trivium on top of the world once again. 2024 was a quiet year for the band - at least publicly. Behind the scenes, though, an epic world tour with Bullet for My Valentine was being planned - whilst the band converted an old aeroplane hanger into their own personal headquarters, rehearsal space, and recording studio. 2025 has been extremely busy in comparison, though. The first half of the year was taken up with the aforementioned tour with Bullet for My Valentine, before the Welsh band reneged on plans to tour beyond Europe and the US - leaving Trivium high and dry. Not one to give up, though, a busy European festival run followed - and as I write this the band are on yet another lengthy US tour. The band's eleventh studio album is due to be worked on and released next year - but given the relative lack of activity in 2024 and the changes in touring plans the band wanted to give the fans a taster of what is to come. The result is the three-track EP Struck Dead - which was also recorded to essentially test out their new studio. The three songs here are self-produced, which is not something the band have done before - although they did bring Josh Wilbur, who produced their last three albums, to mix them. It is not my understanding that these three songs will appear on the next album, making Struck Dead a stand-alone release - and the band's first new material in four years. It also ended up being the last release with long-time drummer Alex Bent - who left the band in October.
Despite containing only three songs, Struck Down is a venomous release. The sound of the last three albums is certainly retained - but there is a rawer edge to the production thanks to the influence of Ascendancy. Playing that album in full night after night clearly had an influence on these songs both in a production and a melodic sense - but, beyond that, the tracks also feel more progressive. There is a huge focus on rhythm throughout - and Bent has signed off on a high, as this EP features some of his best drumming on record. The EP opens with Bury Me with My Screams, a powerful song which certainly harks back to the sound of Ascendancy whilst sounding a lot more mature. Frontman Matt Heafy has spoken a lot about re-learning his harsh vocal style from that era - and it is perhaps this which most links the song to the past. Despite some of the more progressive vibes which occur throughout this EP, the opening riff here is a bit more straight forward - but it is immediately hooky. All three of these songs are extremely memorable, packed with strong choruses, and suitably heavy. The main guitar riffing, verse lyrics, and Heafy's throaty vocals instantly shine a light back on Ascendancy; whilst occasional harmony guitar melodies and thrashy drumming also fuel this overall feel. The melodic chorus feels like a modern Trivium product, though. It has a traditional heavy metal feel - and the anthemic nature of the vocal melodies and the NWOBHM-esque guitar lead in the background remind me a little of 2015's Silence in the Snow (which I reviewed here). As such, the song goes back and forth between raw metalcore/thrash and melodic traditional metal - whilst progressive flair is shown during some groovy breakdown and solo sections, which showcase rhythmic vibes which are going to be expanded upon later. The title track follows and instantly showcases that groovy approach. There is a little bit of a tech metal feel early on, with some strangely mechanical riffing from Heavy and Corey Beaulieu - but the fluid drumming of Bent ensures that the overall feeling never strays into true tech metal territory. The drumming throughout the verses here is spectacular - with fluid bass drum patterns mixed with percussive tom and cymbal work, which is atypical. Heafy lays down some slow-paced, guttural growls over these off-kilter verses, too, which only adds to the vibe - before another soaring chorus takes over. Heafy's clean vocals are as good as ever, although he does add some growls into the background, and the melodies really stick in the brain. Trivium choruses are generally great, and this one is no exception - but the song veers off in a number of directions later, including some thrashy solos and some progressive instrumental sections with intricate riffing. Everything hangs together, though, and I hope there is more of this to come. The longer Six Walls closes out the EP, and it opens up with some melancholic clean guitar melodies - setting a darker tone. A slow-moving drum beat is soon added behind them, and the song builds an atmosphere as a result - before a neck-snapping riff kicks in which Heafy immediately barks over. Some of the early riffing harks back to the band's metalcore days, albeit amped up, but there is plenty of old-school thrash fury here - with more than a little extreme metal intensity. The verses are heavy, then, but the chorus is once again very melodic. Led by clean vocals and a smooth guitar lead, it is another to stick in the brain - whilst a later snappy instrumental section sees Paolo Gregoletto's bass countering some tricky guitar leads. The back end of the song is much proggier, too, with plenty more off-kilter grooves, rhythms, and lengthy instrumental sections. If these three songs represent the direction which Trivium intend to go in the future, then their best album may be to come. These songs feel fresh, heavy, and hooky - and that is all I want from Trivium these days as they have shown they can easily cover many bases.
The album was released on 31st October 2025 via Roadrunner Records. Below is the band's promotional video for Bury Me with My Screams.
It is great to see the Welsh-based progressive rock act Karnataka so active in recent years. Karnataka's career has often consisted of bursts of creativity and activity followed by fallow periods, usually whilst the band rebuilds itself following line-up changes, but the current era may be busiest and most intense yet - potentially apart from the band's early days which I cannot speak of. Since launching the current line-up with a tour in 2022, which had been delayed for a while due to the pandemic, Karnataka have been very busy. The band's sixth album, and first of the current era, Requiem for a Dream (which I reviewed here) was released the following year - and three pretty lengthy UK tours, alongside some European headline shows and festival appearances, have followed to both promote the album and also to help to rebuild momentum following the lack of activity between the back end of 2017 and the 2022 relaunch. I have been lucky enough to catch each tour by the current line-up - as the band always seem to make a point of returning to The Wharf in Tavistock each year. The band have been playing at the venue on and off for years, going back to the original line-up, but it was not always a touring fixture. In recent years it has become such, though, and that means that, for four years in a row, I have been able to catch the band locally. I have had to travel to see the band in the past, with a couple of tips to London in recent memory, but having the band put on a local show in Devon each year is a real treat. The band's persistence seems to be paying off, too. Karnataka shows that I have been to in the past have rarely been what you would call 'full' in terms of turnout. An exception was a 2012 show in a tiny village hall in Lowdham, which I think was sold out, but otherwise, despite some decent turnouts, I have never felt the band's shows to be overly well-attended. It was only a couple of years ago that I stood in The Fleece in Bristol, and excellent venue and one which is usually busy, with around 20 other people to watch the band live. Unsurprisingly, Karnataka have not played in Bristol again since - and like many of their peers they now seem to stick to tried and tested venues, building their following across the country that way. The band's Tavistock shows have likely always made the trips down to the South West worthwhile - but last night attracted likely the largest crowd for the band I had seen at the venue. All of the seats were full, with the floor being around half full - alongside a smattering of people stood further back. It is great seeing the band's efforts paying dividends. For a band that has been around since the late 1990s, it must be disheartening to still be playing to quite small crowds at some shows - but given all of the significant line-up shifts and periods of inactivity that the band has gone through it is perhaps unsurprising that some fans have dropped off along the way or just lost touch with what the band are currently doing. It likely helps, too, that the band's line-up has been solid now for a couple of years. The last three tours, including this one, have featured the same five-piece line-up - and the current Karnataka line-up is very tight, and more than capable of delivering the newer material as well as songs from the past. Subtle setlist shake-ups each tour help, too, and with a new live album Requiem for a Night: Live in Zoetermeer hot off the press the current line-up has also now been immortalised live for all to see.
As is typical of the band's recent shows, there was no support act and the band played two sets with an interval. Whilst material from Requiem for a Dream still dominated the set, with five of the eight songs played, a good mix of older material was also included - including some songs which had not featured all that much live in the current era. There was even a rare cover included, and some recent setlist regulars were also rested, meaning that the show felt fresh despite the focus still being on the latest album. The show started off by looking to the past, though, and to 2010's The Gathering Light in particular. Songs from the album are generally included in the set, but the two that were featured this time had not been played live since the 2022 tour - with the lengthy The Serpent and the Sea and the funkier Your World kicking off the show. The former, in particular, has always been a personal favourite - so hearing it live again was a real treat. Much of the 2022 tour was undertaken without a keyboard player, so it was great hearing these songs back to full strength - with Rob Wilsher (keyboards) ensuring that the lush arrangements came across well live. From the opening keyboard melody of The Serpent and the Sea, it was clear that the set was going to be a powerful one. The sound mix was clear from the off - with the whole band in fine form. Frontwoman Sertari is able to cover the older material with ease - and she has long made The Gathering Light-era material her own. Her smooth voice felt powerful throughout the night, and the chorus of the opening number soon rang around the venue as the large crowd let it all wash over them. Your World allowed the rhythm section of founder Ian Jones (bass guitar) and newest face Jack Summerfield (drums) to whip up some funky grooves - with the upbeat and rhythmic track a welcome addition. Two new songs were included in the first set, with Say Goodbye Tomorrow up next - returning to the set following being left out last year. The smooth rocker is one that always seems to come alive more on stage than it does on the album. It may be my least favourite song on the album overall, but live it always feels more powerful - with Sertari delivering in spades. Another personal favourite was the return of Delicate Flame of Desire to the set. The album of the same name will likely always be my favourite by Karnataka, and a big reason why is its title track. It also saw Luke Machin (guitar) really come alive. Despite knowing him to be a great player, I was unsure at first whether he would be the right man for Karnataka - but over the past couple of years he has really grown into the band. He nailed the lyrical and plentiful lead guitar moments during the folky, soaring ballad. He really seems to get the core Karnataka approach now - but he still manages to include some of himself in the material with the occasional more shredded melody. His more metallic background was also allowed to shine during the heavier Forbidden Dreams - a song which has been rarely played since the last era of the band came to an end. It was great to hear the symphonic, punchy track live again - and it contrasted nicely with the lengthy and soaring Forgiven which followed. Forgiven feels like a modern Karnataka classic at this point - and it has been ever-present in the set since Sertari's first shows with the band. It is one that allows her to showcase some different sides of her voice, such as some classical-esque moments during the Latin mid-section - whilst it also contained plenty of big guitar solos for Machin. The first set then ended with a great version of Yes' Soon - with Machin's slide guitar melodies.
Following a 20 or so minute break - the band came back for the second set which was largely focused around new material. The opening number of the new album All Around the World kicked things off, which is another track that feels like a real Karnataka classic now. It is another lengthy piece, but it is packed full of melody from the off - with one of the biggest choruses on the new album. I am sure that plenty of those in attendance enjoyed singing along to the massive hooks - and it is another song which included some big guitar moments from Machin, with his solo during the song's mid-section being one of the shreddiest of the night. The more plaintive Sacrifice followed, which is another ever-present song in the set at the moment. It is another very memorable one melody-wise, but it has much more of an emotional weight throughout - and some of the symphonic moments of the song hark back to the band's previous era, whilst ensuring the the band's classic smoothness remains. Sertari always shines whenever she sings with the band, but Sacrifice often brings out one of her best performances of the night - and last night in Tavistock was no different. The only older song in the second set was the oldest of the night - harking back to 2000's The Storm. In contrast to the lengthy and atmospheric songs around it, Dreamer allowed for a shorter moment of fun. It always always been one of the catchiest and most upbeat songs in the band's catalogue - which largely sets it apart from their core sound. It often works as a good pallet cleanser live, then, and the shorter song was another which allowed the rhythm section a bit more space to do their thing - whilst Machin included some wah-drenched riffing. The main set then came to a close with the near 25 minute epic Requiem for a Dream - a song which has felt like the centrepiece of the band's sets since the new album came out. For me, it is a song which is still growing. It moves through so many different moods on its overall journey - but it covers a lot of typical Karnataka ground. Despite its length, though, it is not the most explosive when it comes to guitar playing. There are some short solos and lead-based moments, plus Machin does get a chance to use his slide later on in the piece, but it never really cuts loose as it sometimes feels it is about to - with the track being more about its overall atmosphere, mood, and the varied vocal performance of Sertari. Wilsher was busy throughout, too, with the track an atmospheric and symphonic feast. Plenty of different keyboard textures were on show throughout and it brought the main set to a powerful close - with the ending coda ringing around the venue as the band left the stage. Machin and Wilsher soon returned, though, with the former launching into a lengthy guitar solo which acted as an elongated intro to the night's final number. There were lots of emotional leads and shredded motifs on display - but the synths ensured that the solo spot morphed effortlessly into Heart of Stone, another song which had been out of the set for a few years. It is another old favourite of mine, and Sertari sang it perfectly - with the Marillion-esque closing few minutes feeling like a triumphant way in which to end the show. There were plenty of cheers as the band took their bows and it is clear that the Tavistock faithful found a lot to enjoy in the set which had just finished. The setlist was:
The Serpent and the Sea
Your World
Say Goodbye Tomorrow
Delicate Flame of Desire
Forbidden Dreams
Forgiven
Soon [Yes cover]
-
All Around the World
Sacrifice
Dreamer
Requiem for a Dream
-
Heart of Stone
Karnataka's trips to Tavistock are always welcome - but last night's was likely one of the best due to the larger turnout and a set which included some songs which had not been played live all that often in recent years. It felt well-balanced and showcased each era of the band nicely - whilst still paying a lot of attention to the new album. Jones indicated that next year would be a big year for the band touring-wise - so hopefully they will be back in Tavistock at some point. I imagine that the next album is being worked on, too, so maybe soon we will start to hear about what is next for the band.
After my many power metal-related blogs of late, it is time to return to something a bit more grounded and also to return to the UK - to Scotland to be more precise. I have largely found myself in mainland Europe recently given all of this power metal love, but something closer to home is now required. Each year I tend to cover a few albums which I did not expect to be writing about. Often these are from bands that are just not that prolific, or who have not really existed for a long time - and Rock Generation by Heavy Pettin somewhat falls into both camps. Heavy Pettin formed in Scotland back in 1981, and were somewhat a part of the NWOBHM movement. I say somewhat, as the fact that their debut album Lettin Loose came out in 1983 makes them latecomers in terms of that scene - and also because they were largely more of a melodic hard rock band than a true heavy metal band. This never stopped bands like Praying Mantis, Demon, and Saracen being seen as part of the NWOBHM movement, though, so I think that Heavy Pettin just about qualify - even if they generally sound a lot more polished and American than most of their peers. Queen's Brian May and Queen collaborator Mack produced Lettin Loose, which perhaps shows where Heavy Pettin's headspace was at the time - whilst 1985's Rock Ain't Dead looked and sounded more like a US hair metal record than anything from Saxon or Venom. In some ways, Heavy Pettin are likely the closest in vibe to Def Leppard from the original NWOBHM era, but the Sheffield band found more significantly more success, and by the time 1989's Big Bang had been released Heavy Pettin were essentially over. A couple of archive and compilation-type releases aside, the band was not heard from again until frontman Stephen Hayman and guitarist Gordon Bonnar resurrected it in 2017 with a new line-up. I saw them live in 2019 as part of a co-headline UK tour with Rock Goddess, and they impressed in a small Bristol venue which had attracted a fairly healthy crowd. At the time the band were talking about releasing new music, and an EP 4 Play dropped the following year. The four-track release was certainly decent, and it harked back to the melodic nature of the band's past, but the band never really kicked on from there. The last few years for Heavy Pettin, beyond the odd gig here and there, had seemed quite quiet, then, and I had wondered if they had quietly called it a day again, but behind the scenes they had been working on their fourth album - which culminated in Rock Generation dropping last month, 36 years after their last one. Line-up changes likely slowed the band's progress, though. Bonnar left the band a few years ago, and was replaced by Richie Dews (Dare), and bassist Jez Parry, who played on 4 Play, also left - with Dave Boyce (Samson; The Quireboys; Grand Slam) coming into replace him. As such, Hayman is now the only original, and really only long-time, member left. Returning from 4 Play, though, are guitarist Dave Aitken and drummer Mick Ivory - with the former taking the place of Bonnar as Hayman's main writing partner. In terms of sound, Rock Generation is noticeably heavier than the band's previous albums, in line with 4 Play, but the trademark melodic and slightly Americanised approach remains. Hayman's voice remains in good shape, with his melodic, slightly nasal, quality on display throughout, whilst him and Aitken have managed to write a number of songs which hark back to the past whilst allowing a more modern production job to add weight.
The album took a few listens to fully settle with me. I was a little disappointed at first, especially given how good the opening title track is, but it is an album that gets better with time - and there is a lot of good stuff here, even if the material is not as bright and upbeat as might be expected. As mentioned, though, the title track is great - and it kicks off the album in fine fashion. Paul McManus (Glasgow; Gun; La Paz) plays the drums on the opening song instead of Ivory for some reason - but otherwise the new-look Heavy Pettin showcase their weight here. Rain and thunder fill the speakers, before a slightly southern acoustic guitar melody breaks through - and the rest of the band soon crash in with some big guitar stabs. The band's heavier sound is on display from the off, then. These opening guitar and drum crashes herald the song's first verse, which mixes tough rhythm guitars with melodic clean guitar lines - over which Hayman sings. As mentioned previously, he sounds good throughout this album. He sounds older and more nasal - but his knack for a melody remains, and his voice still has a power to it. The verses are snappy and easy on the ear as a result, and in part thanks to the ever-present guitar chug, whilst the chorus takes things to the next level - harking back to the more anthemic basis of the band's core older sound. Gang vocals, plenty of harmonies, and some fists-in-the-air vocal melodies make the chorus one of the album's best - and it sticks in the brain after only a couple of listens. There is plenty of 1980s glitter to be found during the chorus, then, whilst the mix of melody and heaviness throughout the song ensures the album gets underway nicely. Faith Healer (Kill My Demons) opens with the tolling of bells and a brief spoken word section, before a groovy mid-paced riff kicks in - with the tolling bell acting as a nice accent as the riff cycles through. Whilst the last song featured a good mix of clean and distorted guitars, this song is much more riff and groove-focused throughout. The main riff is one that will really get heads moving live - and the verses are built around a slightly smoother version of it, which allows Hayman's snarling vocals to rise above it. There is a good amount of energy to the piece despite the mid-paced grooves - with Ivory's drumming feeling punchy. The chorus is another really strong effort, too, with Hayman going again for a more anthemic approach - whilst the band harmonise well with him to create some infectious hooks. A busy, shredded guitar solo later adds some more energy to the piece - and the groovy anthem is a personal favourite here. Brother Sister follows a similar pattern, with a similar groovy riff kicking the track off. The overall structure of the track is a bit different, though, with the repeated, elongated harmonised vocals delivering the song's title often surfacing throughout, expanding a chorus feel over big parts of the song, whilst the riffing is a little more sparse during the vocal-led moments. There are harder-driving moments, but there are also moments where hung chords back Hayman's voice - and the mix of riffing styles here does help the song to stand out from what has come before. A clean guitar-led bridge section also offers a brief change of pace - before it morphs into another shredded guitar solo.
Oblivion goes for a more overtly melodic feel, and the heaviness from the opening three songs is reined in somewhat - and the band harks back to their smoother 1980s sound here. Duetting with Hayman throughout is Roni Lee (Venus & The Razorblades), and her voice adds a bit of a smoothness to the verses - where she takes over during the second half of them to contrast nicely with Hayman. The two sing together during the bigger chorus, which harks back nicely to the 1980s, with plenty of big harmony vocals and some more emotive hooks. Musically, the song feels smoother and more spacious overall. A few bigger riffs are thrown in here and there, but generally there is much more of a clean guitar depth here - which helps to build on the more emotive vibe which the vocal arrangements are pushing. Whilst the song is not a ballad, as it feels too big and driving for such, it certainly channels some ballad-esque vibes at times - even if the overall package feels more melodic hard rock in scope. Mother Earth returns to a heavier feel, and the band really pick up the pace here. Much of the album up to this point has been largely mid-paced, but this song feels more energetic overall - with a snappy guitar rhythm which recalls 1980s John Sykes somewhat. The verses are powered by this juddering guitar pattern, then, which keeps everything moving - whilst Hayman snarls his way over the top of this heavier pattern. Still wanting to ensure a more melodic sheen, though, the chorus is another big one - with some of the biggest vocal arrangements on the album. The harmonies and gang vocals here are very powerful - but they sound very loud compared to the rest of the song, so much so that it makes Hayman's verse leads sound a bit too quiet. A better balance could have been struck, then, but the chorus is still a powerful effort which sticks in the brain. There is also a bit more guitar interplay between Aitken and Dews here, with some harmony guitar instrumental sections later on - before a shredded solo takes over. X-Rated feels like an attempt to conjure up a sleazy 1980s sound. Whilst Heavy Pettin always had an American influence, they never truly crossed over into sleazy territory - and this song also, just about, stays the right side of that line. There is clearly a big injection of hair metal here, though, with Hayman doing his best Vince Neil at times - whilst party gang vocals and a barrelling, bluesy guitar riff drive everything. In fact, there are guitar motifs here which remind me a bit of Poison's Nothin' But a Good Time - and that is certainly the overall vibe which is being sought here. The song feels a bit dated as a result, but the big, dumb chorus is very easy on the ear - and I can certainly see it going down well live. The song has grown on me as a result, and it does shed some of the modern heaviness heard elsewhere, which helps to shake things up. Bullets and Pills returns to something heavier and more akin to the album's core sound - although it does open a little slowly with some clean guitar melodies. Once the main, dry-sounding riff kicks in, though, the song generally sits on the groove it conjures up throughout - and there is quite a bit of energy here as a result. The opening clean guitar motif does return occasionally throughout to allow for a slightly dynamic feeling - but in the main the song is a simple, groovy hard rocker. The chorus does retain a little of the sleazy feel of the previous song, with similar harmony vocals and overall vibe, but the song is tougher thanks to the meatier riffing.
Line in the Sand also goes for a heavier sound, but there is also a murky, atmospheric feel here which has not really been present on the album up to this point. The mix of clean and distorted guitars returns from the opening song - but this is no anthem, with the track instead feeling a bit more expansive. The riffing feels heavier overall, and the clean guitar melodies have a fuzzy edge to them which creates a bit of a grungy backing. As such, the song sounds quite different to anything else here. Hayman's voice also has some effects on it during parts of the song, which gives him a menacing sound at times, whilst elsewhere the typical harmonies which are used throughout allow more of the band's core sound to shine through. There is certainly an attempt to feel a bit more modern here. I like how the band have generally straddled the line on this album between updating their sound and staying true to their roots - but this one is perhaps too modern sounding for the band, and the overall murk is a bit out of character with everything else. Live Ur Best Life, irritating title aside, is a bit more typical of the album's core sound. The overall heaviness generally is retained throughout thanks to the ever-present guitar riffing, but there are plenty of 1980s-inspired hooks here to allow the band's original era to shine through. It is not as sleazy as some of the other cuts here, but this is a song which is very clearly from a 1980s act - with the massive chorus harmonies and the bluesiness to much of the riffing showing this off throughout. After sounding a bit strange during the last song, too, Hayman is back to his usual self here. The higher-pitched, nasal approach that he tends to take is really well suited to songs such as this - and the chorus is another which has really grown on me over my repeated listens to the album since it dropped last month. The album then comes to a close with This Life, is quite similar overall to the previous song. As such, it very much showcases the album's core sound from the off - with a tough guitar riff and plenty of grit and energy throughout. Like much of the album, it is a mid-paced track with plenty of groove - and Hayman again sounds powerful throughout. In fact, there are parts of the song where he perhaps sounds his most powerful. The chorus has a real snarl to it which nicely suits his slightly aged voice - and he really soars above the harmony and gang vocals of the rest of the band here. It makes the chorus a strong moment to close the album out on, then, whilst the verses and big guitar solo section are full of power. The song does not really do anything different to what has been heard on the album up to this point, but it nicely distils the band's core sound down to a simple and memorable arrangement - and it works well as a closing statement thanks to the groove of the riffs and the strong chorus. Overall, then, Rock Generation is very much a welcome comeback from Heavy Pettin. It sounds different to what came before, but there is enough of the essence of the band's past to make the connection - and Hayman's voice is also distinctive enough to link the two eras. 4 Play hinted at what was to come but I feel the songwriting here is generally stronger, and the current Heavy Pettin line-up clearly have a lot more to offer. They are currently on tour in Europe with Uriah Heep, and will also kick off 2026 doing so - but I hope that there are some UK dates in the band's future - as I would like to see them live again and presenting some of the songs from this album alongside some old favourites.
The album was released on 24th October 2025 via Silver Lining Music. Below is the band's promotional video for Rock Generation.
Based on much of its recent content, this blog is in danger of turning into a place of power metal worship. Over the past few months all I seem to have been doing is reviewing new power metal releases and going to see power metal bands live. This is about to change, although a review of a Sabaton concert will be coming in December, but, as I have said elsewhere recently, I have really been enjoying this latest big power metal splurge. Sometimes it is okay to listen to music that is just fun - and that is often what power metal is. Despite my rekindled love of the genre, I doubt that I will be going back to any of the overly gimmicky and novelty acts any time soon - but even the most crafted power metal is still often extremely fun. Recent Sonata Arctica and Battle Beast concerts were very much joyous occasions, then, and it is the latter whom are the focus of today's piece. The reason I recently saw Battle Beast live in Bristol was because the Finnish six-piece recently released their seventh studio album Steelbound - their first since 2022's Circus of Doom (which I reviewed here). It is the band's fourth album with their current line-up, meaning that it is also their fourth since former guitarist and principle songwriter Anton Kabanen left the band in 2015. As such, the current Battle Beast era has now eclipsed the original era in terms of releases - with the band likely viewing Steelbound as their fourth album as they have essentially left their first three albums behind. For me, too, Steelbound feels like the album where everything has truly come together for the current incarnation of the band. For my money, they roared out of the gate in 2017 with Bringer of Pain (which I reviewed here), which is a top quality power metal album, but somewhat struggled with their identity on the two follow-ups. 2019's No More Hollywood Endings (which I reviewed here) felt like a band at a crossroads. They had essentially carried on from the Kabanen-era sound, albeit somewhat smoother, with Bringer of Pain - but No More Hollywood Endings toned down the overall heaviness quite a bit and attempted to lead with a poppier, more AOR-tinged sound. Battle Beast have always had AOR-esque moments, but No More Hollywood Endings felt a little limp - although I saw the band on its subsequent tour where the songs sounded much chunkier. Circus of Doom moved things back in a heavier direction - but it never felt like a fully assured album despite it containing some strong songs. Three years on, though, and it seems that Battle Beast have decided on the sort of band that they want to be - and that is essentially the band that they always were, and relaunched themselves as on Bringer of Pain. That is, for clarity, a crunchy, riffy power metal band with strong 1980s influences - focused on the soaring and powerful vocals of frontwoman Noora Louhimo. It is interesting, too, that the songwriting of bassist Eero Sipilä dominates this new album. He wrote songs for the previous three albums, but was largely a secondary songwriter - with the Björkroth brothers dominating. They still wrote a few songs here, but Sipilä has the highest number of credits this time - and if his input has helped the band to refocus their sound somewhat then I am all for his increased involvement going forward. The result is that Steelbound is easily the band's best album since Bringer of Pain - and it may, in time, eclipse the 2017 effort.
Most of the songs here are extremely memorable, and I heard all but two of them at the recent concert. It is clear, then, that the band feel strongly that this a high-quality release - and it did not take many listens for these songs to really sink in. Funnily enough, the album's opening song, The Burning Within, was one of the two songs not played on the recent tour. Generally opening songs are played live, but for whatever reason the band decided against doing so - which is a bit strange given its overall power. The main opening riff and synth patterns, aside from the shredded guitar solo section, sound quite similar to Nightwish's Dark Chest of Wonders, though, which may have played a part - but intro aside the song does not share any other similarities with Battle Beast's fellow Finns. The snappy riff sounds quite dry, but it is quite energetic - and the verses feel hooky, with Louhimo singing in a somewhat gritty manner whilst synth stabs add additional interest. There is a decent amount of chug to these relatively mid-paced verses, then, whilst the chorus speeds things up - with more of a powerful vocal, some double bass drumming, and a bigger synth pattern. The chorus is easy on the ear, and is the first of many really hooky moments here - whilst a smooth guitar solo carries on the more melodic tones, focusing on melody over speed. Here We Are opens with some summery synths, whilst a sweet guitar lead slowly fades in - and the sugary sound harks back somewhat to the softer side of No More Hollywood Endings. Despite the similarities, though, this song feels weightier. It helps that there is a bit of a disco groove added to the band's usual AOR flirtations - which is extremely evident during the verses. Drummer Pyry Vikki adds a metallic grounding behind some synthesised beats, whilst the keyboard playing of Janne Björkroth is very present - creating the main melodies. Driving basslines and Louhimo's smooth vocals bring the song to life, whilst the guitars feel a little more restrained. They do add some weight to the background, and do break into riff at times, but this is a much more beat-driven song - with no big guitar solo. The disco edge elevates the song from the sometimes limp sounds which were on No More Hollywood Endings - and the hooks overall feel stronger, too. The album's title track follows. With a name like Steelbound, I would have expected a fast-paced power metal anthem - but instead the track is one which channels some AOR-esque tendencies. The later chorus is tougher and much more power metal in nature, especially given the shredded guitar motif which heralds its arrival, but the verses feature piano melodies throughout, Louhimo's relatively smooth delivery, and some shuffling, groovy guitar riffs. The mix of styles works well, and these expansive verses really add a cinematic edge to the album. The harder-hitting chorus remains welcome, though, with expressive synth stabs and some grittier vocals. A lengthy guitar solo section adds a lot, too, with some smooth, legato runs alongside some shredding - before a strange bridge section sees some almost nu-metal tough-guy vocals from the whole band. This mix of sounds shows that the band are feeling confident at the moment - and the variety is welcome.
Moving to a much more cinematic and dramatic sound, Twilight Cabaret mines a somewhat vaudeville vibe - whilst Janne's keyboard playing drives everything. It builds on the groovy and expansive sound of songs like Russian Roulette but arguably adds a somewhat more progressive edge thanks to the complexity of some of the keyboard melodies and the interplay between Janne's old-school piano playing, the strings, and the shuffling guitar riffs. Like Here We Are, there are also some disco-esque elements here. Synth-driven beats fill the song, the regular drumming appropriately weighty, whilst the bass playing of Sipilä adds a funky edge. Despite all of this bombast, the song still feels tough. The guitars throughout add weight, whilst the chorus is a real mid-paced power metal winner with some powerful vocal melodies and plenty of pleasing melodrama. There is even a percussive break which includes what sounds like a mix of African and steel drums - which adds another twist to the track. Returning to something a bit more traditional in terms of power metal, Last Goodbye is a much more guitar-driven piece. Despite some synths opening things up - once the chugging riffs of Joona Björkroth and Juuso Soinio kick in the song feels heavier. Janne's synths generally sit more in the background this time. They do pop in at appropriate moments, but the programmed grooves and piano flourishes of the previous handful of songs are absent this time - with verses instead driven by heavier guitars and plenty of furious drum fills from Vikki. It is nice to hear the band let their hair down a bit here and present something much more metallic. It is still a very hooky song, with a smooth chorus which does see the keyboards kick back in for effect, but it shows that they do not need all of the tricks to craft a hooky song - and sometimes a faster-paced power metal track which sticks quite rigidly to a well-worn script is sufficient. The Long Road, which is a mid-album instrumental, follows. The band used it as their intro tape live - and then played a more band-orientated version of it as part of the encore. It is very much a symphonic piece, with stirring string arrangements and distant percussion - which gets louder and more dramatic as it moves on. It does act nicely as a mid-album break - although, given that this is a short album, one was not really needed. It does feel like quite an epic intro for Blood of Heroes which follows, though, which could well be my favourite song on the album. Blood of Heroes is the most Sabaton-esque song not written by Sabaton - and the epic, mid-paced power metal anthem ups the heaviness and drama quite considerably. The first verse is quite slow-burning, but elsewhere the guitar riffing and synth overtones feel huge - and there is certainly plenty of crunch here which reminds me of Sabaton. Louhimo is one of the most powerful singers in metal when she really goes for it - and this song sees her kicking things to the next level. She sounds great during the verses, but it is the chorus which sees her at her best - where she pushes herself to the limit with some gritty, screamed moments and plenty of character. A folky instrumental section later injects a bit of Thin Lizzy thanks to some big guitar and flute melodies - whilst the guitar solo which follows is also very melodic.
From the heaviest track to the most AOR-inspired, Angel of Midnight feels like another song which perfects the sound that the band were trying on No More Hollywood Endings. There are huge melodies here, alongside some choice synth flourishes and timeless harmonies, but the AOR vibes are boosted by a weightier overall presentation. The guitars still feel quite present despite the synths dominating - and the production throughout the song just feels bigger and more spacious than the flatter sound of No More Hollywood Endings. Again, too, minor disco elements are included to add some extra juice - whilst the guitar solo is right out of the 1980s thanks to the flashy shredded melodies utilised throughout. I am glad that the band managed to get this sound to work properly on this album - and the mix of it with some excellent power metal tracks is a big reason why this seventh release is such a winner. The album's penultimate number is Riders of the Storm, the only other song apart from the opening cut that was not played live on the tour. It is another mix of big power metal and disco - with the former winning out overall. There is plenty of riffing during the song's intro, whilst the pre-chorus and chorus sections are weighty thanks to the band's guitar presence. Parts of the verses are very synth-heavy, though. The bass playing is quite funky again, which creates a strong groove, whilst synth melodies and occasional guitar leads fill the song. One of the busiest guitar solos is also included, before a fun bridge section which essentially features the chorus melodies played on the piano. It is a decent chorus, but is a sea of really strong choruses perhaps it does feel a little weak. The song is probably my least favourite here, aside from the short instrumental piece, for that reason - as it is, overall, the least interesting of the proper songs on the album. The album then comes to a close with Watch the Sky Fall, a heavier piece which returns to a much more guitar-driven sound. The opening riff and shredded guitar motifs are high-octane and hark back to the band's heavier days - although the verses are once again somewhat stripped back to allow for pulsing basslines, synth flourishes, and some of the album's punchiest drumming to shine through. There is enough big guitar riffing elsewhere, though, to ensure that the song remains pretty weighty - and there are short lead breaks throughout, showcasing that this was one of the tracks here written by Joona. This is later expanded on with a lengthy guitar solo section which is easily the longest and most high-octane of the album. This is very much a song for guitarists, then, but it helps that there is another massive chorus here which worms its way in. The song was not a favourite at first, but it has grown on me quite a bit - and it ends the album with a bang thanks to this last big chorus and the greater focus on guitar firepower. As I mentioned earlier in this piece, I feel that Steelbound is easily the band's best album since Bringer of Pain. It is a melodic, confident, and upbeat album that really solidifies the core Battle Beast sound and could really be by no-one else. It may not be as heavy overall as some would like, but there remains plenty of weight and riffing here - whilst the choruses are some of the best and easiest on the ear of this year's power metal efforts. It is great to see the band sounding so vital - and I hope that this trend continues going forward.
The album was released on 17th October 2025 via Nuclear Blast Records. Below is the band's promotional video for Twilight Cabaret.
I think that it is fair to say that I am currently going through a big power metal phase. I recently enjoyed gigs from Sonata Arctica, Helloween, and Battle Beast - whilst Helloween's latest album Giants & Monsters (which I reviewed here) is likely to feature in my Albums of the Year list in due course. I have also started to delve into the catalogues of power metal bands that I had previously ignored, such as Elvenking and Bloodbound, and it has been great to reintegrate myself with the genre - whilst studiously avoiding the gimmicky and rote bands that somewhat drove me away in the first place. Whilst Helloween may be the most prestigious power metal band in the world - I think that it is fair to say that Sweden's Sabaton are currently the most popular. I first came across the band properly when I saw them on tour with DragonForce back in 2009 - but I did not start paying attention until a few years later when 2012's Carolus Rex was out. I saw the band in Wolverhampton on that tour and have been a big fan ever since. As such, I have seen them live a few more times since, ranging from the tiny Hub in Plymouth to the prestigious Wembley Arena in London, and have gone through many phases where I listened to their albums regularly. Over the past couple of years, though, I have barely given the band a thought. My general move away from power metal to an extent likely fuelled this in part, but I also felt that 2022's The War to End All Wars (which I reviewed here) was one of their weakest albums - and likely their weakest aside from 2007's Metalizer, which was actually recorded in 2002 before they truly got going. Sabaton certainly have a core sound, which over the years they have stuck to pretty rigidly, and The War to End All Wars, to me anyway, just felt like a rehashing of what had come before. There remain some strong songs on the album, but overall it fell flat for me. Releasing two albums in a row about World War I, following 2019's The Great War (which I reviewed here), likely did not help, either, as The War to End All Wars just felt like a poor man's version of the previous album. There are metal fans who are less kind to Sabaton, and consider that most of their more recent albums are poor - but I never took that view. With the exception of The War to End All Wars, the band's other more recent albums are some of my most-played in their catalogue - and I do like the Sabaton core sound even if they perhaps do stick too rigidly to a core formula at times and are prone to moments of self-plagiarism. I saw the band in London in 2023, too, and it fell over a weekend which was straddled by some trouble close to home - so I certainly did not enjoy it as much as I would have otherwise done. As such, since that show, I have not listened to Sabaton much at all - but when their eleventh album Legends dropped last month I was ready to jump back on board the Sabaton train. The album coming out during my general reappreciation of power metal helped, but Sabaton generally remained a favourite even when I was less interested in the genre - and, despite an unsure first listen, Legends has already surpassed The War to End All Wars and sits nicely with the few albums that preceded it. A varying, loose theme of songs around 'legendary' military figures helps the band to move away from World War I - and, as such, there is more variety here. It helps, too, that Legends just feels a bit heavier overall. The synths and big choruses are still here, of course, but the guitars feel a little meaner this time around - and there is quite a bit of energy throughout, which keeps me coming back. It is also the band's first album since 2016's The Last Stand (which I reviewed here) to feature guitarist Thobbe Englund as a full-time band member - who returned to the band last year following Tommy Johansson's departure.
After a couple of relatively slower weeks, which still included a couple of local shows and a trip to London, things are starting to pick up again from a gigging perspective. Last night in Bristol and a local show next weekend kickstart this next glut, but the following two long weekend periods contain three gigs each - with trips to Cardiff, Nottingham, and Bristol coming up, as well as another local night out. In fairness, with the exception of a trip to Wolverhampton just before Christmas, these two very busy weekends will essentially see 2025 come to a close as a gigging year - and, up to now, it has been another excellent one. Whilst I have ticket yet more bands off the list throughout the year, and have seen some spectacles, last night in Bristol I went to see an old faithful. Whilst there are some bands that I am happy to see once, or perhaps every few years, some bands I will try and catch on every tour. The NWOBHM band Saxon are one such act, and over the years I have seen them live quite a few times. I first saw them live in Falmouth back in 2011 - and since then I have seen them many more times all over the UK. Despite seeing the band regularly over the years, my last Saxon headline show came back in 2022 when I saw them at the excellent De Montfort Hall in Leicester. I did see the band last year, too, opening for Judas Priest - but the set was shorter than typical for Saxon - so when this latest headline tour was announced I picked up a ticket straight away. Bristol made the most sense given its proximity to home - and the refurbished Beacon is a great place to see bands live. Like the De Montfort Hall, too, it is one of those classic theatre-like venues that bands have been playing for years. Nearly every hard rock and metal tour in the 1970s and 1980s hit the Colston Hall as it was then and, unlike many of its contemporaries like the De Montfort Hall, it seems to remain a popular choice - especially since it reopened following a lengthy refurbishment. I hope the trend continues, as it has become a favourite venue of mine over the past year or so - and when classic acts like Saxon roll through it turns the clock back to the height of the NWOBHM movement when massive UK tours were the norm. This was especially the case last night, as Saxon's current UK tour is celebrating the 45th anniversary of their second, and most famous, album Wheels of Steel - one of two albums the band released in 1980. Considering how seminal Wheels of Steel is, many of its songs had not been featured in the band's setlists for years until this tour. Looking back at the Saxon shows I have been to, only the title track and 747 (Strangers in the Night) were played at every show - with Motorcycle Man also a regular inclusion. That meant that the other six songs from the nine-track album were new to me live. This is likely because Saxon have always been great at heavily featuring their latest album in their setlists, alongside shaking things up generally apart from a handful of staples. Even the big 40th anniversary show I saw in London, also in 2022, only featured the same three cuts despite the setlist largely focusing on 1980s classics. This current tour similarly focused on classics - a rarity for the band. With only three recent cuts in the setlists, this was very much a set for the old-school fan - so it should not have surprised anyone that the Beacon was packed out throughout with a loud crowd who were ready to relive their NWOBHM-era youth.
Wheels of Steel was not the only classic album that the crowd would hear in full, though, as opening the show was former Accept frontman Udo Dirkschneider and his band - who are currently celebrating the 40th anniversary of Accept's legendary fifth album Balls to the Wall. The fact that Balls to the Wall was actually released in 1983, making 2025 its 42nd anniversary should probably be overlooked - as getting an opportunity to hear such a statement album live in full is not something that comes around every day. With no backdrop or any kind of pomp, when the lights went down Dee Dammers (guitar/vocals) took to the stage - immediately launching into the mid-paced groovy riff of the album's title track. It must feel strange for Udo to open a show with a song which is generally reserved for the end - but the crowd was onside from the off as a result. With classic era Accept bassist Peter Baltes in tow, too, the presentation of the full album felt authentic - whilst the younger Dammers, Alen Brentini (guitar/vocals), and Udo's son Sven Dirkschneider (drums/vocals) formed a tight band around the two elder statesmen. Afforded around an hour, Udo and his band had plenty of time to play with - and their set included the full Balls to the Wall album alongside one other Accept favourite. The sound was pretty good from the off, even if Udo himself was a little low in the mix at times - but it was clear that his voice remains strong. His trademark rasp and occasional higher-pitched utterances sounded as good as ever - whilst the many excellent riffs of the album were served up nicely by Dammers and Brentini. Baltes' bass playing and songwriting was always key to Accept's success - and the opening of the grooving London Leatherboys showcased why. As was the case during the opening number, the second song's chorus was packed full of gang vocals from the band - which the crowd also helped out with. There were clearly plenty in attendance familiar with the album - and there was a strong atmosphere throughout Udo's set as a result. As is the case with Wheels of Steel, too, many of the songs on Balls to the Wall have not been regularly played live. As such, it was fun hearing more faster-paced tracks like Fight It Back - whilst Udo called Losing More Than You've Ever Had one of his favourites from the album. He seemed to be having a great time up on stage with his band - even acting as a support on this tour. Accept were never the biggest band here in the UK, hence their and Udo's limited trips here in recent years, but it was clear in the room that there was plenty of love for the music. Perhaps Udo will be persuaded to bring his solo band back for a tour of the UK in the not too distant future - and hearing anthems such as Turn Me On and the snappy Losers and Winners is always going to get the die-hards out for the evening. The format showcased that Accept's sound was always more diverse than perhaps it is often seen as being. The album's closing track Winter Dreams is a fairly delicate ballad which differed from the rollocking riffing found elsewhere - and it acted as a powerful penultimate number, with Udo delivering an emotive vocal and Dammers slowing down his usually speedy soloing style. The rest of the band, save for Sven, then briefly stepped off the stage - and the drummer led the crowd through a rendition of a familiar folk number, which of course led into the set's finale Fast as a Shark. There was plenty more singing from the crowd during this number - and around an hour on stage came to an end in a powerful manner. The setlist was (N.B. all of the songs below are Accept songs):
Balls to the Wall
London Leatherboys
Fight It Back
Head Over Heels
Losing More Than You've Ever Had
Love Child
Turn Me On
Losers and Winners
Guardian of the Night
Winter Dreams
Fast as a Shark
Around half an hour later, the lights went down again and the curtain which had been covering the stage dropped to reveal Saxon - who launched into the muscular Hell, Fire and Damnation right away. I have never been disappointed by Saxon live, and yesterday's show was no different. From the off, the band sounded powerful and as fired up as ever. Frontman Biff Byford was a little low in the mix early on, but this changed as the set progressed. Given his on-going cancer battle, he looked and sounded as good as ever. His voice retains the power of his youth, albeit with more grit now - whilst the rest of the band were as tight and high-octane as ever. I am not sure that I will ever quite get used to see Brian Tatler (guitar) on stage with Saxon, but he has formed a great guitar duo with fellow guitarist Doug Scarratt over the past couple of years - and the classic Saxon guitar sound remains very much intact with Tatler. The main set was split into two, with the first half containing a few newer songs alongside some classics - with Wheels of Steel following. Early on, then, the crowd were treated to plenty of big favourites. There were not too many surprises here - with anthems like Power and the Glory and Never Surrender sitting nicely alongside the thrashy newer number Sacrifice and the still brand-new Madame Guillotine, a creeping number led by Nibbs Carter (bass guitar/vocals). Perhaps the only slight curveball early on was the inclusion of Backs to the Wall from the band's 1979 debut album - largely in tribute to the band's first big tour with Motörhead which brought them to many cities, including Bristol, for the first time. Saxon crowds never let newer numbers dampen their enthusiasm, either, which is great. Sacrifice has been regularly played over the years, so was greeted like an old friend, but even Madame Guillotine kept the energy levels high - despite its creeping, classic rock-esque strut. Anyone needed a kick, though, would soon receive one in the form of Heavy Metal Thunder, which saw headbanging all around the venue - before the first part of the set came to a close with the somewhat more epic Dallas 1pm. Saxon often excel at mini-epics like this, with the song's subject matter and subtle bluesy vibes keeping a groove going. There was no break between the two halves of the set, but Byford spoke to the crowd briefly about the importance of Wheels of Steel - before the sound of motorcycles heralded the speedy Motorcycle Man. The first half of the set had been powerful, but Wheels of Steel in full took things to the never level. Many of the deeper cuts really shone, such as the boogie blues of Stand Up and Be Counted, but it was the evergreen classics 747 (Strangers in the Night) and the title track which got the crowd going the most - with both featuring sing-a-longs conducted by Byford. There was a danger that side two of the album could see the energy levels dropping, but that did not happen. A huge drum barrage from Nigel Glockler introduced the snappy and short Freeway Mad, whilst See the Light Shining felt like the precursor to those mini-epics I was talking about - which later albums would expand on. Byford rarely stopped to speak to the crowd during this portion of the night - but he did introduce a few songs in case anyone was not already familiar with the album. This seemed unnecessary, though, as everyone seemed onboard - with even the smoother Suzie Hold On not seeing a drop in energy levels, despite the song very much being the odd one out on the album. The raucous speed metal of Machine Gun saw the main set come to a fast-paced close, though, and the Bristol crowd could be heard chanting the band's name as they left the stage. A four-song encore followed, with four more classics making an appearance. Denim and Leather and the ode to Donington And the Bands Played On were both lapped up by the crowd, before some pulsing bass injected more bluesiness into the set via Strong Arm of the Law. The evening then came to a close with Princess of the Night, which kicked up the energy levels one last time - with the set overall being another triumph. The setlist was:
The Prophecy
Hell, Fire and Damnation
Power and the Glory
Sacrifice
Backs to the Wall
Never Surrender
Madame Guillotine
Heavy Metal Thunder
Dallas 1pm
Motorcycle Man
Stand Up and Be Counted
747 (Strangers in the Night) Wheels of Steel
Freeway Mad
See the Light Shining
Street Fighting Gang
Suzie Hold On
Machine Gun
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Denim and Leather
And the Bands Played On
Strong Arm of the Law
Princess of the Night
As I said earlier in this piece, Saxon never disappoint live. Whether playing a shorter set opening for a bigger band, supporting a new album with a setlist that reflects newer material, or playing tribute to a classic album from their past, the band always seem to get the memo. Their power never seems to waver, and they do not seem to be slowing up either. A new album is being worked on, which is likely due out next year, so that means that there is likely another Saxon tour due at some point in the near future - and I will certainly be there to witness what will be Saxon show number 10 for me.
It always feels strange to review an EP on this blog - as the format just does not seem to be that popular anymore. I likely only cover four or five EPs each year - but in this era of streaming and drip-feeding the public new singles on a more regular basis, perhaps the shortform album format serves little purpose in 2025. It is a shame, really, as I have always enjoyed a good EP. A well-structured EP can be just as important to a band's catalogue as a full-length album - and some bands, such as Queensrÿche and Helloween, got their careers underway with genre-defining EPs. The EP that I am covering today is unlikely to make as much of a mark as either of those self-titled efforts did back in the 1980s - but the debut self-titled six-track EP from new blues rock act Hollow Souls is certainly an extremely enjoyable release. Hollow Souls is the latest project from Torquay-based singer, guitarist, and songwriter Kris Barras - who has been making a name for himself as part of his self-titled band since dropping his debut album Lucky 13 back in 2016. Starting out as a blues rock artist, Barras' sound has become heavier and more modern in tone in recent years. His first three albums largely stuck to a bluesy hard rock feel - but both 2022's Death Valley Paradise (which I reviewed here) and 2024's Halo Effect (which I also reviewed here) saw Barras and his slimmed-down band move in a more post-grunge and even an alternative metal direction. There are still hints of the blues here and there, but Barras' recent albums fit more within the current British rock scene - which has become very influenced by the American radio rocks acts of the 2000s and 2010s. Barras has certainly become more popular as a result of this sound shift, and he is now pretty well-known across the UK alongside making some inroads in the rest of Europe, whilst leaving his more bluesy roots behind. Clearly still wanting to dabble in the blues, though, earlier this year he announced that he was forming a new band, Hollow Souls, which would allow him to do so. He wants his solo band to continue down their current road - but he said that Hollow Souls would allow him to return to his first love, as well as showcase some songs he had written which did not suit his current sound. Joining him on this venture are fellow solo band member, songwriter, and producer Josiah Manning, handling guitars and keyboards, alongside frontwoman Phoebe Jane - who contributed to a some of Barras' older albums as a backing singer. This trio are the core of the band - with Barras and Manning writing the songs and Jane singing them. Barras sings occasionally, too, and there are three guest singers featured on the EP - but Jane is, officially at least, the main voice. Backing this core trio is bassist Leighton Allen and drummer Joe Harris throughout - whilst four of the six songs feature guests, with one guitarist and the aforementioned singers lending their talents. I think that Barras also wanted to work with some different people and some other friends from the industry here, too, and it seems to be a project built around having a good time and exploring old sounds. I am writing this review off the back of seeing the band live at the weekend - and the show exemplified this vibe, with a setlist the covered the entire EP, older songs from Barras' canon, and some great blues/R&B covers that allowed the band to have plenty of fun.
This EP certainly is a lot of fun, but if I was to have a criticism of it it would be the overuse of guest singers. Half of the songs have guest singers - and Jane only duets with one of them. Throw in the one song that Barras sings and she only prominently sings two and a half of the songs here - which somewhat undermines her presence. I would have rather Jane dominated the EP vocally, with Barras supporting her - and I hope that if Hollow Souls ever release anything else that she is pushed to the fore a lot more. The opening song Borderline shows why, as the bluesy, southern rock-esque piece demonstrates her soulful power perfectly. American blues guitarist Jared James Nichols adds some additional lead guitar and soloing to the piece, but vocally the song is all Jane. The opening percussive chorus soon gives way to a strutting main guitar riff - over which bluesy guitar leads are laid. Given that both Barras and Nichols cut loose here, guitar leads fill the whole song. There is a lot going on here from a guitar perspective, with each of Jane's vocal lines seemingly punctuated by some flashy guitar playing. The song is packed full of character, then, but the vocals are still able to be hooky - whilst the strut and groove from the rhythm gives the song its attitude. Later renditions of the chorus are much fuller than the foot-stomping opening rendition - but each iteration feels memorable. It is easy to sing along with, and the soulful groove that it conjures up is representative of the core Hollow Souls sound as a whole. Bad Things, which follows, feels a bit tougher - but the same southern-esque strut remains throughout. Chris Tapp (The Cold Stares) handles the vocals during the verses, whilst Jane sings during the intro and the chorus. The duet approach works well in this case, but I still wish that Jane was more prominent throughout the EP. Still, Tapp's deeper vocal approach does work nicely during snappy verses which feel a bit more reined in compared to the previous song. There is a lot less guitar firepower this time, with a slinking guitar line and the groove of the rhythm section largely all that backs Tapp's voice - before the chorus explodes with a wall of Hammond organ and Janes' expressive vocals. The chorus is a good mix of smooth, soulful melodies and anthemic, punchy moments - whilst Barras' later guitar solo is pretty high-octane and full of shredded leads. I Need the Fire is a hard rocking track, but its retro vibe and prominent organ parts mean that it would not easily sit on one of Barras' more recent solo albums. It also the final song here to feature Jane singing lead vocals. She unleashes her power over the top of a barrelling verse which is built around a busy guitar and keyboard unison melody. Grooves are conjured up yet again during these fast-paced verses - whilst the chorus feels a little more cinematic overall despite a faster pace still being maintained. Manning utilises his Hammond a lot throughout this song to add a retro edge and plenty of growl - whilst the guitar riffing from Barras is old-school and groovy, which extends to another busy guitar solo. I am not sure that there is such a thing as too much Hammond organ, so hearing it so prominently here was always going to please me - and the song is an overall highlight thanks to its pace and power.
Burn It to the Ground features the British blues/roots rock singer Elles Bailey throughout - who also co-wrote the tune. She has a less overtly powerful voice than Jane, but she has a great blues grit to her delivery - which comes out during the chorus in particular. The song feels a bit more down and dirty as a result of her throatier and rawer delivery - with Barras utilising a lot of slide guitar throughout. The guitar and bass tones throughout are pretty fuzzy, too, whilst the keyboards this time feel a bit more gritty and all-enveloping. There is a retro roots rock feel to the piece, then, but Bailey delivers a strong and heartfelt vocal - with the chorus really popping. The verses are a bit more low key and percussive - but once she cuts loose during the chorus and the slide melodies really kick in the song reaches a new level. The heaviest song here is Shotgun, which is not too far removed from the sound that Barras deals in regularly these days. Jon Harvey (Monster Truck) sings throughout, and his tough, gritty vocal suits the riffy and slightly metallic, at times, piece. Despite this heaviness, the production and the groove of the rhythm section does help to set the song apart from Barras' core sound. There is definitely a southern drawl and groove throughout - whilst some growling Hammond during the chorus also ensures that the song moves away from the modern hard rock sound of Barras' recent albums. Jane adds plenty of vocals to the chorus, too, harmonising well with Harvey and adding some counter-melodies at times. The song is a powerful hard rocker, but I really feel that Jane would have done it justice. The EP then comes to a close with the soaring ballad Chasing Ghosts - the only song here that Barras sings. Despite wanting to hear more from Jane throughout this EP, I would not change this song's vocal arrangement. It was made for Barras to sing - and he has since said that it is one of his favourite songs that he has written to date. The poignant ballad is made for his emotive voice - and Barras has always written excellent ballads throughout his career. This one harks back to some of his older ballads - with a sombre piano backing alongside some atmospheric organ constantly adding depth. A mixture of electric and acoustic guitars shake things up, too, but it is Barras' excellent vocal display which really helps the song to be an overall highlight. Jane adds powerful harmonies during the chorus, which are welcome, but this is Barras' showcase - and it is fitting that he also delivers a fantastic guitar solo later on in the piece, following a bridge section that builds around Manning's piano melodies. It is easily the best guitar solo here - and the epic ballad is one of Barras' best to date, so it brings the EP to an emotive and atmospheric close. At this stage it is unclear what the future holds for Hollow Souls. Their debut tour is now done and, one last minute festival slot aside, there are no more public plans for the band. Barras is about to record his next solo album so he will likely be promoting that next year - but a recent social media post suggests that Hollow Souls will be back at some point. I hope that they are able to co-exist with Barras' growing solo career - as the two outlets provide different things. I hope, then, that this strong EP is a taste of what is to come rather than a one-off.
The self-released EP was released on 10th October 2025. Below is the band's promotional video for Borderline.
It seems to be a rule now that I will see the Torquay-based singer, guitarist, and songwriter Kris Barras live at least once a year. Despite having heard of him beforehand, it was not until 2021 that I was properly exposed to his music - when I saw the Kris Barras Band opening for Black Stone Cherry in Exeter. I pretty much became a fan that night - and since then I have seen him live a further five times, as well as enjoying both of the albums he has dropped since then. He has become a favourite due to his mix of blues and modern hard rock, his strong, often heartfelt songwriting, and his fun lives shows which mix raw hard rock power and his dry sense of humour. Last year was a big one for Barras, as he released his latest album Halo Effect (which I reviewed here) and undertook plenty of touring, both here in the UK and abroad, to promote it. I last saw him live in Exeter last December - and his 2025 has been somewhat quieter, despite a few gigs earlier in the year. Until recently, that is, as last night he finished his latest lengthy UK tour - but it was his first with his new blues rock project Hollow Souls. The Hollow Souls tour was announced earlier in the year - and last month the band released a six-track EP, which I be reviewing here soon. Barras' solo albums have gotten heavier over the years, and he has largely left the blues behind. Hollow Souls, then, is his way of getting back to his roots somewhat whilst allowing his solo career to maintain its current trajectory - as well as to work with different musicians. That being said, though, his right-hand man in Hollow Souls is Josiah Manning (guitar/keyboards/vocals) who is also his right-hand man in his solo band - but the main difference between the Kris Barras Band and Hollow Souls is the inclusion of frontwoman Phoebe Jane. Barras said that he largely wanted to focus on being a guitar player in Hollow Souls - so Jane acts as the project's main singer. Barras still sings occasionally, but this is very much Jane's vehicle from a vocal perspective - even if Barras and Manning are responsible for the songwriting. These three musicians are the core of the Hollow Souls, then, dominating the newly-released EP and they have been the focal points throughout the tour. Whilst Barras has quite a big reputation here in the UK now, I still wondered if booking a 20-date UK tour for a new project with little material of their own was a wise move. In fairness, all of the PR has made sure to note that this is a new project from Barras - but names do not always sell new bands. I would imagine that the band were a bit worried, too, but they need not have been it seems - as since the tour kicked off last month the reviews have been excellent. All over the country it seems that people have been checking out Hollow Souls live and enjoying the EP - and last night the tour came to an end in Tavistock. Barras generally either starts or ends a tour in the South West - with Torquay, Exeter, and Tavistock regular haunts of his. Despite the nasty weather, then, Tavistock's Wharf was packed out last night. A few may have stayed away due to the rain, but the hall was full from the off - which was the case with Barras last played there back in 2023. When I first got to the venue, though, the main hall had not opened - so due to the weather everyone was crammed in the bar area. Usually people sit outside, but given the pouring rain that was not on the cards - and there was a bit of a cheer when the venue's doors opened.
Kicking off the show, though, was blues guitarist Troy Redfern - who supported Hollow Souls throughout their tour. I first came across Redfern back in 2022 when he opened for The Quireboys - and I also saw him twice the following year opening for Dare. I remember enjoying his set with The Quireboys quite a bit - but since then I have never enjoyed him as much. Redfern's style and way of presenting his music has gotten more primal each time I have seen him - and the more primal the blues the less likely I am to like it. The first time I saw him he played with a full band and alternated between more traditional blues guitar playing and slide-heavy resonator guitar playing. The times with Dare he essentially stuck to the latter, and was only joined by a drummer - and this time he took that sound further by being accompanied by a drummer who only had a snare, a floor tom, and one cymbal. I am not sure that Redfern's sound could get any more primal whilst still remaining an electric rock experience. Redfern is a decent singer and a very talented guitar player, especially when using a slide, but I just find the way he chooses to present his music now difficult. I used to be known as someone who did not like the blues, which is no longer the case, but I still struggle with blues that sounds like it could have been recorded in the 1930s or 1940s. That is essentially the sound that Redfern goes for now, albeit a more rocked up version, and it is all just a bit lumped and caveman-esque for me. When you are so limited in terms of a guitar style and drum set-up, too, the songs inevitably all follow a pattern. There are only so many times I can hear a groovy, fuzzy slide lick being played over a floor tom-led beat before everything merges into one - and after a handful of Redfern's songs last night that certainly happened. The large Tavistock crowd warmed to Redfern somewhat, though, and there was a decent atmosphere during his set. Towards the end he managed to get a bit of a sing-a-long going, too. Despite my views on his increasing wish to make his music sound more old-fashioned, Redfern remains a talent - just one likely not for me. He did not outstay his welcome, though, and he warmed the crowd up nicely for what was to come.
When the lights went down later in the evening, some more old-school blues could be heard over the PA - before Manning took to the stage with Paddy Blight (bass guitar/vocals) and Chris Tilke (drums), a different rhythm section to the one that is on the EP. Manning then set the tone with some melodic, bluesy guitar playing - before Barras and Jane took to the stage, kicking off with Borderline from the EP. The bluesy, southern rock piece kicked the set off nicely. Jane's voice was immediately powerful, whilst Barras and Manning harmonised well with her. Despite sometimes taking a backseat in the set, Barras still shone as guitar player. His lengthy, bluesy solos were as good as ever - and Borderline was full of them. Manning likely played more keyboards than guitar overall - but his riffing was tight, too, and when Tilke started the iconic drum intro to Led Zeppelin's Rock and Roll the place went wild and the rollocking anthem was belted out by Jane. Setlist-wise, the show covered a lot of ground. All six of the EP's songs were played, alongside four songs from Barras' canon, and five covers. All but one of the Barras songs played were older cuts from his bluesier days - and I get the impression that the covers were ones that they had all played numerous times before in various bands. Barras had in fact done Rock and Roll at that Tavistock gig in 2023 - but other early covers included a slinky version of the old R&B classic I Don't Need No Doctor, which was surprisingly not rocked up in line with the Humble Pie version, and Jane delivering a soulful take on the blues standard Rock Me Baby - which also included a lengthy Hammond organ solo from Manning. Whilst the covers were a lot of fun, though, it was the original material which propelled the set. The six songs from the EP are all excellent, and vary from blues to hard rock. Songs like Shotgun, which Barras sang, are not too far away from Barras' current sound - but the duet Bad Things felt more soulful, despite a strong southern rock feel at times. Barras and the band proved that the blues could still rock pretty hard, and there were plenty of big riffs and shredded solos throughout, but there were also more reflective moments, too. One such moment was the smooth Tearing Me Apart from Barras' first solo album - which Jane actually sung originally. It felt right for the song to be pulled from the vaults, then, and Jane sang the bluesy ballad with ease whilst Barras added delicate melodies. She also took to the lead on Propane, another oldie, and turned it into more of an R&B-esque tune. The slightly changed arrangement worked well - and it transitioned nicely into the blues standard Stormy Monday which contained a sultry vocal and smouldering power. Sadly, though, the quieter moments of the song were ruined by some extremely loud people shouting some really quite obnoxious things at each other (they were not even arguing, just discussing extremely personal stuff that others did not need to hear extremely loudly) - which even the band seemed to notice. Thankfully they seemed to calm down after a while - but those around me felt a bit on edge for a while. The next couple songs were louder, though, with the soulful blues of Burn It to the Ground and the anthemic I Need the Fire again bringing the best out of Jane. The EP's last track, Chasing Ghosts, was also a highlight - with Barras singing the soaring ballad against a backing of electric piano, before delivering another big solo. There was not too much time left by this point, but a swampy blues take on Barras' My Parade conjured up quite a big sing-a-long, before the main set came to an end with Hail Mary - with Manning adding organ to it as he once did. There was time for one more, though, and the band came back out, with Redfern in tow, to deliver a jammed version of the blues standard Going Down, with Barras and Redfern trading guitar solos. It was a powerful end to a great set - and the crowd certainly made their feelings felt as the band left the stage. The setlist was:
Borderline
Rock and Roll [Led Zeppelin cover]
Bad Things
I Don't Need No Doctor [Ray Charles cover]
Tearing Me Apart [Kris Barras solo material]
Rock Me Baby [B.B. King cover]
Shotgun
Propane [Kris Barras solo material]
Stormy Monday [T-Bone Walker cover]
Burn It to the Ground I Need the Fire
Chasing Ghosts
My Parade [Kris Barras solo material]
Hail Mary [Kris Barras solo material]
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Going Down [Moloch cover w/ Troy Redfern]
It is unclear at this stage whether Hollow Souls intends to be a going concern or not. Barras said that he will be recording his next solo album in December - and he will also be on the road early next year opening for Smith/Kotzen. I would imagine headline shows to follow once the new album drops, too. Hollow Souls will likely go away for a while as a result - but I do hope that Barras returns to this blues project again one day, as it allows him to showcase a different side to his playing and in Jane the band have a great singer.
