Tyketto's 'Reach' - Album Review

As far as American AOR goes, Tyketto are a bit of a cult band. They were formed in 1987, and their debut album Don't Come Easy was released in 1990, so they missed the boat somewhat. The 1980s was a time where melodic music dominated the rock and metal worlds. Hair metal and AOR ruled the waves, and there were plenty of bands coming out towards the end of the decade, or in the early part of the 1990s, who would have been bigger and more successful if they had been around a few years earlier. Tyketto are one of those bands, and the big backlash against 1980s music with the grunge movement certainly scuppered any change they had for success. Their record label at the time, Geffen, would not release their second album (no loyalty in the music industry, just an attempt to stay 'on trend') and it was eventually released in 1994 as Strength in Numbers via another label. Frontman Danny Vaughn left the band the following year, and Tyketto eventually came to an end in 1996. Various reunions happened throughout the early 2000s, but it was not until 2008 that Tyketto was back together properly as a touring unit. By 2012, when all four of the band's original members were back in tow, it was time for new music. The band's fourth album, Dig in Deep, was released in that year, and it felt like no time had passed since Strength in Numbers (the band's third album, 1995's Shine that featured future Journey frontman Steve Augeri, had a bluesier, rawer sound). Vaughn's voice had not changed at all, and the band's melodic hard rock sound sounded as fresh as ever. The band has been on tour fairly regularly ever since and are probably as popular as they ever have been. Four years on from Dig in Deep, the world is ready for another Tyketto album. Reach has been in the work for a while, and sees Tyketto sounding as good as ever. The band has been in transition somewhat over the past few years, with guitarist Chris Green (Furyon; Pride) replacing original member Brooke St. James in 2014. Bassist Chris Childs (Thunder; The Union) filled in for Jimi Kennedy for a few shows when the latter had some family problems to deal with, and has since become a permanent member of the band. He plays with Vaughn in an Eagles tribute band too, so there is existing chemistry between the two. Keyboardist Ged Rylands (Ten) who, despite having played live with the band for a few years, makes his debut on a Tyketto recording too, and therefore marks the band's recorded debut as a five-piece. Green, Childs, and Rylands join Vaughn and founding drummer Michael Clayton in what could be the most explosive Tyketto line-up yet. Green in particular has been a revelation since joining the band two years ago, and has already formed a productive songwriting team with Vaughn and Clayton. Tyketto have not taken any big risks with this album, but the strong production and catchy songwriting makes this another excellent entry in their discography.

The album opens in a flurry of keyboards as the anthemic title track gets underway. Green makes his mark instantly with a soaring guitar lead, that has more than a hint of John Petrucci's phrasing about it, and plenty of bluesy bursts throughout. This song is all about Vaughn however, and is driven by his strong vocal melodies. His voice does not sound aged at all, and his very slight country twang, that brings to mind the late Glenn Frey at times, is infectious. His acoustic guitar playing helps to bulk out many of the songs on this album too, and Reach emphasises this during the verses, while Green plays more a supporting role with subtle leads. The chorus is simple, but the strong vocal harmonies help to make it stand out while Vaughn's heartfelt lyrics and performance dominates. The song is classic Tyketto, and shows the new line-up has already bedded in well together. Big Money is more in-your-face, with a great bouncy guitar riff that sits above a great groove laid down by the rhythm section. The verses are bass-heavy, with Childs' bassline ringing out strongly, before the strident chorus comes in with more than a hint of hair metal. It sounds like something Mötley Crüe might have come up with for one of their more melodic albums. This is exemplified with a slightly sleazy guitar riff and some well-placed gang vocals which really help the song to hit home. Kick Like a Mule is another rawer piece of rock 'n' roll, that opens with a rolling drum beat and a strong riff to match. Again the verses have very dominant basslines, but it is Clayton's drums that really drive the song. They are high in the mix, and the variation in beats and styles help to keep the song interesting. The song's solo is also very explosive, and shows what Green brings to the band. He is more of a shredder than St. James ever was, and brings some fresh energy to these more rocky numbers. After a couple of harder rock numbers, Circle the Wagons comes along and calms everything down. The song is a classy power ballad, with layers of retro keyboard sounds, plenty of Vaughn's acoustic guitar, and some great understated lead guitar playing. The chorus is easily the best of the album's so far, with Vaughn's melodies really standing out as Rylands creates an almost orchestral backing with is keyboards. There is a strong instrumental section part-way through too, which starts off as a slow guitar solo, before Rylands takes over with some retro organ fills, before Green completes things with another solo that speeds up to a fast crescendo. Those who want something akin to the band's debut album need to look no further than I Need it Now, which has a fantastic soaring guitar opening before a hard rocking verse kicks in with a great riff and a confident vocal performance. Childs plays excellent throughout, with lots of cheeky bass leads that cut through occasionally and provide a great contrast to Green's guitar playing. The chorus is also very catchy, with Vaughn sounding grittier than usual, with plenty of harmony vocals to back him up. Even the piano-led bridge section with the gospel-like backing vocals has some bite to it, and helps the song to become one of the album's most memorable. Tearing Down the Sky has a bit of a Sammy Hagar-era Van Halen vibe throughout, with some excellent guitar riffing and plenty of explosive leads. The verses are a bit calmer, with chiming rhythm guitars, but the choruses are strong with expressive vocals and excellent riffs. The song's guitar solo is fantastic too, with virtuoso guitar playing.  

Letting Go is another strong ballad, dominated by Vaughn's beautiful singing and acoustic guitar playing. AOR and melodic rock bands are usually known for writing a lot of ballads, and Tyketto have always written good ones. Vaughn's time with his Eagles tribute band has probably helped him hone his ballad-singing skills, and they show here with an excellent vocal performance throughout. There is little other instrumentation here, although Green does add a few distorted guitar chords occasionally to add a bit of atmosphere, and he also plays an emotional solo backed only by the acoustic guitar chords. The final chorus sees the whole band join in however, which helps the song to end strongly and provides a great contrast to the more mellow first part. With a slightly sleazy, bluesy hard rock riff, that sounds a bit like Buckcherry, The Fastest Man Alive is packed full of energy. It is not a particularly fast song, but the groove created by the song's riff is infectious and the chorus is one that is made to be heard. The verses are great too, with some heavy country-esque guitar patterns underpinned by a great bassline. This is one of my favourite songs on the album because of the strong 1980s hard rock vibe throughout, and the great neo-classic shredded solo. You cannot help but sing along with the chorus too, and this is sure to be an earworm for many who hear this album. Despite opening with a slightly dark-sounding clean guitar melody, Remember My Name is another strong upbeat piece of hard rock. The song has a bit more of a modern vibe this time however, with more bullish guitar riffing and less of a 'sheen' on the chorus. The way the opening darker guitar section keeps getting repeated helps to reinforce that more modern vibe throughout, and definitely makes the song stand out from the rest. The darker sounds actually suits Tyketto quite well, and shows a bit of a different side to the band's songwriting. Sparks Will Fly actually sounds like it would have fitted perfectly on Strength in Numbers back in 1994. That album had a tougher overall sound than Don't Come Easy, and this song is extremely guitar-focused with some excellent riffing from Green and less of Rylands' keyboard layers. That being said, the chorus is still a melodic feast with plenty of vocal harmonies and Vaughn's acoustic guitar chords cutting through the mix for extra warmth. Some of Green's best riffing on this album are found in this song, and he has already cemented himself as a vital member of the band. Scream is the album's final ballad, and is a showcase for Rylands' playing. Keyboards have never been a big part of Tyketto's music, usually providing a background supporting role, but here they dominate. His big piano melodies form the song's backbone, and are the perfect backing for Vaughn's vocals. The rest of the band do help out on the choruses, which help to bulk them out, but Rylands' playing is still the focus. Only an excellent guitar solo can change the listener's focus! The final song The Run that mixes acoustic sections with harder rock to create a great closing number. The song is constantly upbeat, from Vaughn's aggressive acoustic guitar playing early on, to Green's chunky power chord riffing later on. Like the album's opening song, The Run is classic Tyketto and contains everything that makes the band so great and ends the album on a high. Overall, Reach is a great album from one of the most underrated bands in the melodic rock world. There are no real weak links on here, with each song having something memorable about it.

The album was released on 14th October 2016 via Frontiers Records. Below is the band's promotional video for Reach.

Alter Bridge's 'The Last Hero' - Album Review

I do not think it is exaggerating to say that, at least over here in Europe, that Alter Bridge are one of the biggest rock bands around at the moment. While in their native America the band are still slogging it out on the modest sized club/theatre circuit, over here they can fill arenas. That fact that a band like Alter Bridge can get so big proves that rock is alive and well in the modern world, and it could be argued that they are my generation's Led Zeppelin. What makes their super-stardom a surprise is that they are in no way a watered down hard rock act for the masses. Their music is dark, often heavy, and often progressive; and some of their material can be subtly quite challenging. There is always a lot going on, and they have come a long way since their post-grunge roots since forming in 2004. Since wrapping up the touring cycle for their fourth album, the dark and mammoth Fortress (which I reviewed here), in 2014 Alter Bridge had been fairly quiet. Both of the band's heavy hitters, vocalist and guitarist Myles Kennedy and guitarist Mark Tremonti, took the opportunity to record with side-projects and tour fairly extensively outside of the Alter Bridge machine. Kennedy's work with Slash has made him a household name in the classic rock world, and Tremonti's solo project has explored the heavier side of his songwriting and gained him a lot more kudos in the world of metal. Another Alter Bridge album was always on the cards however, and at the beginning of this year the band went into the studio to record their fifth album The Last Hero. In a surprise move, the band decided to release this new album via the independent Austrian label Napalm Records, instead of the bigger Roadrunner Records which the band has been associated with for a number of years. Roadrunner have lost both Alter Bridge and Opeth recently, two of the biggest rock/metal acts around currently, which makes you wonder why these bands have looked elsewhere. This album will be a big payday for Napalm however, who are more used to dealing with smaller European metal acts, as The Last Hero has, as predicted, been a big seller. It reached Number 3 on the UK album charts, which is a fantastic achievement for a band of Alter Bridge's persuasion. Sound-wise, The Last Hero could be described as a bit of a cross between Fortress and 2007's fan-favourite Blackbird, but in truth this new album definitely feels like a culmination of everything the band have done up to this point. The majority of the songs here are pretty anthemic, with stadium-sized choruses which definitely draws comparisons to Blackbird. The darker, more progressive elements introduced on Fortress, and to a less extent 2010's AB III, are still present however, but are more subtly mixed in with the strong melodies and the concise songwriting style. Production-wise, the album sounds good, although it is a little harsh at times. Long-time producer Michael 'Elvis' Baskette once again sat in the producer's chair and created a loud, modern, and in-your-face hard rock album - although maybe a little too loud at times as some of the nuances are often buried in the fat walls of guitar.

Despite the chiming clean guitar intro, the album opener Show me a Leader starts things off in a heavy fashion. A crunching riff and some tremolo-picked guitar leads herald the arrival of the song proper, before the band launch into a soaring guitar solo and a fast-paced verse. The verse is fairly typical fare for the band, and fans will be familiar with the style. Kennedy's vocals sound as great as ever, and his direct approach to the melodies adds to the overall urgency of the piece. The chorus is simple, and not up to the band's usual anthemic standards. This fits the vibe well however, and sees Kennedy unleash some pretty high notes and some catchy wordless vocals. There is a blistering guitar solo partway through that really gets the blood pumping. Unfortunately the album's booklet does not tell you who performs each solo, but the song's video confirms that this particular one is Tremonti's handiwork. While not the soaring Alter Bridge anthem that many fans might have expected as an album opener, this song provides a different purpose and is gives the album a real kick into action. The Writing on the Wall maintains the same heavy feel as the previous number but packaged into a more openly accessible format. The riffing is toned down somewhat, and the focus is on Kennedy's vocals. The chorus is more what you would expect from an Alter Bridge song. Kennedy delivers once again, and the vocal melodies are extremely memorable. Songs of this nature were all over AB III which was definitely the band's transition album into the heavier territory they now occupy. After two faster songs, The Other Side comes in with some doomy clean guitar notes and sledgehammer riffing that grinds along at a much slower pace. Arguably the heaviest song on the album yet, it shows that Alter Bridge are happy to be a metal band as well as a hard rock one. That being said, the song is still pretty memorable with a strong chorus and riffs that stick in your head. There are lots of spacey guitar effects used in the choruses too, which adds a slightly chaotic feel. My Champion is the album's most obvious 'single' choice, and definitely harks back to the Blackbird era in terms of accessibility. While the band are darker and heavier now, they can still throw together a catchy anthem, and this is sure to become a live favourite for years to come. The playful opening guitar riff is excellent, and the laid back verses see Kennedy taking it easy with the vocals, not pushing himself as he has done so far on the album. The chorus is easily the album's most instant, with some of the catchiest melodies yet and a heartfelt delivery from Kennedy. The feel-good, self-help lyrics that characterised the band's early work return too, and this really feels like a throwback to simpler times for Alter Bridge. Poison in Your Veins brings things crashing back down to earth however, with a dark main riff and a bass-heavy verse which showcases Brian Marshall's playing. He is often buried in the mix, but the verses here are one of the rare occasions where he stands out a little more. The choruses are very in your face here, with a drum beat that really storms out of your speakers and sees Kennedy's snarl employed to fine effect. Cradle to the Grave, while not a proper ballad, is definitely less heavy than anything else on the album to this point. Clean guitars dominate the verses, with some acoustic guitars even cutting through the mix at times, and it takes on a sombre feel. Things do ramp up during the choruses however, and there is an excellent bridge section with some crazy guitar leads twiddling away under Kennedy's mournful croon. This then explodes into a guitar solo, which is easily the song's best moment.

Losing Patience continues on this mournful vibe, at least initially. A murky verse dominates the early part of the song, but the song slowly, and subtly, grows in stature until it hits the strident chorus. This part of the song has real classic rock swagger to it, with guitar leads to back up Kennedy's vocals and a fantastic overall attitude. A slightly proggy breakdown also stands out, with a chugging riff and a flashy guitar lead playing off each other in a call-and-response style. It is one of the few parts on the album where the drums are well-defined too. Scott Phillips is often the victim of the album's loud production, and his playing is less clear than on the band's previous works. Here though his double bass drumming is clear, and just makes me wish he was clear throughout! This Side of Fate has the feeling of a mini-epic about it, with acoustic-led verses and slightly symphonic choruses mixing well together create a dynamic song that makes a strong impression. There is lots of bluesy guitar playing throughout too, presumably from Tremonti, which adds a little touch of class. I like the use of subtle string elements to the song too, something which again is often buried on this album. It stands out here however, and improves the song. You Will be Remembered is the album's only real true ballad, and is as heartfelt as the band's previous efforts. While more 'rock' than previous ballads, song is still a great lighters-in-the-air moment. Kennedy has always been great at delivery ballads. While his lyrics, and his delivery, can sometimes be a little on the earnest side, you can tell that he always means it. He sings from the heart, and that is what makes this type of songs work well. After two song that have had lighter elements, Crows on a Wire is another great in-your-face rocker. This is one of my favourite songs on the album, and contains all of the band's best traits in a condensed package. The song is based around a strong chorus, which has some strange cold keyboard effects that actually work really well, and a strong vocal from Kennedy. The rest of the song is built of a riff that sounds like something Zakk Wylde would have written for Ozzy Osbourne, and is sure to get heads banging when the band play live. This is the band at their most metal, and is a far cry from their post-grunge origins. The shredded guitar solo and the anthemic middle 8 are also excellent, and are just some of the reasons this song is so good. Twilight is another old-school sounding song, and sounds like a beefier version of some of the songs found on Blackbird. The rolling drums with the cleaner sounding riffs earlier on definitely harks back to that era, and the soaring chorus is extremely simple. The guitar solo here is very expressive too, and a world away from the shred-fests that dominate the rest of the album. If you want a real heads down rocker, than Island of Fools is the song for you. The song's main riff is a real bulldozer, and the energy rarely lets up throughout. The song's chorus is slower, but this actually makes it have more of an effect as the rest of the song is relentless. Faster songs have been written, but the riff just roars out of the speakers to great effect. This is one song that actually benefits from the loud production, and helps it have more of an impact. The album comes to an end with the title track, which is another mini-epic. While it does not have the impact that This Side of Fate had earlier in the album, it has a triumphant feel to it that works well as an album-closer. The natural swing feel in the chorus is great and some of the riffing is up there with the band's best. This a song that definitely feels like a culmination off all of the themes and sounds explored on the album, which makes it a perfect closing number. Overall, The Last Hero is an album that shows that Alter Bridge are here to stay. They are my generation's stadium rock band, and they continue to go from strength to strength.

The album was released on 7th October 2016 via Napalm Records. Below is the band's promotional video for Show me a Leader.

Delain - London Review

Delain are one of the most popular bands in the symphonic metal world, and their star is still rising. Unlike the majority of their peers who often perform just a token one-off show in London whenever they tour, Delain have always made the effort in the UK. This has paid dividends, and the band have a large legion of fans here, and that legion continues to grow. This European tour, supporting their fifth album Moonbathers, sees them playing some of their biggest UK headline shows to date. Their venue of choice in London has historically been the O2 Academy in Islington, a favourite of melodic metal acts, but this time they came to the beautiful old Koko venue just south of Camden. This is a venue I had only been to once before, to see Kamelot in 2010, and have been wanting to return ever since. The old theatre decor inside gives the venue a classy vibe, the sound is always very good there. It was probably a bit of a risk for them to play the Koko on this tour, but the risk paid off and the place was pretty full. I was on the floor, which was pretty much full right to the back, and there seemed to be a good amount of people on the balconies above too. Delain are seeing the fruits of their labour, with their 1970s-esque touring work ethic reaping the rewards. This was my fourth time seeing the band live, having caught them in Birmingham in 2012, and twice last year at Bloodstock Festival and in Bristol. All three of these shows were excellent, and this one in London was no different - in fact it could be the best of the lot!

Before Delain's set however, the crowd were treated to two strong support acts. Kobra and the Lotus opened the show, and played for just over half an hour. They are a band I had heard the name of before, but had never bothered to check out. This shall be rectified immediately however, as their set of melodic heavy metal impressed. Frontwoman Kobra Paige has a dynamic and captivating stage presence, and her voice reminded me a bit of Doro. She has serious power in her voice, but always sings with a melodic edge. The band were much heavier than I expected, with lots of excellent riffs and guitar solos throughout. Many of these solos were provided by session guitarist 'Shred' Sean Maier, formerly of the fantastic American 1980s-style metal band Blessed by a Broken Heart (who need to reunite!). I saw him live with BBABH back in 2010, so to see him peel off a few excellent guitar solos again was a real treat. The band's material was generally pretty strong too, with lots of big choruses throughout. They impressed me during their set, and I shall look to pick up one of their albums soon.

Up next was gloomy Swedish progressive metal legends Evergrey, a band I have been wanting to see live for a while. While I would not class myself as anything other than a casual fan of their music, their unique sound has always interested me and I had a feeling they would put on a great show. Despite this only being a support slot, they pulled out all the stops and delivered a headline-worthy performance of songs from throughout their catalogue. Unsurprisingly, five of the eight songs played were taken from the band's excellent two most recent works, with Passing Through and The Fire kicking things off. Tom S. Englund (vocals/guitar) sounds as great live as he does on record, and his passionate vocal performance was the best part about the band's set. The whole band work together so well as a unit, with the performance being more than the sum of the parts, but special mention must go to lead guitarist Henrik Danhage for some excellent soloing throughout. His solo in the closing number Kings of Errors was a display of restrained shredding, and his atmospheric solo spot before A Touch of Blessing showcased his slower, more emotional playing. This set was a taster of a full Evergrey show, and I hope they return to the UK soon so I can catch them at one of their own concerts. The setlist was:

Passing Through
The Fire
Leave It Behind Us
Black Undertow
In Orbit
Broken Wings
Guitar solo
A Touch of Blessing
King of Errors

Delain are a band that really know how to put on a good show, and the 90 minutes they were on stage whizzed by as they churned out anthem after anthem for the large crowd. Being the Moonbathers tour, new material dominated the set with seven (eight if you count the intro) songs from that album being featured throughout the evening, with songs from the all of the rest of their albums making up the rest of the show. The show started with the orchestral The Monarch, the new album's closing track, but it worked well as an intro as the band members slowly took to the stage to play along with it. Ruben Israel (drums) was the first on stage, followed by the rest and the band then exploded into the heavy Hands of Gold. Frontwoman Charlotte Wessels sounded fantastic throughout the set, and has matured into a commanding focal point for the band too. She knows how to work a crowd and her confidence and energy is infectious. This current six-piece version of the band has gelled together really well now, and are a tight live unit. The Glory and the Scum was an early highlight, with Otto Schimmelpennick van der Oije (bass guitar/vocals) adding some harsh vocals to the chorus. Old favourites, such as Get the Devil Out of Me and Army of Dolls, were thrown in to mix things up, but the new material was so well received by the crowd that everything felt like an old favourite. The band's new album is one that took a bit of time to grow on me, and hearing many of these songs live now has only improved my opinions of them. Pendulum is definitely one that sounds better live than on the album, with more energy and a thicker sound thanks to the two guitars. The delicate rock of April Rain was a great mid-set rest from the heaviness, and shows just how much heavier the band have become since their second album. Merel Bechtold (guitar) also handled the guitar solo here, something which is usually dealt with by Timo Somers (guitar/vocals) in most of the other songs. The is one thing I would like to see Delain incorporate more of now they have both Somer and Bechtold, two fantastic guitarists, in tow. More dual lead guitar riffs and solos would be a fantastic addition to the band's sound! It was two more of the new songs, Fire with Fire and Danse Macabre, that proved to own the second part of the show, and from them on it was all older classics. The Gathering is always a great live song. The chorus is one of the catchiest in the band's catalogue, and it always gets the crowd going. The main set came to and end with the oldie Pristine, with more crushing harsh vocals, and the band left to huge cheers. Despite 11pm fast approaching by this time, they managed to squeeze in a further three songs as an encore. Mother Machine and the dancey Don't Let Go were popular choices, but it was the anthemic closing number We Are the Others that elicited the biggest response of the evening with plenty of singing. The setlist was:

The Monarch
Hands of Gold
Suckerpunch
The Glory and the Scum
Get the Devil Out of Me
Pendulum
Army of Dolls
The Hurricane
April Rain
Here Come the Vultures
Fire with Fire
Danse Macabre
Sleepwalkers Dream
Stay Forever
The Gathering
Pristine
-
Mother Machine
Don't Let Go
We Are the Others

Overall, this was another fantastic evening of live music. Delain continue to get better and better live, and I predict that they will be playing bigger venues than the Koko before long. It was great to finally catch Evergrey live too, and the discovery of Kobra and the Lotus was a pleasant one. I am sure it will not be long before Delain return to the UK, and I shall endeavour to go again if it is possible.

Europe - London Review

1986 must have been a great year for music. I recently saw FM celebrate the 30th anniversary of their debut album Indiscreet in Nottingham and, exactly two weeks later, I was in London to celebrate the 30th anniversary of Europe's seminal hard rock album The Final Countdown. The Final Countdown is easily Europe's most important, and most defining, album. It contains the band's best known singles, including the legendary title track which literally everyone knows, and was the first album by the band to feature all 5 of the current members of the band. It also established the Swedes as a big-hitter in the American-dominated AOR market, and increased the role that keyboards played in the band's sound after two heavier albums. It is a fan-favourite album for good reason, and it is extremely consistent throughout. It would be a crime if the band did not choose to do something to celebrate this landmark anniversary of their most famous album, so when this tour was announced earlier in the year I snapped up tickets as soon as they went on sale. Europe never disappoint live, and all three of the shows I had seen previously were excellent. This anniversary tour was a shorter one that usual, with only one UK show included, but that made it all the more special and it sold out. The venue of choice was the Roundhouse, a new venue for me that is just north of Camden. I was impressed with the venue for the most part, and it was great to see a band like Europe selling out a good-sized venue like this!

Before Europe hit the stage however, the crowd was treated to a couple of support bands. Up first were fellow Swedes The Electric Boys. Despite being around in some form or another since the late 1980s, this was my first encounter with the band. I knew the name, but had never heard a note of their music before this show in London. Unfortunately, the band did little to impress. Their groovy, bluesy hard rock was very formulaic and they never really seemed to set the audience alight despite there obviously being a few fans in attendance. The majority of the songs they played just were not that memorable at all, and lacked strong melodies or standout riffs. They were only on stage for about half an hour however, so they did not outstay their welcome.

Dare, on the other hand, were very good. I have been a fan of them for a few years now and had never had the chance to see them before, so when they were announced as the main support for this show I was excited. They only had just over half an hour to play with too, so they wasted no time and started with Wings of Fire and We Don't Need a Reason, both from 1991's Blood from Stone. While the sound was never brilliant during their set, the keyboards and backing vocals were far too low in the mix, the band still impressed and made their six song set count. Home was the only new song played, and frontman Darren Wharton sounded at his best vocally here. The band's smooth, atmospheric songs suit his voice better these days, and Vinny Burns (guitar/vocals) played some fabulous guitar leads during this song. The final three songs were all from the band's debut album Out of the Silence. Singles Abandon and Into the Fire all sounded great, although more backing vocals in the mix would have really improved the stadium-sized choruses! The mellower Return the Heart brought a short, but sweet, set to and end. I am glad that I finally got to see Dare live, even if it was really only a taster. Dare toured with Europe in 1989, so this show was almost a little recreation of history! The setlist was:

Wings of Fire
We Don't Need a Reason
Home
Abandon
Into the Fire
Return the Heart

It was Europe that everyone was here to see however and their two hour set was fantastic - probably the best show of theirs I have seen so far. Europe sets are often dominated by new material, so the real nostalgia fest that this show originally promised to be would have been a strange and novel prospect. Before the complete run through of The Final Countdown however, the band treated us to a complete run through of last year's excellent War of Kings album - two albums for the price of one! Only Europe could make a tour celebrating a classic album's 30th anniversary to not be a total evening of nostalgia, and the format worked well showcasing the band's classic sound and their modern sound. War of Kings was not played in order however, and the show opened with the upbeat and hard rocking Hole in my Pocket. This is raw hard rock song, and frontman Joey Tempest was on fine form from the off posing for the cameras (this show was being filmed for a future DVD release) and spinning his microphone stand around. The early part of this half of the set was dominated by more atmospheric bluesy pieces however that really showcases John Norum's (guitar/vocals) playing. All of the songs have fantastic guitar solos, with the heartfelt Praise You standing out the most. The album is quite varied however, and sees the band tackle a lot of styles. Days of Rock 'n' Roll is almost a throwback to the band's 1980s sound, and features a prominent keyboard riff from Mic Michaeli (keyboards/vocals). His keyboards were high in the mix throughout the evening, which was great. The War of Kings album is dominated by his grinding hammond organ playing, and this helped to give the songs an extra boost live. The non-album bonus track instrumental Vasastan was played too, which became a showcase for Norum with another fantastic bluesy solo. The two songs that ended this half of the show were arguably the best however. The Zeppelin-esque Light it Up has a great riff and some fantastic vocals, before the album's title track crashed in with the Deep Purple-like organ riff and triumphant chorus. This is one of the band's best modern songs, and was a fitting way to end the modern part of the show.

Despite there being a lot of love for the band's more recent work, this show was all about The Final Countdown album however. Despite being the band's most famous album, only the title track, Rock the Night, and Carrie (and to a lesser extent Cherokee) are regulars in the band's live sets. This meant that a lot of songs were played for the first time in a while, with closing track Love Chaser having not been played live since 1987! It was strange hearing The Final Countdown halfway through a Europe concert, but it gave everyone the boost of energy that was needed after the more downbeat War of Kings material. From this point on, the show was a real party, and when the band launched into Rock the Night, full party mode had been activated. The crowd was so loud during this song, and they sung the words back at the band with real gusto as lots of classic pictures of the band from around the time of the album's release were shown on the big screens. While those songs are classics and are always enjoyable live, some of the lesser-known songs stood out more as the evening moved on. Danger on the Track was one of these, and the keyboard-heavy rocker was well-received by the crowd. Cherokee was another highlight, and is one of the album's best songs. The pulsing keyboard riff and the anthemic chorus perfectly sum up Europe's 1980s sound, and by this point the band were cruising. Even the album's weakest song, Time Has Come, sounded better live with a slightly heavier arrangement. I would say however that my overall highlight of the night has to the the penultimate song On the Loose. This song has always been the diamond in the rough on The Final Countdown, and to hear it live was a treat. It is a faster song, and features one of the band's catchiest choruses. The evening came to an end with the aforementioned Love Chaser, another extremely underrated song, and a little coda of The Final Countdown at the very end just to get the crowd to give a huge roar one more time. There was no encore, but there was no way the band could have followed the set they had just played, and this was the perfect way to end the show. The setlist was:

Hole in my Pocket
The Second Day
Praise You
Nothin' to Ya
California 405
Angels (With Broken Hearts)
Days of Rock 'n' Roll
Children of the Mind
Rainbow Bridge
Vasastan
Light it Up
War of Kings
The Final Countdown
Rock the Night
Carrie
Danger on the Track
Ninja
Cherokee
Time Has Come
Heart of Stone
On the Loose
Love Chaser/The Final Countdown

Overall, this was a fantastic evening of old and new music from one of the best melodic hard rock bands of the 1980s. The setlist was perfect in retrospect, and I am looking forward to reliving this show when the DVD is released sometime next year. The band are also planning to release a new album next year too, so I look forward to that and the touring that will inevitably go with it.

Sonata Arctica's 'The Ninth Hour' - Album Review

While traditional power metal seems to be on the decline somewhat, Finland's Sonata Arctica are a band that always manages to stay relevant. Since forming in 1995, the band have created a diverse catalogue complete with finely-crafted melodic metal songs and experimentation. Granted not all of their experiments have paid off, but they are a band that deliver the goods more often than not. Sonata Arctica were never content to stick to the rigid power metal formula, and it could be argued that their last 'true' power metal album was 2004's Reckoning Night. While all of the band's subsequent albums have contained songs that hark back to their original sound, they have also explored other avenues. They are a band that are now hard to pigeon hole, but if I had to label them I would call them simply 'melodic metal'. While they have a slight progressive bent, which gives the band their distinctive quirky sound, their songs are always focused on strong melodies. Singer, and main songwriter, Tony Kakko has definitely become one of metal's most distinct composers. His playful melodies and strange lyrical style define the band's sound, and is the thing that makes Sonata Arctica who they are despite a few different musicians passing through their ranks during their history. While the band's recent discography has been fairly solid, Sonata Arctica have not released a truly classic album since 2009's The Days of Grays. The band's last album, 2014's Pariah's Child (which I reviewed here), was an album that started off really strongly, but tailed off toward the end. Overall however, it turned out to be a solidly enjoyable album that could probably do with a bit of a reappraisal. The band's new album The Ninth Hour, which is unsurprisingly the band's ninth album, is very similar in sound and structure to Pariah's Child. Once again, the first half of the album contains many of the best songs and it does tail off towards the end. That being said, there are still plenty of interesting moments here, and Kakko has written some of his most progressive songs yet for this album. There is a song here that could easily be a contender for my favourite Sonata Arctica song for a good number of years too! As with the last album, bass guitarist Pasi Kauppinen also acts as the band's producer. His results on this album are stunning, and this is easily the best-sounding Sonata Arctica album yet with extreme sonic clarity and instrument separation. This album is also fairly heavy on the atmospheric side of the band's sound. Fewer songs than normal feature in-your-face guitar riffs or shredded solos, which gives the album a unique feel.

The Ninth Hour starts off in relatively restrained style with the quirky opening number Closer to an Animal. It is a mid-paced rocker, with buckets of groove courtesy of Kauppinen and drummer Tommy Portimo, and some of Kakko's strangest lyrics yet. This is a song that is quintessentially Sonata Arctica, and is the sort of song that only they could pull off. The drumming here dominates, wit h Portimo's vast variety of mid-paced beats giving the song real character. The melodies here are subtle, often backed up by ringing keyboard notes, and the vocals are fairly subdued. I did not like this song much on first listen, but it has improved immensely on repeated viewings, and shows the band's originality and songwriting prowess. Life is more typical of the band's earlier sound, but mixed with some of the floaty-ness of Closer to an Animal. Elias Viljanen's guitar leads in the intro are extremely uplifting, before the keyboard-heavy verse takes over and Kakko's croon is utilised. His vocals throughout this album are somewhat less bombastic and expressive than usual, which suits the album's mood, but he does let rip in the song's chorus which is the first moment on this album to really crank up the power. There is a traditional power metal instrumental mid-section here, with Viljanen and keyboardist Henrik Klingenberg both having chances to shine. The melodies throughout this song are sublime however, and this is the song I was talking about that could well be my favourite of their's for a number of years. Fairytale is heavier, opening with gothic keyboards and a crunching guitar riff that would not sound out of place on a Nightwish album. After the previous two songs, this songs comes along like a freight train and really hits the spot. Klingenberg's keyboards are all over this too, with a lengthy lead section before the vocals kick in, and huge orchestral arrangements throughout. This song has a real Reckoning Night vibe to it, with a gritty chorus and a chugging energy. Portimo's drums never let up the pace throughout, with some precise double bass drumming that is the song's rock. There is another excellent duel solo section too, and this is a song that ought to appeal to fans of the band's older sound. We Are What We Are is the album's first true ballad, and it is a great one! The low whistle skills of Troy Donockley (Iona; Nightwish) are featured here, particularly in the folky intro section. Donockley seems to be the go-to man now for folky additions to metal albums - he is extremely in demand (I hope however he still finds time to make his customary appearance on the upcoming Mostly Autumn album Sight of Day!). This is a real lighters-in-the-air moment, and easily the album's best ballad. While the chorus is pretty repetitive, it still works well and really get itself stuck in your head. Till Death's Done Us Apart is another somewhat strange song with some really 'out there' lyrics and a big mix of styles. Heavy, almost thrashy, metal sections are mixed with piano-driven vocal sections that have almost a Broadway feel to them. The song is playful and somewhat progressive, and actually ends up working very well. It is probably Kakko's best vocal performance on the album too, mixing his trademark soaring melodic style with a more laid-back lounge style to great effect.

Among the Shooting Stars is another ballad, but this one is less interesting than We Are What We Are. By this point in the album, most of the best songs have come and gone which gives this second half a bit of a half-baked feel at times. The slow crunch of the guitar drives the song, but this only serves to sound a bit monotonous. Parts of the song do shine, such as when Kakko opens his voice up a bit and sings to a strong orchestral backing during the chorus, but the rest of the song is a bit of a let down. Rise a Night has a very old-school feel. This is a fast power metal song, with some great old-school keyboard sounds and a great display in power metal drumming from Portimo. This is a song that has clearly come from their recent tour where they played their 1999 debut album Ecliptica in full, as it certainly harks back to those days but with a modern sound. It is not as good as their earlier efforts at this sound, but it is still a strong song with a lengthy guitar solo and a blood-rising pace that is rarely seen on a Sonata Arctica album these days. Those who say that they can no longer play power metal should listen to this song and be transported back to the early 2000s again! Fly, Navigate, Communicate is another strange song, but one that has grown on me a lot since first hearing it. There are some great fast sections here, but also some more progressive sections are present that showcase Kakko's modern writing style. It also a showcase for his diverse vocal style. It is a hard song to describe, so just listen to it and make up your own mind - I like it! Candle Lawns is another ballad, and this is the middle of the three. It is not as good as We Are What We Are, but it is better than Among the Shooting Stars with lots of excellent piano melodies from Klingenberg and a lengthy guitar solo. This is a very stereotypical power metal ballad, with quite a lot of drama in the vocal delivery and a large orchestral backing. Despite this familiarity, it is a strong song and one that is sure to give people a warm, fuzzy feeling when they hear it. White Pearl, Black Oceans - Part II: By the Grace of the Ocean, a sequel to the song on Reckoning Night, is over ten minutes in length but it is a song that never really seems to go anywhere. Sonata Arctica have never really made a success of the longer progressive 'epic' and this song does little to stop the rot. It feels like lots of bits of other songs pieced together with little natural flow, and I am not sure exactly what this has to do with the original song. There is a great shredded guitar solo about of a third of the way in however, and this leads into a fluid and extremely melodic keyboard solo, which is easily the highlight of the song. Sonata Arctica are much better when they stick to a more concise songwriting style, as is demonstrated elsewhere on this album. On the Faultline (Closure to an Animal) is a bit of an atmospheric re-working of the album's opening song, and works well to close the album and bookend the material here. It is different enough to make it stand as it's own song, but also has enough familiarity to act as the album's perfect coda. Overall, The Ninth Hour is a strong album from Sonata Arctica that sums up their modern sound perfectly and showcases their quirky songwriting style. The first half is certainly better than the second, but there is enough here to keep me listening on a fairly regular basis and I imagine this is an album that will only continue to sound better with each listen.

The album was released on 7th October 2016 via Nuclear Blast Records. Below is the band's promotional video for Life.

Y&T - Bristol Review

Despite the fact that American hard rockers Y&T come to the UK for a fairly lengthy tour each Autumn/Winter, I had never actually seen them live before this past weekend! I think the fact that you know you will have plenty more opportunities to see a band can sometimes make you complacent when it comes to booking tickets. I had always wanted to see the band live, but with only a finite amount of funds available for gig expenses, Y&T shows always got passed over for bands that I was either: a) a bigger fan of; or b) do not come over to the UK that often. That is why this year, when the tour was announced quite a few months ago, I booked by ticket straight away! I did not want to go another year passing up an opportunity to see Y&T, as their reputation as a fantastic live band is an opinion that is pretty much universally held by rock fans. The fact they were playing in Bristol too made the decision easy, as Bristol is usually quite cheap for me to get too, and it is a nice city to visit anyway. The O2 Academy there, while not the best venue of it's kind, is certainly not a bad place to watch live music (unless the show is sold out, or close to being so). That was not the case here though and, while there was a decent amount of people in attendance, there was still plenty of space to stop things getting too cramped. I do not usually try to get to the front for gigs these days, but the sparser crowd made this easier than usual, so I made my way down to the barrier where I stayed for the entire evening. As with the Anathema show the day before, there was very little hanging around. The support band went on 15 minutes after the doors opened, and there was a very short turnaround before Y&T came on. I much prefer shows like this, as the endless hanging around can get very tedious, and it stops the evenings from being ridiculously late all the time.

The aforementioned support band was Praying Mantis, a band who originally found fame as part of the NWOBHM movement in the early 1980s, but have since become a bit of a cult band with their excellent brand of melodic hard rock. I had not seen the band since the 2013 edition of the Cambridge Rock Festival, so this was a set I had been looking forward to almost as much as Y&T's. They only had just over half an hour to play with, but they made it count with 6 hard-hitting yet melodic rock songs that seemed to impress the growing crowd. A couple of songs from last year's Legacy were included, with the opening number Fight for Your Honour being one of the set's highlights. The band have improved considerably since frontman John Cuijpers joined the band in 2013. His voice and stage presence are both great, and has the range to do the band's catalogue justice. The band's sound is characterised by lots of twin-lead guitar riffs from founding member Tino Troy (guitar/vocals) and long-time member Andy Burgess (guitar/vocals), with all of the band's songs featuring extremely melodic harmony guitar lines. The real highlight of the set however was ballad Dream On, which features a fantastic chorus, and a stunning guitar solo from Burgess. Two old songs ended the set, including the muscular Captured City, a song which featured on the hallowed 1980 NWOBHM showcase compliation album Metal for Muthas. This was a set that was far better than your average support slot, and I hope to see a full-length set from the band sometime in the future. The setlist was:

Fight for Your Honour
Panic in the Streets
Believable
Dream On
Captured City
Children of the Earth

After the short changeover , Y&T hit the stage with little fanfare, and ploughed through a two-hour set with great energy and professionalism. Their set was mostly focused on their mid-1980s albums, but there were a few songs from their latest album Facemelter thrown in for good measure. One of these songs, On with the Show, opened the show with Aaron Leigh's (bass guitar/vocals) bass riff before it morphs into a real hard rock anthem with a big chorus. Y&T are a very uncomplicated band, with simple, riff-based, songs, but they are songs that are made to be heard live. Sole-founding member Dave Meniketti (vocals/guitar) is the star of the show throughout. His voice still sounds as good as it did in the 1980s, and he takes the vast majority of the evening's guitar solos and shows off what a fantastically underrated player he is. Lots of well known songs came early on with Lipstick and Leather, Dirty Girl (which was drawn out with solos from both Meniketti and John Nymann (guitar/vocals)), and Mean Streak all impressing. Songs from the band's late-1980s AOR-influenced period were also included. Don't Be Afraid of the Dark was one of those featured, but without the keyboard backing that the album version had it felt a little flat. This was unfortunately the case for all of songs from that part of the band's discography, with the band's tough live sound overpowering the songs' melodies. The lack of volume in the backing vocal department did not help either. The band's earlier songs, and more recent numbers, all sounded fantastic however. Winds of Change and Black Tiger were both highlights of the middle part of the show, before a slightly re-arranged version of a personal favourite Midnight in Tokyo was played. I liked the new arrangement, with the slower introduction, and there was plenty of singing from the crowd at this point. Another song that was drawn out for guitar pyrotechnics was the ballad I Believe in You which saw Meniketti launch into a soaring and emotionally-charged solo that went on for quite a while. At my position on the barrier, I could take in every note of this solo, and that made it even more special. Unfortunately fan favourites Contagious and Summertime Girls suffered the same fate as Don't Be Afraid of the Dark, and did not hit the spot as they really should do. I understand that the band have reverted back to their heavier early 1980s sound these days, but maybe some basic programmed keyboards would help these few songs live? The set came to an with Rescue Me and I'm Coming Home, which were both fantastic and helped to end the set on a real high. Despite being on stage for nearly two hours by this point, there was still time for a couple more. Open Fire was a surprise with it's heavy riff and powerful chorus, before another fan favourite Forever was played to a huge cheer before the band took their final bows and left the stage, bringing another European tour to an end. The setlist was:

On with the Show
Lipstick and Leather
Don't Stop Runnin'
Dirty Girl
Mean Streak
Don't Bring Me Down
Don't Be Afraid of the Dark
Winds of Change
Blind Patriot
I'll Keep on Believin' (Do You Know)
Black Tiger
Midnight in Tokyo
Down and Dirty
Hang 'em High
I Believe in You
Contagious
Drum solo
Summertime Girls
Rescue Me
I'm Coming Home
-
Open Fire
Forever

My first live Y&T experience was a positive one, and this was one of the best honest rock 'n' roll shows I have seen in a while. I shall definitely look to see the band again next time the come to the UK, as their reputation seems to be more than justified. I met three members of Praying Mantis at the merch desk after the show too, and got them to sign my copy of Legacy and one of their setlists which was given to me by one of the crew after their set!

Anathema - Cardiff Review

There are not really any bands that I can think of that sound like Anathema. Since forming in 1990, the rockers from Liverpool have morphed many times, taking on new sounds and influences - and have become one of the country's best loved alternative bands. These days, Anathema are firmly in the 'progressive rock' camp, with complex songwriting and huge atmospherics at the forefront of their sound. Influences are also taken from modern alternative rock, electronica, and metal, and these sounds are all woven seamlessly together to create Anathema's unique brand of soaring and emotional music. With a new album on the cards for next year, the band decided to arrange a UK tour to road-test some of this new material. The venues chosen for this tour were smaller than those the band would usually play, and the intimate setting really brought the best out of the band. This sort of music is supposed to be in your face and emotionally hard-hitting, and the confines of the smaller venues certainly helped this fact. These shows were also billed as 'Evenings With...', which meant there were no support bands at any of the gigs, with the band opting to play a two hour headline set instead. I chose to go to The Globe in Cardiff, which was the second night of the tour. This was a new venue for me, and it one I hope to return to. Despite being slightly outside of the main city, the 350 capacity venue was great, with a decent-sized stage that was not crammed into a corner, and even a small balcony. I was near the front for the entire show, but it strikes me that you would probably have a great view of the band wherever you chose to stand. Despite some early sound issues that affected the first couple of songs, the sound throughout the evening was excellent. It was so clear, which is exactly what is needed for Anathema's complex and multi-layered music. With the venue opening at 8pm, and Anathema hitting the stage at 8:30pm, this made for an efficient evening. So many venues leave you hanging around for ages before the music starts (and then again between bands) and it was refreshing to have very little waiting time here.

To go with this theme of efficiency, there was little fanfare throughout the show either. The band came on stage and immediately went into their first number, which was one of the four new ones played, Gotyou To (which I assume is a working title, as that is a horrible name for a song!). In true Anathema style it was a bit of a surprise, with little of the atmospherics that has characterised their more recent work. Jamie Cavanagh (bass guitar) drove the song with a powerful bassline, and Vincent Cavanagh (vocals/guitar/keyboards/percussion) delivered one of his trademark passionate vocal displays. It was quite a short song, and some sound issues definitely affected it, so I do not feel able to form an opinion on it. Sound issues affected about half of Untouchable - Part 1 too, with everything just sounded extremely quiet. Suddenly however, the PA seemed to really come to life and full volume was restored. From this point onward, the show was stunning. I had only see Anathema once before, which was an acoustic show at Exeter Cathedral last year which was fantastic, but to finally see the band at full power and strength was something to behold. Untouchable - Part 2 followed with Lee Douglas (vocals) duetting perfectly with Vincent as main songwriter Daniel Cavanagh (guitar/keyboards/vocals) played the piano. Many of the band are multi-instrumentalists, with the Cavanagh brothers (besides Jamie) swapping between guitar and keyboards throughout, and John Douglas (drums/percussion) and Daniel Cardoso (keyboards/drums) constantly moved around the stage to perform different roles. An early highlight was the Lee-lead Ariel from the band's most recent album, before another new number Springfield really wowed the crowd. This was more familiar territory for the band, with both Vincent and Lee performing vocals, all underpinned by Daniel's spacey guitar melodies. The Storm Before the Calm is a song that really comes alive when played live, with Vincent and Cardoso both providing keyboard duties, while Jamie's bassline adds the slightly funky edge to the electronic cacophony created by the keyboards.

Another song which highlights the band's electronic side is Closer. This saw Vincent again behind the keyboards, and singing with some really strange effect on his voice. It is such a unique song, that descends into near-metal riffing at one point, and one that definitely needs to be heard live to reach it's full potential. The band briefly left the stage at this point, although it was not for an encore as Firelight played over the PA and they soon returned to play the juggernaut Distant Satellites. This is a fantastic song, and one of the best numbers from their most recent album. It is a real vocal showcase for Vincent who uses the really delicate side of his voice for a lot of it. It was one of only two songs from that album played however (not counting Firelight) with the majority of the setlist being culled from Weather Systems and We're Here Because We're Here, along with some others including the new numbers. The final two new songs followed, and again they were two quite different beasts. The first, Bricks, was a guitar-driven and slightly punky upbeat rocky number which had a different kind of energy to that which the band usually have. This was more of a primal rock song, foregoing much of their complex layers of sound, but it still worked well and shows a bit of a different side to the band. The second, The Optimist, was dense and emotional ballad which would have fit right at home on any of the band's more recent albums. It seems Anathema are going to give us both familiar and different material on their next album, and hearing these four work-in-progress tasters makes me look forward to hearing the album when it comes out next year. The final two songs played were both real fan-favourites. The bluesy A Natural Disaster is Lee's real vocal showcase, and it has become an ever-present addition to the band's live set. It always goes down well live, and she sings it perfectly. Closing the evening was a raucous version of Fragile Dreams, the only 'old' song the band seem to still play live on a regular basis. It is built around an excellent guitar lead, and the chorus is a real sing-a-long moment which had the sold-out crowd singing it back at the band with real passion. I brought a fantastic evening of live music to a triumphant end and the crowd called for more well after the house lights had come back on! The setlist was:

Gotyou To
Untouchable - Part 1
Untouchable - Part 2
Thin Air
A Simple Mistake
Ariel
Springfield
The Storm Before the Calm
The Beginning and the End
Universal
Closer
Firelight
Distant Satellites
Bricks
The Optimist
A Natural Disaster
Fragile Dreams

Finally getting to see a full-blown electric Anathema show was something I had been wanting to see for quite some time, so to finally get to see one in a small venue was fantastic. I am sure this will be one of the highlights of my gigging year come next month, and I really look forward to hearing the new album next year. Luckily I do not have long to wait before seeing the band again, as they are supporting Opeth at Wembley Arena in a couple of weekends time!