Status Quo were one of the first bands I ever saw live, and were a key band in my musical development. While they are not a band that I regularly listen to anymore, I still have a huge respect for them. Along with AC/DC, they are probably the perfect example of bluesy rock 'n' roll in its purest form, and have been touring the world and wowing audiences for over 50 years now. All good things must come to an end however and this current tour, dubbed the Last of the Electrics tour, is allegedly the last from the Quo as we know them. The tour has already been extended way into next year however, so it seems the Quo are not ready to hang up their trusty Telecasters just yet! The band have said that they will continue to tour in their acoustic 'Aquostic' mode after this tour is finished however. It seems like the right time for Status Quo to bow out however as Rick Parfitt, the main driving force of the band along with founding member Francis Rossi (vocals/guitar), had another heart attack earlier in the year and has permanently retired from live performances as a result. Different members have come and gone from Quo over the years, but Rossi and Parfitt have been ever-present. In some respects it does not feel right to continue without Parfitt, but the show must go on as the band felt it right to honour their extensive touring schedule. Parfitt's place has been taken by Irish musician Richie Malone (guitar/vocals). Both of my previous Status Quo gigs have been in Plymouth, but with the band opting to play bigger venues on this tour, I opted for Birmingham instead this time. The Barclaycard Arena was a new venue for me. Slightly smaller than the Genting Arena that forms part of the NEC, the city centre arena impressed. The place was still very big however, and the sound was pretty solid throughout. While some of the seats towards the back were curtained off, the rest of the venue was full. Status Quo can still pull a big crowd, of all ages, and it was clear that everyone was here for a party.
Opening the night were the comedy rock/lounge trio The Lounge Kittens, a group of three ladies who perform classic rock and metal songs in an almost a cappella style but with piano accompaniment played by one of the members. As support bands at rock shows go, this has to be one of the strangest ones I have seen. While what they did was not exactly bad (in fact a version of Toto's Africa was pretty spectacular) it just seemed to clash with all the classic rock that was to follow. They were only on stage for around 25 minutes however, so they did not outstay their welcome. At a wedding or some other sort of function, The Lounge Kittens would be fantastic, but as a support for a major classic rock band they just felt out of place.
The special guests were much more suited however, and rock legends in their own right. American AOR band REO Speedwagon do not make it over to the UK that often, so their addition to this tour was a big reason for me buying a ticket in the first place. I have been a big fan for a long time, and have been waiting for an opportunity to see them live. Despite only getting an hour on stage, the band really delivered, playing hit after hit for the large crowd. I have heard reports that the sound on the floor was extremely poor, but where I was sat up to the side of the venue they sounded great, and the opening number Don't Let Him Go really rocked out of the speakers. Kevin Cronin (vocals/guitar/keyboards) really has not aged at all, and his voice sounds as strong and as smooth as it did in the 1980s. He was the star of the show, and interacted well with the crowd throughout with some good banter. While REO Speedwagon were never as popular over here as they were in America, there were still plenty of people in who seemed to know the songs. Take it on the Run was predictably well received, but it was Can't Fight This Feeling that was the highlight of the early part of their set, with founding member Neal Doughty (keyboards) seated at the piano to play the distinctive intro. Son of a Poor Man showed off the band's earlier more hard rocking sound. Doughty's honky piano drove the song, and there was plenty of opportunities for Dave Amato (guitar/vocals) to solo, and he did this with bluesy aplomb. All of the best songs were wheeled out at the end however, with the 1970s hard rock of Ridin' the Storm Out seeing quite a bit of movement from the fans down at the front, and then when Cronin seated himself behind the piano everyone knew what was coming. Literally everyone knows Keep On Loving You, it was a Top 10 single over here after all, and there were phones in the air and arms waving as the classic power ballad bled out of the arena speakers. There was time for one more song, and the suitably upbeat Roll With the Changes brought REO Speedwagon's set to a triumphant end with plenty more soloing and hard rock class. I hope the band return to the UK soon in their own right, as I would love to catch a full-length headline show in the future! The setlist was:
Don't Let Him Go
Take it on the Run
Keep Pushin'
Can't Fight This Feeling
Son of a Poor Man
Time for me to Fly
Back on the Road Again
Ridin' the Storm Out
Keep on Loving You
Roll With the Changes
Despite REO Speedwagon's classy performance, it was Status Quo that people were here to see. With so many classic tracks to cram into their set, Quo setlists are fairly similar tour to tour, but they are delivered with such conviction that it does not matter. Malone's riff to Caroline opened up the show, and he showed throughout that he is more than up for the task of filling Parfitt's shoes. His tough rhythms anchored the band throughout the evening, while Parfitt's lead vocal parts were covered by John 'Rhino' Edwards (vocals/guitar/bass guitar) and Andy Bown (vocals/guitar/keyboards/harmonica). An early highlight for me was Something 'bout You Baby I Like, which has such an infectious chorus, before Rhino sung Parfitt's Rain with ease. Softer Ride shows the band's blues roots perfectly, and shows that Rossi has not lost any of his vocal skills. His voice is still as strong as it ever was, and he is still a great showman. He handles much of the band's lead guitar parts too, and he solos his way through many of the songs with ease. Medleys are commonplace at Status Quo shows, and there was a lengthy one in the middle of the set that began with What You're Proposing and ended with Paper Plane. It was the second half of the show where most of the real classic tracks were, but there was time for a few lesser-known numbers too. The strange Gerdundula was one of these, and saw four of the band armed with guitars while Leon Cave (drums/percussion/vocals) came down to the front of the stage to play various percussion instruments. Songs like Gerdundula show that Status Quo are about more than just the three-chord boogie rock they are known for, and are more diverse musicians and songwriters than many often give them credit for. The band's cover of In the Army Now is also different from their classic sound, but was greatly enjoyed by the crowd who were really into the show at this point. A short drum solo from Cave followed, before four more classics to round out the main set. Whatever You Want and the piano-led Rockin' All Over the World were the real highlights, and the band left the stage to huge cheers. There was time for a couple more however, and the 1960s beat-style Burning Bridges (On and Off and On Again) went down well, before the band's customary Bye Bye Johnny ending saw one one of the biggest crowd sing-a-longs of the evening and ensured the evening ended on a real high. The setlist was:
Caroline
The Wanderer [Dion cover]
Something 'bout You Baby I Like [Richard Supa cover]
Rain
Softer Ride
Beginning of the End
Hold You Back
What You're Proposing/Down the Dustpipe/Wild Side of Life [Hank Thompson cover]/Railroad/Again and Again/Paper Plane
The Oriental
Creepin' Up on You
Gerdundula
In the Army Now [Bolland & Bolland cover]
Drum solo
Roll Over Lay Down
Down Down
Whatever You Want
Rockin' All Over the World [John Fogerty cover]
-
Burning Bridges (On and Off and On Again)
Rock and Roll Music/Bye Bye Johnny [Chuck Berry covers]
Overall, this was a fantastic evening of classic boogie rock from the band that really started off that whole movement in the late 1960s. Status Quo may be beginning to wind down now, but their legacy will remain and they still are a force to be reckoned with live. Add in a great support slot from REO Speedwagon and you get a top night of live music.
Sunday, 18 December 2016
Thursday, 15 December 2016
HammerFall's 'Built to Last' - Album Review
HammerFall are one of those bands who are always enjoyable but rarely spectacular. They have been churning out quality power metal albums since their 1997 debut album Glory to the Brave, with albums coming along regularly ever since. In my opinion, the band have never really released a bad album, with all of them containing enough strong songs to merit a purchase. This is helped by the fact that the band have stuck to the same musical formula since forming in 1993, with very little deviation since. When HammerFall are at their best, they are a great band. Fast-paced power metal, with an emphasis on the 'metal' aspect of the genre, with big guitar riffs, plenty of gang vocals, and catchy choruses to really sink your teeth into. HammerFall are at their best when they speed things up, and this is something that made their early work so strong. The band's first four albums are easily their best, but that is not to say that what has come since is in any way bad. The seems to favour the more mid-paced side of their sound these days however, and this does make their more recent work seem less interesting in some ways. After a short hiatus, HammerFall returned in 2014 with (r)Evolution (which I reviewed here), an album I enjoyed a lot at the time but have revisited it very little since. (r)Evolution was a deliberate attempt by the band to recapture their early sound, after many fans had found 2011's Infected, a gritty album that shook of the fantasy sheen that is the band's trademark, to not be to their taste. In truth, Infected is not all that different from any other HammerFall album, besides the zombie apocalypse album artwork and themes in some of the songs, but as usual a large portion of the metal community who are resistant to change dismissed it. Ironically, I think Infected is probably the band's most interesting and enjoyable album since 2002's Crimson Thunder, with a heavier overall sound that was a good change from the norm while still containing plenty of storming power metal anthems within. (r)Evolution served it's purpose however, and many of the fans that were turned off by Infected were back on board. Two years on and, after breaking with their long-time record label home Nuclear Blast, HammerFall are back with Built to Last, their 10th album. Like (r)Evolution, this is a conscious return to the band's trademark power metal sheen. While on the surface this seems like another solid HammerFall album, digging deeper reveals there is very little substance here and this is one of the biggest musical disappointments of the year in my opinion. I feel this is the band's least interesting album yet, and really just feels like a rehash of everything we have heard before, just without the soaring melodies and crunching riffs that have made all of the rest of the band's albums enjoyable spins.
The album starts off with the lively Bring It!, one of the album's better songs, to prove there are still moments worth digesting here. The song has a traditional muscular riff that races out of the blocks like a freight train, and frontman Joacim Cans is in typically strong vocal form. He is an extremely reliable power metal singer, and always turns in a quality performance no matter what. The chorus is extremely memorable too, with lots of gang vocals to bulk it out, and it is one of the album's catchiest moments. Founding member Oscar Dronjak, traditionally the band's rhythm guitarist, takes the bulk of the solo here, which is traditional power metal fare. This is a song that recalls the glory days of HammerFall, and is a great way for the album to start. Unfortunately Hammer High, which was chosen for the album's music video, is a real mid-paced plod that never really gets going. The opening drum beat, courtesy of new drummer David Wallin (Stormwind; Pain) who replaced long-time member Anders Johansson in 2014, is ripped straight out of Gary Moore's Over the Hills and Far Away, and the song lacks any true power. The chorus is extremely weak, with a chanted style that becomes nothing more than a drone, and the song's title and main refrain and taken right from Hector's Hymn from (r)Evolution. I heard this song before the album was released, and the seed of doubt was already sewn by the time I got Built to Last. Unfortunately this song is typical of most of the songs here. The Sacred Vow is better however. It opens with a lovely clean guitar melody, before a triumphant main riff kicks in that is backed up by some excellent bass playing from Fredrik Larsson. The verses are quite fast, with Cans' vocals having some grit to them that recalls the style he adopted on Infected. Despite the chorus slowing things down to a mid-pace, it is packed full of hooks and power that make it extremely memorable. It is one of the album's best moments, and sees Cans hit some pretty impressive high notes towards to the end - not something he is particularly know for. This has all the marks of HammerFall's best work, and is a shining light on a painfully average album. Dethrone and Defy is not bad either, and is a fairly decent fast-paced piece of power metal. I like the pre-chorus particularly, which has some excellent vocal melodies from Cans. There is also a pretty impressive dual solo between Dronjak and Pontus Norgren which is full of classic heavy metal energy. The chorus is a little lacklustre however, with far less power than is required for a song of this nature. Overall it is not bad however, and is certainly enjoyable. Twilight Princess is the album's ballad and this one is really weak. Joakim Svalberg (Yngwie Malmsteen's Rising Force; Opeth) provides keyboards for the song, but I am not sure why as the keyboards sound no different to the basic efforts that Dronjak and Norgren provide on the rest of the album's songs. There is a flute intro too, which is rather worthless, and the song overall just fails to excite. In fairness, ballads have never been HammerFall's strong point, but it is a metal tradition for at least one to appear on every album. Dronjak's solo is pretty good however, and is the song's best moment.
Stormbreaker regains the album some credibility, and opens with a surprisingly heavy riff that is held together by Larsson's bass rumble. It is the one of the album's catchiest riff, and the song overall is pretty strong. Cans' vocals are excellent as always, and I really like the way the rhythm section lock in together during the verses. Wallin's drumbeat is excellent, and is a little different from the norm, and he speeds up for the choruses with ease. Sadly, this is probably the last truly enjoyable song on the album, as the songwriting takes a bit of a dive after this and the album really starts to drag. The title track is next, and the over-reliance on gang vocals returns from Hammer High. Once again, the song crawls along at a mid-pace, with no standout riffs or interesting melodies. The chorus is a little better, but the call-and-response style using gang vocals has been used to death now, and just fails to excite me anymore. This song just generates no energy whatsoever for me and shows the band scraping the barrel somewhat. The Star of Home is better, and easily the most interesting of the album's closing sections. Norgren co-wrote the song, his only songwriting contribution on this album, and delivered a great solo towards the end. Most of the HammerFall songs that Norgren has co-written so far have been strong, so I feel Dronjak and Cans need to bring him into the band's inner circle more as he clearly has a lot to offer in that department. The song's chorus actually soars, with some excellent vocals from Cans, and the whole song is a showcase for Wallin who shows that he is more than a suitable replacement for Johansson. New Breed is just bland, and is let down even further by some really bad lyrics. The chorus lyrics are borderline embarrassing, sub-Manowar rubbish that really should have never got past demo stage. They just make me unable to take the song seriously, and the lacklustre music fails to spark much excitement anyway. File under 'best forgotten'. Second to None is certainly better than New Breed, but it does little to rescue the end of the album from tailing off into obscurity. The opening harpsichord melody is pretty good though, and shows that keyboards can really enhance the band's sound (they are not something the band use very prominently). You can tell that the band really tried to make this song into an epic, but it just fails to live up to the ambition. There are plenty of good ideas here, but for some reason they just do not seem to mesh together properly. The weak chorus does not help, and this is one of those songs that is almost impossible to remember even if you heard it a few minutes previously. Overall, Built to Last is a weak offering from HammerFall who can and often do much better. I cannot see this album getting many more listens from me in the future, which is a shame as a HammerFall album is usually something to celebrate - even if you know what you are going to get. A few really strong songs cannot stop this album from being a bit of a flop, and I hope they manage to improve things next time around.
The album was released on 4th November 2016 via Napalm Records. Below is the band's promotional video for Hammer High.
The album starts off with the lively Bring It!, one of the album's better songs, to prove there are still moments worth digesting here. The song has a traditional muscular riff that races out of the blocks like a freight train, and frontman Joacim Cans is in typically strong vocal form. He is an extremely reliable power metal singer, and always turns in a quality performance no matter what. The chorus is extremely memorable too, with lots of gang vocals to bulk it out, and it is one of the album's catchiest moments. Founding member Oscar Dronjak, traditionally the band's rhythm guitarist, takes the bulk of the solo here, which is traditional power metal fare. This is a song that recalls the glory days of HammerFall, and is a great way for the album to start. Unfortunately Hammer High, which was chosen for the album's music video, is a real mid-paced plod that never really gets going. The opening drum beat, courtesy of new drummer David Wallin (Stormwind; Pain) who replaced long-time member Anders Johansson in 2014, is ripped straight out of Gary Moore's Over the Hills and Far Away, and the song lacks any true power. The chorus is extremely weak, with a chanted style that becomes nothing more than a drone, and the song's title and main refrain and taken right from Hector's Hymn from (r)Evolution. I heard this song before the album was released, and the seed of doubt was already sewn by the time I got Built to Last. Unfortunately this song is typical of most of the songs here. The Sacred Vow is better however. It opens with a lovely clean guitar melody, before a triumphant main riff kicks in that is backed up by some excellent bass playing from Fredrik Larsson. The verses are quite fast, with Cans' vocals having some grit to them that recalls the style he adopted on Infected. Despite the chorus slowing things down to a mid-pace, it is packed full of hooks and power that make it extremely memorable. It is one of the album's best moments, and sees Cans hit some pretty impressive high notes towards to the end - not something he is particularly know for. This has all the marks of HammerFall's best work, and is a shining light on a painfully average album. Dethrone and Defy is not bad either, and is a fairly decent fast-paced piece of power metal. I like the pre-chorus particularly, which has some excellent vocal melodies from Cans. There is also a pretty impressive dual solo between Dronjak and Pontus Norgren which is full of classic heavy metal energy. The chorus is a little lacklustre however, with far less power than is required for a song of this nature. Overall it is not bad however, and is certainly enjoyable. Twilight Princess is the album's ballad and this one is really weak. Joakim Svalberg (Yngwie Malmsteen's Rising Force; Opeth) provides keyboards for the song, but I am not sure why as the keyboards sound no different to the basic efforts that Dronjak and Norgren provide on the rest of the album's songs. There is a flute intro too, which is rather worthless, and the song overall just fails to excite. In fairness, ballads have never been HammerFall's strong point, but it is a metal tradition for at least one to appear on every album. Dronjak's solo is pretty good however, and is the song's best moment.
Stormbreaker regains the album some credibility, and opens with a surprisingly heavy riff that is held together by Larsson's bass rumble. It is the one of the album's catchiest riff, and the song overall is pretty strong. Cans' vocals are excellent as always, and I really like the way the rhythm section lock in together during the verses. Wallin's drumbeat is excellent, and is a little different from the norm, and he speeds up for the choruses with ease. Sadly, this is probably the last truly enjoyable song on the album, as the songwriting takes a bit of a dive after this and the album really starts to drag. The title track is next, and the over-reliance on gang vocals returns from Hammer High. Once again, the song crawls along at a mid-pace, with no standout riffs or interesting melodies. The chorus is a little better, but the call-and-response style using gang vocals has been used to death now, and just fails to excite me anymore. This song just generates no energy whatsoever for me and shows the band scraping the barrel somewhat. The Star of Home is better, and easily the most interesting of the album's closing sections. Norgren co-wrote the song, his only songwriting contribution on this album, and delivered a great solo towards the end. Most of the HammerFall songs that Norgren has co-written so far have been strong, so I feel Dronjak and Cans need to bring him into the band's inner circle more as he clearly has a lot to offer in that department. The song's chorus actually soars, with some excellent vocals from Cans, and the whole song is a showcase for Wallin who shows that he is more than a suitable replacement for Johansson. New Breed is just bland, and is let down even further by some really bad lyrics. The chorus lyrics are borderline embarrassing, sub-Manowar rubbish that really should have never got past demo stage. They just make me unable to take the song seriously, and the lacklustre music fails to spark much excitement anyway. File under 'best forgotten'. Second to None is certainly better than New Breed, but it does little to rescue the end of the album from tailing off into obscurity. The opening harpsichord melody is pretty good though, and shows that keyboards can really enhance the band's sound (they are not something the band use very prominently). You can tell that the band really tried to make this song into an epic, but it just fails to live up to the ambition. There are plenty of good ideas here, but for some reason they just do not seem to mesh together properly. The weak chorus does not help, and this is one of those songs that is almost impossible to remember even if you heard it a few minutes previously. Overall, Built to Last is a weak offering from HammerFall who can and often do much better. I cannot see this album getting many more listens from me in the future, which is a shame as a HammerFall album is usually something to celebrate - even if you know what you are going to get. A few really strong songs cannot stop this album from being a bit of a flop, and I hope they manage to improve things next time around.
The album was released on 4th November 2016 via Napalm Records. Below is the band's promotional video for Hammer High.
Tuesday, 13 December 2016
The Answer's 'Solas' - Album Review
I think it is safe to say that, commercially speaking at least, Northern Ireland's The Answer have never fulfilled their early potential. Touring with AC/DC throughout 2008 and 2009 should have been the springboard for much greater things for the band, but that potential momentum never really seemed to materialise. When it comes to the band's creative potential however, it is clear that this has more than been fulfilled. Despite still being a club-level band, The Answer have gone from strength to strength when it comes to songwriting. The band's last album Raise a Little Hell (which I reviewed here), which is only 18 months or so old let us not forget, was one that introduced a few new sounds to the band's tried and tested blues rock formula. Elements of soul and funk crept into the band's sound, and made Raise a Little Hell one of the band's more experimental works to date. It was hard to predict how The Answer would follow this album up. 2011's Revival, also a fairly experimental album, was followed up by the back-to-basics heavy blues rock of 2013's New Horizon, so it would not have been unreasonable to expect the band to do something similar as a follow up to Raise a Little Hell. What actually happened was Solas, the band's sixth album, and one that I doubt many people can honestly claim they saw coming. Solas is easily the band's most diverse album yet, and is as a far cry from their raw, hard rocking 2006 debut album Rise as is realistically possible - and shows just how far The Answer have come in ten years. Whereas Rise, and much of the band's catalogue, is brash in-your-face heavy blues rock, Solas is more reserved, delicate, and warm. Screaming rock riffs are often replaced with more organic guitar melodies, and the whole thing is held together by frontman Cormac Neeson's expressive and comforting vocals. Solas has divided the band's fanbase, and I have to admit to not being overly keen on it initially too. The Answer I was expecting, and have loved for many years, was largely absent from the album. This could be a recipe for disaster, and lesser bands would have crumbled under the pressure to add the myriad of acoustic and folk elements seamlessly in their sound - but not The Answer. In hindsight, this move is probably not all that surprisingly. Previous ballads have had this sound to some extent, and the band's Northern Irish heritage has always been worn on their collective sleeves. Despite the overall tone of this album being more organic and 'quiet', there are still moments that rock like The Answer of old, they are just used more sparingly than previously. Many of the songs also feature the keyboard talents of Keith Weir (The Quireboys; Joe Elliot's Down 'n' Outz), which help to add to the warm, organic sound the band were pursuing. There will be many who will dismiss this album after a single listen, but those who are more open minded and like bands to evolve and take risks with their sound ought to find plenty to enjoy here.
The album's title track gets things underway with a slow, snaking bassline from Michael Waters and a plodding drum beat from James Heatley. The overall sound is very dry, but it works well. Initially, Paul Mahon's guitars are more in the background, with the bass guitar driving the song with it's riff and the guitars adding colour instead. The song has a real hypnotic quality, with the bassline really getting stuck in your head and Neeson's vocals swirling around perfectly. The section towards the end, were the word 'Solas' is repeated over and over is excellent, with the band providing an atmospheric backdrop, and Fiona O'Kane's subtle vocal harmonies really adding depth. A short guitar solo is the only real link to the band's past, but it still fits in well here. Beautiful World starts out in a similar fashion, as Mahon's strum away gently in the background in a way that is more reminiscent of modern indie music than blues rock, but it is Neeson that really dominates. His mournful, delicate vocals are a far cry from the hard rock screams he is known for and this is a revelation. This really suits him, and he almost sounds like a totally different man. The song starts to rock out somewhat as it progresses, with strident power chord riffing from Mahon that is backed up by a great rock bassline. Neeson does sound more like his older self here, with some wordless screams in the background, and a more powerful delivery during the heavier moments. This is still the new Answer however, despite the rockier sound, and it shows this more organic sound can also produce rock anthems. With a beautiful acoustic intro, Battle Cry is one of my favourites on the album. Neeson's opening vocal melodies are extremely catchy, and they remain this way throughout the song. Heatley's drumming and percussion throughout is really interesting, and helps to add a real rhythmic quality to the songs that fits in with Neeson's melodies. This is one of the songs that features Weir's keyboards, and his subtle organ playing really fills out the song and adds another layer to create depth. Some of the lyrics are sung in Gaelic too, which is different. This is a joyous and upbeat song that I am sure will go down well when played live. Untrue Colour has a rather sultry, laid back blues rock vibe, with a catchy dry-sounding guitar riff and some vocals from Neeson which are more like we have come to expect from him over the years. Acoustic guitar helps to bulk out the sound, and a simple but memorable chorus proves to be one of those moments that really sticks with you. The late 1960s guitar sound really helps this song, and overall this is a strong number. In This Land opens with what sounds like a mandolin riff, and the whole song has a great acoustic rock vibe throughout. Waters' bassline holds the song together, while the mandolin, acoustic guitars, and keyboards all swirl around to create a beautiful mix of sounds. Apart from the short one in the opening song, this is the first song on the album to have a proper guitar solo, which cuts through the mix with a great warm fuzzy tone. Thief of Light is a slow song, with a bit of a droning murky tone that is a great contrast to the bright acoustic riff that drives the song. Something about this song reminds me of church music for some reason, I think it is the large choral section that sits below most of the song which, although only subtly utilised, is very effective.
The opening part of Being Begotten actually reminds me a little bit of Pink Floyd around the time of The Wall, with a ominous guitar pattern and some cutting lead sections that emulate David Gilmour's famous tone somewhat. These little bursts of lead guitar continue throughout the song, and it ends up moving away from the Pink Floyd sound and moves towards an old blues style, with some deep vocals from Neeson and aching lead guitar lines. It never really properly gets going, but the mood it creates is great. Left Me Standing is a rare piece of bluesy hard rock in an album that attempts to forge a new path. This makes the song stand out, but it also makes you realise that the band can still really rock. The fast-paced chorus would have fit on any on any of the band's older albums, and the whole song just feels like the raw rock 'n' roll that dominated New Horizon. Those fans who are not keen on The Answer's new direction on this album should still enjoy this number, as it contains all the hallmarks that made the band popular in the first place, albeit with a slightly more organic overall feel. Demon Driven Man sounds like a song that could have been left over from the Raise a Little Hell sessions. In fact it sounds like a distant cousin to I Am What I Am, one of the best songs from that album, with a big funky bassline and a extremely catchy chorus. There is a bit more rock here than is found elsewhere on the album, and a great guitar solo is thrown in to boot. This is one of my favourite songs on the album, as I love the slightly funky side to The Answer's playing, something which I would like to see more of in the future! Real Life Dreamers is a bit of low-key blues rock with some great slide playing from Mahon and a subtle keyboard display from Weir that really enhances the sound of the song. O'Kane's vocals, which have been used throughout the album in a backing and harmony capacity, are given more prominence here and the song is actually a duet between her and Neeson. Their voices mix well together, and the vibe ends up taking on a bit of a country feel as the song goes on well lots of picked acoustic guitar melodies and the subtle slide playing. The album's closing number, Tunnel, is a great ballad that is initially based around acoustic guitar, but it soon builds up to take on more sounds. The wordless backing vocals during the chorus are particularly powerful, and help to really elevate that section. Once again, Waters' bass playing really stands out. His playing throughout this album is excellent, and it is often his grooves that drive the song rather than the more traditional guitar riffs the band usually opt for. It works well however, and his melodic playing really stands out and helps this more delicate sound The Answer have gone for here still have some weight. Not to be outdone, Mahon adds another great solo to the song, and ensures the album ends on a high. Overall, Solas is an album The Answer should be commended for. The new sound suits them down to the ground, and the songwriting throughout is very thoughtful and memorable. Bands need to change and evolve to stay fresh and, while I am sure they will return to the blues rock they built their career on soon, this is an Answer album that is just that - fresh! This the band's Led Zeppelin III, with a similar warm vibe and rootsy feel.
The album was released on 28th October 2016 via Napalm Records. Below is the bands promotional video for Solas.
The album's title track gets things underway with a slow, snaking bassline from Michael Waters and a plodding drum beat from James Heatley. The overall sound is very dry, but it works well. Initially, Paul Mahon's guitars are more in the background, with the bass guitar driving the song with it's riff and the guitars adding colour instead. The song has a real hypnotic quality, with the bassline really getting stuck in your head and Neeson's vocals swirling around perfectly. The section towards the end, were the word 'Solas' is repeated over and over is excellent, with the band providing an atmospheric backdrop, and Fiona O'Kane's subtle vocal harmonies really adding depth. A short guitar solo is the only real link to the band's past, but it still fits in well here. Beautiful World starts out in a similar fashion, as Mahon's strum away gently in the background in a way that is more reminiscent of modern indie music than blues rock, but it is Neeson that really dominates. His mournful, delicate vocals are a far cry from the hard rock screams he is known for and this is a revelation. This really suits him, and he almost sounds like a totally different man. The song starts to rock out somewhat as it progresses, with strident power chord riffing from Mahon that is backed up by a great rock bassline. Neeson does sound more like his older self here, with some wordless screams in the background, and a more powerful delivery during the heavier moments. This is still the new Answer however, despite the rockier sound, and it shows this more organic sound can also produce rock anthems. With a beautiful acoustic intro, Battle Cry is one of my favourites on the album. Neeson's opening vocal melodies are extremely catchy, and they remain this way throughout the song. Heatley's drumming and percussion throughout is really interesting, and helps to add a real rhythmic quality to the songs that fits in with Neeson's melodies. This is one of the songs that features Weir's keyboards, and his subtle organ playing really fills out the song and adds another layer to create depth. Some of the lyrics are sung in Gaelic too, which is different. This is a joyous and upbeat song that I am sure will go down well when played live. Untrue Colour has a rather sultry, laid back blues rock vibe, with a catchy dry-sounding guitar riff and some vocals from Neeson which are more like we have come to expect from him over the years. Acoustic guitar helps to bulk out the sound, and a simple but memorable chorus proves to be one of those moments that really sticks with you. The late 1960s guitar sound really helps this song, and overall this is a strong number. In This Land opens with what sounds like a mandolin riff, and the whole song has a great acoustic rock vibe throughout. Waters' bassline holds the song together, while the mandolin, acoustic guitars, and keyboards all swirl around to create a beautiful mix of sounds. Apart from the short one in the opening song, this is the first song on the album to have a proper guitar solo, which cuts through the mix with a great warm fuzzy tone. Thief of Light is a slow song, with a bit of a droning murky tone that is a great contrast to the bright acoustic riff that drives the song. Something about this song reminds me of church music for some reason, I think it is the large choral section that sits below most of the song which, although only subtly utilised, is very effective.
The opening part of Being Begotten actually reminds me a little bit of Pink Floyd around the time of The Wall, with a ominous guitar pattern and some cutting lead sections that emulate David Gilmour's famous tone somewhat. These little bursts of lead guitar continue throughout the song, and it ends up moving away from the Pink Floyd sound and moves towards an old blues style, with some deep vocals from Neeson and aching lead guitar lines. It never really properly gets going, but the mood it creates is great. Left Me Standing is a rare piece of bluesy hard rock in an album that attempts to forge a new path. This makes the song stand out, but it also makes you realise that the band can still really rock. The fast-paced chorus would have fit on any on any of the band's older albums, and the whole song just feels like the raw rock 'n' roll that dominated New Horizon. Those fans who are not keen on The Answer's new direction on this album should still enjoy this number, as it contains all the hallmarks that made the band popular in the first place, albeit with a slightly more organic overall feel. Demon Driven Man sounds like a song that could have been left over from the Raise a Little Hell sessions. In fact it sounds like a distant cousin to I Am What I Am, one of the best songs from that album, with a big funky bassline and a extremely catchy chorus. There is a bit more rock here than is found elsewhere on the album, and a great guitar solo is thrown in to boot. This is one of my favourite songs on the album, as I love the slightly funky side to The Answer's playing, something which I would like to see more of in the future! Real Life Dreamers is a bit of low-key blues rock with some great slide playing from Mahon and a subtle keyboard display from Weir that really enhances the sound of the song. O'Kane's vocals, which have been used throughout the album in a backing and harmony capacity, are given more prominence here and the song is actually a duet between her and Neeson. Their voices mix well together, and the vibe ends up taking on a bit of a country feel as the song goes on well lots of picked acoustic guitar melodies and the subtle slide playing. The album's closing number, Tunnel, is a great ballad that is initially based around acoustic guitar, but it soon builds up to take on more sounds. The wordless backing vocals during the chorus are particularly powerful, and help to really elevate that section. Once again, Waters' bass playing really stands out. His playing throughout this album is excellent, and it is often his grooves that drive the song rather than the more traditional guitar riffs the band usually opt for. It works well however, and his melodic playing really stands out and helps this more delicate sound The Answer have gone for here still have some weight. Not to be outdone, Mahon adds another great solo to the song, and ensures the album ends on a high. Overall, Solas is an album The Answer should be commended for. The new sound suits them down to the ground, and the songwriting throughout is very thoughtful and memorable. Bands need to change and evolve to stay fresh and, while I am sure they will return to the blues rock they built their career on soon, this is an Answer album that is just that - fresh! This the band's Led Zeppelin III, with a similar warm vibe and rootsy feel.
The album was released on 28th October 2016 via Napalm Records. Below is the bands promotional video for Solas.
Sunday, 11 December 2016
Avenged Sevenfold's 'The Stage' - Album Review
In the internet and social media ages, many bands are often guilty of gearing up the hype train with an endless series of announcements a drip-feedings new to their fans. 'Big news soon guys!' and other such non-announcements are common place on social media, and can actually work to jade the fans or run the risk of having actual important announcements buried in the sea of other such posts by other bands. Avenged Sevenfold, arguably one of the biggest heavy metal bands on the planet at the moment, said no to this mindset however and dropped their seventh album The Stage with very little fanfare at all. There was no endless marketing campaign that went on for several months with little pieces of the album artwork revealed over time and reviews that read more like press releases distributed to the major rock magazines and websites. The band dropped a few hints the day before release that something would happen, and then next day the album was out in stores. That was it! Granted, everyone knew the band were working on a new album, and the video for the album's title track was released earlier in October, but I do not think many people expected the full album to come so quickly. 2013's Hail to the King (which I reviewed here), which was a commercial success and debuted at number 1 on the UK Album Chart, was a bit of a transition album for the band. It was the first album without any writing contributions from the late James 'The Rev' Sullivan who had been a key contributor to the band's first five studio albums (despite 2010's Nightmare being recorded and released after his death) and the band knew it would be hard to replace his creative influence. Hail to the King was deliberately sparse. The bombastic sound that the band had been working towards that culminated on 2007's self-titled album, and the dark heavy sound that dominated Nightmare, were abandoned in favour of a simpler sound influenced by the classic hard rock and metal bands that the band members loved in their youth. Despite being a strong album, you could not help but feel the band were deliberately holding themselves back for some reason, focusing more on basic songwriting and groove-based riffs than being overly-creative. In some respects, The Stage is the antithesis to Hail to the King. There are very few moments on here that could be described as 'simple' as the band take on a much greater progressive metal influence than ever before. New drummer Brooks Wackerman (Suicidal Tendencies; Bad Religion) is really let off the leash on this album, in a way that was denied to Arin Ilejay on Hail to the King. I do feel somewhat sorry for Ilejay on here, as he seemed to be told exactly what to do on Hail to the King and then cast aside as soon as the tour was over. Wackerman has been publicly praised by the other band members quite a lot since he joined the band too due to his many contributions to this album, something that was clearly denied to Ilejay. Hopefully he can find a home somewhere else, as he is a talented drummer. That oddity aside, The Stage shows Avenged Sevenfold at their most creative. Not every song here is a classic, and the diversity of the material means this is more of a collection of a songs than a flowing album experience, but there is plenty here to show why the band are so highly regarded and that they have come a long way since their metalcore roots.
The album's title track, which opens proceedings, is a real melting pot of styles that sees various eras of the band's sound forged together. The opening keyboard drone is reminiscent of Critical Acclaim, and by the time Synyster Gates' clinical lead guitar melody kicks in it takes you back to Hail to the King's title track. For a song that is over eight minutes long, The Stage is really quite a simple affair and easily one of the least-progressive songs on the album. The riffing is pretty simple throughout, which again is similar to the band's last album, with M. Shadows' vocals carrying the song throughout. On the surface the song seems too long, but repeated listens have revealed more layers that add some real depth. The lengthy bluesy guitar solo that takes place two-thirds of the way through is fantastic, with Gates' phrasing filled with plenty of emotion. This then leads into a melodramatic vocal section with Shadows' vocals taking on more of a classic rock sheen than usual. This song is a real journey, without any real typical structure, but still manages to remain accessible. Paradigm is almost the antithesis to The Stage with a thrashy main riff and Wackerman's frantic drumming display. This is a heavy song, but is still packed full of the strong vocal melodies that the band have been developing on more recent works. Wackerman is the star of the song however, with an endless list of creative drum beats to drive things. Even during Gates' explosive, shredding solo, Wackerman's drums still manage to almost steal the show with a frantic metronome feel to them. Shadows lets rip here too with a raw vocal display, that really comes to a head during the fast choruses. He even uses harsh vocals here sparingly, something he has not done for a while, to good effect. Sunny Disposition carries on the heavier vibe, and presents an overall schizophrenic feeling with a big mix of styles. Gates and Zacky Vengeance prove to be a great guitar duo, with one taking on clean leads while the other thrashes away in the background with a solid riff. A fast, punky section comes out of nowhere, driven by Wackerman's fast double bass drum playing. This acts as the chorus, and then morphs into a slow, groove-based section with a horn section! It is a really strange transition, but it works well and shows that band's creative side coming to the fore. In contrast God Damn, the only song on the album under four minutes long, is a flat-out thrash number. The band's two guitarists team up with some guitar fluid riffing, that even seems to include some tremolo picking at times, as Shadows spits out the verse vocals with real venom. This is the heaviest the band have sounded for quite some time, and could potentially be the fastest riffing in any Avenged Sevenfold song. There are mellower sections however, with a Spanish guitar-led section towards the end, and the choruses see the intensity dialled back somewhat. These sections do little to hamper the almost-hardcore punk impact of the song, and I imagine this will become a live favourite. Creating God sounds like it could be a song left over from the Hail to the King sessions with a mid-paced groovy main riff that sits over a uncharacteristically simple drum pattern from Wackerman. Despite a few faster sections, the song mostly sits in this mid-pace groove throughout, which works well after two faster songs. The chorus is pretty anthemic too, with a subtle string section to add colour and help boost Shadows' catchy vocal lines. The lengthy guitar solo is great too, and shows that Gates really is one of the best modern guitarists. Angels is the least heavy song of the album so far and, while it is not a ballad, it provides a bit of a break from the thrashy elements that have been prevalent so far. The slightly epic songs are perfect for Shadows' voice, and his surprisingly soaring performance here is easily the song's best moment. I do not think that he always gets the credit he deserves for his vocal performances, and this song should show that he can do much more than just belt out generic modern metal vocal lines. Gates' Dad, a regular contributor to Avenged Sevenfold albums, provides the lengthy outro solo here too, and shows he can keep up with his son when it comes to excellent guitar solos!
Simulation opens slowly too, with some spacey guitar sounds and understated vocal lines. It soon speeds up however, with another big thrashy riff and some almost-spoken vocals that are extremely rousing. This is a song that often switches back and forward between two distinct sounds, the spacey prog section and the heavier section, with good effect. The two sounds compliment each other well, and it all comes to a head with a great headbanging section late on that is complete with military sound effects and evil spoken word sections. All of this culminates in a fast guitar solo that fits with the blood-pumping military sound effects that came before it. With it's odd percussive sound, Higher certainly stands out from the crowd. Wackerman's drums are augmented with percussion from Brian Kilgore which actually works quite well, even with big metal riffs slapped on the top. The song has a very memorable chorus, something which this album does not focus on as much as you would expect, and sees Shadows almost crooning the smooth vocal lines while Gates' guitar arpeggios sit perfectly underneath. The latter part of the song takes a bit of a strange turn, with wordless choral vocals providing strong melodies, before an atmospheric section takes away with Shadows' delicate voice and more of the drums/percussion combo. The transition works well however and feels natural. Roman Sky is the album's ballad, with a beautiful clean guitar melody that opens things out. The song is quite keyboard heavy, something which is not the norm for the band, but this helps to provide a great overall atmosphere. Soundwise however this is not hugely different from the ballads have done in the past. Comparisons can be drawn to songs like Gunslinger and Dear God, and this feels like a natural successor to those songs. Despite the song slowly building up to a more rocking overall feel, it never becomes heavy. When the rest of the band kick in, it is Johnny Christ's bass that actually stands out the most as he plays a groovy bassline. His bass work is not that prominent throughout this album, so it is good that he gets this small chance to shine. The opening to Fermi Paradox is a pure guitar workout, with Gates' neo-classical licks really impressing. This is a strange song overall however, with heavy drum beats mixed with more atmospheric music to create a sound that is quite different to anything the band have done before. It works well however, and manages to feel truly progressive. Wackerman's drumming once again stands out, especially during the strange verse sections, and he manages to throw in some great fills even during more pedestrian sections. Shadows' vocals are excellent throughout the song too, and it sounds like he has been listen to a lot of Dream Theater before recording this as his vocals have the smooth subtly and melodic phrasing of James LaBrie, just with more gruffness. The album's closing number, Exist, is the band's longest song to date clocking in at well over fifteen minutes in length. It has a great spacey keyboard opening that sets the mood perfectly, before one of Gates' trademark sweep-picking sections comes in to blow you away once again. Unsurprisingly for a song of this length, there is an awful lot going on. It is hard song to describe and it requires multiple listens to fully digest. The main riff that kicks in after about three minutes however is pure Megadeth, and this riff is then tortured and changed up over the next couple of minutes in a riff-heavy instrumental section that is full of power. It is a good seven or so minutes before any vocals kick in, and by this point the song is stripped back to a simple clean guitar melody which is a strong contrast to the thrashy bombast that came before. The vocal-led sections are extremely melodic, with a strong keyboard backing, and plenty of subtle vocal harmonies to beef up the sound. The ending section features a lengthy spoken word section from famed astrophysicist Neil deGrasse Tyson which weaves in and out of a perfect cacophony of keyboards, guitars, and drums. His speech sums up the themes of the song, and indeed the whole album, and is a perfect way for this ambitious album to end. Overall, The Stage is an album that will probably come to define Avenged Sevenfold going forward. I think it is one of those albums that will take years to fully reveal all of it's secrets, but will come to be seen as a modern classic in the future. The band have never sounded this creative, diverse, or progressive, and I feel this album shows a band that are willing to try anything and refusing to recreate their past.
The album was released on 28th October 2016 via Capitol Records. Below is the band's promotional video for The Stage.
The album's title track, which opens proceedings, is a real melting pot of styles that sees various eras of the band's sound forged together. The opening keyboard drone is reminiscent of Critical Acclaim, and by the time Synyster Gates' clinical lead guitar melody kicks in it takes you back to Hail to the King's title track. For a song that is over eight minutes long, The Stage is really quite a simple affair and easily one of the least-progressive songs on the album. The riffing is pretty simple throughout, which again is similar to the band's last album, with M. Shadows' vocals carrying the song throughout. On the surface the song seems too long, but repeated listens have revealed more layers that add some real depth. The lengthy bluesy guitar solo that takes place two-thirds of the way through is fantastic, with Gates' phrasing filled with plenty of emotion. This then leads into a melodramatic vocal section with Shadows' vocals taking on more of a classic rock sheen than usual. This song is a real journey, without any real typical structure, but still manages to remain accessible. Paradigm is almost the antithesis to The Stage with a thrashy main riff and Wackerman's frantic drumming display. This is a heavy song, but is still packed full of the strong vocal melodies that the band have been developing on more recent works. Wackerman is the star of the song however, with an endless list of creative drum beats to drive things. Even during Gates' explosive, shredding solo, Wackerman's drums still manage to almost steal the show with a frantic metronome feel to them. Shadows lets rip here too with a raw vocal display, that really comes to a head during the fast choruses. He even uses harsh vocals here sparingly, something he has not done for a while, to good effect. Sunny Disposition carries on the heavier vibe, and presents an overall schizophrenic feeling with a big mix of styles. Gates and Zacky Vengeance prove to be a great guitar duo, with one taking on clean leads while the other thrashes away in the background with a solid riff. A fast, punky section comes out of nowhere, driven by Wackerman's fast double bass drum playing. This acts as the chorus, and then morphs into a slow, groove-based section with a horn section! It is a really strange transition, but it works well and shows that band's creative side coming to the fore. In contrast God Damn, the only song on the album under four minutes long, is a flat-out thrash number. The band's two guitarists team up with some guitar fluid riffing, that even seems to include some tremolo picking at times, as Shadows spits out the verse vocals with real venom. This is the heaviest the band have sounded for quite some time, and could potentially be the fastest riffing in any Avenged Sevenfold song. There are mellower sections however, with a Spanish guitar-led section towards the end, and the choruses see the intensity dialled back somewhat. These sections do little to hamper the almost-hardcore punk impact of the song, and I imagine this will become a live favourite. Creating God sounds like it could be a song left over from the Hail to the King sessions with a mid-paced groovy main riff that sits over a uncharacteristically simple drum pattern from Wackerman. Despite a few faster sections, the song mostly sits in this mid-pace groove throughout, which works well after two faster songs. The chorus is pretty anthemic too, with a subtle string section to add colour and help boost Shadows' catchy vocal lines. The lengthy guitar solo is great too, and shows that Gates really is one of the best modern guitarists. Angels is the least heavy song of the album so far and, while it is not a ballad, it provides a bit of a break from the thrashy elements that have been prevalent so far. The slightly epic songs are perfect for Shadows' voice, and his surprisingly soaring performance here is easily the song's best moment. I do not think that he always gets the credit he deserves for his vocal performances, and this song should show that he can do much more than just belt out generic modern metal vocal lines. Gates' Dad, a regular contributor to Avenged Sevenfold albums, provides the lengthy outro solo here too, and shows he can keep up with his son when it comes to excellent guitar solos!
Simulation opens slowly too, with some spacey guitar sounds and understated vocal lines. It soon speeds up however, with another big thrashy riff and some almost-spoken vocals that are extremely rousing. This is a song that often switches back and forward between two distinct sounds, the spacey prog section and the heavier section, with good effect. The two sounds compliment each other well, and it all comes to a head with a great headbanging section late on that is complete with military sound effects and evil spoken word sections. All of this culminates in a fast guitar solo that fits with the blood-pumping military sound effects that came before it. With it's odd percussive sound, Higher certainly stands out from the crowd. Wackerman's drums are augmented with percussion from Brian Kilgore which actually works quite well, even with big metal riffs slapped on the top. The song has a very memorable chorus, something which this album does not focus on as much as you would expect, and sees Shadows almost crooning the smooth vocal lines while Gates' guitar arpeggios sit perfectly underneath. The latter part of the song takes a bit of a strange turn, with wordless choral vocals providing strong melodies, before an atmospheric section takes away with Shadows' delicate voice and more of the drums/percussion combo. The transition works well however and feels natural. Roman Sky is the album's ballad, with a beautiful clean guitar melody that opens things out. The song is quite keyboard heavy, something which is not the norm for the band, but this helps to provide a great overall atmosphere. Soundwise however this is not hugely different from the ballads have done in the past. Comparisons can be drawn to songs like Gunslinger and Dear God, and this feels like a natural successor to those songs. Despite the song slowly building up to a more rocking overall feel, it never becomes heavy. When the rest of the band kick in, it is Johnny Christ's bass that actually stands out the most as he plays a groovy bassline. His bass work is not that prominent throughout this album, so it is good that he gets this small chance to shine. The opening to Fermi Paradox is a pure guitar workout, with Gates' neo-classical licks really impressing. This is a strange song overall however, with heavy drum beats mixed with more atmospheric music to create a sound that is quite different to anything the band have done before. It works well however, and manages to feel truly progressive. Wackerman's drumming once again stands out, especially during the strange verse sections, and he manages to throw in some great fills even during more pedestrian sections. Shadows' vocals are excellent throughout the song too, and it sounds like he has been listen to a lot of Dream Theater before recording this as his vocals have the smooth subtly and melodic phrasing of James LaBrie, just with more gruffness. The album's closing number, Exist, is the band's longest song to date clocking in at well over fifteen minutes in length. It has a great spacey keyboard opening that sets the mood perfectly, before one of Gates' trademark sweep-picking sections comes in to blow you away once again. Unsurprisingly for a song of this length, there is an awful lot going on. It is hard song to describe and it requires multiple listens to fully digest. The main riff that kicks in after about three minutes however is pure Megadeth, and this riff is then tortured and changed up over the next couple of minutes in a riff-heavy instrumental section that is full of power. It is a good seven or so minutes before any vocals kick in, and by this point the song is stripped back to a simple clean guitar melody which is a strong contrast to the thrashy bombast that came before. The vocal-led sections are extremely melodic, with a strong keyboard backing, and plenty of subtle vocal harmonies to beef up the sound. The ending section features a lengthy spoken word section from famed astrophysicist Neil deGrasse Tyson which weaves in and out of a perfect cacophony of keyboards, guitars, and drums. His speech sums up the themes of the song, and indeed the whole album, and is a perfect way for this ambitious album to end. Overall, The Stage is an album that will probably come to define Avenged Sevenfold going forward. I think it is one of those albums that will take years to fully reveal all of it's secrets, but will come to be seen as a modern classic in the future. The band have never sounded this creative, diverse, or progressive, and I feel this album shows a band that are willing to try anything and refusing to recreate their past.
The album was released on 28th October 2016 via Capitol Records. Below is the band's promotional video for The Stage.
Friday, 9 December 2016
Testament's 'Brotherhood of the Snake' - Album Review
Testament are often seen by many thrash fans as the band that should really be added to the Big 4. While Metallica, Megadeth, Slayer, and Anthrax are without question the undisputed kings of the thrash metal genre, bands like Testament and Exodus are just as influential and really deserve to receive the same level of recognition as their more famous peers. Since forming in 1983, Testament have been remarkably consistent releasing eleven studio albums without ever really diving their core fanbase. While I cannot claim to be an expert in the band's catalogue, as I even never been anything more than a casual fan of Testament, the band do not seem to attract the same divisive attitudes as bands like Metallica have had over their career. A large gap between 1999 and 2008 aside, the band have been releasing albums at a fairly regular rate - none of which seem to really attract widespread hate. In a genre with fans as notoriously narrow-minded as thrash fans, this is a remarkable achievement. Testament, like many of their contemporaries, have had their fair share of line-up changes over the years, with many talented people coming and going over the years which has probably helped to keep thing fresh. Frontman Chuck Billy and guitarist Eric Peterson have formed the core of the and since Billy's arrival in 1986 however, and have driven the band's creative direction since the band's 1987 debut album The Legacy. Peterson is highly regarded as one of the best riff writers in the genre, and Billy's reputation as a diverse vocalist - he can go from powerful melodic singing to heavier pseudo-death growls with ease - has helped Testament become one of the most respected and loved thrash bands that are still touring and recording new albums. Lead guitarist Alex Skolnick, one of the band's founding members, has been back in the band for over ten years now and continues to impress with his shredding solos. His interest in jazz music helps him to craft solos that are different from those normally found in the genre, and has been a huge asset to Testament during their classic late 1980s/early 1990s heyday and their more recent ventures. These three men have come together once again to write Brotherhood of the Snake, the band's eleventh album and first since 2012's well-received Dark Roots of Earth. Drummer Gene Hoglan has remained with the band since that album's release, and has turned in another fantastic performance here. He is one of the best modern metal drummers, and his performance throughout this album shows why he is held in such high regard. Bassist Steve DiGiorgio, who played with the band between 1998 and 2004, returned to the band in 2014 and plays on his first Testament album since 1999's fan favourite The Gathering. Sound-wise, Brotherhood of the Snake is quite similar to Dark Roots of the Earth but seems to emphasise the faster side of their player a lot more. Juan Urteaga produces instead of Andy Sneap, but the result is overall quite similar.
The album gets off to a great start with the ferocious title track, which opens with a very memorable riff that owes a lot to classic 1980s heavy metal, before a more mid-paced verse kicks in with a rolling drum pattern and some crunching power chords. Billy displays huge variety throughout the song, with the vast majority being sung in his cleaner singing style, before really letting rip in a heavy mid-section with some rumbling growls that rival anything done any many of the leading death metal vocalists out there currently. The song's chorus is faster, recapping the riff of the intro, and provides one of the first real memorable moments on the album. The Pale King, which has an accompanying video which can you see below, is definitely somewhat more accessible with a great mid-pace groove led by a rather simple guitar pattern. Billy barks his vocal lines in a classic thrash staccato way (think early James Hetfield) which will be easy to sing a long with live. Both Peterson and Skolnick get chances to solo. Peterson takes the first, shorter, one which is backed up by a strange off-kilter drum beat that emphasises the shredding perfectly. The last third or so of the song takes on a slight grungier tone, with ringing guitar chords and some dark vocal harmonies to back up Billy's surprisingly light croon. Skolnick's solo is as explosive as you would expect, sitting atop an Iron Maiden-influenced chug for maximum power. With the first two songs on the album being largely mid-paced affairs, Stronghold really races out of the blocks with a classic thrash riff backed up by Hoglan's bouncy drums. Billy is one of the few thrash singers who manages to still be clearly understood even when singing fast-paced melodies, and this song is a great example of this. Heavier, slower sections are included throughout with some growled gang vocals which is sure to go down well when played live. Seven Seals opens with a great classic heavy metal slow riff, but soon explodes into something fast and furious. This is relatively short-lived however, as it soon descends into slower territory again with a methodical verse that hits you like a sledgehammer. DiGiorgio's bass really stands out, growling through despite everything else that is going on. Not all thrash music has to be fast, and this song is a great example of Testament slowing down but still writing a really memorable song. The chorus is fantastic here, and is a real melodic feast. Billy is not all about brutality, and he can really belt out something catchy and melodic when the song calls for it. Skolnick's solo is excellent too, with lots of whammy bar tricks and strange shredded sections which offset the clinical nature of the song's overall style. Born in a Rut has possibly one of the album's best riffs, but this is soon abandoned in favour of a strange-sounding verse that has that slight grungy feel that was flirted with earlier in the album. It works well though, and Hoglan's drumming has a slight jazzy bent to it which is a world away from his usual fast-paced playing. His fast footwork is used here too, with occasional bursts of real thrash energy. There's a lengthy solo from Skolnick too, which is another part of the song that speeds up.
Anyone worrying that there was not going to be much fast thrash on here just needs to listen to Centuries of Suffering for reassurance. This is a furious song, akin to early Exodus, with a pummelling main riff and a chorus that will get the blood pumping with throat-shredding harsh vocals. Peterson shows himself to be more than just a riff-maker with a great shredding solo early on in the song, but this song belongs to Billy. The song is mostly sung at the harsher end of his vocal spectrum, and the slight bursts of black metal-esque blast beats really make this vocal choice perfect. The pace never lets up here, and it is one of the most memorable songs on the album for that reason. Black Jack is similar, and really picks up from where the previous song left off. The blast beats are back too, and are used occasionally to really darken the atmosphere. It is not as relentless as the previous song however, with slower choruses which allow for a more melodic moment in an otherwise flat-out song. I have to say though the chorus lyrics are pretty awful, with more cliché gambling references than Motörhead's Ace of Spades! Neptune's Spear gets back to the more mid-paced dominated sound that was so prevalent on the first half of the album. I feel that Testament are at their best when they slow things down a bit, as it really brings the best out of the Billy's voice, and Peterson's riffs are usually packed full of natural groove which is brought out more when the pace is slowed somewhat. Skolnick's solo is right out of the neo-classical songbook here, with some excellent licks that are packed full of melody and technical skill. The drum beat keeps changing beneath the lengthy solo too, which helps to keep it interesting. Canna-Business, despite it's awful name, is another strong song that picks up the pace from the norm with some excellent thrashy riffs and drum patterns. The drug-promoting lyrics are somewhat predictable and annoying however, and I feel this subject has been done to death by countless bands by now. The real highlight is the guitar solos though, with both of the band's players getting a chance to spread their wings with lengthy shredded lines packed full of melody. The album's closing song The Number Game is one of the album's best, with possibly some of the fasted drumming on the album. Hoglan's foot speed is often ridiculous, and he has to be one of the fastest drummers on the planet at the moment. This is evident in the song's intro, with some bursts of extreme double bass playing that would make many of those who tried to play along look like fools. The song has an anthemic quality however, with lots of backing vocals in the chanted-style chorus. The song is a great mix of the band's faster playing style and the groove which I feel is their true forte. The styles mix well together well here though, and it is a great way to round out the album. Overall, Brotherhood of the Snake is a remarkably consistent album that shows Testament are still one of the best and most relevant thrash bands around. Age certainly has not slowed them down, and this shows the band sounding as good as they ever have done.
The album was released on 28th October 2016 via Nuclear Blast Records. Below is the band's promotional video for The Pale King.
The album gets off to a great start with the ferocious title track, which opens with a very memorable riff that owes a lot to classic 1980s heavy metal, before a more mid-paced verse kicks in with a rolling drum pattern and some crunching power chords. Billy displays huge variety throughout the song, with the vast majority being sung in his cleaner singing style, before really letting rip in a heavy mid-section with some rumbling growls that rival anything done any many of the leading death metal vocalists out there currently. The song's chorus is faster, recapping the riff of the intro, and provides one of the first real memorable moments on the album. The Pale King, which has an accompanying video which can you see below, is definitely somewhat more accessible with a great mid-pace groove led by a rather simple guitar pattern. Billy barks his vocal lines in a classic thrash staccato way (think early James Hetfield) which will be easy to sing a long with live. Both Peterson and Skolnick get chances to solo. Peterson takes the first, shorter, one which is backed up by a strange off-kilter drum beat that emphasises the shredding perfectly. The last third or so of the song takes on a slight grungier tone, with ringing guitar chords and some dark vocal harmonies to back up Billy's surprisingly light croon. Skolnick's solo is as explosive as you would expect, sitting atop an Iron Maiden-influenced chug for maximum power. With the first two songs on the album being largely mid-paced affairs, Stronghold really races out of the blocks with a classic thrash riff backed up by Hoglan's bouncy drums. Billy is one of the few thrash singers who manages to still be clearly understood even when singing fast-paced melodies, and this song is a great example of this. Heavier, slower sections are included throughout with some growled gang vocals which is sure to go down well when played live. Seven Seals opens with a great classic heavy metal slow riff, but soon explodes into something fast and furious. This is relatively short-lived however, as it soon descends into slower territory again with a methodical verse that hits you like a sledgehammer. DiGiorgio's bass really stands out, growling through despite everything else that is going on. Not all thrash music has to be fast, and this song is a great example of Testament slowing down but still writing a really memorable song. The chorus is fantastic here, and is a real melodic feast. Billy is not all about brutality, and he can really belt out something catchy and melodic when the song calls for it. Skolnick's solo is excellent too, with lots of whammy bar tricks and strange shredded sections which offset the clinical nature of the song's overall style. Born in a Rut has possibly one of the album's best riffs, but this is soon abandoned in favour of a strange-sounding verse that has that slight grungy feel that was flirted with earlier in the album. It works well though, and Hoglan's drumming has a slight jazzy bent to it which is a world away from his usual fast-paced playing. His fast footwork is used here too, with occasional bursts of real thrash energy. There's a lengthy solo from Skolnick too, which is another part of the song that speeds up.
Anyone worrying that there was not going to be much fast thrash on here just needs to listen to Centuries of Suffering for reassurance. This is a furious song, akin to early Exodus, with a pummelling main riff and a chorus that will get the blood pumping with throat-shredding harsh vocals. Peterson shows himself to be more than just a riff-maker with a great shredding solo early on in the song, but this song belongs to Billy. The song is mostly sung at the harsher end of his vocal spectrum, and the slight bursts of black metal-esque blast beats really make this vocal choice perfect. The pace never lets up here, and it is one of the most memorable songs on the album for that reason. Black Jack is similar, and really picks up from where the previous song left off. The blast beats are back too, and are used occasionally to really darken the atmosphere. It is not as relentless as the previous song however, with slower choruses which allow for a more melodic moment in an otherwise flat-out song. I have to say though the chorus lyrics are pretty awful, with more cliché gambling references than Motörhead's Ace of Spades! Neptune's Spear gets back to the more mid-paced dominated sound that was so prevalent on the first half of the album. I feel that Testament are at their best when they slow things down a bit, as it really brings the best out of the Billy's voice, and Peterson's riffs are usually packed full of natural groove which is brought out more when the pace is slowed somewhat. Skolnick's solo is right out of the neo-classical songbook here, with some excellent licks that are packed full of melody and technical skill. The drum beat keeps changing beneath the lengthy solo too, which helps to keep it interesting. Canna-Business, despite it's awful name, is another strong song that picks up the pace from the norm with some excellent thrashy riffs and drum patterns. The drug-promoting lyrics are somewhat predictable and annoying however, and I feel this subject has been done to death by countless bands by now. The real highlight is the guitar solos though, with both of the band's players getting a chance to spread their wings with lengthy shredded lines packed full of melody. The album's closing song The Number Game is one of the album's best, with possibly some of the fasted drumming on the album. Hoglan's foot speed is often ridiculous, and he has to be one of the fastest drummers on the planet at the moment. This is evident in the song's intro, with some bursts of extreme double bass playing that would make many of those who tried to play along look like fools. The song has an anthemic quality however, with lots of backing vocals in the chanted-style chorus. The song is a great mix of the band's faster playing style and the groove which I feel is their true forte. The styles mix well together well here though, and it is a great way to round out the album. Overall, Brotherhood of the Snake is a remarkably consistent album that shows Testament are still one of the best and most relevant thrash bands around. Age certainly has not slowed them down, and this shows the band sounding as good as they ever have done.
The album was released on 28th October 2016 via Nuclear Blast Records. Below is the band's promotional video for The Pale King.
Tuesday, 6 December 2016
Tygers of Pan Tang's 'Tygers of Pan Tang' - Album Review
No bands defines the New Wave of British Heavy Metal (NWOBHM) movement quite like Whitley Bay's Tygers of Pan Tang. Taking inspiration for their name from a series of novels by fantasy writing Michael Moorcock, and with an array of fantastic album covers featuring dangerous-looking tigers, Tygers of Pan Tang are the quintessential NWOBHM band. While many bands from this movement disappeared as quickly as they had arrived, the Tygers actually did quite well for themselves in the early 1980s. I doubt there are many metalheads out there who would dispute the fact that the band's first four albums are metal classics. Three of these four reached the Top 40 of the Official Album Charts, and showed a band that was constantly evolving. Their 1980 debut album Wild Cat is raw, in your face, and full of energy. This is what the NWOBHM movement was all about, and Wild Cat is as good an example of that energy as you will find. Spellbound and Crazy Nights, both released in 1981, are more streamlined and melodic releases. It is these two that best define the band's sound however, and contain some true underrated metal anthems. 1982's The Cage saw the band add more keyboards and AOR sensibilities into the mix which probably helped to widen their appeal somewhat but at the cost of some of their early fans. It is still a classic album however, but it was the last as numerous line-up changes and changes in the musical landscape saw the band come to an end in 1987. The band left behind a strong legacy however, and helped to launch the career of guitarist John Sykes who went on to find greater fame with Thin Lizzy, Whitesnake, and Blue Murder after leaving the Tygers in 1982. After a successful one-off reunion at Wacken Festival in 1999, founding guitarist Robb Weir reforming the band in 2000 and has continued to record and tour ever since. He is the sole original member left in the Tygers of Pan Tang and quite a few members have come and gone since this reunion. Drummer Craig Ellis has been with Weir since the 2000 reunion however, and has become a major songwriting force in the band contributing many of the lyrics to the new songs. Frontman Jacopo Meille has been in the band for over a decade now too, and his powerful voice certainly allows him to do justice to the band's classic material. Bassist Gavin Gray is a more recent addition, having joined in 2011, but has already made his mark in the band with plenty of contributions to 2012's excellent Ambush album, which was the band's 10th studio release. The release of this new self-titled album sees the addition of guitarist Micky Crystal (DeeExpus) to the band's line-up and his songwriting skills have been used to the max on this album. This new self-produced album certainly follows on from where Ambush left off, but adds a little more variety throughout to create a dynamic album that manages to sound fresh despite being built on a solid, reliable formula.
The album gets underway with probably the album's best track, the roaring rocker Only the Brave. This song is typical of the band's sound, and would not have sounded out of place on one of the band's classic early 1980s albums. New boy Crystal makes his impression felt right away with a riff that John Sykes could have written, and Meille shows his impressive vocal chops from the off. I would argue that this is his best performance on a Tygers of Pan Tang album yet, with a good mix of styles to suit different moods. The song's chorus is extremely catchy, and sees the pace of the song slow somewhat to allow the melodies to stand out more. A flashy solo really gets the blood pumping during the latter stages of the song, before a final reprise of the chorus hits home how strong this song really is. Dust is a much more clinical song, which moves along at more of a mid-pace with a collection of similar guitar riffs. The chugging verses, punctuated by riffs that are all variations on a central theme, are powerful and show the heavier side of the band's songwriting. The chorus is one that only grips hold after repeated listens. The harmony vocals help it to stand out however, but the melodies are more subtle than you might expect. Glad Rags is a feel-good party anthem that feels quite unlike anything the band have done before. The bluesy strut of the main riff and the bass-heavy verses bring to mind early Whitesnake. The song is packed full of groove with Gray's bass taking on a prominent role while Weir and Crystal's guitars dance around with blues licks and the occasional crunching power chord. The chorus is insanely catchy, with a real Black Crowes vibe, as Meille sings with a percussive accompaniment before the rest of the band comes back in for added power. This song shows a different side to the band, one that I do not think has really been seen much in the past and it works really well. Never Give In returns to the fast-paced NWOBHM of the opening number. Ellis' double bass drumming drives the song and the main guitar riff is razor sharp. This is not a song that is packed full of catchy melodies, but instead uses it's energy and power to hit you. It is relentless, and only lets up the pace for a short section in the middle. After a rocking start to the album, The Reason Why comes along and offers listeners a bit of a breather. The murky guitar driven verses are slow and methodical, with ringing cleaning guitar melodies and mournful leads that swell around beneath Meille's vocals. Singing in his lower register does not really suit him, but he still manages to turn in a convincing vocal performance, especially when he lets rip more during the harder rocking choruses. The perfectly phrased guitar solo is the perfect fit for the darker song, and helps this tune fit into an album that is dominated by rock.
Do It Again returns to the rock, and the early 1980s sound is back in full force. It is one of the best examples of that sound that the band have done for a while, and the nostalgic lyrics really help to fit in with the overall sound. The riffing is really solid here, showcasing the bond that Weir and Crystal have already built despite their relatively new working relationship. This song sums up Tygers of Pan Tang's sound throughout their career, and would be a perfect introduction for a new listener. I Got the Music in Me is a cover of the old Kiki Dee Band song from the early 1970s, which has been covered by many artists over the years. The song suits the band's gritty hard rock sound well, with Meille's vocals taking on a more ballsy feel than usual that emphasises the bluesy part of him. While there are many more songs that Tygers of Pan Tang could probably cover better than this, it proves to be a welcome addition to the album and does not feel out of place. Starting out with some delicate acoustic playing Praying for a Miracle has the feel of a ballad while still managing to rock out occasionally. The song's verses are slower, with acoustic guitar dominating the sound, while the verses rock out more with a catchy vocal melody to help drive the song. The guitar solo is probably the song's best moment however. The album's booklet does not credit who actually plays it, but Weir or Crystal really outdo themselves here with a slow, moody piece that is perfectly phrased and suits the song's overall mood. Blood Red Sky seems to be a bit of an attempt to be the album's 'epic', and it works to an extent. There is a slight progressive bent to the songwriting, with hard rock sections mixed in with moody atmospheric sections to a good effect. The chorus is very strong too, with a great screeching vocal performance and some really muscular guitar riffing that backs everything up. Lengthier songs have never been the band's forte however, and it is their punchier, shorter songs that make more of an impact. After the short acoustic number Angel in Disguise, which again is something different for the band, comes the closing number Devil You Know. Gray's skills are once again showcased, with a great rumbling bassline that drives everything while the guitars take on a more supporting role. Again, the song is a good example of the band's classic sound with a chorus that really catches the attention with strong melodies. You even get a tiger growl at the end to finish the album off with! Overall, Tygers of Pan Tang is a great modern-sounding NWOBHM album that showcases the band's sound. I am not sure it quite reaches the heights of Ambush, but there are no real weak links here with each song being at least solidly enjoyable. With interest in this kind of music slowly on the rise again, it will be interesting to see if this album is a success for the band.
The album was released on 21st October 2016 via Mighty Music/Target. Below is the band's promotional video for Only the Brave.
The album gets underway with probably the album's best track, the roaring rocker Only the Brave. This song is typical of the band's sound, and would not have sounded out of place on one of the band's classic early 1980s albums. New boy Crystal makes his impression felt right away with a riff that John Sykes could have written, and Meille shows his impressive vocal chops from the off. I would argue that this is his best performance on a Tygers of Pan Tang album yet, with a good mix of styles to suit different moods. The song's chorus is extremely catchy, and sees the pace of the song slow somewhat to allow the melodies to stand out more. A flashy solo really gets the blood pumping during the latter stages of the song, before a final reprise of the chorus hits home how strong this song really is. Dust is a much more clinical song, which moves along at more of a mid-pace with a collection of similar guitar riffs. The chugging verses, punctuated by riffs that are all variations on a central theme, are powerful and show the heavier side of the band's songwriting. The chorus is one that only grips hold after repeated listens. The harmony vocals help it to stand out however, but the melodies are more subtle than you might expect. Glad Rags is a feel-good party anthem that feels quite unlike anything the band have done before. The bluesy strut of the main riff and the bass-heavy verses bring to mind early Whitesnake. The song is packed full of groove with Gray's bass taking on a prominent role while Weir and Crystal's guitars dance around with blues licks and the occasional crunching power chord. The chorus is insanely catchy, with a real Black Crowes vibe, as Meille sings with a percussive accompaniment before the rest of the band comes back in for added power. This song shows a different side to the band, one that I do not think has really been seen much in the past and it works really well. Never Give In returns to the fast-paced NWOBHM of the opening number. Ellis' double bass drumming drives the song and the main guitar riff is razor sharp. This is not a song that is packed full of catchy melodies, but instead uses it's energy and power to hit you. It is relentless, and only lets up the pace for a short section in the middle. After a rocking start to the album, The Reason Why comes along and offers listeners a bit of a breather. The murky guitar driven verses are slow and methodical, with ringing cleaning guitar melodies and mournful leads that swell around beneath Meille's vocals. Singing in his lower register does not really suit him, but he still manages to turn in a convincing vocal performance, especially when he lets rip more during the harder rocking choruses. The perfectly phrased guitar solo is the perfect fit for the darker song, and helps this tune fit into an album that is dominated by rock.
Do It Again returns to the rock, and the early 1980s sound is back in full force. It is one of the best examples of that sound that the band have done for a while, and the nostalgic lyrics really help to fit in with the overall sound. The riffing is really solid here, showcasing the bond that Weir and Crystal have already built despite their relatively new working relationship. This song sums up Tygers of Pan Tang's sound throughout their career, and would be a perfect introduction for a new listener. I Got the Music in Me is a cover of the old Kiki Dee Band song from the early 1970s, which has been covered by many artists over the years. The song suits the band's gritty hard rock sound well, with Meille's vocals taking on a more ballsy feel than usual that emphasises the bluesy part of him. While there are many more songs that Tygers of Pan Tang could probably cover better than this, it proves to be a welcome addition to the album and does not feel out of place. Starting out with some delicate acoustic playing Praying for a Miracle has the feel of a ballad while still managing to rock out occasionally. The song's verses are slower, with acoustic guitar dominating the sound, while the verses rock out more with a catchy vocal melody to help drive the song. The guitar solo is probably the song's best moment however. The album's booklet does not credit who actually plays it, but Weir or Crystal really outdo themselves here with a slow, moody piece that is perfectly phrased and suits the song's overall mood. Blood Red Sky seems to be a bit of an attempt to be the album's 'epic', and it works to an extent. There is a slight progressive bent to the songwriting, with hard rock sections mixed in with moody atmospheric sections to a good effect. The chorus is very strong too, with a great screeching vocal performance and some really muscular guitar riffing that backs everything up. Lengthier songs have never been the band's forte however, and it is their punchier, shorter songs that make more of an impact. After the short acoustic number Angel in Disguise, which again is something different for the band, comes the closing number Devil You Know. Gray's skills are once again showcased, with a great rumbling bassline that drives everything while the guitars take on a more supporting role. Again, the song is a good example of the band's classic sound with a chorus that really catches the attention with strong melodies. You even get a tiger growl at the end to finish the album off with! Overall, Tygers of Pan Tang is a great modern-sounding NWOBHM album that showcases the band's sound. I am not sure it quite reaches the heights of Ambush, but there are no real weak links here with each song being at least solidly enjoyable. With interest in this kind of music slowly on the rise again, it will be interesting to see if this album is a success for the band.
The album was released on 21st October 2016 via Mighty Music/Target. Below is the band's promotional video for Only the Brave.
Monday, 5 December 2016
Marillion - London Review
Marillion have been one of my favourite bands for many years now. If you held a gun to my head and asked me to pick one overall favourite band, Marillion would probably be my choice. The diversity in their material and the emotional impact of their songs are the main reasons they would be my choice, and they are a band I will always return to. I was initially only familiar with their 1980s output, but seeing the band at the Cambridge Rock Festival in 2008 made me listen to the band's more recent work and I have not looked back since. An acoustic show in Cornwall's Carnglaze Caverns followed in 2009, and a full electric set at the 2010 High Voltage Festival was one of the weekend's highlights. My first 'proper' headline show was a disappointment. Sheffield's dingy Corporation is not an appropriate venue for a band of Marillion's stature and popularity to play and the place was far too overcrowded. The heat and the crush ruined the night for me, despite the band putting on a great show, and reactions on the band's forum following the show showed I was not the only one with these views. This was back in 2012, so four years have passed since my last Marillion live experience. The release of their new album Fuck Everyone and Run earlier in the year brought an inevitable tour with it though, so getting tickets was a priority for me. The band's London venue of choice these days seems to the the O2 Forum in Kentish Town. This is a fairly regular haunt for me too, as it seems to be popular with the larger melodic metal bands. It is a good-sized venue, with a decent sound system to match, meaning bands always sound great there. I do find it best to stand behind the sound desk however, as views from the pit can often be quite restricted.
Before Marillion however, the growing crowd were treated to just over half an hour of music from John Wesley. Wesley was a long-time sideman for progressive rock giants Porcupine Tree and has worked with Marillion's former singer Fish in the past, so it could be argued he fits into the wider extended Marillion family! I know that Wesley's solo material is quite popular among the progressive rock fandom, but his set did little to excite me. The fact that he was performing with a backing track did not help. He sung and played lead guitar live, but had more guitars, keyboards, bass, and drums on a backing track which he played on. I know that finances can often make touring as a band difficult, but I found the set to be extremely jarring as the vast majority of it was not live. I would much rather have seen him performing an acoustic set instead. That being said, he is clearly an excellent guitarist. His solos were easily the best parts of his set, and he shone during these moments. Overall however, his songwriting just failed to resonate with me and the manner in which the set was presented was strange. Not for me I am afraid.
It was around 20 minutes after Wesley's set finished that Marillion took to the stage, and the sold out London crowd were treated to well over two hours of the band's unique progressive rock. Many lengthy epics were played during the night, with The Invisible Man starting things off. It has never been my favourite Marillion song, but something about it seemed to click this evening. Frontman Steve Hogarth originally appeared on a screen singing the first part of the song, while the electronics and snake-like bassline from Pete Trewavas (bass guitar/vocals) filled the arena. Hogarth eventually appeared, guitar in hand, and sung the rest of the song conventionally as it builds towards a screaming climax which sees the whole band firing on all cylinders. A few punchier songs followed. Steve Rothery's (guitar) hypnotic guitar melodies heralded the arrival of Power, before Sounds That Can't be Made saw the first real crowd singalong of the evening. Hogarth and Mark Kelly (keyboards/vocals) were both at the keyboards for this song, and Rothery's soaring guitar leads that surface towards the song's end were sung by the crowd long after the song ended. Fantastic Place is a personal favourite of mine, with Hogarth's mournful piano and mumbled vocals creating a unique atmosphere, before Rothery's restrained leads add real colour throughout. It is one of the band's most emotionally-charged songs for me, and it is always a joy to hear it live. The final song in this suite of shorter numbers was Sugar Mice. The only Fish-era song played, the song became a huge crowd singalong moment, with Hogarth often holding out the microphone for the crowd to take over. The song contains one of Rothery's most recognisable guitar solos too, and watching him play it live was special. The highlight of the set for me however was a complete performance of The New Kings, the third epic on the band's new album. This was something I was looking forward to hearing, and luckily it did not disappoint. The images and videos projected onto the screen behind the band added to the atmosphere and one of the biggest cheers of the night came at the end of the song. The ending, anthemic part was particularly powerful live with Hogarth's theatrics and energy really bringing the song to life. The acoustic-led rock 'n' roll of Man of a Thousand Faces was a bit of an upbeat antidote in the midst of a set that was dominated by emotionally-charged numbers. Two such songs followed to close out the main set. King was another set highlight, with pictures of many musicians and actors who succumbed to their demons projected behind the band to further the song's message. Hogarth sings the song with real passion, and it made for a really raw and open performance. Neverland, as always, brought the main set to a close and the band went off to huge cheers. A length encore section followed, with a complete performance of El Dorado from the latest album really wowing the crowd. This song has everything that is great about Marillion in a neat 15 or so minute suite. The dark F E A R section is particularly powerful, with murky guitar melodies and dark vocals from Hogarth really working their magic on the crowd. The final number of the evening was This Strange Engine, a song which really harks back to the band's early days soundwise at times with a lengthy keyboard solo from Kelly that uses some great retro sounds. Hogarth's midi cricket bat made an appearance, and the song also saw him climbing atop the speakers to sing the from on on high. The epic song ensured the evening ended on a high, and the band left to rapturous applause from the Marillion faithful. The setlist was:
The Invisible Man
Power
Sounds That Can't be Made
Fantastic Place
Living in F E A R
Sugar Mice
The New Kings - Part I: Fuck Everyone and Run
The New Kings - Part II: Russia's Locked Doors
The New Kings - Part III: A Scary Sky
The New Kings - Part IV: Why is Nothing Ever True?
Man of a Thousand Faces
King
Neverland
-
El Dorado - Part I: Long-Shadowed Sun
El Dorado - Part II: The Gold
El Dorado - Part III: Demolished Lives
El Dorado - Part IV: F E A R
El Dorado - Part V: The Grandchildren of Apes
-
This Strange Engine
Overall, this was a fantastic show from a band that will always be a favourite of mine. I am happy that I finally got to see a great 'proper' headline show from a band I have liked for quite some time, and this managed to wipe away those memories of being hot in Sheffield! I will not have to wait as long to see the band again too, as I managed to get a ticket for the now-sold out show at London's prestigious Royal Albert Hall next year! I already have quite a few big gigs lined up for next year, and that is something extra to look forward to!
Before Marillion however, the growing crowd were treated to just over half an hour of music from John Wesley. Wesley was a long-time sideman for progressive rock giants Porcupine Tree and has worked with Marillion's former singer Fish in the past, so it could be argued he fits into the wider extended Marillion family! I know that Wesley's solo material is quite popular among the progressive rock fandom, but his set did little to excite me. The fact that he was performing with a backing track did not help. He sung and played lead guitar live, but had more guitars, keyboards, bass, and drums on a backing track which he played on. I know that finances can often make touring as a band difficult, but I found the set to be extremely jarring as the vast majority of it was not live. I would much rather have seen him performing an acoustic set instead. That being said, he is clearly an excellent guitarist. His solos were easily the best parts of his set, and he shone during these moments. Overall however, his songwriting just failed to resonate with me and the manner in which the set was presented was strange. Not for me I am afraid.
It was around 20 minutes after Wesley's set finished that Marillion took to the stage, and the sold out London crowd were treated to well over two hours of the band's unique progressive rock. Many lengthy epics were played during the night, with The Invisible Man starting things off. It has never been my favourite Marillion song, but something about it seemed to click this evening. Frontman Steve Hogarth originally appeared on a screen singing the first part of the song, while the electronics and snake-like bassline from Pete Trewavas (bass guitar/vocals) filled the arena. Hogarth eventually appeared, guitar in hand, and sung the rest of the song conventionally as it builds towards a screaming climax which sees the whole band firing on all cylinders. A few punchier songs followed. Steve Rothery's (guitar) hypnotic guitar melodies heralded the arrival of Power, before Sounds That Can't be Made saw the first real crowd singalong of the evening. Hogarth and Mark Kelly (keyboards/vocals) were both at the keyboards for this song, and Rothery's soaring guitar leads that surface towards the song's end were sung by the crowd long after the song ended. Fantastic Place is a personal favourite of mine, with Hogarth's mournful piano and mumbled vocals creating a unique atmosphere, before Rothery's restrained leads add real colour throughout. It is one of the band's most emotionally-charged songs for me, and it is always a joy to hear it live. The final song in this suite of shorter numbers was Sugar Mice. The only Fish-era song played, the song became a huge crowd singalong moment, with Hogarth often holding out the microphone for the crowd to take over. The song contains one of Rothery's most recognisable guitar solos too, and watching him play it live was special. The highlight of the set for me however was a complete performance of The New Kings, the third epic on the band's new album. This was something I was looking forward to hearing, and luckily it did not disappoint. The images and videos projected onto the screen behind the band added to the atmosphere and one of the biggest cheers of the night came at the end of the song. The ending, anthemic part was particularly powerful live with Hogarth's theatrics and energy really bringing the song to life. The acoustic-led rock 'n' roll of Man of a Thousand Faces was a bit of an upbeat antidote in the midst of a set that was dominated by emotionally-charged numbers. Two such songs followed to close out the main set. King was another set highlight, with pictures of many musicians and actors who succumbed to their demons projected behind the band to further the song's message. Hogarth sings the song with real passion, and it made for a really raw and open performance. Neverland, as always, brought the main set to a close and the band went off to huge cheers. A length encore section followed, with a complete performance of El Dorado from the latest album really wowing the crowd. This song has everything that is great about Marillion in a neat 15 or so minute suite. The dark F E A R section is particularly powerful, with murky guitar melodies and dark vocals from Hogarth really working their magic on the crowd. The final number of the evening was This Strange Engine, a song which really harks back to the band's early days soundwise at times with a lengthy keyboard solo from Kelly that uses some great retro sounds. Hogarth's midi cricket bat made an appearance, and the song also saw him climbing atop the speakers to sing the from on on high. The epic song ensured the evening ended on a high, and the band left to rapturous applause from the Marillion faithful. The setlist was:
The Invisible Man
Power
Sounds That Can't be Made
Fantastic Place
Living in F E A R
Sugar Mice
The New Kings - Part I: Fuck Everyone and Run
The New Kings - Part II: Russia's Locked Doors
The New Kings - Part III: A Scary Sky
The New Kings - Part IV: Why is Nothing Ever True?
Man of a Thousand Faces
King
Neverland
-
El Dorado - Part I: Long-Shadowed Sun
El Dorado - Part II: The Gold
El Dorado - Part III: Demolished Lives
El Dorado - Part IV: F E A R
El Dorado - Part V: The Grandchildren of Apes
-
This Strange Engine
Overall, this was a fantastic show from a band that will always be a favourite of mine. I am happy that I finally got to see a great 'proper' headline show from a band I have liked for quite some time, and this managed to wipe away those memories of being hot in Sheffield! I will not have to wait as long to see the band again too, as I managed to get a ticket for the now-sold out show at London's prestigious Royal Albert Hall next year! I already have quite a few big gigs lined up for next year, and that is something extra to look forward to!
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