The 69 Eyes' 'West End' - Album Review

When it comes to poppy, accessible gothic rock music; Finland's The 69 Eyes pretty much have the genre perfected and sewn up. With the exception of the now-defunct HIM, another Finnish act, there are few bands who have found more success marrying the darkness and atmosphere of gothic music with the poppy accessibility of catchy hard rock. While the band's early work showcased a bit more of a glam/sleaze influence, it was not long before The 69 Eyes morphed into the shimmering gothic icons that we know today. It is also hard to believe that the band have been around since 1989, which makes this year their thirtieth anniversary! I always consider the band a more recent act, but that is probably because their biggest albums have been released since the turn of the millennium. 2000's Blessed Be is quite possibly the true beginning of The 69 Eyes that we know today, despite previous albums flirting with the sound that album really established. It probably also does not help that some of the band's early albums are difficult to acquire these days, so there is certainly a bit of a gap in my 69 Eyes discography which will one day hopefully be filled. That being said it is always extremely impressive when a band reaches the big 30, and even more impressive when the said band has not undergone a single line-up change in that time! Usually the bands I follow seem to regularly change out band members, which has its pros and cons, but The 69 Eyes has been made up of the same five guys since day one. Frontman Jyrki 69, guitarists Bazie and Timo-Timo, bassist Archzie, and drummer Jussi 69 (shame about the stage names) are a well-oiled machine by this point, and know exactly what their fans want from them. You always know what you are going to get when you pick up a new 69 Eyes album - but that is not necessarily a band thing. That is not to say however that there have not been a few tweaks to the band's established sound over the years, with the albums released during the late 2000s and early 2010s in particular focusing more on big rock guitar riffs and choruses than the dense gothic soundscapes that came before. This certainly expanded the band's fanbase further, but with 2016's Universal Monsters (which I reviewed here) the band made a conscious decision to up the gothic melodrama once more. The band went back to working with producer Johnny Lee Michaels again after a few years' break, and the result was a darker album that sounded more like 2002's Paris Kills than 2009's Back in Blood. The band were clearly happy with the results as, last month, the band released their twelfth studio album West End which once again sees them collaborating with Michaels. The resulting album feels like the natural successor to Universal Monsters. The keyboards and orchestrations are high in the mix, and the addition of a few guest vocalists throughout the album's eleven tracks certainly helps to spice things up a bit.

One of the guest vocalists is actually served up during the first track, as the opening Two Horns Up features the occasional guttural rasps of Dani Filth (Cradle of Filth; Devilment) who adds a bit of menace to Jyrki's Jim Morrison-esque croons. The track is a fairly heavy moment in the wider context of the band's sound, but it helps to kick things off with a pulsing bass and keyboard intro and a tough opening guitar riff. The guitar tones here are a bit more snarling than usual, which helps the riff to really cut through the dense keyboard arrangement - something that is actually a bit of a throwback to the Back in Blood sound. Despite having been in the business for thirty years now, time has not touched Jyrki's voice at all and his deep Elvis-isms still sound as good as ever. The second verse however is turned over to Filth, which I think was a bit of mistake as his voice is extremely divisive. I like how his growls really add depth to the simple chorus, but I did not need to hear him screeching his way through a whole verse in the place of the excellent Jyrki. It makes for a mixed start to the album, but one the whole the song impresses with its heavy tone and strong atmosphere. 27 & Done is more typical of the sound found on the rest of the album, with the sparkling piano melodies and subtle guitar chugs that the band have become known for - and it recalls those early Sisters of Mercy albums at the same time. It was the first song released from the album a few months ago, but despite loving the overall sound and feel of the piece I was really turned off by the lyrics. The 69 Eyes' lyrics have never exactly been top quality pieces of writing, but the chorus here is particularly poor in my opinion and just sounds crass. It is a shame, as musically the song is excellent and it really sets the tone for the poppy gothic melodrama that follows over the next nine songs. A great guitar solo from Bazie adds some aching melody to the piece, and if you can look past the silly lyrics then the song is a strong one. Black Orchid is better, with Archzie's snaking bassline opening the piece slowly before a distant keyboard riff takes over. 2004's Devils is probably my most-listened to 69 Eyes album, and this track sounds like it could have come straight from it, with a perfect mix of up-tempo hard rock and deep gothic atmosphere. Keyboard melodies have always been a big part of the band's sound, and the ringing piano lines throughout the track really help to set the scene - while the two guitarists lay the foundations with some tight rhythms. The chorus is not as anthemic as some of the band's efforts, but Jyrki's vocal melodies are still very accessible. His voice always has a way of sounding appealing, and that really helps the dark chorus here stick out - while the keyboards swirl around in the background adding depth and melody. Change is more of a ballad with a gentle piano opening and delicate strings, before Jussi crashes in with his drums and changes the song into a slow-paced chug. I have always loved the band's slower songs, and this is because they often push the vocals right to the fore. Jyrki has such a distinctive voice, and the emotional qualities that he has makes him perfect for the slower material. The strings form a strong soaring backing for his emotional delivery, while the steady chug is maintained by the rest of the band. This is certainly more of a goth piece than a rock piece, so those who like their music a little darker will enjoy it.

Burn Witch Burn ups the tempo again, and kicks off with a strutting guitar riff and a kinetic drum pattern - which helps to give the album a bit of a shot of energy after a couple of darker, more atmospheric pieces. The keyboards are still present, but they are certainly less prominent here than usual - with Bazie and Timo-Timo instead shining with some tight rhythms and catchy riffing. Overall the song just feels a little more simple and organic too, with the guitars giving the song more of a hard rock edge, while Jyrki's catchy chorus delivery has a bit of a punky energy despite his deep, melancholic voice. A short, sharp guitar solo helps to add some more energy to the song, and the song is almost over in the blink of an eye. The band have always done these more potent rockers well, and including a couple on each album helps to up the overall pace and add some respite from the gothic atmospherics elsewhere. Cheyenna is one of my favourite songs on the album, and it is another track that marries a hard rock sound perfectly with a gothic atmosphere. The keyboards are prominent again here, joining forces with Bazie's soaring intro guitar lead for a catchy focal point, before the guitars and bass lay down a rock solid foundation for a crunchy, mid-paced verse. When I first heard the song I thought the chorus was extremely repetitive, but on repeated listens I think it really works. Jyrki's delivery of the song's title is filled with such emotional and tone that not much else is really needed - but the soaring intro guitar lead also joins the fray to add a hypnotic melody. The song is a future classic in my opinion, and I imagine it will be a part of the band's setlists for a number of years to come. The Last House on the Left features three guests vocalists, with Filth once again joining in along with horror punk icon Wednesday 13 and Calico Cooper (Beasto Blanco). It is another real standout track here, with the heaviness of the opening track returning with the band's two guitarists laying down sharp riffs throughout and the keyboards providing some really dark soundscapes. Filth mostly just adds his snarls to the choruses this time, while 13 sings the second verse in his distinct style. He contrasts with Jyrki well, while still sounding like he fits in the song. I did not think Filth's contributions on Two Horns Up really fit in with band's sound (apart from bulking out the choruses), but both 13 and Cooper sound at home in band's signature gothic sound. Having so many vocalists does make for a bit of a strange listen at first, but each brings something different to the piece - with Jyrki holding it all together during the up-beat, punky choruses. Death & Desire slows things down again, with a melodic guitar lead opening the song up before a downbeat verse takes over with chiming clean guitar passages and a gentle string backing. It is not a bad song, but the band have certainly written better ballads in the past. The main weakness here for me is the chorus, which does not grab hold in the manner that I would expect it to. The verses are pretty strong, and I particularly like the way Jyrki's voice is pushed to the fore during them, but for me the chorus is a bit of a plodder that does not include enough big melodic hooks.

Outsiders serves to give the album another shot of adrenaline after the ballad, with a big guitar riff kicking everything off before a tight punky arrangement sets in with a chugging verse backed by an AC/DC-esque riff. The atmospherics are largely in the background throughout most of the song, although they are pushed to the fore again during the chorus which is a subtly catchy moment that has really grown on me over repeated listens to the album. The heavy riffing never really lets up, but the additional keyboards and clean guitar layers added during the chorus help to change up the tone a little while never needing the song to divert too far from its core. The final reprise of the chorus even adds some upbeat hammered piano notes too, which further deepens the song's sound. The song is a good lesson in how to shake things up without radically diverting from a formula - and the track sounds fresh as a result. Be Here Now opens with some Eastern-inspired sounds, but they are short lived as the track soon becomes another mid-paced gothic crooner. Archzie's bass playing is quite prominent throughout, which is certainly a change from the norm. The guitars lay down snaking riffs here and there, but the verses are largely Archzie's territory as he lays down a muscular riff throughout while the guitars add colour. It is the only song on the album that he is credited with co-writing too, so you have to imagine that much of the music for this one - as well as the arrangements - came from him. It helps to provide a bit of a late-album diversion, although in truth the band's signature sound is still more than intact - it is just more bass-focused than usual. Hell Has No Mercy is the album's final track, and it is the longest piece here at over six minutes in length. It opens slowly with a simple drum beat which the bass and guitars gradually build up around. The opening moments of the songs are extremely simple, with little of the extra production quality the band are known for - instead letting the rawness of the simple instrumentation and Jyrki's booming vocals really shine. For a big album-closing piece, the song has little of the fanfare you might expect. It is not a heavy, bombastic piece that throws the kitchen sink into the mix - but instead the piece revels in its simplicity and allows the band's core songwriting to shine. As the song moves into the chorus the production is ramped up somewhat with some subtle keyboard textures, but the focus is still on Jyrki's vocal tones. It is clear from this track how bands like Fields of the Nephilim have influenced The 69 Eyes over the years; and Bazie's aching guitar solo is an example of pure gothic emotion. It does end the album on a slow, downer note - but in my opinion the choice works well and the band shine as a result. Overall, West End is another strong album from The 69 Eyes - and it is one that celebrates the band's thirtieth anniversary in style. There are a couple of weak tracks here, but on the whole the band are sounding as strong as ever on West End, and here's to a lot more successful years for the Helsinki Vampires!

The album was released on 13th September 2019 via Nuclear Blast Records. Below is the band's promotional video for Cheyenna.

Crashdïet's 'Rust' - Album Review

During the Scandinavian sleaze revival that took place towards the end of the 2000s and the beginning of the 2010s, there were few bands more important than Sweden's Crashdïet. During this time there were a lot of bands, mostly from Sweden but there were also some from Finland, who sought to bring back the sights and sounds of Hollywood's Sunset Strip during the 1980s. The glam metal movement that emanated from America, which lasted throughout the entire 1980s and spilled over into the early 1990s, was - for some - a case of style over substance. It was a time where a band's image became all the more important, and some bands became more well-known for their off-stage debauchery than their music. That being said, the scene did manage to spawn a lot of memorable bands - some of which I still listen to regularly. The glam metal genre is not known for its innovators or its virtuosos, with some bands being made up of average-at-best musicians, but there were still plenty of glam bands that had a knack for writing great songs. I used to be a big fan of glam metal, and I still enjoy the genre, but I certainly do not listen to it anywhere near as much as I once did. Crashdïet are one of the bands that I reach for the most however, often over many of the original 1980s big-hitters, but the last few years have been extremely quiet for the band. The core of Crashdïet has been around since 2003, with guitarist Martin Sweet, bassist Peter London, and drummer Eric Young sticking together through thick and thin, but the band have always had trouble finding a vocalist to truly commit to the band following the tragic suicide of original frontman Dave Lepard in 2006, not too long after the release of their debut album Rest in Sleaze the previous year. H. Olliver Twisted (now better known as Olli Herman) was in the band for a year or so and contributed to 2007's The Unattractive Revolution, but he soon left to concentrate on Reckless Love - a band with which he has since found success. Replacing Twisted was Simon Cruz, who stuck around for six or so years and performed on both 2010's Generation Wild and 2013's The Savage Playground (which was one of the first albums be reviewed on this blog, and can be found here), but he left the band part-way through a Japanese tour in 2015. The band seemed to finally find some stability with Cruz, but after he left all went quiet for a good couple of years. I assumed that Crashdïet were over, but then in December 2017 the band announced that they had recruited singer Gabriel Keyes and had started working on new material. Sporadic live appearances and a couple of singles followed, but the big news was the announcement of the band's fifth album Rust, which was finally released last month. The sleaze revival has largely ground to a halt in the five years that passed between The Savage Playground and Rust, so I wondered what the Crashdïet of 2019 would sound like. It turns out the answer is 'the same' however, as Rust is made up of eleven hard-hitting sleaze anthems that would have filled clubs earlier in the decade - which will certainly please those who have been waiting a number of years for the band to become active again.

The album kicks off with the hard-hitting title track, which anyone who has ever enjoyed a Crashdïet album in the past will immediately be able to latch onto. There has not been a big shake-up of the band's sound between The Savage Playground and Rust, with teased hair and make-up still being the order of the day. There is very little fanfare to be found here either, as London kicks things off with a rumbling, precise bassline before Sweet joins in with tough bluesy riff that drives the song from the off. This is certainly a song that could have easily sit on Generation Wild nine years ago, from the poppy anthemic chorus right down to the big power chords from Sweet that have always been a big part of his writing style. Keyes introduces himself well here too and, while I do not think he has as much attitude or grit as Cruz, he has seamlessly integrated himself into the band. The verses here are somewhat tough, with the aforementioned big chords punctuating the vocal lines, but the chorus takes on a much poppier feel with the addition of melodic synths and big vocal harmonies. It is a song that screams the return of the band, and really sets the tone for the rest of the album to come. Into the Wild segues perfectly from the previous track, with an a cappella vocal intro that screams 1980s hair metal and a tough riff that sees Young shaking the ground with his booming double bass drums. Despite their poppy, accessible sound Crashdïet have always been deceivingly heavy - especially from Generation Wild onward. The Savage Playground experimented with tougher bluesier arrangements that had only previously been flirted with at times, as Rust also does, but this album also really emphasises soaring vocal melodies and choruses again in a big way - with Into the Wild sporting a sugary chorus despite the heavy riffing found elsewhere. It is another strong track, and helps to contribute to a powerful one-two punch to open the album with. Idiots is more of a hard rocking piece, with a snaking opening guitar riff and a solid, mid-tempo drum beat. The flashier elements of the band's sound have been stripped back somewhat here, and the song echoes the tougher sound forged on The Savage Playground. Subtle synths and vocal harmonies can be found during the song's simple chorus, but this is a song that is mostly characterised by heavy riffing and a simpler arrangement. It allows Keyes to show a tougher side to his voice as a result, and a lengthy Sweet guitar solo is also included. In the Maze opens up slower, with some effects-heavy clean guitar melodies, but soon builds up around a slower drum beat and a drone of chords. While not exactly a true ballad, this is certainly a slower, more emotionally-charged piece than the three opening songs. The verses see the clean guitar intro return in a slightly beefed-up form, while the choruses ramp up somewhat with Keyes laying down some impressive lengthy vocal notes with subtle harmonies to boost his talents. In my opinion Keyes is better-suited to singing the band's poppier material, and his voice really shines here. He does fine on tracks like Idiots, but on this track and the opening Rust he displays his impressive vocal skills in a more natural way.

We Are The Legion was the first song that the band released with Keyes back in 2017, so unsurprisingly it is a classic-sounding Crashdïet track and was a song that ushered in the band's new era with excitement a couple of years ago. It is quite similar to the album's title track in that it mixes Sweet's heavy riffing style with the sugary melodies and aesthetic that the band have really become known for. It is this mix that has helped Crashdïet to become one of the best modern glam bands in my opinion, and the formula is on display perfectly throughout We Are The Legion. The chorus is a really anthemic one, and is is one that really sticks after only a couple of listens. It is clearly a song that the band wrote to be played live, and I can see it becoming a real setlist staple going forward, with its anthemic message and soaring chorus - as well as a couple of chances for Sweet to really shine with some excellent solo spots. Glam metal has always had an injection of punk in its sound, and Crazy shows that Crashdïet love to also up the energy, while still maintaining a pop streak. Much of the song is faster than the vast majority of the album, with Sweet's riffing and Young's drumming really driving everything forward, but by the time the chorus is reached the band's taste for a strong melody really shines through again. Many of the vocal harmonies used throughout the album have a certain Del Leppard-esque quality to them, and the chorus here is one of the most Def Leppard-esque moments here for me. The Sheffield band have certainly been an influence on Crashdïet, and hearing some really sugary melodies in a tough, punky rocker always makes for a fun listen. Parasite is heavier, and is another track that sounds like it could have come from the The Savage Playground sessions. Much of the song is backed by some buzzsaw guitar riffing from Sweet, and the strutting Cocaine Cowboys could certainly be seen as a touchstone here. There are still strong melodies to be found throughout however, although the harmonies and synths have been toned down a fair bit to fit in with the tougher overall feel. Instead of sugary harmonies, the backing vocals have more of a melodic gang vocal style which is a bit different, but it really helps the song's power to hit home. This is another chorus that is built to be heard live, and the guitar solo here is one of Sweet's best in my opinion - it really soars with tasteful phrasing. Waiting for Your Love slows things down, and acts as the album's sole true ballad with some piano courtesy of Eric Bazilian (The Hooters) - who co-wrote the song as well as a few others on the album. The band have done ballads in the past, but this is quite different to what has come previously. It is one of the most 'down' sounding tracks in the band's catalogue, and has a sound different to the band's usual style. The addition of the piano throughout adds some depth, and the staccato rhythms that are utilised during the verses - with London and Young locking in for some punchy stabs - creates a strange energy despite the song's overall tempo and mood. A screaming, yet calm solo from Sweet is the icing on the cake; and helps to complete what is a strange yet interesting song.

Reptile was another early single that was released back in January of this year, and it was the song that really made me sit up and take notice of the band again. It is a song that really comes roaring out of the blocks with a fast-paced heavy riff from Sweet, and a chorus that is packed full of energy and high notes from Keyes. There are a few times throughout the album where Keyes unleashes some high-pitched screams, but the chorus of Reptile might contain his best vocals in that regard. He really lets rip here and the subtle harmonies only help him to sound more powerful and strident. I loved the song from first listen back in January, and it is still one of the album's best songs in my opinion - despite some tough competition. To me it says that Crashdïet are always at their best when they toughen things up a little bit, and the balance between heaviness and poppy melodies is perfectly struck. Stop Weirding Me Out, which was co-written by Conny Bloom (Electric Boys; Hanoi Rocks), is an odd tune that is probably my least favourite cut on the album. It is not exactly a bad song, and still contains some good punky energy - especially during the verses - but the chorus is a bit weak in my opinion and lacks the cutting edge found elsewhere. It just sounds a bit tame compared to what has come before, and the silly lyrics do not really help either. Few albums are perfect however, and for Rust to only have one real misstep is certainly nothing to be ashamed of. The album's final track, Filth & Flowers, opens with some acoustic guitar lines; but this lulls the listener into a false sense of security before another meaty riff kicks in which then drives the rest of the piece. The punky attitude is back here in a big way, and the chorus is another moment that is instantly-memorable. Gang vocals are fairly rare throughout this album, with soaring vocal harmonies often the preferred chorus accompaniment, but the shouts here certainly make the listener sit up and take notice. Some bands go for a big closing statement on their albums, but Crashdïet have opted to put one of the simplest and in-your-face tracks at the end of Rust. They tried going big at the end of The Savage Playground, which worked to an extent, but I think the approach taken here is a more effective one. Crashdïet are not a band to write lengthy, complex pieces, so ending the album on a punky shot of energy certainly makes more sense, and Filth & Flowers is sure to ring a few heads before the album finishes playing. Overall, Rust is a great comeback album from Crashdïet and one that proves there is still plenty of space in the world for some good quality Scandinavian sleaze. I feared that the band were over after the departure of Cruz and the long radio silence, but it seems that they are back once again and mean business. I hope that Crashdïet can finally settle down with a line-up for the long-term, and that stability and success is theirs once more.

The album was released on 13th September 2019 via Frontiers Records. Below is the band's promotional video for Rust.

Black Star Riders - Bristol Review

As stalwarts of modern classic rock, it is hard to get more authentic than Black Star Riders. While the majority of the band are American, they are a big part of the British rock scene and have been ever since releasing their debut album All Hell Breaks Loose in 2013. The band were formed out of a desire of Scott Gorham's (guitar/vocals) to write new material for Thin Lizzy, who at the time were regularly touring with frontman Ricky Warwick (vocals/guitar) handling the lead vocal duties, but it was ultimately decided that any new material should be released under a new name out of respect of the late Phil Lynott and his legacy. As much as the prospect of a new Thin Lizzy album at the time was an exciting one, I think the decision to morph into Black Star Riders was wise. As a result, the band's material has always been judged on its own merits and the new identity has allowed Black Star Riders to become a successful band in their own right. While the band's setlists usually contained a handful of Thin Lizzy songs, the main focus was always on the band's original material - something that would just not have been possible had All Hell Breaks Loose and the albums that followed it been released as Thin Lizzy records. Black Star Riders have, however, long stepped out of Thin Lizzy's shadow and are already creating a strong legacy for themselves - particularly here in the UK. Thin Lizzy was one of the great British rock bands, so Black Star Riders as Lizzy's spiritual successor has unsurprisingly been accepted with open arms here. It helps that the band have never skimped when it comes to their UK tours. In an era when many bands will just book shows in London, Manchester, and Birmingham; Black Star Riders regularly attempt to cover as much of the UK as they can. I have managed to see the band each time they have toured a new album, with gigs in Bristol, Exeter, and Birmingham coming in 2013, 2015, and 2017 respectively - with a bonus extra show in 2015 when the band opened for Def Leppard and Whitesnake. In order to keep up with their bi-annual tradition of new releases and touring, 2019 saw the release of the band's fourth album Another State of Grace and, true to form, they announced a lengthy UK tour to support it. The Bristol show made the most sense, as it was the closest, and it was also the first night of the tour. First nights of tours are always interesting as they can sometimes feature different setlists from the shows that follow as bands experiment with song choices and arrangements. It would also mean that I would be among a relative handful of people to hear the new Another State of Grace material live - something which was an exciting prospect.

The show was at the ever-reliable O2 Academy in Bristol, and before Black Star Riders took to the stage at 9:30pm the crowd were treated to two strong support slots. The first was from Wayward Sons, fronted by Toby Jepson (vocals/guitars) of Little Angels fame, who are still a relatively new act on the scene. The band's debut album Ghosts of Yet to Come was released back in 2017, and the band have been playing shows (both headline and various support slots) ever since. I saw the band last year opening for Saxon, but only recently started listening to them properly. As such I was looking forward to seeing the band again, and their seven-song set did not disappoint. With the band's second album The Truth Ain't What It Used To Be being released today actually, the band played a 30 minute set that pulled a handful of tracks from each of their albums, which the growing crowed seemed to enjoy. The mid-paced melodic rock of the new tune Any Other Way got the show underway, and included a strong chorus, before some oldies in Don't Wanna Go and Ghost received strong reactions from the crowd - there were clearly more than a few fans in attendance. The band's first album is a raw slab of old-fashioned hard rock, but the newer songs seemed a bit more varied in tone and style. Any Other Way felt a bit more modern, despite the big chorus, whereas Little White Lies felt a little more stripped back and poppy. Jepson's vocals carried everything well however, and Sam Wood (guitar/vocals) did much of the heavy lifting guitar-wise, often launching into bluesy solos to the delight of the crowd. The new single Joke's On You was probably the highlight of the newer numbers, and was the only song in the set to really highlight the keyboard playing of Dave Kemp who impressed with some strong piano playing throughout the piece. His playing was often buried in the mix elsewhere sadly (as indeed is also the case on the band's first album), which was a shame. Following this there was time for one more and Until the End, which is the standout cut on the band's first album for me, rounded everything of nicely. Jepson and Wood teamed up for the song's big riff, and the band even managed to encourage something of a sing-a-long during the chorus. The set was a strong one, and it helped to really set the tone for the rest of the evening. I am looking forward to hearing more from the band, and I will be playing The Truth Ain't What It Used To Be over the coming days. The setlist was:

Any Other Way
Don't Wanna Go
Ghost
Little White Lies
Small Talk
Joke's On You
Until the End

The second of the two support acts was Stone Broken, a band who's star is really on the rise. I first saw the band in the smaller upstairs room at The Asylum in Birmingham back in 2016 opening for The Treatment, and they have come on in leaps and bounds since then. Last year I saw the band headline the opening day of the Steelhouse Festival in Wales, and since then I have become something of a fan. While the band have too much of an American post-grunge influence for me personally, Stone Broken are no doubt a great band and deserve all of the success and plaudits that they are currently getting. The band's nine-song set here was a perfect showcase of their modern hard rock sound, with many of the tracks coming from 2018's strong Ain't Always Easy. The set opened with Stay All Night however, from the recently re-released All in Time, and the hard rocking piece set the tone for the next 40 or so minutes. Rich Moss (vocals/guitar) has a strong voice, and he led the four-piece through a powerful set that showcased most of their best tunes. Heartbeat Away was an early highlight, with a driving riff from Moss and fellow guitarist Chris Davis, while the big emotional chorus of I Believe certainly showcased the influence that bands like Shinedown have had on Stone Broken's music. It was bassist Kieron Conroy's birthday, so Moss led the crowd through a mid-set celebration of this fact - but on the whole there was little room for chat and the band let their music do the talking. The slightly sleazy Let Me See It All was another strong offering, with Robyn Haycock (drums/vocals) setting the strip club groove perfectly, but perhaps the highlight of the latter portion of the set was Wait for You. It is one of the band's signature pieces, and much of it saw Moss alone on the stage armed only with an acoustic guitar. As was the case with Wayward Sons, there were clearly a lot of Stone Broken fans in attendance, as the crowd really helped Moss out with the song's choruses - and even sung one alone which was great to see a support act managing to make happen. The band joined Moss again for the last chorus, and by this point the band had truly won everyone over. There were two songs left, Worth Fighting For and Not Your Enemy, and both were hard-hitting riffy pieces that whipped up some late set energy that helped carry Stone Broken to the finish line. It was a great set from a band who are really going places, and with a bit more of a push and hopefully a stellar third album I would not be surprised to see Stone Broken headlining Academy-type venues in the future. The setlist was:

Stay All Night
Doesn't Matter
Heartbeat Away
I Believe
Let Me See It All
The Only Thing I Need
Wait for You
Worth Fighting For
Not Your Enemy

It is always good when you have had a great night before the headline act even starts their set, but Black Star Riders were about to take things to the next level. Entering the stage with relatively little fanfare, the five-piece instantly roared into the title track of their latest album, and from this point on the energy never let up. Christian Martucci (guitar/vocals), playing his first show with the band, teamed up perfectly with Gorham for the song's twin-guitar harmonies; with Warwick belting out the folk/punk of the chorus perfectly. The band played straight through, without an encore break, and steamed through eighteen songs with ease. Even Gorham having quite a lot of trouble with his guitars and gear did not seem to phase the band, as the energy of the songs and Warwick sometimes turning up his guitar to compensate kept everything going. All four of the band's albums were featured heavily throughout the set, with a good mix of songs being played. The Killer Instinct and All Hell Breaks Loose were impressive early looks back at the band's past; but an early highlight was the strutting Tonight the Moonlight Let Me Down from the new album, with Gorham ripping into a great solo in place of the saxophone offering on the album version. I have enjoyed all of the previous Black Star Riders shows that I have been to, but this was the best of the bunch. The band's current line-up just oozes energy, with relatively-new drummer Chad Szeliga laying down groove after groove and Martucci really attacking his guitar throughout and harmonising well with Warwick vocally. The older songs seemed to be given a new lease of life, with Hey Judas sounding weightier than usual, and Soldierstown racing past like The Pogues/Thin Lizzy mash-up that it is - with Warwick even commenting afterwards on the pace of the piece. There were quieter moments however, with the delicate Why Do You Love Your Guns? from the new album that saw Warwick armed with his acoustic guitar and some excellent soloing from both Gorham and Martucci, which was then followed up by the gorgeous Blindsided. Blindsided is probably my favourite Black Star Riders ballad, and it was great to hear the song live again. It really showcases Warwick as a singer and lyricist, and Martucci's soaring solo was the perfect compliment to his talents. These two songs made for a nice mid-set change of pace, but the hard rocking energy was soon back in force with the tough riffing of Gorham's Bloodshot and the newer Ain't the End of the World kicking things up to the next gear. The end of the set was approaching at this point, so it was time for the real favourites to be wheeled out. Dancing With the Wrong Girl, one of the best efforts from 2017's Heavy Fire, impressed again with its laid-back grooves, before then anthemic Finest Hour drew a big cheer from the crowd. It was left to two songs from the first album to finish things off however, with the hard rocking folk of Kingdom of the Lost and the band's debut single Bound for Glory really ending thing on a high. These two songs felt like something of a victory lap after the powerful set that had preceded them, and the band took their bows to huge cheers at the end. It was a stunning set, and hopefully the band will take this energy with them throughout the rest of the tour. The setlist was:

Another State of Grace
The Killer Instinct
All Hell Breaks Loose
Testify or Say Goodbye
Tonight the Moonlight Let Me Down
Ticket to Rise
Hey Judas
In the Shadow of the War Machine
Soldierstown
Why Do You Love Your Guns?
Blindsided
Bloodshot
Ain't the End of the World
When the Night Comes In
Dancing With the Wrong Girl
Finest Hour
Kingdom of the Lost
Bound for Glory

After the show the guys from Stone Broken did a signing at the merch desk, so I got my copy of Ain't Always Easy signed which was nice. I also broke and decided to buy a Black Star Riders shirt. I had not planned to, as I have bought a few new shirts recently, but the show was so good that I decided I needed the shirt to go with it! It was a stunning set from the band, and one that made up for missing them last year when I bailed early on the Steelhouse Festival due to the horrendous weather. Interestingly, there was not a Thin Lizzy track in sight during the band's set and, now four albums in, that is how things should be.

Status Quo's 'Backbone' - Album Review

When it comes to British boogie, no band epitomises that sound and attitude more than the legendary Status Quo. Early versions of the band can be traced back to 1962, but the band became the Status Quo that we know and love today in 1967, and released their debut album Picturesque Matchstickable Messages from the Status Quo a year later. The band's first couple of albums featured a more psychedelic rock sound, typical of the late 1960s, but by the time 1970 rolled around the band had embraced the hard rocking blues sound that would be their signature. 1970's Ma Kelly's Greasy Spoon launched this new Status Quo sound, and the band has been churning out album after album of boogie blues ever since. The 1970s was a particularly prolific and successful time for Status Quo, with an album a year being released throughout the decade, as well as the excellent Live! in 1977, many of which are still seen as bona fide British rock classics. According to the UK's chart statistics, no rock band has had more singles in the charts than Status Quo - with over 60 chart hits being registered since their formation. Even the band's debut single, 1968's Pictures of Matchstick Men, reached number seven in the charts; and they would score a number one hit six years later with Down Down. Much of this success was had throughout the 1970s, but Status Quo have remained popular throughout their career - with hits coming in all subsequent decades. Part of the band's success, despite a few ups and downs largely relating to line-up changes, is down to their productivity and prolific touring schedule. While the band's recent albums might not shift as many units as their classic offerings, Status Quo are still a big draw live. Despite 'retiring' on numerous occasions, the band has never truly gone away. Status Quo tours are frequent, and even the sad death of founding member Rick Parfitt in 2016 has not slowed the band down. Parfitt's death has left Francis Rossi as the only original member left in the band. While some fans are not happy that Rossi has continued the band without Parfitt, the current line-up are still a force to be reckoned with live. Multi-instrumentalist Andy Bown, who officially joined the band in 1982 but had been performing with the band on and off since 1793, and bassist John 'Rhino' Edwards, who joined in 1985, are both long-standing Quo veterans and perfect candidates to help Rossi keep the Quo flame alight. These three, with the more recent additions of drummer Leon Cave and guitarist Richie Malone, are responsible for the band's latest studio album Backbone, the band's 33rd album and the band's first album of new material since 2013's poor Bula Quo!. The recent string of Status Quo studio albums have, in my opinion, been overlong and bloated with a lot of filler; but Backbone sees the band stripping back the fat and getting back to what they do best. It is a strong collection of songs that does nothing new whatsoever, but recreates the classic Status Quo spirit from the 1970s, and includes a few songs which will certainly be welcome additions to the band's live sets.

While you might expect the album to open with some raucous, in-your-face boogie, Backbone actually gets underway in a more restrained way. Waiting for a Woman certainly has the trademark Status Quo rhythms and vibe, but the sparser production and mellow sounds bring to mind what Dire Straits might sound like if they covered a Status Quo classic. The song is extremely simple, with Cave's metronomic beat striking up an instant groove and a simple guitar line that repeats throughout. Rossi handles the vast majority of the lead vocals throughout the album, but he sounds as good as ever. His London-accented vocals are a cornerstone of the Status Quo sound, and his almost-spoken delivery throughout this song really suits the walking pace of the track. He throws in the occasional little bluesy guitar lead, which compliments Malone's relentless rhythm, and launches into a sloppy ZZ Top-esque solo part way through. The song builds up subtly as it moves along, with Bown adding some simple keyboard riffs during the latter portions. Those who feared that the band might be going a little soft should fear not, as the rest of album ups the pace and 'rock' vibes after the laid back start. Cut Me Some Slack, a collaboration between Rossi and Edwards, is a future Quo classic with chunky driving power chord rhythms. Status Quo is known for up-tempo boogie rhythms, and this is a song that truly thrives on that sound. The guitars sound really beefy here, with Rossi and Malone locking in nicely throughout, and Bown's occasional bursts of barroom piano really fills out the sound. Bown's keyboards are not as prominent here as they have been on other recent Quo albums, with simple piano and organ melodies and arrangements being found throughout. He also contributes some additional guitar work throughout the album, helping with the overall toughness.The song is a really catchy number, with a sing-a-long chorus that is made to be heard live and a rhythm that is a real throwback to the band's heyday. Liberty Lane is another great track, and it opens up with an almost AC/DC-esque riff before opening up into another slab of boogie blues. While not as heavy as Cut Me Some Slack, the song still retains the classic Status Quo sound, with Edwards' bass in particular standing out. He co-wrote this song as well, and his bassline really holds everything together. The verses here are a little more laid back to allow for Rossi's vocals to shine, so the bass takes the places of the chunky guitar chords to keep the pace up. The song also has one of the album's best choruses in my opinion, with lots of melodic harmony vocals from the whole band and some more of Bown's piano. The song is another future classic in my opinion, and is one of the best cuts here. I See You're in Some Trouble, like the opening song, is a collaboration between Rossi and long-time songwriting partner Bob Young and picks the pace up again a little after Liberty Lane slowed it down a touch. The big power chords are back, but for me the standout player here is Bown. His piano playing is evident throughout the whole piece, and he lays down lots of excellent countermelodies throughout to compliment the relentless guitar and bass chugs. The 'three chords' has always been the backbone (pun intended) of the Quo sound, but keyboards have always also been a key element - with Bown clearly demonstrating that fact here.

Bown makes his presence felt on the album as a songwriter too, and put Backing Off together with Rossi. Surprisingly his keyboards are not all that prominent here, with the focus instead on choppy guitar rhythms and a pulsing bassline. Despite the simplicity of the piece, there is still quite a lot going on when it comes to the arrangement of the guitars. The rhythms are tight, but there are quite a lot of moments when another guitar track just rings out with big chiming chords that really adds to the overall depth of the song. It turns the song from what appears to be a simple chug on the surface to something subtly more involved, with some interesting little flourishes that keep the listener guessing. There is a short, strange mid-section that seems to involve a lot of effects-heavy acoustic guitars too - which comes out of left field and provides a neat little brief change of pace. I Wanna Run Away With You is old-school Status Quo at its best, with Rossi and Malone's boogie guitar rhythms, Cave's shuffle beat, and Bown's tinkling piano backing. While Status Quo have always been more diverse and interesting than many give them credit for, songs like this are certainly their bread and butter. Stick on any classic Status Quo album from the 1970s and many of the tracks that you hear will sound like I Wanna Run Away With You. It is a strong, up-beat feel-good piece that is packed with classic Rossi charm and a chorus that is sure to go down well live with some more big harmony vocals. The album's title track is another winner, with Bown's piano riffing driving the meat of the song, while Malone lays into his Telecaster for a classic Quo rhythm. The song is a little more dynamic than usual too, with Cave mixing things up a little in the drumming department occasionally to provide a welcome change from the 4/4 beat that tends to dominate the album. I have had a few listens to this album prior to sitting down and writing this review, and this is still one of the standout pieces here. The boogie element that Quo is known for his here in spades, but there is something about the song that also feels a bit more modern. There is an interesting almost-a cappella moment part way through that sounds different from your average Status Quo song, but it fits in nicely within the band's typical sound. Better Take Care, written by John David who has written a few songs for the band over the past couple of decades, is a bit poppier than the band's typical sound, but that ensures that the album stays fresh. This is also one of the few songs here that features a lead vocalist other than Rossi. Rossi still sing the bulk of the song, but someone else (Bown I think) takes a few lines here and there - and their rougher bluesy voice compliments Rossi's perfectly. Status Quo have always done this more lighthearted pop sound well, and the band have written many tracks like this for themselves over the years. These songs always prove to be nice changes of pace on their albums, as the band are not often ones for ballads, and that is the job that Better Take Care does here.

Falling Off the World is the first Quo track to be written by Cave, and if I had not read the CD's sleeve notes I would have assumed that it was another Rossi track! Cave has clearly already mastered the band's signature style, with a heavy blues shuffle dominating the track which Rossi sings atop perfectly. That being said however, the song does take a slightly more atmospheric turn briefly about two-thirds of the way through, which is something different for the album, but this moment is short-lived as the band soon launch into another tough blues riff - and Rossi then cuts loose with a solo. Cave has been with the band for a few years now, but this is the first album of original material that he has been a part of. It seems he has fit nicely into the band, and I look forward to hearing more of his contributions going forward. The band's other new boy Malone has also written a track for the album, with Get Out of My Head being his effort. Perhaps less typical than Cave's song, it nevertheless still fits perfectly on the album and actually sounds a little more like the more left field songs that Parfitt used to occasionally write for the band. I assume it is also him singing the song, as it certainly is not Rossi, but his voice suits the slightly different sound. A boogie rhythm still underpins the song, but there are moments that sound a bit more expansive than your average Quo song, with Bown laying into his Hammond organ for a great washing of retro goodness. Malone has only been in the band for a handful of years but he, like Cave, has also already found a home for himself in the band. The two have certainly injected some new energy into the band, and the fact they are both also handy songwriters means that the band will hopefully continue to thrive over the coming years. The album's final piece Running Out of Time is another Bown composition that actually returns to the slightly more laid back feeling of the album's opening song. It is not as sparse as that track however, but it does end up providing something of a nice bookend to the album as a result. The verses are extremely simple with some jaunty guitar chords, with the choruses opening up slightly with some warm keyboard textures and subtle vocal harmonies that are less in-your-face than many of the more anthemic choruses found elsewhere. Rossi makes his presence felt musically with another bluesy guitar solo that showcases his talents. While it may have been nice to end the album on more of a bang, I still feel that the song is a strong one. It is somewhat fitting that the album opens and closes with more laid back pieces, with the main meat of the album in between. The poppy melodies are sure to remain in the brain long after listening however, ensuring the album ends well. Overall, Backbone is a strong comeback album of sorts from Status Quo and one that proves they can still succeed without Parfitt. The songwriting throughout the album is strong, and for me this is one of the band's best albums for a good number of years. I hope the album does well for the band, as I would like to hear more from this latest version of Status Quo in the future.

The album was released on 6th September 2019 via earMusic. Below is the band's promotional video for Liberty Lane.

Sonata Arctica's 'Talviyö' - Album Review

When it comes to flying in the face of fan expectations and pressure, Finland's power metal five-piece Sonata Arctica might be one of the most defining bands. During the power metal boom and revival of the late 1990s and the early 2000s, there were few bands who symbolised the genre more. The band's first four albums, 1999's Ecliptica through 2004's Reckoning Night, are all perfect examples of what European power metal meant at the time. Fast-paced songs, sparkly keyboards, shredded solos, and soaring melodic choruses were the order of the day; and Sonata Arctica took what bands like Stratovarius had done previously and made it into something even more accessible and sugary. It worked however, and the band were genuine big hitters for a while - and helped to spawn and influence a whole new generation of young power metal bands. The Sonata Arctica that has been around since their first four albums however is quite a different beast - for better and for worst. While it is certainly true that after four very similar albums the band needed to branch out, the resulting five albums have been hit and miss. Starting with 2007's heavier, more progressive Unia, Sonata Arctica have been wildly experimenting with their sound. This has led to fantastic albums, such as 2009's stunning The Days of Grays, extremely diverse albums, such as 2012's Stones Grow Her Name, and floaty pieces of progressive rock, like 2016's The Ninth Hour (which I reviewed here). While The Days of Grays and 2014's Pariah's Child (which I reviewed here) flirted with, and sounded close to, their old sound; much of the band's output has been, deliberately, different. This is no bad thing in my opinion however as, unlike with so many bands, you never really know what you are going to get when you go out and buy a new Sonata Arctica album. This is the feeling I had last month when a copy of the band's tenth studio album Talviyö (which is Finnish for 'winter night') dropped through my letterbox. You never quite know whether the album you are going to be listening to is fast, slow, heavy, soft, or anything really; so it was with trepidation that I put the album on for the first time. I was fairly surprised to discover however that Talviyö is actually very similar to The Ninth Hour, and it is the first time that a Sonata Arctica album has sounded quite alike to it's predecessor for a good number of years. The Ninth Hour is an album I enjoyed, but I felt it ran out of steam about two-thirds of the way through. Talviyö however has built upon the spacey progressive sound explored on The Ninth Hour and, in my opinion, has mostly perfected it from a songwriting perspective. Despite lots of strong songs however, I feel that the album is let down by a muddy production courtesy of the band and Mikko Tegelman. Interviews with frontman Tony Kakko reveal that the band wanted to achieve a more 'live' sound on this album, but unfortunately at times the album sounds like a decent bootleg with an uneven mix and guitars in particular that sound like mush. This is a shame as Sonata Arctica albums always sound slick and well-produced, but there are still plenty of strong songs to enjoy here.

As if to trick the listener into thinking that the band had decided to return to their roots, Sonata Arctica kick off the album with Message from the Sun - a fast-paced, yet smooth, power metal anthem. The song opens gently with some swirling keyboards and wordless vocal melodies, before drummer Tommy Portimo kicks off the song proper with a relentless double bass drum pattern, and guitarist Elias Viljanen joins in with a crunchy guitar rhythm. Kakko, who has single-handedly written nearly the entire Sonata Arctica catalogue, is still clearly capable of writing hooky power metal and Message from the Sun is a soaring opening piece. The chorus rivals some of their best work, with Kakko's emotionally-charged vocals sounding as good as ever and Henrik Klingenberg laying down a dense, yet uplifting, keyboard backing. Klingenberg also gets to shine with an old-school shredded keyboard solo part way through the piece, but it is sadly the first victim of the poor production and is somewhat buried in the mix. From this point on however, the album as a whole is more akin to The Ninth Hour album, with the more progressive Whirlwind opening up with a retro sounding organ riff before a laid back, snaking guitar and bass combo lays down a tight melody. Viljanen and bassist Pasi Kauppinen lock together nicely for the riff; but it is a relatively short-lived moment as the verse takes on more of a typical chug, with Viljanen's guitar rhythms dominating as Kakko croons atop them. Despite the more mid-paced feel, the piece is still memorable. The chorus is relatively dramatic, with some strong vocal melodies from Kakko and a dense orchestral backing. One thing that is more obviously different about this album in comparison to the band's other efforts is the more prominent use of acoustic guitar throughout. The band recently undertook an all-acoustic tour, so it is clear that the instrument rubbed off on the band as a result. Many of the songs here feature acoustic-led sections, or see acoustic guitars included in the mix to add depth to the sound. The closing section of this song is very acoustic-led, and it is something that resurfaces often throughout the album. Cold, one of the album's singles, also starts out with some acoustic guitars; but the song as a whole is more of a laid-back rocker with some prominent bass grooves and droning guitars. Interviews with Kakko reveal that the song is something of a sequel to I Have a Right, and there are certainly similarities between the two piece. Both are quire repetitive songs with up-tempo, yet soft, vibes. It is certainly a song that is easily memorable, but in my opinion it is also let down by the mix. The guitar drones throughout the song, which stops some of the nuances truly shining through, and there are times where the vocals are almost lost beneath everything else - which is not really acceptable for a band as established as Sonata Arctica.

Storm the Armada sounds much better, and opens with a moody, clean guitar melody which forms the basis of the early portions of the song. It is not one of my most favourite songs here, but there is certainly a lot going on - and considering the messy production found on some of other songs it sounds beefy and powerful. It is another mid-paced piece, but the progressive textures found on Whirlwind are back here, with dancing keyboard melodies throughout and choral, wordless vocals that seem to constantly form a blanket over the song. I sometimes feel sorry for the band's four musicians, who often seem to be there purely to form a musical backing for Kakko's quirky lyrics, but this song makes a great use of all their talents. Both Viljanen and Klingenberg have plenty of opportunities to lay down some tasty leads throughout the song, with a shredded guitar solo coming fairly early on, and Kauppinen's bass is high in the mix - allowing him to dictate the groove perfectly and really drive the song. The Last of the Lambs however is a ballad that never really seems to get going at all, and is a bit of a mournful dirge that does not really sound like anything the band have attempted before. Gothic keyboards and staccato percussion dominate the song, while Kakko's emotional vocals almost whisper atop the moody tapestry. It is song that I keep expecting to open up, with the band joining in to beef it up, but the change never really happens. The percussion gets a bit more expansive as the song moves forward, and a few additional indescribable sounds are added into the mix, but overall the piece is a bit of a downer that is really at odds with the quirky, up-beat nature that usually characterises the band's sound. Who Failed the Most is a typical modern Sonata Arctica single however, with a punchy mid-paced sound and a sparkly keyboard riff that drives the song. Klingenberg dominates the song's instrumental sections with some great piano melodies, with Kakko's vocal melodies dominating elsewhere. It is a very catchy song, but for me the chorus lyrics feel a bit clunky. It is a very easy song to sing along to, and I can see the song going down well live, but I feel that a bit more thought being put into the flow of the chorus vocal melodies would have made it a real winner. It also lacks a solo, something which in my opinion would have boosted the song further. There is a strange instrumental section where something echoey is going on in the background but it is too buried in the mix to actually make out what is happening. Full instrumental pieces are rare on Sonata Arctica albums, but Ismo's Got Good Reactors adds some metal flair to the middle portion of the album. The album mostly moves along at a mid pace, but this is a faster track with lots of double bass drumming and shredded soloing. Viljanen dominates the song with some excellent lead guitar work, but there are portions of the track which hand the spotlight over to Klingenberg. His keyboard leads here are extremely retro and recall lots of classic 1970s rock albums. It is a piece that acts as a nice diversion from the rest of the album, and is also something of a flash back to the band's earlier sound.

Demon's Cage actually maintains the faster pace and older sound somewhat, with a sparkly piano intro and a flashy synth riff that dominates as the song kicks off proper. This is not purely a bombastic piece of power metal however, as the more progressive elements of Whirlwind and Storm the Armada are also retained. The pace constantly changes throughout, with more melancholic slower sections mixed perfectly alongside pacier sections with some of the toughest guitar riffing on the album - although the guitar tone leaves a lot to be desired. The dynamics on show here make the song an instantly-interesting piece, and over repeated listens it reveals itself to be one of the album's best songs. There are some more clunky lyrical moments though, which is a shame, but overall musically the song is a real winner. It is songs like this that has ensured that Sonata Arctica have remained interesting and creative throughout their career, despite a move away from their more-famous original sound. Another single in the form of A Little Less Understanding is next and it is one of the crunchiest pieces here, with Viljanen dominating throughout with some tight guitar rhythms that spill perfectly out of the speakers. In may ways this album is a frustrating listen as it sounds as if the songs were recorded in batches, with some songs sounding great and others sounding like mush - as there is very little consistency in the mix or production style throughout. This song sounds great however, with the guitar really packing a punch and a shredded solo that cuts perfectly through the mix. It is an extremely simple song, and the chorus is a catchy moment that is sure to stick long in the brain. The album's final two songs are quite lengthy pieces, with the seven minute-plus The Raven Still Flies With You impressing with a somewhat more progressive approach and a varied sound. This is another song that sounds well-produced, with a warm crunchy guitar tone throughout and a prominent bass performance that adds real depth. There is a lot of dynamics here too, with heavier sections again sitting nicely alongside moments that are much more calm. Klingenberg's keyboards often shine throughout, with lots of excellent soundscapes being woven throughout the piece. My favourite moment however is a really jaunty keyboard-led instrumental section that sounds like something from an old Marillion album. The synth lead is extremely 1980s prog in nature, and it comes out of nowhere as a real surprise. In my opinion the album should have ended with this song, as it would have been an epic closing number, but the lengthy The Garden sadly makes for a disappointing end. Like The Last of the Lambs, The Garden is slow song that never really gets going. If it had been a short outro piece it might have worked nicely, but at over six minutes in length it really outstays its welcome. It is a lengthy acoustic guitar and keyboard piece, that features Kakko's gentle vocals throughout - but it just never seems to end. The album did not need this song, and it just really makes the album drag at the very end - when it could have just been cut altogether. Overall however, despite some weaker tracks and a production that is very hit and miss, Talviyö is another enjoyable album from the Finns. By this point I expect Sonata Arctica to release an album like Talviyö, and the mix of sounds and styles explored here generally works well and showcases Kakko's diverse and quirky songwriting.

The album was released on 6th September 2019 via Nuclear Blast Records. Below is the band's promotional video for Who Failed the Most.

Black Star Riders' 'Another State of Grace' - Album Review

If there is band that truly defines the state of classic-inspired rock in the 21st Century, then Black Star Riders are surely it. Despite only being in their seventh year as a band, Black Star Riders have already become part of a furniture on the British rock scene (despite most of the band actually being American) and they are a well-loved and popular live act. In fairness the band did have something of a head start, with frontman Ricky Warwick and guitarist Scott Gorham forming the band following a successful couple of years touring as part of a re-activated Thin Lizzy - but Black Star Riders have long stepped out of that band's shadow. While a heavy touring schedule and a penchant for dropping a new album every couple of years has certainly helped the band to maintain a steady momentum and organically build a fanbase; what makes the band truly tick is their ability to craft memorable, hard rocking, and soulful songs. From their 2013 debut album All Hell Breaks Loose (which I reviewed here), which is probably still my favourite from the band, Black Star Riders have been writing great songs. I did not find 2015's The Killer Instinct (which I reviewed here) or 2017's Heavy Fire (which I reviewed here) to be quite as strong as the band's debut album, but both albums contain plenty of excellent songs and are still regular features on my iPod. Three strong albums in five years had really set the band up, but 2019 has seen Black Star Riders take things a step further by releasing their fourth effort - and making it four strong albums in seven years! The lead up to their fourth album, which was released earlier this month under the name of Another State of Grace, however was a fairly rocky one by the band's standards. Since forming in 2012 the had had a relatively stable line-up, with only Robbie Crane replacing original bassist Marco Mendoza in 2014, but Another State of Grace features a new-look Black Star Riders following a couple of line-up changes that have occurred since Heavy Fire's release. The first departure was drummer Jimmy DeGrasso in 2017, not too long after the third album's release, who was quickly replaced by Chad Szeliga (Breaking Benjamin; Black Label Society); but the big blow was the departure of guitarist Damon Johnson towards the end of last year. Along with Warwick, Johnson had always been the band's main songwriter. Other band members had chipped in along the way, but the Warwick/Johnson partnership was what Black Star Riders was built on. His songwriting and his guitar playing abilities, was going to be hard to replace, so I had wondered what the band would sound like without him. Christian Martucci (Stone Sour) was brought in to replace him, and thankfully he seems to have fit into the band like a glove. He has picked up some of the songwriting slack on Another State of Grace, which is great to see, as well as adding his heavier guitar playing to it - meaning that the band's fourth album is their weightiest and toughest-sounding effort yet.

Opening the album is Tonight the Moonlight Let Me Down, a catchy up-tempo rocker typical of the band's sound; with a few sly looks cast in Thin Lizzy's direction for good measure. A choppy riff opens the piece up with hints of a twin-guitar harmony, but in truth the song is a weighty rocker from the songwriting minds of both Gorham and Martucci. One of the things that has carried over from Thin Lizzy into Black Star Riders is the storytelling lyrics that recall classic folk songs at times. Ricky Warwick was clearly a big Phil Lynott fan before joining up with Gorham and co., and it shows throughout this album. His voice, which is certainly mellower and more storyteller-esque than it was during his days with The Almighty, is what holds the whole band together; and the laid back verses here really showcase him at this best - before he launches into a somewhat tougher chorus with some catchy vocal melodies. A saxophone solo courtesy of Michael Monroe (Hanoi Rocks; Demolition 23.) tips the hat to that other Thin Lizzy song with 'moonlight' in the title, but it is the first time the instrument has been heard in a Black Star Riders context. It is the icing on the cake, and adds a quirky burst of melody when needed. The album's title track is a real winner and, in my opinion, is one of the best tracks the band have written so far. A knotty twin-guitar riff keeps the piece together, while session man Paul D'Arcy adds some folky additions with whistles and uilleann pipes to mirror it. While the album's opening piece was fairly laid back, Another State of Grace is much heavier, and really shows the influence of Martucci. The riffing here is meatier than previously, but the folky, beefed-up guitar leads are still very Thin Lizzy at their core. There are certainly shades of Emerald to be found here, but with a chorus that sounds like something The Pogues might have come up with - showing off Warwick's love of Irish punk. Ain't the End of the World is similar, with the punk influence again showing up during the driving chorus and a guitar riff that is the most blantant Thin Lizzy homage of the whole album. In some ways the song feels like a throwback to the band's first album. The Thin Lizzy-isms have slowly decreased over the band's previous three-album trajectory, but they seem to have re-embraced here. This could be down to the introduction of Martucci as a key songwriter - bringing some fresh ideas to that classic sound. I am certainly not complaining, and the opening three songs on this album are for me the best opening three songs on a Black Star Riders album since All Hell Breaks Loose.

The quality comes with the Gorham-penned Underneath the Afterglow, a heavier piece with a strong Hammond organ presence from famed session man Fred Mandel. In fact, Mandel's playing is fairly prominent throughout the album as a whole. Keyboards have never been a big part of the Black Star Riders sound, but their usage has certainly increased here which adds an extra dimension to the band's sound. The song is heavier than most here, and the dirty Hammond really helps to exemplify this. The harmony guitars are largely gone here, instead they are replaced with a weighty riff that rumbles the speakers with its simplicity. The chorus part also sounds heavier, and has similarities to Warwick's previous band The Almighty. Mandel's keyboards also dominate Soldier in the Ghetto, as the piece opens up with a funky organ riff that is soon joined by some laid back guitar chords which are reminiscent of Charlie I Gotta Go from the band's second album. The song is much more in-your-face than that older piece however, with the keyboards keeping everything moving at a faster pace and a chorus that again injects a little of the punk spirit back into Black Star Riders. What is clear at this point is how much energy is contained within this album. The entire first half of the album is packed full of up-tempo rockers, that are all built on a strong riff and contain a catchy, melodic chorus. This is clearly the type of song that the band excel at at this point, and the album shines as a result. However, as if to deliberately play havoc with my analysis, the album's sixth track is a ballad! Why Do You Love Your Guns? however is an extremely poignant piece, especially with a handful of high-profile mass shooting taking place across America over the past few months, with lots of delicate acoustic guitar playing from Warwick and thought-provoking lyrics. This is not purely an acoustic piece however, although the song never strays far from those roots. The band slowly build up around Warwick, with effects-heavy guitar leads that sound more like something from a Marillion album than your average Black Star Riders song and a sombre beat from Szeliga. A highlight however is a lengthy and emotionally-charged guitar solo part way through the song. Sadly the CD's booklet does not attribute the guitar solos, so I cannot credit Gorham or Martucci here, but it is the perfect accompaniment to the song's theme and it really brings the piece to life. Standing in the Line of Fire, the only song here co-written by Crane, gets back to the up-tempo feeling established throughout the album's first half. This is a song that has grown on me over repeated listens, and it sounds a bit more like the sound the band established on Heavy Fire - with the Thin Lizzy-isms reduced and replaced with a more riff-heavy sound. It works well however, with a simple chorus that is backed by a fun, snaking riff and a shredded guitar solo to round things off. Crane is becoming a useful additional songwriter for the band, and I hope he continues to chip in on future albums.

The simple What Will It Take? features the vocals of Pearl Aday, who also guested on Heavy Fire, and opens out as a strident acoustic rocker before the band joins in to give the song a bit of a heavy country vibe. It is a solo Warwick composition and it shows, and is somewhat more akin to the songs found on his recent solo albums than any previous Black Star Riders album. While not a bad song, it is certainly one of the least-interesting pieces here for me. Aday and Warwick share vocals lines to good effect, but the song is not as compelling as many of the others here. The lyrics are very repetitive, and for me it lacks that true Black Star Riders spark. The album's final couple of tracks overcome the slight dip of What Will It Take? however, and certainly get things back on track. Both tracks showcase the punk spirit referenced earlier, with In the Shadow of the War Machine up first. It is the lesser of the two in my opinion, with repetitive lyrics again present, but the energy of the piece makes it a more interesting prospect. It is a real chug, something quite rare for the band, but the simplicity allows Warwick to spit the lyrics out with some real venom. In the past Warwick has toured as a guitarist for Stiff Little Fingers, and he is certainly bringing some of that experience along for the ride here with a little bit of a late-album rock out! Poisoned Heart, the album's final track, is a subtly rocky piece that includes a strong call-and-response chorus that has a punky vibe once more, before the song becomes more laid back for the smooth verses - with some twisty harmony guitar leads thrown in throughout for good measure. The song is unlike anything in the band's catalogue so far, but in my opinion it really works. As much as I loved Johnson's contributions to the band, it does feel that the band have explored a few different avenues here. Experimentation is key for a band and it allows them to develop and stay fresh - and it is great to hear the band experimenting a bit here, especially considering the album is a fairly traditional 40-odd minutes in length. I would quite like to hear more songs like Poisoned Heart from the band going forward, and I hope this experimental is brought forward into album number five! Overall, Another State of Grace is a really strong album from the band - and for me it is their best release since their debut. As much as I enjoy The Killer Instinct and Heavy Fire, Another State of Grace just contains more of the type of songs that I want to see from the band - and it is great to see the Thin Lizzy nods back bigger and better than before. The band are showing no signs of slowing down yet, and I hope that Another State of Grace is the start of a successful new era for them.

The album was released on 6th September 2019 via Nuclear Blast Records. Below is the band's promotional video for Another State of Grace.

Visions of Atlantis' 'Wanderers' - Album Review

Austria's Visions of Atlantis, despite having been around for nineteen years at this point, have never really broken through into the big time. The symphonic metal band have released a few strong albums over the years, but for whatever reason they have always remained a division or two below the genre's elite. On the whole, Visions of Atlantis are a band that I am not overly familiar with. I have been aware of them for years but, despite enjoying the odd song that I heard here and there, I only started listening to the band with any earnest towards the end of last year. The band were booked to open for a Kamelot at a show I attended back in March in Birmingham, so I picked up the band's then-latest album The Deep & the Dark in preparation for the show. I found myself enjoying the album a lot, but 2011's Delta which I bought not too long afterwards did not impress at all. I stopped buying the band's albums and waited for the show, where the band impressed. Despite relying on a backing track for the keyboards, which I always find disappointing for bands with prominent keyboard arrangements, the band's short set was a strong one. The set was largely culled from The Deep & the Dark, and the band went down well with the good-sized crowd. I made a mental note to make more of an effort with Visions of Atlantis going forward, and part of that involved picking up a copy of the band's latest album Wanderers, their seventh studio album, which was released last month. Considering the five year gap between 2013's Ethera and 2018's The Deep & the Dark, I was surprised to see the band back with a new album so soon after their last. I do not know everything about the band's history, but it does seem somewhat like they are making up for lost time. A lot of different members have come and gone from the band over the years with drummer Thomas Caser, who is also the CEO of Napalm Records, the only original member left. I get the impression that the creative process for The Deep & the Dark was a strange one too, and was almost put together by committee. It came off the back of a failed reunion of many of the band's original line-up, and it is not all that clear exactly which musicians actually featured on the finished product. With the band's 2019 line-up seemingly stable, at least for now, I suppose the band wanted to get back into the studio as quickly as possible and lay down something that was 'theirs'. The only current member of Visions of Atlantis that definitely featured on The Deep & the Dark, as even drummers were 'name checked' in the liner notes, is vocalist Clémentine Delauney, who has become the real focus of the band. She has become the band's main songwriter - along with producer Frank Pitters - and she is the real star of Wanderers. Fellow vocalist Michele Guaitoli (Overtures; Kaledon; Temperance), who makes his debut with the band here, supports her well - while the rest of the band, and Pitters who handles most of the keyboards, create symphonic, poppy backdrops for their melodies.

The album kicks off with its longest song, the seven-minute plus Release My Symphony. While the length of the track may lead some to believe that the song is more progressive in nature, which it is somewhat, but in my opinion the song really just further displays the band's core sound in a more expansive way. The song's intro is a lengthy one in the context of the band's usual sound however, with a mournful piano setting the scene nicely before Christian Douscha comes in with a weighty guitar riff that is backed by some dancing synths and orchestrations from Pitters. Visions of Atlantis have always taken their cues from the power metal end of symphonic metal, with the first handful of Nightwish albums a clear touchstone (which I know is a lazy comparison but it is apt in this occasion), and the dancing keyboard melodies and chunky guitar rhythms here certainly recall them. The vocals have a much poppier approach however, with Delauney generally dominating throughout. Visions of Atlantis' male singers often seem to be relegated to being a glorified backing singer, but in fairness Guaitoli also makes his presence felt throughout this album. He shares the vocals fairly evenly throughout the lengthy opening song, with the two singers harmonising well during the simple, but effective, chorus. A highlight for me however is Douscha's guitar solo, which takes on a certain Eastern flavour while still fitting nicely inside the grand symphonic arrangements that pin everything together. Heroes of the Dawn has a bit of a folky vibe, something that was explored on a couple of tracks on The Deep & the Dark, with uilleann pipes setting the tone early on before a crunchy guitar rhythm again kicks. Sadly the piper is not credited in the CD's booklet so they cannot be name-checked here, but their addition certainly adds to the overall feel of the piece. They do not change the band's core sound however, and only feature sporadically to add the occasional jaunty melody before giving way to Douscha's tough guitar chords once again. This is a very vocally-dominant song however, with the main melodies coming from the vocal lines. Delauney and Guaitoli share lines again, with the latter kicking things off in fine style, with another fun chorus standing out. Nothing Lasts Forever is something of a ballad, and is a collaboration between Delauney and some of the members of the German band Kissin' Dynamite. It opens with some simple piano lines and her sweet vocals, while the song gradually builds up around her - with layers of strings thickening the sound. By the time the chorus rolls around, Caser adds a little weight with his drums which helps to inject a little power. The song continues at a slow chug, with Guaitoli taking the second verse, and continues in this manner until it finishes. Douscha impresses again with another strong guitar solo, which starts out by emulating the chorus vocal melodies before going off at a musical tangent to great effect.

A Journey to Remember is a bit of a heavier piece, and is built around a dramatic string and keyboard arrangement, while Douscha does the heavy lifting with his guitar - throwing in the odd pinch-harmonic here and there. The opening three songs are all strong efforts, but mostly move along at a mid-pace. A Journey to Remember is the first song to really speed things up somewhat, with Caser providing a kinetic energy to the song with this tight drumming - and Douscha's riffing keeping everything going. It is also a song that really showcases the vocal interplay between the band's two singers. They each get the chance to sing alone, but much of the song is sung in harmony. Their two voices mix really well together, and the song's soaring chorus is a perfect example of their chemistry. Guaitoli only started working with the band last year throughout The Deep & the Dark touring cycle, so it is nice to see that he has already struck up a great relationship with Delauney. A Life of Our Own continues the faster pace established in the previous song, and is notable for being one of two songs here written by Guaitoli. Delauney and Pitters have written the vast majority of the of the album's music, but two songs were brought in by Guaitoli - with Delauney then adding her lyrics to them. They do not divert from the band's core sound however, and it is clear that Guaitoli has honed his songwriting to fit in with the band's style. He also plays the keyboards throughout the song, with his orchestrations creating a grand backing for the piece, while Douscha again adds the rhythm. Completing a hat-trick of faster tunes, To the Universe opens out with driving double bass drums from Caser and dancing, catchy synths right out of the old-school symphonic power metal songbook. Old-school power metal is a bit of a dying art in my opinion, but Visions of Atlantis have whipped up a strong slab of it here - with Delauney even singing in a pseudo-operatic style at times to really nail that old sound. Despite Delauney's strong vocal showing, for me it is Guaitoli that shines the most here. He might not have the biggest range when it comes to power metal singers, but his smooth voice fits perfectly into the song - with his controlled delivery standing out. A shredded Douscha solo also stands out, aiding the pacey feel of the song. Into the Light breaks the run of faster songs, and instead serves itself up as a delicate piano ballad with some excellent smokey vocals from Delauney. The song never really expands beyond its basic beginnings, but that allows it to act as a beautiful mid-album respite. Pitters' piano playing is simple, but full of emotion, and Delauney's vocal display is excellent. It is a true ballad, and even though Casers's drums eventually kick in to back a controlled, emotional guitar solo, the song constantly feels gentle and mournful - which is fitting.

The Silent Scream is heavier, with a spooky, twinkling keyboard intro that is soon joined by one of Douscha's toughest guitar riffs on the album. The early Nightwish comparisons are very apt here, and it is one of the few songs where the bass of Herbert Glos (Dragony) is clearly audible. Glos also makes his debut with the band in the studio on Wanderers, despite being credited on The Deep & the Dark, so it is nice to hear him more clearly on this track - as opposed to being simply a part of the mix! The heavier vibes of the piece allow for a more overall 'metal' performance here. Guaitoli certainly seems to let rip a little more here, with some excellent extended vocal notes that have more grit to them than usual, and Douscha's now-customary solo is full of tortured bent notes and other tricks. The Siren & The Sailor, which of course features some occasional enchanting wordless female vocals, also plays with folky melodies - but this time they are played on the synths and mixed into the band's core sound rather than added on as an extra. Delauney's operatic vocal style is put to good use here too, playing the part of the siren, with the song again really showcasing a strong old-school symphonic power metal sound. Guaitoli largely dominates the verses, before Delauney takes over for a pre-chorus and then dominates the chorus harmonies with her gorgeous symphonic vocals. Douscha's snaking guitar leads and riffs throughout echo the folky synths in the song's intro, but add some real bite to them. The song overall has quite a sinister feel despite some big melodies, and is possibly one of the most emotive and striking tracks on the album. The album's title track, which is a solo Delauney composition, is another piano ballad. Delauney plays the piano throughout the track too, along with taking the lead vocals, which makes the song totally revolve around her and her talents. She really has become a key player in Visions of Atlantis, and the band's rebirth over the past couple of years is largely down to her songwriting abilities and her vocal presence. On Wanderers, with her voice and piano only joined by some subtle strings, she showcases why she is now the face of the band. It is a short, but beautiful ballad featuring lots of gorgeous melodies and delicately simple piano motifs - which is the calm before the storm of the album's closing number. That number is At the End of the World, a powerful, upbeat, and catchy piece is the second song here to be written by Guaitoli. Douscha's choppy riffing drives the piece, while spacey synths and keyboard textures bulk out the song - but in truth it is the song's chorus that is the best moment here. It is easily my favourite chorus on the album, as it is packed full of soaring melodies that just grab you from the first listen and never let go. In my opinion, the song is a perfect album closer, with the fast-pace and huge melodies really ensuring a memorable end to what is a strong collection of poppy symphonic metal pieces. Overall, Wanderers is another strong album from Visions of Atlantis that continues the good work established last year on The Deep & the Dark and builds further on that album - allowing the band's core songwriters and players to really shine. This new era for Visions of Atlantis is proving to be a fruitful one, and I am looking forward to seeing where they go from here.

The album was released on 30th August 2019 via Napalm Records. Below is the band's promotional video for A Journey to Remember.