Phil Campbell and the Bastard Sons - Exeter Review

Although the band had been around for a few years prior to 2015, since the sad death of Motörhead leader Lemmy The Bastard Sons have been guitarist Phil Campbell's main creative outlet. The band, which features his three sons as well as vocalist Neil Starr, was originally something of a low-key distraction from Motörhead for Campbell. The band's early shows were often largely made up of covers, and allowed Campbell and co. to have some fun with a few of their favourite songs in sweaty pubs and clubs up and down the country. Now that Motörhead are no more however, The Bastard Sons has become more of a focus. The touring became heavier, and the band starting writing songs. A self-titled EP was released in 2016, but the band really started to make a name for themselves with the release of their debut album The Age of Absurdity last year. With the release of the album, the band shifted to being a truly original outfit - with many of the covers being dropped from the set, although some classics from Campbell's time with Motörhead remained. While not exactly an album to set the world alight, The Age of Absurdity is a fun and hard-hitting modern metal album. It is packed with strong riffs and catchy choruses; and feels different enough from Motörhead to allow Campbell to show a slightly different side of his songwriting. There is more of a modern sound about the band, but the songs still compliment the Motörhead classics when they are played together live. Since the album's release, the band have been on tour almost constantly. I saw the band twice last year, once at the Steelhouse Festival and once in Plymouth, both shows of which were excellent. The band manage to whip up a storm when they perform, so when I saw the announcement of another string of UK shows earlier in the year for November I immediately picked up a ticket for the Exeter show. The band packed out Plymouth's Junction last year, so I am glad they went for a bigger South West venue this time around. By the time the evening rolled around, it was clear that quite a few tickets had been sold as the place was busy. While I do not think the show was sold out, there were certainly more people in the Phoenix, the chosen venue in Exeter, than could ever fit in the Junction. The Junction show was actually a bit too full at times I thought, which led to some unpleasant moments, but there was much more space in the Phoenix - which was necessary due to some rather over-the-top moshing that happened throughout that seemed to be being instigated by some people who had no idea how to behave at a heavy metal show.

The evening's support came from King Creature, a Cornish-based metal band that I have been aware of for a good while but have never really had the chance to properly check out. They supported Motörhead back in 2015 at the Eden Project, but unfortunately I got there too late to watch their set. Clearly they made an impression on Campbell that night however, as now the band are on tour with the former Motörhead man throughout the UK. King Creature had about 40 or so minutes on stage, and they made it count with a hard-hitting set packed with strong groove-based riffs, anthemic choruses that showcased Dave Kellaway's (vocals/bass guitar) strong voice, and the occasional burst of twin-lead guitar that brought some classic 1970s hard rock to their modern metal sound. Being a fairly local show for the band, they seemed to bring their fanbase with them, and the result was one of the best reactions to a support act that I have seen in a while. There were many people singing along to the band's songs throughout their set, and I think that really helped to spur them on and put on a great set. Soundwise, King Creature sound a bit like a more anthemic version of Pantera or Black Label Society, with dirty groove-based riffs driving everything but with an overall larger focus on melody. Nearly every song had a big chorus that could easily be latched on to, and the riffing of both Matt Vincent and Dave Evans was punchy and packed full of attitude. Both had plenty of chance to solo too, and both had a unique style that brought a lot to the band. Vincent is more of a traditional blues-based player, while Evans tore up his fretboard with furious shredded licks. This mix of styles ensured that the band kept things fresh and actually reminded me of the guitar interplay in the early Voodoo Six line-ups with a good mix of old-school hard rock and modern metal elements. The band's set flew by, which is always a sure sign of it being a good one. I have been meaning to give the band a chance for a while, and after this showing in Exeter I will definitely need to check them out further.

After a 30 or so minute changeover, Phil Campbell and the Bastard Sons took the stage to Deep Purple's Highway Star, and proceeded to blast through a seventeen-song set with little fanfare - just with the power that heavy metal requires. The bulk of the setlist was the same as the Plymouth show last year, although there were a few different Motörhead tracks included as well as a couple of new numbers from Campbell's solo album Old Lions Still Roar. The album is quite varied, so not every song would fit in at a Bastard Sons show, but a couple of hard rockers were thrown in to spice things up a little and promote the new release. Step into the Fire kicked everything off, but for me it was the driving riff of Freak Show that really got things going. In my opinion it is the best song on the band's album, as it features a huge, boogie-esque riff and a powerful chorus. While Campbell is of course the leader of the band, the rest of the band are no slouches. Todd Campbell (guitar/vocals) is a mean player in his own right, and ripped up a great solo during Freak Show, while Starr is a great frontman who really knows how to work the crowd. His voice is suited perfectly for this material, and he never tries to impersonate Lemmy during the Motörhead numbers, instead doing them justice in his own way. Rock Out, the first Motörhead number featured, certainly got everyone going early on - before the new These Old Boots made everyone headbang with its great old-school metal stomp. There was barely any time to breathe throughout the night as the music came thick and fast. A highlight, as always, was Born to Raise Hell which is one of the most anthemic pieces Motörhead ever wrote in my opinion. The band always do a killer version of it, and everyone on the stage really gave it their all. It a testament to the band's own material however that it never feels secondary to the classic tracks. Big anthems like Get On Your Knees are always going to go down well live however, and the crowd's participation during the tune was loud and raucous. A short tribute to the Ramones with a version of Rockaway Beach led unsurprisingly into the burstingly short R.A.M.O.N.E.S. before the Old Lions Still Roar album was represented one more time with the inclusion of the meaty Straight Up. By this point the crowd was in full-on party mode, and some big fan-favourites in the form of Silver Machine and Ace of Spades only intensified this. By this point the moshers had got a bit out of hand, and were starting to annoy quite a few people around them. The strange thing is the that the main instigators did not look like metal fans at all, and were clearly at the show just to be a pain - which is always a shame to see. Everyone sung Ace of Spades loudly however, before Ringleader closed out the main set nicely. The band briefly left the stage but came back for a few more, and opened up the encore with Big Mouth from their EP, before ending with a couple more Motörhead tracks. The slower-paced Lost Woman Blues was up first, which saw both Phil and Todd Campbell soloing away over the steady blues backing, before the chunky Killed by Death rounded everything out nicely. It was a powerful end to a high-energy set that barely let up throughout, and one that reminded us all again with a great guitarist Campbell is. The setlist was:

Step into the Fire
Freak Show
Rock Out [Motörhead cover]
These Old Boots [Phil Campbell solo material]
High Rule
Born to Raise Hell [Motörhead cover]
Dark Days
Get On Your Knees
Rockaway Beach [Ramones cover]
R.A.M.O.N.E.S. [Motörhead cover]
Straight Up [Phil Campbell solo material]
Silver Machine [Hawkwind cover]
Ace of Spades [Motörhead cover]
Ringleader
-
Big Mouth
Lost Woman Blues [Motörhead cover]
Killed by Death [Motörhead cover]

Phil Campbell and the Bastard Sons are really establishing themselves as a big draw in the metal world now, and their strong work ethic and mixed setlists are certain to keep people coming back. Campbell has clearly been busy with his solo album recently, but I hope that now his attention will turn to the next Bastard Sons album as I am looking forward to hearing where the band goes next.

Opeth's 'In Cauda Venenum' - Album Review

Over the past couple of decades, there are few progressive bands that have been producing music as challenging or diverse as Opeth - at least in the 'mainstream'. While I am sure there are plenty of underground progressive acts that are pushing boundaries further, in the world of major labels and 'big' names Opeth are often a stark contrast to their peers. While many bands establish a formula early on in their career, Opeth continue to evolve and redefine their own identity - sometimes to the chagrin of their fans. For the most part, each Opeth album stands alone as an example of the band's - or, more importantly, bandleader Mikael Åkerfeldt's - headspace at the time it was written and recorded. There are certainly similarities and threads that link the band's discography; from their raw, heavy 1995 debut album Orchid to 2016's delightfully retro Sorceress (which I reviewed here); but, on the whole, each album has its own identity. It is this that makes Opeth such an interesting band, and also what makes them a hard band to truly digest. I have been listening to Opeth's music for a good number of years now, but I still think there is much for me to discover. They are one of those bands that I have to be in the right mindset to listen to, which means that sometimes I can go for months without listening to any of their stuff. This is often the case for truly progressive bands in my opinion, and a sure sign that a band creates music that is sincerely interesting. It is quite reasonable for someone to consider themselves a fan of Opeth, but be completely turned off by portions of their discography. Not all of the band's wide tapestry of sounds is for everyone, and I think that shows that Åkerfeldt truly creates the music that he wants to at any given time - which is always great to see. Opeth are not a band to follow trends or to give in to fan pressure, and this is something that should always be applauded and respected - as no-one honestly wants to see the band churn out half-baked material just to please a certain section of the fanbase. The fact that there are still plenty of people who are unhappy that the band have moved away from their progressive death metal roots over the past decade or so is testament to this willingness to push boundaries - which is the mark of a true progressive act. The band's recent output has certainly been divisive, but it is also full of passion and excellent songcraft. While I still struggle a bit with the overt jazz and folk influences found on 2011's Heritage, the two albums that followed it are excellent - with Sorceress in particular impressing with its rich, warm sound that is a real throwback to the 1970s. The band's new album, In Cauda Venenum, is similar. It is the band's thirteenth studio album, and is the sound of a band that is confident and happy with their current position. In Cauda Venenum is probably not quite as retro-sounding as Sorceress, with the production less old-school sounding, but it does feel like something of a natural progression - while still crafting its own identity in Opeth's catalogue. Two versions of the album were released, one with English lyrics and one with Swedish lyrics, and the version that I have is the one in English.

The album's opening track is an eerie and unsettling sounding retro instrumental piece called Garden of Earthly Delights. I am always amazed by the way, especially on 2014's Pale Communion and Soreress, Opeth have managed to retain the bleak landscapes created on their much heavier earlier works and transpose that over to a more retro sounding progressive rock sound. A big part of that seems to be down to the keyboard playing of Joakim Svalberg, the band's relative new boy, who has really impressed from Pale Communion onward. Garden of Earthly Delights is essentially all him, and his retro synths swirl and pulse around to create a dense soundscape, while the occasional sound of tolling bells and the odd Swedish spoken word section cut through the Mellotron and synth textures. It is a bit of a surprise then when the band launches into Dignity, a harder rock piece with some strong Uriah Heep vibes from the off. High-pitched, wordless vocals kick off the track, with Svalberg's Hammond organ adding some retro grit - before either Åkerfeldt or fellow guitarist Fredrik Åkesson launch into the first of the album's many solos. As with Opeth's previous albums, the songs here are quite varied and often move through multiple sections. Dignity is no different, and after the initial Heep-esque bombast the song reduces itself down to a delicate acoustic guitar passage which Åkerfeldt proceeds to sing over in little more than a whisper. A more bombastic rock passage is never too far away however, and Svalberg often lays into his Hammond to ramp up the power while Martin Axenrot pounds jazzy patterns from his hollow-sounding drums. Many of the songs here take multiple listens to appreciate, but Dignity was one that hit me from the off. In that respect it is a perfect candidate to open up the album with - and it certainly helps to set the listener at ease before the more complex pieces. Heart in Hand is such a piece, although it opens in a similar fashion to Dignity with driving Hammond organ notes and some more off-kilter drumming. The jazz influences that Opeth have always included in their sound have been pushed to the fore over the past decade or so, and it is has certainly helped the band to branch away from their heavier roots. That being said however, there are actually shades of the band's older sound here for me - with an overall heavier tone and a greater emphasis on fast-paced guitar riffs. This is not a death metal track by any means, but at times it is probably the heaviest the band have sounded since 2008's Watershed. Åkerfeldt and Åkesson seem to particularly enjoy this heavier assault, often laying into shredded guitar solos that are much more metal that anything the band has done recently. I really like the more chaotic approach to the track, and there is a portion about two thirds of the way through which descends into a pure jazz-fusion wig out - before the craziness is completely stripped away to be replaced by a whimsical vocal and acoustic guitar combo. The weightiness continues on throughout Next of Kin, a track which builds on the heavier tones of the previous song but delivers them in a somewhat more straightforward way. Old-school Sabbathy riffs are never too far away, and they allow Åkerfeldt to let rip vocally. He has really grown into an expressive and emotional vocalist over the years, and some of the work throughout In Cauda Venenum is his best yet. He oozes power here, yet knows when to reign it in - which is usually when a delicate acoustic passage takes over. This song is overall less progressive than the previous two however, but that is by no means a bad thing. Opeth have always been influenced by 1970s hard rock bands such as Deep Purple and Rainbow - and this track sees them showcasing that side of their sound a little more, with a screaming solo to match!

Lovelorn Crime is a more laid back piece, and something of a true ballad - a rarity for Opeth. The early portions of the song are dominated by Svalberg, who's ringing piano melodies are the perfect backdrop for Åkerfeldt's heartfelt vocals. For a band that is more known for their complex compositions and divisive arrangements, Opeth are certainly fronted by a truly wonderful singer. His performance here reminds me of many of his prog heroes - and the song somewhat reminds me of The Moody Blues with Åkerfeldt channelling his inner Justin Hayward. The band soon join in, with Axenrot's drums adding a monotonous tone which backs up the sombre vibe. Some fans had an issue with the production of Sorceress, which did go for a full-on retro sound; warts and all, but I do not think that anyone can complain this time around. In Cauda Venenum sounds gorgeous from start to finish, and that is demonstrated here by the song's guitar solo. Sadly the CD's booklet does not credit each solo, but from reading interviews with the band it is clear that this lengthy and emotional piece of music is courtesy of Åkesson - who just knocks it out of the park. I was not expecting to hear something so emotional on this album, and when I first heard the song I was somewhat taken aback. The phrasing and note choice is perfect, and fans of players like David Gilmour and Steve Rothery will certainly find a lot to love - as this solo is up there with some of their best. It is easily my standout moment from the album, and elevates the song from being great to being a true highlight. Charlatan returns to the weightier sound established earlier after the previous song's respite, and immediately establishes itself as a memorable piece with a strange Gojira-esque guitar riff that is packed full of groove and attitude. While not as heavy as Gojira, the riff is certainly something that the French band could have come up with - but pushed through a retro prog filter. That jazz influences are back here too, with Svalberg often operating in his own little world. While the two guitarists and bassist Martín Méndez often lock in together to establish the grooves, it is Svalberg that provides the melodies - which come in the form of free-form jazz licks and motifs. As a result the song is not easy to latch on to, but it is one that rewards repeated listens - preferably loud ones! The riffing and grooves here are just so powerful, and the Patrick Moraz-esque keyboard dalliances push the track towards sonic plains the band have not truly reached previously. Fading out with a Monks' choir is a final twist, but one that shows that the band like to keep us guessing. In comparison, Universal Truth is a much more straightforward track. It opens slowly with some clean guitar passages that feature some of Åkerfeldt's highest vocals, before rockier sections kick in with simple driving riffs and walls of retro keyboards. This sounds a little like a track that could have been on Sorceress, as it features more of a focus on retro warmth than many of the other songs here. There is Hammond organ all over the piece, and the Eastern-esque melodies seem to recall The Seventh Sojourn from the previous release. The more acoustic-based sections are more typical of In Cauda Venenum's sound however, making this piece seem like something of a transition between to the two albums despite one album naturally following the other.

The Garroter opens with a free-form classical guitar passage, which starts off quite traditional before descending into a flurry of notes. This is quickly replaced by Svalberg's slow, sombre piano lines which instantly changes the tone from one of chaos to one of order. This is track that really leans heavily on the band's progressive influences, with plenty of mood and tone changes throughout - with the opening switch between guitar and piano being just the start. There are heavier tracks here, as much of the song is fairly laid back with intricate acoustic guitar passages and dense keyboard textures, but the occasional weighty riff and drum pattern kicks in to spice things up somewhat. This is another song where the instrumentalists seem to give themselves a lot more freedom. Méndez holds everything together with a strong bassline, but everyone else seems to be operate on their own with occasional bursts of spacey lead guitar and Axenrot's subtle-but-varied drumming. It is another song that has grown on me over repeated listens, but it is one that I feel is a bit too jazzy for me to truly love. I appreciate the band's love of jazz, but it is personally not something that I really enjoy - apart from in small doses. Many of the songs here incorporate it just enough to make it effective, but The Garroter steps a bit too far over the line for me. It is still a fine track, and fans of bands like Gong will certainly find a lot to love. Continuum opens rather strangely, around Axenrot's drumming, but largely is another more laid back piece - with prominent retro keyboard melodies and clean guitar lines. There are lengthy passages like this, with Åkerfeldt whimsically singing atop them, which helps to lull the listener into a false sense of security as the heavier sections kick in. These moments are used fairly sparingly throughout the song, but this only helps them to be much more effective when they do appear. Svalberg's Hammond drives these moments, with the guitarists adding with with slabs of fuzzy guitar. One of the moment also includes a screaming guitar solo, which is one of the song's highlights. Many of the solos throughout the album are more concisely-phrased, but this one is a real moment of reckless abandon with fast-paced shredded notes pouring out of the speakers. It works really well in the context of what is a bit more of a uniform track, especially considering the jazz influences found throughout The Garroter, and again keeps us guessing. The album comes to close with All Things Will Pass, the album's longest track by a second and a good culmination of all the sounds heard throughout. It opens with a spooky keyboard and guitar combo, which recalls the album's opening instrumental track, before building up to an expansive Hammond-led doomy passage that again recalls early Uriah Heep. After hearing this album I would love to hear Opeth covering some classic Uriah Heep, as I reckon they would do an excellent job with the band's songs! The Heep-esque moment resurfaces fairly often throughout the song, but it is again split up with more delicate passages and a section built around Axenrot's lumbering drumming. Due to the song's length there is a lot to be discovered here. As I am writing this piece I noticed a keyboard-led section that seems to recall melodies from Lovelorn Crime's stunning solo which works fantastically, and goes to show that In Cauda Venenum is something of a complete album experience rather than just a collection of songs. Overall, for me at least, this is the strongest Opeth album for some time - maybe since Watershed although Sorceress runs is close - and one that is continuing to reveal its secrets. 2019 has been a strong year for new releases, and Opeth have never found themselves on my Album of the Year lists before - but some further listening to In Cauda Venenum may just see it sneak over the line come January. All prog fans, young and old, should check this out.

The album was released on 27th September 2019 via Nuclear Blast Records. Below is the band's promotional soundclip for Svekets Prins - which is the Swedish language version of Dignity.

Y&T - Cardiff Review

Y&T are one of those bands who possibly live on more in who they influenced than their own music. While this is certainly a very generalised statement, and the band are still an extremely popular live draw, they are one of those bands who the greats love but never really had them same impact as those who followed in their footsteps. If this gets to Dave Meniketti (vocals/guitar), then he never lets it show. The band have been around since 1974, but found the most success throughout the 1980s. The six albums that the band released throughout the 1980s are all excellent examples of 1980s hard rock which, on the whole, does not fall into the AOR and hair metal traps that littered the decade. Y&T were a much tougher, bluesier band than many of their peers, but they still knew how to craft a strong hook and melody - which helped their material to be memorable as well as hard rocking. Despite Meniketti being the band's only original member left, and in fact still alive, Y&T are still tour heavily. Despite not releasing a studio album since 2010, the band still play a good number of dates each year - including, usually, a decent-length UK trek. 2018 however did not see the band's traditional Winter tour. A headline tour had been eschewed for a run of support slots with Saxon, but health issues meant that the band had to pull out of the tour. It had therefore been a couple of years since the last spate of Y&T headline shows here in the UK, so I would imagine the band's fans immediately picked up tickets as soon as they went on sale earlier this year - I know I did! 2019 is also the band's 45th anniversary, and throughout the year the band have been playing a gradually-evolving setlist that includes songs from all twelve of their studio albums - from 1976's self-titled debut album to 2010's Facemelter. Y&T tend to switch up their setlists year on year in any case, but even by their standards 2019's tour has seen a lot of rarities included - including some songs that had not been played live previously. Having seen the band in Bristol and Nottingham previously, this year I opted for Cardiff. I do not get to Cardiff as often as I should, and as the show fell on a weekend it made it easier to plan around work commitments. The show took place at the Tramshed, a new venue for me, which proved to be a decent space. It was not as big as some of the pictures make it appear, but that meant that the decent-sized crowd that was packed into the space made it look full throughout the evening. The place did not particularly impress from a sound point of view however as, from my spot on the barrier down at the front at least, the sound was quite messy throughout the evening. It seemed that the crew thought that the best sound was achieved by turning everything up really loud - which certainly meant that some of the subtleties of the music were often lost.

Before Y&T's customary two-hour set however, the growing crowd was treated to a seven-song set from Bare Knuckle Messiahs - a newly-formed band fronted by ex-Tigertailz frontman Kim Hooker. This was in fact the band's first ever show, and Hooker led his new band through a powerful set that included material from their newly-released debut album That Which Preys on the Dead and some old Tigertailz favourites. Despite being a new band, both Cy Danahar (guitar) and Andy Skinner (drums) were part of the Wazbones-era of Tigertailz with Hooker, while bassist JJ is a veteran of the Welsh rock scene. Bare Knuckle Messiahs suffered from the same sound issues that plagued the night, but they powered through and kicked things off nicely with two new tracks in the form of Smash It Up and If Your Face Is Your Fortune. The new material is much heavier than Tigertailz ever were, but that suits Hooker's deeper vocal style now. He sounded great, and added some extra guitar to the sound while Danahar ground out the main riffs and tore through a few tortured-sounding solos. The band are certainly no hair metal throwback, and even the times they dipped into the Tigertailz catalogue they took their cues from Wazbones - an album that was much heavier than the albums that it followed. There were clearly a few fans in, as when Hooker introduced Dirty Needles an audible cheer was heard, and the thrashy Tear Your Fucking Heart Out really started to shake away any pre-gig cobwebs with quite a lot of us down at the front headbanging along to the band. They only had 30 minutes to play with, which did not leave much time for pleasantries, but the band's music more than did the talking. By the time Spit in Your Eye came around, which heralded the end of the set, I think it is fair to say that the band had made their mark, and many in attendance certainly made their appreciation heard. For a first show it was a triumph, dodgy sound aside, and I really hope that this is a band that we will be hearing a lot more about in the future. The setlist was:

Smash It Up
If Your Face Is Your Fortune
Belly of the Beast [Tigertailz cover]
That Which Preys on the Dead
Dirty Needles [Tigertailz cover]
Tear Your Fucking Heart Out [Tigertailz cover]
Spit in Your Eye

By the time Y&T took to the stage just before 9pm, the Tramshed looked pretty rammed. The band are an extremely reliable act, and there are probably many like me who return time and time again to see them. As promised, the set was a mix of fan favourites and very deep cuts - but things got underway on a fairly familiar note with the hard rock anthems of Hurricane and Lonely Side of Town kicking everything off. Despite being backed by three stellar musicians, Meniketti is - and always has been - the main focal point of Y&T. His strong, bluesy voice has lost none of its power over the years; and his guitar playing is still second-to-none. He is definitely one of the most underrated players that there is, and he tore into a great solo in every song - with the crowd continuing to be wowed after each one. The biggest reaction early on was reserved for Black Tiger, before the first of the rarities in Come in from the Rain took the crowd back to the early 1990s. The sound issues meant the the vocal harmonies of the late 1980s/early 1990s material were lost in the mix somewhat, but the songs were still powerful moments. Mean Streak and Midnight in Tokyo returned to the glory days, and it was great to hear the 'proper' version of Midnight in Tokyo rather than the stripped-down version that the band have been playing in recent years. By this point everyone was on board with the band, and sung the song's opening twin-guitar harmony very loudly, which pleased everyone on the stage. Of the rarities played, it was probably the upbeat Face Like an Angel and the early stomper Struck Down that impressed the most. The band rarely play anything from their first two albums live, so the latter in particular was a highlight. It was also one of the few songs to feature some soloing from John Nymann (guitar/vocals) who proved to be a capable shredder in his own right with an excellent run of notes. He was also featured throughout the newer I Want Your Money, which saw him take the first of the song's two solos, before Menketti stole the show with a lengthy, solo-heavy version of I Believe in You. The song has never been one of my favourite Y&T songs, but it seems be a be a fan favourite - and live it is always stretched out with lots of soloing from Meniketti. It was his main showcase moment, and he demonstrated over and over again why he is held in such regard by many. Everything that followed felt like a victory lap, with another rarity in 21st Century closing with some impressive drumming from Mike Vanderhule before the late 1980s singles Contagious and Summertime Girls got everyone singing along - particularly the former. By this point it was hit after hit, and Rescue Me got everyone moving one last time before the epic I'm Coming Home closed out the main set with its excellent main riff and hooky chorus. The curfew was looming by this point, but there was still time for a couple more. The gorgeous ballad Sail on By received a rare outing, to the crowd's delight, before arguably the band's signature song Forever rounded everything out nicely. Everyone shouted the song's chorus back at the band, and they took their bows afterwards to huge cheers. From this evidence, and despite the sound issues, it seems that the band's latest UK trek is going to be another successful one. The setlist was:

Hurricane
Lonely Side of Town
Don't Stop Runnin'
Black Tiger
Come in from the Rain
Mean Streak
Midnight in Tokyo
Face Like an Angel
Anytime at All
Earthshaker
Struck Down
I Want Your Money
I Believe in You
Hang 'em High
21st Century
Contagious
Summertime Girls
Rescue Me
I'm Coming Home
-
Sail on By
Forever

After the show I managed to have a quick chat with Hooker who was hanging out by the bar, and he signed my copy of Wazbones which was nice. Both the bands are ones I would see again (and have seen multiple times in Y&T's case) so I will be looking out for further opportunities to see both. Despite the sound this was an excellent night out in Cardiff, and it was great to hear some many Y&T songs live that I had not heard them play previously.

Inglorious - Exeter Review

Despite a major schism in the band's line-up towards the end of last year that happened just a couple of months prior to the release of their third album Ride to Nowhere in January, 2019 has been a very busy and successful year for Inglorious. The British hard rock band have really made a name for themselves over the past few years, with some going as far to call them the next big thing in the genre. I would not make such a lofty claim myself, but I have certainly been enjoying the band's output since their self-title debut album was released back in 2016. The band can sometimes be a little generic and safe, but they certainly have the chops and necessary drive to succeed - and Ride to Nowhere certainly saw the band diversifying their sound somewhat. It is to the band's credit then that the departure of three of the band's key members in October 2018 did not totally derail them. While the band's current line-up was probably hastily arranged ready to kick off the band's touring year at the beginning of 2019, the new iteration of Inglorious is a powerful unit. Both frontman Nathan James and drummer Phil Beaver remain from the band's original line-ups with guitarists Danny Dela Cruz and Dan Stevens, along with bassist Vinnie Colla, rounding out the band. Despite the upheaval, 2019 is quite possibly the band's busiest year yet. They barely seem to have been off the road all year, no doubt racking up thousands of miles in the process. Luckily for Inglorious fans in their own country, many of their shows have been in the UK. The band kicked off the year with a decent length UK trek, and scheduled in another whack of dates in towards the end of the year. Previous Inglorious tours have always come at times where I have already have commitments, but with the second leg of UK dates including a relatively local show in Exeter it was time for me to finally see what the band are made of live. Sadly, despite having a few good venues, Exeter is not the hot spot for gigs that it should be - especially being a big university city. I always enjoy a trip up to Exeter from Plymouth however, and the Inglorious show was the first time in a couple of years that I had visited the city for a show. The gig took place at the Phoenix, one of the city's better smaller venues, at which I have seen a few great shows over the years. It is very similar to The Wharf in Tavistock - and I always think we are very lucky in the South West to have a few decent venues, even if they are somewhat underused.

There was only one support act, and the modern rockers Mercutio kicked off the evening with their jagged brand of melodic rock. Inglorious have had a few different support acts throughout the tour, with Mercutio performing on a few of the dates. During their 40-odd minute set, the four-piece somewhat impressed with their potent songwriting, with frontman Ross Wild easily building a rapport with the gathering crowd. The one-time Spandau Ballet frontman is a passionate performer, and really led the band through their set with ease - with plenty of surprisingly hard rocking riffs backing him up. In some ways the band's sound was quite strange, with hard rock riffs mixing in with indie-esque/post-punk aesthetics and rhythms. Mercutio are certainly not a classic rock throwback, but they certainly have plenty of the genre's swagger. Occasionally Wild would plant himself behind a synth to add some additional depth to the sound, but mostly it was just guitars, bass, and drums backing up his over-the-top and theatrical display. While none of the band's songs particular stuck, I felt that their performance was a strong one. It is always good to see a support band really attempting to engage with the crowd, and I feel that Mercutio probably won quite a few around during the course of the evening with their set.

Half an hour after Mercutio finished up, the house lights went down and Inglorious, joined by touring keyboard player Rob Lindop, took to the stage and immediately launched into Where Are You Now?, the opening track from their latest album. I was right at the front for the whole show, so had a great vantage point throughout the evening and got to witness the band's antics up close and personal. Throughout their 90 minute set, the band played a good chunk of material from all three of their albums, with their debut and Ride to Nowhere seeing the most love. An early highlight for me was one of the new songs Time to Go, which featured a huge Whitesnake-esque chorus with the whole band helping out James, while Dela Cruz and Stevens churned out the riffs. I had assumed that Dela Cruz was the band's sole lead player, but Stevens in fact seemed to take the lion's share of the solos. My spot on the barrier was right in front of him, so I had plenty of opportunities throughout the evening to witness his excellent playing. The only somewhat strange moment of the set was the acoustic ballad Glory Days coming so early in the evening. It is a great song, and the band's live rendition with Beaver helping out with some additional guitar was excellent, but it came after only three songs which certainly halted the band's momentum somewhat. It did allow James an early chance to showcase his fantastic voice however, but the song would have been better used as a mid-set breather in my opinion,. There was no doubting the piece's execution however, and the next hour or was packed full of hard rocking numbers. Older cuts like the bluesy High Flying Gypsy sat nicely alongside a killer rendition of the heavier new tune Liar which featured a strong groove and some great vocals from James. The middle portion of the set was built around a powerful cover of Alanis Morissette's Uninvited, which started with James solely accompanied by Lindop's piano before the rest of the band joined in and really rocked the piece up. It was a shame however that Lindop's contributions to the band's sound went completely unacknowledged by James all night. He waxed lyrical about the other band members, but poor old Lindop never even got name-checked. This was poor form I thought, but at least the band actually had a flesh and blood keyboard player on stage and did not rely on backing tracks like so many do these days. The main highlight of the piece however was the closing lengthy solo from Dela Cruz, that really showcased his excellent playing style. The band are so lucky to have two great players in Dela Cruz and Stevens, and I am looking forward to hearing new material written by them in the future. The back end of the set featured some of the band's more well-known tracks, with the epic Holy Water and the closing, emotional I Don't Know You being the stand out cuts. Both really showcased James' voice, and the band left the stage to huge cheers. There was still time for a couple more however, with two singles rounding out the evening. The first, I Don't Need Your Loving showcased more of the band's Whitesnake influence, before Stevens launched into the riff of Until I Die - a powerful track that brought the evening to a perfect close. The setlist was:

Where Are You Now?
Breakaway
Time to Go
Glory Days
Warning
Liar
High Flying Gypsy
Girl Got a Gun
Unaware
Uninvited [Alanis Morissette cover]
Ride to Nowhere
Holy Water
Read All About It
High Class Woman
I Don't Know You
-
I Don't Need Your Loving
Until I Die

I had expected to enjoy the show, but the band exceeded my expectations and really delivered. Inglorious' songs are clearly ones that really come alive when they are played live, with the band's current line-up being an explosive unit that can really play. I hope the current line-up can stick together, as the five-piece certainly have the ability to make Inglorious' fourth album something special. My first Inglorious show was certainly a success, and I will not leave it so long again to catch them live.

DragonForce's 'Extreme Power Metal' - Album Review

If modern metal has a band that is the closest thing to being a meme that can be, the multi-national power metal five-piece DragonForce must surely be in the running for that title. Power metal, even back in the 1980s, has always been an over-the-top and cheesy genre; but DragonForce managed to take all of the genre's tropes and up the ante on them - creating a sound that was crazier, faster, and heavier than any power metal band before or since. In many respects, DragonForce are their own genre. Mixing blast beats and tempos often found in thrash, AOR-esque keyboard arrangements, and soaring anthemic vocal melodies; DragonForce are almost the ultimate mix of extreme metal and melodic metal - with the trademark guitar pyrotechnics of founding members Herman Li and Sam Totman becoming their USP. The band's initial run of albums, from 2003's Valley of the Damned to 2008's Ultra Beatdown, saw the band constantly attempting to beat themselves at their own game. Those original four albums, which co-incidentally were the four to feature original frontman ZP Theart, are probably considered by many fans to be the band's golden age - with many of their most-famous songs coming from these records. Since 2011 however, with the hiring of current frontman Marc Hudson, DragonForce have matured somewhat. Starting with 2012's The Power Within, the band seemed to want to branch out sound wise and push their formula further. While the Hudson era and the Theart era are not exactly night and day - I think it is fair to say that the band have been experimenting with more progressive influences recently. This is down to, in part and in my opinion, the increased songwriting presence of bassist Frédéric Leclercq who, on 2014's Maximum Overload (which I reviewed here) and 2017's Reaching into Infinity (which I reviewed here) in particular, has really dominated proceedings. Totman had always traditionally been the band's main songwriter, but the past few years has really seen Leclercq take the reigns - and DragonForce's albums have diversified as a result. I was quite shocked then to read earlier this year, not long before the release of the band's eighth album Extreme Power Metal, that Leclercq had left the band to join the German thrash legends Kreator. I wondered what this meant for Extreme Power Metal, and when I got the CD I was interested to see that Totman had written the vast majority of the album - with a few Leclercq efforts. In my opinion, this is no bad thing. As much as I have enjoyed the diversifying of the band's sound recently, it is comforting to listen to a DragonForce album that returns to their old-school sound - which Extreme Power Metal largely does. Leclercq's few contributions help to keep things fresh, and he is featured in full throughout the album despite his departure, but it is also great to hear Totman's riffs and lyrics once again. Totman, Li, Leclercq, Hudson and drummer Gee Anzalone all seem to be having a blast here playing this over-the-top material. It is also the band's first album not to feature keyboardist Vadim Pruzhanov, who left the band in 2018 after sitting out the entire Reaching into Infinity touring cycle. The album's keyboards are instead handled by Coen Janssen (Epica) who, as you would expect, does a great job throughout.

Despite feeling more like an old-school DragonForce album, the songs here largely stick to the more concise arrangements found on the band's more recent efforts. Lead single Highway to Oblivion kicks things off in a relatively low-key fashion, with pulsing keyboards and Hudson's voice gently spilling out of the speakers. The band's albums usually kick off with a bang, so this slow start comes a bit out left field - but it is not long before the song ramps up with a heroic twin guitar harmony and then a riff that sounds like something Iron Maiden might have come up with before increasing the speed tenfold. This is the DragonForce of old, and it is great to hear so many songs here that fall back on the band's old speed trope. It did get a bit tiresome when that is all the band seemed to be focused on, but it helps the album stand out among the band's recent discography. Anzalone, now on his second album with the band, showcases his talents throughout with plenty of ludicrous double bass footwork, and Hudson shows perfect control to deliver the wordy lyrics at the speed that he does. Anyone who loved 2004's Sonic Firestorm album is sure to love Highway to Oblivion, with the endless guitar leads and a soaring, epic chorus. All of the songs here feature back-and-forth soloing between Li and Totman - and this track is no different, with the two trading licks and shredded patterns with ease. Cosmic Power of the Infinite Shred Machine follows, and opens with a great old-school synth soundscape from Janssen before Anzalone takes off with more double bass drumming. Despite the song's title, it is not as fast and furious as you might expect. The steams along at a decent pace, but compared to many of the songs here it feels a little restrained. Strange, whammy bar guitar riffing joins the synths in the intro, and the rest of the song is largely characterised by a slightly heavier sound with a strong focus on tight rhythm guitars and the occasional burst of jagged synth. The stand-out performer here however is Hudson, who showcases every side of his voice throughout the track. The verses see him delivering the lyrics in a somewhat richer tone, before exploding into the chorus with a barrage of high notes and harmonies. The latter portion of the chorus is largely sung in falsetto, which adds to the song's somewhat heavier edge. The soloing is not as in-your-face here either, with a lengthy keyboard-led section being the song's main instrumental moment. Janssen's work in Epica is much more classically-inspired, and it sounds like he had a great time playing with these synths throughout the recording process. Solos do come later, but it is the keyboard playing that stands out the most for me. The Last Dragonborn is actually a Totman/Janssen co-write, and it is one of my favourite songs here. It is a mid-paced, groove-based track with some excellent Oriental-inspired keyboard melodies and a tight, succinct rhythm throughout with the guitars and bass teaming up for the strong grooves. Despite how fun it is to hear the band going back to their old sound, this recalls the best moments of their more recent albums. When I first listened to the album it was one that instantly stood out to me, with Hudson again really impressing with his rallying cry-esque vocals - particularly during the heroic chorus. Due to the pace, the soloing is also a little more paired back too - with Li and Totman teaming up for some well-chosen phrases that really compliment the song's steady chug.

Heart Demolition is one of three Leclercq efforts on his last album with the band so, unsurprisingly, it is also a track that recalls the band's more recent work. There is a strong AOR tinge to the track, but with the classic DragonForce sound still present. The opening guitar leads again recall Iron Maiden, but the verse actually strips everything back and leaves Hudson singing against a simple, sombre guitar melody. Leclercq is certainly more of a progressive songwriter than Totman, so the song jumps around a lot with quite a lot of stylistic changes. The stripped back sound does not stick around for long, as everything soon ramps up with some of those old video game guitar sounds that were all over the band's early albums - and culminates in a soaring chorus which is where the AOR influence can be heard the most. The use of gang vocals, which is something not commonly used by the band, also reinforces a 1980s sound - and in fact actually makes me thing of the sadly now-defunct band The Morning After who I followed during my teenage years. Troopers of the Stars gets back to the band's old school sound, although also at times seems to introduce a slight punk tinge - something new for the band. Gang vocals are also used here, this time in a greater capacity, with some sections almost-entirely sung by the whole band - in a way that recalls classic 1970s punk. The rest of the song sounds like old-school DragonForce however, with Anzalone laying into his double bass drums and Hudson delivering a soaring chorus with plenty of melodic oos and ahhs in the background. It is also old-school in the way that Li and Totman are never far away from breaking into a lead or a solo, with plenty of guitar heroics to be found. While never exactly restrained, this song certainly feels like one where they have really allowed themselves to let it all go - and the results are sure to put a big grin on any guitar lover's face. Razorblade Meltdown is another highlight for me, and it is a song that has grown on me a lot over my repeated listens to the album. It opens slowly, with Janssen teasing some of the song's main melodies on his piano, before it explodes with another fast-paced guitar pattern with Anzalone doing a marathon behind his kit. The pace never really lets up at all throughout the song, and as a result it really sounds like a song that could have been on Sonic Firestorm, with even the vocal melodies similar to something that Theart might have come up with. It is just a pure burst of epic power metal, with Jassen, Li, and Totman all taking the chance to solo and shred their instruments to piece; and one of the album's best choruses. It is just a real winner of a song that old-school fans will totally love. Strangers is another Leclercq tune, and reminds me a little of Seasons from The Power Within. It is a bit more of a mid-paced, anthemic piece with less of an emphasis on heaviness and more of a focus on overt-melodies. I assume that Leclercq must be a big AOR fan, as his songs on this album really contain a big chunk of that sound - perhaps more so than his previous efforts. Pompy keyboards are all over this song, with the chorus being driving by some big Survivor-esque keyboard melodies, while the tight harmony guitar leads elsewhere ooze class. It is another excellent song here, and one that shows that the band will miss Leclercq's songwriting going forward.

Fans of Leclercq's however have one more song here of his to enjoy with In a Skyforged Dream which, perhaps ironically, is actually more of an old-school sounding track. The pace throughout is nice and fast, with some somewhat thrashy guitar riffs (which perhaps bodes well for his new employers) thrown in for good measure occasionally to up the heaviness. Despite these tougher moments, the song more than anything just sounds like DragonForce with Anzalone barely letting up the pace and the keyboards creating a really melodic backdrop for everything to sit on top of. This is another song that has grown on me over my many listens to the album, with the chorus again impressing. The band have always had a knack for crafting really catchy choruses, with very few of their songs not containing one that is at least up to scratch. This song contains another soaring effort with some excellent melodies from Hudson - with the whole band again harmonising well with him to create a big sound. It is another excellent song on an album that rarely misses, and showcases again Leclercq's songwriting talents. Speaking of misses however, Remembrance Day is probably the album's only truly weak song as it just never really seems to get going. After Hudson took on a lot more of the lyrical responsibility on Reaching into Infinity, I was surprised to see that he had only co-written one song here - and Remembrance Day is it. I like the bagpipes during the intro, as that is something new for the band's sound, but apart from that the song sadly sounds like filler. It is a mid-paced song, but lacks the driving grooves and epic melodies of The Last Dragonborn to make that sound really work. The lyrics are also a lot more serious and heartfelt than the band's usual offerings, which clashes a bit with the over-the-top nature of their sound. For me the song just does not quite work, but to only have one weak track on the album overall is certainly nothing to be ashamed of from the band's perspective. The album's final song is a DragonForced-up cover of Céline Dion's My Heart Will Go On, which works just about as well as you might expect. I got a bit tired of their cover of Johnny Cash's Ring of Fire on Maximum Overload, but My Heart Will Go On is much better - and their version does the song justice in my opinion. The original song is quite epic and overwrought, with DragonForce taking this and speeding everything up. The song's chorus is an extremely powerful moment, and it loses none of its power in the band's hands - despite the huge hike in tempo and the layers of soaring backing vocals that harmonise with Hudson. Good covers are always very enjoyable, and this is probably the best of the few that the band have done yet. It fits in with the band's style nicely, and their take on it retains the song's original spirit but forces it into a power metal guise. Overall, Extreme Power Metal is another strong album from the band and one that shows that an old-school DragonForce album is still something that there is an appetite for. I definitely already prefer this album to Reaching into Infinity, and it is definitely up there with both The Power Within and Maximum Overload in the band's recent canon. Hudson has now performed on as many albums with the band as Theart did, and his performance throughout is perhaps his best yet.

The album was released on 27th September 2019 via earMusic. Below is the band's promotional video for Highway to Oblivion.

Chasing the Monsoon's 'No Ordinary World' - Album Review

While I am not exactly sure when the progressive rock project Chasing the Monsoon was first announced, I can say with certainty that I have been aware of it since at least 2010. I, like many others I am sure, came across Chasing the Monsoon via the Welsh progressive rock act Karnataka - a band which I finally took the plunge with by pre-ordering their fourth album The Gathering Light in 2010. I had been aware of the band for a while, and had intended to check them out at the 2009 iteration of the Cambridge Rock Festival but, for reasons I cannot quite remember, their set was cancelled at the last minute despite the band being on site. It was the following year with The Gathering Light then that I finally was bitten by the Karnataka bug - and they are a band that I have been a big fan of ever since. Around the time that I was just getting acquainted with The Gathering Light, I remember reading updates from Karnataka's founding member and main songwriter Ian Jones about another project of his called Chasing the Monsoon - and these updates have continued sporadically over the past decade or so, often with lengthy gaps in between them. It is clear from this bit of background that Chasing the Monsoon has been a labour of love for Jones, and others, for a good number of years - and I could not quite believe it earlier this year when the project's debut album No Ordinary World was made available to pre-order. Until the CD dropped through my letterbox however I was not quite prepared to believe that No Ordinary World actually existed, but lo and behold one day it appeared! Despite the album's long gestation, I was still not really sure what to expect from it. I was not expecting it to sound like Karnataka, despite Jones being one of the project's main constituent parts, but what the album is is a real mix of different sounds and styles. The main musical core of the band is made up of three multi-instrumentalists, with Jones being joined by Steve Evans and Ian Simmons. While Jones largely handles the bass, Evans the keyboards, and Simmons the guitars - in truth all three seem to be responsible for a bit of everything. As a result the album is a real collective effort, with Evans even programming all of the drum and percussion parts, that showcases the three musicians perfectly. The vocals throughout are largely handled by former Karnataka frontwoman Lisa Fury, who also sung on The Gathering Light but left the band soon after its release, although Evans also adds his vocals to a few of the songs. Fury's distinct vocal style does make a couple of the songs sound like long-lost The Gathering Light outtakes, but on the whole the album is truly its own beast. Guests like the folk instrument master Troy Donockley (Iona; Nightwish) and another Karnataka alumnus in guitarist Enrico Pinna really add some sparkle to a few of the songs, and help contribute to an experience that is quite unlike anything I have experienced previously.

The ten-track album opens with the band's self-titled piece, a relatively short, mostly instrumental song that opens with swirling weather effects and Simmons' eerie guitar swells. Many of the songs here are fairly lengthy, so this opening piece is relatively concise by comparison but it does a good job of introducing the listener to many of the album's key sounds. Simmons' guitar is all over the track, while Jones adds a busy bassline and Evans contributes a dense layer of keyboards. Despite the eerie start, the guitar playing is largely fairly up-beat with some excellent phrasing - that at times recalls David Gilmour's famous control. Evans add some distant lead vocals during brief moments, but on the whole the piece is all about the band laying out their musical pallet. Circles of Stone then is the first 'proper' song on the album - with Fury's soft voice kicking things off before a laid back percussion loop adds a grove. Evans' piano carries the piece on its shoulders, while Jones strums away on an acoustic guitar and Donockley adds some folky magic. Fury largely plies her trade in a Fleetwood Mac tribute band these days, so it is great to hear her singing this kind of music once again. Her voice really dominates the song, with her relatively low delivery of the song's meat contrasting well with some higher-pitched wordless sections that add to the song's Celtic vibe. As is the case with many of the songs on this album, the piece gradually grows as it progresses. The piano and acoustic guitar remain throughout, but both Simmons and Pinna add some soaring guitar leads later on - just as Fury's vocal performance starts to get a little more dramatic. It fades out on a mournful burst of flute from Donockley, which leads perfectly into the ethnic tinges of Dancing in the Afterglow. As with many great albums, this is one that flows perfectly - with one song seamlessly transitioning into the next while each still retains their own identity. Jones has always stated that the project contains some world music influences, and Dancing in the Afterglow is probably the track that showcases them the strongest with some African chanting early on, strong percussion loops, and a powerful Jones bassline. The opening portion of the song is largely instrumental, save for the chanting, with Simmons really laying into his guitar for some cutting leads. His playing soars, and fits in nicely with the dark, tribal vibes of the piece. The second part of the song is much more laid back, with rich keyboard textures and more of a focus on vocals. The strong beats remain, but Evans' slightly strange voice becomes the focus - with Fury adding harmonies. It works well to introduce Evans as a singer, and again transitions nicely into Dreams - probably my favourite song here. Dreams is easily the most Karnataka-esque piece here, and could have easily sat on The Gathering Light. Fury takes the lead vocally, and her delicate melodies, especially during the chorus, are very reminiscent of her work with Jones' band. While not exactly a hard rocking track, there is certainly more of Karnataka's muscle here with Simmons and Pinna adding a weightier guitar presence alongside a punchy drum pattern. Many of the songs here, to me at least, are more meandering and play with structure to create interesting arrangements. Dreams however feels a bit more conventional, with a memorable chorus and a greater focus generally on the vocals. There is also a lengthy, stunning guitar solo that is packed full of emotional note choices and phrases - all of which contribute to the over punch of the song.

Into the Light is the album's only song to feature Evans singing alone, and he really demonstrates his worth as a vocalist here. While I came to this album via Jones, I have a feeling that Evans may be the main driving force behind the project. He acted as the album's producer, and also was the main arranger of the music - with Jones helping out in this aspect on a few of the songs. His voice took me a little while to get used to, but it has grown on me over repeated listens to the album. He actually sounds a bit like Jon Anderson sometimes, and on this song in particular he demonstrates that ability perfectly. Despite a dense, keyboard-heavy opening, the song is actually fairly jaunty with upbeat acoustic guitar passages, retro-sounding proggy synths, and the odd burst of soaring lead guitar. Evans' vocals are actually extremely uplifting here, and combined with everything else the song ends up sounding a bit like the musical embodiment of the season of spring - with the sun peeking out again after a long winter. It is easily the most overtly upbeat and whimsical song here, and acts as a nice break from the dense soundscapes and complex arrangements that are present elsewhere. Innocent Child opens with a big rumbling keyboard note, the soon opens out to reveal a cold-sounding soundscape that pulses and shimmers with a mixture of keyboard textures and programmed beats. The Gilmour comparisons soon return again, with a burst of soaring spacey lead guitar, before Fury takes over singing over a simple keyboard backing. This is another song that could have been on The Gathering Light, with Fury's voice pushed to the fore throughout and a slight focus on more conventional arrangements. There is still a lot going on here though, and Simmons and Pinna take every opportunity that they can here to solo. The stand-out moment occurs part way through the song, when one of the two launches into one of the album's best solos - while Evans lays down a hypnotising keyboard melody in the background to perfectly compliment the soaring notes. Fury does a fantastic job with her moments in the spotlight, but for me this is a song that is owned by the guitarists - with the solos here being some seriously jaw-dropping moments. December Sky opens with Donockley's folky additions, with flute and whistles making a cacophony of noise, before a dark-sounding beat kicks off with Jones' strong bass presence adding weight. None of this album is heavy, but this song has a certain darkness that is not as present elsewhere. The album as a whole is a roller coaster of emotions and textures, and for me this is one of the darkest pieces present. The keyboards have such a dense feeling to them, but the vocal melodies - largely from Fury - are little lights in the darkness. There are other bursts of melody, such as sparkly piano motifs and electronics, but on the whole this is a piece that is content to build itself around a simple groove and a dark emotion that just envelopes everything. There are shades of some of Anathema's recent work in the song, which is a comparison that is also apt elsewhere throughout the album.

Lament acts as a bit of a calm before the storm. It is fairly short instrumental, save for some wordless vocals from Fury, piece that has a very organic sound - and helps the listener to rest up a little before the album's final two lengthy songs. It is a very simple song, with Jones and Simmons both teaming up to lay down the folky acoustic guitar lines, while Donockley joins the fray with his uilleann pipes - an instrument that always sound so at home in the modern organic prog world. It is his playing and Fury's wordless vocals that provide the bulk of the melodies here, while the project's main three musicians create the backing tapestry with their acoustic guitars and keyboards. It is a nice intro to Love Will Find You, which takes over when the acoustic instruments drop out to be replaced by a simple keyboard texture and a few spacey guitar lines. When the drum pattern kicks in, the keyboards remind me a little of some of the sound effects used throughout Jeff Wayne's The War of the Worlds album, which gives the song a strange, futuristic vibe at times, although this is soon dispelled as soon as Fury starts singing to a melodic acoustic guitar and keyboard backing. Despite its length, the song is still fairly vocally-focused, with Fury taking a lot of the spotlight here. It is another song with more of a traditional chorus, and it is one that surfaces throughout the piece - with Fury repeating the song's title in her floaty style while the keyboards shimmer around her. There is another very lengthy guitar solo here too, which echoes the melodies from the song's intro. Simmons proves throughout this album that he is an excellent guitarist, and the long solo is one of his best. It takes up much of the album's second half, and is split into two parts straddling the final reprise of the chorus. It is again packed full of gorgeous melodies, that skip and soar above the laid back percussion loop in a sombre, yet also uplifting, way. If Love Will Find You was the album's floaty epic, then the album's title track is the more in-your-face one. It opens slowly however, with some wordless vocals and gentle guitar tones, but gradually builds up as a dense song that is the most involved on the album. Pinna and Gethin Woolcock add some additional guitars to the track, making for a three-guitar attack at times, while Fury's vocal delivery takes on a slightly moodier feeling - especially during the verses. Despite the dense feeling, there are some upbeat moments throughout. The drum patterns are certainly more kinetic than throughout the rest of the album, and Jones' bass really pumps out of the speakers, with his playing creating melodic countermelodies to Fury's sultry vocals. Evans' sparkling, electronic-sounding synths also help to add additional melodies, with a sound that is more modern and industrial than anything else on the album. They are mixed into the background, so do not dominate the overall-organic sound, but their presence certainly adds an edge to the piece. Guitar melodies slide in and out, cutting through the mix with precision, and the song's chorus which Fury delivers in her own unique style feels like the album's rallying cry. It is certainly the thing that instantly remains in the brain as the album fades to a close, and is a great advert for the overall sound and style of the album as a whole - providing the perfect close. Overall, No Ordinary World is an album that challenges the listener but is one that over time really opens up to become something special. The songs here are all strong, well crafted moments from all involved - and I am pleased that after a good number of years the album has finally seen the light of day so that we can all enjoy it.

The album was released on 20th September 2019 via Immrama Records.

Michael Schenker Fest's 'Revelation' - Album Review

Any self-respecting list of the greatest guitarists of all time should only be taken seriously if Michael Schenker is included somewhere - and preferably fairly high up. While there are certainly guitarists, from both before and after Schenker's heyday, that have innovated and pushed the instrument further than he ever did - there are few who can boast a career as lauded or have a style so distinct. Schenker burst into the scene as a teenage member of the German heavy metal pioneers Scorpions, and appeared on their 1972 debut album Lonesome Crow, before jumping ship to join the rising British hard rock act UFO in 1973. Throughout the rest of the 1970s, Schenker helped UFO to become one of the most interesting and distinctive rock acts of the decade, and co-wrote many songs that have since before true classics of the genre. He left the band in 1978 after five successful studio albums and the defining live album Strangers in the Night - which was released in 1979 after he had already left the band. A brief but fairly unfruitful Scorpions reunion followed, although he stuck around long enough to contribute to a handful of tracks on their 1979 album Lovedrive, before Schenker struck out on his own and formed the Michael Schenker Group (MSG) which - despite a few other projects including a reunion with UFO in the 1990s - has been the main vehicle for his songwriting ever since. Despite often being presented as a band, in truth MSG has always been Schenker's solo project - with many members coming and going over the years. Lots of well-known musicians from the rock and metal worlds have been a part of MSG over the years, but it is the band's original run of classic studio albums in the 1980s that are the most lauded. It is perhaps this reason then that in 2016, Schenker decided to get together with many of the musicians and singers that had helped make those albums such a success and booked a few shows in Japan in the name 'Michael Schenker Fest'. Joining him were previous MSG singers Gary Barden, Graham Bonnet, and Robin McAuley; as well as bassist Chris Glen, drummer Ted McKenna, and multi-instrumentalist Steve Mann - all who had been a part of MSG at various points throughout the band's history. The shows were a success, and Michael Schenker Fest has since become a permanent entity. The band has toured around the world, playing shows that often push the three hour mark, and released their debut album Resurrection (which I reviewed here) last year. Resurrection was a strong album, but less than eighteen months later the band have released their second effort Revelation which carries on where the first one left off. Michael Schenker's Temple of Rock singer Doogie White also returns for the second effort, but sadly there is an enforced change in the band's line-up due to the untimely death of McKenna earlier this year. The drum stool throughout Revelation is occupied by two former MSG drummers, Simon Phillips and Bodo Schopf, both of whom have played with Schenker on numerous occasions throughout his career.

As with Resurrection, the band's four singers feature throughout the album. Sometimes singing alone and other times sharing the vocals. The album's opening track Rock Steady features all four, and is a strident, mid-paced hard rocker that kicks the album off in style. Some trademark Schenker slow-burning guitar leads open the piece up, with Barden's croaky vocals recalling those very early MSG albums, before Bonnet's foghorn of a voice takes over as Schenker leans into a tough verse rhythm. The song is one of only three to feature Schopf's drumming, and his leaden, Vinny Appice-esque beat really makes the piece feel nice and heavy. Schenker's songwriting is usually much pacier, which is demonstrated throughout the rest of the album, but this track is a great example of his heavier style. The song's chorus is simple but catchy, with Mann's prominent Hammond organ stabs adding a melodic counterpoint to the tough rhythms. While the album rarely sounds this weighty again, the song acts as a strong opening statement - and introduces the whole band perfectly. Under a Blood Red Sky is more typical of Schenker's modern songwriting style with a neo-classical opening guitar patter, Phillips' relentless double bass drumming, and White's dramatic vocals. Temple of Rock was a great time for Schenker's career, which saw him release two excellent studio albums and undertake numerous lengthy tours, which certainly set him up for this current venture. White was a big part of Temple of Rock, so it is great to see their collaborations carrying on via the Fest - and this is another strong track that is up their with the Schenker/White collaborations of the past. Phillips' drumming really keeps the piece moving at all times, while White's Dio-esque delivery of the chorus adds a slight hint of power metal to the album. Not to be outdone, Schenker launches into a fast-paced solo part way through the song, reminding us all just who steers this particular ship - despite an impressive supporting crew. Silent Again initially sounds like is going to be an instrumental piece, as the opening riff and melodies are similar to previous Schenker instrumentals, but then McAuley starts singing and the song morphs into another pacey rocker. McAuley's era of MSG was characterised by a more AOR-esque sound, and that has been somewhat carried forward here. While the verses are more modern sounding, with Schenker's choppy riff and Schopf's driving beats, the chorus is a more overtly-melodic affair with subtle vocal harmonies and Mann's big keyboard arrangement. It might not be as smooth as those late 1980s MSG albums, but is certainly feels more commercial than many of the material here and adds a slight American influence to the album. Sleeping With the Lights On is the second of three songs to feature all four singers, and it is one of the album's highlights for me. Barden again kicks things off over a gentle intro, with Bonnet and White sharing the verses with their powerful voices mixing together perfectly. The real winner here however is the chorus, which McAuley leads, with everyone harmonising together nicely to deliver the snappy melodies with aplomb. It is one of the most instantly-memorable pieces here, and unsurprisingly was chosen to be one of the album's lead singles.

The Beast in the Shadows is the first song to feature Bonnet in full, and it is also one of the first songs that Bonnet and Schenker have written together since 1982's Assault Attack album - as his songs on Resurrection were co-written with producer Michael Voss. Unsurprisingly the song sounds a bit like a lost track from the Assault Attack sessions, with the darker, heavier feel of that album present throughout. While Bonnet is not as strong vocally as he was, he still possesses a big, loud voice. His bellowing style is perfect for the song, and he really drives everything forward - especially during the soaring epic chorus which recalls songs such as Samurai and Desert Song. Schenker's lengthy solo is a special one too, and seems to build on the power of Bonnet's vocal performance and push the song to new heights. The melodies throughout the solo twist the vocal melodies around perfectly and the two parts compliment each other perfectly. It is another album highlight for me, and shows what a singer and songwriter Bonnet still is. Behind the Smile is another White co-write, and it opens with a somewhat Medieval-sounding folky intro before launching into another weighty Schenker riff - with Mann's gothic keyboards adding atmosphere. Keyboards are a much greater part of this album than they were on Resurrection, and their presence certainly helps to really add depth to many of the songs. Mann's playing is all over this piece; with driving piano riffs sitting behind the guitar during some parts to help anchor Glen's bass and Phillip's simple beat, and gothic atmospherics setting the tone elsewhere. This is another instantly-memorable piece for me, and it is another that really brings out the best of all involved. Another lengthy Schenker solo showcases his distinct style, while White plunders his days as a member of Rainbow for the melodic, yet dynamic chorus. Crazy Daze is Barden's first full outing on the album, and the track is a bit of up-beat boogie with Mann's piano once again driving the piece - recalling Armed and Ready at times. Out of the four vocalists that make up the Fest, Barden's voice is the least-preserved. In truth he was never the greatest of singers, but he was a big part of making those early MSG albums such a success so it is great to see him still writing songs with Schenker after all these years. He is easily the best frontman of the four though, and you can real her his charasma dripping out of the song despite his vocal shortcomings - which makes his performance enjoyable to listen to. It is a great example of Schenker's more-basic writing style, with a brash AC/DC-esque riff that surfaces throughout the piece, and a simple chorus that allows Barden to belt out some tasty hooks. There are better songs here, but as a throwback to those early MSG albums it works nicely. Lead You Astray is McAuley's territory and it throws off the AOR shackles that characterised his era of MSG and instead goes for a more straight ahead hard rock sound, with Phillips' double bass drums keeping everything ticking and Glen's bass rumbling away constantly. McAuley's voice is not as smooth as it once was, so the heavier vibe is probably more suited to his modern style - although Mann does spice up the chorus a little with some subtle synths which does act as a bit of a look back to albums like 1989's Save Yourself.

We are the Voice features a fifth singer in the form of Ronnie Romero (Lords of Black; Rainbow; The Ferrymen), so unsurprisingly the song is somewhat heavier to allow for Romero's tougher voice to feel more at home. Unfortunately the song is not a Schenker/Romero collaboration, as Voss wrote the song's lyrics, but the two seem to work well together. While being initially impressed with Romero when he joined up with Rainbow in 2015, I have gone off him a bit over the last couple of years. His tone is a bit nasally at times, which grates on me a bit when listening to studio recordings of him. Live he is a different story, and packed full of power, but the nasally sound unfortunately dominates this song. It is a fairly catchy piece, but overall it is one of the album's weaker moments for me and Schenker should stick to his established vocalists in future. Headed for the Sun is another Barden offering, and is it certainly more involved and epic-sounding than Crazy Daze. Schenker's riff during the verse is excellent, with a real bouncing rhythm, and Mann's short bursts of classically-inspired piano really add some class. I had feared that Barden would sound a bit out of his depth if the band attempted anything more grand-sounding with him, but he holds his own here. The chorus sees him straining a bit, but overall he sounds good and the vocal melodies throughout are strong - with some subtle harmonies employed here and there to help him out a bit. Old Man is the last of the three tracks to feature all four singers, and it opens with a strange modern-sounding riff that is quite different from Schenker's usual style. Considering Schenker is one of those musicians that claims he has not listened to any new music since about the mid-1970s, which I always think just sounds utterly ridiculous and I cringe when I hear/read those interviews, this left field riff comes somewhat out of the blue. The rest of the song is largely in Schenker's usual style however, with plenty of strong vocal performances from all involved and plenty of dramatic keyboards. My favourite part of the piece is actually the slow-paced mid-section that features Barden crooning atop some delicate clean guitar melodies - which acts as a bit of a respite before the lumbering modern riff comes crashing back in. Still in the Fight is the last of the vocally-driven songs, with Bonnet signing things off in his inimitable style. As with The Beast in the Shadows, everything is turned up to eleven, with Bonnet's loud voice roaring out of the speakers while Phillips' gives no quarter behind his double bass drums. It is not as heavy or dramatic as the former Bonnet piece however, but Assault Attack is still recalled thanks to Mann's keyboard textures and Bonnet's distinctive tones. There are stronger songs here, but it is still an enjoyable moment and lacks none of the passion found elsewhere. The album's true final piece however is Ascension, an instrumental that recalls Schenker's guitar-focused pieces of the past. His instrumentals are usually similar in kind, with distinct repeating melodies and occasional neo-classical runs that really sum him his playing. It ends the album on distinctly Schenker note, and gives the listener one final reminder why he is such a revered player. Overall, Revelation is another strong album from Schenker that shows that he is still a great songwriter and guitarist. In truth though, the album is a real team effort with everyone really putting in a shift. The commitment to this mammoth band project from all is commendable, and I cannot see that Michael Schenker Fest will be over any time soon.

The album was released on 20th September 2019 via Nuclear Blast Records. Below is the band's promotional video for Sleeping With the Lights On.