Ghost - Nottingham Review

While I like to consider myself something of an expert when it comes to rock and metal, I am certainly not infallible. A good example of me be wrong about a band were my early opinions about The Quireboys. I was rude about the band for a number of years, until they blew me away when I was 'forced to sit through' a set of theirs when they supported Saxon in Nottingham in 2013. I was forced to eat a big plateful of humble pie that day, and The Quireboys have become one of my very favourite bands - with 18 gigs of theirs already to my name. The same, although in less dramatic a fashion, can also be said for Ghost. I was never particularly rude about the band, but I just never bought into all the hype or got into their music. I remember first hearing about the band not long after the release of their debut album Opus Eponymous in 2010, but the song I heard at the time did nothing for me. I periodically heard other Ghost songs, usually around the time that a new album was being released and a new single was floating around and being promoted heavily on Youtube. I heard these songs, but again they did very little for me. I always thought that the band seemed interesting, especially how bandleader Tobias Forge managed to keep his identity a secret for so long in this age of instant information, but their music just seemed to me like a second-tier Doors/Blue Öyster Cult mash-up that was retro for its own sake and devoid of any real tunes. This remained my view until last year, when something persuaded me to listen to Rats when the single was released. For whatever reason, that song instantly grabbed me and from that point on everything seemed to really fall into place. I bought Prequelle when it was released, and then went back and picked up the rest of the band's albums - all of which I now love. I do not mind admitting that I was wrong about Ghost, and I am just glad that I finally took the plunge. Sometimes it just takes one song to make everything click, and Rats was that tune. I do not know if it was the heavier feel of the track, but something about it took hold instantly and I have been hooked ever since. In some ways I am disappointed that I missed the band's early tours in small venues, but in other ways I am glad that my first experience of Ghost live was at Nottingham's Motorpoint Arena a couple of days ago with a few thousand other fans. Ghost are a big band now, with Prequelle having broke new ground for them, and arenas seem to be their current home. While the Motorpoint Arena was not sold out, it was still packed out with a large crowd making the effort to see what Cardinal Copia and his group of Nameless Ghouls were going to serve up.

There were two support acts on the bill with Ghost however, which were of extremely varying quality. The soundchecks were clearly running behind as the second of the two acts were still sorting out their gear as the crowd trooped in, which left the opening act Tribulation a short amount of time to get ready - and they still went on nearly half an hour late! The Swedish four-piece did not let this affect them however and they proceeded to play around half an hour of their patented retro-style black metal that is injected with a strong dose of classic rock swagger. I had seen the band twice previously, supporting both Paradise Lost and Arch Enemy, and have always enjoyed them despite them not wholly being my thing. Extreme metal of any kind is not usually my bag, but Tribulation have an extremely unique sound that makes them stand out. On the surface they are a death/doom/black metal act, with Johannes Andersson's (vocals/bass guitar) growled vocals creating a dark, heavy sound while the two guitarists lay down riff after riff. It is here that things get different however, as the guitar tones are much fuzzier than you would usually expect from black metal, and some of the riffs sound like something you would hear on an old-school blues rock album than on a black metal one. The drums are hollow-sounding too, and they help to reinforce the band's old-school sound. No-one sounds like Tribulation, and it is that that makes them interesting. I still struggle with their sound, but each time I have seen them I have enjoyed them. This showing in Nottingham was the best that I have heard them, and large portions of the crowd seemed to get into them as their set progressed too. It is always great to see original bands making waves, so I feel that this tour will be great exposure for Tribulation and I hope that they do well as a result of it.

The same cannot be said for the American three-piece All Them Witches, who proceeded to bore me to tears for around 45 minutes not long after Tribulation's genre-defying set finished. I had read positive things online about All Them Witches, so I was interested to check them out, but they turned out to be one of the most boring live bands I have ever seen. Their sound is best-described as extremely stripped-back bluesy rock, with a very rudimentary sound and some of the most unappealing vocals I have heard outside of extreme metal. There were very occasional moments of genius, such as when guitarist Ben McLeod launched into a slide solo during one number, but these moments were extremely rare. Most of the band's songs really plodded along, with fuzzy basslines and monotonous drumming pounding out the speakers with absolutely no appealing qualities whatsoever. I do not think that I was alone in feeling this way however, as between the band's songs the clapping and cheering was extremely sparse and quiet. Most of the people around me just looked bored throughout All Them Witches' set, and stood around looking at their mates with confused looks on their faces. It was the sort of music that only people who drink in artisan coffee shops think is edgy or interesting, and even Jack White would have taken a razor to the original master tapes due to them being too sparse and obtuse. It was definitely one of the worst support slots I have ever seen, especially in such a big venue - and it makes you realise that sometimes headline bands will just settle for any old rubbish as long as they turn up on time and do not cause any trouble.

I think everyone breathed a sigh of relief when All Them Witches finished, and luckily it was not long before Ghost took to stage. As the lights dimmed, a curtain dropped to reveal the seven Nameless Ghouls (three guitarists, two keyboardists, a bassist, and a drummer) all positioned on the grand staircase that made up the band's stage set. They played the short instrumental piece Ashes in this manner, before exploding into Rats in a dramatic fashion - as Forge appeared at the top of the stage in his Cardinal Copia outfit and proceeded to rip through the song with his trademark humour and passion. Everyone went wild for the song, and when Forge held out the microphone for the audience to sing the chorus they obliged - loudly! What followed was nearly two hours of the band's best songs, all immaculately played by the band - with Forge acting as the Master of Ceremonies injecting humour as and when required. The sound throughout was pretty clear, although it could have been a bit louder, with the three guitars and two keyboards adding real weight to everything. The current band members' identities are still unknown, so they sadly cannot be name-checked here, but everyone up there on the stage really did their bit. Early highlights for me were the shredding Faith, with the two main guitarists nailing the tricky intro, and the new Mary on a Cross which could well be the band's catchiest track yet. Despite Forge being the centre of attention, he still allowed his band a chance to shine. The short instrumental piece Devil Church was stretched out to include solos from both the main guitarists, while another instrumental in Miasma allowed everyone to shine. During the latter, the third guitarist ducked off stage and came back dressed in the Papa Nihil outfit to perform the song's saxophone solo - which everyone enjoyed and had a good laugh at at the same time. Forge took most of the attention however, with his multiple costume changes throughout keeping everyone on their toes, and his innuendo-filled inter-song banter putting grins on faces. This would have all been for nothing however if he was not up to scratch vocally, but he was. He sounded great when exposed during slower pieces like Ghuleh/Zombie Queen, and heavier pieces like the twin-guitar rock of Spirit showcased his powerful delivery. His voice might be strange, but it fits the band's sound perfectly. The setlist was largely hit after hit, with the only misstep in my opinion being the somewhat lumbering Satan Prayer which is the sort of meandering piece that put me off the band in the first place. Everything else that was played was a huge tune however, with the cinematic Year Zero and the driving old-school metal of Mummy Dust particularly whipping up the crowd late on - with the latter including a keytar solo from one of the Ghouls. By this point the evening was almost at an end, and it was left to Kiss the Go-Goat and the anthemic Dance Macabre to finish the evening off. The cheers were huge by this point, and instead of leaving the stage and coming back on Forge asked if the crowd wanted to hear one more and led the band straight into Square Hammer which sent everyone in overdrive. It was the perfect end to the night, with the whole crowd singing the big chorus back at Forge and the band - and they all took their bows to rapturous applause afterwards. The setlist was:

Ashes
Rats
Absolution
Faith
Mary on a Cross
Devil Church
Cirice
Miasma
Ghuleh/Zombie Queen
Helvetesfönster

Spirit

From the Pinnacle to the Pit

Ritual

Satan Prayer

Year Zero

Spöksonat

He Is

Mummy Dust

Kiss the Go-Goat

Dance Macabre

Square Hammer

I had expected to enjoy the show, but I do not think I was quite prepared for how good Ghost were going to be. This show in Nottingham is certainly going to be one of the gigs of the year, and I am so glad that I finally got the chance to see the band live after passing up so many opportunities to do so previously. Ghost are a band that I am going to be listening to for years to come I imagine, and I cannot wait to see which direction they take on their next album.

Lacuna Coil - Bristol Review

Lacuna Coil are one of those bands that I listened to a lot around 2007/2008 when I was just starting to properly get into heavy music. They were one of the first 'goth' bands that I listened to, although around the time I was heavily into them they had tagged themselves on to the end of the nu-metal scene - with albums such as 2002's Comalies and 2006's Karmacode having turned the band into big hitters. I saw the band around this time too, in 2008 I think, when they supported Bullet for My Valentine at the Plymouth Pavilions. I do not remember much about the show in general, but I remember enjoying Lacuna Coil's set despite the dodgy sound that the venue is known for. Not too long after this however I had somewhat moved on from Lacuna Coil, as my obsession with bands like Nightwish and Kamelot really started to open my mind to all kinds of melodic metal bands. I always kept up with Lacuna Coil, although sometimes from a distance, but I never got properly back into the band until 2016 with the release of Delirium. I had bought all of the band's intervening albums - but none of them had really grabbed me all that much. Delirium did however, and it was the album that made me a big Lacuna Coil fan again. Since then I have gone back and gained an appreciation for their albums that I 'missed out on' at the time, and enjoyed the band's transition away from their nu-metal sound towards a heavier, denser sound in retrospect. It was therefore time for me to see the band again, and a tour with the Swiss folk metal giants Eluveitie seemed like the perfect opportunity. Eluveitie are another band that I have started to appreciate in a big way in the last couple of years also - so the pairing could not have been more appropriate. A few UK shows were slotted into a larger European trek, with Lacuna Coil and Eluveitie switching between the headliner and special guest slots depending on their pull in each respective area. The UK shows were billed as Lacuna Coil headline shows, with Eluveitie as the special guests. In truth however, the evening felt like more of a co-headline show, with Eluveitie enjoying a healthy amount of time on stage - but Lacuna Coil did play for longer by probably 15 or 20 minutes. The bill was obviously an enticing one for many, as all of the UK shows sold out well ahead of the tour. The show I opted for was at the SWX in Bristol, which seems to be becoming a regular stop for metal bands on their tours - which is great to see. It was an early show, with the doors opening at 6pm, and I managed to snag a spot on the raised platform to the right of the stage which - to me at least - seems to be one of the best vantage points in the venue.

Being an early show, the gathering crowd did not have long to wait before the first band of the night, Infected Rain, took to the stage. The Moldovan five-piece were certainly an energetic band, and they made a good impression throughout their short set with their enthusiasm and the powerful stage presence of frontwoman Lena Scissorhands. Soundwise, Infected Rain were a bit of a mix of styles. There was certainly a big chunk of nu-metal in their sound, but there was also some melodic death metal to be found - which gave the band a heavy and angular sound. While the band were certainly fun, some parts of their sound just felt a little old fashioned. In my opinion, nu-metal in general has aged about as well as milk so some of their songs sounded a little too Kerrang! TV circa 2006 for my liking. Some of their songs however sounded more like the path that Arch Enemy have been treading more recently - so those numbers certainly stuck with me more. The band were a guitarist down, and are for the duration of the UK tour, so roped in members from both Lacuna Coil and Eluveitie to play on certain songs which was nice to see. It is always good seeing bands helping each other out, and it shows that there must be a good amount of camaraderie between all three acts - which is always good on a lengthy tour! I think this also helped some of the crowd to get into what Infected Rain were doing, and by the end of their set large portions of the crowd seemed to have come around to what the band were about. I enjoyed parts of the band's set, and while I cannot see myself going out and picking up any of their albums it was nice to see someone flying the flag for Moldovan metal.

Another benefit of the show being an early one was the quick changeovers, so it barely seemed that any time had passed before Eluveitie took to the stage for their hour or so of music. I had seen the band a couple of times before, but since the last time I have become quite a big fan of them so I was really looking forward to catching them again. I have also been listening to their most recent album Ategnatos quite a bit since its release earlier in the year - so I was more than up for the show. The material from Ategnatos dominated the set, with the title track getting things underway in style with Nicole Ansperger (violin) and Matteo Sisti (whistles/bagpipes) laying down intricate folky melodies while the band's founder Chrigel Glanzmann (vocals/mandola/whistles) led the charge with his ferocious vocal delivery. The band's sound is an extremely rich and powerful one, and it always manages to come across well live despite the challenge it must be to the mix the nine-piece band! There did seem to be some technical issues though, with both Rafael Salzmann (guitar) and Kay Brem (bass guitar) having to leave the stage early on to get things fixed. Brem in fact seemed to be having issues throughout the whole set, and spent large portions of it off stage, which was a shame to see. He did not even come back out at the end to partake in the band's end-of-set photograph - so I do hope all is well with him. Issues aside, the band were fantastic. An early highlight for me was the melodic Deathwalker, which opened with Michalina Malisz's hurdy gurdy melodies before Glanzmann and Fabienne Erni (vocals/celtic harp) owned the stadium-worthy chorus. While Glanzmann dominated vocally, Erni still had a few chances to show off - such as during the poppy Ambiramus and the folk metal stomp of Breathe. She has a wonderful voice, and seems to have settled into the band really well over the past couple of years. Even songs from before her time with the band, such as the gorgeous ballad The Call of the Mountains, she owned - with that song being sung in the band's native language of Swiss German at the request of the crowd. Of the two main bands, I thought that Eluveitie seemed to receive a slightly better reception. They are certainly a unique band, and it seemed that throughout their set they really managed to connect with the sold out SWX. Towards the end of their set the crowd seemed really into it, with the explosive Rebirth, containing shredded solos from both Salzmann and Jonas Wolf (guitar), really getting everyone going before the band's signature track Inis Mona had the crowd bouncing and singing along. It was a shame that it had to end when it did, as I - and others I am sure - would have loved to hear a few more songs! The setlist was:

Ategnatos
King
The Call of the Mountains
Deathwalker
Worship
Artio
Ambiramus
Havoc
Breathe
Rebirth
Inis Mona

Lacuna Coil had to work hard to top Eluveitie's powerful set. Despite trying hard to do so, I am not quite sure that they managed it - although the Italian five-piece still put on a strong showing. It had been eleven years since I had seen the band last, and much of the material played came from the albums that had been released since that 2008 show, with the bulk of the songs coming from Delirium and the newly-released Black Anima. Blood, Tears, Dust got the evening underway, with Andrea Ferro (vocals) barking the harsh vocals with real venom, while the gorgeous voice of Cristina Scabbia (vocals) made the chorus shimmer. Focusing on the more recent material was a wise move in my opinion, as Lacuna Coil have become a much heavier band in recent years. New(ish) guitarist Diego Cavalotti has really given the band the kick that they needed, and his angular tech metal riffing brought the new tracks to life. The few older songs that were played sounded tame in comparison, although it was fun hearing Our Truth live again as I used to listen to Karmacode a lot as a teenager. The newer material has also seen Ferro come into his own as a singer, as he sticks to harsh vocals for the vast majority of the time. He was never much of a clean singer, which is why hearing him growl his way through songs like Layers of Time and The House of Shame much more satisfying than his strange crooning during tracks like Swamped. Scabbia has always been the band's main draw in any case, and her voice is as good now as it ever was. Gorgeous slower tracks like Downfall are made that little bit better by her performance, and she spiced up the heavy, fast-paced Sword of Anger with a biting chorus that jumped out of the song's mechanical riffing with ease. Considering that the venue was sold out, I did think that the crowd's reaction to Lacuna Coil could have been better. While it may be true that there were more Eluveitie fans in the house, and it did seem that way considering how both bands were reacted to, Lacuna Coil deserved better than the polite applause and muted cheers that they largely seemed to receive. Much of the main set received this treatment, although their closing number Enjoy the Silence did seem to get everyone going a bit more - and prompted a bit of a sing along towards the end. The band did not seem too phased however, and came back out for a four-song encore despite the cheers for one not exactly taking the roof off. The encore was better received however, with the band's silly Christmas tune Naughty Christmas going down well, before two old favourites in Heaven's a Lie and Swamped whipping up some no doubt nostalgic energy. By this point everyone seemed to have woken up a little, sadly a little too late, but it did mean that the evening's final song Nothing Stands in Our Way was met with enthusiasm with the crowd singing along as requested by Scabbia. It helped to inject bit more energy into the end of the night, and ensured that the evening ended on a high. The setlist was:

Blood, Tears, Dust
Trip the Darkness
Our Truth
Layers of Time
My Demons
Downfall
Reckless
Veneficium
Cybersleep
The House of Shame
Sword of Anger
Enjoy the Silence [Depeche Mode cover]
-
Naughty Christmas
Heaven's a Lie
Swamped
Nothing Stands in Our Way

Despite a strong showing from Lacuna Coil, who really seemed to have to work hard to elicit any kind of response from the crowd, the evening for me belonged to Eluveitie. They seemed to create a lot more excitement during their set, and their perfect brand of folk metal was presented really well live. I would not be surprised if I was not the only person to have this view either, and I hope that next time the band return to the UK it will be as a headliner so we can all get to witness a longer set from the Swiss band.

The Darkness' 'Easter is Cancelled' - Album Review

As far as British glam rock revival acts go, there are none more genuine and yet so self-aware as The Darkness. While Cats in Space seem to be making a bit of a bid for this crown in recent years, The Darkness in my mind still deserve the title - simply due to splash they made back in 2003 with the release of their debut album Permission to Land. I was not quite old enough at the time to appreciate just how much of a success the album was, but it came at a time when old-fashioned British rock was experiencing something of a slump and reminded everyone just how great the genre can be. It was not a particularly original album, but shoved influences from bands like Queen, Thin Lizzy, and AC/DC into a blender to create a retro, yet extremely catchy, hard rock sound. I think however that the almost-instant success of Permission to Land, which was helped by some popular singles, has almost been millstone around the band's neck ever since. The Darkness were catapulted into mega stardom and immediately started to live the sex, drugs, and rock 'n' roll lifestyle that saw the band come to an end in 2006 with the falling out of brothers Justin and Dan Hawkins - the band's two main members. An extremely over-the-top album One Way Ticket to Hell...and Back was released in 2005 however, which in my opinion topped Permission to Land but that is a view not widely shared, but for a few years it seemed that The Darkness were destined to be a short-lived yet very successful flash in the pan. After a few years apart however the band reformed in 2011 and have been very active ever since. A third album, Hot Cakes, was released in 2012 which saw the band's original line-up together again for the first time since Permission to Land, but since then the band's line-up has fluctuated somewhat with a couple of drummers coming and going. The line-up has been stable however since 2015, when Rufus Tiger Taylor filled the drum stool after a few years touring with his father in Queen. He made his debut with the band on 2017's Pinewood Smile (which I reviewed here), a decent album but not one that I have revisited too often since the few months after its release. For me, the band's best post-reunion album so far is 2015's Last of Our Kind (which I reviewed here), with Pinewood Smile sounding a little rushed and raw in comparison to its predecessors. That is not an accusation that can be made of Easter is Cancelled, the band's newly-released sixth studio album however. While not a big departure from their usual sound, Easter is Cancelled does on the whole sound a lot more involved than much of the band's work, and is certainly the most diverse and interesting album since One Way Ticket to Hell...and Back for me. The songs just seem to have more depth to them overall, with the more diverse arrangements and additional instrumentation making for a varied and interesting listen.

The more diverse songwriting style rears its head from the off, with lead single Rock and Roll Deserves to Die mixing soft and hard rocking sections throughout. Much of the song is far from the bombastic rock that The Darkness are known for, with a folky intro that gives way to an acoustic-based verse. Justin Hawkins has a very diverse voice in my opinion, and is at home singing gentle passages as much as he is hitting his famous falsetto high notes. His verse delivery is extremely controlled, with a lovely shimmering quality that fits in well with acoustic guitar whimsical-isms; before he and his brother strap on their electric guitars for a meaty riff that makes up a portion of the song's chorus - which definitely channels their love of early Queen. Justin Hawkins can still hit some ridiculously high notes, and that is demonstrated throughout the track - with the whole band harmonising well with him. The song constantly switches back and forth between the calmer sections and the all-out rock parts - although tends to stick to a heavier gear as the song moves towards the end as the speed increases. There is lots of great classic rock-style guitar soloing going on towards the end - which ensures the song ends with a bang. Acoustic guitars are a big feature of the album, and while not every song has specific acoustic-dominated sections, they seem to be ever-present in the mix which adds depth throughout. How Can I Lose Your Love is a good example of this. The song is more of a rocker, but the chorus is allowed to sit back on a delicate acoustic pattern while the band, gently, crashes around it and Justin Hawkins delivers some great AOR-esque vocal melodies. Another thing that is clear from this song is that the band have gone for a clearer production style this time around. Pinewood Smile was a very raw-sounding album, but this one sounds much bigger - with more keyboards etc. used throughout to bulk up the sound. In fact there are occasional shades of One Way Ticket to Hell...and Back throughout, and I feel that this track in particular would have fitted nicely on that album. It is an extremely bombastic piece, with some driving hard rock riffs and plenty of vocal gymnastics - with the soaring chorus being the icing on the cake. Live 'til I Die is a bit more of a laid back piece, with Dan Hawkins laying down a chugging guitar pattern throughout and Justin Hawkins singing the lyrics in his off-hand, tongue-in-cheek style. It is not as bombastic as the opening couple of numbers, but still is packed full of the band's signature style. The chorus again features some melodic falsetto vocals, and the occasional burst of Thin Lizzy-esque twin lead guitar shows that the band are still happy to wear their influences on their sleeves.

Taylor's strident, round-the-kit drumming opens Heart Explodes before he is joined by the two guitarists who lay down a heroic classic rock motif. From the intro you would be forgiven for thinking that the song is going to be a straight up rocker, but like many of the songs here it keeps you guessing. The acoustic guitars are a big part of the song again, with the chorus taking on a real folky flavour with some busy acoustic guitar melodies for Justin Hawkins to croon atop. Some moments of the song recall the hard rock of the intro, including a very Queen-inspired guitar solo section that sees either Justin or Dan Hawkins channelling their inner Brian May with some thin licks, but much of the song is more laid back which helps it to fit in with the overall feel of the album. Deck Chair is a short, strange song that sees Justin Hawkins singing in an almost-classical style, with a simple acoustic guitar and keyboard backing. It sounds like nothing that has ever appeared on a Darkness album before, and instead sounds more like something that a 1950s crooner might sing - albeit with some extremely silly lyrics. There is a strange, effects-heavy guitar solo part way through which does remind you that you are listening to a rock album - but mostly this song acts as a bit of a mid-album change of pace. The album's title track is up next and immediately grabs your attention with a fast-paced heavy guitar riff and some driving drumming from Taylor. It is one of the most in-your-face tracks on the album, with less of the diversity featured throughout the rest of the material. In many ways the song sounds more like something that could have appeared on Pinewood Smile, although the production is lusher and there is a bit more depth. That being said, after a few tracks that play a little more with structure than average, it is a lot of fun to hear the band really letting rip. Justin Hawkins unleashes lots of hitch-pitched vocal screams throughout the song, and him and Dan really team up nicely throughout for lots of meaty riffs and guitar leads. Up next is Heavy Metal Lover, which is one of my favourite songs here. It is filled with Justin Hawkins trademark tongue-in-cheek lyrics, and is based around a crunchy AC/DC-esque riff which kicks in every so often to keep things moving. That being said however, there are still quite a few gentler moments here, with tender verses mixing well with fast-paced punky sections which I imagine are supposed to represent 'heavy metal' - although it is somewhat tame. It is all clearly done in jest however, and it works well to create a strange song that is made up of lots of distinct sections. I love the song's chorus, which starts off with a fairly simple chug; before moving into a bluesy, Aerosmith riff-led section with some Axl Rose-esque vocals. All in all it is a whole lot of fun, and should really become a staple of the band's setlists going forward.

In Another Life is a more whimsical piece that opens with some breezy acoustic guitar strumming and some gorgeous bluesy guitar leads. It is the album's ballad, but it still finds time for grandness as everything builds towards another winning chorus that sees huge vocal harmonies give everything a massive boost - before fading back into some more of the bluesy playing from the intro. The Darkness have written some excellent ballads over the years, but I feel that this one might be one of their very best. I just love the chorus, as the vocal melodies are so infectious and later renditions of it also feature some more of that Queen-esque guitar style. Choke On It opens with what sounds like old Morse Code, but soon opens up with a chugging guitar pattern and simple drum beat. Much of the grandness found throughout the album is stripped back here and instead is replaced by a more in-your-face hard rock sound that at times recalls Black Shuck from the band's debut album. It is that sort of riff-based rocker anyway, with a guitar-heavy sound and a screaming hard rock chorus. With a title like Choke On It I certainly did not expect subtly, and that is certainly not something that you could accuse the song of being. There is a strange bit towards the end however were Justin Hawkins starts singing in what sounds like a Scouse accent - but I am not sure why! The Darkness have always been a quirky band, and I assume that this is just another of their little jokes. The album is a compact one at under 40 minutes in length, and it comes to a close with We are the Guitar Men which sounds a bit like a companion piece to Rock and Roll Deserves to Die - meaning that the album closes as it opens. The acoustic guitar-led sections are back in a big way here, and the grandness also returns - with Queen-esque choirs and a few synth leads and patterns throughout. It never ramps up as much as the album's opening song however, but instead focuses on creating a big sound by layering lots of instruments and vibes on top of each other. It works really well however, and does a great job of exposing the more progressive side of the band's songwriting. There is also a lengthy guitar solo, which is unsurprising given the song's title, which is another strong moment of excess in a song packed full of grandeur and soaring goodness. Overall, Easter is Cancelled is another strong album from The Darkness - and in my opinion it may be their best since their 2011 reunion. I have enjoyed their three previous efforts, but I felt that the band have never quite managed to match their early heights. This album comes the closest however, and I feel that this is a collection of songs I am going to be listening to a lot over the coming months.

The album was released on 4th October 2019 via Canary Dwarf Limited/Cooking Vinyl Limited. Below is the band's promotion video for Rock and Roll Deserves to Die.

Bare Knuckle Messiah's 'That Which Preys on the Dead' - Album Review

While many of the album reviews featured on this blog are from bands who have been around for a long time and have created a large discography, I always particularly enjoy reviewing debut albums from newly-formed acts. As much as I keep up with the rock and metal scenes, reviewing bands' debut albums seems to be a relatively rare activity for me - so I always jump at the chance to do so when one drops. The subject of this particular piece is Bare Knuckle Messiahs, a four-piece Welsh metal band who were launched at the very back end of 2017. Although being a newly-formed band, three of Bare Knuckle Messiahs' members actually have history with each other, as all three were members of the Welsh hair metal act Tigertailz during the mid-1990s. The driving force behind the band is singer and guitarist Kim Hooker who fronted Tigertailz between 1988 and 1996, and then again between 2005 and 2012. While he was not the band's original singer, Hooker is probably Tigertailz' best-known frontman - even going so far as to appearing on the cover on their 1990 album Bezerk. It is the album that followed Bezerk however that is the basis for Bare Knuckle Messiahs however, as by 1995 Tigertailz were quite a different band. With hair metal far less popular than it had been when they started, Tigertailz took their sound in a much heavier direction and, after some line-up changes, released the Wazbones album. Hooker and the late bassist Pepsi Tate remained from the earlier Tigertailz line-ups, with guitarist Cy Danahar and drummer Andy Skinner rounding out the line-up. Wazbones was easily the toughest and heaviest that Tigertailz had ever sounded, but a year later the band had gone their separate ways - and since their 2005 reunion they have returned to their hair metal roots. Since Hooker left Tigertailz in 2012, he has been largely out of the scene. The announcement of Bare Knuckle Messiahs marks his return to the metal world, but instead of returning to hair metal he has decided to revive most of the Wazbones line-up of Tigertailz and continue down the heavier route that that album forged. Danahar and Skinner have joined Hooker in this new venture, with bassist JJ, who is veteran of the Welsh rock scene, rounding out the band. The band's debut album, That Which Preys on the Dead, which was released last month, has been in the making for a while and I am sure the band are happy to finally get it out there for the fans. I recently also saw the band's first ever show, as they support Y&T at a gig in Cardiff at the beginning of the month - debuting some of these new songs along with some old Tigertailz numbers. Soundwise, That Which Preys on the Dead seems to continue where Wazbones left off 24 years ago, albeit with an altogether more modern sound and production style. It is a fairly heavy album, but one that is also packed full of strong melodies and catchy riffing.

Anyone wishing for more Wazbones will immediately be drawn in my album's opening song Spit in Your Eye, which is a hard-hitting modern metal track with a catchy, poppy chorus. It actually opens with a retro, Van Halen-esque lead guitar pattern from Danahar, with Skinner's driving double bass drumming, but soon explodes into a groove-based pacey rocker with Hooker's tough vocals hanging everything together. Many of the tracks here are pretty snappy - the album is under 45 minutes long after all - but that really helps them to stick. Spit in Your Eye is one of the album's best however in my opinion, and this is partly down to the chorus which sounds like it could have been on Wazbones 24 years ago. Hooker actually sounds a bit like his old self during the chorus, with some higher harmonies, but throughout the rest of the song he sounds heavier and meaner, which certainly fits in with the album's overall feel. After the pummelling, explosive speed of Spit in Your Eye, If Your Face Is Your Fortune slows things down a little to more of a strident mid-pace and recalls modern Motörhead a little - albeit with Hooker's more snarling vocal style. There are no real slow songs here, with the album maintaining a heavy and pacier feel throughout. Tracks like If Your Face Is Your Fortune showcase more of a groove-based sound however, with JJ's bass pinning everything together, but the heaviness still remains. The song's chorus is much punkier than the one found in the previous track, which adds some urgency despite the slower pace, and helps to maintain the attitude already established despite the album being barely over six minutes old! My Image in Thee opens slowly, with JJ's pulsing bassline and a simple drum pattern from Skinner, but soon goes for a somewhat more epic sound with wordless vocal chants and stadium-worthy power chords. While the production sounds modern and heavy, there is certainly a big 1980s hard rock influence here. The bass-heavy sound has quite an anthemic feel, and the big vocal hooks really draw the listener in. Hooker actually sounds a little like Savatage's Jon Oliva throughout the song, with his creepy vocal delivery, which only goes further to enhance the 1980s stadium rock feel of the piece. The album's title track is up next, and it opens with a fairly creepy-sounding atmospheric guitar line that sets the tone for the track before a simple drum beat kicks in and the rhythm guitars start a monotonous chug. Danahar adds squealing leads throughout the track at opportune moments, but overall the song is one that sticks to a tough mid-pace, with Hooker's rhythm guitars and JJ's bass keeping everything on track - and an Alice Cooper-esque chorus adding some poppy snarl which still maintains the spooky atmosphere. Keyboards are not usually regularly throughout the album, but there are synths used sparingly here, including a twinkling melody during the song's pre-chorus section that adds to the overall mood.

With a title like We Know It's Cool (To Break the Rules) you might be expecting more of a hair metal anthem, but instead the song reminds me somewhat of Mechanical Animals-era Marilyn Manson with its strident glam metal stomp and punky aesthetics. I remember in early interviews with Hooker about the project he noted that Marilyn Manson had been an influence to an extent, so I was not surprised to hear a track like this on the album. The song certainly comes from the more accessible end of Manson's sound, so if you imagine any of his big singles from the Mechanical Animals era then you will not be too far off. The style suits the band however, with Danahar's choppy guitar riffs and tortured solos keeping everything moving while Hooker barks the lyrics - with the punky chorus again being a highlight. Blood Brothers is the album's lead single, and a video was shot for it which can be seen below. It is not the poppiest track here, but it is a good representation of the band's whole sound, with plenty of heaviness throughout and plenty of strong hooks to sink your teeth into. This is another song that revels in its strong mid-paced groove, with Skinner's busy drumming keeping everything moving despite the slower pace and JJ's bass often cutting through the mix to add certain pulsing vibe - especially during the vitriolic chorus which Hooker delivers with appropriate venom. The stadium rock elements of My Face in Thee surface again here occasionally too however, with a powerful wordless vocal section that is sure to take hold if it is ever played live - as sadly it was not debuted at the Cardiff gig a couple of weeks ago! An Eye for an Eye opens with another powerful JJ bassline with plenty of fuzz, which again recalls Manson somewhat, before the song opens up into a creepy, atmospheric crawl with more chugging guitar rhythms and occasional bursts of cold synths. This is one of the most modern-sounding songs on the album, with lots of electronics and the occasional percussion loop thrown in - with the verses in particular sounding a mile away from classic Tigertailz! JJ really dominates the song, and it is his bass that really keeps everything moving during the piece. With the bass so often being buried on modern metal albums, it is great to listen to an album that places its bass at the forefront of the mix most of the time. JJ and Hooker form a formidable rhythm team, with the two often teaming up for tight, interlocking grooves, which leaves Danahar free to add colour where necessary. His solo in the track is more traditional-sounding than many of his efforts, which is ironic given the song's modern leanings, with neo-classical phrasing and melodies that add some light melody to the piece.

I Need to Feel Your Pain ups the pace again, with some choppy Skinner drumming keeping everything moving while Hooker employs an Alice in Chains-esque vocal style with drawling harmonies. In fact there is quite a large Alice in Chains vibe running throughout the whole song. While the Seattle band are known for being part of the grunge movement, I think many people often forget how heavy the band can be. There is certainly enough evidence there to call Alice in Chains a metal band, and Bare Knuckle Messiahs seem to be channelling that part of the band's sound here, with the aforementioned big harmonies and heavy, grungy riffing. I think that Skinner's drumming also contributes to that vibe, as his off-kilter playing helps to beef up the track. The riffs here are fairly basic, but the drumming behind them makes the track overall feel much more energetic - something that Sean Kinney sometimes does for Alice in Chains. Brutal Kiss is another more mid-paced piece, with a creepy crawling guitar melody and a hollow-sounding drum beat. There are a few tracks throughout the album that employ a more atmospheric sound, and I feel that this one is probably the most effective when it comes to mixing in spooky sounds and aesthetics. There are lots of swirling synths used throughout the song, particularly during the verses, and these coupled with the guitar melodies and Hooker's vocals leads to a great overall sound. While the band really excel at heavier tracks, I think that they also have a knack for writing great mid-paced Alice Cooper-esque tracks such as this. These songs act as changes of pace, in the way that ballads do on many rock albums, but without loosing the overall feel of the album. I do not feel that the ballad would fit on the album, so the slower, creepier tracks used here help to keep things fresh and varied. The album comes to a close with Smash It Up, a track that bookends the album nicely with Spit in Your Eye - and again feels like something that could have appeared on Wazbones. There is a bit of a 1980s influence here, with a simple, shout-along chorus dominating the song and simple buzzsaw riffing recalling early W.A.S.P. at times. In fact the W.A.S.P. comparisons are fairly apt, and I can imagine that this is the sort of thing Blackie Lawless would have written today if he had not released The Crimson Idol album and taken his band in a darker, more serious direction. When I saw Bare Knuckle Messiahs a couple of weeks ago they opened with this track, and it really got the show going with a bang. It is a powerful song, and it closes out the album in pummelling metal style. Overall, That Which Preys on the Dead is a strong debut album from a new band who are clearly mean business. It is great to hear new material from Hooker after a fairly long break, and I hope the band can find some success as I would love to hear where they go next musically.

The album was released on 4th October 2019 via Diafol Records. Below is the band's promotional video for Blood Brothers.

Marillion - Bath Review

It is always great to have plenty of opportunities to see one of your favourite bands. I often manage to see bands like Mostly Autumn and The Quireboys multiple times a year but, until recently, Marillion shows were more scarce. Historically, it seemed that Marillion's UK shows were usually reserved to promoting a new album - but since 2016 the band has now toured the country three times as well as including a number of special one-off shows and a couple of their bi-annual conventions. As a result, UK fans has been in heaven - and I personally have managed to catch the band three times since 2016. Shows in London in both 2016 and 2017 (the latter being their special appearance at the Royal Albert Hall) were followed by one in Birmingham last year - and all three were excellent for different reasons. I am not exactly sure why the band have really upped their UK touring game of late, but it partly might be down to the success of 2016's Fuck Everyone and Run, an album that broke into the Official Album Charts and seems to generally have been well-received by the band's famously picky fanbase. I personally love Fuck Everyone and Run, and have really made the most of the band's multiple live outings since its release. Despite a fairly lengthy run of shows occurring last year, towards the end of 2018 Marillion announced their third of the above three tours - and it was to be the longest yet. It also promised to be a special tour, as they announced that they would be joined on all of the dates by a string quartet and a couple of other classically-trained musicians playing the French horn and the flute. The six musicians featured were the same that joined the band at a few shows throughout 2017, including at the Royal Albert Hall, but this time they would accompany the band throughout their entire set - with a setlist chosen specifically to make use of their talents. I thought that the additional musicians added a lot to the band's sound at the Royal Albert Hall, so was really looking forward to seeing their talents expanded and given a great role. As a memento/accompaniment to the tour, the band have also released a new album With Friends from the Orchestra which features a few songs from their back catalogue re-recorded with the additional musicians adding their embellishments. An opportunity to see Marillion live should never be passed up, and I opted for the Bath show as that was the most local. I had never seen a gig in Bath previously, although I used to visit the city a fair amount as a child. I had not been in a good number of years however, so it was good to return despite the city being extremely packed with Saturday shoppers and the prices of everything rivalling the poshest parts of London! The gig was at the Forum, which was a largish old-fashioned theatre-style venue which was well-suited to the show. Despite being sat towards the back of the stalls, I had a great view of the action throughout the evening, and the sound was largely crystal clear at all times.

Before Marillion's lengthy set, the gathering crowd was treated to a short set from acoustic singer-songwriter Harry Pane. He was joined on stage by a double bass player, but the songs were largely based around Pane's intricate guitar playing and his strong voice. I am not usually a fan of singer-songwriters such as Pane, but his performance and good humour made him stand out from the crowd. I often find that songwriters of his nature simply strum a few chords with some rather insipid lyrics atop them, but Pane's guitar playing was always interesting and his lyrics seemed extremely heartfelt and that made him interesting to listen to. I think it was wise of him to hit the crowd with an excellent rendition of Fleetwood Mac's Big Love early on in the set, as he showed he more than had the talents to tackle the notoriously tricky track. From then on the crowd were into what he was doing, and each of his following originals received a healthy amount of applause. I found myself enjoying much of what Pane was doing, which given my usual dislike of the acoustic singer-songwriter genre was surprising. That just goes to show that there are good examples of every type of music, and Pane deservedly received a big cheer as he finished his 30 minute set.

There was not much gear to clear after Pane's set, so it was not too long before the houselights went down and the eleven musicians that made up Marillion and their entourage for this tour trooped onto the stage and immediately launched into the epic Gaza with a swirling light show helping to set the scene early. In my opinion, Gaza is one of the band's best epics, and right from the off it was clear that it was going to really hit the spot. The string section played the opening melody while Steve Hogarth (vocals/guitar/keyboards/hammered dulcimer/percussion) sung the early lyrics lounged at the side of the stage. Parts of the song are heavy by the band's standards, and as Steve Rothery (guitar) launched into one of the early riffs the power of the band really hit and for the next fifteen or so minutes everyone was transfixed. The strings added real depth, and by the time Rothery launched into his lengthy solo towards the end of the song everyone was well and truly on board. What followed was another two or so hours of some of the band's best material, presented in a grander way than usual, that highlighted many of the band's strong albums. A few 'shorter' pieces followed, with poppier melodies of Afraid of Sunlight letting the band emerge from the darkness of Gaza, before Seasons End took us back to the beginning of the Hogarth-era of the band. It has always been a favourite of mine, and this live version with the strings was very special. The song started off slowly, with Hogarth singing accompanied by the strings, but it ramps up as it progresses with another soaring Rothery solo. Rothery was in particularly strong form throughout the evening, with many of the songs on containing moments where he could cut loose and showcase some of his trademark emotional playing. He was a little more restrained during Estonia and The Hollow Man however, which were more opportunities for Hogarth to shine vocally - especially during the former's heart-wrenching chorus which saw him also adding additional depth with some strummed guitar chords. Another epic in The New Kings followed, which is my favourite of the three lengthy multi-part pieces on Fuck Everyone and Run. It is a very rich track, so the string section really added to the song - and it made it the best live version of it I have heard yet. The darker mid-section in particular shone with their additions, and the strident ending rock section saw Hogarth in particularly potent form spitting out the lyrics with the venom required.

The song was one of the evening's highlights, as actually was the rarely-played The Sky Above the Rain which opened with Mark Kelly's (keyboards/vocals) delicate piano melodies and slowly built around him and Hogarth's subtle delivery. It has never been one of my favourite Marillion tracks, but it came over really well and the string section really added to it. Despite the song's length, it is a fairly simple song by the band's standards with Kelly's piano always dominating, while Rothery adds colour here and there with a few spacey leads. Despite the relatively low number of songs played by this point, the length of some of the meant that the main set was almost over. It was left to The Great Escape, a song that has been featured regularly over recent years, to finish things off. It is a dark, powerful number which again was greatly added to by the classical musicians, and saw Hogarth delivering the song with his usual emotional display - while Pete Trewavas (bass guitar/vocals) helped him out with some sublime harmonies. It proved to be a strong set closer, and the band left the stage to deafening cheers from all in attendance. There was of course going to be more, and a three-song encore followed - split into two sections. The first portion opened with Fantastic Place, with Hogarth sat behind his keyboard to add some additional piano melodies while Rothery's delicate leads really complimented his mumbled vocal lines perfectly. With the preceding handful of songs being fairly downbeat, the show was then given a bit of a kick up the backside with the uptempo rock of Separated Out - a rarely-played track from the Anoraknphobia album. It has a relatively punky edge, and Hogarth took the opportunity to jump around the stage belting out the lyrics while Trewavas' bass drove everything. Part way through the song the string section broke into a portion of Led Zeppelin's Kashmir which was fun, before returning to the script to finish off the brash rocker with aplomb. It would have been a great round off to the evening, but the band had one more ace up their sleeves with This Strange Engine. The song is another lengthy epic, and one that really brought the best out of everyone on the stage. Hogarth dominated the early portions, with the autobiographical lyrics flowing from him, before a lengthy instrumental section allowed some others to shine. Kelly laid down a lengthy keyboard part way through the song, which recalled some of his busy work on the band's very early albums, before the piece was essentially closed out by a lengthy and soaring guitar solo from Rothery. The song, and the band, unsurprisingly received a standing ovation as they took their bows and I think everyone in attendance was clear about the sheer scale of what they had just witnessed. The setlist was:

Gaza

Afraid of Sunlight

Seasons End

Estonia

The Hollow Man

The New Kings - Part I: Fuck Everyone and Run

The New Kings - Part II: Russia's Locked Doors

The New Kings - Part III: A Scary Sky

The New Kings - Part IV: Why is Nothing Ever True?

The Sky Above the Rain

The Great Escape

-

Fantastic Place

Separated Out/Kashmir [Led Zeppelin cover]

-

This Strange Engine

With this show in Bath I have now managed to see four excellent Marillion shows in as many years. The band are certainly on fire at the moment, and seem to be enjoying something of a resurgence in popularity which is allowing them to do this fairly lengthy tours again in theatre-type venues. All of the shows I have seen have been special for different reasons, and the Bath one was no different. I imagine that next year will see the band start to work on some new material to follow up Fuck Everyone and Run with, but I am already looking forward to the next tour - whenever that may be.

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.