Tyketto/FM/Dare - Wolverhampton Review

Towards the end of 2019 I made my first trip to Wolverhampton for a few years, and made my first visit to the excellent KK's Steel Mill - a newish venue towards the south of the city centre which has become a regular stop for many mid-sized rock and metal bands. With the extended closure of the Civic and Wulfrun Halls due to refurbishment, Wolverhampton had become a bit of a gigging wasteland. The Civic Hall complex is scheduled to re-open shortly, many years later than expected and following a ballooning budget, but they (particularly the smaller Wulfrun Hall) will now have to compete with the Steel Mill - and I would not be surprised if the latter reigned supreme. Wolverhampton has become a semi-regular destination for me again, then, and I was in the Black Country city as recently as a couple of months ago when I caught W.A.S.P. on their recent European tour. That show was sold out and the atmosphere was excellent - but I was also inside the cavernous former industrial building this past Friday night. The 2019 show which I mentioned was a triple-bill, featuring Gun, FM, and the Dan Reed Network - all celebrating the 30th anniversaries of albums they released in 1989. It was an excellent night, with all three bands impressing a large crowd. Whilst each band only played for just over an hour, there was so little waiting around and the quality of the three bands made the evening feel like a mini-festival. In some ways, I am surprised that not more tours like that happen - especially with bands of the size of those referenced. It gets the bands into bigger halls than they would likely play on their own and gives the fans real value for money - especially if the bill is well put together so that there is likely to be quite a bit of fan crossover. I was pleased, then, when it was announced late last year that another such tour, also involving FM, was going to take place. Joining the UK-based AOR band this time, though, were the American melodic rockers Tyketto and the UK's own Dare. Whilst there was no 'occasion' to celebrate this time, the tour promised to be an exciting one - with a healthy number of UK dates announced. After deciding on the Wolverhampton show, although there were a few potential options, I snapped up a ticket as soon as they went on sale. Despite seeing Dare three times last year and the fact that FM are one of my most-seen acts, my overall enthusiasm for the tour was not at all dampened. FM are a band that I will take any opportunity to see, as I have not seen them put on a bad show, and Dare have become real favourites of late. I am also a big Tyketto fan, but I have not had anywhere near as many opportunities to see them live - having last seen them in early 2019. With three great bands on the bill, then, it was with excitement that I headed up to Wolverhampton this past Friday. After a quick bite to eat at Wetherspoons and a brief rest in the Premier Inn, I headed down to the venue for the 6:30pm doors. Given how well-attended the similar 2019 show had been, I expected another good turnout. At first the crowd looked a little thin on the ground - but by the time the first band hit the stage at 7:00pm the venue looked busy.

As is common on these sorts of tours, the bands swapped places each night - and played for an hour each. Dare had the honour of opening the Wolverhampton show, and played an 11-song set which was essentially a condensed version of last year's UK tour setlist. As such, newer material made up the first half of the set, before the band then dipped back into their classic releases towards the end. They took the stage to the sound of thunder and rain, with Vinny Burns (guitar/vocals) soon launching into a soaring guitar lead - which heralded the arrival of Born in the Storm. The track is likely my favourite Dare cut for some time, and it works well as an opener. The sound mix, which was great for all three bands, perfectly balanced the riffing of Burns with the atmospherics provided by Marc Roberts (keyboards/vocals) - whilst frontman Darren Wharton's voice was high in the mix, allowing him to power through the material. Born in the Storm's chorus was the first big hook of the night, and it really set the tone for what was to come. Down the near front everyone sang along, and the atmosphere just grew and grew. The more atmospheric Cradle to the Grave and Home then showcased the beauty of Wharton's more modern songwriting style - before Burns then toughened things up for the slightly crunchier Until. Until still included some of the band's Celtic influences, though, with Burns revelling in the folky guitar leads - whilst Wharton belted out the chorus with all of his sultry power. It was left to the title track of last year's excellent Road to Eden to then close out the modern portion of the set. Written during the pandemic, the song signals the end of lockdown - and the powerful chorus washed over the venue, setting the crowd up for the rocking that was to follow. The remaining six songs all came from the band's first two albums. Two songs from 1991's Blood from Stone kicked this section off, which was made more special owing to the fact that Blood from Stone-era drummer Greg Morgan was playing with the band again for this tour - due to regular drummer Kev Whitehead being on Barclay James Harvest duty. Wings of Fire proved to be a big sing-a-long, with Burns' shredded guitar solo impressing, before Wharton showed that working with Phil Lynott in Thin Lizzy rubbed off on him with the rollocking Celtic metal of We Don't Need a Reason - with the shout-along chorus getting everyone going. Four songs from 1988's Out of the Silence then rounded out an excellent set, with singles Abandon and Into the Fire showcasing both Wharton's hooks and Roberts' driving synths, before a couple more expansive pieces brought the set to a close. King of Spades is always a highlight of any Dare set, especially with Burns' Thin Lizzy tribute which gets thrown in these days, and the joyous Return the Heart brought the curtain down with its uplifting melodies. With two bands to go, the crowd had already gotten their money's worth - but the night was only just getting started. The setlist was:

Born in the Storm

Cradle to the Grave

Home

Until

Road to Eden

Wings of Fire

We Don't Need a Reason

Abandon

Into the Fire

King of Spades/Róisín Dubh (Black Rose): A Rock Legend [Thin Lizzy cover]

Return the Heart

FM were up next, and the UK-based melodic rock band did not stand on ceremony. With Dare's set building in intensity as it moved along - FM came roaring out of the blocks from the off, opening with the synth-laden and soaring Synchronized from the 2020 album of the same name. Whilst most of FM's set focused on older favourites, a few newer tracks were thrown in too - as well as one surprising deep cut. FM always shine no matter what they play, and in Steve Overland (vocals/guitar) the band have a frontman who has lost none of his voice. His vocal power always impresses, but the whole band are a well-oiled machine at this point. Jem Davis (keyboards/vocals) powered through the mix, his synths sparkling during the opening cut and drove following oldie I Belong to the Night, whilst long-time guitarist Jim Kirkpatrick often owned the stage with his soloing - evening if he had to go and get his shoe taped up at one point! Given the shorter set, the band largely focused on their hits, but I do not think that anyone was complaining. That said, though, even the newer cuts played were sung loudly by the crowd. Killed by Love has become a real favourite over the past few years, so it was welcomed with open arms, before the stadium rock of Someday pushed Overland's voice to the limit. He often jokes how hard the song is for him to sing, but he always nails it - and despite it never being one of my personal favourites it sounded huge as always. Davis was then showcased again with the snaking keyboard melodies of Let Love Be the Leader, with yet another big chorus for the crowd to shout back at Overland, before the set took a slight detour into slower territory with the ballad Everytime I Think of You. This is not a song which has been played too often by the band in recent years, so it was good to hear it live again, before the set's real surprise package in Tattoo Needle was wheeled out. I had never seen the band play anything from 1995's Dead Man's Shoes before - but Tattoo Needle is one of my favourite cuts on what is otherwise quite a patchy album. The smooth AOR track felt at home in the set, though, and provided a nice treat for long-time fans - before the band returned to hit territory. The next trio of songs hit the crowd with hook after hook, with That Girl, Bad Luck, and Tough It Out all coming thick and fast. The band really felt triumphant by this point, with Bad Luck in particular filling the venue - before Tough It Out's gang vocals roared through the speakers. I am sure that the crowd would have liked to have heard more, as was likely the case relating to all three bands, but by this point time for FM was running out. They had time for one more track, and they left it to one of their newest songs Turn This Car Around to closing things. It is one of the stand-out cuts from last year's strong Thirteen album, and the smoothness of the song feels like a throwback to the band's classic years - making it the perfect closing cut thanks to its big chorus and driving grooves. Like Dare's set before them, FM's Wolverhampton showing was a real success - and it was just the latest in a long line of excellent FM shows that I have seen over the past decade or so. The setlist was:

Synchronized

I Belong to the Night

Killed by Love

Someday

Let Love Be the Leader

Everytime I Think of You [Eric Martin cover]

Tattoo Needle

That Girl

Bad Luck

Tough It Out

Turn This Car Around

Despite having seen Tyketto far fewer times than either Dare or FM, I am no less a fan of the American melodic rockers. I was supposed to see them last year, but the tour ended up being cancelled, so I was pleased to have another opportunity so soon. It was my fourth time seeing Tyketto, and Wolverhampton was actually where I first saw them live back in 2014. Recently the band have undergone quite a significant line-up change, with founding drummer Michael Clayton and their guitarist for the last decade or so Chris Green both leaving. As such, this tour is the first outing for the new-look Tyketto, with frontman Danny Vaughn now the only original member left. Despite this, though, it is clear that the Tyketto legacy is in safe hands - as the new line-up rocked. Vaughn's former Waysted bandmate Johnny Dee (drums/percussion/vocals), who also played in Britny Fox and has been drumming for Doro for around 30 years, and Kane'd guitarist Harry Scott Elliott have already slotted into the band perfectly - and the 11-song set was, again, a real triumph. This was despite a bit of a strange start where Elliott's guitar did not work for the first 30 seconds or so of opening number Reach, but the issue was soon fixed and the band powered through a set which essentially focused on the band's first two albums. Reach was the only newer track played, but it got the set off to a fine start, before Wings allowed Elliott to show off his skills with some knotty leads and solos - before the bombastic and stadium-ready Burning Down Inside showed what long-time keyboardist Ged Rylands brings to the band. His keyboards were high in the mix, and he sang his heart out throughout - perfectly harmonising with Vaughn when needed. Vaughn is another singer, like Overland (and, in truth, Wharton), who has lost none of his power - and he strutted around the stage oozing rock star charisma from the off, strapping on an acoustic guitar when needed. A couple of heavier, bluesier tracks in Strength in Numbers and the cheeky Lay Your Body Down then allowed the band to really rock out, with the latter being stretched out to include lengthy solos from both Elliott and Thunder's Chris Childs (bass guitar/vocals) - who has returned to the band after a few years away for this tour. The set's surprise factor was the inclusion of the old Waysted hit Heaven Tonight, played due to Vaughn and Dee reuniting, which fit seamlessly into the set, but everything that followed was very much expected. The acrobatic Rescue Me saw Vaughn getting his chops effortlessly around the slightly off-kilter, but huge, chorus - before the band's big ballad Standing Alone washed a wave emotion over the crowd, and Elliott really nailed the soaring solo. It was the first of a few more organic-sounding pieces, with the acoustic-led Sail Away then impressing. Dee then stepped out from behind his drums for the short, country-esque The Last Sunset, which Vaughn led with his acoustic guitar, and the song acted as a bit of a campfire sing-a-long before the band rocked things up one last time with a barnstorming closing rendition of Forever Young. The band's hit brought the set, and indeed the whole evening, to a powerful close - with everyone around me singing along and cheering loudly as the lights came up and the band took their bows. The setlist was:

Reach

Wings

Burning Down Inside

Strength in Numbers

Lay Your Body Down

Heaven Tonight [Waysted cover]

Rescue Me

Standing Alone

Sail Away

The Last Sunset

Forever Young

I have been to many gigs already this year, all of which have been great, but there was something special about this past Friday night. It is easy to be biased when you have seen two of the three bands many times, and the other one is also a big favourite, but they still have to deliver - and all three bands really knocked it out of the park. These are the sort of tours where all the bands push each other and the performances really shine as a result, and the big Wolverhampton crowd certainly had a great time during the evening. I am sure that I will be seeing all of the bands again over the coming years, and I look forward to when those opportunities arise. I came away from the show with a shiny new Tyketto shirt too, to replace an old one I recently retired - a great memento of an excellent night.

Jethro Tull's 'RökFlöte' - Album Review

Whatever people think of Ian Anderson resurrecting the Jethro Tull name without the band's long-standing guitarist Martin Barre, I have to say that I am really glad that the legendary progressive rock/folk group are are going concern once again. Whilst Anderson has never really acknowledged why he brought Jethro Tull back despite saying for years that he would not, the band's recent return to studio action with The Zealot Gene (which I reviewed here) was a thoroughly pleasant surprise. It was the band's first album of original material since 1999's fairly odd J-Tull Dot Com, and it was a collection of songs which covered the breadth of Jethro Tull's sounds over the years - ranging from harder rock pieces to folky acoustic ditties. It is fair to say that Jethro Tull covered a lot of sonic ground over the years, and were often keen to make use of whatever the latest technology was at the time - which led to a strong use of synths throughout the 1980s, for better and for worse. In more recent years, though, Anderson has certainly moved back towards a more organic sound. Whilst I am unfamiliar with the 'mid period' of his solo work, which seems to consist of world music and albums which are largely instrumental, his more recent band-orientated solo albums, 2012's Thick as a Brick 2 and 2014's Homo Erraticus, certainly sounded more like Jethro Tull's 1970s output condensed. Thick as a Brick 2 more deliberately so, given it was a sequel to Jethro Tull's seminal 1972 release - but these albums seemed to find Anderson wanting to re-establish his core sound following Jethro Tull's original split and his more experimental solo work during the 1990s and 2000s. As such, then, The Zealot Gene continued on with the sounds re-explored on Thick as a Brick 2 and Homo Erraticus - the only difference being that it said 'Jethro Tull' on the cover and not 'Ian Anderson'. The musicians were the same and the sound was the same - but Anderson was Jethro Tull once again, likely for commercial reasons. The Zealot Gene certainly made more of a splash than either of his two previous solo albums, but it was also a very good album - and it almost made my Albums of the Year list last year. Given how long it had taken The Zealot Gene to come out, which was partly down to the pandemic, I was not expecting to hear more from Jethro Tull so soon - so I was shocked earlier this year when it was announced that the band would be releasing a new album in April 2023 - just over a year after The Zealot Gene. Apparently Anderson started work on this latest album, which was released with the absurd title RökFlöte, before The Zealot Gene had come out - and clearly it came together quickly. Unsurprisingly, RökFlöte is similar in style to Anderson's other recent albums - but it does feel a bit more hard rocking overall. There is still plenty of flute and acoustic guitar throughout, but it also feels as if more focus has been placed on hard rock riffs - with newish guitarist Joe Parrish-James really shining throughout. Parrish-James appeared on one track on The Zealot Gene, but much of that album was recorded before he came onboard. As such, RökFlöte feels like his true welcome - and he acts as the perfect foil to Anderson throughout.

RökFlöte is something of a loose concept album, with all of its 12 songs being based around Norse mythology (somehow via Vladimir Putin and Joe Exotic). The opening and closing tracks act as bookend pieces, with spoken word sections to introduce and round off the music here. Icelandic musician Unnur Birna recites from the Poetic Edda, from which Anderson drew a lot of inspiration for this album, during opening number Voluspo. Her voice is set against a backdrop of heavy, slow breathing and some droning synths - before a slow-burning flute melody kicks in. Acoustic guitars add a gentle backing, with John O'Hara's keyboards doubling the flute line, before the rest of the band join in - creating a folky soundscape not unlike the band's late 1970s output. Parrish-James soon switches over to his electric guitar, as he is credited with performing all of the album's guitar parts - laying down a subtle, muscular riff which Anderson starts to speak over. This opening track is very much a spoken word piece, then, with brief musical interludes - featuring both flute and guitar leads. It is great at setting up many of the album's key musical themes, and paves the way for the tougher Ginnungagap which takes over - opening with a breathy flute trill. This flute melody dominates the early portion of the song, as drummer Scott Hammond gradually builds up the intensity around it, but when Anderson starts to sing the band lock into a mid-paced groove led by Parrish-James' guitar riffing. Much has been said about Anderson's voice in recent years. He certainly struggles these days, but these new songs are written for his diminished range - so he sounds at home here. His delivery is still full of his classic quirks, though, which brings that classic Jethro Tull vibe - whilst occasional flute injections and guitar breaks provide the main melodic hooks. There is no big chorus here, but the song's relative heaviness helps to to establish itself - whilst the interplay between Anderson's flute and Parrish-James' guitar shows the relationship which has already blossomed between the two musicians. Allfather follows, and the folkier track feels more upbeat and jaunty. Some of the quirkier songs on the band's late 1970s albums are referenced here, and Anderson's vocal hooks are catchier - and he almost sounds like his old self at times, whilst his flute explosions set against a marching drum backing sound as timeless and joyous as ever. There is so much flute throughout this album, and the next melody is never too far away. There are a handful of extended flute passages throughout Allfather, and this is partly why the song is one of my favourites here. It feels like it could have come from my favourite era of the band - whilst Parrish-James' occasional lyrical guitar leads are perfectly placed. The Feathered Consort also opens with a flute melody, but the piece overall feels more majestic. O'Hara's keyboards are perhaps not as prevalent throughout the album as they could have been, but his playing adds some bombast to this track - particularly during the stabbing opening. His atmospheric playing also backs the verses, adding string-like qualities, whilst occasional organ growls elsewhere add weight - usually alongside some bigger guitar passages. Anderson's vocals throughout are suitably theatrical to fit in with the thespian drama of the song's more bombastic approach - adding another dimension to an already-diverse album.

Hammer on Hammer opens with a flute and piano combo, but this sound is short lived as Parrish-James soon takes over with some clean guitar melodies - and Anderson delivers his lyrics in a half-sung/half-spoken manner. This vibe continues on throughout, but the song feels tougher as it moves along. Parrish-James soon stamps on his overdrive pedal, and the song feels heavier as a result - whilst Anderson's vocal lines soon start to become punctuated by melodic guitar leads and the occasional flashy synth injection. This riffier nature, alongside some more harder-hitting drumming and some pounding basslines from David Goodier, give the song its heavier overall feel - and it also contains one of the album's flashiest instrumental breaks, which sees Anderson and Parrish-James trading flute and guitar melodies back and forth. Wolf Unchained continues in a similar manner, but the pace is upped - and the song has more of an urgency to it. Parrish-James' driving guitar rhythms are generally tough-sounding, but Goodier's bass also plays an important role here - especially during the simpler verses, which also include some occasional organ motifs. Anderson's vocals feel more assured and full-bodied here, sitting nicely alongside the driving rhythms, whilst a lengthy flute solo, split up by some guitar riffing, later shines the spotlight on Anderson instrumentally. In fact, this instrumental section is quite varied - and has a strong atmosphere thanks to O'Hara's keyboard additions, as the song builds back up towards another strutting verse. This mix of a hard rocking approach and the excellent instrumental breaks means that Wolf Unchained is another favourite of mine. The Perfect One opens in a calmer manner, with acoustic guitars and gentle flute melodies, but the song overall is another mid-paced rocker - although it feels a bit less tough than the previous couple of songs. Parrish-James' guitar playing is still strident, set against a punchy drum groove, but overall the song feels more laid back. The acoustic vibes of the song's intro resurface throughout, adding breaks from the heavier riffing, whilst the flute tends to be the main melodic force - although a lyrical guitar solo does change this up briefly. I really like the mix of acoustic and electric guitars here, with the contrast being very classic Jethro Tull in feel. I am not sure why Anderson did not contribute the acoustic guitars here as is custom, but Parrish-James does a great job at capturing his feel throughout. If any song here screams 'Jethro Tull' throughout this album, though, then it is the jaunty Trickster (and the Mistletoe). The song's explosive instrumental intro is busy and filled with many classic Jethro Tull-isms - including flute trills, plenty of Hammond organ from O'Hara, and jaunty keyboard leads. There is plenty of excitement caused by these musical motifs, and Parrish-James also includes plenty of leads throughout so as not to be left out. There is a lot of bombast here, particularly during the more upbeat instrumental sections - but Anderson's folk-inflected vocal delivery suits the song's overall vibe with everything coming together to create a short, but sweet, slab of prog/folk that could only come from his mind.

Cornucopia slows things down, and features O'Hara's piano playing quite prominently. The piano melodies form the backing of much of the song, which Anderson plays his flute over in a gentle manner. This vibe continues on throughout for the most part, with Anderson soon putting his down his flute and starting to sing. The gentle, folk-based song contains probably his best vocal performance on the album, too. The song is quite slow, but feels warm thanks to the organic instrumentation - and this more deliberate pace allows for a more full-bodied vocal performance. The song also stands out as it showcases O'Hara more prominently. This album generally is more guitar-based, and I would have actually liked the keyboards to be higher in the mix at times. This song showcases what O'Hara brings to the modern version of Jethro Tull - and even when the song speeds up towards the end his piano still drives everything. The pace of the end of Cornucopia is retained throughout The Navigators, but the toughness of much of the album returns - with the track being a relatively upbeat hard rocker. It also contains what is likely the hookiest flute melody on the album. This melody opens the song, and often resurfaces throughout - acting as a bit of a riff. The guitars add a toughness instead of providing hooks of their own - but Goodier's excellent bassline stands out a bit more, and provides a grounded counter to the jauntiness of the flute melodies. Flute-led instrumental sections sit nicely side-by-side with darker vocal-led sections - with the latter showcasing the guitars a bit more, and particularly as the song moves along some screaming leads are included. Guardian's Watch then strips away the meatiness for a brief period, to allow a flute melody to open things up, but the guitars soon take over again - and the song returns to the more majestic sound which was utilised earlier in the album. There is much more bombast here, largely thanks to Parrish-James' stabbing guitar playing - but there is also a stronger keyboard presence throughout, with O'Hara adding some excellent synth lines and string-like pomp. Guitar leads back Anderson's confident vocal display, whilst the rhythm section add weight and the occasional folky acoustic interlude recalls that classic Jethro Tull contrast. The album then comes to a close with the second bookend piece Ithavoll, which feels more song-like than Voluspo. There is more riffing going on here, although Birna still adds her spoken word to the piece - this time against a tougher and strutting backing. This feels quite dramatic, with flute and synth interludes adding colour, whilst a busy instrumental section then takes over featuring flashy guitar soloing and some excellent back and forth between the flute and the synths. The final section then sees Anderson singing the last lyrics against a pacy backdrop - before one last utterance from Birna as the album ends on a mournful flute motif and the heavy breathing with which it began. Given the overall quality of The Zealot Gene, it is a real treat to have another album of similar quality from Jethro Tull so soon. The albums are similar, but the harder rocking nature of this latest release does help it to stand out - and flute playing throughout is exemplary as always. It is a good time to be a Jethro Tull fan again, and with RökFlöte there is yet another slab of excellent music for those fans to enjoy.

The album was released on 21st April 2023 via InsideOut Music. Below is the band's promotional video for The Navigators.

Threshold - London Review

Following the release of their excellent twelfth studio album Dividing Lines late last year, I was hoping that 2023 would see Threshold's first tour in a few years. It was 2018 when the band last toured throughout Europe, but it was 2017 when I last saw them - as part of the first run of shows promoting that year's Legends of the Shires. The 2017 tour was the band's first in many years with returning frontman Glynn Morgan, and the tour-closing show in Islington was a great night - and my third time seeing the band live. Sadly, though, due to work commitments I was not able to make the London show on the 2018 tour. That tour featured the entirety of Legends of the Shires being played, which I would have loved to have seen, but sadly it is not possible to go to every gig. Thanks to the COVID-19 pandemic and the time it took the band to record a follow-up to the 2017 album, until last night it had been around six years since I last saw Threshold live. They have never been the busiest of touring bands and, despite being from the UK, they tend to focus their activities on mainland Europe - particularly places like Germany. The band have always had more of an audience there, and have never been the most popular in their home country. For UK-based Threshold fans, this essentially means a trip to London once a tour to catch the band live - but I have always found it to be worth it. Threshold are certainly worth the effort, and the three shows that I saw prior to this weekend were all great for different reasons. Despite this, though, I did think for a while that we not even get a London show this time. When the main dates for the band's 2023 European tour were announced, no UK dates were included. I hoped that at least one would be added in time, and thankfully they decided to play their customary London show to round out the main club tour - so I purchased a ticket as soon as they went on sale. Being a Saturday it meant having a shell out quite a bit more than average for a night in a hotel, but this is the reality of a UK-based fan of melodic metal. In truth, it has only really been in the past year or so where chain hotels have really jacked their prices up in London, especially if you are willing to stay somewhat 'out of the way' - and as the show was only announced a couple of months ago, too, any early deals would have long expired. The latest in a long-running series of train strikes here in the UK threatened to make getting to London tricky, too, but I managed to get there easily - so after a bit of lunch and shopping I checked into my hotel - and then made my way over to Islington. As was the case for the past couple of Threshold shows which I have attended, the venue of choice was the O2 Academy in Islington. I have been to the venue many times over the years, and have always found it to be pretty decent. The sound is generally good in there and it is a nice size. Like the other Threshold shows that I have seen there, the place was busy but certainly not full. There were a few hundred in attendance, but it was not too crowded - and those who had turned up were certainly there to have a great time.

Being a Saturday, the venue had a 10pm curfew - meaning that the doors opened just before 6:30pm. This meant that there was little time to waste, but in truth I quite like gigs like that. There was no real hanging around at all during the night, which meant that it was easy to just enjoy all of the great music. Given the time constraints, there was only one support act - but the UK based progressive rock band Grace and Fire made their mark. I think calling the band a progressive rock band is the most apt description for them. They do sometimes stray into heavier, more progressive metal territory, but I would say that they generally they are more of a rock band than a metal one. Either way, though, the band's seven-song set impressed - with all of the songs coming from 2021's strong Elysium, the band's debut album. I had listened to Elysium a few times in the lead-up to the gig, so was familiar with the songs played - but, despite this, I think I enjoyed Grace and Fire more than I was expecting to. The album is certainly good, but I felt that the songs came alive on stage - and the live mix was generally pretty good so that the intricacies of the songs shone. I would have liked to have heard more of Joshua Gidney's keyboards, but the vocals of frontman André Saint were very clear - as was the excellent bass playing of Tim Ashton. Most of Elysium was played, and the band kicked off with the instrumental Overture, which featured some strong riffing from Aaron Gidney (guitar/vocals), before Saint took to the stage for the dramatic title track. Everything sounded a little heavier live, and Saint proved from the off to be a great live singer - with his slightly higher-pitched delivery soaring above the rest of the band. The more atmospheric Paradise Lost, which saw Aaron laying down some Steve Rothery-esque guitar leads, dialled back on the riffing somewhat - but the hard-driving A Warrior's Tale brought it back, whilst throwing in one of the set's best choruses for good measure. Like Threshold, Grace and Fire love a good hook and their melodies really shone. As mentioned, though, it would have been nice if the keyboards had been a bit higher in the mix. This would have allowed the songs to sound lusher, but otherwise the sound mix allowed the tunes to shine. Breathing Murder showcased a bit more of a technical side to the band, with the Gidney brothers trading solos back and forth, whilst the set-closing Eyes of the Seer reverted back to a more riff-heavy style, whilst also delivering on the hook front with another big chorus. Despite being fairly muted at first, after a while the crowd started to get on board with Grace and Fire - and by the time the set closed the cheers that rung around the venue were pretty loud. I imagine that the band made themselves a few new fans with their performance, and they are certainly ones to watch going forward. The setlist was:

Overture

Elysium

Paradise Lost

A Warrior's Tale

Chains of Sanity

Breathing Murder

Eyes of the Seer

It only took 20 or so minutes for the stage to be cleared following Grace and Fire's set, so it was not long before the house lights went down and Threshold trooped onto the stage - immediately launching into Haunted from the latest album. Threshold's setlists have generally been pretty forward-thinking, and they are not often a band to dwell on the past. This was certainly the case here, with 11 songs of the 14-song setlist coming from the band's last couple of albums - with seven coming from Dividing Lines. As such, over half of the set was made up of songs which I had not heard the band do live before - with those older songs played generally being real fan-favourites. As was the case with Grace and Fire, Threshold's live sound was generally well-mixed. Morgan's voice soared above the band, whilst the tough riffing of Karl Groom (guitar/vocals) ripped through the venue. Again, though, I would have liked to have heard more of Richard West's keyboards, but they still had a presence in the mix - particularly during the set's more atmospheric moments. As it does the album, Haunted kicked off the night in fine fashion, with long-time drummer Johanne James twirling his sticks from the off, before the band wasted no time in showcasing their prog credentials with the lengthy The Domino Effect. The song is the new album's centrepiece, and it came across well live - especially Groom's lengthy solo which showcased the more lyrical and emotional side of his playing. The oldie Slipstream was then wheeled out for an early sing-a-long. The heads-down rocker is essentially ever-present in the band's setlists, and it always goes down well live thanks to its massive chorus and relentless energy. The more technical Let It Burn then allowed Groom to play some knotty riffs, but in true Threshold fashion there were still plenty of hooks - with Morgan's more aggressive chorus shining.

I remember thinking that Morgan struggled during some moments of the 2017 show, likely due to the gig taking place at the end of his first tour in many years - but last night he sounded fantastic throughout. Most of the songs played were ones that he sung originally, but even the older ones played he really nailed. He particularly soared during the epic and prescient Mission Profile, which seems to get more relevant as time passes, before the new album was returned to for Defence Condition - which included some great atmospheric bass playing from Steve Anderson during the quieter moments, as well as a great heavy outro with some call-and-response vocals. Pressure, an oldie which I had not seen the band do live before, then kicked the energy levels up a gear following a couple of lengthy epics - before the newer single Silenced showcased the band's ability to write a pop metal anthem. Morgan's opening vocals swirled around the venue, as did West's busy keyboard solo which thankfully was a little higher in the mix. By this point the main set was coming to a close, but there was still quite a bit of music to go. A trip back to the last album meant the atmospheric Snowblind soon filled the hall, with Groom and Morgan teaming up for some dual guitar moments to fill out the sound, before the hard-hitting and riffy Complex allowed for another big sing-a-long. Threshold never fail to write a massive chorus, and Complex might have the best chorus on the latest album. The crowd lapped it up, anyway, before one last epic Lost in Translation brought the main set to a close. The song channels Pink Floyd at times, and allowed for a varied journey before the band left the stage. There was time for a couple more, though, and Threshold were soon back on the stage for one final new track: King of Nothing. Despite Dividing Lines still being pretty new, everyone around me was singing along to Morgan's hooky track, and it was then left to the big single from the last album Small Dark Lines to bring the night to a close. By this point, Threshold had been playing for around an hour and 45 minutes - but there were still cheers for more as the band took their bows and left the stage. The setlist was:

Haunted

The Domino Effect

Slipstream

Let It Burn

The Shire - Part 2

Mission Profile

Defence Condition

Pressure

Silenced

Snowblind

Complex

Lost in Translation

-

King of Nothing

Small Dark Lines

As mentioned previously, Threshold are always worth the effort - and last night in London was no different. With Dividing Lines, I feel that the second Morgan era of the band has well and truly been established, and it was great seeing the band's current line-up sounding so good and looking so confident. The crowd certainly made the band feel welcome, too, and I hope that it is not too long before the band play as a headline act here in the UK again. I am sure that I will be there when they do, but until then I will have yesterday to look back on - as well as the band's excellent back catalogue to immerse myself in once more.

Overkill's 'Scorched' - Album Review

Those who visit this blog regularly will have seen that my last album review was of Metallica's latest opus 72 Seasons (which can be read here). Unsurprisingly, the legendary thrash band's newest album has caused quite a stir among the metal community over the past month or so - but 14th April 2023 will be remembered as being a great day for thrash in general, as New Jersey's own thrash legends Overkill also released their latest effort on the same day. Whilst Metallica are clearly the bigger household name, to thrash fans Overkill are no less legendary. Metallica were one of the leading lights of the American West Coast thrash scene, which owed plenty to the NWOBHM movement, but Overkill were a big part of the East Coast scene which followed a little later - taking more of an influence from hardcore and punk, alongside classic rock and heavy metal. The two scenes were distinct from each other - so it was fun getting new albums from exponents of both sounds on the same day. I have been a casual fan of Overkill for a number of years, but I have only started paying proper attention to them during the past couple of years. Part of the reason for this was likely the band's daunting and lengthy discography, but I have amassed a handful of their classic and more recent albums of late and have been enjoying discovering more about the band's trademark sound. I think my increased efforts relating to Overkill have also coincided with my general greater appreciation for heavier music. I have liked thrash for years, but I certainly listen to it more now than I used to - and getting into Overkill more has helped to expand my love of thrash, particularly the less NWOBHM-influenced side of the genre. As such, then, Overkill's latest release is the first of theirs which I have bought upon release. Scorched, Overkill's twentieth studio album, is the band's first since 2019's The Wings of War - and the gap between the two albums is actually the longest in their career. Four years between albums is not that unusual these days, particularly from older artists, but Overkill have always been extremely prolific. Many of the top thrash bands, including Metallica, are not exactly known for being very prolific these days. Getting new albums from Megadeth and Anthrax often involves a long wait, but Overkill clearly still have a huge love for writing and recording new music. I have a special appreciation for older bands who still regularly release new music and then go out and play it live, and Overkill certainly seem to be the most prolific of the older thrash bands. Whilst I am certainly not clued up on all of the band's albums, I have heard enough to understand what Overkill are about. The band's fast-paced sound owes a lot to hardcore and punk, but there is still plenty of classic heavy metal to be found - as well as the love of a big groove. Some of Overkill's 1990s releases featured strong groove-based elements, and this can also be found in smaller doses on the band's more recent albums - including Scorched. For the most part, though, this latest release is just classic thrash through and through - building on the band's recent well-received run of albums.

The album wastes no time in getting underway, and kicks things off with its hard-hitting title track. A great NWOBHM-esque guitar lead from long-time guitarist Dave Linsk opens the song, and the rest of the band fall in around it - with percussive drumming and ringing guitar chords creating a powerful backing before the album's first true big riff kicks in. Once this riff arrives the song picks up the pace. Jason Bittner lays into his double bass drums to back the snappy riff - whilst Linsk and fellow guitarist Derek Tailer team up for the rollocking rhythm. As is often the case with Overkill, too, D. D. Verni's bass is very high in the mix. His growling sound drives every song here, and he is particularly prevalent during the album's more mid-paced moments - such as this song's verses. The riffing and the chorus are faster-paced, but the verses are more mid-paced - allowing for some chunky riffing and the evergreen vocals of frontman Bobby Ellsworth. Ellsworth sounds as good here as ever, and his more grounded verse delivery is later countered by a screeching chorus. Despite the song's general love of pace, there is still a dynamic feeling here. A couple of slower moments add some additional heaviness, whilst Linsk's guitar solo sees the rhythm guitars drop away as he delivers a surprisingly bluesy run of notes atop a busy bassline. The album's title track is a great introduction of the subtle variety which follows, then, and ensures things start in a stylish manner. Goin' Home generally opts for a more mid-paced vibe throughout, with the track being fairly typical of the band's recent sound - including relatively little of the punk from those early albums. Like the opening track, though, the song builds towards its first riff - which is more lumbering in approach. This crunchy riff feel nice and heavy thanks to its slower pace, but the verses do see the pace raised slightly - with Verni's bass taking over to provide a snappy rhythm. Brief punky moments surface, but even the faster moments are generally still pretty crunchy - and the chorus returns to something more akin to the song's opening with a melodic guitar lead sitting under Ellsworth's somewhat anthemic vocal delivery. The chorus is hooky, and less frantic than some of the band's offerings, but the punky injections during the verses help to hold interest - as does a lightning-fast Linsk solo which is more typical of his style than the previous one. The Surgeon, which was the album's lead single, generally retains the mix of faster and more mid-paced moments featured already - but ups the pace and goes for a more out-and-out thrash sound. Verni's bass dominates during the opening moments, creating an aggressive vibe from the off, whilst the verses continue on this vibe with some of Ellsworth's most unhinged vocals and plenty of busy drumming from Bittner. There is a lot more of Overkill's old-school sound here, but the chorus does slow things down somewhat and goes for a bit more an anthemic approach - building on a knotty pre-chorus to deliver something more strident and vocal-focused. The riffs are less busy during the chorus, but the vocal hooks make up for this - and other more instrumentally-focused moments throughout allow it to be the most technical on the album to this point. There is also a section which slows the pace quite considerably with some pseudo-doomy riffing - which further diversifies the song until Linsk's next big solo.

Twist of the Wick opens more slowly, with some distant-sounding guitar riffing slowly growing in stature - before Bittner counts the rest of the band in and song speeds off in true thrash fashion. With the album's opening three songs being varied pace-wise, Twist of the Wick doubles down on the speed that was showcased throughout much of the previous track. Linsk and Tailer's riffing is very old-school thrash in style, whilst Verni's bass backs everything with its big tone - and adds the aforementioned punk edge. Bittner does use his double bass drums to great effect here, too, but some parts of the song feature a simpler approach, too, which shows some variety despite the ever-present high speeds. Perhaps unsurprisingly, too, Ellsworth utilises the higher end of his vocal ranger here. His trademark rasp is present throughout - and he screeches his way through the break-neck verses in a manner which only he can truly deliver. There is a bit of a change in tone part-way through, though, which sees a gothic choir used to back a rare slower section. This creates a creepy atmosphere which contrasts well with the pace elsewhere - before the band speed up again around a shredded solo. Wicked Place slows things down somewhat, and goes for a much more groove-based approach. As mentioned before, Overkill often took a more groove-based path during the 1990s and have managed to incorporate this sound into their modern approach. This is a song which rarely speeds up, and instead keeps things plodding along - adding a tough edge to the album as a result. The riffing throughout is chugging, with Verni's bass more restrained than usual, whilst Bittner's drumming shuffles - with the occasional thrash outburst adding colour. The song allows Ellsworth to tone it down a little, too, and he screeches less here - instead going for a more grounded approach. Won't Be Comin' Back continues on the more mid-paced, groovy approach of the previous song - doubling down on this style during the intro, which features subtle harmony guitar leads and a snaking rhythm. As the song gets going proper, though, the pace is raised - but something of a groove is maintained. The song pulses along thanks to some of the album's choppiest riffing - whilst Bittner impresses with some injections of double bass drumming that are as snappy as the riffing. This is one of the songs which really stood out to me from the off. There is a strong melodic edge throughout, largely thanks to some big guitar leads from Linsk - but also thanks to Ellsworth's vocal hooks. The chorus is one of the album's most immediate and anthemic - and it is one that sticks in my head long after each listen to the album. Fever then changes the overall pace again, especially during its psychedelic intro. The song's opening section certainly channels early Black Sabbath - particularly the ballads on their first few albums. Subtle percussion, pulsing bass, and effects-heavy guitars back Ellsworth's vocal croons - and this mix of sounds creates something different on the album. Much of the song is more typical but the Black Sabbath vibe is retained, with the riffing in general being slower in nature - crunching along with Ellsworth howls. It is a song which has grown on me quite a bit over the past month. It is not as hooky as most of the other songs here, but the doomy and atmospheric vibes offer a welcome change of pace.

Harder They Fall ups the pace again, and returns to the break-neck speed of Twist of the Wick - although some of the snappiness of Won't Be Comin' Back remains. The song generally relies on a punky rhythm and plenty of double bass drumming, but colour is added thanks to the occasional injection of groove. The verses are punctuated by such occasional slower moments, which act as brief breaks between Ellsworth's fast-paced vocal shouts, but in general this song really speeds along in classic thrash fashion. Verni's bass is one again very prominent, driving everything, whilst another shout-along chorus sticks in the brain easily. In many ways, the song is a classic representation of Overkill's sound. There are more interesting songs here from an arrangement and variety perspective, but as an example of punky East Coast thrash the song excels - and it certainly re-injects some pace into the album following the Black Sabbath-esque crawl of the previous number. Know Her Name is somewhat similar, but the pace is not quite as fast - with the album's opening handful of numbers being good comparisons. The song is less punky, then, but the riffing throughout is excellent - and the constant ringing of Verni's bass creates an almost hypnotic effect thanks to the precise pace of the grooves. Brief injections of a thrashier pace keep things interesting, as does a furious gang vocal-led section which then leads into a chunky and Accept-esque chorus. The chorus certainly has a strong shout-along feel throughout, and it is another that is easy to latch onto as a result. There is still plenty of energy throughout the song despite the slower pace, too - with some surprisingly varied Bittner drumming as well as plenty of great basslines to ensure that hypnotic vibe is retained despite some changes in tone and pace. The album then comes to a close with Bag o' Bones, which is another mid-paced song - and it is another which also relies heavily on strong grooves. The main riff which opens the song is brimming with character, which Bittner elevates thanks to some staccato drumming, whilst the chorus is one of the album's best thanks to Ellsworth's snappy vocal melodies and some excellent Linsk leads. Whilst many may have expected the album to end on a faster note, this groove-based approach works nicely. Whilst I like it when Overkill indulge their punky influences, I also like it when the band groove. Many of my favourite cuts here are the more mid-paced tracks, and Bag o' Bones is one of those favourites for the same reason. Verni's bass is just as present as ever, and the snappy chorus even has a slight funk edge at times due to how choppy it is. It is impossible to not get the hooks in your head, and for that reason I think the song is an excellent closing number. It leaves a strong impression as the album ends - with the riffs and chorus constantly replaying mentally long after the song finishes. As such, then, Scorched is another really strong album from Overkill that ticks all of the expected boxes whilst still managing to be a dynamic and relatively varied release. Not all bands can say that their twentieth album is as strong as Scorched is, but Overkill have been in fine form over the past decade or so - and seem to be showing no signs of slowing down. I imagine that there will be more where this came from in the future, but until then I have more of the band's extensive back catalogue to discover.

The album was released on 14th April 2023 via Nuclear Blast Records. Below is the band's promotional video for Scorched.

Metallica's '72 Seasons' - Album Review

The American thrash metal legends Metallica are one of those bands which it is almost impossible to have a rational discussion about in the 21st Century. The four-piece, who formed back in 1981, are arguably the biggest heavy metal band on the planet - and have been for quite some time at this point. They moved from being darlings of the underground thrash scene to stadium-filling chart-toppers throughout the 1980s and into the early 1990s - and their overall popularity has never really waned since. The band generally survived the 1990s, a famously difficult time for 'older' metal bands, and have essentially kept on keeping on ever since. They still regularly headline festivals and sell out stadiums the world over, and there are few metal fans who cannot claim to at least be a casual fan of the band's catalogue. It is this ever-presence and huge level of success that means that talking about Metallica rationally can be hard. Everything that the band has done since the early 1990s has been heralded and criticised in equal measure, and few albums have been poured over by die-hard fans and detractors alike as Metallica's recent offerings. That being said, and for my money, the band's recent efforts have been pretty decent. 2008's Death Magnetic is often criticised for its production quality, but the songs within are generally strong; and I listened to 2016's Hardwired...to Self-Destruct (which I reviewed here) quite a lot when it was released. In my opinion, Hardwired...to Self-Destruct, despite its bloat, which in truth has affected every Metallica album since 1991's seminal self-titled release, is likely the band's best since that aforementioned 1991 album - and it showed that they could still indeed thrash out like it was the 1980s, whilst still indulging in some more commercially-minded songwriting and a few longer-form pieces. One other criticism of modern-day Metallica, though, is the fact that they are not very prolific. Until last month, the band had not released anything new since 2016 - and any news relating to a potential new Metallica album had essentially become meme-worthy. This all changed late last year, though, when the band announced their eleventh album of original material: 72 Seasons. Following the release of a few singles, their latest opus was released in April - and the reviews have been predictably mixed. I have been listening to it on and off over the past few weeks, though, and generally have found quite a lot to like. The bloat is still here, as 72 Seasons is another 77 minute long album, but the strong material within is certainly worth any metalhead's time. I am not sure that the songs have grabbed me in the manner which the strongest cuts on Hardwired...to Self-Destruct did, but 72 Seasons feels a bit more cohesive overall. It feels like there are various themes running through the album, and the production is tight and heavy-sounding - with calls back to the overall sound of the self-titled release. It also feels more of a true 'band' album, with both guitarist Kirk Hammett and bassist Robert Trujillo making significant songwriting contributions - alongside the core writing team of frontman James Hetfield and drummer Lars Ulrich.

Despite the album's length, there is no slow build or scene-setting here. The title track pretty much opens things with a bang - with an old-school buzzing guitar rhythm setting an early pace, with the occasional drum punch adding colour. This buzzing sound soon explodes into a fast-paced riff, which is full of energy and is not too dissimilar from something which could have appeared on one of the band's early albums. The album packs a thrash punch from the off, then, with riffs which later resurface during the song's chorus, whilst the verses do slow things down somewhat and go for a more groove-based approach similar in tone to the self-titled album. Ulrich's verse drumming is simple but it perfectly locks in with Trujillo's prominent bass to create this groove, whilst the riffing throughout is tough. Hetfield has always sounded great vocally at all stages of Metallica's career, and he turns in another excellent performance here. His faster chorus vocals have an urgency to them despite retaining some strong hooks - whilst his rhythmic verse delivery only aids the groove-based approach further. The song is the second-longest here, though, so it does move away from the standard formula somewhat. There are a few breaks for Hammett to showcase some strong lead playing - and an early, blues-based section shines after the first chorus. His first real solo on the album, though, is lengthy and filled with lots of classic Hammett-isms. It is not as wah-drenched as it could be, but the licks and phrases are right out of his classic playbook, and this first solo is very memorable - with plenty of hooky melodies included. The mix of speed and groove throughout, with some furious double bass drum-led sections at times, is a good representation of what is to come throughout the rest of the album - and the title track does a great job of setting the tone, as well as establishing Metallica as a band who still have something to say. Shadows Follow opens in a similar manner, although some marching drums from Ulrich back Hetfield's snappy riffing, and the song builds from this base - before exploding with another tight mid-paced riff. Metallica have faced quite a lot of criticism in recent years for their production choices, but 72 Seasons sounds great in my opinion. The band have certainly gone for an old-school sound - with the bass pretty audible and Ulrich's drums having that 'clicking' sound which was present on many of their older albums. Shadows Follow showcases Greg Fidelman's production nicely, too, with Trujillo pounding away throughout the mid-paced verses - whilst a snaking pre-chorus makes the most of the two guitars to add weight, before transitioning into the punchy chorus which Hetfield soars above vocally. A subtle gang vocal-led section later harks back to some of the band's more anthemic moments, bridging to another excellent Hammett solo - which is packed with bluesy atmospherics and plenty of melodic phrases. With groove present throughout, too, the song is one that showcases Hetfield's trademark riffing style nicely - whilst adding plenty of hooks to latch onto.

Screaming Suicide feels more overtly-melodic from the off - with a big Hammett guitar lead taking prominence before a Thin Lizzy-esque harmony section then leads into the album's next big riff. Metallica have always been influenced by the NWOBHM, and the main riff here certainly could have been written in the early 1980s - with the verse it then leads into transitioning back to the self-titled album's style. This stronger focus on melody is retained throughout, though, and there is less focus on groove. The verses steam along at a decent pace, before a pre-chorus features Hetfield in a manner which only he could convincingly pull off. This pre-chorus is one of many big hooks here, before the chorus proper ups the pace somewhat and delivers another strong vocal refrain which lodges in the brain after only a handful of listens. Hammett's lead guitar is never too far away, with bluesy licks and faster melodies around every corner, whilst tougher riff-led sections later showcase the influence that Metallica had on the nu-metal scene which followed their heyday. Sleepwalk My Life Away opens with Trujillo's laying down a snappy bassline, over which a slow-burning riff and percussive pattern are laid - which builds towards another powerful mid-paced riff packed with groove. If the previous song eschewed groove somewhat, then this one reintroduces it in a big way. The slower overall pace of the track allows the grooves to settle nicely, and there is plenty of space in the mix for the bass. Metallica have famously been criticised in the past for mixing the bass so low that might as well not be there - but that is not the case here. Trujillo drives many of the album's best grooves - and the slow-burning Sleepwalk My Life Away is unsurprisingly one of the songs here which he co-wrote. There are a number of strong riffs here, each with a memorable bass accompaniment, and it is perhaps unsurprising that Hammett approaches the song in a very bluesy manner - although he also briefly adopts a neo-classical style during part of his main solo for a surprising change of pace. Despite the grooves, though, the vocals are not as hooky as they could be in my opinion. The chorus is not as memorable as many of the album's others, which is a shame as the overall riffing here is memorable - and some stronger vocal hooks would have likely pushed it to the next level. You Must Burn! is another more mid-paced track, but it feels heavier overall than the previous song - with a punchier drum performance throughout and a stuttering main riff that injects a slight doom edge. Whilst the song is not a doom track, this more deliberate pace is retained throughout - with grooves generally left behind to allow for some more old-school heaviness. Metallica have always worn their influences on their sleeves, and there is definitely a Black Sabbath vibe present throughout this song - with Ulrich's heavy-handed drum performance adding some welcome punch. This Black Sabbath feel is later expanded upon during a slightly murky bridge section. Hetfield's vocals have some effects on them here to create a slightly psychedelic edge, which is different from the norm, and this portion of the song leads into another excellent Hammett solo which is lengthy and suitably bluesy. The chorus is stronger than the previous song’s effort, too, and the overall heaviness of the track allows it to stand out.

The next song speeds things up considerably, though, and really relies heavily on the aforementioned NWOBHM influence. Lux Æterna is the album’s shortest song, and it is also the most thrashy – with plenty of double bass drumming and snappy riffing. It was the first single released from the album, too, and it set the tone nicely for what was to follow. I really like how relentless the piece is, and it harks back to an energy which Metallica’s songs do not often have these days. Ulrich’s drumming is relentless, and the riffing is very much out of the Brian Tatler (there is even a reference to Diamond Head’s Lightning to the Nations in the lyrics) school of pace and energy. There are songs here which are more interesting from a construction standpoint, but for pure energy and excitement then few are better than Lux Æterna – and it perfectly showcases that Metallica can still rock out with the best of them. Crown of Barbed Wire returns more to the mid-paced sound which generally characterises much of the album, but a strident drum performance from Ulrich helps it to stand out. Some portions of the song are pretty groove-laden, with a simple backing and plenty of bass, whilst other sections feel more staccato and heavier – leading to a varied piece that feels like it covers a range of Metallica’s multitude of approaches. Throw in a strong chorus, and the song’s mix of snaking grooves and punchy riffing justifies its length. I particular like the fairly lengthy instrumental section part-way through, too. It starts off by showcasing a couple of big riffs, set against some punchy drumming, before Hammett gets another chance to show off with a big solo and plenty more melodic licks. There is a lot to like about the song, and for me it is one of those which has really grown on me over multiple listens to the album. Chasing Light is similar, but ups the pace overall and goes for a more urgent approach – as well as upping the ferocity a little. Metallica have occasionally had a bit of a punk edge to their sound, as is often the case in thrash, and there are moments throughout this song which feel quite punky. Much of the song is filled with classic Metallica grooves, with some of Hetfield’s riffs snaking away in a typical manner, but the chorus sees things speed up somewhat – with some rawer vocals from Hetfield accenting his more traditional approach elsewhere. This chorus feels somewhat punky, then, but it still retains Metallica’s usual approach to melody. The urgency does help it to stick in the brain, though, and the song is one of the album’s most pulsing as a result. Hammett’s guitar solo reflects this, too, and he generally leaves behind the bluesier phrases here for something pacier – with some excellent shredded melodies which only add to the song’s overall urgency.

If Darkness Had a Son is another song which has significantly grown on me since first hearing it. It is one which returns to the groove-based approach of the album’s early few songs, and it also contains one of the album’s best choruses in my opinion. It may not be one of the most overtly-hooky pieces here, but after a few listens it is a song which really settles in nicely. There is a lot of room for Hammett to breathe here, which is unsurprising as he co-wrote the song, and it is another piece which seems to have a lead or melody from him around every corner. His lengthy solo is another winner, too, and is packed with hooks – but the best moment in the song for me is the chorus. There are more blatant and anthemic moments throughout the album, but the melodies really make the most of Hetfield’s trademark growl. No-one sounds like him when he is firing on all cylinders – and his chorus vocal delivery here is one of the album’s best. He snarls his way through the slow-burning hooks with ease, and after a few listens those snaking grooves are lodged in the brain where they should be. Throw in a few old-school stabbing riffs and some more cutting guitar leads and If Darkness Had a Son is one of the album’s true sleepers – and it has become a real favourite of mine. Too Far Gone? Ups the pace again, and returns to some of the energetic riffing styles which opened the album in such style. Whilst not as urgent as the album’s fastest moments, the song is one which really goes for it – with Hammett often turning up to shred atop Hetfield’s tight, snappy riffing. Trujillo’s bass thunders away in the background, too, and due to the number of times that Ulrich hits his snare during one of his many simple fills it is surprising that it was still standing by the end. Despite this simplicity, there are still a few twists and turns to enjoy. Hetfield’s riffing occasionally morphs into a smoother rhythm, adding some dynamics, whilst him and Hammett also sometimes team up for some more Thin Lizzy-esque moments – adding additional melody and groove into what is otherwise a pacy thrash metal anthem. The chorus is simple, too, but effective – and the song is one that focuses more on overt melodies than some of the others do, with riffing, vocal hooks, and shredded guitar leads taking priority over everything else. Room of Mirrors retains the overall pace of the previous song, but looses some of the simplicity and goes for a more all-out thrash approach crossed with some more groove-based sections. The pace is overall high, but injections of slower riffing add colour. With much of the album being made up of fairly mid-paced, crunchy songs; having two faster pieces towards the end of the album helps to retain interest. This is a long album, and in truth would have likely felt stronger if it was shorter despite none of the songs here being genuinely weak, so it is important that the band keep changing up the pace to keep things interesting. A couple more pacy moments throughout would not have hurt – but this focus on pace towards the end of the album certainly helps to grab the listener again following a handful of more plodding pieces. The slower moments throughout this song only serve to make the thrashy sections sound heavier and faster – and the use of more twin-guitar leads occasionally throughout adds more melody. Twin-guitar leads are not used often enough by Metallica in my opinion, but they shine during certain sections of this song – showing that Hetfield and Hammett have always been a guitar duo that have worked well together.

The album then drops its recent love of pace and closes out with the lengthy, mid-paced, and groove-laden Inamorata. It is the band’s longest ever song at over 11 minutes, but it generally retains the interest throughout – with an excellent recurring chorus providing an early earworm. It was mentioned earlier how no-one really sounds like Hetfield vocally when he is at his best, and the chorus here is a great example of that. His melodic roars are like no other, and the way he snarls the mid-paced chorus is unique to him – with the band’s precise grooves only enhancing the melodies. The song is generally quite one-paced, which could work against it given its length, but I actually like how reliant on its grooves it is. It really hammers its rhythm home, but there are moments that vary things somewhat. Hammett’s lead guitar moments add additional melody, whilst a great slow-burning moment sees the band adopt a ballad-esque approach briefly. There are no ballads here, but the section here which sees the band drop away to leave Trujillo’s whimsical bass alone with some delicate guitar melodies, which Hetfield later sings over, is welcome and adds some beauty to the piece – before the band gradually beef the song up again, leading into some more excellent twin-guitar leads. The interplay between Hetfield and Hammett throughout this section is excellent, ranging from delicate to explosive – and when the doomy riffing that characterises the rest of the song kicks back in the previous deviation has done its job to spice things up. The chorus soon returns, too, but this time it is stretched out and played around with somewhat – with Ulrich changing up his drumming approach to make it feel more vital in the song’s final section, before Hammett closes out the album with one last lengthy, shredded guitar solo. It ends the album on a real high, and the lengthy track shows that Metallica’s songwriting abilities have not really diminished over the years. Whilst the album is probably a couple of songs too long, given the general overall strength of the material here I doubt that there would be a consensus over which songs to cut. There is a lot to like here, and it is always great to see veteran bands still writing strong and engaging material. In my opinion Metallica’s recent run of albums has been strong, and I can see 72 Seasons getting a lot more love from me over the coming months. A bit more pace throughout would have been nice, but the strong grooves here are generally infectious – and Hetfield continually shows why he is often considered as one of the best vocalists and riff-writers in metal.

The album was released on 14th April 2023 via Blackened Recordings Inc. Below is the band's promotional video for Lux Æterna.

Ad Infinitum's 'Chapter III - Downfall' - Album Review

As I have mentioned a few times on this blog over the past few months, in recent years I had somewhat moved away from power and symphonic metal. Whilst I kept up with my main favourites, my knowledge of the wider genre waned - meaning that I have missed out on some big releases in recent years, as well as entire catalogues. One such band that I was largely unaware of until recently was the Swiss symphonic metal act Ad Infinitum - which formed back in 2018 around frontwoman Melissa Bonny. Despite not being all that clued up on Ad Infinitum, I had heard of Bonny. I remember her touring with the Austrian power metal band Serenity at one point, as a guest live singer, and she has recently also done the same with Kamelot - as well as appearing on their excellent new album The Awakening (which I reviewed here). I recall that Ad Infinitum recently toured with Amaranthe, too, but it was Bonny's involvement with Kamelot that finally made me sit up take notice. Kamelot have often employed guest female singers, both live and in the studio, and they have a knack for working with the best. Considering that this was the second time that I had become aware of Bonny, as I had not heard any of the previous bands which she had been a part of, I decided it was time to properly check Ad Infinitum out. Around the time that Kamelot's new album was announced, I also noticed that Ad Infinitum were due to release one. I checked out one of the lead singles, and was immediately impressed by the band's concise, catchy sound. I pre-ordered the album, Chapter III - Downfall, and have been enjoying it quite a lot since it was released at the end of March. Unsurprisingly given its name, Chapter III - Downfall is the band's third album - following Chapter I - Monarchy in 2020 and Chapter II - Legacy in 2021. There also exists a fully acoustic version of the band's debut album, too, so Ad Infinitum have been extremely creative in a short space of time. They clearly used the COVID-19 pandemic wisely, releasing two albums during that time - and then getting out on the road when they were able to last year. I have not heard the band's previous albums, but if the quality of Chapter III - Downfall is anything to go by then I have been missing out. Whilst Ad Infinitum are certainly a symphonic metal band, they are not as bombastic as most. The string arrangements and orchestrations are ever-present, courtesy of Elias Holmlid (Dragonland), filling out the band's sound - but Ad Infinitum have a much more guitar-centric approach. The songs are generally short and to the point, with a big focus on Bonny's vocal hooks and the great guitar riffing of Adrian Thessenvitz - which at times strays into modern tech metal territory. Despite the big focus on hooks, though, the band are not as poppy as a band like Amaranthe - and there is not generally a focus on synths. Ad Infinitum certainly have their own sound, then, and they feel like a bit of a breath of fresh air when it comes to symphonic metal.

Most of the songs here are very catchy, but the album opens up with a few of its hookiest. Eternal Rains kicks things off, and it wastes no time in establishing the band's core sound. A brief symphonic flourish opens things, but a mid-paced riff soon takes over - and the song becomes a hooky, crunchy number from the off. The verses are pretty simple, with a grinding riff sitting atop a simplistic groove - but this allows Bonny to establish herself early on. She is a diverse singer and able to deliver harsh vocals, but she generally sticks to her clean voice - only using harsh vocals sparsely. The transition between the verses and chorus makes use of some briefly for effect, but in general she soars. The chorus sees her at her best, with her vocal hooks instantly lodging themselves in the brain - whilst orchestrations add depth. The great thing about this album, though, is how prominent the guitar playing is. All too often the guitar is buried on symphonic metal albums, but Thessenvitz gets plenty of opportunities to shine here - and his melodic solo adds a lot to the song with its twisting melodies. Upside Down is somewhat similar, but arguably poppier. It is a song that goes all out for hooks, and the heaviness is somewhat stripped away - to allow for a pulsing verse that makes use of some off-kilter drum grooves from Niklas Müller. Bonny's smooth hooks shine against this less involved backing, but Thessenvitz still makes his presence felt in the song. Later verses feature more riffing, and the chorus is bigger - with plenty of riffs to back to the soaring vocal hooks. The song is potentially the album's catchiest, so it is unsurprising that it was released as a single. I can see it becoming a live favourite for the band going forward - and another brief Thessenvitz solo adds a little tech metal wizardry in what is otherwise a poppy track. Seth slows the pace down from the catchier previous track, going for a more mechanical, guitar-based groove which also makes use of some Eastern-sounding strings. The guitars drive everything here, Thessenvitz's riffs grinding away throughout, but the strings and synths are also more prominent. Melodic synth stabs create a stronger symphonic sound, and the song feels a bit more typically 'symphonic metal' as a result. The synths and strings are not as lush as they could be, though, which suits the tech metal riffing found throughout. Korbinian Benedict's bass playing is also pretty prominent, which helps the song's muscular tone shine - but there are still plenty of hooks here. Bonny's chorus melodies are infectious, but they feel more cinematic in scope this time - and the song in general just feels much bigger and more involved than the hooky opening one-two punch. From the Ashes feels pacier, with some double bass drumming from Müller, but this speed is something of an illusion - as the track is generally a pretty strident mid-paced number. Thessenvitz's opening guitar lead soars, adding an early hook, whilst the verses revel in their stripped back arrangement - with Benedict's bass pushed to the fore. The bass playing drives parts of the song, whilst the guitar leads from the intro return occasionally for added depth. The chorus retains the more cinematic sound of the previous song, too, and it builds from a short synth-led section which then explodes into something more typical of the band's hooky, hard-hitting sound.

Somewhere Better goes for a similar approach, opening with some excellent guitar leads, but the tone overall feels a bit more dynamic. The intro leads and groove retains a cinematic sound, but this drops away as soon as the first verse kicks in. Much of the verse is very low key, with Bonny singing against a backing of gentle synths. Whilst there is still a pulse to these synths, the band in general are absent here - and Bonny's voice is left to shine - before the instruments do return on the build up to what is another strong chorus. The slow-burn of the verses is welcome, then, and it helps to move the band away from the simpler approaches takes elsewhere. It shows a different side to the band's songwriting, and it allows Bonny to sing in a gentler, more emotionally-charged way - before returning to something more epic for the riffier chorus. The slower pace also allows for a some spacey guitar leads from Thessenvitz - and his solo here is rather low key - injecting some old-school progressive rock vibes briefly into the album. The Underworld ups the pace again, and returns to the more mechanical riffing style which served the band so well during the early parts of the album. The heaviness returns as a result, and the pacy rocker has an urgency to it - whilst still retaining plenty of hooks. Thessenvitz's riffing here has a strong djent vibe at times, but there is still a smoothness to the overall arrangement - particularly during the chorus which shines as always thanks to its poppy melodies. It is one of the hookiest choruses here, but there is still plenty of heaviness thanks to the occasional burst of harsh vocals - which are also made use of more prominently during the verses. The mix of clean and harsh vocals adds to the overall heaviness, as does a riffy breakdown section which then explodes into another excellent guitar solo. Ravenous returns to a more cinematic sound, and opens with a big lead line which actually has some folky overtones. Ad Infinitum do not generally go in for folky sounds, and this is certainly not a folk metal song, but there is something Celtic in the track's main melody line. Not much is made of this, though, although Bonny does occasionally include the odd folky wordless vocal chant throughout the verses, with the song in general being a strong mid-paced rocker with more of a synth presence and a bit less of an overall focus on prominent riffing. This changes part-way through, though, with harsh vocals taking over and a breakdown section upping the heaviness compared to the synth-heavy verses. The song does just enough to shake up the overall formula and keep the album fresh, but the band's core sound is still very much present. Under the Burning Skies slows things down quite considerably, and opens in a gentle manner - with Bonny singing alone against some strings. Unsurprisingly her vocal delivery here feels more emotional in tone, expanding in scope as the choruses is reached - which feels more dramatic despite the string-led arrangement. The band join in after this, though, but the song retains is ballad status with the instruments adding groove rather than anything more expansive. Later chorus iterations feel much bigger, though, and the cinematic vibes of earlier songs certainly shine during this orchestral arrangement - pushing the melodies and atmosphere of the song to the fore.

Architect of Paradise returns to something more riff-based and upbeat, with Thessenvitz's snappy riffing driving everything from the off - but the verses are another moment which see a more bass-led arrangement. The prominent bass playing during the verses helps the band's overall mechanical style to shine, and the punchy drumming accentuates this. The verses are quite staccato in tone, which goes a long way to re-establish the band's tech metal credentials after the previous ballad. In some ways, this song could be the most tech metal-inspired here. Lots of the riffs are stark and djenty, with another big breakdown section going all-in for that sound - with Bonny's harsh vocals once again making an appearance. A big chorus brings the hooks, though, and the song is another good mix of pop and metal. The Serpent's Downfall is another good mix of sounds, but this time something more organic is attempted. The opening riffing is typical of the band's sound, but the verse then slips into something different - with acoustic guitars in the mix as well as a bass sound which is not as growling as it has been elsewhere. This approach, combined with symphonics which are more overt and traditional, helps to create a sound which is much grander and more 'symphonic metal' than the band generally are. The chorus is possibly the album's grandest moment, with the strings sounding huge and really adding a lot to the overall approach. The riffing is less grinding here, too, save for a breakdown section, which brings more typical symphonic metal to mind - although Thessenvitz's solo is typically busy, adding his tech metal approach to the lusher overall track. New Dawn retains the acoustic guitars of the previous song, and opens in an atypical manner, before a slower soaring guitar lead kicks in. The song is another with ballad-esque vibes, although this track certainly soars higher than Under the Burning Skies - with a more dynamic arrangement present. The first verse is acoustic-led, maintaining the opening's organic nature, whilst the chorus is tougher - with big riffing and some heroic Bonny vocals. The song is very bright-sounding, and this is helped by the more organic approach taken. Occasional piano notes add colour, whilst a slow-burning guitar solo later sits against a pulsing synth backing - before exploding into something busier when the band crash in. This leads nicely into closing number Legends, which opens with some spoken word courtesy of Chrigel Glanzmann (Eluveitie). The song builds on the bright sounds of the previous song - but goes for a more typical symphonic metal sound with plenty of soaring strings and lots of excellent guitar leads. There is less of a mechanical sound here, with the riffing overall feeling warmer - whilst Müller's busy footwork creates some great power metal rhythms. Befitting the rest of the album, the closing chorus is another winner - and it feels massive thanks to the string arrangement. The strings in general are huge here, but they are stripped away for one last breakdown section - before returning for the last chorus to close out the album. Overall, this easily-digestible album has been getting a lot of love from me over the past month or so - and with the amount of hooks it is easy to see why. Sometimes symphonic metal can feel a bit bloated, but the sleek approach taken here allows the hooks to shine. There are more progressive bands out there, but for something more melodic and riff-based then Ad Infinitum are ones to watch out for - and I will certainly be going back and picking up the rest of their albums.

The album was released on 31st March 2023 via Napalm Records. Below is the band's promotional video for Upside Down.

Night Demon's 'Outsider' - Album Review

I find it fascinating that, more than 40 years after it first hit, the NWOBHM movement is still having a significant influence on metal today. I am not talking about its indirect influence, tracing the threads back from modern bands until they reach the NWOBHM - but the very direct influence that the genre has been having on a rather large scene of newer bands playing metal in a manner very similar to that of the great and small of the original NWOBHM movement in the early 1980s. This recent movement of traditional metal has been on-going for sometime really, emerging with bands like White Wizzard in the late 2000s, but the scene seems to be flourishing currently - particularly in America. In truth, and to my shame, I am not all that clued up on it. It is likely that there are many excellent bands that I am not aware of, but one that I am familiar with is California's Night Demon. The three-piece have been active since 2011, and released and EP and two studio albums between 2013 and 2017 - establishing themselves as one of the leading lights in this new metal scene along the way. For whatever reason, though, Night Demon became fairly quiet on the studio front after the release of 2017's Darkness Remains. I am not sure what put the brakes on the band releasing new material, but it may have had something to do with the reactivation of Cirith Ungol in 2016. Jarvis Leatherby, Night Demon's frontman and bass player, has been a member of the reactivated Cirith Ungol since 2016 - so it could be that Cirith Ungol's activity somewhat led to Night Demon taking a back seat. The COVID-19 pandemic likely did not help either, but 2020 actually saw some activity from Night Demon - who released a few stand-alone singles throughout the year, and this mix of originals, covers, and live recordings were compiled as part of the Year of the Demon collection released last year. With a new record label behind them, it seemed that the time was right for Night Demon's third album - and this was finally released last month, six years after the release of Darkness Remains. Whilst I like Night Demon, I would not call myself an expert on them. I like both of their previous albums, but their latest release Outsider does seem to have attempted something different. For one thing, Outsider is a concept album - telling the story of a gravedigger named Johnny. The album's booklet contains the whole story, told track-by-track, whilst it also unfolds throughout the album's eight songs and 30-odd minute run time. Outsider is a short album, then, but this is not a bad thing in my opinion. So many albums in recent years could have been improved by losing a song or two, so Outsider definitely leaves the listener wanting more. Despite the short length, though, the sound throughout the album is generally more progressive than what Night Demon have done before. There are songs here which are very much NWOBHM in style, as is to be expected, but there is also a stronger doom influence, a lot more atmosphere, and even passages which recall the vibe of bands like Mercyful Fate. As such, there is a lot to digest here - and the album's short length makes this easier. Whilst Leatherby remains the only original band member, he is once again joined here by long-time guitarist Armand John Anthony and drummer Dusty Squires - both of whom played on Darkness Remains.

The album gets underway with the largely instrumental Prelude, although Leatherby's vocals do kick in towards the end before it transitions into the album's title track. Prelude opens with a pulsing synth, before a melodic bassline joins in - creating quite a foreboding atmosphere. Simple piano chords are soon added to the mix, and the piece slowly builds up around these sounds. Synths and guitar swells add to the atmosphere, and Squires' drums are finally brought in to create a mournful beat. The piece works well to set the tone for what is to come, but when the album transitions to its title track the Night Demon fans know and love come to life. Outsider is a fast-paced track, opening with its heralding chorus, before a simpler verse kicks in - built around a pulsing bassline and some juddering power chords. Leatherby's voice is perfect for this kind of music. He is not a perfect singer, but his voice is full of character - and the chorus comes alive thanks to his anthemic delivery, with the rest of the band harmonising. The chorus sounds nice and big, then, with Squires often throwing in a busy roll to add further character. Despite the general anthemic approach taken throughout, the song takes a few twists and turns. The second verse ups the pace, with some thrashier riffing from Anthony, whilst a doomy bridge slows the pace significantly - before Anthony takes over with a melodic guitar solo. Prelude and Outsider feel like one longer song, with the atmospheric build-up and the punch of the song itself opening the album in fine fashion. Obsidian follows, opening with a snappy Anthony guitar line - which soon gives way to a riff that could have come from an early Diamond Head album. There are shades of the song Lightning to the Nations in the riff's structure and melodies, and Obsidian itself is generally a pretty speedy piece, with busy Squires drumming and plenty of guitar interest from Anthony. Leatherby's vocal approach is a bit rougher here, allowing a throatier sound to permeate the punky verses - whilst the chorus is more melodic overall thanks to Anthony's guitar hooks and some subtle vocal harmonies. It is the sort of song that is easy to latch onto, with the heroic chorus melodies swimming around the brain - and Anthony's guitar solo later provides plenty of strong hooks, too. Beyond the Grave, following the previous two more traditional pieces, opens slowly. Leatherby's bass rings out, before he launches into a busy, yet relatively slow, bassline - which is soon joined by a doomy riff. The energy of the previous two songs is absent here, with the opening verse largely leaving Leatherby's mournful voice alone against some simple synths and the occasional note from the bass. Chiming guitars join in towards the end, building towards a heavier chorus - which reprises some of the doomy riffing from earlier. Leatherby's opening bass riff resurfaces here, and Anthony's guitar playing is warm, yet relatively heavy. The later verses are never as sparse as the song's opening, but they remain relatively low key - allowing the overall atmosphere to dominate. Even the heavier moments tend to be more atmospheric - and Anthony's first solo is more bluesy in nature, before a later solo ups the pace and introduces something more typical of the band's NWOBHM roots.

Rebirth then returns to something more typical of the band's usual sound. Squires' opening hi-hats give a raw edge, whilst Anthony's opening guitar hook balances melody and sharp riffing nicely. Whilst the previous song focused more on atmosphere, Rebirth is classic NWOBHM. The verses steam along at a decent pace, creating a strong groove - whilst Leatherby's expressive vocals provide plenty of hooks. The chorus reprises Anthony's opening hooks, whilst expanding further on the vocal arrangement. The chorus feels a bit more anthemic here, with Leatherby really giving it everything he has - with his howled melodies sitting nicely atop Anthony's melodic guitar. The pace is slowed during an instrumental section, which sees a growling bassline backing a shredded guitar solo, but in general Rebirth is keeps the pace up. This can also be said about Escape from Beyond, which is likely the heaviest track here. Anthony's opening guitar riff grabs from the off, whilst Squires' drumming ups the ante somewhat - going for the throat with a punchy beat. This is maintained throughout the verses, although the riffing is paired back to allow the vocals to shine. Anthony's guitar accents are sharp, though, with the occasional drum barrage from Squires adding depth. The chorus sees the pace slow slightly, with a somewhat more epic and atmospheric approach taken. This works well, and the pace is not slowed enough to lose the overall heaviness. It just serves to make the song more interesting - with some of that Mercyful Fate influence on show here. The penultimate number A Wake slower, acting as a bit of a ballad before the closing track. Anthony's arpeggiated guitar melodies provide a melodic backing for Leatherby's voice - with his vocal delivery being pretty mournful and exposed, especially early on. The song does build somewhat as it moves on, but it always feels on the slow side - despite Squires adding some punch during the chorus. Some neo-classical guitar leads towards the end add some spice as the song transitions into The Wrath - the album's closer and the longest piece here at over seven minutes in length. It opens relatively slowly with some clean guitar melodies. Leatherby continues his mournful vocal approach from the previous song initially, but this does not last long - as a big riff soon kicks in, and the song moves up a gear. Bigger riffing tends to dominate from this point on, but the song is generally quite dynamic. It is the most progressive-sounding piece here, and it does a good job of mixing strong atmospheric sections with heavier riffing. It is the sort of song which pulls something from everything that has come before it on the album. There are speedy NWOBHM moments which are up there with some of the album's most aggressive moments, with the chorus falling into this category, whilst other sections are drenched in horror aesthetics - with plenty of keyboards adding depth. The transitions are snappy and the song feels natural whilst moving through these sections - with Anthony's fast-paced guitar solo being one of the album's best. The song ends the album on a high, and the short rollercoaster ride is one that will certainly please fans of retro metal. Whilst the album is rooted in Night Demon's influences, it does feel different from the band's previous work - and the progressive leanings are certainly welcome. There is a lot to like here, and its digestible nature makes it easy to return to.

The album was released on 17th March 2023 via Century Media Records. Below is the band's promotional video for Outsider.