Steve Hackett - Plymouth Review

Those who know me well will know that Genesis have never been one of my favourite bands. As someone who considers themselves to be a prog fan, not being that familiar with Genesis was always something of a black mark that I 'awarded' myself. I had tried a number of times to get into the band properly, but for whatever reason they always left me cold. This all changed last year however, and for some reason some of the band's early work started to gently resonate with me. I decided to push forward with my Genesis discovery as a result, and over the past year I have really become familiar with much of the band's 1970s output. I am yet to fully explore the band's 1980s (and beyond) albums, but their 1970s work is now a part of my musical rotation. I am not sure why they left me cold previously, but my occasional persistence has paid off - and I now understand what all the fuss is about. Coincidently, the Genesis albums that I now consider myself a fan of all feature the guitar genius of Steve Hackett. Much is made of the band's Peter Gabriel era, or the Phil Collins era, but for me the era that matters the most is the Steve Hackett era. Hackett featured on six studio albums, and two live albums, as a member of the band - with his tenure lasting from 1971's Nursery Cryme to 1977's Seconds Out. This era, for me, was Genesis' golden period. This covers their most progressive work, but also showed the band to be great songwriters and conjurers of a good melody. Much of Genesis' output from that era is as catchy as it is intricate, and it is not hard to see why they are held in such high regard by many a prog band to follow in their wake. Hackett left Genesis in 1977 however, as he had grown tired of his role in the band - and he wanted to strike out on his own. He has remained true to his word in this regard too as, bar a couple of collaborations with Steve Howe and Chris Squire, Hackett has been his own man since 1977. He has released a wealth of solo albums covering different styles since leaving Genesis - but he also likes to keep his Genesis legacy alive. The last decade or so has really seen Hackett reconnect with his past, and a lot of his tours have featured setlists dedicated to particular Genesis albums - while still showcasing his lengthy solo catalogue. His latest tour, which stopped off in Plymouth yesterday, is showcasing Genesis' seminal live album Seconds Out - with a full performance of the classic release. I only bought my ticket for the show a month or so ago, but I think that it had been postponed at least once due to the COVID-19 pandemic. I had not really followed Hackett's progress previously, but with my newfound love of early Genesis and a local show on the tour it seemed like the perfect opportunity to take the plunge.

The concert took place at the underused Pavilions in Plymouth - a large venue that has suffered over the years from something of an identity crisis as well as poor sound. As such, despite living in or near Plymouth for most of my life, I have not visited the Pavilions very often. The sound system has certainly been upgraded in recent years, but it still fails to regularly attract much in the way of hard rock, metal, or prog - which is a real shame. It was great that Hackett decided to bring his tour to Plymouth however, and the healthy turnout showed that there is a crowd here in the South West for music such as this. There were some empty seats, but on the whole the venue was busy throughout the evening - which contributed to a great atmosphere throughout. One thing that I noticed too was just how respectful the crowd were. You could hear a pin drop while the music was actually playing, which was really welcome - especially being a Fish fan. There was no support act, but Hackett somewhat acted as his own support band. He hit the stage at bang on 7:45pm, and launched into a short five-song set that showcased some of his solo albums. He explained following the knotty opening instrumental piece Clocks - The Angel of Mons that he was going to play the crowd a few solo cuts, before taking a short break and coming back for a full rendition of the expansive Seconds Out. This meant that the crowd got well over two hours of music from Hackett and, although Seconds Out was what everyone was there for, the first set went down well. Two songs from his latest album Surrender of Silence were performed, with the second offering from that disc, The Devil's Cathedral, being particularly great. The lengthy piece was a real showcase for Hackett's excellent band - many of whom having been touring with him for years at this point. The song opened with a gothic-tinged instrumental section from keyboardist Roger King and multi-instrumentalist Rob Townsend (who moved between various saxophones, flute, keyboards, percussion, and even bass pedals all night), before it morphed into a somewhat jagged rocker that featured the excellent vocal talents of Nad Sylvan. The Devil's Cathedral was the first song of the night to feature Sylvan singing alone, as the other solo cuts chosen were either instrumental or sung by the whole band in a somewhat choral style. Sylvan would of course feature much more prominently later, but it was great to hear him sinking his teeth into the gothic cut - before Hackett launched into one of the evening's many spacy solos. The first set then came to an end with the closing instrumental section of the epic Shadow of the Hierophant, which was essentially a showcase for Hackett's fluid and atmospheric guitar playing. This rounded out the first part of the evening nicely, and there was plenty of applause as the band left the stage.

Following a period stood up, to get a break from the venue's awful chairs, the lights went down again and the band trooped back out. Hackett's introduction of what was to follow was pretty understated - but the performance was not. The whole of Seconds Out, with the addition of one song and full versions of some of the songs opted for over the album's truncated renditions, was played by the band masterfully - with all of the six guys on stage really doing their bit. Sylvan is a great singer for Hackett's band, as he is able to sing both Gabriel and Collins' parts well. He sounded strong throughout, but particularly came alive for me during the jaunty Robbery, Assault and Battery - which also featured some excellent keyboard playing from King. The set's first two songs were also strong, but for me it was Robbery, Assault and Battery that stole the show early on. Squonk could have done with a little less saxophone for me, as Sylvan seemed to be competing against it throughout, and the moody The Carpet Crawlers was soon aped by a stunning rendition of the delicate Afterglow. This was another vocal showcase for Sylvan, while Hackett's guitar arpeggios rang through the venue. It was during Afterglow too that the lighting rig that was set up to mimic the Seconds Out album cover was first utilised, which added some extra poignancy to the piece. A string of classic Gabriel-era tracks followed. Firth of Fifth was a powerhouse piece, from King's opining piano salvo to Hackett's lengthy, trademark guitar solo. It has always been a favourite of Hackett's to play live, and the crowd's reaction explained why. It was easily one of the highlights of the night; while the following I Know What I Like (In Your Wardrobe) proved to be the night's wackiest cut with its strange semi-spoken word delivery and chaotic instrumental section that featured lots of Townsend's saxophone. The pompous The Lamb Lies Down On Broadway, with a lengthy coda from The Musical Box, was another strong moment - but I think the song that everyone was waiting for was Supper's Ready. The 23-plus minute epic has always been a crowd favourite, and the multi-part song went down a treat. It started out gently, with Hackett and bassist Jonas Reingold both playing guitars (as is common with early Genesis), but the song soon moved through many different sections - with each one shining the spotlight on a different band member. Sylvan really owned the song vocally, but drummer Craig Blundell also deserves special mention - especially for his performance during the chaotic ending sections. It was left to the smoother The Cinema Show, and the short Aisle of Plenty which was not on the original album, to close out the main set. Supper's Ready may have been a better closer in truth, but the original album running order was being respected so it made sense - but the standing ovation that Supper's Ready received may have been better for the band to walk off to. There were two songs from the album left at this point however, so the band came back for rousing versions of the majestic Dance on a Volcano and the frenetic instrumental Los Endos to finish the night off - with a drum solo from Blundell in between. Los Endos included a snippet of Hackett's own Slogans, and the instrumental piece was a powerful way to end the lengthy show. The band received another standing ovation at the end, and they looked very pleased with the reactions of the strong Plymouth crowd as they took their final bows and left. The setlist was:

Clocks - The Angel of Mons

Held in the Shadows

Every Day

The Devil's Cathedral

Shadow of the Hierophant

-

Squonk [Genesis material]

The Carpet Crawlers [Genesis material]

Robbery, Assault and Battery [Genesis material]

Afterglow [Genesis material]

Firth of Fifth [Genesis material]

I Know What I Like (In Your Wardrobe) [Genesis material]

The Lamb Lies Down On Broadway [Genesis material]
The Musical Box [Genesis material]

Supper's Ready [Genesis material]

The Cinema Show [Genesis material]

Aisle of Plenty [Genesis material]

-

Dance on a Volcano [Genesis material]

Drum solo

Los Endos [Genesis material]/Slogans

It was great capping off my recent conversion to Genesis with a live rendition of Seconds Out courtesy of Hackett and his excellent band. I had heard many good things about Hackett's live shows over the years, but not being a Genesis fan at the time I made little effort to actually confirm that it was true. This was to my detriment, but I have been really enjoying getting acquainted with Genesis, and some of Hackett's solo work, over the past year. I glad that I took the punt on tickets for the Plymouth show too - and it was great that Hackett brought the Seconds Out show down to the South West. Too many bands miss the South West out of their touring schedules, but Hackett was greeted by a strong crowd - and a good time was certainly had by all.

Mostly Autumn's 'Graveyard Star' - Album Review

Regular readers of this blog will know that the York-based progressive rock act Mostly Autumn are one of my very favourite bands. I have seen them live over 40 times, and they were also the very first band that I ever saw in concert back in 2006. It is fair to say that they are an extremely important band to me, which means that a new album from them is always a real event in the musical year. Luckily for their fans, Mostly Autumn have been a fairly productive band over the years. Despite the fact that most of their albums are quite long (with their customary limited edition double disc releases lengthening them further), the band have generally stuck to a two-year album cycle - at least in recent years. This means that a new Mostly Autumn album is never too far away which, when combined with the overall high quality that permeates through much of their catalogue, means that following the band is always exciting. I also like the fact that the band are quite old-school when it comes to their new releases. I think it is fair to say that the band have never been great at using the internet to their advantage, but this means that there is a certain amount of mystique surrounding their new albums. There are never any songs released online prior to an album's release, and usually the only information that the fans have is the album cover and the tracklisting (especially those of us dedicated enough to purchase the aforementioned limited editions direct from the band to help finance the recording process). Listening to a new Mostly Autumn album for the first time is always something of a deep dive as a result, but for me it really works in the band's favour. It is rare to have such an experience these days without really going out of the way to ensure that it happens, and the first play of a new Mostly Autumn is always something of a ritual for me. This is a ritual that I once again performed back in August when the limited edition of the band's latest album Graveyard Star was pushed through the letterbox. Graveyard Star follows relatively hot on the heels of 2019's White Rainbow (which I reviewed here) - an album which has become one of the band's very best for me. In fact, it could very easily be argued that the band's recent run has produced their best work - starting with 2014's ambitious concept album Dressed in Voices (which I also reviewed here). My first couple of listens to Graveyard Star made me wonder if this streak was about to be affected somewhat, but the album has really opened up to me in recent weeks - in a similar fashion to how White Rainbow did actually. Mostly Autumn albums usually need a few listens to fully appreciate, but Graveyard Star took longer than most to reveal its secrets - at least for me. Mostly Autumn albums are often dark, but Graveyard Star is one of their darkest yet in places. It is something of a concept album too, but in a fairly loose sense - with all of the songs dealing with the feelings associated with different stages of the COVID-19 pandemic. This makes the album very relatable, but as mentioned there is a lot to take in - both musically and emotionally. It is a real mood album, and it is possibly one of the most atmospheric albums that the band have put together - although there is still plenty of soaring guitar from bandleader Bryan Josh throughout; as well as the folky, poppy melodies that Mostly Autumn have become known for over the years.

I think that one of the reasons that the album took quite a few listens for me to appreciate is the fact that I found the opening title track difficult to get into - at first anyway. It is one of two lengthy tracks here, and at first it did not really hang together for me. Mostly Autumn have written lots of long songs over the years, but Graveyard Star felt a little stitched together - which meant that the album's opening felt somewhat disjointed. I have grown to like the song a lot now however, despite some of the in-song transitions still feeling a bit jarring, and once the track made sense for me the whole album really fell into place. One thing that struck me from the off about the album's title track is just how synth-heavy it is - especially early on. The album's opening moments are characterised by dense, spacy keyboards, likely from founding keyboardist Iain Jennings, before chiming guitars and some subtle violin courtesy of Chris Leslie (Whippersnapper; Fairport Convention) take over. The song's elongated opening remains fairly low key however, even when Josh and Olivia Sparnenn-Josh start trading vocal lines. The gradual build up works well however, but the song really starts to take on some depth when a dancing synth groove kicks in and Henry Rogers' thumping drums join the fray. I really like how the song builds up over its first few minutes. There are lots of classic Mostly Autumn tropes on display, but some of the synth sounds are a little different - and there is a darkness akin to 2007's Heart Full of Sky at times. When the song reaches its core chorus however, it is unmistakably Mostly Autumn. Jennings' roaring Hammond organ ushers the chorus in, while Sparnenn-Josh's soaring vocal hooks are full of all of the qualities we have come to expect from her over the past decade. The introduction of the very sparse acoustic section following something of an off-hand guitar solo still feels a little jarring to me however. I always think that a new song has started, as it sounds so different from what came before. This section allows Josh to shine vocally however, while Leslie's subtle violin adds depth. The solo that follows this section though is excellent. Josh has always worn his love of David Gilmour on his sleeve, and the solo here has its share of Gilmour-isms - although in truth it is just packed with Josh-isms! From this solo the song builds up again towards the last chorus which hits hard - especially when it speeds up thanks to Rogers' potent drumming. Despite some of the transitions sounding a little jarring to me still, Graveyard Star has become a great song in my mind - and it really sets the tone of the album perfectly. As does, in truth, the short The Plague Bell that follows it. It is less than two minutes long, and is the sort of song that could only be found on a concept album. Dark piano melodies back Josh's voice, and the song feels like a transition between the heroic opening song and the rest of the album - which works well for me in a classic concept album way.

Skin of Mankind segues nicely from The Plague Bell, with its old-school folky rhythmic stomp and bluegrass instrumentation thanks to additional magic from long-time collaborator Troy Donockley (Iona; Nightwish; Auri). Parts of the song recall some of the folky sounds of the band's early albums, but played through a much darker lens to suit the album's overall feeling. I really like the overall vibe of the song however, and it is great to hear the band sound this folky again after so long. Leslie's violin adds a lot to the song, as do Donockley's uilleann pipes. There is a great instrumental section which see both guest musicians play off each other nicely - while Josh's guitar occasionally soars into the mix. The song is quite short however, which means that the folky sounds do not outstay their welcome, and it transitions quite nicely into the organic Shadows - which starts off with acoustic guitars before it morphs into a classic Josh organic rocker. The guitars have quite a bluesy feel throughout, which provide a great backing for Josh's vocals, while Jennings' lays down plenty of Hammond during the choruses. The song, again, has something of an old-school Mostly Autumn vibe at times. The band have somewhat moved away from their core organic sound over time, but Shadows is very much the band at their earthiest - with layers of acoustic guitars to add depth. The opening to the ballad The Harder That You Hurt retains this organic feeling too, with Sparnenn-Josh's voice backed by simple acoustic guitar chords. As with most of the band's albums, much of the material here has been written by Josh - but as usual some of the other band members have also chipped in with strong contributions. Sparnenn-Josh co-wrote this song with Josh, and it has all the trademarks of the songs that she has written for the band in the past. The song is very vocal-focused, which allows her delicate melodies to shine, while Josh's bluesy guitar interludes are suitably low key. As with many of the band's ballads, the song builds up as it moves along. Later renditions of the chorus are much more powerful, with walls of keyboards and some punchy Rogers drumming taking things up a notch. Songs like this always allow Sparnenn-Josh to showcase her natural talent - and she really is the star of the show throughout The Harder That You Hurt with the rest of the band taking something of a backseat. She also shines throughout Razor Blade, which is a real album highlight for me. The song's slow opening, with its strange programmed drum beat, is a feast of subtle piano and Gilmour-esque guitar tones, but again the song is one that grows as it moves along. Rumbling piano motifs and warm synth leads create a great atmospheric instrumental section, before the song morphs into a bluesy hard rocker with Josh's snarling vocals - before the song's original chorus returns, this time sung in harmony. The chorus is one of the album's most memorable hooks for me, and the amount of different musical twists that occur help the song to remain interesting throughout. It is a real highlight for me as a result, and it is was one of the songs that stood out to me during my first listen to the album.

This Endless War, a solo Sparnenn-Josh composition, is another big ballad. It is more piano-based than her previous composition however, and as such it is a really typical Sparnenn-Josh song. Her compositions often have a smouldering, soaring quality to them, and This Endless War is possibly the song that she has been building towards since taking over the band's lead singer position in 2010. It is a song that showcases her voice perfectly, and Josh's poignant guitar solo is perfectly suited to the emotions of the piece. The song also does that classic Mostly Autumn thing of referencing song lyrics from previous albums. The band have often done this, and reuse common musical motifs, throughout their career, and I like how this really ties the band's catalogue together. While This Endless War is a song that is filled with emotion, by this point the album needs a bit of a pick-me-up and Spirit of Mankind comes along to provide one. Due to the themes that the album tackles, it is often quite downbeat. This is, of course, appropriate; and it also means that when the album does speed up it those sections hit harder. Spirit of Mankind is a much more dramatic song than what has come before, with some of Sparnenn-Josh's most siren-like vocals. The chorus is very hooky, with lots of excellent melodies to latch onto, while the rest of the song has a real punch to it thanks to some solid drumming and lots of rumbling keyboards. It is the sort of song that is sure to go down well live, as it has a great rhythm and a relative heaviness that is largely absent from much of the rest of the album. Mostly Autumn have always written songs like this, and it is the latest in a line of punchy hard rockers from the band that showcase a bit of Heart influence - with Sparnenn-Josh soaring as only she can. Back in These Arm reins it in somewhat however, but the song still has weight to it. Its intro is rather low key, with Floydian atmospherics and a slow build up that features some excellent vocal interplay between Josh and Sparnenn-Josh. On the whole, however, the song belongs to Josh. Once the drums kick in, a great folky guitar lead takes over and the song becomes another orgnaic hard rocker. Sparnenn-Josh adds some choice harmonies throughout, and Jennings' Hammond once again roars some life into the song when it needs it. The song is quite varied throughout though, despite its overall rockiness. There is a great bass-led section that shines the spotlight on long-time bassist Andy Smith, while Donockley's folky touches are once again called upon to bulk out the song's heroic closing section. The short piano ballad Free to Fly, co-written by Jennings, is probably the album's simplest song - but it works as a great bridge between the busy previous number and the closing two tracks - which are both quite dense. Sparnenn-Josh sings against Jennings' rolling piano melodies, and the simplicity of the overall arrangement really allows her voice to shine. Subtle keyboard textures are added to create some depth, but on the whole the focus is on the piano and the vocals throughout. These sort of songs are common for the band, but Free to Fly really works well in the context of the album - as it helps to provide a genuine change of pace, while still significantly contributing to the flow and the emotional punch of the album.

The Diamond follows, and it is the album's customary songwriting contribution from the band's rhythm guitarist Chris Johnson - who also sings the song, with help from flautist Angela Gordon. Johnson's contributions have really added to the band's recent albums, and the sparse acoustic rock of The Diamond similarly improves Graveyard Star. The song is a reworked version of a song that featured on an album Johnson put out in 2009 called The Fabric under the name Parade. The lyrics and the overall arrangement are a little different - but the song is largely the same. It seems strange that it is has been repurposed here, but it fits in really well into the flow of the album despite its age. Johnson's songwriting, and high-pitched voice, always shakes things up for the band, and The Diamond is the sort of song that only he could come up with with its spiky guitar chords set against a floating, atmospheric backdrop. The vocal interplay between him and Gordon works really well too - and when the two join forces towards the end of the song it is one of the album's most unexpectedly powerful moments. The repurposing of The Diamond was certainly a great idea in the context of the album, and it was interesting to hear this new version of the song - as it has been years since I listened to The Fabric (which needs to change). The album comes to a close with the lengthy Turn Around Slowly. The album opens in epic fashion, and it closes in a similar manner. The song is a classic Mostly Autumn longer-form track, which means that it contains a number of different parts - as well as some of Josh's best soloing on the album. It starts off slowly with some piano melodies, but it becomes more layered as it moves along. Josh starts off singing against a backdrop of acoustic guitars, but more and more depth is added as things progress. Occasional Hammond adds power, while busy piano melodies act as great counter points to Josh's vocal hooks. Mostly Autumn have always been good at writing closing numbers, and Turn Around Slowly has a real feel of a track that ties everything together. The soloing is some of the album's most emotional, there are some beautiful flute passages to add some light melodies, and I really like how the song reprises parts of some of the album's other songs. This allows the album to come full circle, with the verse of Skin of Mankind referenced - before the chorus from the album's title track brings the album to a close. It is a very powerful way to end the album, and it gives Graveyard Star a real completeness that it otherwise would not have. When taken as a whole, too, the album is another real winner from the band. At first I was a little unsure in places, but Graveyard Star really rewards multiple listens and in my mind it is an album that is as strong as their last few - which as mentioned earlier are some of the band's best albums in my opinion. It is great that the band have been able to maintain this recent quality for quite some time now, and the depth and darkness of Graveyard Star is a great entry into the band's lengthy and emotional canon.

The album was released on 24th September 2021 via Mostly Autumn Records.

Carcass' 'Torn Arteries' - Album Review

While the UK has always produced its fair share of extreme metal bands, I think it is fair to say that most of the genre's heavy hitters and pioneers have come from elsewhere. America and Scandinavia in particular have always been hotbeds of extreme metal, particularly of the death metal (traditional or melodic) variety, with many of the big names of all things very heavy and grimy coming from those shores. One thing that the UK can stake a claim for in the extreme metal world for, however, is the grindcore subgenre. It will not come as a surprise to regular readers of this blog that I am not very knowledgeable about grindcore - but even I am not blind to the influence that bands like Napalm Death had throughout the late 1980s. Napalm Death's seminal 1987 debut album Scum is one of the most influential albums in the genre; but it was followed a year later by another big hitter, Reek of Putrefaction - the debut album from Liverpool's Carcass. While Carcass are perhaps not as influential or as well-respected as Napalm Death, they are still a very important band in the context of UK-based extreme metal. This is likely due to their ever-evolving sound, which saw them move away from their early grindcore sound as early as 1989 - with the band's second album Symphonies of Sickness taking on more of a traditional death metal sound, while retaining the gory imagery of their debut. Carcass would continue to evolve until their initial break-up in 1996, a fruitful period that produced a genuine death metal classic in the form of 1993's Heartwork - which helped to cement the band's reputation as well as launch the career of one Michael Amott who would soon form Arch Enemy. Following their break-up, the band lay dormant for 11 years, but reunited in 2007 to appear at a handful of festivals. As is often the case, however, the reunion became permanent. While Amott initially re-joined the band, he could not commit long-term due to his commitments with Arch Enemy. As such, in 2012, the current core of Carcass was formed - with founding members Jeff Walker and Bill Steer joined by drummer Daniel Wilding. The trio released the excellent Surgical Steel album the following year, and have been sporadically touring it ever since. Due to the popularity of Surgical Steel, an eventual follow-up was inevitable. The band had discussed one many times in interviews over the years, but it was not until last month that the band's seventh studio album became a reality. Following eight years after Surgical Steel, Carcass' latest offering Torn Arteries feels rather familiar - but there is a griminess to it that Surgical Steel sometimes lacked. True to its name, Surgical Steel had a very precise sound - while Torn Arteries sounds dirtier, and probably truer to Carcass' classic sound as a result. It is certainly not an album that adds anything significantly new to the band's sound, but the songwriting throughout is tight - and Steer's love of a melodic, NWOBHM-inspired guitar lead is as evident as ever.

The album gets off to a pummelling start with a flashy drum intro from Wilding, which soon morphs into the album's pacy, groovy title track. Driven by a great Steer riff, the song is classic Carcass - and in many ways sets the tone for the rest of the album. Despite the grimier sound that is present throughout the album, it still sounds very well produced. Torn Arteries does not sound like an underground demo, but there is a certain murk to Steer's guitar tone throughout - while Walker's trademark throaty screams sound as gnarly as ever. While Carcass have often been on the more melodic side of death metal, I would not consider them to be 'melodic death metal' in the sense of bands like At the Gates or Arch Enemy. Carcass are a true death metal band, but Steer's love of the blues and classic heavy metal shines through with his solos - and there are a number of great guitar moments during the album's title track, including a few neo-classical call-and-response style runs that play off against Walker's voice during a knotty breakdown. The lengthily titled Dance of Ixtab (Psychopomp & Circumstance March No. 1 in B) follows, and the song slows the pace down somewhat and goes for a mid-paced groove-based approach. This sort of sound has always served Carcass well, and I think that Walker's voice shines the most during the slower tracks. While Walker handles the majority of the vocals throughout the album, there are occasional deeper growls from Steer that add depth. This occasional vocal interplay works well - and it really helps to bulk Dance of Ixtab (Psychopomp & Circumstance March No. 1 in B) out nicely. The grinding riffs suit the occasional deeper growl, and the diversity helps the song to stand out somewhat. Given the song's more groove-based approach there is less lead guitar playing here - but Steer's riffs are more than enough to keep the song interesting. It is a song that is more about rhythm than melody in any case, and such a sound has always been a big part of death metal. Eleanor Rigor Mortis ups the pace again, and the song reaches thrash-levels of speed at times - which is evident from the off with Wilding's fast-paced playing and Steer's explosive shredded solo. The song's overall pace is quite varied however, and it moves back and forth between thrashy sections and grinding death metal passages perfectly - with snaking Eastern-tinged guitar leads playing nicely off Walker's vocals. While Carcass are joined live by guitarist Tom Draper (Primarti; Pounder), all of the guitars on the album are performed by Steer. This gives the album a sense of consistency, and Carcass has always been defined by Steer's unique style (for death metal anyway) in any case. Eleanor Rigor Mortis is a great example of his approach to melody, and is uniquely Carcass as a result.

Up next is Under the Scalpel Blade, a song that was first released as a stand-alone single in 2019 and then again in 2020 as part of the Despicable EP. As such, the song will be very familiar to die-hard Carcass fans already - but its grimy death metal vibes are welcome on the album. It is the first song on the album to include true blast beats from Wilding, so it is one of the most traditional death metal-sounding songs here as a result. The album's production really helps the song to shine in my opinion too, as the guitar tone and deep bass sound allow these faster sections to still sound clear - despite the grimy sound. So many blast beat-led sections can end up sounding like mush, but Carcass have avoided this - and the song sounds powerful as a result. The Devil Rides Out opens slowly, with some aching guitar swells - but it is not long before the song gets going. The mid-paced track really showcases the band's love of the NWOBHM. It is still very clearly a death metal song thanks to Walker's vocals and the overall production, but many of the riffs and guitar leads are very much rooted in traditional heavy metal. Carcass' love of traditional metal is part of why I am drawn to them. There are not many true death metal bands that I listen to on a regular basis, but Carcass have always been a favourite. The Devil Rides Out is a good example of why I like the band, as the song is catchy in a traditional metal way; while still containing plenty of death metal trappings to keep it sounding nasty. As such, the song is a real showcase for Steer. There are a couple of great solos throughout the track, and his lead playing generally is showcased - with a strong closing section bringing the best out of him as a player. Flesh Ripping Sonic Torment Limited is the album's longest song, clocking in at just under 10 minutes, and it is quite possibly the band's longest song to date too (I am not familiar with all of the band's albums). Surgical Steel saw the band experimenting with some slightly more progressive arrangements, and Flesh Ripping Sonic Torment Limited carries this on. Despite the longer form that the song takes, it does not really shake up the band's sound dramatically. What it does allow for, however, is the inclusion of a number of different sections - and the song lurches between them nicely, with a distinct Steer riff kicking off each new part. The song's length does not sacrifice any of the band's natural catchiness however, as many of its many parts are memorable - with a couple acting like choruses that repeat throughout. Kelly's Meat Emporium shines the spotlight again on the band's thrashier side, and the song is a fast-paced antidote to the longer song that proceeded it - much of which was more mid-paced in style. Kelly's Meat Emporium sounds more old-school as a result, and it is certainly one of the album's most furious cuts. There are few breaks in the relentless pace throughout, with Walker's throat-ripping vocals leading the charge. There is less riffing to focus on this time, meaning that Walker is the star of the show. He still sounds as potent now as he did in the 1980s, and it is great to hear how well his voice has held up over the years.

In God We Trust is more of a mid-paced piece, but it is one that takes the slightly more progressive arrangement of Flesh Ripping Sonic Torment Limited and condenses it down into a much more bite-sized portion. While the song certainly sounds like typical Carcass, it is somewhat more knotty than usual. The opening riffs are quite different sounding for the band; while there is a lot more light and shade in the piece than is common. For example, there is a very low-key breakdown that features clean guitar melodies and some subtle keyboards, courtesy of Per Wilberg (Spiritual Beggars; Opeth), which then leads into one of the most old-school sounding guitar solos on the album. This part of the song could have come from any number of 1970s classic rock/prog albums - and it sounds quite different for Carcass. As such, the song is a real standout cut - and it shows that the band can be quite inventive when they want to be. Wake Up and Smell the Carcass/Caveat Emptor is more typical for the band, with its mid-paced sound being packed full of groove - which allows Steer to once again show off with some excellent lead guitar spots. Despite this, however, parts of the song are more atmospheric than usual. Wilberg once again adds his keyboard magic to the song, and there are parts that really benefit from the added depth that he brings. Keyboards are not a big part of Carcass' sound, but their occasional use throughout this album does allow for a few interesting twists - without significantly altering the core sound that makes the band unique. The album comes to a close with The Scythe's Remorseless Swing, a creeping, brooding track that is big on atmosphere. The lengthy instrumental opening has something of a psychedelic feeling, with Steer's 1970s-influenced guitar leads setting the tone nicely, and even when the song kicks off properly some of these vibes are still retained - with similar leads resurfacing throughout. There are still plenty of potent riffs and trademark Carcass hooks however, which means that the song is a good mix of different styles. At its core, however, the song is still trademark Carcass. Some of the hookiest vocal melodies on the album are present here, and the amount of excellent Steer guitar work is staggering. There is a lot packed into the song, which enables it to work really well as a closing number in my opinion. It is a busy song that highlights why Carcass are still a potent force to be reckoned with in metal, and the album ends on a real high as a result. Taken as a whole however, the album also showcases this. Torn Arteries follows eight years after Surgical Steel, but the overall quality from the 2013 release has been maintained here. There are so many great riffs contained within the album, and as such each song has something about it that makes it stick in the brain. Rarely is death metal so hooky, but Torn Arteries is an album that sticks with you - and is overall a very fun and rewarding listen.

The album was released on 17th September 2021 via Nuclear Blast Records. Below is the band's promotional video for The Scythe's Remorseless Swing.

Rage's 'Resurrection Day' - Album Review

Despite being one of the pioneers of the German speed/power metal scene alongside bands like Running Wild, Helloween, and Blind Guardian; Herne's Rage have had to settle for a more modest existence in recent years. Their influence in their infant years is undeniable but, while Blind Guardian and Helloween in particular really kicked on and became big names in the metal world, Rage never really found the success that some of their peers did. These days, Blind Guardian and Helloween can usually pull a crowd of a couple of thousand at a London headline show, while Rage usually need to make do with Camden's The Underworld - and often with a strong co-headliner in tow to help attract the punters. This is not a bad thing by any means, but it just goes to show that early influence is not everything. One of the things that I think has held Rage back somewhat over the years is their ever-changing line-up. The band have rarely had a consistent line-up for more than a few years - and even during their early days and heyday there was a lot of chopping and changing. Peavy Wagner, the band's singer, bassist, and main songwriter, is Rage's only consistent member - and a lot of guitarists and drummers have passed through the band's ranks since their 1984 genesis. While this has led to a pretty varied catalogue with some distinct eras, it has certainly done no favours for the band's overall momentum and consistency. Rage's catalogue as a result is one of peaks and troughs, but when the band hit gold they tend to do so in a big way. While I am certainly not familiar with all of Rage's albums, as there are a lot of them, I have heard a good chunk of their catalogue. The latest addition to my Rage collection is a copy of their newly-released 25th album Resurrection Day - which follows hot on the heels of last year's excellent Wings of Rage (which I reviewed here). Like many early 2020 releases however, Wings of Rage's promotional touring cycle was curtailed, and the album has already become a bit of a forgotten entry in the band's canon as a result. It did not help that guitarist Marcos Rodriguez, who had been Wagner's right hand man since 2015, left the band later in the year - effectively bringing another era of Rage to a close. Wagner is not one to be easily deterred however, and brought in not one but two replacements for Rodriguez - making Rage a four-piece again for the first time since 1999. Joining Wagner and incumbent drummer Vassilios Maniatopoulos on Resurrection Day are guitarists Jean Bormann (AngelInc; Rage & Ruins) and Stefan Weber (Rebattered; Axxis) - who both help the album to one of the most riff-heavy and interesting albums from a guitar standpoint in Rage's career. Resurrection Day feels like a true 'band' album too, with all four of the current line-up contributing to the songwriting throughout. As such, the album feels, even more so than Wings of Rage, like a real mix of Rage through the ages - but with a big focus on hooks to keep all of the songs interesting.

Something that is clear from the off is how much Resurrection Day expands on the band's somewhat symphonic side. This is a sound that the band toyed with throughout the 2000s and early 2010s during the Victor Smolski era, but it was largely abandoned after his departure - with the first two albums of the Rodriguez era going for a more straight ahead metal sound. Wings of Rage flirted with the strings again however, but Resurrection Day takes the orchestral sounds further - with many of the songs featuring string arrangements courtesy of Pepe Herrero. The instrumental opener, Memento Vitae (Overture), sounds like it could have come from any number of power/symphonic metal albums - but it sets the tone nicely given the prevalence of the orchestral arrangements to come. It segues into the album's title track, which is a piece that really sums up the overall sound of the album. The new twin-guitar assault of Bormann and Weber is instantly put in the spotlight, and the strings add a real depth to the song. Rage have not sounded this epic since the most exuberant moments of the Smolski era, but there is still plenty of the band's recently re-established crunch. The strings rarely overpower the band, and the balance has been well-struck throughout between the band's core sound and their more symphonic side. The mid-paced punch of the title track is classic Rage, while the chorus is packed full of hooks. Wagner's voice can be a bit of an acquired taste at times, but his gritty delivery always sounds powerful. Subtle chorus harmonies add some additional melody; and the song overall is a key representation of the modern Rage sound. Not every song here is packed with string arrangements however. Songs such as lead single Virginity are more akin to the band's mid-1990s heyday, with barrelling twin-guitar riffing forming a bed for Wagner's snarling vocals. Having two guitarists in the band again allows for some more inventive arrangements, and there are more subtle guitar leads present in the mix this time around due to the expanded line-up. There are moments in Virginity that really benefit from this approach, such as the hooky chorus, and the lengthy guitar solo section that features both players showcases their distinct tones and styles. A New Land is another track that greatly benefits from the presence of an additional guitarist. The opening moments of the song have distinct rhythm and lead parts, while the overall doubling up of the riffing during the punchy verses allows the band to sound bigger than they have for a while. Rodriguez was a great fit for Rage, but at times his guitar playing could be a little modern and dry-sounding. This had its pros and cons, but Bormann and Weber certainly seem more old-school in style - which means this album has more in common with classic Rage than their more recent work. The chorus of A New Land showcases this, as it has a great old-fashioned power metal vibe with Maniatopoulos' double bass drumming injecting some additional pace - which helps it to stand out in what is largely a rather mid-paced album.

Arrogance and Ignorance certainly feels like the heaviest song on the album so far. The album in general is heavy and crunchy, but Arrogance and Ignorance takes occasional diversions into somewhat thrashy territory with more double bass drum rolls and some harsher vocals from Wagner. Considering his gritty singing style, Wagner really goes for a true harsh vocal approach. The intro to this song, however, does feature a handful of growled lines from him - and this works well against the faster-paced riffing that backs them. Much of the song is more traditional Rage in style however, complete with another strong chorus, but the heavier moments help it to stand out from the pack - which is no bad thing. Man in Chains opens slowly, and the song is the first true change of pace since the opening orchestral intro. The clean guitar opening, with leads atop it, helps to break up the heavy riffing - but the calm is short-lived as a choppy riff soon kicks in which drives the song from that point on. The song is a great mix of old and new in style. Some of the riffing channels the more modern sounds of the Rodriguez era somewhat, but the chorus is proper old school power metal - with slowly-changing guitar chords set against a driving double bass drum groove. All eras of Rage have been showcased in the song as a result, and it is great how the band managed to make all of the sounds work together in a natural way. The Age of Reason opens with a brief orchestral swell, before it morphs into the fastest track on the album up to this point. Maniatopoulos' drumming throughout the piece is furious, and he is the standout performer throughout thanks to his fast footwork and inventive arrangement that fuses lots of different beats together throughout. Despite this, however, the song is also a real showcase for what the current Rage line-up can do. It is another song that demonstrates the benefits of having two guitarists in the band with a number of twin-guitar harmonies, while the chorus is packed full of classic Wagner vocal melodies. I like the way that the band harmonise with him during many of the album's choruses, as it helps to take some of the rough edge away from his voice - meaning that the choruses are a little more melodic overall. The contrast between the choruses and the verses work well throughout, with The Age of Reason being a good showcase for the style. Monetary Gods, another of the album's singles, is the first track on the album to go for more of a groove-based approach overall. Grooves were a big part of the Rodriguez era, so the song sounds like a bit of a throwback to the band's recent past as a result. Rage's riffing is more traditional metal in style, but the groove-based approach also works - and Monetary Gods stands as as a result due to its fat sound and more emphasis on snaking guitar rhythms rather than old-school riffing and soloing.

Mind Control opens with some excellent guitar playing, including lots of old-school twin-lead guitar harmonies, and the whole song is another that takes on more of a true power metal vibe throughout. The strings add melodic depth, while another lead guitar break is never too far away - with Bormann and Weber taking plenty of opportunities throughout to team up and lay down some harmonised leads. This, combined with another driving pacy chorus, all adds up to another song that could have easily sat on one of Rage's classic era mid-1990s albums. Despite the heaviness, there is definitely more of an emphasis on melody throughout Mind Control - which further adds to its overall older sound. Traveling Through Time is another song that builds on the symphonic side of the band's sound in a big way, and there are moments of the song that sound more like Rhapsody than a traditional Rage track - at least until Wagner starts singing! The triumphant strings are a big part of the song's sound, while folky guitar leads add some heroic vibes - with the fast-paced leads injecting some energy into what would otherwise be more of a grander, mid-paced song. The chorus does that classic power metal thing of slowing down somewhat, which further adds to the song's overall heroic sound. The song is one of my favourites on the album as a result, as it is something a bit different for the band - and a real emphasis of their symphonic side. Black Room is the album's ballad, and it is a nice change of pace following the bombastic and over-the-top Traveling Through Time. Rage have done plenty of ballads in the past, but it is not a format that they often focus on - but with the use of strings throughout the album it makes sense that they choose to strip back the heaviness for one song (or least part of one). The song's opening half is very gentle, with clean guitar melodies and subtle strings that sound very different from the rest of the album. Wagner uses the cleaner side of his voice to good effect throughout, and parts of the song have a strong emotional tug as a result. The second half does see things ramp up, but the song never reaches the heaviness that the rest of the album does. It maintains its overall ballad vibe nicely, which provides a welcome change of pace that helps to keep the overall album somewhat varied in sound. It is left to the heavy Extinction Overkill to close the album out. Following the quieter previous number, Extinction Overkill really hits hard with its great mix of thrash-based speed and old-school metal guitar harmonies. It is one of the album's most furious cuts, and also one one of my favourites. It was certainly a case of leaving (one of) the best until last, and a band that is now 25 albums deep into their career has no right to sound this heavy or furious. It is great that Wagner still has the drive to write songs of this quality, and it also shows what the newer members bring to the table - as there are plenty of shredded guitar moments throughout. It is a powerful way to close out the album, and it is great to hear the band sounding so potent. It is not just on the closing track, however, that Rage sound potent. The whole of Resurrection Day is full of strong performances and genuine quality, meaning that the latest era of Rage is off to a strong start. With two albums in as many years, I imagine that it will be a little while until we see another from the band - but I am looking forward to seeing where this line-up goes next.

The album was released on 17th September 2021 via Steamhammer/SPV GmbH. Below is the band's promotional video for Virginity.

Cats in Space - London Review

Consecutive weekends in London always equals a good time. It has been great to be 'back on the road', so to speak, of late, and getting to gigs regularly again is a real treat. Those of us who love live music have been making the most of its return over the past few months - and with quite a few more planned for the rest of October the next month is going to be a busy one for me. The reason for my second trip to London in as many weekends was a hometown show for the excellent pop rockers Cats in Space - a band who have really made a name for themselves with their brand of 1970s throwback rock since releasing their debut album in 2015. Despite seeing the band as a support act in 2017, it was not until 2019 that I actually got into the band properly. 2019 as a gigging year was actually closed out by Cats in Space at The Wharf in Tavistock too, which cemented my burgeoning love for band. It was one of a handful of shows to feature frontman Mark Pascall, a singer who lives locally to me in the South West, who was let go from the band rather unceremoniously last year. Pascall's departure came as something of a shock, as he had not been in the band for very long at all and they were in the middle of recording their fourth album, but in fairness the band knew what they were doing. Damien Edwards, Pascall's replacement who debuted with the band on last year's stunning Atlantis, has taken the band to the next level. Pascall is a great singer, and I am a big fan of his band Departed, but Edwards is a better fit for Cats in Space in my opinion. He has brought his musical theatre experience to the band, and his larger-than-life personality is perfect for Cats in Space's showy and bombastic pop rock. Partly thanks to Edwards' pipes, Atlantis was one of my favourite albums of last year. It was included in 2020's Albums of the Year list, so I was really looking forward to seeing the band live again. A scheduled 2020 show at The Wharf was never rescheduled, but a cancelled Deep Purple gig proved to be the catalyst for my third experience of Cats in Space live. The venue was The Garage in Islington; a venue which I have somehow managed to avoid until now. I am not sure how, as a regular gig-goer, I had never been to The Garage before yesterday - but Cats in Space certainly made my first visit to the venue a memorable one. The London show came at the end of the first leg of the band's Atlantis tour, so there was certainly something of a party atmosphere in the band's camp as they headed into a month or so's rest before the next leg of the tour.

Before Cats in Space's triumphant set, however, the crowd were treated to an excellent showing from up-and-coming British hard rockers Vambo. Such was the situation with The Garage's strict 10pm curfew, and the fact that the doors opened 10 or so minutes late, Vambo essentially hit the stage as the first few punters were heading through the doors. This, combined with a turnout that certainly could have been better for a Saturday night in London (although, in the end, was decent), meant that the early portion of Vambo's set was played in front of very few people. This was a shame, but the band did not let it deter them and they put on a great showing throughout their 45 minutes on stage. I had heard of Vambo previously, but I was not really familiar with their sound. From the first riff, however, I was hooked - and from that point on Vambo delivered one of the strongest showing from an 'unknown' support band that I have seen for a while. I have seen quite a few good support bands recently too, but Vambo were the best of the bunch. The whole band were great, but slithering frontman Jack Stiles and guitarist Pete Lance stole the show for me. Stiles has a fantastic voice, and he shifted between soft falsetto and screaming hard rock multiple times throughout the set. His slightly strange stage presence helped too, and it was difficult to take your eyes off him throughout. Lance's riffs and solos did provide a distraction for the eyes (and ears) however. Lance's overall style was very classic rock in both sound and appearance - and all of the songs included great solos from him. Despite including a couple of covers, Led Zeppelin's Good Times Bad Times and Deep Purple's Burn, it was actually the band's original songs that impressed the most. The covers were fun, and allowed the crowd to hear something that they knew, but the band's songwriting was tight and packed full of melody. I purchased a copy of their self-titled debut album after their set, and I really look forward to hearing all of the songs again soon. The penultimate song Fast Car possibly stood out the most, but in truth all of the songs played had a memorable riff or hook. By the time Vambo's set came to an end, the crowd had grown quite a lot and the reception that they received was very strong. Lots in attendance certainly had a good time with Vambo, and I am looking forward to getting into the band's album in due course.

Half an hour after Vambo's set came to an end, Cats in Space took to the stage as the intro to their latest album played over the venue's PA. It might be expected, then, that they would open with one of the new songs - but instead the band launched into Too Many Gods, the title track of their 2015 debut album. The song worked well as an opener however, as it has done many times previously, and it was one that really put Edwards through his paces. Cats in Space are a band that have a very layered sound, so a clear live mix is necessary for them to deliver. Luckily, the sound in The Garage throughout the evening was crystal clear - and this allowed all the nuances of the band's sound to shine. The multi-part vocal harmonies sounded great, as did Andy Stewart's keyboards - which were high in the mix and cut through exactly when they were supposed to. This allowed the band's 17 song set to be a winner, and the performance was easily the best of the three that I have now see by Cats in Space. It helped that the setlist was packed full of all of the band's best songs too. Six songs from Atlantis were played, with the rest coming from the band's other three albums. Early highlights were the driving pop rock of Spaceship Superstar, the more layered and ballad-esque Twilight (which was a real showcase for Edwards), and the upbeat Only in Vegas. In truth, it is hard to pick highlights - as every song played really hit the spot. I have waxed lyrical about Edwards' performance, but in truth the whole band really pulled together to make the show tick. No-one shone brighter than anyone else, as Cats in Space are a band that needs everyone on stage to make their sound happen - whether it be bassist Jeff Brown's soaring backing vocals, Dean Howard's (guitar/vocals) solos, or bandleader Greg Hart's (guitar/vocals) atmospheric guitar layers.

Everyone had their time in the spotlight, but the collective shift was certainly greater than the sum of its parts. Even the simpler pop songs such as Listen to the Radio need everyone to pull together - and the song was another highlight due to its huge chorus and melodic guitar solo. Another interesting moment was a stripped down version of September Rain - which featured just Edwards' voice and Stewart's piano, along with harmonies from Hart and Brown. It was great to hear the song played in such a manner, and it was easily the evening's most low-key moment. The rest of the set was packed with some of the band's most bombastic and hard rocking songs. Marionettes was probably the most bombastic of the lot, with its circus-esque melodies, while Thunder in the Night encouraged some dancing with its disco bassline and soaring synths. The band were really on fire at this point, and the crowd were loving it - so the final three songs of the set felt like a victory lap. The multi-part I Fell Out of Love with Rock 'n' Roll felt really triumphant - but the set-closing Greatest Story Never Told, with vocals from both Edwards and Brown, brought the evening to a powerful end. The song has become the band's unofficial anthem over the years, and it always goes down well live as a result. Despite this being the end of the main set there was time for one more and, after a brief step off the stage, the band came back for a powerful version of Hologram Man - with a searing solo from Howard that he managed to rip into after some early guitar troubles. It was a powerful end to a great evening of melodic rock music, and the decent-sized crowd certainly made their appreciation felt as the band took their bows at the end. The setlist was:

Dive!

Too Many Gods

Spaceship Superstar

Revolution

Twilight

Mr. Heartache

Only in Vegas

Scars

Silver and Gold

Listen to the Radio

September Rain

Marionettes

Atlantis

Thunder in the Night

The Mad Hatter's Tea Party

I Fell Out of Love with Rock 'n' Roll

Greatest Story Never Told

-

Hologram Man

Despite being somewhat popular now, yesterday's performance at The Garage showed why Cats in Space deserve to be bigger than they are. Edwards seems to have really completed the band, and Cats in Space seem to be ready to take the next step. Songs are currently being written for their upcoming fifth album, and plenty more tour dates have been planned for the rest of the year and into next year. All being well I will seeing the band at least twice again next year, and following last night's excellent showing I am already really looking forward to both shows.

Vega's 'Anarchy and Unity' - Album Review

Only of the very few positives that can be gleaned from the COVID-19 pandemic is that the enforced touring hiatuses that were imposed on essentially every band in the world have led, in some cases, to additional bursts of creativity. It is quite common these days for bands to have a two or three year gap between each album, but 2021 has seen more than a handful of bands releasing a new album only a year or so after releasing one in 2020. It is great that so many bands used the downtime in a productive and creative way, and 2021 has been another really strong year for new music as a result. One such band that has been busy of late is the UK-based AOR act Vega - a band that I have become a big fan of over the past couple of years. I had been a casual fan for a few years, but seeing the band three times as a support act in 2019 really elevated them for me. They are a band that can bring stadium rock energy into small clubs, and their shows are always great as a result - even if they only often get around 30-40 minutes on stage. Last year however, the band showcased their heavier side with the appropriately-titled Grit Your Teeth (which I reviewed here); which was their sixth studio album overall. The gritty album was not significantly removed sound wise from Vega's usual fare - but there was certainly a bit more weight behind the riffs. As Def Leppard are one of the band's biggest influences, it seems fitting to say that Grit Your Teeth was more High 'n' Dry than it was Hysteria - but to me this slight toughness was no bad thing. It helped the band to showcase a different side of themselves, and this sound has been somewhat continued forward into Anarchy and Unity - the band's seventh studio album which was released earlier this month. There is a toughness about parts of Anarchy and Unity, but there is also a real sense of cinematic scope. Vega's AOR has always been more soundscape-based than pomp-based, but Anarchy and Unity, at least in places, pushes this sound even further than before. As such, the album sounds quite different from the norm in part - but the classic Vega melodies are still present and there are still plenty of hooks to die for. Between the releases of Grit Your Teeth and Anarchy and Unity there have been some changes in the band too - with guitarist Mykey Kew and drummer Martin Hutchison both leaving the band last year. Filling their places are guitarist Billy Taylor (Inglorious; Deever) and drummer Pete Newdeck (Eden's Curse; Tainted Nation; Midnite City) - both of whom have brought their songwriting experience to the band. Anarchy and Unity is the first Vega album to be credited as being written and produced by Vega as a whole, which is probably part of the reason for the album's somewhat different overall sound. The hallmarks of the band's core songwriting trio, consisting of the Martin brothers and frontman Nick Workman, are still present - but with everyone mucking in the Vega of 2021 is a bit of a different beast.

The opening track, Beautiful Lie, showcases both the band's newfound toughness and old-school cinematic approach perfectly. The opening riff is a real driving motif, thanks to Taylor and lead guitarist Marcus Thurston, while Def Leppard-esque gang vocals and a more stripped-back verse showcase more overt melody. The song really is Vega down to a tee, and there are plenty of hooks throughout that make it an instantly memorable cut. I can see this song being the band's opening number on their upcoming tour, as it would really get the shows off to a great start with its roaring riff and hooky chorus. The shredded guitar solo brings the best out of Thurston too, who always dials things up a notch, but there are some twin-lead guitar moments too that show what Thurston and Taylor can do together. This new guitar duo is already showing real promise for Vega - and the amount of riffing and soloing throughout Beautiful Lie is only the tip of the iceberg (even if one of the riffs is borrowed from Michael Jackson's Beat It). Sooner or Later is similar, but the heaviness is reined in somewhat to allow the big AOR hooks to shine brighter. Like the opening song however, there are some great wordless gang vocal hooks; as well as plenty of strong guitar moments - with some soaring guitar leads often sitting in the transitions between the different sections of the song. A catchy chorus brings everything together, with layers of harmony vocals making everything sound huge - which is always welcome. End of the Fade slows the pace somewhat, and goes for a much more overtly-cinematic sound - which is classic Vega. James Martin's keyboards take on a much more prominent role this time, especially during parts of the verses where most of the rest of the band drop out. This gives the song a very atmospheric feel, but it also allows parts of the song to sound more powerful - such as when the tough guitar rhythms kick in just before what is another great chorus. The chorus is one of the most classic-sounding Vega moments here for me, as it really shows off Workman's knack for a smooth melody. He is a great singer, and the chorus has been designed to showcase his talents. There is little sonic clutter, which places the emphasis on his melodies in a big way. Ain't Who I Am opens in the vein of a more upbeat rocker, but this vibe is short-lived as the song is another relatively dynamic piece that has slower verses and more upbeat choruses. James' keyboards are once again a big part of the verses, while his brother Tom Martin propels everything with his pulsing and rhythmic bass playing. This is a sound that has served Vega well over the years. Being an AOR act, anything that places emphasis on a song's chorus is always going to be welcome - and ramping up towards it often works well for the band.

Welcome to Wherever is similarly structured again, but there is a much greater Def Leppard vibe utilised this time - with constant harmony and backing vocals adding plenty of depth. The chorus is also less riff-based, with the whole song largely maintaining a laid back vibe to allow big guitar arpeggios and shimmering keyboards to shine. The song is certainly not a ballad, but it has the pace and overall feeling of one - but the depth keeps the song feeling like a strong slab of melodic rock as a result. The chorus is another great one, with subtle vocal harmonies and some great chiming guitar melodies. The guitar solo, which again contains a few dual-lead guitar harmonies, really helps to spice the song up further - with Thurston and Taylor cutting through the synths and pulsing bass to add some cutting rock grit to the piece. Bring the Riot ups the heaviness, and the song sounds more like the opening couple of numbers than much of what has followed. There are shades of the toughness of Grit Your Teeth here too, but James' shimmering keyboards are much more prominent which keeps the song firmly grounded within the sound of the album. It is great to hear the band really rocking out again here though. Newdeck's drums have plenty of punch behind them, while the guitar rhythms throughout are much more in-your-face and aggressive. As a result, the song is packed full of energy which is likely to make it another live favourite. It is blessed with another strong chorus too, and it is one that is sure to excite any live crowd. Live for Me is a real throwback to the 1980s. The big drum intro that leads into a mournful opening guitar lead could have sat on any 1980s AOR or hair metal album, while James' piano-led verses are packed full of emotion. Piano-led songs are fairly rare for Vega, who tend to take more of a soundscape approach to keyboards, so the song stands out as a result. Given Vega's overall sound however, a piano-led pseudo-ballad certainly fits the bill nicely. The pace is nice and slow, and the song ramps up just enough to allow the chorus to make an impact - which again is packed full of soaring vocal harmonies and counter melodies. Despite the song's overall slowness however, its solo is a real shred-fest. The song unexpectedly ramps up in a big way following the second chorus - which allows Thurston to really cut loose. The choice to do so works really well however, and it is one of the most effective moments on the album as a result. Once the solo has finished however, the pace is slowed down once again for a final reprise of the epic chorus. Kneel to You is more upbeat, and makes more use of James' piano in a driving hard rock context. The song's opening has Roy Bittan vibes (think Bruce Springsteen or Meat Loaf), and the use of the piano throughout helps the song to have more of an organic feel despite its 1980s-esque AOR sound. Due to the driving piano and a snappy chorus, the song is one of the album's hookiest songs. There is a real energy throughout the piece, and as a result the song feels like another that would go down really well live.

Glow opens with a low-key guitar riff and some effects-heavy vocals, but it is not long before the song explodes into another strong mid-paced rocker. Newdeck's drums really drive the song, and the drum sound that he has harnessed throughout the album is a big part of what makes it great. Anarchy and Unity is probably the band's biggest sounding album, and a big part of that is likely down to Newdeck and his hard-hitting drumming style. He makes the harder rocking songs really tick, and Glow is a great example of what he brings to the table. Elsewhere however, the riffing throughout is also very strong. There are quite a few melodic leads to keep adding new tricks to the song, while the general rhythms are a perfect compliment to Newdeck's drums. Another great chorus ensures that the song is big sing along number too; and again perfect for being played live. C'mon opens in a slightly strange manner with some old-school swing/jazz vibes - but this feeling does not last too long as riffs and soaring melodies soon kick in. The song maintains something of a swing throughout however, with Newdeck's drumming taking a slightly more laid back approach - which works well in the context of the piece. The song is certainly something different for Vega, but there is still enough of the band's core sound present to make it work. The choruses are classic Vega, just with added swing, while the verses are mix of new and familiar. The experiment works for me however, and it is good to hear the band pushing their sound somewhat. Had Enough returns to something more familiar however, with another big Def Leppard-esque guitar rhythm early on that is augmented by some sparkling synths. The song is, however, largely fairly simple sound wise. It does not seem as layered as usual, but this only allows the guitars to cut through the mix nicely. James always takes the opportunity to use some more old-school and organic keyboard sounds - which contributes to the song's driving rock sound. There is less of the band's usual cinematic approach here, but I like the way that the song sounds - especially as there is some great organ playing towards the end, which is always welcome. The album's closing cut, 2Die4, goes for a bit of a slower overall approach at first - but the song soon builds up into a diverse song that fuses bluesy hard rock with soaring cinematic moments. The mix is a bit of a strange one, but the overall arrangement works well. The guitars occasionally launch into big bluesy riffs, while elsewhere James' keyboards are all-encompassing and fill every inch of the song with shimmering melodies. It is not the hookiest song on the album, but it is certainly one of the most interesting from an arrangement perspective. Its mix of sounds, and occasional moments of real soaring rock, make it a strong album closer - and it ends the album on a high and somewhat experimental note. In some ways, however, that is a description that could be applied to the whole album. There are a lot of familiar sounds here, but there are also some forays into the unknown - but Vega have managed to make everything hang together and make the album sound cohesive. This new line-up of the band really seem to have clicked, and I hope that these six guys stick together as I would love to see where they take their sound next.

The album was released on 17th September 2021 via Frontiers Records. Below is the band's promotional video for Sooner or Later.

Black Stone Cherry - Exeter Review

The last couple of months have certainly felt like the return of normality. I have managed to attend quite a few concerts since July, but having two in two days really felt like the return of normal life - at least for me. In the past two (or more) gig weekends were fairly commonplace. Being from the South West, I often have to make trips out of the area to see bands live - so it makes sense to tie gigs together if possible. Living in the South West of late has not been as barren as usual however, as a number of bands have come down to Plymouth and Exeter over the past couple of months. The latest visitor to Exeter to interest me was the Kentucky-based southern rock act Black Stone Cherry - who had not played a gig in the city since 2009. I first got into the band around the time that their second album Folklore and Superstition was released in 2008, and I saw them the following year in Bristol. For some reason, the Exeter show was not on my radar at the time - but the band put on a great show in Bristol. It was clear at the time that they were on the cusp of bigger things, and over the next few years the band's star only rose higher. The next time I saw the band, in 2014, they were headlining one of the large arenas in Birmingham - and the show was filmed for an eventual live album/DVD release. It was a great thing to be a part of, but since that show I have not had the opportunity to see the band live again. Black Stone Cherry have always been popular in the UK, and tour here regularly as a result. It was just the case that every tour that they announced since 2014 took place during very busy times for me - with their gigs often clashing with others that I already had tickets for. It was always disappointing, but I have long resigned myself to the fact that you cannot do everything. It was with excitement then that I greeted the announcement of another Black Stone Cherry tour in early 2020 - especially as it contained a show at Exeter University's Great Hall. The Great Hall is a criminally underused venue, and one that I have only been to a handful of times as a result. A band with Black Stone Cherry's popularity would easily fill it, but of course expectations had to be tempered when the COVID-19 pandemic caused the concert to be postponed. The show was essentially delayed by a whole year, but with the UK now essentially open for business the American band were able to travel and play their lengthy set of UK shows - even though shows scheduled in the rest of Europe have been postponed again. The length of the UK tour made it worthwhile for the band to still visit, and with sold out shows up and down the country it would seem that Black Stone Cherry are as popular as ever.

Prior to Black Stone Cherry taking the stage, the growing crowd was treated to a strong showing from the Kris Barras Band - who romped through a nine-song set with ease. Being from Torquay, Exeter was the closest thing to a hometown show for Barras and there were clearly quite a few fans of his in attendance. I was familiar with some of Barras' work, but with the majority of the set taken up with new material from an album that is set to be released next year much of Barras' set was unknown to me. This did not hamper my enjoyment of it however, as the new songs were strong. Opener Dead Horses in particular stood out, and gave an indication of where Barras wants to go next. With bandmate Josiah J. Manning (guitar/vocals) having recently switched from keyboards to guitar, the Kris Barras Band are clearly now going for a somewhat heavier sound. I did miss Manning's Hammond organ, which has always been a big part of the band's sound, but the twin-guitar attack worked well too - and gave Barras an opportunity to indulge in the odd twin-lead guitar harmony. These moments certainly pleased the crowd, as did Barras' many excellent guitar solos. The atmosphere throughout was great as a result and due to the amount of fans in attendance there was plenty of singing to be heard. The chorus of Ignite (Light It Up) was sung back at the band loudly, while even one of the newer songs My Parade attracted plenty of attention. Despite moving away from his bluesy roots somewhat with his new songs, Barras' blues credentials were highlighted during a strong version of the old blues standard Going Down - but for me the overall highlight of the set was the rousing closing number Hail Mary. I knew that the song was one of Barras' signature tunes, but I had not heard it before the concert. Hearing it live for the first time, however, was great - and the bluesier side of Barras' playing was again on display with some occasional slide licks. The chorus also featured plenty of singing from the crowd, and during the song it was easy to forget that the Kris Barras Band were not headlining the night - such was the reaction. It was a great end to a strong set, and I will definitely be checking out the band's new album when it is released next year. The setlist was:

Dead Horses

Rock 'n' Roll Running Through My Veins

Ignite (Light It Up)

What You Get

Who Needs Enemies

My Parade

Going Down [Moloch cover]

These Voices

Hail Mary

Half an hour or so following Barras' set, the stage was cleared and the lights went down. The cheer from the crowd was the largest that I had heard in a while (this was the biggest gig that I had been to for quite some time after all) and it really set the tone for the rest of the evening. Black Stone Cherry are a band that are great at whipping up a crowd, and their live sound is much heavier and freer than how they present themselves on their albums. From seeing their Facebook posts, the rest of the tour had been great - and the band were full of energy when they hit the stage with Me and Mary Jane. The crowd were instantly singing the song back at them - and this is something that happened during basically every song of the set. It was clear too that, given the postponement of the original tour, that the band really wanted to give the crowd their money's worth. An 18-song set that covered all of the band's seven studio albums was certainly worth the price of admission - and it was great to hear a mix of the band's classic tracks as well as newer numbers and some deeper cuts. Early on the newer hits came thick and fast, with Burnin' and Again keeping the energy levels high, before the first deeper cut in the form of the old b-side Yeah Man took me back to that Bristol show in 2009. With the exception of a couple of slower songs later in the set, the rest of the set was upbeat and hard-rocking. Even the band's more country-tinged songs such as In My Blood and Like I Roll were rocked up with extended jams - as well as plenty of soloing from Chris Robertson (vocals/guitar) and Ben Wells (guitar/vocals). In fact most of the songs were stretched out somewhat, and it was great to hear the band really going for it. There were some 1970s-esque jam band vibes at times - particularly during the funky Cheaper to Drink Alone which featured plenty of riffing as well as some additional percussion from roadie Jeff Boggs.

A real highlight for me however was the inclusion of Devil's Queen - which has always been one of my favourite Black Stone Cherry songs. I had never seen the band play the song live before, and the loose version played really hit the spot. It lacked the roaring Hammond organ of the studio version, but the shredded guitar leads more than made up for it - with Robertson and Wells closing the piece with a lengthy back-and-forth solo. This led into a drum solo from the flamboyant and hard-hitting John Fred Young - which again was a trip back to the 1970s when such things were commonplace. By this point the band were about three quarters of the way through the set, so all that was left was bona fide classics. Robertson's solo rendition of Things My Father Said was poignant, but for me it was tracks like Blind Man, White Trash Millionaire, and the closing southern metal of Lonely Train that really took the roof off at the end of the night. The classic tracks were a powerful way to end the set; which made the choice to encore with a ballad, Peace Is Free, somewhat strange. The song is a good one, but following such a relentless barrage of energy the choice was an odd one - especially as Robertson's voice was somewhat ragged at the end of a long set of hard rockers. It would have been better to have included the song earlier in the set, and encored with something heavy to really end the evening on a high. This was the only criticism I could level at the band however, as they owned the Exeter stage during their time in the city - and the large crowd certainly went home happy after such a powerful showing. The setlist was:

Me and Mary Jane

Burnin'

Again

Yeah Man

In My Blood/Island Jam

Ringin' in My Head

Like I Roll

Cheaper to Drink Alone

Hell and High Water

Soulcreek

Devil's Queen

Drum solo

Things My Father Said

In Love with the Pain

Blind Man

Blame It on the Boom Boom

White Trash Millionaire

Lonely Train

-

Peace Is Free

Despite having been to a few gigs so far this year, Black Stone Cherry was the first on the bigger side that I have managed to get to - so it felt like more of an event as a result. While I think that some of the other performances that I have seen this year so far have been better overall, it was great to be back in a larger venue with a lot of people watching a big touring band. It was also great to see Black Stone Cherry live again, as it had been seven years since my last experience of them in concert. They are a band that will always put on a good show, and are always worth seeing if the opportunity presents itself.