Demon's 'Invincible' - Album Review

I recently wrote a review of the latest album from Praying Mantis, entitled Defiance (which can be read here), a band who released their first album in 1981 and always felt like an honorary member of the NWOBHM rather than a true participant. Praying Mantis' much more melodic sound set them apart from the genre's mainstays but, nevertheless, they are considered a vital part of the NOWBHM - with Time Tells No Lies a bit of a classic from that time. I mention Praying Mantis here as Demon, the band I am covering today, are somewhat similar. Night of the Demon, Demon's debut album, was also released in 1981 and the six-piece also had a much more melodic and polished sound than many of their peers. Demon were probably closer to true NWOBHM than Praying Mantis ever were but I often see the bands as pretty similar overall - with a keyboard-heavy approach and choruses which flirted heavily with AOR. Unlike Praying Mantis, though, I am not all that familiar with Demon. I heard Night of the Demon quite a while ago, and have revisited it a few times over the years, but it is only over the past few months that I have started to listen to more of the band's output. Their first three albums: Night of the Demon, 1982's The Unexpected Guest, and 1983's The Plague; are generally considered to be vital NOWBHM releases - but Demon have been pretty busy over the years and have now released 14 studio albums, with the most recent of such, Invincible, being the subject of this review. In recent months I have listened to the band's first three albums quite a bit. All three have recently been reissued, either remixed or remastered, but the rest of the band's catalogue is yet to receive such a treatment. It seems unlikely that they will, either, which is shame as many of the band's albums are quite hard to get hold of physically. I have heard 1985's British Standard Approved once, which continued on the somewhat progressive approach introduced on The Plague, but my knowledge of the band after this fourth album is essentially non-existent. As such, then, I have approached Invincible with an open mind. Demon's sound gradually shifted over the course of their first four albums, so it stands to reason that more shifting took place between 1985 and 2024, and frontman Dave Hill is the only original member left in the band at this point. The band's current line-up has been in place for a while, though. Guitarists Dave Cotterill and Paul Hume, keyboardist Karl Waye, and drummer Neil Ogden all appeared on the band's last two albums; with Waye and Ogden having also contributed to other releases prior to such; whilst bassist Paul Johnson returned to the band in 2022 having previously played on 2012's Unbroken. It has been a while since Demon last released an album, too, with Invincible their first in eight years following Cemetery Junction in 2016. Invincible is essentially a collaboration between Hill and Ogden, with the two writing essentially all of the material here - with the rest of the band bringing their songs to life. Compared to early Demon, this album feels heavier overall. There are still plenty of keyboards, vocal harmonies, and melodic hooks here - but the songwriting is crunchier with the dual guitar attack of Cotterill and Hume really driving everything. Hill's voice sounds a little strange at times here, but overall he still sounds pretty strong despite being gruffer than he used to be.

The album's intro is the only track not put together by Hill and Ogden, with Waye kicking things off with a busy keyboard piece. It largely focuses on Hammond organ swells with some synth additions, and the organic piece has a classical vibe which is different from the more symphonic and atmospheric approach which might be expected. It is an old-school way to kick the album off, with the Hammond's last roar segueing nicely into the opening vocal harmonies of In My Blood - which kicks off proper with an up-tempo drum groove and a hooky guitar melody. The song is not especially keyboard-driven, but the lengthy organ intro still works well - with Waye's most prominent contribution to In My Blood being some piano melodies during the pre-chorus. They keyboards generally add depth, then, with the riffing of Cotterill and Hume leading the charge. The opening guitar melody is hooky, but the guitar playing throughout is pretty varied overall. The verses have a chunky power chord riff whilst the chorus features a bouncier guitar pattern - which suits Ogden's ride-led playing and the tight vocal harmonies from the whole band. Hill sounds good, even if he does sound, understandably, older than he did in the 1980s. His voice has something of a shadow to it, but he is still full of character throughout. The band's harmonies tend to add the higher notes to any track - but the richness of Hill's voice still shines through, with the chorus here being hooky thanks to the combination of him and the harmonies. A strong, melodic guitar solo pulls everything together - and the album gets off to a fine start. Lead single Face the Master ups the heaviness overall, with the track opening with a buzzing, metallic riff backed by some atmospheric synths - before the rest of the band crash in with some screaming guitar leads and Ogden's crashing drums. Despite the heavier overall sound, the classic Demon approach is still very apparent. The chorus hooks and overall approach are not all that different from The Spell from The Unexpected Guest, whilst the verses really barrel along thanks to the opening buzzing guitar riff being repurposed and some subtle piano additions from Waye. Some of the riffing here recalls Dio's work at times, but the big vocal harmonies and Hill's rich voice certainly ground the song in Demon's canon - with a dynamic arrangement leading to a more spacious verse and a powerful chorus. The guitar soloing here is busier, too, which fits in with the song's heaviness overall. Ghost from the Past is similarly heavy, but the pace is slowed down to allow for a groovy opening riff to set the tone. The first two proper songs were much more up-tempo, but this track feels weightier thanks to its slower pace - with Johnson's bass standing out during the verses, which feature more of a stop-start guitar approach. Despite this slower pace, though, the chorus still takes the band's usual path - with melodic vocal harmonies countering Hill's gravelly delivery. The slower pace and crunchier guitars gives the chorus a slightly creepy vibe overall, though, which contrasts nicely with the hookier approach taken elsewhere. The song provides some early variety, then, and the creepy heaviness is welcome.

Beyond the Darkside returns to something more akin to Face the Master, albeit with an even bigger sound overall thanks to some opening wordless vocal hooks and some of the busiest lead guitar playing heard on the album up to this point. The opening instrumental hooks are filled with fluid lead guitar moments, but it is perhaps the approach to the guitar during the verses which brings the best out of Cotterill and Hume - with the two often teaming up for some dual leads to compliment and counter Hill's fast-paced vocal hooks. The riffing is perhaps less crunchy here, with the bass and the keyboards generally providing the backing, but the guitar leads are packed full of melody which allows the song to really pop. There are some great old-school Demon sounds here, then, as the song is not as metallic as some of the others on the album. It has the retro smoothness of the band's early work thanks to the plentiful guitar leads - and Waye's keyboards are generally much more prominent here, adding a melodic halo to everything. Hill's vocal hooks during the chorus are strong, too, and the song is one of my favourites here thanks to its overall pace and melodic approach. Hole in the Sky opens in a slower manner, with clean guitar melodies and some busy keyboard lines, which set an atmospheric tone, before a lumbering riff kicks in - which is another guitar moment which would not have sounded out of place on a Dio album. Some of the songs here have a majestic nature similar to Dio's more epic approach, but the sound is ultimately grounded in the classic NWOBHM canon mixed with the pomp rock tones of Magnum. This song is a good mix of those sounds - with Waye's keyboards cutting through the mix quite a bit here to add some grandeur to the pulsing choruses, whilst the verses are more slow-burning thanks to darker guitar melodies and Ogden's doomy drumming. Songs like this emphasise that Demon are actually a heavier band than many ever gave them credit for. I think that given how metal Night of the Demon's album cover looked many were confused to find a more melodic sound within - but Hole in the Sky is an atmospheric, doomy piece that feels both heavy and melodic. Break the Spell opens in a somewhat jauntier manner, with Hill's voice backed by Waye's bouncy keyboards early on - before the rest of the band crash in. Despite it getting heavier from this point on, the song still feels quite upbeat. Waye's jaunty keyboards are retained, and are audible above the guitar riffing, whilst a bit more of a cinematic approach is taken during the chorus by slowing the pace a little and adding in some of the band's trademark vocal harmonies. The odd guitar lead cuts through the mix to boost the chorus' overall impact whilst the keyboards move to a more atmospheric role. After the doomy previous song this track goes for a much more typical Demon approach - with hooky guitar melodies and vocals throughout to produce something weighty.

Rise Up immediately goes for a more hard-driving sound, with a retro-sounding main guitar riff which harks back to the 1970s somewhat. It feels as if the song is going to be a full-on hard rocker but, as is often the case here, the song is more varied than it first seems. The retro rock sound is re-used for a pulsing pre-chorus and a hard rocking chorus, but the verses are a bit more spacious overall. Hill's voice and a more atmospheric backing dominate despite Ogden keeping everything moving with a infectious drum groove, but the 1970s hard rock sounds do keep reappearing - with plenty of big Hammond organ backing the hooky chorus and the plentiful guitar riffing makes use of a more old-school tone with less crunch and more classic overdrive than is typical of the rest of the album. This more throwback sound does work well, though, and it keeps up the album's overall upbeat feel whilst reining in some of the grandness found elsewhere. The album's title track follows and it is one that reintroduces the grandness again in a big way. It is a mid-paced, creeping track based around an Eastern-tinged main riff which certainly has shades of Ritchie Blackmore's approach at times. There are shades of the Stranger In Us All era of Rainbow present throughout this track, with plenty of atmospheric keyboards from Waye to make the song sound much bigger overall - whilst the guitars of Cotterill and Hume link together for plenty of crunch and the occasional swirling lead. This song does not go for a pomp-esque sound, really, instead this is just a full-on metallic piece with plenty of grandeur and atmosphere. Hill's rich voice really suits songs like this and the chorus is a winner thanks to his gritty delivery and the subtle harmonies from the rest of the band. The guitar solo is not very Blackmore-esque following the Rainbow touches found elsewhere, but it still suits the song nicely. Cradle to the Grave is somewhat similar overall, but it feels like a combination of the two previous songs - with plenty of Hammond organ throughout and a weightier guitar approach that lacks the Eastern tones of the previous track. The crunch of the early parts of the album returns in a big way, whilst guitar leads and subtle synth flourishes keep the spirit of the previous song alive. The chorus here is also quite similar to that of the previous title track. It is not as AOR-esque as some of the others on the album, with more of a traditional, grander hard rock approach instead taken to make the most out of Hill's rich delivery. The simple chorus is another winner, then, whilst the guitar solo section might be one of the album's most interesting - as it slows things down and goes for a more progressive approach, including a few neo-classical melodies.

Breaking the Silence then returns to the sound of the early part of the album in a big way, picking up the pace again after a few mid-paced tracks and going for the throat with another Dio-esque approach. The chorus does slow things down somewhat, to allow an epic and atmospheric approach to dominate, but the rest of the song is much faster - with a snappy riff and some urgent drumming from Ogden. After a few denser songs, this harder rocking and more metallic sound is welcome. This album is pretty varied overall and I like how the band shifts things up as it moves along. Each transition feels natural, though, and each ingredient of the band's core sound is present in each cut here. The driving riffing of this track feels more powerful due to the slower burn of the last couple of songs, and this is something which has happened elsewhere on the album - and it stops it from feeling too one-paced throughout, as there is a constant, yet subtle, shift in tone to allow the band's progressive side to flourish a little. This album is not a progressive as some of the band's other work, but there are shades of that here despite the grander and more metallic approach of the current line-up. A more progressive sound does influence the album's final cut, Forever Seventeen, though. It is the closest thing on the album to a ballad, as much of this album up to this point has been pretty heavy, but Forever Seventeen feels more atmospheric overall - with a dense, keyboard-led sound and an emotional performance from Hill. The progressive feeling comes as a result of the arrangement. Demon were never a full-blown prog band, but The Plague and British Standard Approved certainly had their Pink Floyd-esque moments - and some of those sounds have been repurposed on Forever Seventeen. The song just feels to be made up of more parts than many of those here, with the mix being quite busy thanks to clean guitar melodies and lots of different keyboard tones. It is still pretty hooky overall, though, with another strong chorus which Hill pours everything into - and the song has the feel of a true closer. I always like it when a closing song really feels like such - and not just another song on the album. I am not sure if this album is a concept album or not, but Forever Seventeen feels like a song that the album has been building towards - so the more atmospheric and progressive approach works well to create a final moment of grandeur as the album comes to a slow-burning, yet larger-than-life, end. In some ways it is hard to compare this album to the Demon albums from the early 1980s as they are all quite different - but Invincible has been getting quite a lot of plays recently and I can see that continuing. There are shades of those classic releases from the 1980s but the Demon of today is quite a bit heavier than the Demon of then - and this is a much riffier album than anything which I have heard from the band before. The AOR melodies and the love of a big keyboard sound remain, as does the occasional progressive flourish, but in general this album is heavier and more metallic than what I know from the band - albeit with a side of Magnum for good measure - and that is certainly no bad thing given Hill's aging voice and the guitar talents if Cotterill and Hume.

The album was released on 17th May 2024 via Frontiers Records. Below is the band's promotional video for Face the Master.

Freedom Call's 'Silver Romance' - Album Review

It has been great to get back into power metal again. Whilst I tend to favour the heavier end of the genre these days, I still have a bit of a love for the poppier and cheesier end of the spectrum - with new albums from Sonata Arctica and DragonForce already helping to sate the appetites of power metal lovers this year. I am tired of the overly silly side of power metal, though, and I skipped over last year's latest effort from Gloryhammer as I just was not feeling it at the time, but one band that I retain a soft spot for is the German four-piece Freedom Call. In some ways, this enduring soft spot is confusing - as Freedom Call are certainly pretty egregious when it comes to some of the cheesiest tropes of overblown power metal. Their self-referential lyrics and un-ending positive energy can be a bit much to take at times but, for me, I have always found their songwriting to be pretty tight and interesting. There is an epic side to their songwriting which is not always apparent - but they generally shy away from either a progressive or a symphonic approach. I think, though, it is their distinct sound that keeps me coming back. There are plenty of upbeat power metal bands, but none of them really sound like Freedom Call - and frontman Chris Bay is likely one of the most consistent songwriters and likeable personalities in the genre. HammerFall are releasing a new album later this year for those who like their European power metal a bit crunchier and more Manowar-esque but, for now, power metal fans will certainly find plenty to like on Freedom Call's eleventh studio album Silver Romance - the band's first in five years following on from M.E.T.A.L. (which I reviewed here) which was released in 2019. Whilst I think it is fair to say that Freedom Call have kept a pretty consistent sound over the years, something about Silver Romance overall feels like a bit of a throwback to the band's early albums. The album cover might be their most striking fantasy painting yet and quite the contrast to the more cartoony approach taken on the band's last three releases. The album cover feels like an updated and more detailed take on the themes of 2001's Crystal Empire - and I also feel that the music within feels a bit more epic in that sense, too. Freedom Call have always been anthemic, but I feel that the band's more recent albums have gone for a punchier and less epic sound. I felt that M.E.T.A.L. really honed that relative overall simplification in sound - and it is likely my favourite of the band's last handful of albums. In my opinion, though, much of Freedom Call's best work came early on in their career, with the aforementioned Crystal Empire and 2002's Eternity being standouts. I am not sure that they have ever really released a dud of an album - but there was perhaps a little bit of a sag in the middle before the band simplified their sound as detailed and put out a string of punchier albums. The return to their original sound, despite the difference between the two not exactly night and day, is a welcome one, then, and it sees Bay and long-time guitarist Lars Rettkowitz in fine, busy form. Joining them are bassist Francesco Ferraro alongside the returning Ramy Ali on drums for the first time since 2016's Master of Light - who was out of the band between 2018 and 2023.

The album kicks off with its title track and, after a big snare roll from Ali, the dual lead guitars of Bay and Rettkowitz lay down a fluid hook - and this opening melody really sets the tone for everything else which follows. The lack of a symphonic or atmospheric intro allows the action to get underway right from the off - with the crunchy guitar rhythms of the verses harking back to the way in which many of the band's classic tracks of old built up. There are similarities to the band's self-titled song during the verses, but the chorus feels faster-paced overall and a bit more typical 'power metal' in style with driving double bass drums and plenty of vocal harmonies. Freedom Call have always made use of keyboards, to varying levels of prominence, but this song is generally pretty crunchy - although there is a synth backing to the chorus and a few flashy melodies during the verses to accent Bay's vocals. A shredded guitar solo section later pulls everything together - and Freedom Call sound as up-tempo and hard rocking as always, with the song one that evokes everything which they do so well. Symphony of Avalon is similar overall, but the song is much pacier - with the crunchy verses replaced by much more of a double bass-led attack before a more mid-paced and anthemic chorus takes over to allow some fist-pumping vocal hooks to shine. I like the song, but it is one of two songs here in which the band, yet again, tell us that they are Freedom Call. Their self-referential lyrics are often pretty cringy and this song is no different - but the crunchy production and a pseudo-symphonic pre-chorus section does help the song to stand out somewhat. There is less of a focus on big guitar leads this time, too, although the chorus does have a guitar lead which sits nicely under Bay's vocals - and there is a guitar solo which feels more controlled than the previous effort. Supernova changes the tone again, somewhat, and goes for a more keyboard-led sound - with an opening synth riff and effects-heavy spoken word vocals morphing into a hooky intro which sees the synths and lead guitar harmonising. The song is a pure melodic feast from the off, then, and the hooks never let up throughout. The song is one of my favourites on the album thanks to how memorable it is - and there is a surprising amount of variety, too, thanks to heavier verses which give way to an AOR-esque pre-chorus complete with some really choppy vocal hooks. The chorus which then takes over is much more old-school power metal in feel with drawn out chord changes and vocal melodies. It is certainly one that would soar live and the same goes for the guitar solo, which is another that reins it in slightly and goes for a more melodic approach. This is Freedom Call at their best and an overall highlight here.

Infinity is somewhat similar, but the pace is upped overall to go for a faster sound. Crunchy guitar rhythms, with the occasional burst of machine gun double bass drumming, back a flashy synth hook early on - before another crunchy verse with an AOR keyboard backing allows Bay's voice plenty of space to breathe. Like the previous song, too, the track is a real melodic feast. I do not think that it is quite as good as Supernova, but there are only a few hairs in it width-wise - with a half-time pre-chorus allowing for a surprisingly groovy moment before the chorus really launches to the stars with some soaring vocal melodies and plenty of sci-fi synths. Out of Space changes the approach again somewhat, although a more synth-heavy sound is retained. Whilst much of what came before on this album sounded more old-school, this is a song which would have felt at home on any of the band's last few albums. It feels punchier overall and less soaring - with the synth hooks feeling quite modern pop in sound whilst the verses feature Ferraro's bass playing a bit more prominently. There are still plenty of Freedom Call's trademark hooks, though, with the chorus making use of the aforementioned synth melody as a backing for Bay's strident vocals. Distant Horizon is much more typical of the band's classic sound, though, with a faster pace overall - and the track is much more intense and guitar dominated, with the synths generally taking more of a backseat. The keyboard melodies are still there to provide an atmospheric backing throughout, with some choice accents during the verses, but overall this is very much a fast power metal song with Ali's driving double bass drumming keeping everything ticking. The chorus is another which feels pretty big overall, with the classic power metal trope of faster drumming and slower vocal hooks creating an epic contrast - whilst some busier guitar riffing and lead playing throughout give the song a complex edge, along with another shredded solo. In Quest of Love is similar and the song was one of those which really jumped out at me on my first listen to the album. It is another which has an old-school feel so it generally relies on its pace to see it succeed - even if parts of the verse slow down to a bit more of a crunch similar to how the album opened. Generally, though, this track is full of double bass flurries and plenty of crunchy riffing - with some choice synth hooks and another chorus which will stick in the brain after only a couple of listens. The instrumental section is a bit of a standout moment, too, thanks to some sci-fi synths crashing through the mix and another excellent guitar solo.

Blue Giant goes for a different sound again and slows the pace down quite significantly. There are no ballads here, but Blue Giant may well be the album's slowest piece - but there is still quite a bit of crunch here despite a more atmospheric approach overall. Some of the riffs are pretty doomy in the context of Freedom Call's generally pretty up-tempo sound, whilst atmospheric synths give the song a pretty big overall sound. The slower pace does allow Bay's voice plenty of room to breathe and he sounds great here as always. He may not be the most diverse of power metal singers, and he lacks the range of some of his peers, but his distinct tone is perfect for the band's sound - and he actually manages to inject a fair bit of emotion into this slower piece. The song is not as hooky as many of the others here but the change of pace is a welcome one. Meteorite picks the pace back up again and returns to the band's first few albums for inspiration - with the track being a hard-driving power metal anthem some with busier guitar playing and even some neo-classical melodies throughout. The synths are generally dialled back here with the song being much more guitar-led overall - and there are a few instrumental breaks which feature riffing that is busier than the norm for the band. Rettkowitz certainly cuts loose a little more, with some real guitar hero moments and a heavier overall tone - with a guitar solo which again channels some neo-classical influences. It is not a song which stood out initially for me, but over time it has risen up the album's ranks overall - and it has become a bit of a favourite thanks to its heavier feel and busy guitar approach. Big Bang Universe goes for more of a mid-paced feel overall and the track builds from a relatively slow intro towards a pretty anthemic chorus which explodes from pulsing AOR keyboards, double bass drum patterns, and some fist-pumping vocal hooks. It is only part of the song which is generally pretty fast, with the rest of the song feeling more grounded and crunchy. The bass gets a bit more of a chance to shine during the verses, then, but the song is one which grows in stature pretty gradually - with each verse restarting the build towards the more explosive chorus in a pleasing manner. This sort of arrangement is not exactly that original, but it is often pleasing when it is done well - and it helps the song to be something else than yet another fast power metal anthem.

New Haven is a bit more typical, though, but the crunch of the previous song has been retained - and there is less of a synth-heavy sound present this time. Despite this, though, the overall arrangement still feels pretty big. The dual guitar leads and the crunchy rhythms seem to have a heavier tone than is generally present elsewhere. This allows the opening riff and melodies to really shine, whilst the verses feel weighty thanks to the somewhat slower pace and the crunch of the guitar rhythms. The lack of constant double bass drumming allows for a punchier sound overall, too, and this is another track which could have sat on one of the band's more recent albums. It feels very focused on the main guitar hook and the gang vocal-aided chorus melodies - with the occasional synth backing adding some depth despite the heavier overall approach. High Above is somewhat similar, albeit with much more of a keyboard presence. The song opens with its chorus which is more of a mid-paced effort and backed with some busy synths - and this more restrained pace is kept up throughout. Having two mid-paced tracks in a row is perhaps a bit out of character for Freedom Call, who generally like to keep things on the faster side, but the two songs are quite different arrangement-wise so they contrast each other well. It is a song, though, which is very much reliant on its chorus - especially as it opens with it. The chorus is on the long side, too, and it is pretty repetitive so it is fair to say that there are plenty of better choruses here. It does stick in the brain, though, and the song is a fun, keyboard-heavy piece of melodic rock which reins in some of the crunch of elsewhere and provides a slight change of pace. The album then comes to a close with Metal Generation and it is the second song here which is self-referential. I tend to find these songs from the band on the more annoying side - and this one might be their most egregious effort on that front. I am not always that focused on lyrics when listening to music but when they are bad they tend to jump out - and this song has some pretty terrible lyrics. Metal bands writing songs about metal tends to be annoying and this is one of those songs - just with Freedom Call's strange desire to references themselves, too. They have done songs like this before so I did not really need another one - and it is a shame that the album ends on a bit of a flat note as much of what came before is very strong. Overall, then, and leaving the final track to one side, Silver Romance is another solid and enjoyable album from Freedom Call. The harking back to the band's early work is welcome and it is great to hear many fast-paced power metal anthems here with lots of old-school power metal tropes on display. Nothing here is original but it is generally executed well with plenty of strong choruses and shredded guitar solos so there is a lot to like for lovers of power metal.

The album was released on 10th May 2024 via Steamhammer/SPV GmbH. Below is the band's promotional video for Supernova.

Mostly Autumn - Tavistock Review

I have likely already said this before on the blog, but it gets harder and harder to write about the British progressive rock band Mostly Autumn. Whilst I am not sure that I can narrow down my musical taste to one favourite band, the York-based seven-piece would certainly be in contention for such an accolade - and they were the first band I ever saw live back in 2006. Since then, and including last night, I have seen the band live 47 times - which is more than double that of any other band. The big 50 is approaching, then, which I am sure will be hit in no time - although given that the band's live activity is not as widespread as it used to be and the fact that I no longer attend the Cambridge Rock Festival each year means it will likely take another year or two to reach said milestone. In the past, I would often see the band 3 or 4 times a year on average. The band's annual trip to Tavistock in Devon was sometimes accompanied by a Penzance or an Exeter show, too, plus the aforementioned festival and perhaps a trip up to London, Leamington, or Bilston for a special occasion. If the band announce a Christmas show in Bilston this year I will likely make the effort - as I feel that over the past few years I have not attended as many Mostly Autumn shows as I would have liked to. I only saw the band once last year, which has been quite rare even in the absence of regular festival going, so I hope to at least double that this year - but for now it is time to reflect on last night's latest visit to The Wharf in Tavistock. I have seen Mostly Autumn at the venue nearly every year since 2006. There are a couple of shows I have missed due to living away from the South West for a while and date clashes, and occasionally the band opted for Penzance and/or Exeter instead, but generally a Mostly Autumn show in Tavistock is an annual entry in any year's gigging calendar. The band last visited the venue in April 2023, so it had been over a year since I had seen the band live. It was a show that capped off an extremely busy month, too. I had been away every weekend in May and had travelled back from Bristol the day of the show - as I had caught a fun show by the Australian progressive metal act Caligula's Horse the night before. I was pretty tired, then, but nothing was going to stop me from seeing Mostly Autumn - so after chilling at home for a few hours it was time to get the bus out to Tavistock and go for an excellent curry. As has been the case at all of their recent Tavistock shows, too, the venue was busy. Attendances at the band's Tavistock shows have generally been good - but they did drop off somewhat in the mid-2010s for some reason. The venue was pretty full last night, though, with the crowd perhaps the largest for a Mostly Autumn show in Tavistock that I can remember for a while. It meant that the atmosphere was excellent from the off - as everyone was really up for a good time. It was a good thing that they were, too, as the band pulled out all of the stops - shaking up the setlist quite considerably and playing for much longer than the last few times I had seen them, which transported me back a good few years.

As is generally the case with a Mostly Autumn show, the band played two sets - and 21 songs were featured over the course of the evening. The first hour, with a couple of exceptions, was made up of songs which the band have generally played live often over the past few years. The first set was kicked off by a busy drum barrage from Henry Rogers whilst the rest of the band took to the stage - before Bryan Josh (vocals/guitar) counted everyone in and In for the Bite got underway with its spiralling guitar melody and gothic overtones. The song has often provided a strong introduction for frontwoman Olivia Sparnenn-Josh, and it was no different last night, although sadly Sparnenn-Josh was sometimes a bit low in the mix throughout the show. Generally the sound did level itself out, but early on it was a bit muddy - with the pop rock of Into the Stars and the more anthemic Spirit of Mankind perhaps not hitting the mark as they often do. From Western Skies onward, though, I felt that the early sound issues had been fixed and the band really powered through the symphonic rocker. Angela Gordon (flute/keyboards/whistles/recorder/vocals) got the song off to a perfect start with a flute melody before the symphonic closing section led by Iain Jennings' dramatic keyboards saw her and Sparnenn-Josh harmonising in a powerful manner. Despite the first set largely being filled with recent favourites, it was nice to hear Drops of the Sun live again after a few years. It was a song which I was glad was rested a few years ago as it had been played pretty regularly since 2012 - but after a few years out of the set the tougher rocker made a welcome return. It was the first song of the night which Josh sang, and he sounded powerful as usual - whilst Jennings laid into his keyboards during the more soaring chorus. After a pretty hard rocking start, then, the rest of the first set was a bit more reflective. The piano-led ballad Passengers comes and goes from the set, but it is always a welcome addition - which Sparnenn-Josh nailed vocally - before the slowest song of the evening, Heart, Body & Soul, saw Jennings' piano and Sparnenn-Josh's voice shimmer over the calm of the audience. The spotlight then turned to Chris Johnson (vocals/guitar/keyboards) for the first of two songs featuring his singing - with the soaring ballad Silver Glass sounding as powerful as ever, particularly when Josh launched into its guitar solo. The real treat of the first set, though, was a closing rendition of the lengthy The Night Sky - which ends the band's debut album. It is not a song which the band have played live that often in recent years and I had only witnessed a handful of performances of it previously. When Jennings' keyboard melody kicked in, though, I knew the next few minutes were going to be special - with Josh and Sparnann-Josh singing the opening vocal lines in tandem. Gordon then replaced the song's original violin solo with a lengthy flute workout, before Josh took over for his best solo of the night. It was a lengthy guitar moment and the song was one of the night's many standout cuts - and it brought the first hour of music to a powerful and emotional close.

The second set saw the return of quite a few songs to the set which I had not heard live renditions of for quite some time. It kicked off in familiar fashion, though, with the up-tempo and hard rocking Tomorrow Dies, with Sparnenn-Josh really pushing herself vocally, but a strident drum groove and a little bass showcase for Andy Smith saw the clock turned back for the folky hard rock of Winter Mountain -  a song I had not heard live in over a decade. The track has always been a great live cut, though, with Josh and Sparnenn-Josh singing in unison again - before it turned into a showcase for Jennings thanks to a lengthy, old-school synth solo. The surprises did not stop there, though, as the band followed it up with the punchy and more modern-sounding Broken Glass - a bass-led piece which I had not heard live since prior to Heather Findlay leaving the band. It has never been a personal favourite of mine, but live it always comes alive thanks to its infectious rhythm and Jennings' cutting piano additions - and there was plenty of singing from the old-school fans in the crowd. Perhaps the real treat of the second set, though, was another rare outing - this time in the form of Half the Mountain. This song was played pretty regularly during Findlay's last couple of years in the band, and I recall Sparnenn-Josh singing it at the first gig after she took over as lead singer, but since then it has not been played much - and the warm ballad really filled the room. It has become a real favourite of mine in the intervening years so it was great to hear it again - with Josh's closing solo and interplay with Gordon's flute bringing back memories of gigs past. Another surprise came in the form of Dressed in Voices - a song not as old as some of the other surprises but still one which has been absent for a while. It fitted nicely in the set, though, with Johnson's delicate acoustic guitar backing the perfect bed for Sparnenn-Josh's voice before the band crashed in during the soaring chorus - and Josh again closed everything out with another epic solo. It was back to more familiar territory for the last third of the set, though, with the sombre ballad This Endless War and the uplifting, folky Back in These Arms returning to 2021's Graveyard Star before the lengthy White Rainbow saw the main set come an end. The song is always an impressive piece to hear live, from Jennings' lengthy keyboard intro, through Josh's rootsy vocal-led section and Sparnenn-Josh's symphonic introduction, to the closing acoustic-based folky stomp which, again, featured another extended solo to bring the curtain down. A two-song encore followed and it was another which harked back somewhat. The ever-present Heroes Never Die kicked it off, of course, with Josh's solo seeming longer than usual. He really was on scintillating form last night with many of the solos seeming more potent than usual - but it was left to the credit scroll of Tonight, another song which had been absent from the set for a few years, to close everything out. Sparnenn-Josh sung it beautifully and Josh introduced the band - and plenty of cheering followed as the band took their bows. The setlist was:

In for the Bite [Bryan Josh solo material]

Into the Stars

Spirit of Mankind

Western Skies

Drops of the Sun

Skin of Mankind

Passengers

Heart, Body and Soul

Silver Glass

The Night Sky

-

Tomorrow Dies

Winter Mountain

Broken Glass

Changing Lives

Half the Mountain

Dressed in Voices

This Endless War

Back in These Arms

White Rainbow

-

Heroes Never Die

Tonight

Mostly Autumn never disappoint live, but I do feel that last night's show was likely my favourite of theirs for a little while. The first show of theirs I saw in 2021 following the pandemic was special, but since then I think last night really stood out. Shaking up the setlist quite significantly really helped and it was great to hear some songs which I had not heard live for a long time and also that a few perhaps over-played regulars were rested. The band have a catalogue which means they can mix it up nicely and still focus on their recent albums overall - but hearing some old favourites again was a treat. I am hoping that a new album is being worked on, too, as it has nearly been three years since Graveyard Star. Either way, though, Mostly Autumn's shows are always highlights of any year and last night was no different.

Caligula's Horse - Bristol Review

May has been an extremely busy month. There has not been a weekend where I have not travelled away for at least one concert and, in truth, I am starting to feel it! It is not as easy as it was to get on the train for multiple weekends in a row to see bands live - but I still enjoy it. I am quite glad to have a bit of a break in June, though, despite having some local shows to look forward to, as, following last night in Bristol, I am not spending the night away again now until early July. I will certainly enjoy catching up on some sleep over the coming weekends - but May has been full of excellent shows, with lots of 'firsts' including shows by The Black Crowes and Bruce Dickinson as a solo artist. Yesterday's trip to Bristol was also for a 'first', as I boarded the Thekla in the evening to catch the Australian progressive metal four-piece Caligula's Horse on their latest European tour. I had been familiar with Caligula's Horse in name-only until earlier this year, but I decided to take the plunge with the release of their sixth album Charcoal Grace (which I reviewed here) back in January. I have been slowly branching out when it comes to prog metal in recent years - and I have more of an appreciation for the modern take on the sound now than I did previously. I think TesseracT were the band which helped me to bridge the gap somewhat - but Caligula's Horse have enough classic-sounding prog metal in their sound thanks to the soaring guitar leads of Sam Vallen to draw me in. I have listened to Charcoal Grace quite a bit this year, and have also dipped my toe into both 2015's Bloom and 2020's Rise Radiant, but I am still certainly no Caligula's Horse expert. There are still three of the band's albums I am yet to experience, some of which seem quite hard to find physical copies of, but when I saw that they were playing in Bristol as part of their latest European tour the trip seemed like a bit of a no-brainer - especially as the tickets were under £20. It is rare that a gig is less than £20 these days and I knew that I would still have a good time at the show despite not being fully versed in the band's catalogue. I always enjoy going to the Thekla, too. Whilst I imagine the views would be pretty awful from further back by the bar, the sound and atmosphere when stood closer to the stage has always been excellent in my experience. It had been a while since I had last boarded the Thekla, too, so it was nice to return - and there were plenty of others who clearly fancied a Thursday night out with Caligula's Horse, as the venue was pretty much full throughout I would say. It was certainly packed down by the front of the stage and it was clear from the off that the band have some very dedicated fans - as some were very intense in their enjoyment of the show, particularly given that Caligula's Horse are certainly not the heaviest of bands.

Before the main event, though, there were two support acts to warm the crowd up. Up first was the American three-piece Four Stroke Baron - a band whom I had heard of thanks to Pete Pardo recently reviewing their latest album Data Diamond on the Sea of Tranquility YouTube channel. Given his comments about the album I expected the band to be weirder than they ended up being, but I think that it is fair to say that the band are not that conventional. Disappointingly, though, a lot of the band's sound relied on a backing track. In fairness that could sometimes be said about Caligula's Horse given that they do not have a keyboard player and are essentially a guitarist down compared to their historic configuration, but Caligula's Horse are driven by Vallen's riffing primarily and the synths are generally background ambiance - whereas with Four Stroke Baron there was a lot of emphasis on pre-recorded synths and even synth bass which sometimes left the band's actual bass player standing around not doing anything. Despite some techy riffing at times, much of the riffing was not exactly that memorable. I was expecting something much more chaotic, but it seems that the band's main quirks come from their use of synths and also plenty of strange and sometimes quite obnoxious vocal effects. The singing was hard on the ears sometimes thanks to these effects, and this sound was occasionally doubled down on due to the use of some talk box guitar melodies. My main issue with the band overall, though, is that nothing really stuck with me. None of the vocal or guitar melodies were especially memorable and thinking back to their set now there are no melodies at all which I can recall. The strange vocal effects certainly did not help on that front, and likely cloaked any potentially memorable melodies in layers of processed sounds, but I also wonder if Four Stroke Baron are one of those bands who just enjoy sounding weird and off-kilter for its own sake - rather than actually doing something memorable songwriting-wise. I think it is fair to say that Four Stroke Baron are not for me, then, and I was pretty glad when their set came to an end.

The German three-piece The Hirsch Effekt followed and, whilst they are not the sort of band I would sit and listen to at home, I generally enjoyed their genre-bending and pretty heavy set. There was a lot more variety to be found here than there had been in the previous set - and much of this came from the interplay between Nils Wittrock (vocals/guitar) and Ilja John Lappin (vocals/bass guitar). Some of Wittrock's guitar playing was jaw-dropping and Lappin was also a busy bass player - generally doing more than just traditional rhythm-keeping to allow Wittrock to go off on one. Vocally, though, I thought the band were a bit weak. The heavier sections when the two of them screamed sounded pretty strong - but I did not think that either had particularly tuneful or strong clean voices. This did stop the band from really grabbing me, but many of the instrumental passages were impressive - again particularly those which were faster and heavier as these really allowed the two instrumentalists to go crazy. The speed of the guitar playing during the chaotic and frantic closing song was unlike anything I had seen before really - so the band certainly need to get some credit for originality. Despite finding the band's set a lot more enjoyable than Four Stroke Baron's, though, I do get the impression again with The Hirsch Effekt that there is likely an element of experimentation for its own sake. To me, a carefully crafted and original core sound is always going to beat a chaotic melting pot of different sounds in an attempt to be 'out there' and original - but at least The Hirsch Effekt's songs were generally more memorable musically, largely thanks to the guitar playing, than what came before. In fairness I think I am likely in a minority in thinking so - as the band received a pretty strong reception throughout their set, particularly as it progressed. There seemed to be a few fans in attendance and there was a lot more warmth directed their way than Four Stroke Baron had received previously. I certainly enjoyed The Hirsch Effekt's set a lot more but, as I said before, I cannot ever see myself sitting down at home and listening to this band's wide-ranging music.

After two so-so support acts, then, I was glad when the lights went down later and Caligula's Horse took to the stage. For the next 90 minutes or so the band delivered a strong 12-song set which was packed with lots of memorable prog metal anthems - which took in their four most-recent albums and particularly focused on Charcoal Grace. The album's opening two songs got the set underway, with Vallen nailing the soaring opening guitar lead of the lengthy The World Breathes with Me before frontman Jim Grey took to the stage and showcased that he could pull off his various melodic vocal deliveries live - with the crowd helping him out during the song's chorus. As a frontman, though, he did grate on me a bit after a while. He was funny sometimes, but he clearly loves the spotlight - and some of his between-song banter was a bit 'look at me', which did get a bit tedious. That being said, though, as a singer he was flawless. The punchier Golem showcased his grittier side somewhat, with the crowd jumping during the heavy main riff, whilst drummer Josh Griffin laid down plenty of intricate grooves. After this opening of new cuts, the set then moved back to Bloom and then moved forward in time - taking in each album which followed. The first two songs of Bloom were next then, the mellow title track and the driving Marigold, which again featured a lot of singing during the drawn-out chorus. The highlights of the set for me, though, were the two songs played from 2017's In Contact. I have not been able to track down a copy of the album on CD yet, so was unfamiliar with the two songs played, but they really impressed. They were both some of the heaviest and upbeat moments of the set, with some excellent guitar playing from Vallen throughout. It is certainly an album which I need to hear, but it seems to be out of print sadly - and no-one seems to be looking to offload their CD copies on eBay or Discogs. I am sure I will get hold of it one day, but Dream the Dead in particular really impressed - with less of the band's usual atmospheric sound and more weight overall. This punchier sound was then retained during three songs from the more straight ahead Rise Radiant - with Slow Violence perhaps being the pick of the bunch. Rise Radiant is the band's least progressive album overall and there was a big focus on melody instead - with the chorus to Slow Violence perhaps being the band's best yet. It was sung pretty loudly by the crowd, as was Oceanrise which followed, before the band moved back to the modern day to close out the main set with the relatively heavy The Stormchaser and the epic Mute. Mute was another overall highlight for me, with Grey's opening vocals really setting the tone and Vallen's lengthy closing guitar solo perhaps the evening's best guitar moment overall. The curfew was fast approaching at this point, but the cheering brought the band back out for one more - and they powered through another pretty heavy track overall in Daughter of the Mountain which brought a memorable and high-octane set to a powerful close. The setlist was:

The World Breathes with Me

Golem

Bloom

Marigold

Dream the Dead

The Hands Are the Hardest

The Tempest

Slow Violence

Oceanrise

The Stormchaser

Mute

-

Daughter of the Mountain

Despite the strange support bands, which probably suggests that I am pretty out of touch with what is generally considered to be prog metal these days, I enjoyed my time with Caligula's Horse in Bristol. It was great to see a band like Caligula's Horse attract such a decent-sized crowd on a weeknight and the atmosphere was great throughout. I have really enjoyed my journey with the band over the past few months and I hope that it continues - as they have a great core sound which I am looking forward to delving even deeper into.

Riot V's 'Mean Streets' - Album Review

I have recently written about albums by both Vanden Plas and Unleash the Archers, bands which regular readers of this blog may have been surprised to learn had not been covered here before, and I think that it is fair to say that another glaring omission over the years has been the New York-based heavy metal legends Riot. Given how long the band have been going and how important they are considered to be in the context of the American metal scene, particularly the US power metal sound, it took me an awful long time to actually give them a go. I think I first checked them out properly in 2019 after picking up their classic 1988 release Thundersteel having likely heard some discussion about the band on the Sea of Tranquility YouTube channel. I have been turned on to a number of bands through Pete Pardo and his various collaborators' discussions, and Riot was certainly one I should have listened to before I did - although I think that I had previously heard the live version of Road Racin' which was featured on the 1980 compilation album to commemorate the inaugural Monsters of Rock festival prior to my first listen to Thundersteel. I soon picked up 1981's Fire Down Under and the band's last album, 2018's Armor of Light, and started to immerse myself in the band more - and I think it is fair to say that I am quite a big Riot fan these days. I still do not own all of their albums, as they have released quite a few, but I own most of the big ones and a few of the lesser known ones - and have enjoyed all of them to a greater or lesser extent. Crucially, too, I have spent quite a bit of time with their last couple of albums: 2014's Unleash the Fire and the aforementioned Armor of Light; the two albums released by the band since re-branding themselves as Riot V in 2013 to acknowledge that they were entering a new era without any founding members following the death of guitarist Mark Reale in 2012. Given the negative reaction the metal world generally affords to bands continuing on with questionable line-ups, Riot V continuing on Reale's legacy has largely been supported. Perhaps the simple addition of 'V' to the band's name, to highlight that current frontman Todd Michael Hall is the band's fifth singer, showed enough respect to Reale that Riot was no longer the same to bring everyone along with them - but I also think that the quality of both Unleash the Fire and Armor of Light likely helped, too. Riot V certainly carry on the power metal sound the band established on Thundersteel, which is not a surprise given that bassist Don Van Stavern co-wrote a lot of that album, but rarely hark back to the bluesier, more hard rock sound of the band's early years. The sound of Riot V is very much one of up-tempo metal, then, with Hall delivering plenty of high screams on the past two albums - and he continues this on Mean Streets, the third studio album under the Riot V name and the band's seventeenth overall. The same line-up which has been in place since Riot V was launched with Unleash the Fire remains, too, with Hall and Van Stavern joined by guitarist Mike Flyntz, a mainstay in the band since 1989, drummer Frank Gilchriest, who shared some time in the band with Reale during the mid-2000s, and relative newcomer Nick Lee on guitar. Those who have been following the Riot V story will not be surprised by Mean Streets' razor sharp, yet melodic, classic US metal sound - and this latest release is packed full of hooky anthems and plenty of memorable riffs.

There's nothing pretentious or especially different about this album compared to what came before, but the songs are strong and the production is hefty. Things get underway with Hail to the Warriors, an anthemic piece which essentially sets the tone for everything else which follows. The opening guitar melodies are a bit more atmospheric, though, to set the scene - but this vibe is short-lived and soon the first of the album's many riffs kicks in and Gilchriest uses his double bass drums to drive the piece whilst also using some staccato snare/tom stabs to create something of a groove. Once the song gets going proper, then, it never really lets up. Hall demonstrates why he is the man to carry to the torch for Riot V during the verses, which see him sing in a slightly high-pitched manner. He channels former vocalist Tony Moore quite often throughout this album and the power metal of this opening cut is the perfect setting for his vocal talents. Songwriter Van Stavern's bass is pretty high in the mix, especially during the chugging verses, before a smoother sound takes over for the faster chorus which features plenty of double bass drumming and some big screams from Hall. Many of the choruses here are pretty memorable and this one gets the album off to a great start on that front - before a lengthy, shredded solo section keeps the pace up. Feel the Fire slows the pace somewhat and goes for a crunchier, groovier approach. A staccato riff and a slightly off-kilter drum groove back a hooky guitar lead - before the bass again dominates during the verses. The guitars, bass, and drums all seem to be playing a slightly different rhythm, but the result of the three instruments mixing sounds great - and Hall sings over the top of this mix of grooves in his usual strident manner. Whilst the band tend to channel their power metal past, this is one song that does somewhat reflect the band's early few albums. There is more of a classic rocks strut to the guitar riffing and overall vibe, which lacks the polished 1980s sound of much of the rest of the album. Hall's higher-pitched delivery ensures continuity, though, and his chorus delivery is very anthemic - even if the chorus itself is a bit more meat and potatoes overall than some of the others here. This is a song which gets by on its grooves, then, but it still remains memorable. Love Beyond the Grave is a somewhat moodier piece overall, but there is still plenty of heft thanks to a main riff which sounds like it could have easily sat on a Black Sabbath album during the Tony Martin era. It is not as furious as some of the tracks here, but the mid-paced groove feels more involved than the stomp of the previous track - with a strong guitar lead setting the tone early on and a hooky chorus which features some subtle gang vocals and a drum sound that really punches out of the speakers. The guitar solo is a bit more controlled and less shreddy than normal, too, with the track being an exercise in precise songwriting and a bigger overall sound.

High Noon then returns to the break-neck pace of the album's opening cut - and it is one of the songs which really stood out to me from the off. This is the sort of song I generally imagine this line-up writing and it speeds off right from the beginning with some busy drumming and a slightly thrashy riff which retains the band's core sound thanks to a slightly smoother overall production and Hall's power metal vocal performance. The pace never lets up at all here and the song is easily one of the album's most intense pieces. I can already see the track becoming a live favourite going forward - and this is due to the pace and just how hooky it is overall. The verses are machine gun-paced, but the slightly more reined-in pre-chorus allows for a big vocal hook which sets up the faster chorus nicely - which has plenty of vocal harmonies to really help Hall's voice to soar. The chorus is one of the best here and it is extremely easy on the ear despite the song's overall heaviness. Crowds will certainly enjoy singing along to it - and I also really like the lengthy guitar solo section which sees Flyntz and Lee trading off licks and leads. Before This Time is also pretty fast, although it is not as frantic as the previous song - with a slightly crunchier sound overall thanks to some ringing power chords and subtler riffing, as well as a great, heroic guitar lead which sets the tone early on. The opening guitar lead feels a bit more rooted in classic rock, with some Michael Schenker-esque melodies on show, but the song overall is still very power metal in tone - thanks to Gilchriest's busy drumming and the overall intense feeling of the production. It is unclear who produced the album, although Bruno Ravel (Danger Danger; Westworld) mixed it, but the production is great throughout. There is a lot going on in the mix guitar and bass-wise, but everything is nice and clear. Van Stavern's bass is always audible and this song is another which showcases him somewhat - with his busy riffing filling in the gaps between the ringing chords and the Schenker-esque leads. Another chorus sees Hall shine, too, with the track being another strong effort. Higher feels a bit more epic and heavy overall, with a slow-burning opening guitar lead sitting against a bit of a murkier backdrop with some slower, weightier drumming setting the tone - although the pace gradually speeds up before some dual guitar leads kick in and the power metal returns. The arrangement is a bit more dynamic than some of the other songs here, then, but in truth there is not too much of a difference once the song gets going proper - and the song is another furious metal anthem with some excellent interlocking guitar leads and plenty of vocal harmonies during the chorus. These harmonies and leads do perhaps make the song sound bigger than some of the others, though, and the pace and the precise nature of the guitar playing really helps the track to sound pretty exciting overall.

The album's title track follows and it slows down the pace somewhat to establish an Iron Maiden-esque gallop. The twin leads from the previous song do not return, though, to stop the song from sounding like proper Iron Maiden worship - but the crunch of the rhythm guitars and the presence of Van Stavern's bass in the mix certainly bring the British band to mind at times. Elsewhere, though, the song is pretty much a classic-sounding modern Riot V track. Many of the tropes which have been heard on the album up to this point are present again, but the slightly slower pace does allow the grooves a little more time to breathe - with Hall's voice just generally more present this time. He sounds great during the real barnburners, but perhaps he really excels during the more mid-paced numbers due to the space within the mix he is afforded. This is very much evident during the song's chorus, which features some more vocal harmonies to give him a boost - with his higher-pitched delivery really roaring out of the speakers in the powerful manner. Open Road opens with a big drum barrage before a crunching rhythm takes over - over which a really hooky guitar lead sits. This song slows the pace further compared to the previous track and feels like a true mid-paced effort - with a strong classic rock vibe thanks to Van Stavern's punchy bass and the slower riffing which is less frantic and more 'open' sounding. There is still plenty of weight, though, with Gilchriest's drumming employing plenty of double bass tricks to retain a metallic approach, and the guitar tones throughout are still pretty sharp-sounding despite the roominess of the riffing generally. A slightly progressive-sounding bridge section later contains some off-kilter riffing before a somewhat neo-classical solo section - whilst another big chorus is full of character thanks to Hall's strident vocal hooks. Mortal Eyes picks the pace up again and goes for much more of a power metal sound - albeit with a fat bass tone and a rollocking feel to some of the riffs which feels more rooted in the 1970s than the 1980s. The intensity of the drumming and much of the snappy guitar rhythms are very much based in the band's classic power metal sound, though, but there are occasional moments which seem to hark back to the band's first few albums a bit more than is typical. The chorus is a bit less involved than usual, with simpler hooks that recall those early days - despite Hall's love for plenty of sharp harmonies and a higher-pitched tone. A few whammy bar tricks within the solo section are very much based in the 1980s, though, as the song switches back and forth between vibes quite regularly. This mix of sounds works well, though, and it is nice to see the band sometimes still harking back to their early days - even if Thundersteel is very much the seam they wish to mine these days and the sound which best-suits the re-branded Riot V.

Lost Dreams is very much a power metal piece, though, with plenty of big guitar leads setting the tone from the off. There is a lot of strong guitar playing throughout the album, but this track feels a bit more involved than some of the others. The main riff is a real barrelling effort which features lots of knotty interplay between Flyntz and Lee and the crunch behind the verses feels a little more expansive than is typical. Perhaps the standout part of the song guitar-wise, though, is a pre-chorus section which slows the pace somewhat and channels Schenker's style again for a few tasty note runs which act as a contrast to Hall's pre-chorus vocal lines. Each iteration changes the notes slightly for an escalating sound which works really well - and the guitar solo later also includes a section which seems to pay tribute to this pre-chorus with some controlled similar runs within a more shredded effort. Vocally the song is not as memorable as some of the others here in my opinion, but the guitar playing makes it stand out as there are lots of memorable riffs and passages which showcase the talents of the band's two guitarists. Lead into It slows the pace somewhat and goes for more of a mid-paced sound which features some of the album's most clattering drumming overall. Whilst much of the song is based around some pretty typical drum grooves, there are moments where Gilchriest, Ian Paice style, goes a little rogue and essentially plays controlled fills behind the vocals. This approach is pretty different from the norm but it is done tastefully enough to make the drum barrage work. It helps that the song includes one of the album's best mid-paced choruses, too. Generally most of the standout choruses here for me are the faster ones, but the slower pace of his chorus seems to really give Hall's vocals a boost - and he sounds extremely anthemic as he delivers the simple, but hooky, melodies; further establishing his talents as a key member of the band's overall legacy now. The album then comes to a close with No More, a faster track which again goes for something of a slightly more dynamic approach overall. Whilst the track generally feels pretty speedy, especially during the double bass-propelled verses, the chorus does see the pace slowed somewhat to allow for a more anthemic sound. The difference is not exactly night and day but the subtle change does help the piece to stand out - and it feels fitting for the album's closing song to feel a bit grander than some of the other cuts here. The chorus is another big standout moment for me and Hall perhaps sounds bigger than ever during some of the more drawn out notes which it includes. It is just an epic piece overall and one that ends the album on a true high. There really is nothing here that is weak, though, as Mean Streets overall is a very strong and memorable album from the band. The is no let up, either, with no ballads in sight - and the band seem to be firing on all cylinders throughout thanks to some tight songwriting and the excellent production. This album may be the current line-up's best yet - and it is certainly one that I imagine will satisfy a lot of fans thanks to its up-tempo and razor-sharp sound.

The album was released on 10th May 2024 via Atomic Fire Records. Below is the band's promotional lyric video for High Noon.

Unleash the Archers' 'Phantoma' - Album Review

Considering how much I tend to enjoy power metal, and particularly the heavier end of the genre, I am surprised that it took me so long to check out the Canadian five-piece Unleash the Archers. They were a band I kept hearing about but I did not bother to give them a go until 2021 - when I picked up a copy of their fourth album Apex from 2017 and gave it a few spins. Whilst I would not say that I was immediately hooked, I certainly found plenty on it to enjoy. I enjoyed the band's riffy, and sometimes thrashy, take on melodic power metal, which owes more to the European power scene than the American one, and, in particular, I was impressed by the band's founding frontwoman Brittney Slayes. She differs quite drastically from most female singers in melodic metal - with a voice that is both pretty smooth and melodic but with a hint of grit. She is no pseudo-opera singer nor a Doro clone, and I think that Slayes' distinct voice and her somewhat more subtle and nuanced delivery helps to set Unleash the Archers apart - alongside the occasional harsh vocals of guitarist Grant Truesdell which add some additional weight when needed. It took me a while to move past Apex, though, but I eventually picked up 2020's Abyss - an album which I have now also heard a handful of times. I have not moved further back through the band's catalogue, and incidentally some of their older albums seem quite hard to find copies of, but both Apex and Abyss are albums which I have come to enjoy - even if I would still say that I am not expert on either or, indeed, the band as a whole. With the news of the band's sixth album being announced earlier this year, it seemed like the perfect to time try and jump properly on board the Unleash the Archers train. I think it is fair to say that both Apex and Abyss were well received in the metal world - so Phantoma, as the band's sixth release is called, was probably one of the anticipated 'second tier' metal releases of the year. Given that I have not fully absorbed either of the band's previous albums, I essentially went into this latest effort with an open mind. I have not been on a journey with the band so I do not want to compare this release to what came before - but I can say that I have been really enjoying it over the past few weeks. Compared to my limited exposure to the previous albums, I would say that this latest effort feels a bit smoother and more polished production-wise overall - with less grit and perhaps less of a progressive flair. The songwriting feels a bit more streamlined, then, but the band's core sound is still very much present - with more emphasis than ever placed on Slayes' vocals. Truesdall and his fellow guitarist Andrew Kingsley perhaps rein it in a little, but there are still plenty of riffs and solos to enjoy, and there is a bit more of a keyboard presence throughout. The core of the band has now been in place since 2014, featuring on all but their first two albums, but Phantoma is their first release with bassist Nick Miller (Obduracy; Killitorous; First Fragment) who joined the band in 2021 and partners founding member drummer Scott Buchanan in the rhythm section.

Some may feel this latest album reins it in a little too far, and would have preferred something a bit heavier and more technical, but most of the songs here are extremely memorable. The larger emphasis on vocal hooks ensures that many of the songs stand out - and the album seems to fly by despite it being just under an hour long. There is no slow build to get things going, either, as Human Era pretty much kicks in from the off following some atmospheric weather noises - with a hanging guitar riff and groovy drum beat over which Slayes vocalises in her rich, slightly deeper-than-average voice. Despite the lack of a symphonic intro, the song still take a little bit of time to get going around this riff - but once Slayes starts to sing the lyrics the song gets going proper, with a verse which is relatively slow and atmospheric. Ringing chords and the pulsing bass dominate the early parts of the verses, but they do grow in stature as they move along - with the guitar riffing getting busier and heavier. Slayes' voice gets richer as the song moves along, too, and she grows in line with the riffing. She is probably one of the best vocalists in power metal at the moment and this album is a real showcase for her. The way she expands during the verses, and continues such growth naturally during the chorus, is an example of her talents - and a later wordless vocal-led section ensures the song feels somewhat anthemic. The song is not as hooky as many on the album, though. The chorus is not one of the best here, but the overall vibe of the song is strong - and it does not feel as conventional arrangement-wise. The song works well as an intro to the rest of the album, then, and it transitions nicely into the title track which is much faster and heavier. Written obnoxiously as Ph4/NT0-mA, the title track is more typical of the band's sound on the past couple of albums. A big scream from Slayes opens it up as Truesdall and Kingsley launch into the heaviest riff heard so far; and the song proceeds at a pretty fast pace - creating a pretty typical power metal feel. Unlike the previous albums, though, there is much more of a synth backing this time. Given the AI themes which permeate the album, this more futuristic sound is fitting. The band is still very much guitar driven, but the synths do help to set this album apart - and some of the synth melodies help to add depth during the verses before driving double bass drumming backs the soaring chorus. Following the lack any overt vocal hooks during the opening piece, this epic chorus is welcome and it really allows Slayes to show off. The arrangement is much more typical, too, with the inclusion of a busy guitar solo later on. The guitar solo section does rein in the heaviness a little, though, with a limited rhythm guitar backing to really allow the shredded notes to jump out of the speakers - before the chorus returns, this time beefed up with extra harmony vocals, to bring the anthemic title track to a close.

Buried in Code opens with an a cappella rendition of part of its chorus, before some high-octane dual guitar leads kick in the song charges off at a pretty high speed. Despite the fact that this album feels a bit less gritty than those which came before, much of it still feels pretty fast-paced. The band have not cast aside that power metal trope, then, and Buchanan often lays into his double bass drums throughout the album - and this song is no exception, with the opening guitar melodies bringing to mind many classic heavy metal bands of the past. The verses do not feel quite as heavy, and the arrangement allows the vocals to shine, but the chorus returns to that opening guitar melody to act as a backing to Slayes' grittier vocal delivery - before a riffy instrumental section later adds a groovy and progressive twist in the build up to another burst of shredding. The Collective opens with more of a synth-heavy sound, but this is short-lived as the song is one of the fastest and heaviest on the album up to this point overall - as the opening guitar riff and accompanying lead feel somewhat grittier than what came before, which contrasts with the opening synths nicely. Funnily enough, once the song gets going proper the synths are rarely heard from again. This song does not have as overt a synth backing as some of the others here do and the track feels like it could have sat on either of the band's previous albums. It feels heavier overall, with a grittier guitar tone, and Slayes seems to have a bit more gravity to her delivery this time. She has sounded a little smoother elsewhere and her lower tones this time suit the heavier song - with the furious chorus bringing some rallying cry-type vocals out of her as the band speed away beneath her. It is also the first song here to feature Truesdall's harsh vocals, with his black metal-esque screams adding nicely to a slower-paced bridge section which features grinding riff and a doomy atmosphere before the pace kicks in again thanks to a high-octane and lengthy guitar solo. I like the band's occasional use of harsh vocals, as it does help to set them apart from other power metal bands, and this song feels more diverse thanks to its bridge section. Green & Glass is not as furious but it still feels pretty pacy overall. Like the opening track, though, there is a bit more of a dynamic approach taken during the verses which feel a bit more stripped back compared to the rest of the song. The guitars during the song's intro are still pretty busy, with a hooky lead setting the tone, but the verses are generally more synth-heavy - with a more atmospheric tone for Slayes to sing against, albeit with the occasional metalcore-esque riff crashing in for heaviness. The track does build towards its chorus, though, and later verses so feature the occasional burst of harsh vocals, with the chorus being much more typical of the band's core sound with plenty of anthemic hooks. A lengthy guitar solo section featuring both fast and more lyrical runs makes up for the more atmospheric verses.

Gods in Decay is more of a mid-paced piece, which is welcome after all of the faster tracks which have generally characterised the album up to this point. Miller's bass drives the verses, which kick in after a chugging intro topped by a bright synth hook. This is one of the songs on the album which goes for a synth-heavy sound in quite a big way and the knotty riffing and lead playing generally found elsewhere is not as prevalent here. The guitar backing throughout is generally pretty basic and chugging with the bass tending to be somewhat busier than usual - and the chorus is backed by a reprise of that opening synth hook. Whilst I said earlier that Unleash the Archers' sound is more rooted in European power metal than the US' equivalent, the band tend to be heavier than most European power metal bands. This song feels more typical of the European power metal scene, though, thanks to the synth melodies and the reduced focus on big guitar riffs - but there is still a busy solo section to add some flash. Give It Up or Give It All is slower again and acts as the album's ballad - albeit it still feels quite weighty at times. Jonah Weingarten (Pyramaze; Echoterra; We Are Sentinels; Catalyst Crime) is responsible for the keyboards here, although the song does not feel especially more synth-heavy than anything else here. The rest of the album's keyboards are not credited, so I am not sure why this song needed a different touch - but the slower, yet still anthemic, piece is a strong addition to the album. There is still some crunch thanks to the guitars, but overall this is a mid-pace piece with some slower sections and a strong focus on Slayes' voice. The arrangement really allows her to breathe and she is the star of the show - with a good mix of a smoother delivery during the verses and something grittier during the heavier choruses. A brief piano coda perhaps reveals why Weingarten was employed here but the song is not all that different from the album's core sound despite the more restrained pace. Ghosts in the Mist opens with some symphonic metal-esque synths, but once the guitar backing kicks in overall heaviness of the song takes over - and the piece is a pretty groovy, yet pacy, track which is filled with big riffing and plenty of melodic guitar leads. The song is not as furious as some of the previous tracks, but it feels more urgent than many typical mid-paced metal tracks - and the opening riff and guitar lead combo is one of the hookiest musical motifs on the album in my opinion. The synths from the intro do resurface during the verses, which back Slayes gritty vocal delivery, but the driving bass and chugging guitars add plenty of weight - and the song is another which builds towards its chorus - which is one of the album's best in my opinion. The groovy riff from the song's intro returns for the chorus and the mid-paced rhythm creates a suitable backing for the anthemic and drawn-out vocal delivery which Slayes goes for. The heaviness of the track is also cemented thanks to some more harsh vocals from Truesdall. They are used sparingly, but there are a couple of short bursts of such - with one bridge section giving way to another shredded guitar solo spot.

Seeking Vengeance ups the pace again after a few slower or more mid-paced pieces, with the track returning to something more furious akin to the album's first half. The guitar riffing feels a bit more venomous this time and Buchanan returns to a big double bass drum arrangement to ensure that the pace is kept pretty up-tempo throughout. This is likely the album's heaviest song overall, too, as it features Truesdall's harsh vocals in a much bigger and more integrated way. Generally he is used in sparse bursts to add moments of heaviness, but his vocals are integrated in the verses in a much greater way this time - with him delivering lots of counterpoint and even harmony vocals. The chorus sees the pace slowed which allows for something of a more epic sound. There are no harsh vocals here, but the grand-sounding chorus benefits from the slower pace and Slayes' vocals are full of her usual gravitas. A busy and prog metal-esque guitar solo section ensures that the heaviness is retained, too, and the track is one that shows that the band still enjoy a heavier sound. The album then comes to a close with Blood Empress, a more mid-paced and crunchy piece which allows for one last anthemic moment before the album comes to a close. It is a bit more straight ahead than some of the pieces here and it very much seems designed to push Slayes as much as possible as the guitar riffing throughout is much more basic overall - with the mid-paced groove feeling a lot more stomping and primal than anything else here. Whilst I do like the track it does feel like a bit of a strange way to end the album. It is so different from everything else here, despite a decent chorus, and it feels a bit out of place overall. It does change towards the end, though, with some surprising blast beats which do up the heaviness quite significantly out of the blue. I think that ending the album with something more fitting with album's core sound would have worked better, but the song is still decent on its own terms. Overall, then, Phantoma is another strong album from Unleash the Archers. It is the first of theirs which I have properly digested, but it certainly has flashes of what came before even though it seems to tread a more melodic and cleaner overall path than the previous two albums. There are hooks aplenty here and the guitar playing is still suitably busy throughout to keep the band's busy and knotty sound on full show.

The album was released on 10th May 2024 via Napalm Records. Below is the band's promotional video for Green & Glass.

Bruce Dickinson - London Review

Considering how busy Iron Maiden remain, both when it comes to touring and their semi-regular new album release schedule, I am not sure that too many expected that frontman Bruce Dickinson would get much of an opportunity to operate as a solo artist again. He released his first solo album whilst still in Iron Maiden, but his solo career took off in a big way when he left the band in 1993 - and much of his solo work released between 1993 and him re-joining Iron Maiden in 1999 is likely better than a lot of what Iron Maiden released in that time (despite my general enjoyment of the Blaze Bayley years). With the Iron Maiden fanbase often divided over the band's recent gargantuan releases, I think that some yearned to hear something more concise and heavy from Dickinson again - so with the release of his seventh solo album The Mandrake Project (which I reviewed here) back in March many got their wish. In truth, whilst I was casually familiar with some of Dickinson's solo albums prior to this year - it was the announcement of both The Mandrake Project, his first solo album since 2005's Tyranny of Souls, and its accompanying tour that really made me dive into his catalogue. I had always meant to properly digest his solo work and the prospect of a rare solo tour was a good reason to do so. A handful of UK dates were scheduled as part of a fairly generous set of dates worldwide - and I opted for the London show at the O2 Forum in Kentish Town. Given that Dickinson tends to headline festivals and arenas with Iron Maiden here in the UK, seeing him in a smaller theatre certainly promised to be an event. It is also good to see him putting together such a healthy-looking solo tour, too, given that Iron Maiden are still very much in the midst of their touring cycle for 2021's Senjutsu (which I also reviewed here). I get the impression that releasing a new solo album and touring it is something that Dickinson has wanted to do for quite a while - and it is great that 2024 has become his year in that regard. From the stage he even said that he wanted to get back in the studio and do another solo album soon, and I got the impression with the band assembled for this tour, and given how well The Mandrake Project and this tour have been received I doubt that too many would complain about more from Dickinson. Speaking of Dickinson's band, whilst it contained some musicians which had previously contributed to his albums, none of its members had played live with him prior to this tour. Both Dave Moreno (drums/vocals) and Mistheria (keyboards/vocals) played on Tyranny of Souls and The Mandrake Project, and Chris Declercq (guitar/vocals) contributed a solo to the latter, but Philip Näslund (guitar/vocals) and Tanya O'Callaghan (bass guitar/vocals) are new faces. Nevertheless, though, the band were extremely tight and already seem to have good chemistry. It would be great to see what Dickinson could achieve in the studio with them if he does intend to work on another album - although it was a shame that his long-time collaborator Roy Z was unable to commit to the tour.

Unsurprisingly, the London show sold out - so it was a large crowd which greeted New Zealand's Black Smoke Trigger, the evening's sole support act, when they hit the stage at 8pm. I had not see the band live before, but I remember checking out a couple of songs of theirs two or three years ago for some reason. I never delved any deeper, though, so when they were announced as Dickinson's support I considered it an opportunity to do so. Given the molten metal of what was to follow, the four-piece's bluesier, grungier sound did not exactly compliment Dickinson's trademark approach - but I think that over time the band won quite a few in the crowd over. This was despite having to battle through some classic support band sound issues - with an overly low volume and frontman Baldrick's (I can only assume Blackadder did not make it to New Zealand...) voice was sometimes on the quiet side compared to his bandmates, too. The sound did improve as the band's set progressed, though, and I think that their alternative/grungy rock sound ended up having the desired effect. Iron Maiden's, so by extension Dickinson's, fanbase are not famed for being kind to support acts. They are one of those obsessive fanbases that generally needs to get out more and realise there are other bands out there, and the sheer amount of Iron Maiden t-shirts being worn hinted at such, but Black Smoke Trigger seemed to win over quite a large portion of the crowd - especially those down on the floor around me. The first couple of songs did not do all that much for me, but as the set progressed I thought that the songwriting improved along with the sound. Baldrick has a good voice, and when he cut through the mix he sounded pretty strong - whilst the guitar playing Charlie Wallace also impressed. Late on in the band's set they even managed to get a pretty decent sing-a-long going, which helped to warm the crowd up for the many to come later in the evening, and a couple of bigger anthems like Caught in the Undertow and Blindfolds & Rattlesnakes ended the set on a bit of a high. For the most part, then, I enjoyed Black Smoke Trigger's set - and I feel like I will likely give them a proper listen in due course as their Free-meets-Alice in Chains sound was something which generally impressed.

It was about half an hour following Black Smoke Trigger's set that Dickinson and his band took to the stage - with both the opening music/narration for the 1960s TV series The Invaders and Dickinson's own Toltec 7 Arrival setting the tone. Once the band crashed into Accident of Birth, though, the set got underway proper - and it was clear that the night was going to be a pretty special one. With Dickinson having not toured as a solo artist since 2002, this meant that nothing from Tyranny of Souls nor The Mandrake Project had been played live before this tour. Both albums were represented in the set, and the 16-song set included material from five of his seven solo albums - with many of his best-known songs being played. Accident of Birth was a great opener, with the anthemic chorus prompting the first big sing-a-long of the night, but an early highlight for me was the melodic and hard rocking Abduction. Dickinson really brought the chorus to life - and the dual guitar leads from Declercq and Näslund certainly conjured up thoughts of Dickinson's day job. Mistheria also spent much of the set wielding a keytar, so was often down at the front alongside the guitarists. He took on some of the solos, too, which meant that he really got to shred, although there were moments where he retreated to the back to use a proper keyboard. The whole band looked like they were having fun, though, and it is clear that there is already a strong chemistry between all of the musicians - with the thick groove of Laughing in the Hiding Bush and the more atmospheric Afterglow of Ragnarok benefitting from the band's tightness. The latter in particular featured some excellent drumming from Moreno, but in truth the whole band continued to excel.

Dickinson was in fine voice throughout, too. He seems to be stronger than ever since the pandemic-enforced touring break and he seemed to relish getting the opportunity to play these songs live again. It was fun seeing him in a more stripped back setting, too, without all of the props and bombast associated with an Iron Maiden show. There was a big screen at the back, but that was all there was in the way of a 'show' - with the entertainment coming from the excellent musicians on stage. Much of the set rocked pretty hard, such as the Deep Purple-influenced Many Doors to Hell with its Hammond organ backing, but songs like Jerusalem showcased a different side to Dickinson's songwriting - with Näslund setting the scene with his acoustic guitar as the slow-burning piece grew around him. There were quirky moments, too, such as the semi-spoken Rain on the Graves, and the band then got a show off with a version of Frankenstein which acted as a vehicle for soloing. Moreno kicked it off with a short drum solo, before Edgar Winter's memorable riff acted as a bridge between each member shredding. Dickinson clattered around on some percussion during this part of the show, but he ended it with some theremin antics - before normality resumed for the lengthy The Alchemist. By this point the main set was coming to a close so, following a lengthy acoustic guitar intro, the legendary ballad Tears of the Dragon was played - which acted as another big sing-a-long moment. Declercq took the song to the next level with his solo and the main set then came to a close with another lengthy piece in Darkside of Aquarius - which everyone around me was also singing along to. A three-song encore followed, which kicked off in relatively sedate fashion with the acoustic-based Navigate the Seas of the Sun - but the two songs which followed were much heavier. The occult-sounding Book of Thel went down well, before Dickinson introduced his band over a backdrop of O'Callaghan's bass and launched into the bass-led The Tower - which brought the show to an anthemic and high octane finish. The setlist was:

Toltec 7 Arrival

Accident of Birth

Abduction

Laughing in the Hiding Bush

Afterglow of Ragnarok

Chemical Wedding

Many Doors to Hell

Jerusalem

Resurrection Men

Rain on the Graves

Frankenstein [The Edgar Winter Group cover]

The Alchemist

Tears of the Dragon

Darkside of Aquarius

-

Navigate the Seas of the Sun

Book of Thel

The Tower

Despite having seen Dickinson a couple of times with Iron Maiden, it was a real treat to get to see him as a solo artist in London last night. I do hope that he manages to find time to keep the solo career going alongside Iron Maiden now, as it is not likely he can really wait another 20 years before doing another tour. Like all veteran musicians there is only so much time he has left and I really hope that the success of his latest album and this tour spurs him on to keeping the solo career going - although I am sure that Iron Maiden will always need to come first whilst the band is still together.