Squeeze - Plymouth Review

The great thing about having gig venues close to home, within walking distance even, is that it is possible to check out bands that you otherwise would not choose to go and see live. Travelling to concerts can be expensive if you do not keep an eye out for cheap hotels and transport options - plus the prices of tickets to the shows themselves are only going one way. I am lucky that I am able to travel to so many shows a year, but I am only able to do so due to various lifestyle decisions and being organised when it comes to booking hotel and train tickets. Despite the size of Plymouth as a city, it has never been a hotbed of live music - particularly during my lifetime. I can only imagine just how many gigs I would have got to had I lived in Bristol, Birmingham, Nottingham, or London for example - because Plymouth gigs are a rarity. The city's large venue, the Pavilions, has never had a particularly great reputation sound-wise. This has definitely improved over the years, but reputations tend to stick - plus it is a strange size which makes it too big for most bands and too small for the really big acts. The bands that it does tend to attract, too, rarely appeal to me. I did not go to the venue at all last year, with my last visit coming back in May 2022 when I saw Gary Numan put on an excellent display at the venue. That show was actually the third in a bit of a row at the time - as I went there twice towards the back end of 2021, too, to see Steve Hackett and Roger Taylor. Before that, though, it had likely been a few years since my last visit - and I do not think that there has been a genuine metal show at the Pavilions since Slayer back in 2015. Those last few shows prove my original point, though. At the time, I would not have travelled to see Hackett, Taylor, or Numan - but as I could walk to all three I took the risk. All three shows turned out to be great for different reasons - but I only took the risk as I did not have to pay for a hotel and train tickets. I can understand why bands do not tend to come down to Plymouth, but I certainly wish that more made the effort. If the city's main venue was better then I think that more would come down - but, as mentioned, the Pavilions has never been held in high regard in the industry. I walked down to the venue for the first time in over two years last night, though, as the British pop rock sensations Squeeze were in town as part of their lengthy 50th anniversary tour. Squeeze, again, are not a band that I would travel to see - but I was certainly up for a walk into town to catch them for the first time. I first started to pay attention to them after seeing Glenn Tilbrook (vocals/guitar) open for King King last year in Exeter - and I have since picked up a few of the band's albums. I am certainly no expert, but I am familiar with most of the band's hits. The ticket was pretty reasonably priced, too, I thought, particularly for a long-standing and well-liked band such as Squeeze - and given that most of the shows on this large tour seem to have sold out the pricing seems to have worked.

As the venue filled up, and it was pretty full by the time Squeeze hit the stage, the crowd were treated to a downbeat set from Manchester-based singer-songwriter Badly Drawn Boy. I knew nothing at all about him prior to last night, although I was familiar with the name, so I did not really know what to expect. Unfortunately, though, the set ended up being one of my least favourite types of support act in principle: a man with an acoustic guitar. In fairness he played electric guitar and piano at various points during his set, but the overall theme was the same. I tend to struggle with these sorts of artists as I just generally am not a fan of earnest songwriters with something to say - but I found Badly Drawn Boy's set a bit more engaging than it could have been. It helped that his songs were all so short, so that the vibe changed quite regularly, and it also helped that his between song banter was quite funny. That classic self-deprecating Northern humour was on full display throughout his time on stage and it did endear him to me somewhat - even if a lot of his songs were just not really for me. He did receive a pretty warm reception from the crowd, though, and his humour certainly hit home for a lot of people - so I did not find that the set dragged despite it not being my thing. It was nice to put a face to the Badly Drawn Boy name, too. I remember him getting quite a bit of press at one point, although that was quite a while ago now, so perhaps his star has somewhat fallen since then.

Squeeze were very different - with eight musicians on stage making a racket from the off. In the best part of an hour and 45 minutes the band rattled through a 23-song set with ease - which covered a good chunk of their 50 year career. Much of the set focused on their late 1970s/early 1980s classic period - but there were a few later tracks included, too, alongside some brand new material from an upcoming pair of albums. It was very much a greatest hits affair in principle, though, with rollocking anthems like Black Coffee in Bed and Footprints showcasing early on why the band troubled the charts so often in the past. Tilbrook was in fine voice, with his songwriting partner Chris Difford (vocals/guitar) also at his caustic best - whilst backing singer Danica Dora provided plenty of harmonies throughout which helped boost the band's overall vocal power. Tracks like Is That Love bordered on hard rock, but of course it was smoother classics like Up the Junction and In Quintessence which the crowd really lapped up. It was not all hits, though, as rawer new cut One Beautiful Summer proved - plus a fairly early rendition of the atmospheric Departure Lounge from 2017's The Knowledge showed a different side of the band, with lots of spacey playing from Stephen Large (keyboard/accordion/vocals) and a touch of finesse from Melvin Duffy (guitar/mandolin/lap steel/pedal steel/vocals). Whilst both Tilbrook and Difford took time to chat to the crowd, they largely kept it to a minimum and let the music do the talking. A few choice song introductions gave context, but the band have been at it long enough to know to keep the music flowing - with a one-two punch of the AOR-tinged Pulling Mussels (from the Shell) and the smooth Another Nail in My Heart getting the whole crowd on their feet for a brief period. Given that Squeeze's older albums do not always possess a lot of punch, I was surprised how hard they could rock at times. This was likely down the hard-hitting style of Simon Hanson (drums/vocals), but Tilbrook himself can riff away when he wants to - and the band mixed a number of different vibes all night. Squeeze have always been impossible to categorise and the song selection showed this - with the pop hooks of Annie Get Your Gun sitting side by side with 'new' cut Trixie's Hell on Earth, an unreleased early Squeeze effort which has been finished off for one of the upcoming new albums. As the set progressed, though, the surprises became fewer - and it was hit after hit. There was not a lot of audible singing from the crowd during the show, but the old single Tempted certainly prompted some - as did the Madness-esque Cool for Cats which Difford sung in his typical drawling manner. The atmosphere was still good throughout the show, though, and it was clear that everyone in attendance was having a good time. Being a rock and metal fan, though, I am always amused by crowds at shows by bands like Squeeze. They tend to look like they are dressed up to go to the theatre and never really seem to get into the show - but it was nice to a see a few people dancing and having a good time towards the end. It was hard not to with songs like Hourglass and a lengthy show-closing rendition of Take Me I'm Yours, though, the latter of which included various solos as Tilbrook went around and introduced everyone. Dispensing with the encore tradition, Take Me I'm Yours brought the curtain down on 50 years of music nicely - and the band took their bows to huge applause. The setlist was:

Black Coffee in Bed

Footprints

Is That Love

Up the Junction

One Beautiful Summer

Someone Else's Heart

In Quintessence

Departure Lounge

Some Fantastic Place

If I Didn't Love You

Pulling Mussels (from the Shell)

Another Nail in My Heart

Annie Get Your Gun

You Get the Feeling

Trixie's Hell on Earth

Goodbye Girl

Cradle to the Grave

Slap & Tickle

Tempted

Cool for Cats

Labelled with Love

Hourglass

Take Me I'm Yours/After Hours [The Velvet Underground cover]

Given that I am no Squeeze expert, I enjoyed my time with the band in Plymouth last night. I cannot imagine that I will ever be a die-hard fan, but they have a lot of classic tracks for a reason - and I will certainly look to pick up some more of their classic albums in due course. It is always good to see something a bit different, too, and they acted as a bit of a pallet cleanser following a number of hard rock and metal shows which I have taken in of late.

Kamelot - Wolverhampton Review

As is often the case around this time of year, I am currently in the midst of an extremely busy period of gig-going. Late autumn/early winter is generally jam-packed with tours and 2024 is no different - with October having been very busy and November is also rammed. It is going to be a very tiring few weeks for me, but travelling around the country and going to concerts is always worth it. This is especially the case when a real favourite band makes a relatively rare UK appearance - something which generally requires dropping all other plans and focusing on the latest tour announcement. The relevant band in this case is the American-based power metal act Kamelot - a band I still consider to be a true favourite. I might not listen to them as much as I once did, but they remain an important band overall for me - and they always deliver live. Sadly, though, a UK show is not always guaranteed when they tour in Europe. They have plenty of fans in Europe, but they do not always include a UK show whenever they tour. I can only imagine that fewer promoters are willing to take the risk than I would have thought or that the right venues are not always available - but it cannot be down to fan demand. Prior to last night's show, I had seen Kamelot live five times - and each show was packed out. They even played to a big crowd as the Friday night special guests at the 2018 iteration of Bloodstock Open Air - so there remains a lot of love for Kamelot here in the UK. Since I have followed the band, though, the UK has been missed off a few of their tours. The Haven touring cycle never came to the UK, sadly, and the original European run for last year's The Awakening also missed the UK. In contrast, though, the touring cycle for The Shadow Theory visited the UK on three separate occasions, including the aforementioned Bloodstock appearance, which meant that I managed to see the band three times between August 2018 and March 2019. Prior to last night, though, that March 2019 show in Birmingham was the last time I saw Kamelot live - as it was the last time that they came to the UK. Clearly the pandemic put a hold on touring activities for a while - and afterwards the band were focusing instead on their latest album. I was disappointed when last year's European tour did not include any UK shows, but I have learnt to be patient as they tend to do multiple legs for each album tour - so I was rewarded earlier in the year when they announced their latest European tour which included three UK shows. Whilst the band did play outside of London and festivals back in the day, in recent years they have tended to focus on London. This changed in 2019 with shows in Birmingham and Manchester - and they continued to experiment this year, too, with Wolverhampton and Manchester shows booked alongside London. The Wolverhampton show made the most sense when considering other plans - and I always enjoy a trip to the West Midlands and KK's Steel Mill. It was a long journey up from Devon, though, due to needing to catch an early train due to cancellations and then having to stand the whole way between Exeter and Wolverhampton. A lie down in the hotel was welcome, then, before I headed across town for the night.

It was a long night, too, as there were three support bands on the bill. The doors opened at 6pm, though, and the first band hit the stage at 6:30pm - with the changeovers between each act generally being quick. As such, there was not too much hanging around - and the three support bands were different enough to keep things interesting. Opening the night and on stage for around 30 minutes were the Italian power metal six-piece Frozen Crown - who were playing their first ever show in the UK. I had listened to a couple of their albums prior to the show, but I would certainly not consider myself as being familiar with their work. Despite this, though, their time on stage flew by - with the band putting on a great performance. Their take on power metal is of the very high-octane kind - so is defined by fast tempos, soaring vocals, and plentiful shredded guitar solos. I might not listen to this kind of power metal as much as I used to, but for 30 minutes it was great to be caught up in that sound. Frontwoman Giada Etro has a great voice, and she was generally well-heard above the rest of the band, whilst the three-guitar attack of bandleader Federico Mondelli, Fabiola Bellomo, and Alessia Lanzone proved to be a powerful force. Mondelli was generally leading the charge riff-wise, and did solo on occasion, but most of the solos were handled by Bellomo who incorporated a lot of tapping into her playing. The soloing throughout the band's set was intense, then, with Lanzone stepping away from her typical rhythm duties to double up some of the solos and leads at times. As such, there were notes flying left, right, and centre - all whilst the rhythm section galloped along and Etro delivered plenty of soaring vocal hooks. As is often the case with this type of power metal, though, after a while the songs did all roll into one - although the closing number did feel a bit crunchier with more of a mid-paced feel and some harsh vocals from Mondelli. I still think that I should check out some more of the band's work, though, and I would see them again if they came around. It seems that they are planning their own tour for next year, too, so I will have to keep an eye out for any UK dates.

Up next, and afforded slightly longer, were the Swiss four-piece Ad Infinitum. I was slightly more familiar with them, as I did spend some time with Chapter III - Downfall last year - but most of the band's set came from their newly-released album Abyss, which I am yet to hear, so I was not familiar with essentially the whole set. This did not matter, though, as the band put on an excellent performance - and were easily the best of the three support acts. Fronted by Melissa Bonny, who later pulled double duty with Kamelot, the band's mix of subtle symphonic metal with pop hooks and tech metal riffing helped to set them apart from the very traditional sounds of the other bands on the bill - and Ad Infinitum felt like a band trying to do something different. Bonny is a great singer, who can easily switch back and forth between clean and harsh vocals without breaking a sweat - and she was very much the band's focal point. She commanded the stage and sang really well - soaring above the band despite the overall heaviness of the songs. There were some very poppy moments in the set, with big synth arrangements, but these were relatively few - with much of the set driven by the dry riffing of guitarist Adrian Thessenvitz. His riffing style is very modern and his tech metal, angular patterns are very different from those generally heard in the symphonic and power metal genres. Despite this, though, all of the disparate sounds came together easily - and there were a number of strong choruses to latch onto, as well as a handful of big guitar solos. Ad Infinitum are not really a flashy band in that sense, so the occasional solo was welcome and impactful - with the grooves and the vocal hooks generally being what drove the songs. Bonny did not rely too much on her harsh vocals to create unnecessary heaviness, either. Like with the guitar solos, their sparse inclusion made them all the more powerful - and her clean vocals are so easy on the ear it would be unwise to limit them just to include more screams. There was enough heaviness created by the riffing in any case - and the contrast between the pop hooks and the grinding riffs were generally what made the band interesting. Given how much I enjoyed the band's set, I will need to pick up Abyss soon - and Ad Infinitum are certainly another band I would check out if they came around on their own in the near future.

Sadly, the evening's third and final support act never really got out of the starting gate. Before the Dutch gothic metal six-piece Blackbriar took to the stage, drummer René Boxem came out and announced to the crowd that the whole band were ill - and that frontwoman Zora Cock was suffering particularly badly. Boxem said that they wanted to try and play their set, but they would be dictated by what Cock could actually handle - so they may not get through the whole thing. As it turned out, they made it through three songs before calling it a day. Cock actually sounded pretty good despite the illness, but her body language conveyed that she was really struggling - and she pulled out of a few notes as she clearly felt that she was not going to hit them. It was a hard watch, but clearly she and the band wanted to try and perform - particularly as, like Frozen Crown, it was their first show in the UK. There were quite a few Blackbriar shirts in the crowd, too, so clearly they already have their fans here - but I was not familiar with them prior to the show. From the three songs I heard, though, they seem like a band worth exploring. Their sound is very rooted in that late 1990s/early 2000s Dutch gothic/symphonic rock scene - albeit without the harsh vocals which tended to be prevalent at the time. The songs were mid-paced and doomy with a lot of keyboards and mournful guitar leads - with Cock's voice being of that siren-like quality which was big at the time. The first Within Temptation and After Forever albums are certainly easy comparisons to make - but I likely did not hear enough of their stuff to fully judge. I will need to give their albums a listen at some point, even if out of solidarity, as it is never nice to see a band struggle and have to admit defeat. It was clear after the third song, though, that Cock could not go on - so the band bowed out gracefully to a warm reception.

As Blackbriar had finished earlier than planned, there was a bit of a wait before Kamelot took to the stage. They did end up coming on about 15 minutes earlier than they were originally going to - but there was still around 45 minutes to wait which was a bit tedious. By the time the lights went down, then, the good-sized crowd was more than up for the show - and the atmosphere was pretty electric from the off. Kicking off with the up-tempo Veil of Elysium worked well in this regard, too. The melodic power metal track certainly got the crowd on-side right away - and the big chorus was the first of many sung back at frontman Tommy Karevik throughout the night. Four songs from the latest album were included in the set - with nine of the songs overall coming from the Karevik era and six coming from the Roy Khan era. My only criticism of Kamelot live in recent years has been their reliance on the same handful of tracks from the Khan era - and, true to form, Rule the World came next. I like the song, but I feel it is due a rest. I understand why Forever and March of Mephisto continue to be played at every show - but the other old regulars could all be rested in my opinion in place of deeper cuts from that era, or even more newer tunes. There are so many older tracks I would love to hear Karevik tackle but instead the band continue to roll When the Lights Are Down out night after night. This is not a huge issue, but it is something I have highlighted before so it only seemed fair to highlight it again - but when the epic Opus of the Night (Ghost Requiem) rolled around I was happy. The track is one of my favourite cuts from the latest album and it came alive on stage - with Bonny coming out to deliver some of the operatic backing vocals. She joined the band on a number of songs to fill the shoes of various guest singers over the years - and she worked well with Karevik whenever they were singing together. Early on in the set there was a fast-paced feel, with anthems coming thick and fast. Insomnia is a real Kamelot classic now and it always goes down well live, but a real treat was a rendition of the waltzing Vespertine (My Crimson Bride) - which I had only seen the band do live once previously. Karevik was in great voice, on his birthday no less, and the rest of the band sounded great, too. Thomas Youngblood (guitar/vocals) delivered a number of shredded solos throughout the night - and his riffing in the anthemic new cut New Babylon and the old favourite Karma showed what sets Kamelot apart from the rest of the power metal pack. Another overall highlight for me was a barnstorming rendition of Sacrimony (Angel of Afterlife) - with Bonny delivering the harsh vocal-led mid-section with ease. The latest album was revisited again for the gorgeous ballad Willow, a song which has slowly climbed up in my estimations in recent times, before there was a treat for old-school fans in The Human Stain which I had not seen the band do for about ten years. The set was really racing by at this point, too, and there was not much of it left. A drum solo from Alex Landenburg led into a barnstorming March of Mephisto - after which Oliver Palotai (keyboards) stole the spotlight for a classical piano solo which led into a set-closing rendition of Forever, which was dragged out with lots of crowd interaction and a birthday cake being brought out for Karevik. It brought the main set to a bombastic close - but after some cheering the band came back out for more. One last new track in One More Flag in the Ground acted as a big sing-a-long, before the heavier Liar Liar (Wasteland Monarchy) brought just over 90 minutes of music to a powerful close - with Bonny once again singing alongside Karevik. The setlist was:

Veil of Elysium

Rule the World

Opus of the Night (Ghost Requiem)

Insomnia

When the Lights Are Down

Vespertine (My Crimson Bride)

New Babylon

Karma

Manus Dei

Sacrimony (Angel of Afterlife)

Willow

The Human Stain

Drum solo

March of Mephisto

Keyboard solo

Forever/We Will Rock You [Queen cover]

-

One More Flag in the Ground

Liar Liar (Wasteland Monarchy)

Continuum

Overall, and despite my qualms with the setlist (I also have a similar issue with Arch Enemy - so this is not a Kamelot-exclusive issue), I had an excellent time with Kamelot in Wolverhampton last night. They always deliver a high-energy set and it is also great that they tend to be forward-looking and focus on playing songs released more recently. All three of the support bands were enjoyable, too, and it was great to see the show pull a pretty healthy crowd outside of London. KK's Steel Mill can hold more, but it can curtain bits of the space off when it needs to - and there were a good few hundred in attendance who made plenty of noise throughout. I will always go and see Kamelot so long as they keep coming back - and they remain a real favourite and an important band in my musical history.

The Black Dahlia Murder's 'Servitude' - Album Review

As I have mentioned a few times this year, I have been enjoying making a lot more effort with extreme metal of late. I have covered more genuine extreme metal releases on the blog this year than I likely ever have before - and it is great to finally feel like I am getting something of a foothold on the huge and expansive death metal genre. I intend to keep picking up some of the genre's biggest releases each year going forward - but it is likely that today's review will be my last extreme metal foray for 2024, as there is nothing else on the horizon which I have earmarked to check out. I am rounding up 2024's extreme metal coverage, then, with something a bit closer to my pre-existing heavier tastes - and it is the turn of the American melodic death metal act The Black Dahlia Murder to finally get some attention. I have been a melodic death metal fan for many years at this point - and I can trace this back to the late 2000s when I transitioned from my love of certain metalcore bands over to the melodic death metal scene, with Arch Enemy being one of my first big discoveries. The Black Dahlia Murder, though, are a bit different when it comes to melodic death metal - at least what the genre is in my head. Clearly it is a broad church, like most metal subgenres, but the image of melodic death metal that I tend to subscribe to is the Swedish take on the sound - with bands like At the Gates, Arch Enemy, Dark Tranquillity, and In Flames being real touchstones. The sort of melodic death metal I tend to like, then, is that with big guitar hooks, anthemic choruses despite the use of harsh vocals, and perhaps even an atmospheric depth thanks to the presence of keyboard player. Clearly there is more to the genre than that, but it is the sound which I have always gravitated towards - and it was not until more recent times that I started to listen to other examples of melodic death metal, including The Black Dahlia Murder. I first started to listen to The Black Dahlia Murder in 2022 in the lead up to that year's iteration of Bloodstock Open Air - which they were scheduled to play. In May 2022, though, the band's founding frontman Trevor Strnad died. Whilst the cause of his death has never been officially revealed, it is heavily assumed that he took his own life - so it was unsurprising that the band cancelled all of their upcoming shows and many wondered whether they would continue on at all. Most would have understood if they had split up given the tragic circumstances, but later in 2022, following some consideration, the band announced that they would carry on with founding guitarist Brian Eschbach taking over on vocals - with former guitarist Ryan Knight returning to allow Eschbach to focus on singing. Eschbach had often been a secondary vocalist in the band, particularly live, so the move made sense - and with him being the only original member left it also made sense for him to be the new leader and focal point. Four years on from their last album, 2020's Verminous, then, and two years on from Strnad's death, The Black Dahlia Murder unleashed their tenth studio album Servitude last month - their first without Strnad and their first with Knight since 2015's Abysmal. Rounding out the line-up, then, are guitarist Brandon Ellis, bassist Max Lavelle, and drummer Alan Cassidy - all of whom have been in a band a fair while at this point.

The Black Dahlia Murder's take on melodic death metal is much less flashy than those aforementioned Swedish bands - and it is much closer to traditional death metal and thrash. The band's songs tend to be short and fast - with higher screams than traditional death metal growls and shredded solos. There are some flashy lead guitar moments, but they are more restrained overall - with pace and energy the core identity. Despite Strnad's death, the band's sound has not really changed at all. Eschbach is certainly a strong vocalist and his style is not all that dissimilar to Strnad's - so Servitude picks up where Verminous left off despite the tragedy. Like most of their albums, it is not much longer than 30 minutes - with most of the songs being around three minutes long. Evening Ephemeral kicks things off and the band's classic sound is present from the off. It does start off somewhat atmospherically, though, with some weather sounds and haunting piano melodies - but this scene-setting does not last for long, as a staccato riff and massive drum barrage soon kick in. Before transitioning into the song proper, which is very thrashy, there is a mid-paced riff which establishes an early groove - but once Eschbach starts to sing, the guitars of Ellis and Knight thrash away with fast-paced riffs whilst the blast beats and fast footwork of Cassidy create a whirlwind beneath. The song is somewhat on the dynamic side at times, though, with the mid-paced feel of the intro returned to during something of a bridge later on - although this moment is short lived as it soon explodes into the album's first guitar solo. The solos here are generally fast-paced and shredded, and this one conforms, whilst there are a few subtle lead guitar moments in the song elsewhere - albeit, apart from a couple of more heroic moments, they tend to be mixed into the background. Panic Hysteric dispenses with any scene-setting or groove-based moments, and launches into an extremely thrashy riff from the off - and never really lets up. There are a few more grinding moments riff-wise, but the pace does not really slow. The guitar approach changes subtly to create a point of difference - but the drumming never really lets up which means that the song maintains its overall break-neck attitude. Lead guitar work is a bit more prevalent here, though, with a few riffs throughout which feel like Killswitch Engage on speed - whilst there is a breakdown section which showcases some great harmony runs between Ellis and Knight, before one of them launches into a furious solo. The track is full of caustic vigour, but the riffing feels more hooky here - which helps the song to remain memorable. Aftermath acted as the album's lead single, so it was the first look which the band's fans had of the new-look The Black Dahlia Murder. Perhaps unsurprisingly, then, the track stays very true to form - and is perhaps even more intense than the two which came before. Cassidy's drumming is very much based around blast beats during the verses, and the intensity never really lets up - even during more galloping sections which feature more of a classic metal flow. Eschbach impresses vocally with a mix of higher screams and some deeper growls than is typical of his approach - with a slower-paced bridge seeing some of these guttural vocals before a more restrained and howling guitar solo is deployed. The rest of the song picks the pace back up, though, this mid-section a brief respite, and it introduced the new era nicely back in June.

Cursed Creator is a bit different from what has come before and it slows the pace down somewhat - going for a chunkier, mid-paced approach which does not feel as intense but does not lack for heaviness. Generally the band operate at thrash-type speeds, but there is a bit more of a traditional death metal chug here - with less busy drumming to allow the double bass rolls to feel natural and the riffing consists of some more traditional motifs which feel more expansive and less pin-point. I like the grooves which the song conjures up, then, and it is a welcome change of pace from the fast speeds of the previous songs. The slower pace allows for some more lead guitar moments, too, and the chorus has a few choice leads to back it - whilst the later solo is more expressive thanks to the reined in pace. The guitarists really get to lit rip during the song's closing minute or so, too, which includes plenty of excellent runs and melodies beneath Eschbach's screams. Following the brief, acoustic-based instrumental An Intermission, which returns to the atmospheric manner in which the album opened, albeit guitar-based, the pace is picked back up again by Asserting Dominion - a thrashy track which fuses the sound of the previous song with the sound of the opening three. It is perhaps not quite as fast and intense as those opening cuts and there are moments which groove a little more. The riffing is a good mix of 1980s death metal weight and thrash speed - but there is also a great and much more defined chorus here which features Gothenburg-esque harmony guitar melodies and some hooky Eschbach vocals. There are other moments in the song, too, which feature Ellis and Knight teaming up for some NWOBHM-inspired guitar leads - but they are not overused to limit the comparisons to the Swedish scene. The melodies are very memorable, though, and the song is one of the overall highlights on the album as a result in my opinion. This sense of melody follows into the solo, too, and it one of my favourite solos on the album as a result. The album's title track follows and it is a proper thrasher with little of the more dynamic approach of the previous song - with the band instead just going for the throat. The riffing is extremely in-your-face this time and the flourishing lead guitar moments of the past couple of songs are generally absent. The rhythms and pace are what make this song what it is, with some blast beats returning, but there are some brief moments which feature what sound like some sweep-picked melodies behind a slightly less intense riff - and these sections bring early Sylosis to mind somewhat. The lead guitar dominance does reassert itself towards the end, though, with the last portion of the track being much busier and interesting from that perspective when compared to the much riffier early movements.

Mammoth's Hand is another track which brings the pace down quite considerably - and the song opens with some soaring, emotionally-charged guitar leads. These sort of very 1980s-esque guitar moments are not something which are that common on the album, so they help the song to stand out, and the much more deliberate pace also helps with such. Whilst parts of the song are a bit faster than what would generally be considered as mid-paced, given how fast much of the album is it feels much more mid-paced by comparison - and it is great that a few grooves are allowed to really develop here, alongside some mournful backing guitar leads. I would also shine the spotlight on Cassidy, who turns in an excellent drumming performance. Rather than laying into his double bass drums and relying on tight thrash beats here he instead is forced to do something a bit different - and there is something jazzy about some of his beats here which include rogue tom hits and a few jagged bass drum patterns which differ from the norm. They are a big part of the grooves, too, alongside the slower riffing and leads of Ellis and Knight - and the more restrained backing brings the best out of Eschbach's growls. Transcosmic Blueprint returns to business as usual, though, with the track picking up the pace following the fatter grooves of the previous track. It is perhaps not as thrashy as some of the other songs, though, and instead harks back to some of those more metalcore-inspired moments referenced earlier. I have often thought that there is a thin line between the heavier end of metalcore and the most accessible end of melodic death metal - and this is a song which would likely appeal to most Killswitch Engage and Trivium fans. Some of the guitar melodies which surface throughout are used in a similar manner to how those bands create those heroic-sounding patterns - whilst a great trade-off guitar solo sees both Ellis and Knight trading licks and soloing in unison at times. The song is still fast paced, but the riffing feels much more defined overall and less chaotic - which helps some of them to stick a little more and also ensures that the chorus feels somewhat more weighty. The album then comes to a close with Utopia Black, which is somewhat more diverse than much of the rest of the album. It opens with a bit more of a mid-paced riff, which sounds powerful, before evolving into something much more extreme. This song is the one here which is likely closest to being genuine extreme metal - with some of the most intense and long-lasting blast beats on the album. Parts of the verses are close to a black metal aesthetic, then, thanks to these prolonged periods of blasting - but the whole song is not like this. There are much more traditionally thrashy moments, too, as well as the occasional break in the pace to introduce a more slab-like riff. This is a song which takes many twists and turns, then, and it is clearly one which builds on a few of the ideas flirted with elsewhere on the album and expands on them. It could have done with perhaps being a little bit longer, though, to fully allow some of these ideas to flourish - as it comes to a rather abrupt end, as things transition back to the weather sounds and piano which opened up the album. Overall, then, this is the first album from the band which I have truly digested and I have been enjoying my time with it. It sounds very similar to the few other albums of theirs which I have heard - but it is good to hear the band sticking to their well-established formula, especially given the necessary reinvention.

The album was released on 27th September 2024 via Metal Blade Records. Below is the band's promotional video for Aftermath.

Charlotte Wessels' 'The Obsession' - Album Review

Whilst messy band break-ups are always sad to see, often positive things can come from such strife. The schism which occurred in the Dutch symphonic metal band Delain in early 2021 came as a shock, as the band were one of the best and most creative in the genre at the time, and they seemed to be on really fine form following the release of 2020's Apocalypse & Chill (which I reviewed here) - an album which saw the band pushing themselves further than ever before. It easily the most expansive and experimental Delain album to date - but, sadly, it is one that never really got its flowers due to it being released a month or so before the COVID-19 pandemic. I saw one of the few shows which took place in support of it and the band were on fire - so I was genuinely surprised when news of the split came a year later. Perhaps there had been on-going disagreements behind the scenes or perhaps the pandemic saw focuses and views shift - but, whatever the reason, Delain's founder Martijn Westerholt was left as the only remaining band member, with the other members all leaving together. Westerholt has since assembled a new line-up of Delain, comprised of some new and some returning faces, and released the strong Dark Waters (which I reviewed here) last year. Delain are still a force to be reckoned with despite the major line-up change, then, but what became of those who left back in 2021? Thankfully, they are still working together - although vocalist and songwriter Charlotte Wessels is the one leading the charge. After Delain's split, she started to write and record new music herself - and released it via Patreon, dropping new songs here and there for her fanbase. To my shame, I have not heard any of the music from this period. I am not a streamer and I do not like to consume music one song at a time via Patreon - so I never really got on board the Wessels train. I have loved her voice and songwriting since first getting into Delain in the late 2000s, and I also have the album she did under the Phantasma name with Serenity's Georg Neuhauser, but I was not interested in the bite-sized manner in which she was releasing the songs and, from the snippets I have heard, the style of music she was pursuing was not really for me. She has since released all of her Patreon songs as two albums: 2021's Tales from Six Feet Under and 2022's Tales from Six Feet Under Vol. II; but I am yet to take the plunge. I really should, but I am not convinced that they will be for me. What is for me, though, is her latest album, The Obsession, which was released last month. Whilst it is technically her third solo album, it was the first to actually be conceived as such - with the previous two feeling more like compilations. It also sees her returning to her metal roots - mixing her knack for huge vocal melodies and snappy songwriting with tech metal riffing, a slightly progressive feel, and shades of the symphonic metal with which she made her name. Guitarist Timo Somers (Vengeance; Delain; Carthagods; Arjen Lucassen's Supersonic Revolution), bassist Otto Schimmelpenninck van der Oije (Detonation; Delain; Coldbound), and Joey de Boer (Purest of Pain; Delain; Dear Mother) all return from Apocalypse & Chill - with Sophia Vernikov on keyboards rounding out her core band.

There are a few guests along the way, but Wessels and the aforementioned musicians drive everything heard on The Obsession - with Wessels writing all of the songs and Somers helping with the arrangements. Vikram Shankar (Meridian; Gravity; Threads of Fate; Silent Skies; Redemption) is also credited with working on the arrangements, as well as with orchestrations and keyboards, so he was likely an unofficial sixth band member as this album was coming together. The Obsession does not sound like Delain all that much, but Wessels' distinctive voice and vocal mannerisms help to link the songs here back to her past. The opening keyboard motif to kick-off track Chasing Sunsets and the melodic guitar lead which takes over are somewhat reminiscent of some of Delain's more recent work, though, but once the song's main grinding riff crashes in the vibe is much heavier overall. Somers' riffing throughout this album is pretty dry and tech metal-inspired - and this works nicely alongside Wessels' shimmering voice and the plentiful orchestral and synth work throughout. Not every song here is heavy, but there is certainly plenty of metal to found on the album. The riffing here drops away during the verses, though, which are very vocal-focused, despite some jazzy grooves whipped up by the rhythm section, before Somers crashes back in for a hooky pre-chorus and chorus which are tough and memorable. A later, stripped back version of the chorus brings the best out of Wessels vocally, alongside some fluid synths, whilst a prog metal instrumental flourish later brings the song to a loud conclusion. Dopamine features the first of two guest vocal spots, with Simone Simons (Epica) adding her voice to the driving anthem - which reminds me quite a bit of the Dutch gothic metal scene of the 2000s. There are certainly shades of Delain here as a result, then, with a furious opening riff backed by some double bass drumming, whilst the verses are a bit more stripped back with chugging guitars sitting behind the vocals. Wessels sings the first verse with Simons taking over for the second one - with the two ladies joining force for a playful and memorable chorus which is one of the album's hookiest moments, particularly when the main hooks are sung against the returning opening riff. The two ladies have sung together previously and their voices always work well in harmony - and they sing a later bridge section in tandem, under which some knotty guitar leads sit. The Exorcism opens slowly, eschewing the big riffs of the past couple of tracks. Mournful clean guitar melodies and some simple percussion sit behind Wessels' distant vocals, which set a somewhat gothic and atmospheric tone, before the heavy guitars crash in - further emphasising that gothic feel. The dynamic piece shifts back and forth between this oppressive guitar-led heaviness and the somewhat dark folk of the intro - with the verses generally feeling hypnotic and atmospheric, and the chorus a barrage of heaviness and repeated vocal hooks. A heavier bridge section later sees Wessels deploying some harsh vocals, too. There is at least one instance in Delain where she did this in a very limited capacity which I can think of, but this bridge section sees her growling in a big way - and it works well as a contrast to her usual hooky delivery.

Soulstice also opens slowly, with some stark piano chords - over which a staccato drum beat forms a base for Wessels to sing over. This is a very interesting song vocally, with Wessels laying down a lot of different vocal layers to create a big and atmospheric sound. Instrumentally, the song is more stripped back than anything else here up to this point. The piano chords are the main driving force, but the drums are perhaps what stand out the most - whilst there is a bit of a guitar chug at points, albeit mixed into the background. This sparse sound allows all of the vocal layers to shine, and the interplay between all of the different vocal tracks creates an ethereal and interesting sound. Occasional bluesy guitar leads add depth, and there is one slightly crunchier chorus later on, but overall the song is pretty compact - providing something of an atmospheric break following three heavier pieces. The Crying Room was one of the songs which stood out on my first listen to the album, and it remains a favourite. It also starts slowly, but like many of the tracks here it is a mix of slower, atmospheric moments and heavier, metallic moments. It is not as heavy as some of the earlier pieces, but there remains plenty of crunch - with the chorus really kicking through the speakers thanks to the tight riffing and some strident vocal hooks. There is something mournful about the chorus hooks, which again remind me of that Dutch metal sound of a couple of decades ago - with crunchy guitars and some soaring synth leads sitting nicely behind Wessels' emotionally charged vocal delivery. The verses are slower, though, and a piano-led bridge section later adds to the song's varied feel - with this bridge later expanding into a more involved version of the chorus, complete with some melodic guitar leads. Ode to the West Wind features the second guest singer of the album - with Alissa White-Gluz (The Agonist; Arch Enemy) lending her talents to the track. The track returns to a heavier sound overall, with a cold synth pulse opening things up before a verse with staccato guitar/synth stabs sees Wessels singing in a slightly mechanical manner alongside these industrial vibes. White-Gluz is another who has sung with Wessels a number of times in the past - and their voices again intertwine nicely during the spacier parts of the track, before she unleashes some of her signature growls during the song's heavier moments. The track is pretty rocking throughout, with even the verses containing a strong groove, but the chorus and a later bridge section are much tougher overall - with plenty of harsh vocals and a symphonic metal flair thanks to some big orchestral arrangements and occasional guitar lead. Serpentine calms things down by opening with some delicate piano melodies - over which Wessels starts to sing. The opening moments of the song are melancholic, with the piano and vocals essentially all that is heard - although some distant drumming soon adds a little more depth. The song does grow from this slow start, but it never really becomes a metal monster like some of the other tracks here - with the track feeling like a big ballad throughout. There are crunchier moments, with later choruses feeling a bit more metallic, and Somers also cuts loose with a pretty big guitar solo - which suits the ballad-esque feel. This is not an album packed with solos, but the guitar solo here adds some extra spice to the track which is welcome.

Praise opens with a mid-paced guitar riff, and the track overall takes a bit of a different path to many of the others here. There is something of a strange classic rock strut here which differs from the more metallic and atmospheric sounds heard elsewhere - with bands like Muse and Queen a bit of a touchstone. Bass-heavy verses and some strident piano melodies help to drive the mid-paced verses - before an epic chorus takes over which features big choral vocal hooks and a driving hard rock beat. Some of the choral vocals feel a little gospel-esque in their delivery, which brings late period Queen to mind, whilst the song overall just has a different and grander overall sound without relying on the guitar crunch or the paired back sounds which generally define the album. All You Are is another somewhat slower piece, with ballad-like tendencies, but its overall sound is dense and gothic - with a good mix of heavier sections and ethereal vocal-led moments with simple atmospheric backings. Piano and strings do a lot of the heavy lifting here alongside Wessels herself - whilst there are sections which rumble with a little more heaviness thanks to a strong guitar backing, which later culminate in a soaring guitar solo which Wessels harmonises with. It is a hard song to describe, really, as it shifts in tone so gradually as it moves along, with even the heavier sections not feeling all that different from the more atmospheric moments, giving the song a chameleon-like feel. Vigor + Valor returns to a much heavier sound. It opens slowly, with some distant vocals and strings, but it is not long before a massive tech metal riff kicks in - with Somers' dry heaviness giving the album a real kick following a few less heavy moments. As is typical, though, the song is not heavy from start to finish - but it certainly feels more weighty than the last few tracks. Wessels also takes a different path vocally, too, particularly during the verses. Her verse vocals are drenched in effects, and she sings in a fast-paced manner against grinding backing guitars and ringing piano notes - before a heavy chorus kicks in which sees her singing more traditionally against a doomy riff. The variety of the piece helps it to stand out and it is the last truly heavy piece here. Following the brief orchestral instrumental Breathe;, the album then comes to a close with a full band version of Soft Revolution - one of the songs from the Patreon sessions. I have not heard the original but I imagine that this new version is quite different. Distant drums and synths early on back Wessels' vocals as she sings the verse lyrics - before the chorus feels heavier overall, adding weight to another song which feels somewhat ballad-adjacent. The more straight forward chorus, when backed by the chugging guitars and synths, actually sounds quite a lot like Delain - something which I cannot say about too much else on the album. The rest of the song does not, but it is perhaps one of the most straight ahead choruses here and it reflects the poppy edge which Delain always had. There is a melodic guitar solo, too, and the easy on the ear track rounds out the album nicely - even though it feels a bit less quirky than anything else here. I like how Wessels has explored quite a few different flavours on the album, though, and her songwriting feels more expansive here than it did within the confines of Delain. I am glad to see her return to more metallic sounds, too, following her previous solo work - and I hope that she manages to keep this core band together, as I would love to hear this sound developed further going forward.

The album was released on 20th September 2024 via Napalm Records. Below is Wessels' promotional video for Chasing Sunsets.

Y&T - London Review

There was a time, not all that long ago, when a UK tour in October/November from the American hard rockers Y&T was an annual occurrence. Y&T have always been popular here in the UK, and have embraced the love of their UK fans in a big way, but, sadly, in recent years they have been kept away from these shores. I first saw the band live back in 2016 in Bristol - and I also saw them in 2017 in Nottingham and in 2019 in Cardiff. There was no UK tour in 2018 due to illness - and then clearly the pandemic put a stop to the band visiting here for a while. I had tickets to see them again in 2022 I think it was, but sadly the tour was cancelled following Dave Meniketti (vocals/guitar) being diagnosed with prostate cancer. I did wonder at that point whether I had seen my last Y&T show. Meniketti is now 70 and prostate cancer is often very serious - so even if he survived the cancer battle he may no longer want to travel long distances or have the energy to perform live. Thankfully, though, following a successful course of treatment, Meniketti's cancer is in remission - and Y&T have been picking up the pace again ever since, with this year seeing the band's first shows in Europe since 2019. When the tour was announced earlier this year, I knew that I had to go. I had hoped to return to Nottingham to see them, as Rock City always delivers for Y&T, but logistics and other existing plans meant that a London trip was the most sensible option. The venue of choice for the band was the O2 Academy in Islington - a venue which I get to pretty regularly and one that I tend to like despite it being one of the more corporate of the city's smaller rooms. Given Y&T's popularity, though, it seemed a bit on the smaller side. I had expected that somewhere like the Islington Assembly Hall or the O2 Shepherd's Bush Empire would have suited a band like Y&T's stature better - but Islington it was, and my experiences at the venue have generally been positive in the past. It also meant that all four of my Y&T concert experiences have taken place in different cities - which is a fun, if meaningless, piece of information. I had to get an early train up from Plymouth thanks to other options being more expensive - so I had a rather lengthy walk around East London during the afternoon following a pizza lunch, before checking into the Aldgate East Travelodge. The Travelodge was one of the grottiest I have stayed in for ages - and it looked like nothing had been done to the place for years. This combined with the extremely noisy railway right outside the window means that I will not be returning if I can help it - but I managed to have a bit of an afternoon nap before heading up to Islington. The evening was billed as an 'Evening with...' to celebrate the band's 50th anniversary - so I presumed there would be no support act. This assumption was correct, but with the doors opening at 7pm and the band not coming on until 8:15pm there was quite a bit of waiting around. It took ages to get into the venue, though, thanks to some extremely sluggish security checks - and given that the show was sold out there were lots of checks to do!

The place was packed and I think the only time I had seen the venue so full previously was when Rhapsody brought their reunion tour to the venue in 2018. I started off about halfway back, though, and was in a good spot to witness the band take to the stage and launch into Hurricane. From the off, the band looked really up for it. Meniketti did not look like a man who has recently had a significant brush with cancer - and he has lost none of his energy, voice, nor guitar playing ability in the five years since I last saw him. He was on fine form, his rich voice cutting through the mix with ease, whilst his guitar playing packed a punch - alongside fellow guitarist John Nymann. Given the anniversary nature of the tour, the band played at least one song from every studio album during the course of the night - with a few deep cuts included alongside plenty of favourites. Y&T have always been great at mixing up the setlist, though, which is one reason I keep coming back - with the anthemic Rock & Roll's Gonna Save the World impressing early on, with Nymann playing a shredding solo during it. Nymann played a few more leads than usual, which was likely just down to the song selection. He was busy early on, taking the lead on the bluesy 25 Hours a Day from the band's first album - before him and Meniketti teamed up for a number of unison runs during the heavier Struck Down. Despite these deeper cuts being played, the sold out crowd did let their interest waver. Clearly most people in attendance were big fans - with even the newer cut How Long being sung along by plenty around me, although fan-favourites like Mean Streak certainly saw bigger receptions. I had to use the facilities during Mean Streak, so sadly had to give up my good spot to stand near the back. The place was so full that some people were even stood in the doorway - and I was not going to try and force my way back into a better spot. The view from the back was not always ideal, but the sound was still very good - and everyone at the back was just as into the show as those nearer the front. This was evident during the amount of singing during Midnight in Tokyo and Contagious, two anthemic numbers which really kicked the energy levels up a notch - before a lengthy rendition of the ballad I Believe in You saw some of Meniketti's best soloing of the night. The band could do no wrong by this point, with 1990s deep cut Gimme the Beat receiving a strong reception - before a run of real classics rounded out the main set. Poppier cuts like Summertime Girls and Don't Be Afraid of the Dark had everyone singing long, whereas riffier pieces like Black Tiger and Dirty Girl showcased the band's heavier side. The latter also showcased plenty more soloing from Meniketti, and he proved why he remains one of the best in the business, but sadly the band were running out of time by this point - with the bouncy newer anthem I'm Coming Home and the evergreen Rescue Me rounding out the main set. There was time for a three-song encore though, and the band came back out after a short break and launched into the fast-paced Open Fire, which felt like one of the night's highest energy moments - before a rare outing for Don't Wanna Lose was a treat for long-time fans. The night was then brought to an end with the band's signature tune Forever - which saw plenty more singing and lots of big drum barrages from Mike Vanderhule as the piece came to a punchy close. The setlist was:

From the Moon

Hurricane

Rock & Roll's Gonna Save the World

25 Hours a Day

Struck Down

Don't Stop Runnin'

How Long

Mean Streak

Long Way Down

Midnight in Tokyo

Contagious

I Believe in You

Gimme the Beat

Summertime Girls

Don't Be Afraid of the Dark

Black Tiger

Dirty Girl

I'm Coming Home

Rescue Me

-

Open Fire

Don't Wanna Lose

Forever

Y&T never disappoint live and they were not about to start doing so in London last night. They are a band that always give the fans their money's worth - and they played for well over two hours for the sold out crowd. It was great to see that nothing had changed in five years, too, despite Meniketti now being 70 years old and a cancer survivor. He puts people half his age to shame with his sustained talents and lasting energy - and I will keep going to see Y&T as long as they keep coming back to the UK.

Eclipse's 'Megalomanium II' - Album Review

Being a fan of the Swedish hard-hitting AOR act Eclipse is one that generally reaps rewards. The four-piece, headed up by prolific songwriter and frontman Erik Mårtensson, always seem to be working on something new - so their fans rarely have to wait that long for each new album. Even by the band's usual standards, though, the turnaround between last year's strong Megalomanium (which I reviewed here) and last month's Megalomanium II was extremely quick. Megalomanium dropped on 1st September 2023, with its sequel following just over a year later on 20th September 2024. I think that both albums came from an even more prolific writing session from Mårtensson than usual - and I also think that both of the albums were recorded at the same time. Looking back at the previous album's cover, the 'i' in the title has been fashioned to look like a Roman numeral number one - with the latest cover having the 'i' replaced by a Roman numeral number two. The sequel was clearly planned at the time of the last album's release, then, which suggests that the band recorded a huge amount of songs and decided to split them between two releases. In my opinion, this was wise. I am not sure Eclipse are the sort of band I want to listen to an hour-plus of music from in one go - and they would not really suit releasing a traditional double album. Eclipse are a band who write bite-sized anthems which are perfectly suited to the old fashioned 40-45 minute album runtime. If the Megalomanium sessions had been released as one large album, I think it would have been too much - and I doubt I would have spent half as much time with Megalomanium as I did last year if it had been twice as long. As much as I like Eclipse, they are not a band I tend to go back that often. I generally really like each new album as they come out, and give them a lot of playtime for a few months, but then they tend to go on the shelf and rarely come back off. Megalomanium was an album I did listen to quite a few times last year, though, so it did break the trend a little. It was an album which did something a little different and featured a few more modern influences among Eclipse's classic tropes. Whilst I do not think that Eclipse have released a weak album, perhaps 2021's Wired (which I reviewed here) was their least interesting. I cannot remember much about it now, whereas all of the band's other albums have standout tracks which I can instantly recall - so Megalomanium felt fresh. In some ways, then, Megalomanium II is a bit more traditional. Interestingly, the 2023 album featured a lot of co-writes from bassist Victor Crusner, the band's newest recruit, who's influence clearly shifted the album's sound somewhat. Megalomanium II is much simpler affair songwriting-wise, though, with Mårtensson writing most of the tracks alone. Victor and founding guitarist Magnus Henriksson get one co-write each, and some of Mårtensson regular non-band collaborators chip in on a handful of songs - but generally this album is very much Mårtensson through and through. It is also the band's third album in a row with the current line-up, with Victor's brother Philip Crusner once again handling the drums.

There are a lot of proper anthems on this album, in typical Eclipse fashion, but there are also a few slower songs and ballads. The classic Eclipse songwriting tropes are very much present and correct, then, and the album opens up with one of its biggest tracks: Apocalypse Blues. Despite being co-written by Victor, the song lacks some of the modern touches of the last album - and instead it just feels like the big singles of Eclipse's past. Henriksson's big main riff, which kicks in following a big drum barrage and some early atmospheric synths, channels John Sykes in a big way - and all of the band's usual hard-hitting energy immediately pours out of the speakers. The main riff is hooky, whilst the verses are a bit more stripped back - with the bass leading the charge whilst the guitars pop in and out with riff snippets and the occasional flashy lead. The pace is up-tempo from the off, though, and even the verses feel pacy. This is a high-octane rocker, then, and it really sets the tone for the rest of the album - showcasing Eclipse's hard rock credentials. They might be a melodic rock band, but they have always been one of the toughest in the scene - although this does not stop them from writing soaring choruses as this song can attest to. A busy guitar solo further showcases Henriksson's guitar prowess, before another big drum barrage brings the track to a close. The Spark is similar, although the pace is not quite as urgent this time. The song is more mid-paced overall, then, but there is still plenty of zest throughout thanks to the guitar riffing and a strong bass presence. There is much more of a synth-heavy sound this time, though, with the opening riff augmented by some cold synth stabs - and these synth sounds resurface throughout the track. They back the chorus, giving it some depth, whilst the main riff is reprised throughout to create some strong staccato grooves. Elsewhere, the bass is once again a main player during the verses, which are also somewhat stripped back to allow the chorus to really pop, whilst the chorus is packed with big vocal harmonies. To complete an excellent and memorable opening trilogy, Falling to My Knees opens with a punky 1-2-3-4 before exploding into a massive-sounding mid-paced melodic rocker with a hooky opening guitar lead and a smoother overall sound than the two songs which came before it. Eclipse are certainly a hard rocking band, but they still can possess an AOR smoothness when they want to - and this song showcases such at times, at least until a strident verse riff takes over behind Mårtensson's powerful vocal melodies. The two choruses on the album up to this point have both been big, but the chorus here might be the biggest of the three - with proper AOR hooks and less of an overall pace to allow them to bed in nicely. The chorus is a real earworm, then, and Henriksson also stretches out his solo to include lots of melodic phrases.

All I Want is perhaps not as strong as the opening three, but Eclipse rarely miss the mark in a big way - and there is still lots to like about the pacy rocker. It is a track which returns to some of the more modern rock vibes of the last album - but perhaps they do not quite gel as well this time. The chorus is a bit too frantic which means that the melodies do not quite hit home - but I like the bass-driven verses which showcase some of the positive traits of the last album. For me, though, the guitar playing here is less interesting. The band managed to mix both sides on their last album, but there riffing is more chord-driven this time - and I miss Henriksson's traditional heft. There are some melodic leads, though, which are enjoyable - I just wish there was more of a riff focus. Still My Hero is stronger, though, and it is the first somewhat slower track here - although it still packs quite the punch when it wants to. Opening with some melodic clean guitars, it is not long before a pretty hefty riff kicks in - albeit with a melancholic synth hook over the top of it. The synths perhaps temper the riffing slightly, but it works in this context given the more dynamic approach taken - whereby the verses are slower and more atmospheric before the chorus kicks in to rock things back up again. The bass drives the verses again, which is very much a theme so far, but there is also a strong keyboard presence to create an atmospheric feeling. The chorus is much tougher, though, albeit with the synth hook referenced making a return. This forms the basis of a strong chorus, though, and it is another earworm thanks to Mårtensson's vocal hooks and the synths. Dive into You slows things down further and it is the album's first ballad. Whilst Eclipse clearly prefer to operate at full-tilt, given Mårtensson's love of heavier music than he writes, they are also strong at crafting strong ballads - and this is another enjoyable effort which makes the most of Mårtensson's vocal abilities and the varied guitar playing of Henriksson. The song is not all that riffy, which is not a massive surprise, but his clean guitar playing throughout sets a great 1980s tone - with the rumble of the bass providing a reassuring grounding as Henriksson goes for a more atmospheric sound. The chorus is heavier, but it still retains a similarly atmospheric sound overall - and the song works as well as it does thanks to Mårtensson's vocal talents which carry all of the weight. Henriksson's guitar solo is expressive, though, with all the ingredients coming together nicely. Until the War Is Over is much rockier again, with the band returning to more of a mid-paced hard rock sound - despite maintaining some of the dynamic twists of the previous couple of numbers. As with Still My Hero, there is a bit of a synth melody accompanying the guitars early on - which creates some folky melodies that bring Thin Lizzy to mind at times. There is less of a focus on keyboard depth this time, though, and the track is generally a more hard rock piece. The chorus is much tougher overall, with some grittier vocals from Mårtensson, although the verses are on the slightly slower side again with cleaner guitars and a more open sound.

Divide & Conquer is heavier again, and the song opens with some chugging guitars which grow in stature before a more juddering riff kicks in - and the track morphs into a pacy hard rocker with a 1980s guitar tone driving everything and some frantic vocals from Mårtensson. Unlike most of the tracks here, the verses do not feel all that bass-driven - with the guitars instead doing all of the heavy lifting. There is a real crunch throughout as a result and Henriksson's guitar tone is perfectly suited for the song. The guitars sound huge and it is fitting that after the first chorus Henriksson launches into a shredded solo. The chorus is one of the album's hookiest, too, despite the song's heavier feel - and this shows Mårtensson's ability to make heavier tracks feel very melodic. Another couple of lengthier guitar solos are included later on, too, which makes the song the most lead guitar-heavy piece here - which ties in nicely with its overall riffy nature. Pieces is another somewhat more atmospheric song, but it retains plenty of the band's usual hard rock crunch. Instead of going for a more 1980s take on atmosphere, though, the synth and production choices feel more modern. The track is a bit of a hark back to the last album, then, but I think the choices work better here than they did on All I Want earlier. There is still an urgency and a decent chorus despite the cold synths used throughout and I also do not feel as if the guitars have been side-lined this time. A lengthy and very melodic guitar solo help to cement this feeling, but there are also a couple of decent riffs thrown in alongside the more chord-driven approach of the song overall. To Say Goodbye returns to ballad territory and, as much as I like Dive into You, I think this one is better overall. This is largely because of the chorus, which is just packed full of hooks. It is one of those choruses which takes a turn part-way through and tweaks the melodies and delivery slightly to make everything that bit more interesting. It is a chorus which has been in my brain since first hearing the album and, even though the rest of the song is a typical ballad arrangement with clean guitars, the chorus makes it shine. It is hard not to sing along - and a Queen-esque guitar solo is also a fun addition. The album then comes to a close with One in a Million, a song also on the slower side - but in a much more epic hard rock context. It is no ballad, despite some swirling early synths, with the track evolving around an Eastern-tinged guitar riff that is augmented by some synths and some snappy drum footwork. Eclipse have written a few of these more expansive hard rockers over the years and this is another good example of such - and it works really well as an album closer, as it expands on the band's core sound in a powerful way to make everything sound a bit larger. The guitar riffs really breathe here and the subtle keyboard and harmony vocal layers inject a lot of depth. Philip's busy drumming adds a lot, too, and some of his bass drum work here borders on metallic - but it adds a lot to the expansive riffing to create a few counter points of interest. A hooky, cinematic chorus and another excellent guitar solo pull everything together - and the album ends on a real high. Eclipse rarely disappoint and this album certainly does not. It compliments the last album nicely thanks to the slightly different overall tone, whilst most of the songs here are real winners which will no doubt become fan favourites over time.

The album was released on 20th September 2024 via Frontiers Records. Below is the band's promotional video for Apocalypse Blues.

Dream Theater - London Review

Sometimes when walking out of a venue after a concert you think that what you have just witnessed was something special. Most concerts are special in a way but, in truth, the vast majority of them are a routine day's work for the band in question - but every so often a show comes around which feels like a momentous occasion, and a key touchstone in their history going forward. Last night's show by Dream Theater in a packed O2 Arena in London felt like one of those nights. The American progressive metal band are a true favourite of mine, and I had seen them live before a handful of times, but last night's showing was the best of the bunch - and by quite a significant margin. For those who have been paying attention, earlier this year Mike Portnoy (drums/vocals) returned to the band after a 14 year absence - following his somewhat acrimonious departure back in 2010. As one of the band's founding members and a significant contributor both musically and lyrically from their 1985 genesis until his departure in 2010, Portnoy was certainly missed. Dream Theater carried on successfully without him, with the excellent Mike Mangini behind the kit, but after seeing the band last night it was clear that something had been missing over the past 14 years. My first Dream Theater show came back in 2011, when they headlined the second and final High Voltage Festival, which was one of Mangini's first shows as a member of the band. I had only gotten into the band properly over the preceding couple of years, so had not seen them with Portnoy until yesterday, but I managed to see them six times over the Mangini era - which each show being an excellent and memorable experience. I had seen Portnoy a number of times, too, with Transatlantic, Twisted Sister, and Sons of Apollo, so I had been somewhat keeping up with his myriad of projects, but I remained fully committed to Dream Theater despite his absence - and, in my view, the band put out plenty of excellent albums over the past 14 years. As I said, though, I now realise that something had been missing - at least from a true chemistry perspective. It was clear from last night just how much natural chemistry and camaraderie there is between the band and Portnoy - particularly between him and John Petrucci (guitar/vocals) - in a way that there just never was between them and Mangini. This is to take nothing away from Mangini, who put in some monstrous performances behind the kit over the past 14 years, but I am not sure I truly appreciated how important Portnoy was to the band until last night. Speaking of the night, then, the show at the O2 was the first night of their lengthy 40th anniversary tour - which extends well into 2025. The band will release a new album Parasomnia next year, too, but the next few months are all about getting back out there again on tour - and a packed arena in London was the best way to get this new era underway. Given that Dream Theater have often been caught between venue sizes here, and their Birmingham show last year was not exactly bursting at the seams, I thought that the O2 was ambitious for them - but they packed the place out, even if some of the top-most tier was closed off. I imagine the show being the first of the tour meant that some people travelled from far and wide, though, and this was not just another London show.

Having reverted to more traditional set lengths post-pandemic, and having support bands on their last couple of tours, this tour sees the band return to their 'Evening with...' format - something which has generally served them well over the years. With a strict 10:30pm curfew and lots of music to squeeze in, the lights went down at 7:25pm to ensure that everything could fit. By this point, the venue was filled with a few thousand fervent fans - and the atmosphere was electric. Everyone was up for the show and the anticipation was apparent. Being the first night of the tour, too, no-one had any idea what songs the band would play - although it was clear that it was going to be a long one. I had not given the setlist too much thought, as I did not want to get caught up in it, but I had thought that the perfect opening track would be Metropolis - Part 1: The Miracle and the Sleeper - so when some classical music stopped playing over the PA, the lights went down, and the opening sound effects of the track could be heard, I was not all that surprised. It is a long-time fan-favourite that has not actually been played live that much in recent years - and as the curtain dropped as the band truly kicked in the place went wild. Dream Theater crowds can often be reserved and more appreciative than rowdy - but this was a loud crowd, with plenty of singing and air instruments on display throughout. It helped, too, that the sound, at least where I was sat, was excellent - particularly for an arena. The band sounded heavy, but Jordan Rudess' keyboards were always audible and frontman James LaBrie cut through the mix nicely. The mix allowed the intricacies in the band's music to shine through - and every solo and riff was lapped up by the expectant crowd. It was great not knowing what songs were to come so each in turn was a surprise. Following Metropolis - Part 1: The Miracle and the Sleeper, the band cleverly segued into the opening two songs from its sequel album - with the barnstorming Overture 1928 being a surprisingly emotional moment before Strange Déjà Vu upped the heaviness with some excellent riffing. With Portnoy back on backing vocal duty, too, there just seemed to be more vocal heft. He is not even a great singer, but his backing vocals always added a gruffness when needed - and he backed LaBrie nicely. LaBrie was, as is typical, a bit up and down. He sounded a bit rough during the first couple of songs in particular - but was generally pretty solid after that, with the heavier songs suiting his aging voice more. The first set was pretty heavy overall, in truth, and the crowd favourites came pretty thick and fast during this first hour-plus. The Mirror, which included a portion of Lie as the band often used to do, saw Petrucci rocking a seven-string guitar, whilst the snappy and riff-driven Panic Attack saw the band operating in full-on metal mode with very little prog to be seen. There was some respite with the more melodic and flowing Barstool Warrior, one of two Mangini-era songs played, and a fantastic rendition of Hollow Years. The latter was a bit of an overall highlight thanks to its extended guitar intro, sing-a-long chorus, and a lengthy outro which was led by Rudess' piano - giving the song something of a country/southern rock feel. There was more heaviness to come, though, with a huge version of Constant Motion and a real crowd-pleaser in As I Am bringing the first set to a metallic and hard-driving close.

A 20 minute break was announced, but it only turned out to be around 15 minutes in the end - and before the band took to the stage a video was played which showcased all of their albums, ending with flashes of the Parasomnia artwork. This meant that it was time for something new, and the second set kicked off with the first ever live performance of new single Night Terror. Given the heaviness of the first set, Night Terror fit in nicely. The vibe of the song certainly harks back to the sound of the last few albums the band did with Portnoy - so it sounds like they are picking up where they left off in 2010. The near-10 minute track has clearly already become a favourite, though, as plenty around me were singing along - and it featured some pretty impressive instrumental moments, with Rudess playing some more traditional Hammond organ at times and Petrucci really laying into his whammy bar. The second set was a bit more involved than the first, though, with more of a varied overall feel and more of a focus on lengthier pieces on the whole. A lot of big fan-favourites and some riffier pieces kept the first set feeling pacy, whereas the second set felt a bit more 'prog' in that sense - although a beautiful rendition of the rarely-played ballad This Is the Life acted as a breather after Night Terror. It was nice to hear a couple of Mangini-era songs in the set. I do not like it when bands essentially disown certain periods of their catalogue following line-up changes, particularly songs written when certain key players were not in the band. The two songs played were not obvious choices, either, with This Is the Life not having been played since the A Dramatic Turn of Events touring cycle. Under a Glass Moon felt a bit more expected, though. It is another old favourite which has not been played live too often in recent years, but it has always been one of my favourites from the band's early days - and Portnoy nailed the knotty drum intro as if he had never been away. The last three songs of the main set were all big surprises, though, with the short and delicate ballad Vacant a real showcase for both LaBrie and bassist John Myung - before LaBrie took an extended break to allow the band to run through the gargantuan instrumental Stream of Consciousness. Neither song had been played for the best part of 20 years and the latter was a real showcase for all four musicians - with the soloing from Petrcci and Rudess some of the evening's most impressive. The real treat for die-hards, though, was the main set closer: Octavarium. Another song which had not been played live for a long time, the 20 minute-plus epic was one of the overall highlights. It has never been a particular favourite of mine but it nevertheless was a fantastic addition to the show - from Rudess' lengthy continuum and lap steel intro, through some emotional vocals from LaBrie, to some full-on metal later on, the track was likely to be the song of the night for many. It felt like the big surprise everyone was waiting for, too, and the band rightly received a standing ovation as they left the stage. A three-song encore followed, though, and the band returned to some other old favourites. The riffy and anthemic Home kicked off a two-song suite of songs from Metropolis - Part 2: Scenes from a Memory, which was fitting giving how the show opened. A huge sing-a-long rendition of The Spirit Carries On was next, with plenty of phones in the air, before the mammoth evening was rounded out with the band's 'hit' single Pull Me Under - with plenty more singing and air guitaring as a memorable night came to a close. The setlist was:

Metropolis - Part 1: The Miracle and the Sleeper

Scene Two - Part I: Overture 1928
Scene Two - Part II: Strange Déjà Vu

The Mirror/Lie

Panic Attack

Barstool Warrior

Hollow Years

Constant Motion

As I Am

-

Night Terror

This Is the Life

Under a Glass Moon

Vacant

Stream of Consciousness

Octavarium

-

Scene Six: Home
Scene Eight: The Spirit Carries On

Pull Me Under

It is only right to describe last night's show at the O2 as a triumph. Dream Theater always impress live, but last night was on a whole other level to previous experiences. Portnoy has clearly given the band a real kick again - and it seems fitting to have him back in the band he helped form. I probably would have been against it a decade or so ago, but there has been a lot of water under the bridge since then and the band seem in rude health. This tour is likely to be their biggest for some time - and with a new album to look forward to next year I cannot wait to see how this latest era pans out.