The Fallen State - Plymouth Review

Over the past few years it has basically been a given that if The Fallen State are on tour then they will be visiting Plymouth as part of it. Whilst The Fallen State are not from Plymouth, they are a Devon-based band so have been playing in the city since their early days. Currently, though, the band seem to be at something of a crossroads. Following a hiatus which essentially lasted all of 2024, The Fallen State are currently back and on tour - but they have been open with the fact that it could well be their final tour. I get the impression that whether or not the band carry on beyond this tour will depend on how well the tour does financially. Life for a small, unsigned band is harder than ever - and I have followed so many over the years which have just fallen by the wayside. Balancing full-time work, a family life, and being part of a touring band is not easy - and so often the band can become a financial and emotional burden which is, sadly, no longer sustainable. I get the impression that The Fallen State are teetering on that balance. They want to carry on, but that may no longer be possible - and I have seen this tour been described as something of a 'use it or lose it' situation. It has been refreshing, if sad, of late to see a few bands lay out the realities of existing in the current climate. Vega's Nick Workman recently put out a video giving an update relating to the band's current lack of activity, and also somewhat called out the fans for not supporting their last couple of tours. Too many fans seem to think there will always be a next time, or seem unwilling to travel pretty short distances to see a band live that they supposedly really like - and I agreed with everything Workman said, despite it likely being hard to take for some. Whilst it is not always easy to go to gigs, and life certainly can get in the way, I have always found the UK's attitude to travelling to be extremely poor - especially given how relatively small the country is. Some will not even drive an hour to the nearest city, instead complaining online that a band is not playing in their small town - and I feel for all bands when they have to constantly fend of such complaints. The Fallen State have not been as blunt as Workman - but they have strongly hinted that this tour needs to succeed for the band to live past it. Whether that message will get through or not remains to be seen - but the band cannot have done more to promote the tour and make the situation clear. The tour is pretty extensive, too, covering much of the UK - so there are plenty of opportunities for people to get out and see the band for what could be the last time. This tour also sees the return of the band's original frontman Ben Stenning - who last performed with them back in 2019. His replacement, Adam Methven, has stuck around, too, making The Fallen State a six-piece for the first time. Drummer Rich Walker, who sat out of the band's 2023 tour, is also back - meaning that all of the band's core members over the years are back for this big celebration of their career to this point.

After my pontification relating to the UK in general being poor at 'making the effort' - I made the herculean walk from my flat to The Junction in Plymouth, which takes all of about five minutes, on Thursday evening, reaching the venue just in time to catch the first support act. In truth, a gig I can walk to is a rarity, and anyone who reads this blog will know that I regularly 'make the effort', travelling all over the country, to see bands. Opening the show, and playing for around 30 minutes, were the Austrian three-piece Psycho Village. Seemingly without a drummer, Walker played drums for the band wearing some sort of fox mask - but sadly the band's slightly industrial, synthy rock did very little for me. Whilst there were a few decent choruses throughout the set, and some of the industrial grooves were hooky, I just did not find the band very compelling. I did not think that the singer had a particularly great voice for starters, and I also did not like just how much the band were relying on a click track. I am not a neanderthal when it comes to these things - but the singer barely touched his guitar during some of the songs, and there was so much 'help' going on vocally, too, that the set just did not feel all that authentic. When most of what I am hearing is not live then I soon start to loose interest. The band have clearly toured with a lot of other bands, though, as nearly all of their songs included a guest vocal from someone which, you guessed it, magically came through the speakers as the band was playing. It did not help that the singers were all from bands that I am not interested in (Hed PE for example) - but it also just felt like name dropping after a while, as I would say that around two-thirds of the set featured some kind of guest appearance. I have seen worse, but Psycho Village are very much not for me - and I was quite glad that they only had 30 minutes to play with.

Thankfully, what followed was much better. I was not really looking forward to watching Liberty Lies, as I had seen them twice before and had not enjoyed them either time - but this time I was pretty much hooked from the off. In fairness it was in 2017 that I last saw them, so the band have likely evolved quite a bit since then, but they were different from what I remember. I remember them being more metallic, with something of a clunky nu-metal sound, but this time they just seemed like a sleek, modern hard rock band with the occasional more metallic moment. I also remember not thinking much of frontman Shaun Richards - but he was the star of the show this time. His voice really powered through during the band's 45 minutes on stage - and there were a number of massive choruses which really stood out during the set. Whilst I had not been following the band over the years, I was under the impression that they did not really exist anymore - so I was surprised to see them added to this tour. Richards did say that it was their last tour, though, so perhaps The Fallen State convinced them to saddle up one last time as they had played together quite a few times over the years - and the band received a strong reception throughout with plenty in attendance knowing their songs. It was Adam Stevens (drums/vocals) who filled in for Walker on The Fallen State's 2023 tour, too, so there is clearly a strong bond between the two bands - and Liberty Lies' bass player was not available for all of the dates on this tour so members of The Fallen State stepped in. Clearly I was not familiar with any of the band's material, but some of it made a strong impression. The opening cut Someone Else was a great way to kick things off with its soaring chorus, but it was perhaps a later ballad Day in the Sun which stood out the most. Having not expected much, Richards showcased what a great singer he is during that emotional number - with Josh Pritchett (guitar/vocals) then delivering a massive guitar solo. Most of the set rocked pretty hard, though, and the band is another with a strong post-grunge sound which has really permeated the British rock scene in recent years - albeit with perhaps a bit more of an old-school approach to lead guitar which I appreciated. Their 45 minute set flew by, with Are You Listening? bringing the band's time on stage to a close. I picked up a copy of 2019's It's the Hope That Kills You on the way out later - as my view on the band was completely changed by this set. It is a shame that I finally came around as the band is coming to an end - but such things happen sometimes, and I am glad to have had my view changed.

Following one last changeover, and seemingly some technical issues relating to the video screen at the back of the stage, the lights went down and the new-look The Fallen State took to the stage - immediately launching into the old single Hope in Revival. Setlist-wise, with the exception of the encore, the songs played were the same as those played on the 2023 tour. It would have been nice if the setlist had been shaken up somewhat - but given that many of the main fan-favourites were included I doubt that many were complaining, and the decent-sized Plymouth crowd responded to the songs played with plenty of singing. The band's last couple of shows at The Junction have been a bit hit and miss sound-wise, but this one was better overall. Sometimes the vocal balance was not quite right, but generally everything else shone through. It was the band's first show with Stenning back in the fold, and he seemed to be finding his feet a bit early on. It had been a while since he had sung these songs live - but by the half way mark he seemed more like his old self, even if his overall look did not quite suit the band's vibe these days. The longer hair and the more typical rock attire from the past were gone - but he still had a strong stage presence once he had felt his way back into the set, and he worked well with Methven throughout the night. The harmonies between the two, particularly during the choruses, were strong - and the way the vocals were split up ensured that both had plenty of time to shine and the new arrangements did not feel gimmicky. Apart from this obvious change vocally, the band just powered through their set as would be expected. There were some early crowd interaction during the chorus of the anthemic Sinner - whilst the more low key Sons of Avarice was a highlight as it always is. The dark ballad always really shines live, and it generally becomes a showcase for Jon Price (guitar) due to it including one of his biggest guitar solos. The Fallen State fans have clearly heard Methven sing the old songs a lot by this point, but it was interesting hearing Stenning tackle the newer material - and the heavier tracks like Standing Tall and Knives sounded powerful with the two singers duetting. The latter was one of the highlights of the set for me, with another following fairly soon after in the form of Lost Cause. The fast-paced, almost metallic, track is one that has always come across well live - and its big chorus filled the venue as the band rocked out. The last part of the set was generally filled with anthems and the atmosphere continued to be strong. American Made is a song which could have been something of a hit, but sadly was not, with its strong chorus and slightly mournful atmosphere - but perhaps the big highlight of this last section was the riffy Burn It to the Ground, before which Stenning and Methven encouraged plenty of singing. The main set then came to a close with the soaring ballad Nova, a track definitely should have been a hit - and is the closest thing the band have to a signature song. Everyone was singing along by this point, and it brought an hour or so of music to a close nicely. Following a brief step to the side, though, the band came back for one more - with the oldie You Want It pulled out of the vaults. The fast track also saw plenty of singing from the crowd and it was a great end to what had been a powerful set of hard rock from a great band on the current scene. The setlist was:

Hope in Revival

Sinner

Sons of Avarice

For My Sorrow

Standing Tall

Knives

Mirror

Lost Cause

Torn

American Made

River

Burn It to the Ground

Nova

-

You Want It

If this tour is to be The Fallen State's last, then they are likely to go out on a high. Getting Stenning and Walker back meant that all of the band's key faces were present - and the setlist covered all of their releases nicely. I really hope, though, that this tour is not the end. The British rock scene needs bands like The Fallen State to thrive - and if people want to keep seeing new bands coming through then they need to support them. Hopefully enough people turn up to the band's shows over the next couple of weeks to make them consider that carrying on is worth it - but if not then the band being put to rest cannot come as a surprise. I have managed to see the band seven times over the years, and I always enjoyed doing so - and hopefully, one day, that number will be eight.

Ricky Warwick's 'Blood Ties' - Album Review

The last few years have been pretty busy and exciting for the Northern Irish singer, songwriter, and guitarist Ricky Warwick. He is someone who generally seems to keep himself busy, but even by his standards the past couple of years have been pretty hectic. The big news in Warwick's world was the reunion of his first big band The Almighty in 2023. Whilst their touring activities have not exactly been extensive, the reunion is one of the most exciting in recent times. The Almighty was a band that I never thought I would get the chance to see - and now I have seen them live twice and will see them again for a third time in November. They played a few shows in Japan earlier in the year, too, and are also playing a festival in the summer - so the band's activity seems to slowly be increasing. Whether they will ever be back as a full-time, hard-touring band remains to be seen - but just having The Almighty back is a reason to celebrate. 2023 was also busy in so far as it was the last time that Warwick released an album. The fifth album from Black Star Riders, Wrong Side of Paradise (which I reviewed here), dropped early in 2023 - and the band followed it up with a tour celebrating their 10th anniversary, which ended up feeling like something of a swansong. Whilst Scott Gorham played with the band on the tour, he had actually left prior to Wrong Side of Paradise being recorded. Without Gorham or Damon Johnson, who left in 2018, Wrong Side of Paradise was a let down - and I feel like at least one of those two guitarists has to be present to made the band truly tick. Only Warwick now remains from the band's founding as a Thin Lizzy spin-off - and without that link back to Thin Lizzy I am not sure that Black Star Riders have much of a purpose. The tour was great, but the album was disappointing - and it is telling that, bar a couple of festival appearances, Black Star Riders has essentially been dormant ever since. Getting The Almighty back together likely took up a lot of Warwick's time, though, but he has also been maintaining a pretty busy solo career throughout all of this - having last released a solo album back in 2021. When Life Was Hard and Fast (which I reviewed here) was certainly an enjoyable slab of melodic and folky heartland rock, and its tour in 2022 was great. Unless Black Star Riders can regroup with at least one of Warwick's key collaborators in that band then I would prefer him to operate as a solo act going forward. It is a shame, but perhaps Black Star Riders have just come to their natural end - with Wrong Side of Paradise comfortably weaker in my opinion than When Life Was Hard and Fast. I have different expectations when it comes to both projects, but if he is not going to write with Gorham nor Johnson then I would rather him operate as a solo act - particularly given his strong songwriting partnership with Keith Nelson (Buckcherry), which fuels his newly-released seventh solo album Blood Ties and also dominated the 2021 release. Warwick and Nelson are essentially responsible for everything here, with the latter playing most of the bass, keyboards, and drums, but there are a few guests throughout who add plenty of sparkle.

Blood Ties very much picks up where When Life Was Hard and Fast left off. Warwick's songwriting style is pretty well entrenched at this point - and this is a short album that gets in and gets out. There are a good mix of harder rock tracks, more plaintive moments, and that folky punk sound that Warwick likes to employ occasionally to ensure there is some variety, though, and the album gets off to a strong start with Angels of Desolation. Opening with a brash guitar riff, topped by a fluid lead, the track is that great mix of up-tempo hard rock and smooth melodies which characterises Warwick's songwriting. Nothing here ever reaches the intensity of The Almighty, but there is still plenty of meat here - with a Bruce Springsteen-esque rhythm guitar tone and the bright guitar leads worming their way into the brain after a couple of listens. Chugging verses packed with pulsing bass playing and laid back distorted guitars are the perfect backing for Warwick's storytelling vocal style - whilst the chorus has some subtle vocal harmonies, which build up over an slightly anthemic wordless melody which also stick in the brain. The song is not exactly a fists-in-the-air rocker - but there is a great sense of melody throughout, with enough crunch to add a hard rock flourish. Rise and Grind features the guitar prowess of Charlie Starr (Blackberry Smoke) throughout. Starr's appearance does not mean that the song suddenly takes a southern or a country rock path - with the hard rock song rooted very firmly in Warwick's core sound. There is perhaps more of a traditional bluesy approach, with less of the folkiness of his typical delivery, and the song does crunch a little more. Warwick has always made strong use of lead guitar playing throughout this songwriting, but Starr is all over this song - his wah-drenched accents during the verses packing a punch whilst bluesy leads during the chorus and the opening riff really elevate the track. A strong chorus, with a hypnotic core hook, further draws the listener in - before a bona fide guitar solo sees Starr let rip. The solo could have been longer in truth - but there is enough here to ensure that the track is a strong effort. Lead single Don't Leave Me in the Dark is less of a hard rocker - and instead goes for more of a cinematic heartland rock vibe with more of a keyboard presence. There are tough Tom Petty vibes throughout, with ringing and brash clean guitar melodies, and the aforementioned keyboards, provided here by session king Steve Ferlazzo, sound big and bright. Lita Ford (The Runaways) duets with Warwick here - her smooth and melodic voice contrasting nicely with Warwick's slightly rougher delivery. The chorus is another strong one - but perhaps the overall highlight of the track is a strong bridge section later on which features both singers harmonising well, before lots of big guitar leads add further hooks.

The somewhat folky The Crickets Stayed in Clovis shows that Warwick can still write songs that have a Black Star Riders vibe and have them feel at home on his solo albums - which is even more reason, in my opinion, why Black Star Riders should fold without Gorham and Johnson. The guitar leads here have strong Thin Lizzy feels throughout, with the opening folky lead paired with an up-tempo rock backing really channelling the songwriting of Phil Lynott nicely. Hearing songs like this make it obvious why Warwick was brought into Thin Lizzy in the first place - and the years of singing Lynott's songs has clearly rubbed off. The folky melodies throughout, both from the vocals and the guitars, are very easy on the ear - and the track is another with a strong chorus. The whole song is an earworm in truth - and it is a real sing-a-long number that is sure to go down well live. Don't Sell Your Soul to Fall in Love is the first of two songs here to feature Billy Duffy (The Cult) on guitars. After the generally hard rocking nature of the album up to this point, Don't Sell Your Soul to Fall in Love feels a little more reined in. A later chorus feels tougher, with striking power chords stabbing away behind Warwick's strident vocals, but the opening and the verses are smoother overall. This is another song with a bit more of a keyboard presence, which creates a bit of an atmospheric feeling, but generally the clean guitars and simple drumming provide a folk rock beat over which Warwick croons in a slightly more restrained manner than usual. Duffy later makes his presence count with a piercing guitar solo - which is perfectly suited to the vibe of the song. The solo section builds from the heavier chorus, but the solo itself is suitably restrained and does not really cut loose - instead building on the song's more precise nature overall. Dead and Gone opens with a gruff spoken word poem, which nicely sets the tone for the slightly more raucous hard rock track which is to follow. The drumming feels punchy from the off, over which Warwick lays down some brash and distorted guitar chords - somehow tapping into the punk side of his playing despite the track generally being pretty mid-paced. The later chorus is a bit smoother, with subtle vocal harmonies and cleaner guitar tones, so the song is somewhat the reverse of the previous one. This time, the verses are a tougher part of the track - and they build on nicely from the staccato drumming of the opening with some busy bass playing and gruff vocals. The Hell of Me and You also features Duffy, and the track opens with a really gnarly riff which sounds like a slight reworking of Guns N' Roses' You Could Be Mine. The guitar tones have that old Guns N' Roses bite, likely thanks to Duffy's additions, but despite this sleazier opening the track is very typical of Warwick's songwriting overall. Despite some slashing, bluesy guitar leads which scream in and out of existence, the album's core sound is retained. There is plenty of energy throughout, though. The chorus is catchy despite its simplicity, building from the opening riff, whilst Duffy really lets his hair down here. Warwick sings really well as always, but this really feels like Duffy's showcase. His guitar leads are essentially ever-present - and he sounds busier than he has done with The Cult for many years. The song is an album highlight as a result.

Crocodile Tears is another slightly folky rock piece - although there is plenty of crunch throughout. Warwick has done acoustic/mostly acoustic albums in the past, but that is not what this album is - so the folkier pieces are instead presented in a harder rock format, relying on hooky guitar lines to bring folky melodies to life and Warwick's storytelling lyrical approach. This is a song, though, which is essentially all about its chorus. The verses are pretty one-note, with a simple rock chug and Warwick's voice, whereas the chorus is packed full of excellent lead guitar playing and simple vocal harmonies. It is another very hooky piece as a result, with the chorus sticking in the brain from the off, and following a number of guest spots Nelson really lets rip during the solo section. Wishing Your Life Away opens with a punky drum groove, and this no-nonsense attitude essentially sets the tone for everything else to follow. This is another straight ahead rocker, with a punk edge, but it feels a bit more energetic overall. This is the song here which comes closest to the sound of The Almighty - and if it was given a bit more of a boost by the other members of the band it could work well in that canon. Presented the way it is, though, that folk/punk edge that Warwick often likes to feature really shines through - and it feels a bit deliberately pulled back at times so that it does not sound much heavier than everything else here. It would have been nice had the song really been cranked up, especially as Nelson lays down another busy solo, but there is a certain smoothness and folky edge to all of Warwick's solo work - so I can see why he sometimes pulls back to allow a more consistent sound to develop from song to song. The album then comes to a close with The Town That Didn't Stare, a track which does not really do anything different compared to what has come before - but packs a nice punch as a closing number. It is not a song which stood out to me from the off, and on my initial listens to the album I actually thought that it ended on a weak note - with the final two songs not really doing much for me. Whilst I do think that this is a front-loaded album, with much of the best material featured early on, the later pieces have grown on me quite a bit - and the staccato rock of The Town That Didn't Stare now feels stronger. The chorus stands out thanks to the staccato call-and-response style that it employs and it gives the song a strident feel as the album comes to a close. Nothing here ever truly diverges from Warwick's long established path at this point, but I generally feel like his formula is a memorable one. Perhaps his best work has come in other bands where he collaborates with other songwriters, but as a solo artist his work always delivers memorable and heartfelt material that sticks to a core sound. Despite some clear influences, his work is always his own - and Blood Ties is another very solid solo album which follows on from the last couple of rockier affairs he has put out under his own name. He will be taking the album on tour later in the year and I am looking forward to hearing some of these songs live - alongside classics from the back catalogue.

The album was released on 14th March 2025 via Earache Records. Below is Warwick's promotional video for Don't Leave Me in the Dark.

Jethro Tull's 'Curious Ruminant' - Album Review

It is always great when bands which had long seemed creatively spent suddenly find themselves in the middle of something of a late career renaissance. Both Deep Purple and Uriah Heep have spent the last decade-plus producing some of their best work since the 1970s following periods where new material was not forthcoming, for example, but the British progressive/folk rock band Jethro Tull currently also find themselves in particularly rude health. In some ways, too, Jethro Tull's comeback is perhaps more remarkable. When the band split up in 2012, they had not released a full album of original material since 1999's J-Tull Dot Com. The band's 1990s output was not exactly stellar, so they spend their last decade before splitting just touring - with main man Ian Anderson instead releasing some pretty adventurous solo albums rather than writing anything new for Jethro Tull. Funnily enough, though, when Jethro Tull broke up and Anderson embarked on a full-time solo career, he started writing music which sounded more like Jethro Tull. His solo albums from the 1990s and the 2000s are more world music-influenced, with some being fully instrumental, which really allowed him to focus on his flute playing rather than being a frontman. Those who have followed Jethro Tull throughout the years know that Anderson's voice is not what it was, and perhaps these experimental albums allowed him to remain creative whilst not having to push himself vocally. His two post-Jethro Tull solo albums, though, 2012's Thick as a Brick 2 and 2014's Homo Erraticus, sounded more like Anderson's writing from the past. The former was, of course, a sequel to Jethro Tull's classic 1972 release - but there were Jethro Tullisms throughout both albums, and slowly Anderson's solo band morphed into being a new era of Jethro Tull. I am not exactly sure when one become the other, but touring as Jethro Tull clearly shifts more tickets - and following the two well-received solo albums perhaps Anderson thought his writing was once again worthy of the Jethro Tull name. It took the band a little while to get something new out, but in 2022 they released The Zealot Gene (which I reviewed here) - their first full new album since 1999. Despite this, though, it very much felt like the natural successor to Homo Erraticus. The same musicians made both after all, and RökFlöte (which I reviewed here) followed hot on its heels the following year. Anderson was clearly feeling fired up and both albums impressed - particularly the former. When RökFlöte was released he hinted that he was still not done - and earlier this month Curious Ruminant dropped, the third Jethro Tull album in four years. Reading the liner notes, though, it seems that much of the music on this album has been floating around for a while - and started out life as a solo project. Current Jethro Tull members bassist David Goodier and keyboard player John O'Hara, alongside drummer James Duncan who featured on some of Anderson's 1990s/2000s solo albums, worked with Anderson on these songs originally - so feature as the core musicians here alongside new Jethro Tull guitarist Jack Clark (Albion). Current Jethro Tull drummer Scott Hammond is also featured here on a couple of tracks - whilst former keyboard player Andrew Giddings also features on one song.

Line-up-wise, the album is a little more varied than usual - although all of the current Jethro Tull members feature. Clark makes his debut with the band in the studio throughout the album's nine songs - but the age of some of the material and the personnel tweaks have not really impacted the band's sound. Curious Ruminant feels like the natural successor to RökFlöte in tone - but there is a bit of a folkier edge throughout, which reminds me a lot of the band's late 1970s era. This does mean that Clark does not get to really put his stamp on the material all that much - but the late 1970s era of Jethro Tull contains some of my favourite songs by the band, so this similarity is not a bad thing overall. Despite this, though, I do not think it is as strong as the last two - but there is a bit more variety here, and there remains plenty to enjoy. The opening two tracks are two of the best, though, with Puppet and the Puppet Master getting things underway. Opening with O'Hara's sombre piano, the song soon morphs into a pretty upbeat folky track. Busy acoustic guitars and playful flute melodies dominate following the opening piano chords - and the folky vibe described before is prominent throughout. Clark's big electric guitar chords add depth, alongside Goodier's busy bass playing, but the main hooks here come from the flute interludes and a subtle accordion backing from O'Hara. The drumming keeps the song moving, though, and it feels pretty jaunty throughout - with Anderson's vocal delivery snappy and bright. His vocals throughout this album are similar to those on other recent albums. They lack power but they remain melodic - and the delivery overall suits the tone being set. There is no real chorus here, with the flute interludes acting as such, but the vocal hooks are still snappy in that classic Jethro Tull approach - whilst a busy instrumental section sees a guitar solo, a flute solo, and an organ solo following each other in quick succession. Perhaps my favourite piece here is the title track which follows, though. Again, there are some piano melodies to open things up - before distant acoustic guitars and flute melodies start to filter in. The song gets going proper, though, when a crunchy guitar riff kicks in - with the rest of the band laying down a tougher groove and Anderson adding some renaissance-esque flute melodies over the top. This is probably the most overtly rock track here - and it is the one which Clark gets to shine on the most. His guitar crunch adds plenty of depth throughout, and there are a few times where he gets to take over and deliver some soaring leads. An early solo really cuts through the speakers, his bluesy phrasing bringing the song to life, whilst other instrumental sections see Anderson delivering similar feelings with his flute. Musically, the song is quite varied. Heavier sections sit nicely side-by-side with acoustic and piano-led pieces - but some big guitar playing from Clark is never too far away, and there is another later solo which is much longer. The hooks here really stick in the brain, too. Anderson's vocal melodies are typical of his quirky delivery - whilst the regular flute and guitar breaks keep things interesting.

Dunsinane Hill is a slower piece, which opens with gentle acoustic guitar chords and some plaintive flute melodies. More than ever, Anderson has focused on his flute playing on this album. This is fitting given the more acoustic nature of much of the material here - and it is clear that he has lost none of his talent for the instrument over the years. The opening to this track features lots of lilting and slow-burning melodies - before Anderson starts to sing in a semi-spoken manner against a similar backing. Arrangement-wise, the song is a bit of a strange one. It does grow in stature as it moves along, with percussive drumming from Duncan soon giving the song some depth, but the guitars and keyboards rarely feel all that important. The groove of the rhythm section instead provides the song's propulsion - whilst the ever-present flute melodies provide a main hook, even behind Anderson's vocals at times. He mixes a semi-spoken word delivery with more traditional singing elsewhere - but the main focus here really is on the flute playing. The vocal hooks are not that memorable this time, and the song is one overall that has not really grabbed me. The Tipu House, however, is very hooky. The upbeat track is another which feels a bit more rocky overall. It is perhaps not as crunchy as the title track, but Clark's guitar riffing is a bit more prominent this time - whilst the ever-present accordion from O'Hara during the verses adds a surprising darkness. Despite this, though, the song bounces along nicely. Anderson's vocal melodies are playful and really stick in the brain - whilst his flute playing is, again, plentiful. Some of the flute hooks are full of those breathy trills which has characterised his playing throughout the years, adding a heaviness to the instrument, whilst other sections are cleaner and more soaring. Occasional guitar leads double the flute and accordion melodies, too, which help to add depth - whilst the mixture of crunchy electric guitars and warm acoustic guitar chords keeps the song moving along at pace. Savannah of Paddington Green is another acoustic-based piece. Clark is not featured here at all, and it is one of only two songs to feature Hammond's drumming. Acoustic guitar chords and a full-bodied bass performance given the song its depth, whilst accordion again is utilised quite liberally during the verses. Unlike some of the other folky pieces here, though, this one feels a bit plodding. Jethro Tull tend to excel at this sound when they inject some energy into a song - but this one lacks real purpose. Anderson's semi-spoken vocals do not really work for me this time - and I feel that by this point I already heard enough accordion and would have preferred O'Hara to use his keyboards more. Stygian Hand on the other hand, though, is much better. There is more accordion, which could have been replaced by organ for a better sound, but the song is full of energy and it utilises lots of classic Jethro Tull tropes to bring the folky track to life. Clark is featured this time, which means that occasional crunchy chords and melodic leads are added, whilst the acoustic guitars and mandolin are just much busier - which allows Hammond to add some busier drumming. It is certainly no hard rocker, but it is an enjoyable and up-tempo track which ticks a lot of classic folk rock boxes - including some of the album's best flute hooks.

Over Jerusalem feels a bit more involved following the last couple of folky numbers - and it feels a bit more like something which could have sat on either of the two previous albums. There remains a folky vibe at times, with ever-present acoustic guitars and plenty of flute melodies - but the flute is not as much of a constant force this time with the guitars instead taking over a bit more. Clark's tougher backing adds depth throughout - and there is also more of a focus on his lead playing here. Bluesy interludes are occasionally thrown in - whilst some of the flute solos are backed with crunchier riffing to help set the track apart from some of the others. Busy guitar melodies also back some of the vocal-led sections - and the track overall is just much more progressive and muscular than many of the others here. It is one that has grown me quite a lot since first hearing the album - and it is the only song here apart from the title track where Clark really gets to let rip. He gets a screaming solo part-way through, and his playing just generally elevates the song as mentioned - with the flute, whilst still important, taking a step to the side a little. It is Clark's last contribution to the album, though, as the epic length Drink from the Same Well which followed features no electric guitar at all. The 16 minute-plus piece features Giddings in place of O'Hara, too, and it really focuses on Anderson's flute playing. Those wanting a sequel to Baker St. Muse or similar will be disappointed - as this is not so much a prog epic but a classical flute workout. The first half of the song is instrumental, and features Anderson's flute playing against various different Giddings backings. The latter's keyboard playing is varied, whilst the rhythm section add a gentle groove, but this is all about Anderson's different flutes and playing styles - harking back to those aforementioned solo albums. This will not be a song for everyone, but I actually quite like it. I am not sure I need around eight minutes of constant flute playing - but it is varied enough to keep things interesting, and there are moments which are more piano-focused to shake things up. The song later transitions into vocal-led piece with a sparkling keyboard flourish - and the rest of the track is more typical of the rest of the album. The song's chorus is perhaps the album's hookiest individual vocal segment - but there is still a lot of flute to link back to the opening segment. Some of those earlier flute melodies are repurposed here to act as interludes - and there are further lengthy flute-led sections even during this second half. If someone had described this song to me before I heard it I think I would have assumed that I would not like it - but it is a surprising overall highlight for me. I really like the flute explorations throughout and the vocal melodies and lyrics are some of the album's most interesting. It feels folky and expansive without really being 'prog' - and many of the individual moments are very memorable, vocal and instrumental alike. The album then comes to a close with the short and gentle Interim Sleep - which essentially consists of Anderson reading a poem against a subtle musical backing. He is responsible for all the instruments here, with sparse acoustic guitars and flute the only backing for his poetic delivery. It is a slow-burning way to close the album, but it is not all that different from some of the band's acoustic closers of the past - and it feels like a poignant full stop following the grander previous track. Overall, there are some weaker moments here as described - but the strong songs keep the album interesting. It might not be as good as the last two, but the best material here is on a level with those albums - and there is enough here to keep me coming back. It is always great to hear more from Anderson and this album does some different things which should be applauded.

The album was released on 7th March 2025 via InsideOut Music. Below is the band's promotional video for Curious Ruminant.

The Wildhearts' 'Satanic Rites of the Wildhearts' - Album Review

A few years ago it looked like The Wildhearts were dead and buried - again. Whilst I cannot claim to be completely au fait with the band's long and messy history, I know enough to know that the band has often been a turbulent force - breaking up a few times previously and coming very close to doing so on many other occasions. The band's last break-up came in 2022, when the line-up which is generally considered to be the band's classic line-up of Ginger Wildheart, CJ Wildheart, Danny McCormack, and Ritch Battersby came to a crashing halt - following a rather fraught few months on the road and their first run of shows since the pandemic. I saw the band in Exeter in 2021, very early on in the touring cycle for 2021's caustic 21st Century Love Songs (which I reviewed here), and it was memorable for all the wrong reasons. The show started off well, but it soon became clear that Ginger had no desire to be on tour at that particular moment - and some tech issues a few songs into the set only worsened his mood. The show became quite an uncomfortable experience after that - and it concluded with Ginger throwing his guitar with real force at the barrier between the band and the crowd. Unsurprisingly, no encore followed - and the writing was on the wall from that point on. A few months later, the band was over - and Ginger seemed to indicate that it was for good this time. The rest of 2022 for Ginger was largely then dedicated to his heartland rock-esque project Ginger Wildheart & The Sinners - before that band also crashed and burned due to an incident which happened at one of their concerts and a huge public spat on X which followed. I am not 100% clear on the timelines, but I think this incident prompted Ginger to seek help - and he spent some time receiving treatment for his well-documented mental health issues. He has always been very open about his struggles, and it was clear that 2021 and 2022 were particularly poor years for him on that front. Since seeking help, though, he seems to be in a much better place. He took some time away from the road and recorded some digital-only acoustic albums - before seemingly turning his gaze back towards The Wildhearts. I think it was in 2023 that Ginger started to record a new Wildhearts album with a new-look line-up - but it was last year that the band was officially re-launched with the returning Jon Poole on bass guitar, alongside new members guitarist Ben Marsden (The Spangles; The Warner E. Hodges Band; Grand Theft Audio) and drummer Pontus Snibb (Bonafide; Jason & The Scorchers). I think that the album was recorded before the new-look The Wildhearts were fully formed, though, and I am not sure if Snibb is even still in the band as he is currently not on tour with them, but the band's eleventh album Satanic Rites of the Wildhearts still ticks all of the band's trademark boxes despite this. The core band throughout the 10 songs here is Ginger, Poole (contributing to his first Wildhearts album despite having had numerous stints in the band previously), and drummer Dudge (Gong; North Sea Radio Orchestra). Dudge is not playing live with the band either, so likely just recorded the album on a session basis, but also playing additional guitars throughout the album are Marsden and Kavus Torabi (Cardiacs; North Sea Radio Orchestra; Knifeworld; Gong; The Utopia Strong).

Unlike the last album, which was pretty heavy and a bit of a hard listen at times, Satanic Rites of the Wildhearts is a bit more upbeat (in relative terms) and melodic. It certainly feels like an album which is trying to recapture some of the band's early accessibility whilst also writing knotty and heavy songs - with the album cover clearly being a homage to 1993's classic debut Earth vs the Wildhearts. There are some songs here which evoke that anthemic album's overall vibe - but there are also other flavours here, despite Ginger's songwriting tropes being evident. The album is around 45 minutes long, with the 10 tracks generally being short and to-the-point, but it is bookended by longer pieces. Opening cut Eventually, like knottier tracks such as Inglorious before it, is more stretched out than many Wildhearts tracks - with plenty of different riffs and sections coming together to form an impressive whole. Opening with a screeching guitar lead, a riff which recalls early 1990s Metallica soon kicks in. The song is generally a mid-paced hard rocker despite the toughness of some of the riffing, but there is plenty of groove throughout, too, with staccato stabs early on creating something of a hypnotic guitar pattern - before the bass takes on more of a role and the verse proper gets underway. Ginger utilises a number of vocal styles throughout the album - and he sounds pretty aggressive early on here. A few harsher barks are his first introduction, before the first verse is screamed with punk/hardcore-esque energy - and he sounds heavier than usual vocally here, which suits the percussive backing and some of the big riffs which are introduced here. His more melodic, and typical, delivery is reserved for the chorus, though, and the chorus here is extremely hooky. It feels pretty anthemic, with sing-a-long hooks and a real fists-in-the-air vibe which harks back to the debut album. Spacey interludes with clean guitar melodies and laid back leads punctuate parts of the song, adding breaks in between the riffing, with one such moment being stretched out later on to allow for a foray into a more atmospheric vibe. This instrumental section lasts for quite a while, too, getting heavier as it moves along - culminating in a pretty high-octane and shredded guitar solo. It is a song which hooked me in from the off thanks to its big chorus, but over repeated listens it has grown further - and it gets the album underway in fine fashion. Scared of Glass reins things in somewhat arrangement-wise, but the song is another pretty riffy and mid-paced rocker - very typical of the band's classic sound. There is always a strong punk feel to the band, and that is evident throughout this track, with gang vocals during a bouncy chorus latching on from the first listen - although the riffing throughout is always a bit more technical and classic rock inspired. The song's main riff is busier than it seems, which rewards repeated listens, whilst Ginger's pleasing North East delivery vocally helps to add a folky/heartland rock edge which, again, has often characterised the band's approach. It is a memorable song, which generally rocks pretty hard - and there is another fairly lengthy instrumental section here, too.

The more straight ahead Troubadour Moon, which acted as one of the album's singles, feels like melodic Wildhearts 101 - recalling the vibe of 2003's The Wildhearts Must Be Destroyed somewhat. It is a song which was written to be catchy, with Ginger singing in a very melodic and accessible way throughout - and the whole song is built around a poppy and bouncy chorus with a slight pop-punk edge that is another which sticks in the brain from the off. Despite this, though, there is a slight southern rock feel to parts of the song. Similar to the bits of Ginger Wildheart & The Sinners I have heard, there is a more organic feel to the guitar playing throughout. The riffing is not as intense this time, with more twin lead guitar melodies and the occasional slide lick adding a bluesy and southern rock feel. These melodic guitar leads sit nicely alongside the bounce of the chorus - and the song is very easy on the ears as a result. Fire in the Cheap Seats is very different, as it ups the heaviness and goes for a pretty abrasive and chaotic sound overall - with plenty of metal and punk thrown into the mix. Similar to some of the more feral moments on the last album, alongside some of the more listenable parts of 1997's Endless, Nameless, the track is angular and unpredictable - particularly as the song opens with crackling clean guitars and distant vocals. The song's main riff, when it kicks in, is hard to compute - as it does not follow conventional rhythms and patterns, with the strange, light touch drumming behind it still managing to sound heavy. Discordant clean guitars, pulsing bass, and some of Ginger's most tortured vocals to date later characterise the song's verses - whilst the chorus is a little more conventional, with poppier hooks and cleaner vocals. I am not sure that all of the song's disparate elements all hang together, but it is certainly a listening experience for those who prefer their Wildhearts to be more challenging. Kunce leans heavily into the punk side of the band's writing style. It is the shortest song on the album, and it moves along at a fair pace - although it retains a strong 1970s punk vibe throughout. This is not some break-neck piece of hardcore punk - as it is very traditional in its scope, but the typical rhythms and vocal patterns, with gang backing vocals, is very pleasing overall. It is a very knowing song. It knows that its quite cliché in terms of its arrangement and use of tropes - but the lyrics are cutting in that typical Ginger fashion, and the band ensure that the grooves remain infectious. Maintain Radio Silence is one of the few songs here which has not grabbed me all that much. Whilst I may not like Fire in the Cheap Seats all that much, it remains a striking and memorable song, but Maintain Radio Silence is just a bit weak overall - and does little to really stand out. Ginger generally sings the song using the rougher end of his voice, so there is a heaviness throughout, but the riffing is not that memorable in my opinion. I do like the prominence of the bass throughout, which gives the song a real pulsing feel, but the 1960s-esque pop vocal refrains used during parts of the song feel a bit out of place - and the chorus does not really draw me in.

Blue Moon Over Brinkburn is much better, though. It is not a track which really stood out to me at first, but over repeated listens it has grown on me. I am not sure why it took a few listens to open up, as it is quite a straight ahead punky rocker, but perhaps the slightly jerky rhythm throughout put me off a little at first. The chorus is one of the album's best in my opinion, with a strong pop rock feel pushing through distorted guitars and crashing drums, whilst the verses feel a bit more staccato with jerky guitar stabs which feel punky, albeit slightly offbeat - which nicely suit the machine gun pace of Ginger's vocal delivery. The chorus and the verses are perhaps at odds with each other, then, but it does all manage to hang together in my opinion. Hurt People Hurt People is the album's only ballad, and it is a surprisingly melancholic, yet hopeful, song which sees Ginger really detailing his recent struggles and reaching out to others who feel similar. It is quite a positive song, then, despite what may be expected - and it is great that Ginger really seems to be in a much better place than he was just a couple of years ago. He seemed to be spiralling at the time, but this song is him saying that he got throughout it - and others can too. It is quite atmospheric, too, with bluesy guitar leads and ringing clean guitar chords - whilst Dudge's drumming is quite percussive and Ginger's heavily-accented vocal delivery really helps to ground the piece and ensure that it sounds authentic. I'll Be Your Monster, another of the album's singles, gets back onto firmer ground in terms of typical Wildhearts fare - and the track is another pretty hard rocking mid-paced anthem with a strong, gang vocal-led chorus and riffing. Poole's bass generally fills the verses, though, alongside some shuffling drums, but occasional stabs of guitar add heaviness - whilst squalls of saxophone from Jørgen Munkeby (Jaga Jazzist; Shining) add a different vibe. There is a saxophone solo later on, too, which is fun - as well as a jazzy outro with more. The album then comes to a close with the relatively lengthy Failure Is the Mother of Success - the first song from the album which was released. Arrangement-wise, it is quite similar to how the album opened. The song is made up from a few different parts, which are all based around a strong riff, and the overall pace is pretty high-octane throughout. The vocals throughout feature those classic Wildhearts vocal harmonies, which are not as prevalent generally here due to CJ's absence, which really help to ground this track in particular - whilst the main riff is another Metallica-adjacent moment with double kick drumming and a hard-driving feel. The chorus maintains this heaviness, with call-and-response vocals being shouted from different sides of the speakers in a jerky, yet hooky, manner, whilst other moments of the song feel much more atmospheric - with spacey guitar leads making a return during a few more stripped back sections. It seems like a strange song to kick off a promotion campaign with given its length and multiple parts, but The Wildhearts have rarely been conventional - and the song is another which has grown on a me a lot. The quieter moments feel quite heartfelt, whilst the heavier bulk of the track packs a real punch. It ends the album on a real high - and overall Satanic Rites of the Wildhearts is a winner. The more esoteric moments do not do a lot for me, which is generally the case with their albums, but the big anthems and the riffing throughout keep me coming back. Given the drama and the fresh band line-up it is just great to see Ginger in such rude form - and the album ticks a lot of boxes that the fans would expect.

The album was released on 7th March 2025 via Snakefarm Records. Below is the band's promotional video for Troubadour Moon.

Avantasia - London Review

Before yesterday, it had been essentially a whole week since I last went to a gig. That sort of sitting around and doing nothing just will not do - but given how often I seem to be getting to gigs at the moment this 'dry patch' came to an end yesterday evening, as I travelled up to London to catch a relatively rare UK headline show from the power metal/rock opera supergroup Avantasia. Those who have read some of my power metal gig reviews in the past will know that the UK has never really been a hotbed for such. Sometimes power metal tours just miss the UK out altogether, but generally a sole London show is included. This can be frustrating to those of us who do not live in London - but I have got used to travelling up to the capital over the years for bands of all descriptions, including power metal. When Avantasia come to the UK, then, it is London that they head for. Their first UK appearance actually came at the 2013 iteration of Bloodstock Open Air - but their subsequent three have all been in London. I saw the band for the first time at the O2 Forum in Kentish Town back in 2016 - and I remember the show being fantastic. With no support act, the band performed for the best part of three hours - with plenty of material from career highpoint Ghostlights (which I reviewed here) included in the setlist. It is one of those gigs that always sticks in the memory due to how good the performance and the setlist was. I was gutted, then, to miss the band's next London show in 2019 - but I can only assume that it clashed with other plans or work commitments got in the way. My job is very flexible when it comes to taking annual leave, but occasionally it is not possible for whatever reason - so the 2019 Avantasia show fell by the wayside. Until last night, that was the last time the band visited the UK. I do not think that 2022's A Paranormal Evening with the Moonflower Society (which I reviewed here) was supported by a proper European tour - so it took the band releasing their tenth studio album Here Be Dragons (which I reviewed here) to get them back on the road in Europe. The 2022 album was supported by some touring, but the activity seemed stripped back. Avantasia requires a lot of schedules to combine neatly - and in 2022 I imagine that most of those who would have been involved were out with their own bands following the pandemic. 2025 is Avantasia's big return, then. Here Be Dragons is their best album since Ghostlights in my opinion - so it was fitting that its tour saw the band return to the UK, and at the larger Roundhouse this time. Leader and frontman Tobias Sammet had also promised that this tour would be the band's biggest and best yet. Even without taking to account any stage set, the sheer talent involved in the touring party seemed impressive - with Sammet joined by long-time vocal collaborators like Pretty Maids' Ronnie Atkins and Mr. Big's Eric Martin; alongside some newer faces like Kamelot's Tommy Karevik and H.E.A.T's Kenny Leckremo. This version of Avantasia looked a bit different from the 2016 iteration, then, with past tour regulars like Michael Kiske and Jørn Lande absent - but the current crop of vocal talent, whilst perhaps less established in Avantasia lore at this point, is nevertheless a force to be reckoned with.

The Roundhouse is a good venue, but it really seems to struggle with large crowds. I have been stuck in long queues at the venue before, despite arriving with time to spare, and last night was no different. I was in the venue long before the music started, but the band were asked to delay starting their set due to not everyone being in the venue by 8pm. The delay was only around 10 minutes, but it nevertheless looked pretty unprofessional on the venue's part - given that they must have to deal with crowds of this size on a regular basis. Regardless of this frustration - all was forgotten once the curtain dropped and Sammet was stood in the centre of the stage surveying all in front of him, with the musicians that make up Avantasia as a live act filling the stage. Stage set-wise, the performance felt bigger than the 2016 show - with gothic fencing around the stage, whilst various images from the band's albums were shown on a screen at the back of the stage. Despite these touches, it was the music that did the talking. Opening with the short single from the latest album, the punchy Creepshow got the show underway perfectly. There were much more epic songs to follow, but the hooky anthem worked well as an intro - and saw Sammet in fine voice. Whilst he did leave the stage for a few numbers, giving some of the other singers a chance to shine, he was on stage for well over two hours of the near three hour show - and his voice held up really well. Clearly he had plenty of help, with a three-strong choir essentially singing throughout the whole set to provide depth, but given the number of shows and the length of each it is clear that Sammet has real stamina. He shared the stage with at least one other singer during most of the songs, though, and Seven Spires' Adrienne Cowan was up first - lending her soaring voice to the old-school power metal of Reach Out for the Light. Cowan was also part of the choir, alongside Firewind's Herbie Langhans and Moonlight Haze's Chiara Tricarico, so she sang an awful lot throughout the night - but was allowed to really let rip during this second number. 22 songs were played in all, covering most of the band's catalogue - although, interesting, nothing from the two albums preceding Here Be Dragons were played. Perhaps Sammet agrees with me that they represent the weaker end of Avantasia - but with over half of the new album included there was a lot of focus on the now, with Karevik then taking the stage for the gothic melodrama of The Witch. Given the ensemble nature of Avantasia, it was interesting to see how the vocal arrangements played out live. Some of the songs were essentially as performed on the original album, with the relevant singer present, but other songs were shaken up somewhat depending the vocal talent available. Karevik later duetted with Sammet on Here Be Dragons in place of Geoff Tate, giving the song a floatier edge, whilst Langhans often performed songs previously performed by Lande - with both Devil in the Belfry and Let the Storm Descend Upon You benefitting from his raspy power.

Atkins also picked up some of Lande's parts, as was later showcased during the pulsating Promised Land - but he also shined on songs written for him, such as the new Phantasmagoria and whilst duetting with Langhans on the aforementioned Let the Storm Descend Upon You. The lengthy epic was one of the highlights of the set, but there were a couple of other big moments which came before it. Martin's voice is certainly not what it was, although he sounded better last night than when I saw him with Mr. Big last year, but the warm ballad What's Left of Me always sounds good when he brings it to life - and he is such a character on stage that he added to the overall vibe. He later formed a surprise duo with Atkins for both Promised Land and Twisted Mind - but perhaps the biggest cheers of the night were reserved for Bob Catley. The Magnum frontman, so often a mainstay of Avantasia live, was unable to participate in this tour due to a recent operation - but he was able to make it down to London as a one-off. Sammet seemed genuinely emotional watching Catley sing the Magnum-esque The Story Ain't Over, an Avantasia live favourite, and the latter also added his warm voice to Shelter from the Rain later in the set. Catley's contribution to the night might have been brief, but it was clear to everyone on stage how much it meant to them that he made it to London - and there was a lot of love for him in the room. Playing festival shows with Avantasia last year likely helped Catley heal following the death of his long-time Magnum bandmate Tony Clarkin - so seeing him take the stage again following the brief Magnum tribute tour in January was special. There were plenty of highlights towards the back end of the set, too, as this was when some of the more epic tracks where wheeled out. Sammet was sometimes absent during this numbers, but the other singers more than held their own. Sammet did shine during the creepy The Toy Master, though, but perhaps the overall highlight during this part of the show was Karvik and Leckremo giving The Wicked Symphony an epic makeover - the two contrasting vocalists delivering two of the performances of the night. A lot of big favourites, alongside the epics, were included during this part of the night, too, with Tricarico getting a moment to shine during the soaring ballad Farewell - before Sammet and Atkins duetted with real power during the folk metal epic The Scarecrow. Guitarists Sascha Paeth and Arne Wiegand were on fire all evening, but perhaps it was during The Scarecrow where their soloing really shone. There was a lot of great lead playing throughout, then, alongside some fluid soloing from Michael 'Miro' Rodenberg (keyboards/vocals) - with the bombast of the the musicians further bringing the songs to life. It was then left to the heavier and creeping Death Is Just a Feeling to round out the main set - after which the lights went down and a piano was wheeled onto the stage. The encore then followed, with Sammet leading the band through a re-arranged version of Lucifer, initially from behind the piano, before the band's trademark closing medley of Sign of the Cross and The Seven Angels brought the curtain down on what had nearly been three hours of music at this point - with all of the singers on the stage at the end. The setlist was:

Creepshow

Reach Out for the Light

The Witch

Devil in the Belfry

Phantasmagoria

What's Left of Me

Dying for an Angel

Against the Wind

Here Be Dragons

The Story Ain't Over

Avalon

Let the Storm Descend Upon You

Promised Land

The Toy Master

Twisted Mind

The Wicked Symphony

Shelter from the Rain

Farewell

The Scarecrow

Death Is Just a Feeling

-

Lucifer

Sign of the Cross/The Seven Angels

I really enjoyed seeing Avantasia back in 2016 and I really enjoyed seeing them again last night. Seeing a band like this with so many moving parts pull of a show seemingly effortlessly is always impressive - but the way the songs were brought to life by all involved was a joy to behold. The atmosphere in the room was great, with everyone singing along throughout, and thankfully the live sound mix throughout the venue was very clear. All of the vocalists really shone, then, and the show was another really memorable one in a year which has already produced a few.

Perfect Plan's 'Heart of a Lion' - Album Review

As much as I love plenty of classic AOR bands, and the genre as a whole is one of the most joyous out there, it can sometimes be hard to find new acts playing such music which are genuinely worth my time. I have been burnt many times by Frontiers Records' love of cookie-cutter AOR projects, many of which were nothing more than serviceable, but a few have stood out over the years - with many of them coming from Sweden. For a country with a population of just over 10 million people, the number of excellent bands from Sweden, covering many genres, is just staggering. I listen to so many bands from the country - and one of the very best AOR acts of the modern age, H.E.A.T, hail from there. We are not talking about H.E.A.T today, although they are releasing a new album in April so expect a review of that in the coming months, but we are instead discussing the fourth album from another Swedish AOR band - the more traditional-sounding Perfect Plan. I remember being aware of the band when their 2018 debut album All Rise came out, as I remember the reviews being positive, but it was not until 2020's Time for a Miracle (which I reviewed here) came out that I started to listen to them. It would not surprise me at all if I listened to more music during 2020 than I have done during any other calendar. The pandemic and the response to such ensured that many of the things I like to do in my free time were not possible - so, along with video games, listening to music at home took on an even more of an important role. As I was not going to and reviewing concerts, I ended up reviewing a lot more albums during 2020 than I usually would - and Time for a Miracle was one of them. I was even more open to hearing new music in 2020 than usual, as it gave me something to do, and I listened to Time for a Miracle quite a bit - enjoying it even after reviewing it. Perfect Plan's brand of AOR is very traditional. The Swedish five-piece have done nothing to modernise the sound or do something starkly different - but their songwriting and performances help them stand out as one of the better newer AOR bands on Frontiers Records. None of the band members look to be especially young, either, so I imagine that they have all been knocking around in various bands over the years and have used all of that experience to really push Perfect Plan in the right direction. The easiest comparison to make is to Survivor - and this is largely due to frontman Kent Hilli's similarity to the late Jimi Jamison. Hilli also fronts Giant these days, so is very much an in-demand voice, but Perfect Plan seem to be a true band with all five members contributing towards the songwriting and arrangements. Despite enjoying Time for a Miracle, though, I did not pick up 2022's Brace for Impact until recently. I am not sure why I did not get it at the time - but I can only imagine it came out during a busy time for new releases. I have caught up since, though, with the band's whole catalogue - and Heart of a Lion is very much the album I expected from Perfect Plan at this point. There are strong hooks throughout - with soaring choruses the band's bread and butter.

I am not sure that any of the band's other albums quite live up to Time for a Miracle, but they are all very enjoyable - and this one is no different. It gets underway with its anthemic title track, which was the song that made me realise I had not been keeping up with the band after 2020, and it is one of the best cuts here. Opening with some sparkling synths from Leif Ehlin, alongside some spacey guitar leads from Rolf Nordström, the song sets an atmospheric tone early on - but this vibe is short lived, as soon Nordström transitions to a big riff, and the song becomes a mid-paced rocker. The thing I like about Perfect Plan is that there is always a good balance between the guitars and the keyboards. Some AOR acts can drown their songs in synths, but this is not the case with Perfect Plan. There is great keyboard playing throughout this album, but there is also plenty of guitar crunch - and this is showcased by the song's opening riff and smouldering verses which are backed by a tricky little melody. The arrangements are generally strong, then, but all of the songs are written to really showcase the voice of Hilli. He one of the best modern AOR vocalists in my opinion, despite his similarity to Jamison, and he oozes class during the verse - before letting rip during a stadium-ready chorus that is packed with call-and-response vocal harmonies and powerful keyboards. Nordström's later guitar solo is very melodic, too, using more traditional blues-based phrasing rather than letting rip - which helps to retain the song's core melodic and mid-paced feel. The song is a strident anthem that is sure to stick in the brain - and in a just world it would be a big hit. We Are Heroes opens a little more slowly, with a hypnotic synth melody and ringing clean guitar chords creating an atmospheric backing for Hilli's slightly sultry vocal delivery. Less of a hard rock anthem than the previous song, this track instead goes for a much more cinematic approach. Ehlin's keyboards play a huge role throughout, then, his motifs the song's main hooks, whilst the rhythm section stay out of the way during some parts of the song before adding a real rock drive during others. The song never feels like a true ballad, but it is certainly a slower number - with a chorus that sounds like something U2 may have written if they were turning their hand to AOR. The cinematic sound is infectious and the chorus has staying power after a few listens - whilst Nordström later elevates things further with a lengthy and busy solo. All Night returns to more of an overt harder rock sound - albeit this time with much more pomp coming from Ehlin's keyboards. The opening synth hook is right out of the classic 1980s AOR playbook, but there is still plenty of weight from the guitars throughout - with some Bon Jovi-esque riffing during the verses that evolve nicely from the driving opening synths. Unlike some modern AOR acts, though, Perfect Plan just make all of this sound natural - and a later pre-chorus section never feels overly cheesy despite the pulsing synths. It helps that the chorus which follows is massive. The band really have a knack for a chorus hook - and Hilli really delivers here, delivering sumptuous melodies that immediately latch on. The guitar solo could have been a bit longer - but overall the song is another winner.

Turn Up Your Radio turns the spotlight back on the guitars following a couple of more synth-heavy tracks - and the mid-paced rocker is built around a groovy riff which kicks in following a brief tease of the later chorus. The main riff is a bit of a headbanger, but it still sits nicely within the band's smooth core sound - and the verses, which are a little stripped back, retain a strong groove thanks to Fredrik Forsberg's tight drumming. Hilli sounds more like Jamison than ever during the verses, so much so that any future Survivor activity should involve him, whilst the chorus sees him pushing his voice a little more - but the smooth hooks and a more subtle use of vocal harmonies this time add to the song's overall slightly harder rock feel. A later bridge feels a bit riffy, too, and the track overall just feels suitably upbeat despite essentially being another mid-paced rocker. AOR albums always have to include ballads, and My Unsung Hero is the first example of such here. Opening with a dancing keyboard melody, the slow-burning song feels suitably emotional - and it acts as a great showcase, yet again, for Hilli's vocal talents. The rest of Perfect Plan are all great musicians, but it is Hilli that pushes them to the next level in my opinion. His voice is perfect for this sort of music - and the shimmering verses here are brought to life by his bluesy power, before the drums kick in properly and the chorus feels bigger again, with chiming guitar melodies and lots of choral vocal harmonies. There is a power and majesty to the song despite its slow-burning vibe - and it is a welcome inclusion here. Ready to Break gets back to a much more harder rocking sound, though, with a dancing synth melody early on which soon gives way to another big guitar riff which sounds like it could have sat on a early Bon Jovi album. Nordström sometimes has a bluesy feel to his riffing which reminds me a bit of Richie Sambora. Perfect Plan never really sound like Bon Jovi, though, there are just similarities in the riffs - and the slightly paired back verses here have a strong chugging undercurrent which feed off the earlier riff nicely. Pulsing synths herald the approach to the chorus, with a sparkling pre-chorus acting as a bridge, with the eventual chorus being another strong moment filled with hooks. The guitar solo is a winner, too, and it is filled with lots of faster lead runs which sit nicely within this higher energy piece. Too Tough is similarly upbeat, this time with more of a keyboard presence early on - with a pulsing synth hook sitting nicely on top of some crunchy guitars. The vibe continues on through the verses, which mix smoother segments to allow the vocals breathe and punctuation moments which are riffier. I like how the verses are put together, then, as they still rock despite delivering a strong AOR vibe, whilst the chorus rocks things up a little more with a punchier sound overall and a bit more pace. It is perhaps not the strongest chorus, though. It is memorable but compared to some of the others here it falls a little short.

Lady Mysterious is a little heavier overall, with Ehlin opting to use some Hammond organ throughout, and the song channels some early Whitesnake a little - particularly during the intro and parts of the verses. There is a much bluesier feel throughout the song, both in the riffing and in Hilli's delivery, but the band's core AOR sound is still retained. Mats Byström's pulsing bass really keeps the verses ticking, which feel more grounded then usual and a little dirtier, but as the chorus is approached the band's core sound comes to the fore again - with synths replacing the Hammond and plenty of big vocal melodies filling what is another pretty groovy chorus. Perfect Plan have written songs like this before, and it is nice to hear something a bit different from them every so often. They do this heavier, bluesy rock sound well - and the song allows Nordström to cut loose somewhat during his solo spot. One Touch is a much smoother track overall and is packed with lots of classic 1980s AOR tropes. It has that slightly crunchy mid-paced harder rock feel that so many sultry AOR classics have - with rhythm guitars forming the basis of the verses, whilst the presence of the synths slowly grows and hitting its peak just as the chorus explodes. The chorus is another strong earworm, with the appropriate amount of pulsing synths and keyboard melodies - whilst still retaining some crunch thanks to the guitars. The hooks are easy on the ear, too, which makes the song another enjoyable addition. Danger on the Loose opens with a big drum barrage from Forsberg, with the album's penultimate track being another somewhat heavier rocker - although the organ of Lady Mysterious is replaced instead with darker synths, which mesh nicely with the hard-hitting riffing of Nordström throughout. This tougher overall sound mixed with the band's love of a hook is a winning combination, though, and the song is one of the back end of the album's best cuts. The riffy verses are full of power, but it is the chorus where the song really comes alive. It is one of the most stadium-ready moments on the album and it is packed with hooks - with Hilli's strident vocal delivery turning the song into a real winner. It is left to At Your Stone to close things out, with the track being another pretty typical AOR anthem. Opening with a fast-paced riff, the song soon settles into more of a mid-paced groove - with cinematic verses filled with clean guitar melodies and plenty of keyboards. It is not as hard-hitting as the previous song, but the moments of faster riffing do help the track to stand out somewhat - and the mix of more atmospheric moments with clean guitars and the faster, harder chorus acts as a nice contrast. It is another hooky chorus, too, with the album's closer leaving a strong impression thanks to Hilli's big melodies during the chorus - as well as another excellent solo from Nordström. The album ends on a high, then, with one last big chorus to remember. For those who love quality AOR, then, Heart of a Lion is one not to miss. Most of the songs here are really memorable and even the less interesting tracks generally still have something about them to enjoy. The first half of the album in particular is very strong - and Hilli once again showcases throughout why he should be seen as one of the best voices in rock at the moment.

The album was released on 28th February 2025 via Frontiers Records. Below is the band's promotional video for Heart of a Lion.

Avantasia's 'Here Be Dragons' - Album Review

I must not have been getting enough Jim Steinman-esque power metal in my diet recently. Next week I will be going to see Avantasia live in London on what is a rare UK visit, whilst at the back end of last month the project, led by singer and songwriter Tobias Sammet, released their tenth studio album Here Be Dragons. The doctor will be pleased, as there are plenty of Avantasia-related greens being consumed currently - as I have been listening to the whole Avantasia catalogue over the past couple of weeks in readiness for the gig, whilst also ensuring to squeeze in plenty of listens to this latest release. He has dropped down in my estimations somewhat in more recent times, but at one point I think Sammet was one of my favourite songwriters in metal. He was certainly one of the most consistent, and during the back end of the 2000s and much of the 2010s his music was on regular rotation in my house. It helped that he was hugely prolific - and between his 'main' band Edguy and Avantasia there was generally something new on the horizon. I also saw Edguy twice and Avantasia once during this time - which only reinforced my love of Sammet's work. With Edguy on ice now, though, and all of Sammet's focus on Avantasia, I have felt his high standards slipping somewhat. It has been over a decade since Edguy last released an album, not including a handful of new tracks recorded for a compilation album, and Sammet has instead ploughed all of his attentions into his more sprawling project. I can understand why, as Avantasia are a bigger pull live and allow Sammet total creative control, but I am not sure that it has always worked well as a main focus. Avantasia albums generally felt more special when they were a bit more spread out, in between the more straight ahead Edguy albums and tours for comparison, whereas now they are treated as more bread and butter releases. They lack something of a sparkle as a result - and it does not help that the last couple have underwhelmed. I actually enjoyed 2019's Moonglow (which I reviewed here) much more than I had previously when I heard it again recently for the first time in many years, even though it still suffers from quite a significant drop in quality around two-thirds of the way through, but 2022's A Paranormal Evening with the Moonflower Society (which I reviewed here), which I enjoyed more at the time, did not hold up that well outside of a handful of standout cuts. 2016's Ghostlights (which I reviewed here) is still very much Sammet's high point in my opinion, then, and it marked the end of that excellent run of albums over the decade-plus which preceded it. Despite being disappointed with the past two albums, though, I will always look forward to a new Sammet-related release - so it was with excitement that I listened to Here Be Dragons when my copy arrived. From the off, I enjoyed it more than I have enjoyed the last two - and it has continued to grow on me further. Another relatively punchy album like the last one, Here Be Dragons is just so much more upbeat and memorable. I believe it is the first non-concept album in the Avantasia canon, and it just feels like Sammet focused more on strong melodies and riffs this time - with some songs sounding more like Edguy with guest singers than the sweeping epics of Avantasia past. This is no bad thing in my opinion - and a few different guest singers help to shake things up, alongside some returning familiar faces.

There is still plenty of bombast here, though, but it all just feels a bit more natural. Sammet has the tendency to go big just for the sake of it - and I think that is what holds Moonglow back somewhat for me. A Paranormal Evening at the Moonflower Society seemed like a reaction against that, but the songwriting was not as strong. Here Be Dragons seems manage to tread the line between the two sounds pretty well, though, and there is a good mix here of catchy songwriting and power metal bombast. It helps that the opening cut Creepshow is a real earworm. It is one of two songs here that Sammet sings alone - and it is short by Avantasia's standards at just over three minutes. It genuinely feels like an Edguy song but with a bit more of a synth presence - so it was unsurprisingly the album's first single. As always, producer Sascha Paeth handles the guitars and Sammet's Edguy bandmate Felix Bohnke plays the drums - with Sammet himself on bass guitar and keyboard duties. Following a brief spooky intro, Paeth lays down a slightly juddering riff - over which Sammet immediately lays down a paired back version of the song's chorus. There is really no standing on ceremony here, then, and a driving 1980s hard rock riff soon gives way to a verse which starts a little more restrained - before it grows towards a first rendition of the chorus proper, which is packed with snappy vocal hooks and plenty of harmonies. Instrumentally, the song never really gets a chance to breathe. The riffing is mostly all sung over, although Paeth does lay down a snappy and melodic guitar solo later on, but this is a song all about Sammet and his knack for a hook. It is the sort of song which sticks in the brain from the off - and it has been an earworm since I first heard the album. The title track, which follows, is more typical of Avantasia's sprawling sound. It is the only real 'epic' on the album, though, at just under nine minutes, but it covers a lot of ground - taking a more melancholic mood early on. The opening clean guitars are immediately different from the opening song, setting a darker tone, and the song overall feels a bit more morose - although there is still plenty of bombast. The chorus, which is first reached after a couple of minutes, is one of the album's best symphonic moments in my opinion, backed by Michael 'Miro' Rodenberg's orchestrations - but the verses leading up to it tread a number of different vibes, from moody ballad-esque vibes to modern hard rock. With the exception of two songs here, Sammet is joined by a different guest vocalist on each track - and Here Be Dragons features the reformed talents of Geoff Tate (Queensrÿche; Operation: Mindcrime; Sweet Oblivion). Much of Tate's best work in recent years has come on Avantasia albums - and he fits this more progressive and moody track perfectly, whilst still having gravitas for when something more bombastic is needed. He might not be the singer he once was, but his tone is still chillingly unique - and some of the quieter moments here when he croons in a lower register smoulder with power. Sammet does most of the heavy lifting chorus-wise, but Tate remains a class act. Like many of Avantasia's longer songs, and The Scarecrow comes to mind, it does not quite always hang together - but there is enough good here to make it a strong effort.

Changing tack again, The Moorlands at Twilight is a fast-paced power metal anthem - going for that smoother, neo-classical power metal sound which was all the rage throughout the late 1990s/early 2000s. Paeth's opening guitar leads would not have sounded out of place on a classic Stratovarius album thanks to the neo-classic approach taken - but the song itself just sounds very much Avantasia through and through. The original The Metal Opera duo of albums were packed with soaring, double bass-led power metal like this - and it is fitting that Michael Kiske (Helloween; Place Vendrome; Unisonic) is the one to join Sammet to sing this one. Sammet probably needs to be credited with bringing Kiske back into the metal fold, which eventually led to him re-joining Helloween, and an Avantasia album would be strange without the still-rich voice of Kiske belting out a smooth, galloping power metal anthem. This one is probably not as hooky as some, but there is still a strong chorus and both singers sound great - whilst there is a blistering and lengthy guitar solo section which sees Paeth trading leads and shredding with Arne Wiegand who has filled the second guitar spot live with the Avantasia in recent years. As if wanting to showcase Sammet's diversity, The Witch changes pace yet again. It is another more moody track, similar in tone to parts of Where Be Dragons, but this one feels tailor made for the singer who joins Sammet here - with the synth hooks and gothic melodrama perfect for Tommy Karevik's (Seventh Wonder; Kamelot) warm tones. Despite the main synth hook feeling quite jaunty, the song's verses are so similar to Kamelot's last few albums in tone that only Karevik could have pulled off the vibe successfully. Sometimes Avantasia does feel a bit like wish-fulfilment for Sammet, and this song is so Kamelot-esque at times that it is a bit on the nose, but thankfully the chorus does change things up quite a bit - with a soaring, power metal chorus feeling more classic Avantasia in sound. The mix of a more gothic approach and the big hooks of the chorus works well, though, and Sammet's synth solo, in place of a more traditional guitar solo, also provides a point of difference. Returning to Sammet's core sound, though, Phantasmagoria feels like the sort of song he has been writing for Avantasia for years. There are also hints of mid-period Edguy throughout, but the bombast and plentiful vocal harmonies set the two bands apart - and the flashy synth hook which sits over Paeth's crunchy guitars as the song kicks in is full of energy. The gruffer voice of Ronnie Atkins (Pretty Maids; Nordic Union) is another regularly heard on Avantasia's albums, and he adds plenty of heaviness throughout the song. It is a pretty tough-sounding song anyway, despite the synth hooks, but the rasp of Atkins meshes nicely with the crunchy guitars - and the snappy chorus soars thanks to the two vocalists adding their power.

Opening slowly, with warm keyboards and orchestrations, Bring on the Night is another classic-sounding Avantasia piece - this time at the sweeping, more majestic end of Sammet's writing. At first it seems as if the song could be a ballad, with elder statesman and one of Sammet's heroes Bob Catley (Magnum; Hard Rain) crooning the opening lyrics in his warm, inimitable manner, but the track soon morphs into a pretty grand-sounding mid-paced rocker - with a subtle guitar crunch and plenty of keyboard depth. Both Sammet and Catley are well suited to songs like this, and they sound powerful duetting here without having to keep up with the pace of many of the other songs on the album - with the choral approach during the chorus sounding as big as ever. Paeth's guitar solo is more restrained, but it is still packed with melody - and it just suits the overall feel that the song is attempting. An Avantasia album without Catley at this point would not feel right - and it is great that Sammet keeps bringing him back. Hearing Catley sing Sammet's songs always makes me hope that one day Sammet will write a solo album for Catley - which I would like to hear even more than ever now that it is extremely unlikely that there will be any more Magnum albums. Unleash the Kraken ups the pace again and it is the only other song here alongside Creepshow which does not feature a guest singer. Sammet gets all of the song to himself, then, and it showcases him really pushing himself vocally at times. The opening riff is fast-paced and heavy, and this riff later forms the basis of parts of the chorus. I like Sammet's voice but he does not have always have the true range of some of his peers - but he really goes for it during the chorus, and generally pulls it off. He lays down some pretty high-pitched screams during the chorus, and there are some which are actually quite rough around the edges which has a pleasing impact given the song's overall heaviness. Paeth's later guitar solo is suitably busy, too, and there are even some pretty thrashy riffs and drum beats during an instrumental section which follows the solo. Unleash the Kraken is easily the heaviest song on the album, then, but it is full of power and bombast as a result - showcasing something a bit different. The following track Avalon feels a little tame in comparison, but it still impresses - and it feels like a song from Avantasia's past. The folk metal melodies and the overall mid-paced feel place the track in The Scarecrow era in my opinion - but there is plenty of bombast, too. Paeth's guitar leads throughout are packed full of melody, whilst the choir is used to dramatic effect during the strident chorus, and Adrienne Cowan (Seven Spires; Light & Shade; FirstBourne; Winds of Plague; Sascha Paeth's Master of Ceremony) is a perfect fit for this sort of grand, folky anthem with her symphonic metal background and smooth delivery. It is nice to see that, on more recent albums, Sammet has finally allowed women to sing songs which are not ballads - and Cowan is the latest in a long line of ladies to bring a lot of class to Sammet's compositions. Paeth's guitar solo is suitably folky, too, and the song is one of the album's biggest growers in my opinion.

The penultimate track here is the album's last fast-paced power metal anthem - with Against the Wind being another that races out of the traps and never really lets up. Sitting somewhere between the neo-classical smoothness of The Moorlands at Twilight and the thrashy Unleash the Kraken, Against the Wind is hard-driving power metal with crunchy riffing and plenty of double bass drumming. The chorus certainly leans more towards the smoother end of power metal, though, with Sammet unleashing lots of long-held notes to bring the theatrical chorus to life. Sammet's vocal partner this time is Kenny Leckremo (H.E.A.T) - and it is great to hear him singing something much heavier than he is generally known for. H.E.A.T are one of the best modern AOR bands, and they can rock out when they need - but nothing H.E.A.T have done has allowed Leckremo to let rip like he does here. He has always been a great singer, but his power really shines through here - and him and Sammet actually sound quite similar at times. They have comparable vocal tones I think, which allows their harmonies to mesh nicely - whilst a brief piano break later in the song allows for a moment of calm in what is otherwise a fast-paced and epic slab of classic power metal. The album then comes to a close with Everybody's Here Until the End, a much more melancholic song which is the only cut here that could really be called a ballad. The chorus is pretty bombastic, though, and perhaps a bit too theatrical to be considered a true ballad, but the verses are slow-burners - with delicate piano melodies and a simple drum pattern. Roy Khan (Conception; Kamelot) contributes to his second Avantasia song here, but I feel that his talents are pretty underused. He sings the second verse with all of the delicate power he is known for, alongside something of a later bridge, but he never gets to really let rip - so that gothic, semi-operatic delivery that he is largely known for is not present. This is a real shame, as he definitely still has it in him, but he adds a touch of class to the more sombre moments of the song - and it is fun to hear Kamelot's two best-known singers appearing on the same album (Sammet should have tried to get Mark Vanderbilt to complete the trio, if he even still sings that is). It is certainly not a bad song, and the chorus is memorable, but it is probably my least favourite here due to Khan's underuse. Despite ending on a slight low note, though, Here Be Dragons is easily my favourite thing from Sammet since Ghostlights. Moonglow certainly has individual songs which are up there in quality - but from start to finish this latest release eclipses both Moonglow and A Paranormal Evening with the Moonflower Society. I was pretty positive about the latter at the time but it is probably now my least favourite Avantasia album - and Here Be Dragons feels like the album it was trying to be. It shows that Sammet can still write punchy songs without the need for endless epics - and I can only see my opinion on it improving as the hooks sink deeper and deeper in. I imagine I will hear quite a few of the songs played live next week, too, and I am looking forward to the spectacle which is to come.

The album was released on 28th February 2025 via Napalm Records. Below is the band's promotional video for Creepshow.