Cemetery Skyline's 'Nordic Gothic' - Album Review

I have mentioned on this blog before how approaching a new supergroup should be done with trepidation. There are a number of successful examples of such over the years, dating back to acts like Cream and Emerson, Lake & Palmer, but I would say that it is likely that there have been more misses over the years than hits. The best bands generally succeed due to the chemistry of their members. Each individual in a successful band may not be the most virtuosic of players, and some may not be as creative as others, but when these individuals come together they create something more than the sum of the parts. As such, then, putting established successful musicians together to form a new band will not always work. Given that supergroups are likely to feature musicians who have already found success elsewhere, there are more likely to be egos involved - and there is no guarantee that there will be chemistry. True chemistry between musicians cannot be learnt and even some of the best musicians on the planet are likely not compatible with each other for a number of reasons. When a supergroup appears to succeed, though, the results are often great. Black Country Communion are one of the best rock supergroups of recent years and they continue to release excellent material - but the latest supergroup on my radar comes from the metal realm. Cemetery Skyline is that band and the multi-national five-piece features musicians from Sweden and Finland - with all five coming from the worlds of melodic death metal and things of a more extreme nature. Despite this, though, Cemetery Skyline are not even really a metal band - and instead they play a very melodic take on 1980s gothic rock. They give the sound a slight metallic edge thanks to their collective history - but generally Nordic Gothic, the band's debut album, is for fans of The Sisters of Mercy, The Mission, The Cult, Fields of the Nephilim, and the more synth-driven side of Paradise Lost. The band's sound is very smooth and keyboard-heavy, but retains a strong hard rock groove throughout - as well as handful of more metallic moments which should be expected given the backgrounds of those involved. Turning to those individuals, then, the band is fronted by Mikael Stanne (Dark Tranquillity; Grand Cadaver; The Halo Effect). Given that Dark Tranquillity released an album earlier this year and the second album from The Halo Effect is due in January, Stanne has been extremely busy of late. He is fast becoming a favourite singer of mine, and Cemetery Skyline really seems like a vehicle for him to showcase his rich clean vocals. He has been mixing in clean vocals alongside his growls for years, but he has never had a project where he can purely sing clean - but Cemetery Skyline is such a band. His main collaborators here are guitarist Markus Vanhala (Omnium Gatherum; Manitou; Malpractice; Insomnium; I Am the Night) and keyboard player Santeri Kallio (Kyyria; Amorphis; Jonne) - who wrote five of the album's 10 songs each alongside Stanne. Rounding out the band, then, are bassist Victor Brandt (Dominion; Entombed; Entombed A.D.; Firespawn; Dimmu Borgir; Witchery) and drummer Vesa Ranta (Sentenced; The Man-Eating Tree; The Abbey).

The 10 songs here are generally pretty accessible, so those who shy away from all things metal, yet enjoy some melodic gloom, should not be put off by the histories of those involved. Cemetery Skyline are clearly a band that have come together to create a very specific type of music - one which I imagine is close to the hearts of those involved. The songs are quite derivative of their influences, then, but the songwriting is strong throughout - with Torn Away getting things off to a fine start. Kallio's keyboards are generally the driving force throughout the album and his sparkling opening synth hook here is very characteristic of what is to follow throughout - and the melodies are easy on the ear from the off. Vanhala's guitars are generally more rhythmic, and there are not too many big riffs here, but he adds a metallic depth to each song - whilst the driving bass of Brandt also tends to do a lot of heavy lifting. The verses here are very bass-heavy, with subtle guitar patterns and swirling synths backing Stanne's gothic croon - whilst the chorus returns to the opening melodies for something much more expressive and hooky. Many of the choruses has are packed with pop hooks - so that classic gothic rock mixture of light and darkness is present throughout. There is a darkness thanks to the crunchy guitar and bass tones used, whilst the keyboards provide both a dense atmosphere and some sparkling melodies. Torn Away is a bit like a microcosm of the whole album, then, although a closing guitar solo adds some additional weight later on as an extended final chorus rolls on. In Darkness is a bit crunchier from the off, with Vanhala's chugging guitar groove setting a mechanical tone - which the rhythm section lock in with as Kallio's atmospheric keyboards swirl and envelop everything. There are fewer synth hooks this time, with the keyboards generally all-encompassing - although the verses feature some sparse piano chimes which are fitting as the light against the driving guitar grooves. Whilst there are fewer riff-led moments on this album than Vanhala is used to, his rhythms and grooves are a big part of the band's infectious gothic sound. His occasional soloing adds colour, though, but generally this is a band which are big on atmosphere over lead playing - with Stanne essentially responsible for most of the big hooks. As is typical of many of the songs here, the chorus is massive - and Stanne's rich cleans feel like they come from someone who has been singing this way their whole career. I think this album really highlights what a talented vocalist he is - and he showcases quite a range despite the songs generally requiring a moody delivery. Violent Storm is a real favourite of mine and it was the song which jumped out the most on my first listen to the album. The mix of distant guitar arpeggios and flashy synth hooks reminds me of the more cinematic side of The 69 Eyes somewhat - whilst the verses include a good mix of up-tempo guitar crunch and synth-based atmosphere. Light and shade is a big theme here, as is often the case in gothic music, and the way that the guitars and keyboards intertwine here showcase that - whilst Stanne's deeper verse delivery and more anthemic chorus vocals do the same. The song really builds towards its chorus in a compelling way, too, so when the vocal hooks kick in the melodies really hit home from the off. It is likely the album's most memorable chorus in my opinion - and it caps off an excellent opening trilogy to kick-start the album.

Behind the Lie opens in a similar manner to how the album did, with a crunchy guitar rhythm and a flashy synth hook - but the guitar backing feels a bit riffier than is typical. This is certainly a song that has a bit more of a metallic edge at times, particularly during this opening flurry, but generally the overall sound is pretty typical of everything else here. There are strong The 69 Eyes vibes during parts of this song, too, but there are also some real old-school gothic moments such as parts of the verses which see quite a sparse arrangement take over. Many of the songs here are very bass-driven, but the bass during parts of the verses is less prominent than it often is - with clean guitar melodies and keyboards instead leading the way. The heaviness from the opening returns during the chorus, too, although it remains hooky, plus there is a pretty slab-like bridge section which features some doom-adjacent riffing for a brief period. When Silence Speaks opens in a much calmer manner, with Kallio's rolling piano melodies fading from the distance - which Ranta soon adds some percussive drumming to. It does seem at one point as if the band might crash in and take the song in a heavier direction - but when Ranta's drums kick in properly he just adds a mournful groove behind the piano and bass, and allows for a ballad feel as Stanne starts to sing. The verses are full of gothic melodrama, then, and Stanne's emotional vocal delivery sits nicely against Kallio's piano and the sombre groove. The guitars do not really come in properly until the chorus, either, which means that it remains pretty slow throughout. Vanhala's crunch does add some heaviness to the chorus, but even the chorus retains the song's core mournful feel - with some slow-burning guitar leads also being included alongside fatter rhythms. The Darkest Night returns to the album's core mid-paced and groovy sound following the slower ballad which came before - with the crunchy guitars very much back in a big way. Whilst there are synth melodies as usual this is another song which feels a bit more guitar-driven than some of the others. The riffing is not all that remarkable, but the guitar tone used by Vanhala is enough to convey the heaviness - whilst the rhythm section feel much busier throughout the verses. Ranta's drumming is more percussive, so sections which feature little guitar input still feel weightier, whilst the synth melodies are generally lower in the mix this time - although they are still there to worm their way in. The chorus is one that hits over time, too. It is not as anthemic as some of the others, but the melodies reveal themselves over multiple listens - and it has become a bit of a favourite over time. Never Look Back is another song which opens slowly, with warm synth melodies and Stanne's voice fading in to create an atmospheric feeling - but this song is no ballad, and instead it is a pretty poppy rocker. There remain plenty of gothic vibes here, but it is maybe the lightest of the rockers here - with something of an AOR feel during parts of the song despite the gloom remaining. The guitar arrangement is very much out of the 1980s melodic rock scene, with a few strident accent chords and drum crashes, whilst the chorus is much brighter than is typical with floatier synths and vocals. A slow-burning guitar lead which acts as part of the chorus is also taken right from the pages of the AOR playbook - whilst an instrumental mid-section is surprisingly bombastic and comes off like a more restrained Toto.

The Coldest Heart opens with some dark-sounding bass from Brandt. His bass does a lot to drive this album, but rarely does he stand alone quite like he does here - and the tone used helps to set a creepy vibe before the band crash in. When the rest do join in, too, there is a doomy heaviness to the track which differs from much of the rest of the material here. Kallio's keyboard playing recalls the style he employs with Amorphis, with rumbling organ utilised at times, whilst the guitar is much nastier early on - with a slow riff setting a heavy tone. The song overall, though, is pretty varied. This heaviness certainly does not stay throughout, as Kallio's piano takes over during a verse which is surprisingly jaunty given the slower nature of the piece - with hooky piano melodies and a slow rhythm section groove sitting side by side. The chorus is quite different, too, with subtle background vocal shouts and a slightly more strident overall feel - which is later fully captured during Vanhala's guitar solo which sees him cut loose more than he has elsewhere up to this point with some busy shredding. The song is one of the album's most interesting cuts, then, due to this variety - and it is another which has become a bit of a favourite over repeated listens. Anomalie ups the pace and goes for more of a metallic feel - at least early on. Much of the album generally feels pretty mid-paced but, while this track is not significantly faster, there is more urgency this time. The overall dark vibe has been retained, but the drumming feels punchier throughout - whilst the busy bass playing during the verses helps to keep the track on the move. It is another song which feels quite anthemic, too, with another chorus which sticks in the brain pretty much from the off. The opening few songs did this, before the album sought to diversify its approach somewhat - so a return to the simpler arrangements of the early part of the album is certainly welcome as things draw to a close. It is hard not to sing along with the chorus once it gets going - and there is a pretty cinematic guitar solo, too. The album then comes to a close with Alone Together, another slower piece - but one that does not really feel like ballad, instead going for a slightly doomy vibe with rumbling bass, drawn out guitar chords, and cold synths. The song takes a little while to get going, too, with synth and atmospheric sounds swirling around to set a tone before the band kick in proper - and the track is one that builds on a lot of core gothic tropes to create a more epic-sounding closing track. There remain plenty of memorable vocal melodies, with a slow-burning chorus which is brought to life thanks to some shimmering keyboards and the occasional guitar lead, but this is generally a song which really doubles down on atmosphere creation - as the song is one that tends to dwell on its instrumental sections a little longer to allow for some hypnotic melodies to really bed in. There are hookier pieces here, but there are fewer songs which nail the gothic brief so clearly - and the slow-burner ends the album on a high. Overall, then, Nordic Gothic certainly achieved what it likely set out to do. It is not the most original album but the songwriting is tight and Stanne really shines throughout as a singer. It is unclear at this stage whether this is a one-off project or whether more is to come from the five-piece - but given that gothic rock is less common now than it once was there seems to be room in the world for more from Cemetery Skyline in the future.

The album was released on 11th October 2024 via Century Media Records. Below is the band's promotional video for Violent Storm.

Quireboys - Bridgwater Review

Despite the band being one of my favourite live acts over the past decade or so, in recent times I somewhat lost interest in The Quireboys. Before the pandemic I routinely saw the band multiple times a year, with the next Quireboys show never being too far away, but that all changed in 2022 when they fired frontman Spike - the only founding member left in the line-up. I saw the band again in January 2022, which was fun after the enforced break but the show was not one to write home about, and a few months later they were mired in turmoil - with both sides accusing the other of wrongdoing and vowing to carry on as The Quireboys. In truth, I could somewhat see both sides of the story. I felt for Spike, as The Quireboys was essentially his band, but I also sympathised with the rest of the then line-up as I had often thought that dealing with him was likely extremely hard work at times. With both looking to carry on, too, I tried to be open-minded - but when I saw what passed as The Quireboys without Spike in September 2022 I was disappointed. Considering that the show was a special one in London that I had had tickets for for two years, too, the disappointment hit harder. The show was eventually released on DVD which I have a copy of - which was a real fight to actually get hold of due to the band's incompetent record label/management - and it features the shadow of a once great band. Since the disappointment of the show and the farce of getting a product which I had paid for two years in advance, then, I have had very little interest in that iteration of The Quireboys - who have now, wisely, changed their name to Black Eyed Sons, bring an end to any confusion. Spike launched his new Quireboys (without the 'The', but that is a pain to write sometimes) in December 2022 - with a make-shift line-up of old hands and new faces at a lengthy and sometimes fantastic show which featured memorable and chaotic moments in equal measure. 2023 was generally quiet for Spike, aside from his on-going series of acoustic shows, but this year has seen activity turbo-charged - with a new Quireboys album dropping earlier this month and shows taking place throughout the year. I saw the band in Swansea in May, which was a good night, but I was somewhat still feeling the general malaise of recent times. Since hearing the new album, Wardour Street, though, I am on board again - and taking a punt on a ticket for the show in Bridgwater on the album's tour a few months ago suddenly seemed like a great move. The current Quireboys also line-up seems to have solidified around Spike and fellow original member Nigel Mogg (bass guitar/vocals) - with Thunder's Luke Morley (guitar/vocals) and journeyman musician Willie Dowling (keyboards/vocals) also seemingly mainstays. Whilst it is a shame that the other old hands which re-started this journey with Spike in 2022, Chris Johnstone and Rudy Richman, no longer seem to be involved, at least when it comes to touring (they are both on the new album, though), the current line-up is a good mix of old and new - and joining the band on drums for this tour at least was Morley's Thunder bandmate Harry James.

I had never been to Bridgwater before, let alone been to a gig there - and the venue was the Palace Nightclub on the edge of the main town centre. Despite the ticket saying that the doors opened at 7pm, when I got there just after such it turned out that the place had been open for over an hour - and that I had missed openers Continental Lovers. This was no big shame, though, and I got into place just as Dowling was about to start his own set - acting as the night's main support. The venue turned out to be quite a decent one, too - especially as I had no real expectations. It has the feel of an old-school nightclub but the stage was a decent size and there were plenty of different vantage points from around the room. The show was loud, too, but the sound mix was clear - and it seems a shame that the place is not more well-used from a live music perspective. Turning to Dowling, though, his set was essentially exactly the same, even down to much of the banter, as that which I had already seen twice this year. He also opened for the band back in Swansea - and I also saw him with Cats in Space in October. He is a name that I have been familiar with for years, but it seems that he is really putting himself out there again this year - and I suppose it makes sense for him to open for Spike's band given that he is also part of it. The piano-driven pop songs which made up the set were as passingly enjoyable as they were previously - but this being the third go round the shine was perhaps beginning to wear off a little. He wisely kept the sixth form political statements to a minimum again, as I felt that he went a bit too far in Swansea and he did not come across as all that likable as a result - he was generally a bit more self-deprecating and subtle this time. His lyrics suggest that he is more articulate than some of his ranting in Swansea suggested - so I enjoy his sets more when he lets the music do the talking. His messages are carried in his songs anyway, and delivered in a more thoughtful way, so he seems to be perfecting his current craft as he goes. I get the impression that this piano-led pop music is a new avenue for him with the whole vibe different from the norm - so perhaps he is having to reinvent himself somewhat as each show passes. I do not have a problem with political songs, I just roll my eyes at outbursts which would sound at home in a Guardian comments section - and Swansea was certainly full of those. Bridgwater was not, though, and I enjoyed the jaunty-yet-intelligent songs yet again - but given that I have now seen essentially the same set three times this year I do not really need to see it again.

I am glad that Dowling was in tow, though, as he actually adds a lot to The Quireboys. If Johnstone cannot be present then Dowling is the best option - with his busy, barroom style perfect for the band's raunchy sound. It was 20 or so minutes following Dowling's set finishing that the five members of the band trooped out onto the stage - with Spike swaggering to the front with confidence and getting the crowd ready as the band launched into Jeeze Louise. The setlist was very similar to the one which was played in Swansea, but the show was so much better overall. The current line-up was clearly still finding their feet back then, but now they have some more miles under their belts - and they rocked from start to finish. It helped that the sound mix was so good, too. Spike's voice was crystal clear all night, and he sounded more powerful than he often has in recent years, plus he was just on great form generally. When he is on fire he is almost untouchable as a frontman and he worked the Bridgwater crowd with ease throughout the night - with rock 'n' roll survivor Mogg also throwing plenty of old-school rockstar shapes. Morley may be more restrained on stage, but he was pulling a lot of the strings. His bluesy riffing throughout the barrelling Can't Park Here and the more delicate country tones of Sweet Mary Ann showcased his variety as a player - and he made many of the band's songs his own, especially given that The Quireboys have generally been a two-guitar band in the past. James' shuffling style fit the band like a glove, too, and Dowling was busy and full of flair - helping out quite a bit on backing vocals, too, to give Spike a boost when needed. Given how great the band were, too, the atmosphere was electric. The place was busy - but everyone seemed really up for the show and each song, including all the newer ones, were sung loudly by the crowd. The band's take on Frankie Miller's Raining Whiskey had everyone singing along - whilst I am not sure that the blues drawl of Whippin' Boy has ever hit so hard. Bridgwater featured a heavy version of the band, then, and this transitioned into old anthems like Tramps and Thieves and the strutting new number I Think I Got It Wrong Again. One of the biggest sing-a-longs of the night unsurprisingly, though, was a mid-set rendition of big single Hey You, but there were also quieter moments including the new, heartfelt You and I and the epic ballad King of New York - which may have been the overall highlight. It is not a song that I have heard live too often, and this was the best version yet - with Spike really living the lyrics and Morley delivering a solo dripping with emotion. It was generally left to rock 'n' roll for the rest of the night after this, though, with new highlight Happy sounding sleazy and the barroom rock of There She Goes Again also featuring plenty of singing. It was, of course, left to 7 O'Clock to round out the main set - and the old single left the crowd wanting more. The 10pm curfew was looming by this point, though, but there was time for a two-song encore. Spike reasserted his position as 'the' Quireboys singer during the pointed Like It or Not - whilst another big ballad was left to close things out. I Don't Love You Anymore is always a highlight of a Quireboys show, and Spike sang his heart out - with Morley again showing that he gets the band's songs and style with another big solo. It brought the curtain down on an excellent night of live music - and with six new songs in the set it seems that Wardour Street is very much here to stay. The setlist was:

Jeeze Louise

Can't Park Here

Misled

Sweet Mary Ann

Raining Whiskey [Frankie Miller cover]

Whippin' Boy

Tramps and Thieves

Hey You

You and I

I Think I Got It Wrong Again

King of New York

Happy

There She Goes Again

Roses & Rings

7 O'Clock

-

Like It or Not

I Don't Love You Anymore

I might have briefly fallen off The Quireboys' wagon, given all the drama perhaps some less than stellar live shows, but with Wardour Street and this Bridgwater show both being so great I am fully on board again. I really hope that Spike is able to keep this line-up of the band together, but with Thunder's future seemingly uncertain due to Danny Bowes on-going health issues Morley (and James) may be glad of something to do. This is certainly an interesting chapter in the history of The Quireboys - and I hope that next year brings more touring from Spike and the gang.

Within Temptation - Cardiff Review

Following a weekend at home, although I still managed to make it to an excellent local gig, this past weekend has been another busy one - taking in two very different bands at two very different venues in two very different places. Starting with the grander of the two, then, on Friday I headed up to Cardiff to catch Within Temptation live at the city's Utilita Arena. Given how relatively close Cardiff is to where I live, it is not a place that I get to all that often. Given that it is the Welsh capital city, it is not as much of a live music hotbed as it could be really - with many bands opting to play nearby Bristol instead. That being said, though, this year I have been to Cardiff three times - which is the most visits to the city I have made for many a year. I saw Bruce Springsteen and the E Street Band rock the Principality Stadium to tens of thousands of fans back in May and in August I headed to the Tramshed for a night of metal with KK's Priest. It was back to the Utilita Arena this time, then, a venue I had not been to for a couple of years - with my last trip coming back in 2022 when I saw a double bill of Machine Head and Amon Amarth bring plenty of heaviness to Wales. The reason for going this time were the Dutch symphonic/gothic metal legends Within Temptation - a band I have been a fan of for a number of years but have not seen live that often for various reasons. I started getting into the band in the late 2000s, when I was really getting into symphonic and power metal in a big way. I listened to albums like 2004's The Silent Force and 2007's The Heart of Everything a fair amount at that time, but I was never into them as much as I was into bands like Nightwish and Epica - who just seemed much more interesting overall. In truth, this view remains the case. I really liked Within Temptation's slight change to a more hard rock and guitar-driven direction on 2011's The Unforgiving - but the three albums which have followed have generally been weaker and less interesting than anything that came before. I first saw the band live in 2015 at Bloodstock Open Air - where they disappointed in a headline set which was plagued with technical issues and featured a setlist that was heavily weighted towards 2014's Hydra, which is easily my least favourite of their albums. I did not see them live again until 2018, where they delivered a great show at the O2 Academy in Birmingham on the run-up to 2019's Resist - an album which was better overall. Fast forward five years, then, and Friday's trip to Cardiff consisted of my third Within Temptation concert - this time in support of last year's rather disappointing Bleed Out. I have been generally questioning whether Within Temptation are a band for me anymore recently, as they seem to have limited interest in a being a symphonic or gothic metal band these days, but given how much I enjoyed the 2018 show I picked up a ticket for Friday's show when they went on sale last year - and I had been looking forward to it quite a bit despite my growing ambivalence towards the band as they currently are.

Despite the change of sound over the year, the band remain popular. The Utilita Arena may not be one of the country's biggest arenas, but it is still a big venue compared to most - and it was busy on Friday. I do not think that the show was sold out - but Within Temptation have always felt a bit caught between large theatre-type venues and arenas in the UK. There was a healthy crowd already in place when the evening's sole support act Annisokay, from Germany, took to the stage. There were supposed to be two support acts, but Ukraine's Blind8 had to drop out of parts of the tour due on-going military commitment - so Annisokay was left to warm the crowd up themselves. I had not heard of the band before they were announced as being part of this tour - although they have been going for a while at this point. Sadly, though, the band turned out to be the sort of chugging metalcore/post-hardcore that I have very little interest in - and Within Temptation bringing them along probably shows where the Dutch band's head is when it comes to the current metal scene. I do like some metalcore, but Annisokay's was the most bland type imaginable. Metalcore is at its best when the bands ape the melodic guitar leads of the Swedish melodic death metal bands and employ classic metal hooks (think Killswitch Engage and early Trivium) - but when bands rely on big synths and chugging guitars with no discernible riffs I lose interest very quickly. They did employ the traditional mix of harsh and clean vocals, but nominal frontman and harsh vocalist Rudi Schwarzer spent much of the set being a glorified backing vocalist, as some of the songs featured limited input from him, whilst more extended harsh vocal sections tended to consist of those rap-adjacent harsh vocals which have become popular in parts of the metalcore scene in recent years. Bandleader Christoph Wieczorek (vocals/guitar) did most of the singing and talking to the crowd, his emo-esque voice contrasting with the down-tuned guitar chugs, but there was quite a lot of the set when he was not playing his guitar - and there was definitely guitar to be heard coming out of the speakers. As such, Annisokay are clearly one of those bands who rely extremely heavily on backing tracks - and it was clear that so much of what made up Annisokay's sound was not live. Most of the songs were extremely synth-driven, so slower parts of the songs sometimes only had the drummer actually playing - and there were clearly guitar riffs going on when Wieczorek was not even touching his guitar. As such, even though I was not really enjoying the band's set much up to the point I noticed this, my respect levels immediately dropped - and I was glad when their set came to an end. They generally only received a muted reaction from the crowd, too, so I imagine others in the room were feeling similar to me - and it was really only Within Temptation's frontwoman Sharon den Adel's brief cameo for a song she collaborated with Annisokay on and a cover of Linkin Park's One Step Closer which received any sort of attention.

Thankfully, though, it was not all that long before the lights went down following the blandness of what had come before and Within Temptation took to the stage. With a grand stage set which included Greek-esque columns, some big, well-used screens, and lots of raised areas for the band members to stand on - Within Temptation have certainly transitioned well to life in arenas. I have said before how some bands, with Alter Bridge springing to mind, struggle to transition to arenas when it comes to staging and presentation - but this was not a problem for Within Temptation, whose stage set felt really at home in the large room. For the next 90 or so minutes, then, the Dutch band rattled through a powerful 17-song set which generally covered their career. The opening segment was very much focused on the now, but as the set moved on there were plenty of dips back into the past for long-time fans. The first five songs, though, all came from Bleed Out. I have made my thoughts on the album clear but, in fairness, this opening portion did not drag. As is often the case, the songs from the latest album came over better live than they do on the album - and the tracks played were generally the better cuts from Bleed Out in my opinion. We Go to War kicked things off, with den Adel wearing a fancy mask to match her flowing black dress - whilst the rest of the band stood statuesque around the stage. The newer material generally chugs along, with the guitars of Ruud Jolie and Stefan Helleblad doubling down on the crunch, whilst the keyboard textures of Martijn Spierenburg provided plenty of depth. The newer songs are very vocal focused, though, and den Adel sounded as good as ever. She remains one of the strongest non-classical-adjacent vocalists in the symphonic metal genre - with her mix of smoothness and the occasional more throaty grit bringing the set to life. The more epic and slightly older-school Bleed Out was an early highlight, thanks to its gothic-tinged chorus - but the overall highlight of this suite of newer cuts, though, was a barnstorming rendition of Wireless, a track which harks back to the band's older sound a little. Bleed Out has perhaps been better received compared to my personal views, but it was still brave for a big band to open a show with five new songs one after the other. The suite was well-received, though, but I did feel that the overall quality and atmosphere improved as the set moved along - with the pulsing synths of The Reckoning and the rawer Shot in the Dark kicking things up a notch. The latter showcased that Within Temptation can really shine when they focus on more intricate guitar melodies, though, with Jolie including plenty of interesting riffs throughout - before Helleblad launched into a shredded solo.

The anthemic oldie Stand My Ground was thrown in as always, which everyone sang along to, but perhaps a surprise overall highlight was the hard rocking new cut A Fool's Parade - a stand-alone single released earlier this year. The band brought out Ukrainian musician Alex Yarmak to duet with den Adel and the two worked well together - with the song's big chorus and heavy breakdown better than much of the material that ended up on Bleed Out. Given Blind8 and Yarmak's involvement in the tour, there was a bit of time given over to the plight of the Ukraine - but then there was a real trip back into the past with The Promise, and it was the first of three songs to feature former Nightwish frontwoman Tarja Turunen. Turunen, like Yarmak, has been guesting within the band on and off throughout the tour - and her operatic vocals made The Promise really tick. Turunen does not really sing like that so much these days, but hearing her in full-blown classical mode against the song's gothic backdrop was a real treat - with the band then covering Turunen's dense ballad I Feel Immortal, which proved to be another excellent duet. By this point there was not too much time left, but the main set still included the upbeat grooves of Supernova and the harder rock strut of Faster, which den Adel sang in true rockstar mode, before the band briefly retreated to the wings. A four-song encore followed, though, which mostly consisted of symphonic metal oldies. The dramatic Our Solemn Hour kicked off the encore, which was a reminder of how bombastic the band used to be, before the delicate ballad All I Need was a real phones-in-the-air moment. With Turunen in tow, a rendition of Paradise (What About Us?) was inevitable, so Turunen popped back out to due with den Adel one last time, before the evergreen Mother Earth saw the show come to a bombastic close. It brought the night to a powerful end and the large crowd certainly made their pleasure felt as the band took their bows. The setlist was:

We Go to War

Bleed Out

Ritual

Don't Pray for Me

Wireless

The Reckoning

Shot in the Dark

Stand My Ground

A Fool's Parade [w/ Alex Yarmak]

The Promise [w/ Tarja Turunen]

I Feel Immortal [Tarja cover w/ Tarja Turunen]

Supernova

Faster

-

Our Solemn Hour

All I Need

Paradise (What About Us?) [w/ Tarja Turunen]

Mother Earth

Whilst I might not listen to Within Temptation as often I used to, I still had a great time with them in Cardiff on Friday. They are the sort of band that generally seem to deliver live, Bloodstock aside, and, as is so often the case, the new material came across better live. I found myself enjoying some of the songs which I had not enjoyed that much previously - and there were still plenty of old favourites and deeper cuts included, too. Turunen really gave the set a boost, too, and she really helped to make The Promise one of the set's most powerful moments. There is still plenty left in the Within Temptation tank it seems, I just hope that the band starts to realise what it was that made them so great in the past and start to refocus their sound in that direction again.

Myles Kennedy's 'The Art of Letting Go' - Album Review

There are few objectively better vocalists in rock currently than Myles Kennedy. The US singer, songwriter, and guitarist had something of an under-the-radar career throughout the 1990s in bands such as Citizen Swing and The Mayfield Four - but it was the launch of Alter Bridge with 2004's One Day Remains that really catapulted Kennedy to stardom. Alter Bridge became a pretty big name almost overnight, at least here in Europe, and over the past 20 years they have become one of the most important modern hard rock bands. Alter Bridge are now seven albums deep, and generally release a new one every three years, but there has been plenty else on Kennedy's plate over the years - and sometimes I wonder if he ever steps foot in his house! Alongside Alter Bridge's regular album cycle, Kennedy is the singer in Slash's solo band - and has released four albums as a part of Slash featuring Myles Kennedy and the Conspirators since he started touring with Slash in 2010. Whilst Slash has toured less with his solo band since re-joining Guns N' Roses in 2016, he still released two albums which have been accompanied by lengthy tours in that time, and it was recently announced that he will be recording his next album with Kennedy in 2025. Alter Bridge are also due to release a new album next year if their general three-year cycle is maintained, so Kennedy could well be having yet another busy year. With Kennedy's Alter Bridge partner-in-crime Mark Tremonti releasing and touring a solo album next year, though, as well as the recent reactivation of Creed, the band which Alter Bridge rose from the ashes of, it may be that Alter Bridge's usual cycle is broken - and the band enter something of a de facto hiatus whilst Tremonti takes care of solo and Creed duties. I am sure that Kennedy will find something to do if that is the case, though, and he has also clearly been busy this year, too, as last month he released his third solo album - his first since 2021's The Ides of March (which I reviewed here). Kennedy's previous two solo albums are quite different from each other. Known for Alter Bridge's bombastic hard-hitting sound, plus his swaggering work with Slash, Kennedy's debut solo album, Year of the Tiger (which I reviewed here) from 2018, was a real departure from the norm. A very personal concept album dealing with feelings surrounding his father's death when he was a child, Year of the Tiger found Kennedy in heartfelt singer-songwriter mode. Whilst not exactly an acoustic album, Year of the Tiger was extremely stripped down and sparse compared to Alter Bridge and, whilst it might not be an album I reach for often, it remains a strong effort. The Ides of March was much more of a rock album - although it had a raw, bluesy feel with a lot of slide guitar throughout. I enjoyed it at the time, but I have not listened to it much since. Three years on, then, The Art of Letting Go is Kennedy's third statement as a solo artist. In keeping with the past trajectory it is heavier again - meaning that each album has been heavier than the last. There is still a bit of a raw edge but, in truth, there are songs here that would not sound out of place on an Alter Bridge album.

It has less of a distinct identity, then, despite the lack of Tremonti's guitar firepower, but there is still plenty to enjoy here. The first half of the album in particular is strong but it just feels strange that there is now so little to separate Kennedy's solo work and Alter Bridge. There is little here to truly rival Alter Bridge's heaviest moments, but the warmer side of the band's sound is very much captured throughout the 10 songs here. The title track kicks things off with a crashing drum roll from Zia Uddin (The Mayfield Four) - and the riff-led hard rocker really could have found a home on any of Alter Bridge's albums. The main riff lacks the blues vibe of the last album, instead going for a barrelling hard rock pattern, whilst Uddin's drums are much punchier than before - with some prominent fast bass drum work and plenty of aggressive fills. Despite this early heaviness, the verses are a little more stripped back. Tim Tournier's bass playing comes to the fore during these slightly more organic sections, although there remains plenty of groove, whilst Kennedy does showcase some bluesy playing with a memorable lead refrain which resurfaces throughout. The chorus returns to the song's opening riff, though, and it is hard-driving and pretty anthemic - with Kennedy's strident vocal hooks to latch onto, which Alter Bridge fans will long be familiar with at this point. The benefit of going for a heavier sound, though, means that some of Kennedy's guitar soloing on the album is pretty potent - and there is some furious shredding here which differs from the bluesy phrasing of previously. Say What You Will is pretty similar, although the track opens with some fuzzy, bluesy guitar melodies which do hark back to the last album somewhat - before Uddin's hard-hitting drums kick in and the song speeds away thanks to a riff right out of the 1980s. It is a powerful riff, which is soon overlayed by some expansive lead guitar playing, and Uddin's drum sound really crashes through the speakers - but again there are strong Alter Bridge vibes throughout. This is not something that could often be said about either of Kennedy's previous solo albums - and the similarities do nag away at me despite the song being a memorable and hooky effort. The chorus is one of the album's most memorable and it is a really hard-driving effort - with the fat sound that producer Michael 'Elvis' Baskette is known for being ever-present. The solo is a little bluesier, but it still feels busy, and this is a song dominated by big riffing and an expressive chorus. Mr. Downside is a little less hard-hitting and has more of a dynamic overall feel, but there is still plenty of weight throughout. It opens in a slightly slower manner, but an expansive and cinematic guitar pattern soon takes over - whilst Uddin lays down a snappy, shuffling drum beat. The track is still pretty hard rocking, then, and the verses feature plenty of expressive vocals from Kennedy which see him singing slightly higher than usual at times. Occasional lead guitar moments add colour, and the drumming does become busier and more percussive at times, but by the time the chorus rolls around with its plentiful vocal harmonies, punchy drumming, and strident guitar patterns the album's heavier core sound is very much present.

Miss You When Your Gone is less heavy again, and the track goes for a moodier and slightly jangly overall feel - but it is very much typical of Kennedy's songwriting. Again, though, there are hints of Alter Bridge to be found throughout the song - especially slightly more warm and organic songs like Peace Is Broken and other similar tracks. I think perhaps the main issue is Baskette's production. He is a hit and miss producer for me, and is certainly guilty at times of just making everything too loud, but the overall production of this album is good - with a punchy and clear sound. The issue is, though, that he has just made the album sound like Alter Bridge tone-wise - which was not the case previously. Despite this, though, the song is still strong. The chorus is another of the album's best overall and it really showcases Kennedy as a singer. There is less riffing and guitar-led moments here, with the instruments largely just backing the vocals, but the melodies are so typical of Kennedy's hard rock style and the chorus soars in that earnest way that Alter Bridge have found so much success with over the years. Behind the Veil is much more of a departure, though, and it slows things down quite significantly. It opens with some delicate and slightly bluesy guitar melodies from Kennedy - over which he soon starts to sing in a much more downbeat manner than he has on the album up to this point. The song's opening section is something of a hark back to Year of the Tiger, then, albeit with a brighter overall guitar sound, and it is a welcome change of pace. As the song moves along, though, it does grow in stature and rock harder. Uddin soon starts to add some percussive drums and the song becomes a rocker - but, crucially, it never really feels like Alter Bridge. There are shades of the blues rock of The Ides of March as the song progresses, but in truth it is something different entirely really - with the rhythm section generally driving everything and Kennedy adding off-kilter colour with strange leads and chords whilst singing. His guitar solo feels a bit leftfield, too, and the song overall is a good mix of delicate passages and primal harder rock patterns which differ from the norm. Saving Face is another rocker, but this time there are stronger harks back to The Ides of March. The opening riff is pretty bluesy thanks to a satisfying amount of fuzz and the verses which follow are similar - with a strong bass presence and a more organic guitar tone. Between these two sections, though, is a pretty metallic passage which is typical of the album's earlier sound - and this harder section later forms the basis of the song's chorus. As such, then, the song is a mix of bluesier moments and more anthemic hard rock riffing - with Kennedy delivering some of his classic nasal snarls during the chorus. Eternal Lullaby, unsurprisingly, is a ballad - and it opens with a hypnotic and slow-burning drum pattern over which Kennedy adds some atmospheric chords and gentle vocals. The song has a bigger sound than Year of the Tiger thanks to the production choices made this time, but the ballad shares similarities with that album style-wise - and it is nice to hear Kennedy tone it down a little and deliver something much more emotional. He sings songs like this so well and his voice is full of warmth here, as jangly guitar chords and the rumble of the bass create a strong backing for him. It does feel a bit more intense as it moves along, but it never really rocks out - instead feeling somewhat more cinematic.

Nothing More to Gain returns to heavier territory, with a pretty snappy opening riff which is backed by the occasional drum roll - before the drums kick in properly to provide something of a metallic shuffling groove which transforms the overall vibe of the riff completely. The riff is pretty hard-hitting overall, but the pogoing rhythm gives the song a different feel when compared to the other heavier tracks on the album - so it stands out quite considerably. I quite like the overall feel, though, and there is an infectious, headbanging groove mixed with something of a pop punk vibe - which is not Kennedy's usual style. In truth, the difference is not as stark as I am perhaps making it sound - the rhythms throughout the song are just not the typical hard rock drive that the album generally relies on, so there are limited Alter Bridge comparisons which can be made this time. Despite this infectious rhythm, though, the chorus is not as hooky as it could be vocally - and there is a quieter breakdown-type section later on which features warm chords and calmer vocals. The song is a bit of an odd mix, then, but it does work somewhat. Dead to Rights is much heavier and it returns to the tougher sounds of the early parts of the album - with a very metallic riff and overall groove which would certainly not have sounded out of place with Alter Bridge. Some of the riffing here shows that working with Tremonti over the years has rubbed off on Kennedy quite a lot - as there are juddering patterns which are very much out of Tremonti's riff handbook. If I had heard this song without knowing who it was by, I would have just assumed that it was a new Alter Bridge song - and it might be the song here which is closest to Alter Bridge in style. Given the numerous comparisons I have made throughout this review already, then, that is saying something - and everything just feels much more metallic than most of the other songs here. The only thing which sounds different from Alter Bridge's core sound is the lengthy slide guitar solo, which harks back to The Ides of March somewhat. The album then comes to a close with How the Story Ends, another somewhat slower and more organic piece which opens with some clean guitar melodies and subtle percussion - over which Kennedy soon adds his warm vocals. Despite a bit of a heavier chorus, which has some very Alter Bridge-esque heroic vocal melodies, much of the song is very much rooted in The Ides of March. There are plenty of bluesier touches here and there is generally an organic feel despite the tougher chorus. There are a few different sounds, too, with some subtle Eastern-tinged melodies sitting behind some the verses - but generally this is a bluesier rock song with some organic guitar playing and a few heavier riffs. It is a bit on the longer side, too, with a more expansive and emotive guitar solo - as well as a riffy instrumental section which builds on some of the riffs elsewhere in the song, turning them into something knottier. The dynamic song works well as an album closer due to its length and more expansive sound - and it ends the album on a high. Overall, I like The Art of Letting Go. It is a strong album that has grown on me since first hearing it - but I cannot get past the similarities between it and Alter Bridge's core sound. The more interesting pieces here remind me more of Kennedy's other solo albums, but perhaps the stronger songs melodically are those which sound like Alter Bridge. It seems strange that Kennedy would make an album which sounds so close to his main band - and this is not something he has done before.

The album was released on 11th October 2024 via Napalm Records. Below is Kennedy's promotional video for Say What You Will.

Tortured Demon - Plymouth Review

Local music venues should never be taken for granted. Whilst Plymouth is crying out for a more diverse range of such, particularly one that can hold between 1,000 and 2,000 people, there remain some excellent venues in the city - and The Junction on Mutley Plain is one of them. The glorified pub has been the city's de facto alternative music venue for a number of years at this point - and what it lacks in size it more than makes up for in character. Since I moved to the city a number of years ago I have been to The Junction many times. In truth, I should have made more effort over the years - but I still get there a few times a year, and a night out there never disappoints. For its size, too, it sometimes punches above its weight. I have seen Phil Campbell and the Bastard Sons, Blaze Bayley, Diamond Head, and Inglorious pack the place out over the years - and missed shows by FM and Ginger Wildheart due to clashes. It is not that often that the venue books a band of such repute, though, with most of the acts filling its bills being a mix of local bands, lesser known acts, or those who strive for bigger things. I saw the Brazilian death metal four-piece Crypta lay waste to the venue back in June, and I imagine that they will be playing in larger rooms when they next return to the UK, but my latest trip up the road to The Junction came last night - when I made the short walk to catch the Manchester-based four-piece Tortured Demon bring their biggest UK tour yet to the city. In truth, I had not heard of Tortured Demon until their show in Plymouth was announced a few months back. I often check out the bands that The Junction put on so that I do not miss out on anything worth seeing, and a quick Youtube convinced me that I should pick up a ticket for the show. Given that they were only a tenner, buying one seemed like a no-brainer - and I also soon picked up both of the band's self-released albums, 2021's In Desperation's Grip and 2023's Rise of the Lifeless. As such, I have been listening to both albums quite a lot over the past few months - with the latter in particular impressing. The band describe themselves as thrashcore, which is a pretty accurate description of their sound. To my ears, they sound like a thrashier version of Trivium's first two albums - with less of a focus on clean vocals. There are certainly strong influences from the early days of the mid-2000s metalcore scene, but thrash is very much the main focus - albeit with harsh vocals and some occasional guitar melodies which would not sound out of place on a melodic death metal album. It is the sort of music which I was sure would come across really well live - and the band have already started winning plaudits for their live shows, having played Bloodstock Open Air twice to date as well as supporting some other more established bands.

Given that the show took place on a Sunday, I was not sure what the turnout would be like. I had hoped that it would be healthy, given the distance the band had travelled, so when I got to venue not too long after it opened I was pleased to see a good-sized crowd. I have seen the venue fuller, but for a young, unsigned band's first trip to the city I imagine that they would have been pleased with the turnout - and it helped that two local bands opened the show. Up first were the quirky Death Assault - a band that came across as a bit of a work in progress and one not wholly committed to the vibe being set. Both the frontman and the drummer wore similar outfits, with battered old gasmasks, whilst the other three dressed more traditionally - with one guy wearing camo combat trousers and a matching hat. As such, the overall vibe was confused. If the band are going to go for an image then really they should co-ordinate things a bit better - as it was strange seeing one guy with knee-high boots and tight trousers next to another guy with face paint and a gasmask. These things often work themselves out over time, but Death Assault made a strange impression as a result. Sound-wise, though, the band were less varied - with a groove/death metal-adjacent sound which mixed thrashy and metalcore influences with chunky riffs and growled vocals. There were some pretty decent riffs scattered throughout the band's set, but I did not feel that many of the songs really stuck. The vocal melodies were not all that memorable in my view and I would have enjoyed more guitar leads, too. There were some interesting lead guitar moments, as well as a few more atmospheric sections with clean guitars beneath the riffs, but overall the set was somewhat one-note. A new self-titled track was played, though, which did change things up somewhat - going for quite a discordant approach early on and more of a focus on grooves later on. This did shake the set up for a while, but overall I did not think that Death Assault were really for me. Quite a few in the crowd seemed to be fans, though, which was great to see - and there was plenty of moshing and energy from the off. Death Assault kicked off the night well in that regard, then, even if they were not my thing.

Mechanized were much more my thing, though. Despite having a make-shift line-up with frontman Andy George also having to play bass and a stand-in guitarist, the thrash/death metal act really lit up the venue from the word go - and I was impressed as their set progressed. Having looked at the band's profile on Metal Archives, Mechanised are made up of members from long-lost Plymouth metal bands past such as Huron and Sekhmet - so they are an experienced bunch. I recognised the stand-in guitarist from back in the day, too, although I cannot remember his name - and Mechanized seem to be the result of musicians not giving up on their dreams. Despite the make-shift line-up, then, Mechanized were great. It perhaps took me a couple of songs to fully warm to them, but George was such an affable frontman that it was hard not to get swept along, and the riffing was so sharp that each successive song seemed better than the last. Tight drumming, thrashy riffs, screaming solos, roaring vocals, and the odd groovier section made sure that all the thrash and death metal boxes were ticked - and the songs generally seemed hookier than Death Assault's had been. This was generally thanks to the riffs, which were fast-paced and hooky in the way that all the best thrash is - but there were also some decent vocal-led sections, too. George has a powerful voice and he rose above the riffing nicely - although I think it was the guitar playing which impressed me the most. The energy levels had been high during Death Assault's set and they remained high as Mechanized progressed with their riffing. There was plenty more moshing and headbanging as the set moved forward - but perhaps the real magic was left towards the end. A riotous cover of Power Trip's thrash anthem Executioner's Tax (Swing of the Axe) really got the crowd going towards the end, with Tortured Demon's frontman Jacob Parkinson down at the front headbanging with the crowd (although he wisely side-stepped the mosh pit), but it was the closing track Out of the Womb, into the Tomb which really impressed. I had been enjoying the band's set up to that point, but the closing number was on another level - and it was the sort of song that after hearing it once it was already stuck in the brain. I have been singing the chorus all day today and it could have been the overall highlight of the night. It is a shame that Mechanized do not yet have an album out, or even an EP, but there are some songs floating around online - so hopefully one day there will be a release to check out properly.

The main event, though, was Tortured Demon's set - and for an hour or so the band ripped through an 11-song set which covered both of their albums and also saw a newly released single getting some airtime. Having clearly not worn themselves out during the two support acts' sets, the crowd were very much up for Tortured Demon - and the band seemed a bit shocked by the amount of moshing and headbanging at times. The crowd were so riotous down at the front that monitors and microphone stands got knocked over more than once - but the band just took it in their stride and showcased why they should be considered as one of the UK's real rising stars in the metal scene. Most of Rise of the Lifeless was featured in the set and, following the album's intro track playing over the PA as the band took to the stage, its title track kicked things off nicely. The sharp riffing of Jacob and fellow guitarist Rory Marsland-Smith was powerful, even the former was a bit low in the mix at times, whilst Joe Parkinson was busy behind his large drum kit. Marsland-Smith and Luke Entwistle (bass guitar/vocals) joined the band earlier this year so the current Tortured Demon line-up is a rather new-look one. Entwistle added lots of deep growls throughout the set to counter Jacob's leading screams - whilst the lead guitar intro of Virtual Death and the techy riffing of The Invasion was like water off a duck's back for Marsland-Smith. Sadly Jacob's lead guitar moments on the older tracks were somewhat buried in the mix, but that is live music, and his vocals were always clear with the snappy Conflict of Interest and the anthemic In Desperation's Grip bringing the best out of him as a singer. He took a few moments to talk with the crowd, too, and generally this took the form of him being pleased with the energy levels in the room. The moshing never really let up and it was clear that the band had not expected such intense energy levels on a Sunday in Plymouth. Hopefully the memories will bring the band back in the future - and the future looks bright with new single Nothing Left to Say, the first release from the current line-up. The big chorus already feels at home in the Tortured Demon canon - and it was followed up by the lengthy The Damage Is Done, which featured a more dynamic arrangement including some clean guitar moments and another strong chorus. By this time, though, there was not time for that much more. I am sure that the crowd would have kept going for a while longer - but a rousing Global Threat saw plenty of singing before the night came to a close with another knotty old-school metalcore anthem in A Knee to the Face of Corruption. The moshing continued on until the end, too, so the atmosphere never let up. I am sure that the band will play in some more regularly-visited places on this tour - but I am not sure that the energy of Plymouth will easily be matched elsewhere. The setlist was:

An Empire Condemned

Rise of the Lifeless

Virtual Death

The Invasion

Conflict of Interest

Disfavour

In Desperation's Grip

Nothing Left to Say

The Damage Is Done

Erase Your Life

Global Threat

A Knee to the Face of Corruption

Given that I had not heard of the band until the show was announced, I am pleased that The Junction hosted Tortured Demon last night. I have been enjoying getting into the band over the past few months and they are a certainly one with the potential to have a strong future. The new single hints at what the current line-up can do writing-wise, and I am looking forward to what follows both in terms of the band's next album and their live plans.

Sylosis' 'The Path' - EP Review

Before I get into today's review, I would just like to put on record how great it is to have the Reading-based metal four-piece Sylosis back. The genre-hopping band that has throughout their career mixed thrash metal, melodic death metal, metalcore, and progressive metal influences to create a unique and memorable sound became a real favourite of mine in the early 2010s. I first came across them in 2009 when I saw them open for DragonForce, but it was not until 2011 and the release of second album Edge of the Earth that I became a fan - and I have not looked back. It was a real shame, then, when the band, after four albums, quietly called it a day in 2016. I am not sure that the band ever officially broke up, but it was clear that bandleader Josh Middleton had other priorities at the time - and, looking back, I imagine there was frustration regarding glass ceilings that never quite seemed to break. I hoped that the band would return, though, and thankfully they did in 2020 - releasing their fifth album Cycle of Suffering (which I reviewed here), although any plans to promote it were soon scuppered by the pandemic. Over the next couple of years, though, it became clear that Middleton was viewing Sylosis as a going concern again. I saw the band for the first time since 2016 at 2022's Bloodstock Open Air - and I have since seen them live twice more: supporting Malevolence last year and headlining back in April. As I write this review, the band are on their first US tour for over a decade - and they are touring the UK again later this month alongside deathcore act Fit for an Autopsy. Sylosis really are back in a big way - and in many ways their rebirth was completed last year with the release of lean and mean sixth album A Sign of Things to Come (which I reviewed here). The album could have been seen as a bit of a controversial change of pace from the Reading band - but I pretty much loved it from the off. It certainly saw quite a significant reining in of their more progressive tendencies, so there is a case to be made that some of Sylosis' unique identity was lost, but, in truth, they had been toning down that side of their writing from 2015's Dormant Heart (which I reviewed here) onwards - meaning that A Sign of Things to Come did not feel all that unexpected, despite a stronger dose of metalcore being present. I imagine the streamlining did turn some off, but I still listen to A Sign of Things to Come pretty regularly - and the songs really deliver live, which I imagine was the goal. I was not expecting to hear anything more from the band so soon after the last album's release, so it was a surprise last month when Sylosis dropped the five-track digital-only EP The Path without warning. In its press release, the band stated that the songs were leftovers from the A Sign of Things to Come sessions - held back at the time for a future release. Given the band's desire to create a more streamlined album, an additional five songs would have hindered that goal - and the tracks which make up The Path perhaps feel a little different from the more anthemic vibe of the last album. There are hints to the band's more progressive inclinations here - alongside some other influences which show a different side to Middleton's songwriting. It is also the last release from the band's post-reunion line-up - as not long after the EP's release it was announced that guitarist Alex Bailey had amicably stepped down from the band after 16 years. Bassist Connor Marshall has since switched to guitar - with Ben Thomas (Venom Prison) becoming the new bassist.

The EP opens with its title track and lead single, with guitar feedback and a pounding bass drum the only backing for Middleton's opening screamed vocals - before a snappy mid-paced riff kicks in and the band career off in typical fashion. The Path is somewhat close in style to the material on the last album - in so far as it features a pretty anthemic chorus and a bit more of a straight ahead arrangement. Despite this, though, there are a few twists and turns to be found. The verses feature some pretty interesting call-and-response vocals, with Middleton whispering and screaming back and forth, whilst the chorus, despite being hooky, features a bit more of a doomy sound - which brings Dormant Heart to mind. The mid-paced overall feel means that the track is perhaps not as infectious or as immediate as some of the tracks on the last album, but there is some of that old Sylosis magic to be found - with a few tricky riffs and little guitar runs which were less of a focus on the last album. A bridge section features some higher screams from Debbie Gough (Heriot) and, of course, there is an impressive solo from Middleton - with the last chorus also expanded to include some additional lead guitar moments. Soured Ground is much closer to the sound of the last album - with tracks like Pariahs and Poison for the Lost certainly touchstones. Perhaps it was wise to hold the track back given its similarity in vibe to those others - but, despite the familiarity, there is still a lot to like here. Like the last album, the goal here is hooks - and the track is probably the EP's most immediate. The riffing is much more frantic here, with drummer Ali Richardson really laying into his double bass drums at times, whilst the chorus sees the pace slowed somewhat, cold synths introduced, and Middleton screaming the anthemic melodies in his confident manner. Some iterations of the chorus feature the occasional clean vocal line, too, whilst a heavy bridge and some breakdown riffs later are full of venom. A lengthy guitar solo sees some of Middleton's classic sweep picking, which was not as prevalent on the last album, return, though, so despite the song very much being routed in the sound of the last album there is still a nod to the past. As Above So Below opens with a pretty heroic-sounding vocal from Middleton against some staccato stabs and drums from the band - but once the main riff kicks the track feels pretty thrashy. Whilst the overall arrangement is a bit more varied than the opening riff suggests, I like the main riff as it feels like something different for the band. It has an old-school vibe, perhaps recalling the speedy chug of some of the original death metal bands, whilst the chorus also features some pretty intense extreme metal influences due some some of Middleton's lowest growls ever. As the song moves along, though, it does feel more expansive. The riffing becomes more varied throughout, and the pace switches back and forth between thrashier sections and mid-paced groove-led parts. Some of the songwriting quirks of the band's older albums push through here - and there are riffs here which recall 2008's Conclusion of an Age somewhat, whilst the use of dense strings later in the track recalls Edge of the Earth. The chorus retains the hookier approach of more recently, though, and the track feels like a real mix of old and new.

No Saviours is perhaps the track here which has, so far, connected with me the least. I do not dislike it, and there are few Sylosis songs that I dislike in general, and it is certainly growing on me - but at this stage it feels like the weakest of the five. There is certainly a strong groove metal vibe throughout and it does feel influenced, at times, by some of the modern UK hardcore bands like Malevolence. Much of Sylosis' classic sound remains, and there a few great Middleton riffs here as usual, but there are a few sections of the song which feature those semi-spoken vocals which hardcore bands often make use of - and I am not sure that this approach suits Sylosis that well. Sylosis have always been more musical and technical than that, so I could do without that sort of posturing in their music, but thankfully those influences are limited to a few moments. Elsewhere, though, there is a lot to like - with more dense strings utilised at times, a slow-burning guitar solo which is surprisingly atmospheric for Sylosis, and some really fast-paced sections which are perhaps some of the heaviest moments on the EP. Despite my dislike of some of the hardcore-esque inclusions, though, I am still warming to the song - I just hope that the band do not decide to step too much further down that path on subsequent albums. The EP then comes to a close with Disavowed - the longest piece here at just under six minutes. Many of Sylosis' older songs are that sort of length, but that has been a rarity of late - so it is unsurprising that the song is the EP's most expansive piece. There are certainly strong shades of Middleton's progressive tendencies here, with lots of different riffs crashing back and forth - and the melodic verses really feel like another throwback to the shout-along yet sophisticated sound of Conclusion of an Age, with a hooky guitar lead sitting beneath his strident vocals. Clean vocals are utilised here in quite a big way, too. Sylosis have often dabbled with clean vocals, but they tend to use them sparingly - either during bridge-like sections or slower openings. It is quite rare that a whole chorus has largely been sung clean, though, but doing so works well here. Middleton is not the most expressive of clean singers, but his tone is pleasing against the chorus' slightly more atmospheric backing - and he slowly transitions to a harsher tone as he moves along. The chorus is still hooky, though, and it contrasts nicely with the more fist-pumping verses - and the song, like As Above So Below, feels like a really pleasing mix of old and new. Another slow-burning solo is thrown in, too, as the band slow things down somewhat towards the end - with Middleton launching into something pretty cinematic and progressive rock-inspired. This expansive closing section rounds out the EP in fine fashion - and the track is a real grower that, pleasingly, showcases a lot of progressive vibes. Overall, then, The Path is another strong release from Sylosis. As essentially a collection of leftovers, the EP is a compelling listen which shows some disparate influences and a few new ideas from Middleton and the band. Some of the songs compliment A Sign of Things to Come, whilst others would not have fit on the album - and, as a long-time fan, the nods to the past are welcome. Sylosis continue to go from strength to strength and I am sure that whenever album seven drops I will be first in line to listen.

The EP was released on 3rd October 2024 via Nuclear Blast Records. Below is the band's promotional video for The Path.

Weather Systems' 'Ocean Without a Shore' - Album Review

I recently made a comment on this blog regarding the fact that, sometimes, good things can come from bands splitting up - or members leaving an established band to either form a new band or go it alone. Whilst it is often sad to see bands split up or go through messy line-up changes, sometimes the outcome is just more music to enjoy. Some of my favourite bands exist due to other bands splitting up - so I always try to look for the positives whenever a band I like comes to an end. That being said, the loss of Anathema in 2020 was tough to take. The Liverpool-based genre-defying band had become a real favourite of mine during the preceding years. Their show at the London Palladium in March 2020 was my last concert for 14 months due to the COVID-19 pandemic - and it turned out to be one of the band's last ever shows, as they had to cancel the rest of the tour after only a handful more dates and then broke up later in the year. It seems that cancelling the tour was a huge financial blow - and one which, it seems, they could not recover from. Despite my love of the band, too, they always struck me as a collective fuelled by internal tensions, as is often the case when family members work together, so it could well have been that there was more to the split than was immediately apparent. The band's principal songwriter and guitarist Daniel Cavanagh seemed to take the split particularly hard - and it was not too long before he announced a new band called Weather Systems, named after Anathema's 2012 album. Weather Systems' gestation period, though, was not easy. The band, which is largely just Cavanagh, has been slowly unveiled in a cryptic manner online over the past few years - and there was some associated crowdfunding which was treated with suspicion by some. Cavanagh also went through a very rough patch health-wise, too, during the same time - something which had seemingly been spiralling since Anathema's split. It was a hard watch, but he has seemingly pulled through - and is hopefully now in a much better place. The result of this build up, though, is Ocean Without a Shore - the first Weather Systems album. It was released in September and it is Cavanagh's first album since his 2017 solo album Monochrome - which followed a few months after Anathema's final release The Optimist (which I reviewed here). Cavanagh has said in interviews leading up to the album's release that much of the material on Ocean Without a Shore would have ended up on the follow up to The Optimist had one happened. I know that the band were working on a new album when they split, so many of the songs here likely date back to those sessions. As such, it sounds very similar to the recent run of Anathema albums - albeit with some of the sparser melancholy of Monochrome and even the odd nod to Anathema's heavier past. There are no death/doom vibes here, but there are a few heavy riffs which recall Cavanagh's playing from the late 1990s/early 2000s. Cavanagh is responsible for all of the instruments played on the album, too, with the exception of the drums which were played by Anathema alumnus Daniel Cardoso. Anathema's founding drummer John Douglas was slated to be part of the band at one point, too, but he has not been involved with Ocean Without a Shore - and this is very much Cavanagh's baby. He sings a lot throughout the album, too, although Petter Carlsen and Soraia Silva, particularly the latter, also contribute a lot vocally.

Anyone who has enjoyed Anathema's recent work will find plenty to enjoy here - with the tones of 2010's We're Here Because We're Here and on very much present. There are some moments which briefly hark back to albums like 1999's Judgement - but generally it is a familiar listen. The album is not a carbon copy of the past, though, and it does slowly deviate as it moves along - creating an enticing journey which is typical of much of Anathema's work. The slight overall weakness in comparison, though, are the vocal arrangements. Cavanagh does well here, with Carlsen helping out on some tracks and Silva delivering some emotional duets, but he is not his brother and Silva is not Lee Douglas. That being said, though, the vocal arrangements have grown on me quite a bit. There are lots of memorable songs here, too, and Synaesthesia kicks things off in fine fashion. As with Anathema's core sound, many of the tracks here build gradually around repetitive hooks and melodies - usually reaching an emotional climax towards the end. This track is no different, with a pulsing guitar melody and string backing setting a dark tone early on - over which Cavanagh and Carlsen soon start to sing in harmony. Their voices suit the moody melody, which does twist and turn as the vocals progress - and Cardoso lays down a variety of spiky drum grooves, going for a more staccato beat early on before progressing to something knottier. A gentle, floaty section introduces Silva, as she harmonises nicely with Cavanagh, but this soon gives way to one of the heaviest moments on the album - with driving, slab-like riffing kicking in with some heavy drums to back it. It is great hearing Cavanagh lay into his guitar like this again after many years - but the track still retains much of the trademark atmosphere associated with his songwriting. Some parts see the riffing slightly fade into the background to allow the synths to shine - only for it to kick back in to add some metallic grit. It is easy to forget that Anathema started out as a metal band, but Cavanagh shows here that he still has some love for a big riff - and the aforementioned floaty section with Silva is later repurposed above this riff, albeit alongside a stronger keyboard presence. Following this heavier section, it seems as if the song is going to end - but some mournful piano takes over, with Cavanagh and Silva singing in a downbeat manner as a final section gradually builds up around these metronomic vocals. Gentle guitar chimes add to the gloom - but things are really lifted by Cavanagh's slow-burning closing guitar solo which plays over the vocals initially before taking over to see the song out, often repeating some of the song's vocal melodies in its phrasing.

Lead single Do Angels Sing Like Rain? is a bit more straight ahead - with a chiming guitar melody and a more urgent drum groove setting more of a rock tone early on. Cavanagh sings alone early on, his deeper, yet still pleasing, voice sitting nicely against the synth-like guitar hooks - with piano melodies gradually appearing subtly in the background. When I first heard the song before the album dropped I was a bit disappointed with it, and I was worried that I would not like the album vocally, but Cavanagh's voice has grown on me - and other songs are more interesting vocal arrangement-wise than this one in any case. Like the last song, though, this one treads a slightly heavier vibe as it moves along - with a guitar riff which reminds me somewhat of Fragile Dreams take over, to allow a slightly crunchier take on the song's early moments to permeate. Cavanagh pushes himself vocally here but he sounds honest - fading out as he reaches the top of his range to let the melodic guitars take over. Untouchable - Part 3 is the first of two songs here which directly link back to Anathema tracks. The first two Untouchable parts are on Weather Systems - and they are two of the best songs Cavanagh has ever written in my opinion. This third part does not match up to the majesty of those older cuts, but the opening piano chords do subtly recall some of the hooks from them - with Cavanagh's emotional vocals and some delicate strings creating new images. The song also introduces Silva properly - and it is the first here sung as a duet. She takes over from Cavanagh when Cardoso's jazzy drums kick in, and her warm voice works nicely against the pulsing piano chords and the strings - which feel denser by this point. Unlike the opening two tracks, too, there is little to no heaviness here - and the style is very much representative of the Weather Systems album and the first two parts of the song trilogy. When the guitars do kick in they take the form of those tremolo-type leads which Cavanagh does so well - whilst the bass and drums pulse slowly to create a mournful movement alongside the strings and piano. Cavanagh and Silva sing together towards the end, too, although their voices feel dwarfed by the guitar hooks - which is fitting. At first this song did not do all much for me, as it fell short of its namesakes, but repeated listens have revealed its beauty and the nods to the past are welcome. Ghost in the Machine opens in a similar manner to how the album did - with a slightly synthy guitar melody that creates a slightly energetic vibe without the song feeling all that urgent. Cardoso's drumming throughout much of this album is quite percussive, especially during the slower moments, and his playing really compliments the opening hook nicely - and Cavanagh soon starts to sing over it in a deep and naïve manner, which is complimented by some occasional counter-melodies from Silva. The song builds in that typical Anathema fashion, with little change early on despite the addition of some piano under the guitars and drums - but there is a brief drop out, only for the band to kick back in with a more potent guitar-led version of the same melody with Silva taking over vocally with Cavanagh this time providing the counter. This arrangement works well and their voices play off each other nicely, whilst the guitars chime in a hypnotic manner.

The second song which ties directly back to the past is Are You There? - Part 2, which is a sequel to a song from 2003's A Natural Disaster. The song returns to the atmospheric sound of Untouchable - Part 3, with strings setting the tone early on - despite a melodic guitar refrain which occasionally cuts through the atmosphere. This guitar lead provides a real focal point during the early part of the song - and Cavanagh's mournful vocals really work against this sparse backdrop, with Silva adding subtle harmonies when needed. As is typical, the song grows in stature as it moves along - with the rhythm section soon giving it a little weight and the guitar melody from the intro feeling brighter and more heroic against this slightly denser backing. The vocal arrangement is the same, though, and there is a lot of emotion in Cavanagh's delivery throughout the song as a result - and Silva's additions are full of true warmth. The second half of the album is where things start to deviate a little - with Still Lake returning to some of the early heaviness in a bigger way. That being said, though, it opens in quite a familiar manner - although the ringing piano melodies are faster and more frantic than are typical, with jagged guitars mixed into the background and complimentary chords adding depth. The song also sees a big return for Carlsen - his higher voice mixing well with Cavanagh's and Silva's in a three-part vocal harmony as the track grows in a spooky manner against the horror movie-esque piano rolls and the slightly gothic strings. The percussive loop in the background only adds to the song's unsettling feel and things always feel as if they are moments from teetering over - even with Silva's wordless vocal backings. This keeps the song interesting, though, and when a heavy riff kicks in the build up pays off. The riff might not be as frantic as the piano, but the mid-paced heavy chug only adds to the song's cinematic nature - with the soaring strings and piano retained. The vocals return after a the riff beds in, but the singers are lower in the mix this time - meaning that they add to the overall feeling rather than dominate lyrically. This trick has been used before but it works well again here as the track comes to a close. Take Me with You is more of a typical ballad and the simpler overall arrangement reminds me quite a bit of Monochrome - although it feels a bit more overtly uplifting than is sometimes typical of Cavanagh's songwriting. There is still a darker edge, as is typical, but something about Cavanagh's simple vocal lines sounds hopeful - and both his and Silva's voices are presented in a much more organic way here against a simple musical arrangement which generally consists of slow-moving guitar lines and strings. Many of Cavanagh's songs are uplifting in a non-typical way, generally due to how they play with emotions, but this song feels a bit more typically so - and that helps it to stand out. Later slightly bigger string arrangements are much brighter than is normal - and something of a late chorus then takes over with easy-on-the-ear vocal hooks and another closing guitar solo filled with warm leads.

The album's title track then returns to the trademark relative gloom of the rest of the album and the heavy use of vocoder and treated vocals throughout the song makes it feel like something of a spiritual sequel to Closer. Sparse and ringing electric piano melodies set an early tone, over which Cavanagh sings in a mechanical and digital way due to all of the effects. Silva adds some harmonies, too, but generally the effects help Cavanagh's voice to sound big and all-encompassing given how limited the song is instrumentally early on. The electric piano almost flutters in and out, seemingly cutting out at times to create an unsettling tone - over which the vocals feel strong and consistent, creating an atmosphere all of their own. The song does grow, though, but it does take quite a while to change tack. This is a very electronic track, though, with synth loops soon fading in - and taking over totally for a while when Cavanagh stops singing. This synth hook then becomes the main focal point as Cardoso's drums kick in - and more synth swells fade in and out, all whilst the ever-present electric piano chimes away. There is something very pleasing about all of these keyboard instruments doing their thing together, though. All the different textures mix together well and despite the melodies not changing all that often the different hooks and the shifting dynamics between the different synths keep the track engaging - and Cardoso throws in a few big drums fills, too, to give parts of the song a kick. The album then comes to a close with The Space Between Us, which opens with a collage of wordless vocal melodies. This a cappella intro is different from the norm and the song as a whole is also a change in tack quite significantly - with a much more organic overall feel, particularly following the synth jam of the previous song. The trademark strings and hypnotic electric guitar lines from many of the songs here remain, but there is a strong acoustic guitar backing throughout and Cavanagh often sings alone with his acoustic guitar - before the wordless vocals from the intro return to provide something of a chorus. The arrangement feels less involved than is typical, then, but there is still a depth thanks to the various vocal layers included - and there are times when the strings do feel much more prominent. The closing part of the song is much more familiar, though, as Cavanagh launches into another of those tremolo-esque guitar leads which takes over the whole song once it kicks in. These guitar melodies truly soar and they dominate the final section of the song - albeit before the return of the wordless vocal hooks from the song's intro to allow the piece to fade out as it began. Overall, then, Ocean Without a Shore is both familiar and different. There are lots of comparisons which can be made to Anathema and I very much doubt that Cavanagh will mind that - but this is not just a re-tread of the past as it does touch on some new things. Changes were needed due to the different vocal styles at play on the album, but everything comes together well - and after a few listens I feel that the atmosphere and emotion of the album has sunk in. I think that Cavanagh plans to take this album and the new band on the road - so I hope that I am able to get to a Weather Systems show in the future, as I can imagine that some of these songs would really soar live.

The album was released on 27th September 2024 via Music Theories Recordings. Below is the band's promotional lyric video for Do Angels Sing Like Rain?.