CJ Wildheart's 'Devil' - Album Review

Over the past couple of years, The Wildhearts and Wildhearts-related reviews have seemed quite regular occurrences. The band itself, reborn by frontman Ginger Wildheart in 2024 following the break-up of the classic line-up in 2022, released a strong new album last year - and I saw them live last year and again earlier this year. Another member of that classic line-up, though, and one of the band's founding members, guitarist CJ Wildheart, has also been busy. Whilst he released solo albums alongside being a member of The Wildhearts, CJ has really stepped things up in his solo career since that 2022 split. Funnily enough, the first album he released following the split was called Split, which dropped in 2023, whilst Slots followed in 2025. Throw in the 2022 release Lives, a compilation of re-recorded songs from CJ's early solo albums, The Wildhearts, and other past bands, and 2023's live effort Kicks, and there has been a lot of CJ-related product to enjoy in recent years. He has also been fairly busy when it comes to playing live, too. I saw him headline locally here in Plymouth in 2024, which was my first experience of him live as a solo artist, whilst I saw him twice again last year - opening for both Michael Monroe and Ricky Warwick. 2026 has been quieter for CJ in terms of live activity, and he has been open about that and the challenges that essentially operating as a small-scale cottage industry music-wise brings - but CJ can never be accused of not giving everything his all and being open and honest with his fans. Despite the lack of live activity this year, though, CJ has still been busy over the past year or so - and released another solo album Devil back in June. Devil follows only a year after Slots - showing that this current creative streak that CJ finds himself in continues. He did suggest at one point that Devil may be his final solo album, or at least his final release for a while, but he already seems to be working on something new - and, like Michael Corleone, he seemingly just keeps getting pulled back in. Not counting the aforementioned re-recorded collection and live album, Devil is CJ's eighth solo album - his first, Thirteen, having originally come out way back in 2007. Before that, though, and before The Wildhearts reformed in 2001, CJ also fronted The Jellys - the songs for which he largely wrote. As such, The Jelly's two studio albums sit quite nicely alongside his solo albums - whilst Honeycrack's sole effort, Prozaic from 1996, also feels like a proper entry into the CJ canon despite him largely functioning as a guitarist and harmony vocalist in that band. The point that I am trying to make is that CJ has amassed a lot of material over the years - and that is not even taking into account the many Wildhearts albums that he was a part of during his two stints in the band. The Wildhearts' catalogue generally feels like Ginger's canon, though, even though CJ wrote and co-wrote some very memorable Wildhearts songs over the years - and a few choice Wildhearts deep cuts have graced CJ's solo setlists in recent years. Turning back to Devil, though, and the 35 minute, 10-track album is essentially what we have come to expect from CJ in recent years. The album is raw, punky, yet full of pop hooks - which is essentially the type of music he has been writing forever. As always, too, it is a true solo album in the sense that, bar the drums and some gang vocals, CJ is responsible for everything heard here. Jason Bowld (Pitchshifter; Blaze; This Is Menace; Pop will Eat Itself; AxeWound; Bullet for My Valentine; They Fell from the Sky) plays the drums throughout, as he has often done on CJ's solo albums.

I have been enjoying my time with this album, but I do not feel that it is quite as strong as the last couple - especially Split which I think is very strong. There is nothing mould-breaking here, and the songwriting is still strong overall, but I feel like the mix is perhaps less clear than is typically the case with CJ's work. His albums tend to have a rawness to them, but this one feels rawer overall - and, at times, it is perhaps a little too raw. His voice gets a bit buried at times, which is a shame, but that punk spirit remains - and there is still plenty to enjoy here. Kicking off with Nein Nein Nein, and in true punk fashion the song feels like it is fully underway the second the album starts - with layers of big guitar chords thrashing away from the off. Gang vocal chants sit in the background, although they are a bit too far in the background in my view, before CJ's snarling verse vocal takes over. His voice has always been a good mix of punk attitude and pop rock melody - and that remains the case here. He is perhaps more snarling here than he sometimes is - but he gets the song's message across, especially during the chorus which has a few folky vocal melodies as is often the case with punk. There is more going on musically than may be expected, too. Later verses have more of a guitar presence, with some subtle guitar leads, which are also utilised during the chorus. There is even a bit of a guitar solo later on - but nothing hangs around for too long, with the fast-paced, boisterous song a great way to kick the album off. The Art of Being Free opens with a strange bit of spoken word and a mellow guitar chord, but soon a juddering drum and guitar fill opens the song proper - and a mid-paced piece of pop-punk takes over. The song is one that opens with its chorus, a hooky section with vocal harmonies and accessible melodies. These influences have always been a big part of CJ's past - and the choruses of Honeycrack's sole album are somewhat referenced here I think. There is less of a punk drive here, with pop hooks and more of a typical rock approach overall. Some of the guitar leads feel like a throwback to the 1960s era of rock and roll, whilst the sing-song approach of some of the vocal melodies are similar in vibe. The guitar tones of the rhythms feel a bit more intense, though, which grounds the song within the album's overall toughness - but this is not a heavy song, even if there is still a bite to the guitar tone and the later guitar solo. Later shouty gang vocals do inject a moment of heaviness towards the end - but this song is CJ at his most accessible and melodic, and I can see the sing-a-long chorus working really well live. Diva picks the pace back up, with a slashing riff opening things up in a jangly, punky manner - before Bowld's drums crash in and the rest of the 'band' also join the fray. The opening riff is later repurposed pattern-wise in a heavier and more intense manner - whilst bluesy, high-octane guitar patterns are laid underneath this riff to provide some interest. The pop hooks of the last song have largely been replaced by attitude. CJ's vocals are back to their snarling best - with the semi-shouted chorus vocals recalling the 1980s punk scene quite a lot. This is certainly an uncompromising song filled with venom - but the overall attitude works for me, even if some the snarl of the vocals is lost due to the mix.

SOB keeps up the punk of the previous song, but reins in the pace somewhat - with the song feeling a bit more deliberate overall. There is less of the overall snarl of the previous number, then, but this allows for a more interesting guitar approach. Big chords are certainly utilised here riff-wise, but there are a lot more guitar leads thrown in this time - and CJ really gets to showcase himself as a guitarist here. He is certainly no virtuoso, but he is a tight player with an ear for a melody - and this song is elevated thanks to the utilisation of guitar leads throughout. Vocally, this song makes use of the dual vocal approach that CJ was often a part of during his time in The Wildhearts. There is a bigger vocal sound as a result - with the chorus having something of a chanted overall vibe. Sometime to Return is a cover of the Soul Asylum song from that band's 1988 Hang Time album. I have to say that I have no history with Soul Asylum, so Sometime to Return is not a song that I was familiar with previously. As such, I cannot say how this version compares to the original, but there is less of a punk feel immediately - with more a traditional hard rock approach guitar wise, alongside some more of CJ's trademark guitar leads. He also approaches the song a bit different vocally. There is less of a snarl and an attitude present this time - with his voice feeling a bit rawer in approach, with a slight gravelly feel on show. This vocal approach works given the more rock-orientated arrangement that this song suggests - although the later chorus is not a huge distance away from CJ's core sound, with poppy melodies mixed nicely alongside a heavier sound. It is quite a hooky track that has grown on me over repeated listens to the album. CJ also included a cover on his previous album, and choice covers can sometimes elevate albums - with Sometime to Return certainly not being unwelcome here. One of the Boys gets back to CJ's own material, and it is likely my favourite cut here. Perhaps what is lacking somewhat on this album is CJ's more anthemic side - but One of the Boys feels suitably anthemic, which is why it sticks with me. It is easily the hookiest song here in my opinion. The chorus is the catchiest on the album, with a great mix of loud gang vocals and folk/punk vocal melodies that lodge in the brain from the off. Great guitar leads are also utilised throughout - whilst some solo spots really add to the overall vibe, with great folky moments adding some melody to the hard-driving punk of the rest of the song. The mid-paced groove allows the song's anthemic nature to truly shine, though, and the song deserves to be setlist staple going forward. Rotten is somewhat similar in terms of the song's mid-paced nature, but overall the song does not feel all that anthemic - instead returning back to CJ's core pop-punk feel. That is not to say that there are not hooks here, as the chorus is pretty strong, with more folky melodies, whilst there is a bit of a call-and-response vocal approach utilised during the verses. I am not sure why so much punk utilises folky vocal melodies - but it has often been the case and the approach generally works well. CJ makes great use of that style and this album is a pretty strong advert for such.

No More kicks off the home straight with a riff that ups the overall heaviness somewhat - with something of a jagged and lumbering guitar pattern that is backed by some equally booming drumming. There is something weightier about this song when compared to many of the others here - especially early on and during the verses. The chorus feels lighter, with more pretty accessible hooks, but the verses are likely the album's heaviest moments - with foot-stomping riffing and CJ's gravely vocal approach again on display. The way that the poppier chorus transitions back into the heavier riff is quite pleasing, with the overall more metallic approach taken here also later represented during what feels like more of a screaming guitar solo. Those who prefer their music on the heavier side will certainly find plenty to enjoy here. Twenty Two opens with some slow-burning, fuzzy guitar - but this is another tease as the song soon kicks off proper, moving back towards a punk direction. This is another song that picks up the pace, and it feels quite furious at times. There is a rowdy vibe to quite a bit of CJ's work, but it is perhaps best exemplified here. The chorus in particularly has a strong party vibe, with a lot of scrappy gang vocals during it to give the sense of a bit of a drunken knees-up. The approach works well, especially compared to the somewhat more paired back verses which feature simple chugs - and another strong guitar solo later keeps the party moving. The album then comes to a close with Fade, a song that reins in some of the punky energy to present more of a power pop feel. Both Honeycrack and The Jellys were essentially power pop bands, and Fade would have likely sat nicely on one of the albums by the latter. There is still some bite thanks to Bowld's hard-hitting drums and CJ's guitar tone - but there is less energy here, with a smoother overall approach instead opted for. Chiming guitar leads and poppy vocal harmonies do a lot of the heavy lifting here, with the chorus actually feeling a little on the sweet side - which is a rarity for CJ. The overall approach works well for me, though, and it is certainly a bit of a point of difference compared to much of the album. CJ often flirts with such a sound, but rarely goes all-out - so it is nice to see him do so here. After nine pretty up-tempo and hard rocking punk anthems, something a bit smoother and laid back is welcome - but CJ's core approach to melody and 1960s style rock and roll guitar leads ensures that the song is well-routed on the album. The album is closed out nicely as a result - and CJ once again showcases his talents as a songwriter. Devil might be just another CJ album in some ways, but for those who like CJ's style the songwriting is strong and there are a number of choruses here that really stick. I do wish that the vocals, and especially the gang vocals, were higher in the mix, though, as I feel that some of the songs are a little robbed of power as a result. One of the Boys works so well due to the punch of the gang vocals - whereas other songs have them but they make less of an impact. There is still a lot to like here, though, and I do hope that CJ does manage to get on the road at some point to support this album - as live renditions of some of these songs would be good to hear.

The self-released album was released on 26th June 2026. Below is CJ's promotional video for One of the Boys.

Rachel Bolan's 'Gargoyle of the Garden State' - Album Review

Over the last couple of years there really has been something of a Skid Row-shaped hole on the touring circuit. Ever since I have been paying attention, Skid Row have been regular visitors to the UK - and I managed to catch them live four times at various points during the 2010s. Following the departure of frontman Erik Grönwall in 2024, though, two years after dropping The Gang's All Here (which I reviewed here), the band's first album since 2006, Skid Row have essentially been dormant. A few remaining booked shows were completed with Lzzy Hale filling in, which seemed to be something of a dream come true for her, but she was never going to be a permanent solution given her profile far eclipses Skid Row's these days - and Skid Row have essentially been dormant since. In truth, I found the Grönwall era a little odd - as he seemed rushed in to replace his relatively long-standing predecessor ZP Theart out of nowhere, only to leave for health reasons a couple of years later. There almost certainly exists, or at least existed, a version of The Gang's All Here with Theart's vocals, and he was credited with co-writing some of the songs, and I was a big fan of him in the band. I never got to see Skid Row live with Grönwall, who I do really like, but it did seem as if they ditched Theart for what was, in their eyes, a fancy newer model only for it to backfire shortly after. I do not know all of the ins and outs of course, but perhaps what goes around comes around, and maybe Skid Row are now paying the price for making a bit of a rash choice. Given how active the band generally were as a live act, the last couple of years must have come as quite a shock for the remaining band members - but the band's bassist and one of their main songwriters Rachel Bolan has seemingly used his time off the road creatively, as in June he released his debut solo album Gargoyle of the Garden State. Whilst this is not the first album to feature Bolan as a lead singer, as he fronted the band Prunella Scales during the late 1990s following Skid Row's initial break up with whom he released Dressing Up the Idiot in 1997, but Gargoyle of the Garden State is arguably the first album which Bolan has essentially put together on his own from a songwriting and creative perspective. He generally shares songwriting duties in Skid Row with guitarist Dave 'Snake' Sabo, with others occasionally chipping in, and Prunella Scales was a band effort, but this first solo album is pure Bolan - where he handles most of the lead vocals alongside the rhythm guitar and bass guitar duties. Bolan always brought a punk edge to Skid Row, helping to forge the band's dirty hair metal sound, and that influence certainly shines here. There are punk efforts on this 11 track album, but it is also just a great hard rock effort. Some songs have shades of Skid Row, but the overall sound is rawer - with short songs that fly by. All of the remaining members of Skid Row contribute. Rob Hammersmith (The Halls of Jupiter; Rockets to Ruin; Skid Row) plays all of the drums here, whilst Sabo and fellow guitarist Scotti Hill (Skid Row; Chrome Daddy) contribute a guitar solo each. Some of the songs feature lead guitar work from Damon Johnson (Brother Cane; Slave to the System; Alice Cooper; Thin Lizzy; Black Star Riders; Lynyrd Skynyrd), whom has co-written a handful of Skid Row songs in the past, whilst others contribute backing vocals throughout. There are a few guest lead singers, too, but Bolan handles most of the vocals here - with his punky, snarling voice perfect for the material here.

There really is nothing all that complicated on show here, and Gargoyles of the Garden State is pretty much exactly the album I expected it to be when Bolan announced it earlier this year. Some of the songs may have been destined for a future Skid Row album given the unplanned hiatus, and some could certainly work in that context, but there is a difference in overall approach here given the aforementioned rawness. Anything but You kicks things off, and it is pretty typical of the album's overall approach. A distant riff opens the song, but soon it fades in proper - with the snappy guitar pattern essentially becoming the driving force of the whole piece, whilst Hammersmith's punchy drumming adds a spiky rhythm. The immediately noticeable difference between this album and a Skid Row album is the more simplistic approach to guitar riffing. The high-octane, bluesy approach that Skid Row often utilise is replaced here by a hard-driving rhythmic approach common with punk - but these snarling power chords and choppy patterns work well, especially whilst Bolan's simple vocals cover them in attitude. Bolan may not have the biggest vocal range, but his voice suits the material here - and there is a power to his delivery, even if he does sound a little nasally. A hooky chorus draws the listener in, with some surprisingly poppy vocal harmonies, whilst a later guitar break showcases that Bolan is capable of more than just slashing away at a few chords. The barrelling punk effort gets the album underway nicely - and it is pretty typical of the core approach going forward. Lead single At War with Myself ups the pace somewhat, and the overall arrangement feels a little more involved. Bolan shares vocal duties here with Danko Jones, who sings the second verse, but the chugging guitar patterns here are a little more Skid Row coded - whilst it is the first song to feature Johnson, who throws in some melodic guitar leads at times. A shout-along chorus sees Bolan and Jones singing together in a hooky, chanting manner, which certainly sticks in the brain after a couple of listens, whilst Johnson's later guitar solo is also a melodic moment - despite its overall pace. There is something pleasingly anthemic about the song due do its overall simplicity, wordless vocal hooks, and driving guitars. This one likely would work well as a Skid Row song - but the punkier vocal approach from Bolan and the more modern metallic edge of Jones gives it a different vibe. Memory retains the pace from the previous song, but there is a bit of a stronger punk edge which harks back to the opening song. There is no guest singer this time, either, so Bolan's snarl drives everything - even if some subtle harmonies are added to a chorus that has a slight power pop edge. Bolan's day job as a bassist also gets a light shone on it here. The bass is high in the mix throughout the song, and it is the bass playing that essentially drives everything. The guitars just follow the bass for the most part, save for Johnson's short solo, and there are some classic punk inflections such as a few of the bass and drum patterns. The song is very typical of the album's core sound, but it is full of energy with hooks that soon start to sink in.

See You on the Other Side reins in some of the pace from the past couple of numbers, instead going for something of a more expansive, mid-paced sound. Expansive is meant here in quite a liberal manner, as the song does not deviate from the album's core sound hugely - but the arrangement feels a little airier thanks to the mid-paced approach, whilst the guitars sometimes drop away or deviate from a simple chug to allow for a bit more of a dynamic approach. This is another song with quite a prominent bass presence, too, and the bass does quite a lot of heavy lifting throughout - especially during the melodic chorus, with some more subtle harmonies. Sabo adds the guitar solo this time, and his somewhat more lengthy solo spot feels bluesier than anything that has been heard here up to this point. Later additional hooks are thrown in thanks to some wordless melodies as the song comes to a close - expanding the chorus further and building on a subtle anthemic nature. Bridges is the first song here not to feature Bolan on vocals at all, with Steve Conte (Company of Wolves; Crown Jewels; New York Dolls; Michael Monroe) instead singing the power pop-coded piece. I know Conte as a guitarist, largely through his work with Michael Monroe, but I do not think that I had heard him singing lead vocals prior to hearing this song. His voice is pretty strong, and it suits the more laid back vibe of Bridges - with chiming clean guitar melodies and subtle acoustic guitar backing during the verses, before the chorus, which is filled with sing-song melodies, feels somewhat heavier. Given what I know about Bolan's voice from this album, his snarl may not have worked quite so well for this song - so Conte's somewhat more overtly melodic approach instead allows the poppy and summery song to shine. The song is one that shows how much of an influence bands like Cheap Trick had on the 1980s rock and metal scenes - and it is always nice to shake things up with something lighter. Jet Black Universe gets back to something much more typical of the album, although the mid-paced rocker has something of a powerful classic rock strut rather than a true punk edge. Bolan's vocal delivery is always going to add a punk feel, but the guitar riffing here feels a little more strident - whilst Hammersmith's drumming is more percussive and grounded here. Despite the simplicity of the song overall, it contains the album's longest and most intense guitar solo - courtesy of Nuno Bettencourt (Extreme; Mourning Widows; Population 1; DramaGods; Satellite Party). I have often said that Bettencourt is the best guitarist I have seen live - and his playing here certainly elevates the strident, punchy song further, adding some fluid playing alongside another shout-along chorus. Big Stick also features a guest singer - with Corey Taylor (Stone Sour; Slipknot) relegating Bolan to backing vocal duties. Taylor is a more diverse singer than most give him credit for really, and he sounds great here. In terms of a punk sound, this is the song here with the biggest punk feel. The riffs are pure punk - and the gang vocals of the chorus make the song impossible not to sing along to. Taylor adds plenty of snarl to the song whilst still sounding melodic, whilst Johnson adds a brief turnaround-type guitar solo to keep things moving. There are clear Ramones references during the song, too, and it is one of my favourite cuts here.

Pretty Hell retains a similar energy, but there is a little more to the overall arrangement - with a guitar riff that feels like one of the strongest musical moments on the album. The riffing feels more involved than the slab-like punk chord progressions found elsewhere - although this song is still packed full of those moments. As such, the song feels like the album's core sound but pushed one step further - with the later chorus benefitting from the slightly more expansive guitar approach. Despite this change, though, there is nothing significantly different going on here. Bolan sounds strong vocally as always, with a simple chorus laying down some memorable hooks, whilst Johnson adds another old-school rock and roll guitar solo. A cover of Oasis' Rock and Roll Star follows. Oasis are certainly not a band that gets much coverage here, but I do quite like their first two albums - and Rock and Roll Star was always one of Oasis' rockier pieces. Bolan does a good job of turning the song into a more high-octane rocker, though, bringing out the underlying punk edge that Oasis have always had in their back pocket. This version of the song is more intense and hard rocking - but the snarl of Liam Gallagher's vocal approach remains in Bolan's, whilst Hill adds a lengthy and memorable guitar solo. I was not expecting an Oasis cover on this album when it was first announced, but I can see why Bolan would like early Oasis - and the song has been altered enough to fit nicely on the album in my view. Devil in the White returns to something much faster paced overall, and it really is a pure punk track. The bass does all the hard work here. The guitars essentially just add chords and the odd shimmer here and there, but the bassline is what keeps the song moving - and parts of the verses see the guitars drop away completely to just let the bass do all the work. Hammersmith's drumming is punchy and powerful, working well with the bass, and there is a lot of energy whipped up by the song as a result. It is very easy to latch onto, but hooks-wise it is perhaps not as memorable as some of the other cuts here. The chorus feels a little less strong, but the energy does a lot of the work here - meaning that the song still sits nicely on the album. The album then comes to a close with Walk Away, another fairly punky number - although the energy from the previous song is reined in somewhat. The track is more of a strident mid-paced number, but the bass-heavy approach from the previous song is retained. Again, parts of the verses here see the bass dominate, with the guitars dropping away, but when the guitars do join in this time there is something a bit more interesting about the riffing - plus Johnson appears one last time to add some leads here and there, as well as another strong guitar solo. The album somewhat opens how it closes, then, with a strident and powerful combination of hard rock and punk - with a decent chorus and plenty more attitude from Bolan. Overall, then, Gargoyle from the Garden State is a very enjoyable album from Bolan that essentially does what I expected it to. His love of punk is showcased here, but overall the album is a strong rock record with punk and pop influences - with strong and honest performances throughout. A few guests add their spice here and there, but this album is Bolan through and through - and it is fun to finally hear something that is 100% him after all these years of hearing him plough a lot of effort into Skid Row.

The album was released on 12th June 2026 via earMusic. Below is Bolan's promotional video for Anything but You.

Vio-lence - Plymouth Review

The summer can often feel like a bit of a barren wasteland when it comes to gigs. With bands often focusing on the festival circuit rather than organising headline shows, this time of year often feels quite quiet from a live music perspective - especially as I feel that my festival-going days are likely now behind me. Whilst my epic trip to London to see Def Leppard and Metallica twice fell at the beginning of the month, it now feels like quite a long time ago - with the fairly relentless heat that has fallen over the UK of late somewhat making time drag. My August is uncharacteristically busy, with three notable gigs in the diary, but there was one last treat for July to serve up - as last night I went out in Plymouth for a night of thrash metal. The venue was The Depo, on the very edge of the city centre, a well-respected venue that focuses on operating as a nightclub and as a host for DJs rather than as a traditional live music venue. It is a shame that it does not host bands more often, as it is a good size and fills a gap otherwise unfilled in the city - but given it opened back in 2021 as the pandemic wore away, the fact that last night was only my second visit shows how little the venue caters for those with tastes such as mine. The reason for the night out was a surprising visit to the city by the San Francisco-based thrash act Vio-lence - a band that date back to 1985, so were very much part of that Bay Area thrash scene during the 1980s. They might not be as much of a household name as fellow Bay Area acts Metallica, Megadeth, and Slayer, among others, but Vio-lence certainly earnt their spot in the roster - with 1988's Eternal Nightmare often considered something of a thrash classic. Two former members of the band in Robb Flynn and Phil Demmel later went on to play together in Machine Head, too, which Flynn has led since its inception - whilst Demmel is currently part of Kerry King's solo band. Vio-lence was a band that I was familiar with in name-only for a while, but I did not listen to them properly until I saw them live at the 2022 iteration of Bloodstock Open Air. That was, surprisingly, the band's first ever UK show - as they had never toured here during their original run in the 1980s and 1990s. I remember them impressing live, and I have since become something of a casual fan. The band's line-up back in 2022 included three classic-era members, including Demmel, as well as two other well-known faces from the thrash and wider metal scenes - but over time that stacked line-up has disintegrated, leaving just classic-era frontman Sean Killian left. It was a real shame that the reunion imploded, but Killian clearly had the will to keep going - and has put together a new-look version of Vio-lence over the last couple of years to keep touring and bringing the band's small, but hard-hitting, catalogue to the fans. Since that Bloodstock show in 2022, Vio-lence have toured the UK once as part of a bill with Exhorder. There is clearly a desire from Killian to keep any current momentum going - as some UK headline shows were announced earlier in the year as part of a wider European tour that included both headline shows and festival appearances. I certainly did not expect to see a Plymouth date included - but when I saw that the band were going to be within walking distance I picked up a ticket and started swotting up on the band's albums.

Following dinner at the Wetherspoons across the road, by the time I got to the venue it was about 15 minutes after the doors were supposed to open - but everyone was still stuck outside. It was not too much longer before we were all let in, but I did not think that the night seemed all that well run. There seemed to be limited urgency between sets to get things ready for the next band - plus it was clear that little thought had been put into getting the venue ready for the paying public, as the toilets, moments after the doors had opened, already looked like they tend to at the ends of gigs with wet floors and no toilet paper. The Depo did little to ingratiate itself with me, then, but it is the music that is of importance here - and the night got underway with a fairly short set from local act Atom Smasher. I had not seen the band live before, but I was familiar with them by name and reputation. The three-piece slightly progressive death metal act were largely playing to a pretty small crowd, but they had an enthusiastic approach and were pretty tight throughout - with some of the drumming in particularly impressing. Songwriting-wise, though, I did not feel that they were always all that interesting - especially for a band with a clear progressive influence. The riffs were often not knotty enough for me, nor were the arrangements especially interesting - with the band's music being pretty typical death metal overall, and towards the lighter end of the genre. There were certainly some strong grooves, and the use of two different voices to mix things up between deeper growls and higher screams did shake things up - but overall I think that it was fair to say that what Atom Smasher were doing was just largely not for me. Those who turned up early did make a bit of noise for the band, though, so there was a bit of atmosphere early on - getting things underway nicely.

The main tour support in the form of Cutthroat LA were up next - a four-piece hardcore band based in Los Angeles but with many of the current line-up hailing from Brazil. Led by frontman Neil Roemer, I think that both the band and the crowd took a couple of numbers to warm up - but it was not long before both were having a good time. I am not the biggest hardcore fan, but the genre often comes across well live - and I found myself really enjoying what the band were doing. The riffs from Renato Romano (guitar) were powerful throughout, with plenty of trademark groove, but perhaps the most impressive member of the band was Betto Cardoso (drums) who played some pretty off-kilter drum grooves in a hardcore context. Roemer made quite a big deal of the influence the Brazilian musicians brought to his LA hardcore sound - and there was certainly a bit of a Sepultura influence in some of the grooves on show, even if Cutthroat LA rarely went for a thrash approach. Vocally, too, Roemer sounded powerful, even if he was a little low in the mix at times, but he really excelled as a frontman. He spoke well to the crowd throughout and spend quite a bit of time down on the floor, largely due to limited on-stage space admittedly, but doing so he really ensured everyone was involved. Despite the crowd not being huge, there was a lot of energy in the room. Quite a few mosh pits broke out, and those of us not moshing joined in with plenty of headbanging. Roemer really worked hard to get the crowd onside, but his efforts paid off and it was clear throughout the set how much fun he was having. That is always great to see, especially given that the turnout could have been better, and I certainly came away impressed by the band's effort, tightness, and overall performance - even though, as mentioned, hardcore is not always really my thing. They put on a fun set that brought everyone in the room along for the ride - and that is not always an easy thing for a band to do, especially as I cannot imagine that too many present were already familiar with Cutthroat LA.

Following the two openers it was soon time for Vio-lence. The crowd seemed to swell a little after Cutthroat LA's set, but the place was not exactly packed. The floor area looked nicely populated in the open area in front of the balcony - but further back there was certainly plenty of space, and I doubt there were too many on the balcony. That being said, the turnout was not too bad for a Wednesday night and for a band that are not exactly a household name - and everyone that turned up had done so for a good time. As such, as soon as Vio-lence took to the stage, the overall energy levels rose and the atmosphere was great from the off. The band played for an hour - which is on the short side but thrash shows are often shorter than average, and the 10-song set was largely culled from the band's first two albums. As I said, only Killian from the current line-up has any real history with the band, but the four musicians that backed him all look to be veterans of the scene - and I recognised Ira Black (guitar/vocals) due to his previous involvement with bands like Lizzy Borden and Dokken. Killian just really feels like a lifer at this point, and a huge smile barely left his face all night. I do not know a huge amount about him, but I get the impression he has struggled with his health over the years - as well as the original disappointment of Vio-lence ending in the early 1990s. He just seems to be happy to finally be able to tour the world with his music - and even though he was playing in front of a relatively small crowd in a UK city generally off the beaten touring path he seemed to be having a great time. He has lost almost none of his throaty voice, either, and he sounded powerful during the set - whilst the riffing throughout from Black and fellow guitarist Claudeous Creamer was tight. Setlist-wise, the show was packed full of favourites. Most of the classic debut Eternal Nightmare was played, with the knotty title track kicking things off - but all three of the band's studio albums were represented, as was the Let the World Burn EP from 2022. Riff after riff came throughout the night, with shorter, sharper numbers like the break-neck Serial Killer sitting nicely alongside the anthemic like I Profit - with gang vocals from the band and the crowd helping Killian out during the chorus. Killian spoke to the crowd well, generally just coming across like a guy happy to be there, but generally he kept things brief and the band powered on. Ageless Eyes saw 1993's Nothing to Gain get some rare representation, whilst Officer Nice is a live staple for a reason thanks to its groovy, grinding chorus. The anthemic and shout-along Kill on Command should be seen as a true thrash classic due to its chorus alone - and it felt like the centrepiece of the show, even though it came towards the end. It was a high watermark moment, but the newer Upon Their Cross also felt powerful - before World in a World, which was a single back in the day, rounded out the band's powerful hour on stage. The setlist was:

Eternal Nightmare

Serial Killer

I Profit

Calling in the Coroner

Ageless Eyes

Phobophobia

Officer Nice

Kill on Command

Upon Their Cross

World in a World

It might not have been the most spectacular gig going, especially given the recent competition of two nights of Metallica at the London Stadium, but there is always something pleasing about a thrash show in a smaller venue with a crowd of die-hards who are out to have fun. Vio-lence are one of those bands that are well-respected but that never truly broke through - but those familiar with the thrash scene love them and are enjoying getting to this current opportunity to hear some of those old songs live. Killian deserves this latest Vio-lence era, too, even if many of the classic line-up seem to want nothing to do with the band - and he gave his all in Plymouth last night.

Lex Legion's 'Lex Legion' - Album Review

Given how long many classic bands have been around for at this point, it is unsurprising that many look unrecognisable line-up-wise compared to their heyday. Whilst some bands keep their classic line-up together for many years, or only manage to go through a handful of line-up changes, most bands that are around for a long time have many different eras - usually delineated by line-up changes. Sometimes these line-up changes lead to reunions that excite fans - and sometimes former band members join forces again under new names to keep legacies alive whilst also doing something new. As time passes, these significant reunions outside of the original band have become more common. One of the most prominent examples of such has been The Halo Effect, which saw four former members of In Flames reunite with successful results - and 2026 has also seen something similar happen in the form of Lex Legion. The band that Lex Legion links back to is King Diamond - the self-titled band fronted by Mercyful Fate's frontman that dates back to 1985. With the exception of frontman Nils K. Rue (Pagan's Mind; Eidolon; Holter), everyone else in Lex Legion was a member of King Diamond during the 1980s. Both guitarist Andy LaRocque (E.F. Band; King Diamond; Death; Illwill) and drummer Mikkey Dee (King Diamond; Motörhead; Scorpions) were founding members of King Diamond, whilst guitarist Pete Blakk (Geisha; King Diamond; Blakk Totem; Disaster/Peace) and bassist Hal Patino (Maltese Falcon; King Diamond; Doctor Butcher; Force of Evil; Disaster/Peace; Dark Blue Inc.) both contributed to some of the band's biggest albums. They all contributed to more albums than just these two, but the four musicians all played together on both 1988's "Them" and 1989's Conspiracy - although Dee had left the band by the time the latter was released. Dee dropped out in 1988 having helped start the band, whilst Blakk was in the band between 1987 and 1990 - and Patino enjoyed two stints between 1988 and 1990 and then again between 2000 and 2014. LaRocque was a King Diamond mainstay until a few days ago, though, as this review is being written with the news of his departure after over 40 years still fresh. It is unclear why he left after so long, but given that King Diamond have not released an album since 2007's Give Me Your Soul...Please I do wonder if he just got tired of waiting. In some of his recent interviews he seemed to struggle to contain his frustration at the lack of progress when it came to new material. It is a shame to see such a long-standing partnership broken up, but if LaRocque's departure from King Diamond means that Lex Legion can become something of a proper going concern then that is no bad thing - as, in my view, the band's self-titled album that dropped last month is really rather very good. Whilst I am not sure that Rue needs any further distractions when it comes to new Pagan's Mind music, as Pagan's Mind fans have been waiting nearly as long as King Diamond fans at this point, Lex Legion is an exciting release. With four musicians on board who helped bring those classic King Diamond albums to life, there are certainly similarities to be drawn between that band and Lex Legion. Lex Legion is certainly a darker, slightly progressive metal band with a spooky atmosphere - but they are perhaps more ballsy and gritty thanks to Rue. Rue might lack the ethereal and unique mysticism of King Diamond's enigmatic vocal approach - but he is a more powerful singer in my opinion. As such, there are shades of bands like Crimson Glory as well here thanks to Rue's vocal delivery - but those who love the dark, intertwining guitars and gothic atmosphere of King Diamond, perhaps minus some of the theatricality, are sure to find plenty of enjoy in Lex Legion.

It is not often these days that I wish an album was longer, as so many modern albums are too long, but Lex Legion is on the short side at just under 35 minutes. There is no fat here as a result, though, and I can see myself giving the album a lot of love over the coming months. Like Queensrÿche's self-titled 2013 comeback album (which I reviewed here), Lex Legion feels like a proof of concept and a taster of what is to come - and it is better to leave the audience wanting more. With eight proper songs here and an instrumental outro, there is still quite a bit to dig into here - and the album kicks off in fine fashion with Sleep Eternally. There is no messing around, either, as Rue hits some big, high-pitched screams essentially as soon as the song opens up - with dramatic, punchy power chords acting as a building intro, before a chugging verse takes over. These more hard-driving moments on the album are where Lex Legion deviate from the core King Diamond sound. There is more of an in-your-face approach to some of the more metallic moments, such as the verses here, but the twin guitar leads utilised later on to form something of a more atmospheric and spooky chorus see that King Diamond sound brought to life. It is a good mix of the familiar and something heavier, more akin to Rue's background, so the sound here feels like the perfect mix of the five musicians that are involved. The strident verses are catchy, largely thanks to Rue's performance, but the chorus latches on over multiple listens thanks to the spookier vibe - with Rue going for a floatier approach to match the melodic guitar lines. With LaRocque and Blakk on board, a guitar solo is never too far away - and this album is full of great lead guitar moments and solos, often seeing the pair of them trading leads back and forth. There is a great solo section to feature both here - and the song is just a great, high-energy way to kick off the album. Gypsy Tears is similar, but the song feels a bit more mid-paced overall - and with a longer intro to really set the tone. There are slight Eastern vibes in the riffing pattern during the intro, over which a lengthy and hooky guitar lead is overlaid, whilst gothic choral vocal sections are utilised throughout - some of which are quite King Diamond coded whilst others feel a bit more modern power/symphonic metal in approach. Either way, though, the song is packed full of melody. The prowling verses see Rue sounding a bit more evil, helped, by the choral interjections, whilst the chorus is more overtly hooky than the one in the previous song - with some big melodies that hark back to 1980s metal pioneers like Crimson Glory. It is a chorus that really sticks in the brain after only a handful of listens - and I can see the song really going down well live, due both the wordless choral vocals and the mixture of melody and an anthemic quality during the chorus. When the Stars Align is another pretty mid-paced number, but the main riffing feels darker and a bit more intense here - with Dee's mid-paced double bass drumming rumbling away beneath it. Keyboards are utilised throughout the album, played by the two guitarists, but they never really dominate - although there is a strong atmosphere added early on here thanks to some shimmering synth textures. Despite the darker tones utilised here, there are actually some similarities here to Pagan's Mind darker side. Rue's vocal approach here is more akin to his day job, and he goes for a less acrobatic approach - with the verses in particular sounding like they could have come from one of Pagan's Mind more stripped back and crunchier numbers. The chorus is more aligned with the album's core sound, though, with Rue singing in a higher register throughout - although there is still a power/progressive sound, and the spacey lyrical themes remind me a lot of topics Pagan's Mind often cover.

(I Am) the Resurrected retains the powerful crunch of the previous number, although the overall arrangement feels a bit knottier overall - with some strong grooves during the verses in particular. The short length of the album, and by extension the songs, means that no song ever truly feels progressive as none of them ever get to stretch out - but there is something a bit more interesting arrangement-wise here. The chorus is pretty typical, with some strong vocal hooks and an expanded length with even more hooks on later repetitions, but the verses are somewhat off-kilter groove-wise. The guitars do not just chug along in a typical manner as they have done elsewhere on the album - with a somewhat unsettling vibe conjured up thanks to the interlocking guitar riffing and Dee's excellent drumming. I would like to see the band attempt some longer songs going forward, but it is good that there are few songs here that try something different within fairly contained structures - and the off-kilter grooves here are rested on somewhat and put into the spotlight towards the end as part of a surprisingly lengthy instrumental outro. Lost Inside feels a bit more riffy from the off, with a melodic and fast-paced melodic riff that again has some Eastern-tinged vibes. It is a shame that once the rhythm guitars kick in in a big way the intricacies of the riff are lost and the guitarists adopt a more power chord-heavy version of the same melody - but it does mean that there is quite a bit of weight behind the song. This strident power chord pattern, backed by some heroic Dee drumming, does give the song real purpose - and it feels like a number that would work really well live. Despite the overall heaviness, there is a real classic rock swagger to the track - with much of the riffing and drumming a little more simplistic than the album's core approach, but this only allows the riffs and grooves to shine. As if to ensure a heavier core sound is retained, though, Rue utilises this base to showcase plenty of range. There are lots of higher-pitched screams and big vocal moments here, including some of his most unhinged moments on the album in my opinion. It is perhaps not as hooky vocally as some, but the song overall works well thanks to the excellent riffing and just the overall sound of Rue's voice. Dreams of Darkness opens slowly, with some atmospheric synths and clean guitars - but the song is not a ballad, instead it is a fast-paced number with plenty of energy and more of those twin guitar leads that manage to conjure up a haunting atmosphere. A slower song would actually be welcome here, as there is not one on the album, but I am glad that Dreams of Darkness kicks into a higher gear - as it is likely my favourite cut here. The mix of the fast-paced verses, atmospheric guitar moments that almost sound off melodically but work nicely, and easily the most melodic and sing-a-long chorus of the album makes for a winning song - and I think that it brings together all of the core sounds that have been showcased up to this point. Some of the more overt King Diamond influences and sounds can be heard here - but also Rue does his own thing vocally, especially during the smoother chorus which is pure Queensrÿche in sound and melodic structure. This is the song on the album that I return to the most as it ticks a lot of my 1980s metal boxes - plus the overall atmosphere is pitched right with a good mix of spooks.

Saviours returns to something of a more mid-paced sound - although juddering riffing allows for something of a groove, and Dee still lays down some double bass drumming even though the riffs move in a slower manner. This is something of a classic 1980s power metal trope, but it works as well as it ever did here, especially as Dee mixes things up drumming-wise. The faster sections sound great, but his powerful ride-led groovy drumming later on really allows Rue's vocals to pop during those moments - whilst the guitar solo section is backed by the simplistic, powerful drumming that he would often use during Motörhead's crunchier, mid-paced numbers. Saviours, overall, is not one of the strongest cuts here for me - but it is something of a drumming showcase for Dee, and there remains a decent chorus that allows for a smoother Rue vocal. Nothing on this album is poor quality, but the highs are very high - meaning that some of the songs which do not reach those highs feel less remarkable. The last vocal track here is Life Eternal, a song that picks up the pace somewhat and goes for a more energetic approach. Given that this is the last piece of real metal on the album, a more high-octane approach is understandable - and it is another song with something of a strident approach. Lots of the song is once again driven by Dee's double bass drumming, but the juddering riffing that mixes faster note sections and held chords is another with a strong classic rock base - and there is just something pleasingly familiar with the way the guitars move during this song, with some Deep Purple-esque about the rhythm patterns during the verses. This is still very much a metallic number, though, with plenty of metal drumming and a hard-hitting chorus that feels a bit more mid-paced overall - which sees Rue deliver some powerful and well-spaced vocal lines as the guitars rumble away beneath him. It is another pretty hooky chorus that sticks in the brain after a few listens - with some gothic choral vocals adding some harmonies and additional power elsewhere. The album then comes to a close with Far Away, an instrumental that is essentially a couple of minutes of clean guitar melodies and leads - later backed by some drumming and atmospheric synths. The overall approach works well, and the song does it job nicely as a closing coda, especially when some lead guitar moments come in later on, but for me it highlights the lack of this sound elsewhere on the album. Going forward, I would like to see the band experiment with longer songs and a more dynamic approach. Interludes and bridges that feature guitar playing like that found in Far Away would really shake up the formula - as would a proper haunting ballad. This sound is definitely in the band's wheelhouse - so hopefully on future albums we can see a bit more of a dynamic approach that allows the more atmospheric side of the band's songwriting to show. Really, that is my only criticism of the album - and it is more of a wish for the future than a proper criticism. Overall, I think that Lex Legion is a really strong first album from four musicians that were familiar with each other had but not worked all together for a number of years - plus a singer that we have really not heard enough from of late. Some of the songs here have already lodged themselves into my brain - and I can only see my opinion of the album improving. If there is to be a second album at some point in the future, and I understand that is the intention, then I think, by building on the sound, it has the potential to be even better.

The album was released on 12th June 2026 via MNRK Heavy. Below is the band's promotional video for Sleep Eternally.

Yes' 'Aurora' - Album Review

I am really enjoying that fact that so many classic bands are currently experiencing late career renaissances. Jethro Tull have released three strong albums in recent years, which constitute their best work since the 1980s, whilst bands like Uriah Heep and Deep Purple are in the midst of eras which are only marginally behind their 1970s heydays in terms of quality and creativity. I will certainly be covering Deep Purple's latest effort Splat! at some point - but today I instead turn my attentions to Yes, the British progressive rock act that formed all the way back in 1968. Whilst no-one in the current Yes line-up dates back to that 1968 genesis, guitarist Steve Howe first joined the band in 1970 - and during four stints has become one of the most notable contributors to the Yes story, likely third behind original members Jon Anderson and the late Chris Squire. Squire would still likely be in the band had he not died in 2015 - and drummer since 1972 Alan White also sadly died in 2022. Some criticise the legitimacy of Yes these days, but I think that Howe has every right to lead the current line-up - and since the band reformed without Anderson in 2009 Howe has essentially spearheaded Yes (along with Squire until his death) to create five more studio albums. 2011's Fly from Here is genuinely excellent, and remains a favourite of mine, but 2014's Heaven & Earth certainly felt less vital - even if I seem to like it more than most. It took the band a few years to recover from Squire's death, though, but since the pandemic Yes have been a creative force once more. The three albums that have now been released by the band in recent years feel like something of a trilogy - and they see a pretty stable and well-oiled version of Yes, comfortable in what they are trying to achieve, writing Yes-like music that certainly harks back to the 1970s but also feels a bit more accessible overall. 2021's The Quest (which I reviewed here) was one of my favourite albums that year - and it is one that I still return to. It was a release that exceeded expectations, as I did not really expect too much from Yes following the gap in albums and Squire's death - but the tight songwriting and retro sound certainly worked for me. It was the last album with White, too, although due to his poor health during his last few years I do wonder how much he actually contributed to it. Two years later, the band dropped Mirror to the Sky (which I reviewed here) - the first album by the band's current line-up, even if drummer Jay Schellen had contributed percussion to The Quest (although, as I said, his contributions may have been more than that). I really liked Mirror to the Sky, too, but it did not reach the heights of The Quest for me. Public opinion seems to suggest that the opposite is the case - with many preferring Mirror to the Sky. Either way, both albums saw Yes sounding strong in my opinion - and I hoped that Howe would find time for at least one more. Those wishes came true earlier this year, then, when Yes announced that their latest effort Aurora would be released in June. As such, I have had this album for just over a month at this point - and I have, unsurprisingly, been enjoying it. It really feels like the continuation of the band's recent era - with the current line-up's more simplistic approach to the classic Yes sound well entrenched at this point. Those who feel that Yes have not done anything worth listening to for years will not have their mind changed by Aurora, but those who enjoy the smooth and melodic take on the classic Yes sound that Howe and his colleagues have been pushing of late will find plenty to enjoy here.

As has been the case of late, the two main driving forces here are Howe and frontman since 2012 Jon Davison. The others all contribute of course, and this is the first album of this trilogy where all five members of the band get at least one writing credit, but Yes is very much driven by Howe and Davison these days - and the two of them wrote the kick-off title track. Opening with some ringing piano melodies and dramatic strings from the Czech National Symphony Orchestra, Aurora is one of the longer pieces here. At around seven and a half minutes, the title track crams a lot into its runtime  - and lots of classic Yes tropes are covered here. The piano intro has a majesty to it, especially given the orchestral backing, and some of the bombastic motifs from this intro return elsewhere, but once Howe's spiky guitar lines kick in the first verse moves along in a much more jaunty manner. Upbeat guitar melodies, shimmering synths, and simpler drum grooves back Davison as he starts to sing - but that classic Yes mysticism is present despite the hooks, and the song transitions nicely into an easy-on-the-ear chorus with subtle vocal harmonies and melodies that lodge in the brain from the off. There is certainly a lot of prog in this track, though, especially from Howe. Davison actually adds some additional guitar here, likely the simpler rhythms, whilst Howe deviates in his trademark manner - adding meandering, jazzy leads throughout; as well as some juddering melodies during the chorus. A lengthy solo is later included, which starts in a laid back manner before some harder rock tones take over for something with a bit more bite. Elsewhere, Geoff Downes uses synth melodies to great effect - with some warm, retro leads cutting through towards the end of the song; whilst both he and Davison add organ throughout. The orchestra, utilised here and on one other song, adds an extra dimension to the track - and the piece is big and bold thanks to the string backing. Turnaround Situation, written by Davison, pulls back from the slight bombast of the previous track somewhat - with the song instead going for a floaty, atmospheric rock sound. Davison has the perfect voice for Yes in my opinion, and he continues to impress throughout this album - his ethereal melodies floating nicely through the verses. He is actually responsible for quite a lot of instrumentation here, too. The ever-present acoustic guitars come from him, whilst the subtle organ riffs and occasional piano melodies are also his creations. He showcases his talents both as a songwriter and a musician here, then, but the song is very much Yes-coded - with Howe's jazzy leads cementing that retro feel, with both another meandering guitar solo and some classical guitar interludes. Howe and bassist Billy Sherwood also add some trademark vocal harmonies, too, which further cements the classic Yes approach. Love Lies Dreaming feels much more Howe-coded early on, with a relatively lengthy intro that features a mixture of fast-paced guitar motifs against a sombre groove from the rhythm section and occasional synth flourishes. A lot of the keyboard work here again seems to actually come from Davison, but Downes does lay down the piano during the verses - which often form the only real backing for Davison's floaty vocals. The verses are quite stripped back at times, then, but the song as a whole feels bigger - with the guitar approach from the intro returning quite a bit, whilst a poppy chorus sees some surprisingly bouncy melodies. Sherwood's bass playing stands out, too, and it is the first song where I can truly say that - which is quite rare for Yes.

Countermovement is the album's real centrepiece. The 13-plus minute epic is the most progressive expression of Yes on the album - and it opens in a dramatic manner with quite a lengthy instrumental section. All five members of the band are credited with writing parts of the song, so it is a true collaboration - but Howe really dominates early on. The instrumental opening, grounded by Downes' organ playing, is a real guitar showcase. Both aching lap steel melodies and jazzy lead guitar melodies feature - with Howe moving back and forth between the two styles. The keyboards and the kinetic energy of the rhythm section keep this intro moving for a couple of minutes - before the second part of the song opens up and Howe starts to sing. This first vocal-led section largely sees Howe taking the lead vocally, his deeper, wispy voice working surprisingly well - whilst Davison adds subtle harmonies and creates an ethereal backing. I am not always a fan of Howe's voice, but his singing works well here in my view - and the contrast between this approach and when Davison takes over properly later on is part of what makes the song tick. The guitar presence from the intro is largely retained, too, with plenty of busy lead guitar runs between vocal melodies. Howe also throws in some mandolin later on, with the final section of this second part feeling quite folky and upbeat. The third part sees Davison dominate vocally, albeit with Sherwood providing a counterpoint this time, whilst Downes creates a groove with his piano playing. There is something a bit more overtly rocking about this section. It was co-written by the rhythm section, so there is something percussive about the overall groove - with Howe's guitar largely relegated to a supporting function aside from his lead showcase moments. The piano and the drums do much of the heavy lifting here, then, despite some scrappy riff-led moments adding some bite. There are some relatively fiery instrumental moments here, too, with both Downes and Howe trading solos back and forth - flashy synth flourishes and lengthy guitar runs working well against a similar groove laid down by the rhythm section. This then leads into the closing section of the song, which is also instrumental save for a closing vocal reprise, which is largely focused around lap steel melodies and a sombre overall groove. This part of the song is very traditional prog in its atmospheric approach - with Howe's melodies essentially driving everything whilst Downes' synths add depth. The lengthy track is one that improves with each listen - and it has become a real favourite of mine. Ariadne follows, and sees the return of the orchestra. They kick things off, with some string flourishes, and they also form the main backing behind the verses as Davison starts to sing. Following the lengthy and guitar-heavy previous song, there is a floaty vibe throughout this track - with the orchestra and Downes' keyboard playing driving much of the song. The rhythm section adds some bite when needed, but this is quite a dynamic piece - with the rhythm section stepping away during parts of the song to allow the orchestra to really dominate. This is one of the few songs that Howe did not co-write, so it is perhaps unsurprising that the guitars feel less important here - although some riffier sections do kick in later on, and there are some lead showcases, too, even if the keyboards from co-writer Downes generally feel more important. Sherwood also co-wrote the song, and his harmony and counterpoint vocals also do a lot of heavy lifting here - with some key bass passages from him also.

By this point, though, the album has largely said all it has to say. The final three tracks, which are all on the short side, feel less vital than what came before. That being said, there is something quite fun about the jaunty and surprisingly hard rocking All Hands on Deck. A Howe composition, the juddering main guitar patterns, backed by some Jon Lord-esque organ playing from Downes, give the song a driving, hard rocking feel - even if there remains a jazzy overall vibe thanks to Howe's guitar playing style. Davison sings the song in a bit of a lower register than usual, with Howe adding some vocal counterpoints during the chorus. The chorus is pretty hooky, but in truth the vocal sections of the song feel like something of an afterthought. The groove of the instrumental sections, including some flashy synth melodies later on, feel like the main point of this track - and perhaps it would have worked better as an instrumental, even if some of the vocal hooks are quite fun. Outside the Box is another somewhat strange piece. Whilst not instrumental, it has no lyrics - as the only vocals throughout are wordless vocal melodies. The opening part of the song sees Davison, Howe, and Sherwood all harmonising together whilst Howe adds a delicate guitar backing - whilst the main bulk of the song later on feels like something of a studio jam, with the rhythm section laying down a tight groove whilst Downes plays with different synth sounds and melodies to essentially create something of a keyboard showcase. Davison carries on with the wordless vocals on occasion, but it all feels a little strange - and Howe largely steps back here to allow Downes to dominate. There are a few lead guitar moments present here, but this second part of the song is essentially a synth workout, with occasional vocal interjections, and it all feels a bit superfluous. It reminds me a bit of those shorter solo pieces on 1971's Fragile, but expanded into a full song that adds little to the album overall. The album the comes to a close with Emotional Intelligence, a Davison-penned piece that is largely an acoustic-based number. The big Yes grandeur is largely absent here, but following two largely instrumental pieces there is something welcome about hearing Davison sing again - laying down those classic Yes-like vocal melodies. He drives the song with his acoustic guitar playing, whilst occasional organ and guitar motifs add depth. At first it does seem as if the song is going to be a wholly acoustic piece, which would not be out of character for Yes, but the rest of the band do join in towards the end - with the rhythm section adding a bit of a kick and Howe laying down quite an emotive guitar solo. The overall vibe of the piece does not change significantly, though. It remains laid back and acoustic in nature - and I do like the way that it closes out the album. I just feel that the album has lost a little steam by this point - and Emotional Intelligence would have likely hit harder had it acted as a coda to see things out following an epic number preceding it. Overall, then, there remains a lot to like here for Yes fans, at least those who remain open minded regarding the current era, but the album is front-loaded and feels weaker the closer it gets to the end. Countermovement is likely the band's best epic-length track for sometime, and there is a lot to like during the first two-thirds of the album. No-one expects perfection at this point, though, and Aurora is a worthy addition to the Yes catalogue in my opinion - sitting nicely alongside the last two.

The album was released on 12th June 2026 via InsideOut Music. Below is the band's promotional video for Aurora.

Cyhra's 'Requiem for a Pipe Dream' - Album Review

It is always a shame when a band that seemed to hold a lot of promise seems to fizzle out creatively early on - quickly failing to capitalise on the aforementioned promise and instead becoming a weaker overall prospect. One band that I was really quite excited about early on is Cyhra - the Swedish pop metal supergroup that was originally put together by frontman Jake E and guitarist Jesper Strömblad when the two decided to join forces after originally agreeing to work on each other's solo albums. I am not sure exactly when the band was formed, but their debut album, Letters to Myself (which I reviewed here), dropped in 2017 - and it was an album that I enjoyed from the off. Given that E had recently left the pop metal act Amaranthe and Strömblad is a legend of the Gothenburg metal scene, most notably as a member of In Flames, Letters for Myself felt like a real combination of those two worlds. The focus might have been more on E's past, given the hooky and accessible nature of the material, but Strömblad's riffs and sense of melody are both recognisable from a mile off - and there was enough of the latter's influence to ensure that there was still quite a bit of bite. Cyhra could have been a bit of a one-off, but they became a going concern - with No Halos in Hell (which I reviewed here) dropping in 2019. Looking back, I think that Letters to Myself is the stronger album - but No Halos in Hell saw the band smooth out their sound and really showcase their own, distinct approach. It was also the first album to feature guitarist Euge Valovirta as a full-time band member and songwriter. Valovirta's influence certainly reduced the band's reliance on Strömblad's distinct style - but No Halos in Hell did not contain any real warning signs. During the next few years I ended up seeing Cyhra live three times: once in 2019, once in 2020, and once in 2022. They impressed each time, and their 2022 set at Bloodstock Open Air saw a new song played - which warmed me up for 2023's The Vertigo Trigger (which I reviewed here). Reading my review back now, I was fairly positive about the album at the time - but my view on it has soured. It is an album propped up by a handful of strong songs - but there are also quite a few bland numbers included and, in truth, it was the start of a decline. Despite being credited as the band's bass player on the album and as part of group songwriting credits, reading the CD's booklet in more detail revealed that Strömblad did not play on the album nor co-write any of the songs. Strömblad's has rarely played live with the band, as has been typical of his general involvement in his various projects over the past decade or so, but his complete lack of involvement in the third album was strange - especially as the band seemed to try and bury this information. Three years on, then, and we come to album number four - with Requiem for a Pipe Dream dropping last month. I have to say, I had no idea this album was coming out until about two weeks before it was released. I had not been keeping up with the pre-release singles, as the first one that dropped without any reference to a new album did little for me - and I started to accept that Cyhra were, perhaps, no longer for me. I had to give the new album a go, though, and I was pleased to see when I got the CD that Strömblad was actually involved this time. It seems guitar and bass duties were shared throughout between him, Valovirta, and Marcus Sunesson - Strömblad's live replacement who has since become a full-time band member. Strömblad also co-wrote five of the songs here - so I had higher hopes for something more akin to the first two albums before my first listen.

Sadly, though, a few Strömblad co-writes does not save this album. Requiem for a Pipe Dream is certainly not terrible, but it is easily the weakest Cyhra album so far - and it lacks the handful of standout tracks that made me stick with the last album despite being quite the step down from what came before. There is no real bite here, with the guitar riffs largely buried in thick layers of synth - and overall there is relatively little to write home about. There are a handful of decent tunes here, though, and opening cut Bleed with Pride is one of them. The song's opening riff certainly harks back to the melodic style of those first two albums, but there is a strong synth presence over the top of it which does round off some of the edges. Melody-wise, though, the song is on the stronger side. The guitar harmonies and riffs do recall that melodic death metal edge that Strömblad brought to the band originally - and there is a bit of crunch to the verses. The chorus is typical of the album's overall approach, though, as it is a bit bloated with too much synth, formless guitar rhythms, and vocal harmonies. The last album did not feel that well produced from memory, unlike the first two, and this album is similar at times - with an unclear and stuffed mix sometimes that fails to let any nuance shine through. The chorus vocal hooks are decent, though, and E sounds fine vocally - so the combination of this and the decent riffing gets the album off to a reasonable start. Superman follows, which was one of the singles released prior to the album being released - but sources online suggest that it, and some of the other singles, have been re-recorded. I think that this was the song that turned me off when I heard it last year, but it has grown on me somewhat - even if it lacks in any real metallic moments. There is very little riffing here, with crunching guitar rhythms about as metal as the song gets, although the drumming from Alex Landenburg is quite hard hitting and punchy at times. Mix-wise, this song sounds a bit clearer. E's voice sounds much clearer, and he sounds pretty good during the chorus - even if there is a lack of weight generally throughout. Some of the chorus melodies do stick in the brain after a few listens - and the use of subtle harmonies and pop refrains largely works well. A riffier approach would have been welcome, though. Miss Me When I'm Gone opens with a chiming synth melody - under which a bassline, which also sounds like it comes from a synth, rumbles away. Whilst the rest of the band later kick in during the chorus, this opening verse is pure pop. Occasional programmed drum beats later join in, and E starts to sing - his vocal melodies pure modern pop with a hip-hop edge. This is not really what I want in my metal, even in a pop metal song such as this, and overall this song is one that gives me cause for concern going forward with Cyhra. The chorus is weightier, but none of the flash of the first two albums is found in the riffing or melody approach - and a later instrumental section, which is a little heavier, just consists of some very processed, groovy guitar riffs. It feels like a token inclusion - and sadly quite a bit of the album is like this.

Ghostbound is a bit more like it, though, as it opens with a pretty hooky harmony lead guitar motif which harks back to the early days of the band. I do not need Cyhra to sound like In Flames, but that melodic approach, especially when considering guitar leads, was a big part of the band's core sound - and so much of this album lacks such. This song is one of the best cuts, though, as it has some energy to it and actually fuses a proper metallic approach with the band's pop sensibilities. The opening guitar melodies are hooky as detailed, whilst there is generally some bite and a heaviness throughout. The verses are chunky, with percussive drumming and strident vocals from E, whilst the chorus ups the pace - introducing some proper double bass drumming and vocal hooks which recall power metal somewhat. The chorus sticks in the brain, and is one of the album's strongest moments, whilst the guitars are ever-present - going back and forth between heavier riffing and melodic leads. This song shows that Cyhra can still write strong songs like they used to - but it seems that this is a sound that they no longer wish to focus on. In the Center of a Miracle returns to a much more overtly poppy sound - with synths and effects-heavy piano melodies dominating early on. The song is something of a ballad, albeit a bit chunkier in places, but E's vocals are very emotive and ballad-coded - especially as the verses are largely just the aforementioned piano, some programming, and vocals. There is some crunch to later verses, but they never feel truly metallic - whilst the guitars feel a bit lifeless during a somewhat amped-up chorus, even if E's vocal melodies here are decent. It is certainly not a bad song, but everything feels so processed and overproduced - and it is another cut that has a bit of a muffled mix at times due to too much happening at once. Skin from Bones is a bit heavier again, as the song opens with a groovy riff, backed by some stop-start double bass drumming, and overlaid by an industrial-sounding guitar lead. Whilst certainly not a song that is going to compete with the best that Cyhra have done in the past, compared to many of the blander cuts here, Skin from Bones at least has some life to it. The main riff is quite memorable and the grooves are a little tech metal-inspired - but then the song adopts more hip-hop influences during the second verse, during which E adopts a semi-rapped approach vocally. It sounds so awkward and somewhat ruins the song for me - although there are still parts of it that I like. The chorus is decent - but another instrumental section that consists of a slow-moving, effects-heavy guitar riff also acts as a let down. Ghost I'm Meant to Be opens with some more harmony guitar melodies. Strömblad's melodic approach is very much evident here - and this is another song that overall I like quite a bit. There are clear links back to the older albums - with a good mix of guitar leads, overall weight, and pop hooks. The verses are not the heaviest, but a strong bass presence and a strident E vocal suits the stripped back arrangement - and it always clearly one of those songs that builds towards its chorus, which ends up being cinematic and smooth with big vocal hooks. There is even something of a guitar solo towards the end of the song - something of a rarity on this album.

Mark of My Sins continues in a fairly crunchy manner. There might not be plentiful guitar leads and melodies here, but the riffing throughout is quite strong. There is some energy here, too, even if the pace is not all that high. The riffing throughout has something of an industrial feel, with the riffs having something of a danceable feel at times - but the vocal melodies throughout are not all that memorable in my opinion. E has a history of writing really strong vocal melodies, both for Amaranthe and for Cyhra, but they are lacking on the whole throughout this album I think. There are some standout moments as I have already indicated, but his choruses do not pop as they usually do too often here - and I also feel as if he is generally singing in a less powerful way, perhaps in attempt to sound more pop than metal. This is a song with some of the right ingredients, then, but I think it is let down melodically - particularly from a vocal perspective. Venom in Me opens with some flashy guitar melodies, and overall this is a song which gets more right than it gets wrong. The chorus is another with a stuffed mix, and I wish that some of the synths were stripped away, but E sounds much better here - with some more intricate melodies and he throws in a few tricks, including a higher-pitched section, to make the chorus pop. The song is pretty weighty throughout, too, with some pretty decent riffing at times - even if the harmony melodies from the song's intro end up having less of an impact as they should, with synth melodies dominating later on. The album then comes to a close with Box with Spirits, which feels more subdued than the last couple of numbers. There is some quite busy guitar riffing throughout the verses, which is nice, but it is largely mixed into the background - with synths and the bass taking a more prominent role. A few In Flames-esque harmony guitars are thrown in, which again are welcome, but this is another song that never really feels like there is enough bite here. So much of this album, even when there are riffs churning away in the background, just feels quite lightweight - and the overt heavier sections, particularly instrumental moments, rarely feel like proper metal. There are some better riff-led moments here, though, but there are also more of those effects-heavy riffy sections that go nowhere - although there is a proper guitar solo here which is certainly welcome. Again, this is song with some good ingredients - but a lack of real conviction, and it is perhaps fitting that the album ends in this manner as it sums up the album's overall character. It is a shame, really. I do not hate this album, but I cannot see it having any real staying power with me - especially as the previous one did not either and that was better overall. There are a few decent songs here, but nothing rivals the band's best work of the past - with even songs like Ready to Rumble on the previous album a step up compared to what is served here. Cyhra are certainly a band that I have much less interest in now than I once did - particularly given than I only genuinely like about half of their catalogue by this point. Requiem for a Pipe Dream may be where I get off the Cyhra train - but I still hope that the future can bring the bite back to this band.

The album was released on 5th June 2026 via Reigning Phoenix Music. Below is the band's promotional video for Superman.

Evergrey's 'Architects of a New Weave' - Album Review

I am not sure that too many bands over the past decade or so have been as prolific as the Swedish progressive/power metal act Evergrey. Between 2014 and 2024, during which the band's longest-standing line-up of frontman Tom S. Englund, guitarist Henrik Danhage, bassist Johan Niemann, keyboard player Rikard Zander, and drummer Jonas Ekdahl operated, Evergrey released six studio albums: from 2014's Hymns for the Broken (which I reviewed here) to 2024's Theories of Emptiness (which I also reviewed here). A new Evergrey album generally has dropped every couple of years, or even in consecutive years, of late - and much of the band's strongest work has come during this era. Looking at the band's live setlists in recent years, and I have ben lucky enough to see them a few times during this period, very few songs from the eight albums released before this recent run have been included - so it is clear that Evergrey really consider that their best material has come more recently. I would, largely, agree. I am certainly more familiar with the band's more recent work - but I do find some of the band's older albums to be on the patchy side, despite plenty of excellence to be found. There has been plenty of variety of late in the band's catalogue, too. The first three albums of the six-album run felt like a genuine trilogy - with influences as diverse and Anathema and Gojira bolstering the band's core gothic-tinged progressive/power metal sound. The two albums that followed in the wake of the COVID-19 pandemic felt warmer and more old-school in nature - harking back somewhat to the band's older albums, as well as their progressive and power metal influences. Theories of Emptiness, the final album of the run, was perhaps the odd one out - with a shorter run time and a more condensed, heavy sound seeing the band feeling much more metallic. It also turned out to be the end of an era - as it was the last album to feature both Ekdahl and Danhage. Ekdahl had left the band before the album came out, and Danhage stopped playing live with Evergrey last year - only to be officially replaced earlier this year. I was sad when both Ekdahl and Danhage left. They had both been veterans of the band prior to their 2014 return - having previously left in 2010 after serving since 2003 and 2000 respectively. It was initially hinted that Ekdahl would still work with the band in a production capacity, but that has not transpired to be the case - and it seems Danhage just stopped turning up. This is a real shame, but it makes fifteenth album Architects of a New Weave an interesting and exciting prospect. Englund, Niemann, and Zander return - with drummer Simen Sandnes (Shining; Temic) making his studio debut with the band here. Stephen Platt (Collibus; Ghost Keeper; Devin Townsend; Scar Symmetry) has since replaced Danhage, but he did not contribute to this latest album - making Architects of a New Weave something of a transitional album, as well as the band's first album as a four-piece since 1999's Solitude, Dominance, Tragedy. The album feels a bit different, too, in the sense that around half of the material was written by the band as a whole; with the other half written by Englund and his Silent Skies/Redemption bandmate Vikram Shankar - who also produced the album. With only one guitarist in the band, too, lead guitar duties are split between Englund and Niemann - with the latter impressing with some shredded solos. It may follow only two years after Theories Of Emptiness, but Architects of a New Weave is very much a new-look Evergrey - and likely a prequel to the next era.

Sound-wise, the album is very much typical of the band's core approach - but it pulls back on some of the overt heaviness of the last album, instead returning to the warmer sound of the two albums before it. In truth, there is a bit of every Evergrey era here - but the melodies are very strong. Englund is as good as ever vocally, but it is perhaps Zander's playing that stands out the most. Perhaps the lack of two guitarists during the creative process allowed his playing to feature more - and keyboard melodies feel much more prevalent this time. Opening with a spoken word piece, Welcome to the Pattern is a short, dark number with dramatic narration and dense strings. I do not recall the band doing something like this before - but it works well, and it segues nicely into The Shadow Self. A grinding, heavy riff kicks off The Shadow Self, reminiscent of the groovier approach of the aforementioned trilogy of the previous era - but dense keyboard textures add depth. There is a great mix of big guitar riffing and keyboard tones throughout this album, and The Shadow Self is a good example of such. The heaviness of the verses come from the guitars, whilst Englund sings with a real urgency and Sandnes immediately showcases his talent with a shuffling double bass drum groove, but there is a dynamic approach taken - with slower, piano-led pre-choruses and a soaring chorus that pushes the keyboards to the fore, both shimmering atmosphere and piano hooks. Subtle harmony vocals really make the latter half of the chorus pop melody-wise - and it feels pretty anthemic overall, whilst retaining the band's core darkness. Englund and Niemann later trade guitar solos, too, and the song feels like a perfect album opener - and a song that is likely to become a live favourite. The title track follows, opening with a strident mid-paced guitar pattern, underpinned by a warm synth melody and hard-hitting, groovy drum pattern. Some of the heaviness of the opening track is reined in here, with a much more atmospheric approach taken throughout - despite tough guitar rhythms and some double bass drumming. Snappy riffs act as links between song sections, but Zander's keyboards perhaps dominate during the verses - despite a pulsing rhythm and Englund's emotive vocals. The later chorus also feels quite anthemic, with Englund backed by some subtle gang vocals and a hypnotic synth melody to create something of a shout-along moment. Evergrey never really go for a full-on anthemic approach, but both choruses so far have felt full-bodied and hooky - and it is clear that this album is prioritising hooks. The chorus just continues to repeat as the song fades out - and this melody is one that really sticks in the brain long after the album has come to a close. The World Is on Fire returns more to the groovy vibe of the The Shadow Self, with a juddering main riff that recalls those occasional Gojira influences that have infiltrated the band's sound of late - whilst the verses here feel somewhat off-kilter, with progressive grooves, stop-start riffing, and vocal melodies that do not always follow traditional patterns. Following two somewhat more anthemic pieces, this song feels a little different and takes a few listens to fully appreciate. The riffing really grabs hold, though, given its undulating patterns, but the vocal melodies take time to bed in - even if the chorus takes a smoother approach thanks to some prominent synth atmospherics. The chorus feels like a bit of a contrast to everything else, but the combination works well - and is typical of Evergrey's approach of late.

Heaven picks up the pace, bursting out of the gate with a fast-paced, tougher power metal riff that is backed by some old-school stop-start double bass drumming from Sandnes. There is little of the band's modern, groovier approach here - with the song instead harking back to the band's older work somewhat. The arrangement is a bit more straight forward, then, going for that darker, gothic-tinged power metal sound that made Evergrey famous in the first place - whilst injecting a sense of pace and urgency. Englund sounds a little grittier here vocally, especially during the verses, whilst the riffing throughout is fast-paced and kinetic. Even the chorus, which does slow down somewhat compared to the verses, still feels pretty energetic - with something of a pace retained early on, even if the latter half of the chorus is more anthemic and mid-paced thanks to some more shout-along melodies. Guitar-wise, things are a bit more overtly melodic, too, with some twin guitar leads at times, a flashy melody sitting beneath the chorus, as well as another excellent solo trade-off between Englund and Niemann. The Script feels like it is going to be another pretty heavy track, given that it opens with a barrelling, juddering heavy guitar riff - but the song overall is much more dynamic overall. There are strong ballad-esque strains during the slow-moving and emotive song, but it never feels like a true ballad due to some heavier moments - even if Zander's piano does a lot of heavy lifting and Niemann's bass cuts through the mix quite a lot. There is a dense and emotive tone throughout the while piece. Englund, perhaps given the relative lack of heaviness, really dominates vocally - his trademark, deeper vocal delivery sounding as powerful as ever. Zander also does a lot of good work here, with piano melodies and hypnotic synth leads largely providing the main hooks - with occasional heavy guitar riffing to provide overall accents. A big guitar solo would have been welcome, but this is not really a song for the guitarists. Leaving the Emptiness ups the pace, and it is one of those somewhat rare songs that Evergrey write that feels surprisingly upbeat. The band are known for their emotive and quite downbeat vibe, but occasionally they put something together with a bit of a bounce to it - and this song is one such example. The main guitar and synth riffs early on are pretty energetic, whilst the cinematic expanse of the verses, thanks to some snappy drumming, keeps the energy levels high. Niemann's bass playing drives the verses nicely, whilst the keyboards shimmer away in the background, but the intro melodies later form the basis of a hooky and power metal-tinged chorus - with lots of strong Englund vocal hooks. Both Niemann and Englund later solo, too, with Zander also joining in - doubling up some of their melodies to really boost that power metal vibe. Longing returns to a much more dense sound following the relative bombast of the previous song - with subtle drum programming and synths the only backing for Englund's vocals early on. Following The Script giving ballad vibes, Longing is a true ballad - with little heaviness, even as the song progresses. Spacey synth melodies and rumbling bass playing dominates the song - whilst subtle guitar melodies and proper drumming do join in later on, with the overall arrangement and percussive nature of the piece reminding me somewhat of U2 of all bands. Some later chorus renditions do feel a little heavier, and there is a riffy bridge section later on - but Englund's guitar solo soars, keeping the song's emotive nature locked in.

A Burning Flame ups the pace again, and is another song that feels a little more upbeat than is often the case for Evergrey - at least early on. The main riff, again backed by synth leads, is pretty infectious - although the verses that follow are a bit more stripped back with a big bass presence and a lack of real heaviness. Mikael Stanne (Dark Tranquillity; Grand Cadaver; The Halo Effect; Cemetery Skyline) is featured on the song, but in truth I am not 100% sure what he does here. I think he adds some harmonies to the chorus and perhaps sings part of the second verse - but his contributions do not really stand out, which is a shame as he is a dynamic vocalist. Perhaps utilising his harsh vocals a little might have helped him stand out more - but this is a more overtly melodic song so that may not have worked. Despite this, there are hooks during the chorus - and a lengthy Englund shredded solo adds a lot to the song overall. Call Off Your Lions is more typical of the core Evergrey sound, although it perhaps lacks some of the core heaviness - instead going for a slower-burning gothic sound, with tougher riffing a little more in the background and big keyboard textures. The verses do grind along in a groovy manner, but the guitar riffing is a little more muted than it sometimes is - whilst the chorus, packed with emotion, feels like something of a lighters in the air moment despite the song not feeling like a ballad. There is a tough yet emotive feel here that is very much representative of that core sound Evergrey have channelled since the beginning - and the song sticks in the brain thanks to this vibe and some easy on the ear melodies. Zander gets a chance to solo here, too, his warm, retro synths giving a strong prog vibe to the piece. Chains of Shame picks the pace back up again, with another groovy riff kicking things off - which is very reminiscent of the band's last era. The riffing is quite fast-moving, though, so there is a strong energy here despite a groovy approach. The verses do slow the pace a little, with snaking bass playing and guitars crashing in and out continuing the groove - but the chorus feels energetic thanks to big keyboard stabs and an urgent Englund vocal. Clean guitar melodies later do something a bit different, creating a warm bridge section alongside a plodding rhythm and shimmering synths, before the core heaviness returns and the song speeds away to a tight finish. The album then comes to a close with the big-sounding The Prophecy. Opening with a rendition of the song's chorus, the slow-moving, yet fairly epic, piece is another with ballad-esque vibes without ever truly feeling like such. That being said, some of the album's most stripped back moments appear here, with Englund at times singing just against Zander's piano, but there is enough toughness here thanks to some doomy riffs and a dense arrangement to ensure that the song feels big and cinematic. Strings and other keyboard textures are often used elsewhere to aid this big sound - whilst crushing riffing adds to the doomy feeling, particularly during later chorus renditions. Melody-wise, the song is not one of the hookiest on the album - but it does go for a huge scope that reminds me of album closers past. It is a song that definitely takes a few listens to fully appreciate, and I do feel that it is another piece that would have benefitted from a truly soaring guitar solo, but I do like the way that the sombre, doomy piece closes out the album with a mix of dense piano and tough guitar riffing - even if there are stronger songs elsewhere. Overall, then, Architects of a New Weave sees Evergrey continue to do what they do best - despite the long-standing previous era having now ended. The line-up changes have not impacted the overall quality of the material, and I like that this album channels a few different vibes from the band's past. It will be interesting to see what Platt brings going forward, but this transitional album is another strong effort - and one that will likely really work live.

The album was released on 5th June 2026 via Napalm Records. Below is the band's promotional video for Leaving the Emptiness.