Erik Grönwall's 'Bad Bones' - Album Review

The solo album has long been a route for musicians more associated with band environments to try something new, outside the confines of said band, or to provide a change and a freedom following leaving said band. The latter is relevant to today's album, as I am covering Bad Bones - the latest release from the Swedish rock singer Erik Grönwall. I first came across Grönwall in the early 2010s whilst he was a member of the Swedish hard rock and AOR act H.E.A.T - with whom he released four studio albums and two live albums between 2010 and 2020. I first heard of H.E.A.T in either 2010 or 2011, but it was not until 2012's Address the Nation that I started to properly pay attention. I loved Address the Nation at the time, but for some reason I then fell of the H.E.A.T wagon - and it was not until 2018 when I saw the band live for the first time opening for The Quireboys that I truly became a fan. I quickly picked up all of the band's albums, and saw them again in 2019 opening for Skid Row (more on them later) - only for Grönwall to leave H.E.A.T in 2020 during the pandemic. H.E.A.T have since continued, with original frontman Kenny Leckremo back on board, whilst Grönwall's career since has been quite varied. Before his time in H.E.A.T he won the Idol reality TV show in Sweden - which likely made him appear on H.E.A.T's radar. Not long after leaving H.E.A.T, though, Grönwall was diagnosed with acute lymphoblastic leukaemia. My understand is that he has since made a full recovery, or least as much of a recovery as one can realistically make, despite him still suffering from the lingering effects of the cancer and its treatment. This cancer certainly had an impact on his next venture - which was to front the US heavy/glam metal act Skid Row for a couple of years. During his time with Skid Row, the band released the strong The Gang's All Here (which I reviewed here), and an excellent live album dropped after he had left, but Grönwall has since said that the band's busy schedule did not suit his recovery needs - and that Skid Row's core members were not willing to scale back on their activity. This led to Grönwall leaving Skid Row, and the band has, perhaps ironically, been dormant since. Perhaps more befitting Grönwall's needs, then, was a stint with the Michael Schenker Group. Much of Grönwall's tenure with Schenker, and the door somewhat seems open for him to return one day, consisted of a tour focusing on the latter's time in UFO - although he did also contribute to around half of last year's Don't Sell Your Soul (which I reviewed here), a rather bland album that failed to capture the imagination. With H.E.A.T, Skid Row, and possibly Schenker now behind him - Grönwall has branched out on his own, and his sixth solo album Bad Bones dropped last month. Whilst Bad Bones is his sixth solo effort, it feels like his true solo debut. The two solo albums he released back in 2009 and 2010 do have some original material between them, but there are also plenty of covers on both, whilst his three more recent Erikspanations albums only contain covers. Bad Bones, then, is his first album of all original material - and it was co-produced, co-written, and partially performed by some familiar names in Fredrik Thomander (Vildsvin) and Jona Tee (H.E.A.T; New Horizon). Tee remains one of the main driving forces of H.E.A.T, but is still clearly close to Grönwall, whilst Thomander has worked with H.E.A.T in the past - and is a known studio musician and songwriter in the melodic rock world. Anders Wikström (Treat), who often works with Thomander, also co-wrote and performed on a number of the songs here; whilst Philip Näslund (Raid; Bruce Dickinson) and Pedro Moyà (MUTsomos) contributed guitars and drums respectively throughout.

The core band, then is essentially Näslund and Thomander on guitars, with the latter also handling the bass, Tee on keyboards, and Moyà on drums - although others, especially Wikström, help out. I am unfamiliar with Grönwall's previous solo work, but Bad Bones is essentially what I expected from him as a solo artist. There are songs here that recall his time in H.E.A.T, albeit with a dryer and more guitar-heavy overall sound, plus some more modern-sounding hard rock numbers. It is a short album, but the 10 songs here are very solid - so there is a lot to like here. The album kicks off with one of the more modern-sounding hard rockers, with Born to Break getting things underway nicely. A hooky guitar lead opens the song up, albeit in a slow-burning manner, before a crunchy riff kicks in - and the aforementioned melody speeds up somewhat to create the first melodic hard rock hook of the album. The refrain later forms the basis of the song's chorus, but choppy, riff-led instrumental breaks and stripped back verses ground the song in a more modern sound - with the bass rumbling away behind Grönwall's bluesy verse vocals, before he adopts more of a explosive approach for the anthemic chorus. Grönwall has always been a powerful vocalist, and there is nothing about his performance on this album that is much of a surprise. His smooth, but powerful, voice always cuts through the mix - and there is just enough grit when required to add an edge. The choruses here have a bit of grit to them, especially thanks to some long-held screams, and the song sets the tone for nicely for what is to come. The album's title track follows, and a similar overall vibe continues throughout - although there is a bit more of a punky hard rock sound on display here. Big guitar leads are essentially absent here, with some percussive drumming and kinetic riffing dominating early on - whilst Grönwall's verse delivery moves back and forth between a more downbeat, semi-spoken approach and something much more powerful. There are certainly shades of the no-nonsense approach of Skid Row here thanks to the punky undercurrent - but the song is not as heavy as Skid Row overall, with a smoother bass approach and less abrasive guitar tones. The song still rocks pretty hard, though, and the fast-paced chorus really sticks in the head after a couple of listens - whilst a short, sharp guitar solo is also welcome. Praying for a Miracle is likely the song here closest in style to Grönwall's era of H.E.A.T. Tee's keyboards are much less prominent than they would otherwise be, and the guitars feel a bit more bluesy, but there is a smoother and much more anthemic feel throughout - with less hard rock grit. The mid-paced track has a strong groove throughout thanks to a deliberate and hypnotic bluesy riff, whilst some bass counter-melodies really make the verses pop. Grönwall sings in a smoother manner during these verses, too, before pushing himself during the album's best chorus - which really recalls H.E.A.T's overall style. There is a strong 1980s hard rock/AOR vibe throughout the soaring vocal hooks here - and it is impossible not to be drawn in to what is a real overall highlight. All that is missing is a big guitar solo, but this is not really an album that goes in for soloing all that much - which is not that surprising given that it is a singer's solo album. There are some fiery guitar leads under Grönwall's vocals at times, though, but it would have been great had these been capitalised on with a big guitar solo.

Who's the Winner slows things down, and goes for a grander overall sound. There are certainly shades of Queen throughout this track without ever sounding like a pastiche - with dramatic strings adding some depth behind Tee's piano playing early on. The verses here are largely piano-based, with Grönwall singing in a playful and dramatic manner over the top of the piano - although later verses are more band-orientated with the rhythm section also doing their bit and some choice guitar leads. The chorus really reminds me of late 1970s Queen and there is something of that band's drama throughout thanks to the ever-present strings and the depth of the arrangement - as well as Grönwall's excellent and dynamic vocal performance which certainly channels the late Freddie Mercury at times. Whilst not exactly a ballad, Who's the Winner slowed the pace down - so Lost for Life injects some pace back into the album, and returns to a rawer hard rock sound. There are similarities here that can be drawn to the album's title track, especially early on, but there is also a bit of the previous grandness retained. The opening riffs and the verses feel very grounded, with the bass again doing a lot of the heavy lifting whilst simple, scrappy riffs forming a powerful backing for Grönwall's snaking, sultry vocals. Unlike the title track, though, which continued this harder-hitting energy throughout its punky chorus, this song builds to a much more powerful chorus - which makes use of bigger keyboard arrangements, a more mid-paced and expansive sound, and some more theatrical vocals from Grönwall. It is also the first of two songs here to feature Erik Mårtensson (Eclipse; W.E.T.; Nordic Union) on guitars. He did not co-write this song, but his influence is likely felt during the chorus as a result. Twisted Lullaby picks up the heaviness somewhat, with the song being a pretty lumbering hard rocker that, at times, reminds me of latter day Whitesnake. The main riff is not a million miles away from the amped-up bluesy style that David Coverdale was operating in during the couple of decades prior to his retirement - with groovy verses with hard-hitting drumming coaxing a powerful vocal from Grönwall. The chorus is not very Whitesnake-esque, though, with the hypnotic melodies and the overall approach another moment that harks back to H.E.A.T somewhat. It is not as soaring nor as AOR-coded, but there is a smoothness and sing-song nature to Grönwall's chorus vocal delivery. This song does benefit from quite a big guitar solo, too, with some shredded melodies giving things a bit of a kick later on. Save Me also features Mårtensson, but this time he also co-wrote the song - as well as mixed it. Anyone expecting high-octane AOR in the vein of Eclipse, though, will be largely disappointed - as this is mostly a song that sticks within the album's core sound. The opening main riff is actually one of the toughest on the album, Mårtensson is known for his love of metal after all, and this is a pretty lumbering and hard-hitting mid-paced rocker. There is more of a keyboard presence, though, but Tee largely utilises organ sounds throughout - with the chorus in particular benefitting from the heft and organic roar of the instrument. The chorus is hooky, though, as would be expected with anything featuring Grönwall and Mårtensson - whilst the latter also delivers a strong guitar solo.

Hell & Back gets back to the core team behind much of the album, with the song opening with some juddering riffing - before another bass-heavy verse takes over. The riffing here is pretty slab-like, with chunky power chords moving back and forth as the song moves forward - whilst the pulsing bass playing of Thomander and some chiming clean guitar chords form the main character of the song. The main riff resurfaces for the chorus, which is a bit faster overall and full of hard rock power, whilst the strings from earlier in the album return. Unlike during Who's the Winner, the strings here are utilised in a more organic manner - adding depth where needed whilst also creating a Kashmir-esque instrumental break late on. The album's biggest guitar solo is likely included here, too, and this is a song that seems to cut loose a little more arrangement-wise - given the string break and the lengthy and high-octane guitar solo. The classic Grönwall hooks are still there, though, and his powerful vocals and big melodies still bring everything together. How High features another former H.E.A.T colleague in guitarist Dave Dalone. Whilst he did not co-write the song, from the moment the snaking and staccato riff kicked in I was reminded of H.E.A.T's bluesier, more guitar-heavy side - so it was no surprise to see that Dalone had contributed to the song. Tee's keyboards are also quite a bit more prominent here, especially during the chorus, so this, along with Praying for a Miracle, is the album's representation of the H.E.A.T era of Grönwall's career - especially the tougher end of H.E.A.T's sound. The foot-stomping chorus is another of the album's best in my opinion - with some choral and shout-along vocals to give it a big sound, whilst Grönwall's big character really shines through here. I can really see him strutting around the stage belting it out - and it is another overall highlight in my opinion. The album then comes to a close with Written in the Scars - the only true ballad here. Who's the Winner slowed the pace, but it never felt like a true ballad - but Written in the Scars does, and Grönwall delivers a strong, emotional performance throughout. The guitars throughout are courtesy of René Shades (Pretty Maids), although he largely sticks to acoustic guitars with the occasional bluesy lead, whilst keyboards and the returning strings form the basis of the song. Ending an album with a ballad can be a bit controversial. Sometimes it can really halt the flow of an album at the last hurdle, but I think the slower closing approach really works well here. Given that much of the album is pretty hard-hitting, this emotive and largely slow-burning track acts as a fitting curtain call - and it helps that Grönwall really delivers vocally, from heartfelt quiet moments to big powerful ones as the song moves towards its orchestral climax. The final chorus really hits home for me - and it soars above the rest of the album nicely, and the lyrics feel quite apt given all that Grönwall has gone through health-wise in recent years. I suppose a proper solo career from Grönwall was inevitable after his times with both H.E.A.T and Skid Row, and Bad Bones feels like a true launch of a solo career from one of the best younger rock singers on the scene currently. It may not be hugely different from his past work, and he may have kept things familiar in terms of his collaborators, but the result is a hard-hitting and fairly modern-sounding melodic hard rock album that sits apart from his previous bands just enough to allow it to stand on its own. I am sure that this will not be the last we hear from Grönwall - and it will be interesting to see how his solo career pans out from here.

The album was released on 22nd May 2026 via Playground Music. Below is Grönwall's promotional video for Bad Bones.

Crown Lands' 'Apocalypse' - Album Review

With all the current excitement surrounding Rush recently kicking off their first tour in 11 years, and I am looking forward to seeing them live for the first time next year when the tour makes its way to Europe, it has been somewhat easy to forget that the band that many were calling the new Rush two or three years ago recently released a new album. It is not unusual for a new young band to be called 'the new X', especially if there is one very obvious retro influence present, often as a way to attempt to persuade stuck-in-their-ways older fans to try something new. The Canadian duo Crown Lands, though, in some ways surpassed the typical 'the new Rush' tag when I first started hearing about them back in 2023/2024 - when news of the band's second album Fearless made its way over the ocean to the UK. Considering how much hype there was around Fearless for a while, it amazes me that it still has never been officially released physically outside of Canada. Whilst I was familiar with some of the songs due to checking the band out at the time, I did not actually hear Fearless in full until earlier this year - when I was finally able to track down a reasonably priced second-hand CD copy here in the UK. Worldwide re-releases of much of the band's catalogue are needed, then, especially as they have been around since 2015 - and have now released four studio albums, four EPs, and a live album. I had not heard of the band before all of the hype surrounding Fearless - and how much like mid-1970s Rush, especially albums such as 1977's A Farewell to Kings and 1978's Hemispheres, it sounded. Having now heard the whole album a handful of times, not everything sounds like Rush - but there is certainly a strong Rush influence throughout, particularly during the longer numbers. What is perhaps more impressive, though, is that everything on the album was performed by two people: lead vocalist, drummer, and occasional woodwind player Cody Bowles, and multi-instrumentalist Kevin Comeau, who was essentially responsible for everything else. Bowles' high-pitched vocal delivery certainly recalls Rush's Geddy Lee in his younger days - but the progressive arrangements, prominent guitar and bass interplay, and the use of retro keyboard sounds also helped to fuel the Rush comparisons. The duo returned with their third album Ritual I & II last year, but the LP and digital-only release was essentially two ambient and largely instrumental EPs bundled together - which went for a very different sound to the harder, progressive rock of Fearless and before. I have not heard Ritual I & II, but I get the impression it was a deliberate attempt to do something different and cinematic - and that it was not intended to represent where the band would go going forward. Their next 'proper' album, then, was released last month - with Apocalypse feeling like the true follow-up to Fearless. Given that it has international distribution, I was able to get it on release day for a sensible price - and I have been enjoying it over the past few weeks. It certainly builds on the sounds of Fearless - but with more of an old-school approach in terms of album construction. Apocalypse is under 45 minutes long, with the title track being a closing side-long epic. This is a more concise album than Fearless, then, but as it is a concept album is has a pleasing flow - and there is still quite a bit of variety here despite the shorter runtime, which is fitting given the band's progressive influence. Bowles has perhaps diversified a bit vocally here, too. There is still plenty of Lee to be heard - but there are also shades of Led Zeppelin's Robert Plant and Zebra's Randy Jackson.

Zebra actually feel like quite a big influence here, especially their first album, but the dense keyboard textures and retro sci-fi concept keep those Rushisms from Fearless very much flowing throughout Apocalypse. The brief intro piece Proclamation I kicks things off, fading into view with some delicate and distant piano melodies - before retro synths and vocalisations grow in stature, creating a warm and cinematic sound. A synth lead rises through the mix, whilst Bowles starts a marching drum pattern - whilst choral vocals and denser keyboards create a bigger sound. This is one intro piece that could actually be longer and still likely be effective, but it is only just over a minute long - and when Comeau's first bluesy guitar riff kicks in the album transitions into Foot Soldier of the Syndicate. A driving hard rock groove and Bowles' Jackson-esque vocals dominate - whilst the aforementioned guitar riffing and a pulsing bassline provide the main musical depth. Some of the songs on this album feel a bit rawer than the overall core sound of Fearless - and this is one such example. There is much less of a keyboard depth here, although a later bridge section reins the guitars back in to allow for a synth undercurrent. Generally, though, this song is a driving hard rocker. The bluesy main riff is kinetic and full of energy - whilst even sections which feature clean guitar melodies still have a hard rock rhythm section to drive them. The bluesy verses and the proclamation-type chorus are full of powerful musical and vocal moments, then, whilst Comeau also impresses with a couple of guitar solo sections - one of which is more biting and one of which is more atmospheric later on. Through the Looking Glass feels much more atmospheric overall - with an organic, synth-driven sound that very much recalls Led Zeppelin. Bowles' vocal delivery here, especially during the verses, is very Plant-esque, whilst the Rushisms from Fearless largely return during a stratospheric chorus that sees Bowles singing in a very high-pitched manner. Following the barrelling riffing of the previous song, this number feels more deliberate and low-key - with chiming clean guitar melodies backing the verses, dense keyboard arrangements, and a more deliberate drum pattern. The Led Zeppelinisms during the verses really shine, but there is a strong progressive rock feel - largely thanks to some excellent guitar leads during the aforementioned chorus and shifting keyboard tones. There is no real soloing here, but there are instrumental moments that are characterised by subtle synth melodies. Blackstar returns to a harder rock vibe, but the blues muscle of Foot Solider of the Syndicate is replaced with a smoother, more overtly melodic feel. Twin guitar leads open up the song, whilst a choppy drum groove and snappy bass line back them. Bowles returns to a Lee-inspired vocal performance here, and there are slight shades of late 1970s/early 1980s Rush here, albeit with vibes of bands like Thin Lizzy and Foreigner. The guitar playing here, including the main riff that backs the verses, feels quite inspired by the former - whilst there is a slight early AOR edge that reminds me a little of the latter sprinkled throughout. There is a smoothness to the song that is perhaps absent from some of the band's other rockers - alongside a powerful chorus that really grabs hold after a few listens. A really lyrical guitar solo later builds on the main musical motifs of the song - with Comeau showing on this album how varied and melodic his guitar playing can be.

The Fall returns to a heavier sound, with a fuzzy bassline and hard-hitting drumming dominating early on - before a juddering guitar melody that reminds me a little of Pink Floyd's Run Like Hell takes over for a pulsing verse that features Bowles' shaman-like vocals against this slightly funky backdrop. There are strong grooves throughout this song, then, whilst Comeau's bass playing perhaps steals the show despite the prominence of the rhythm guitar chug. Aching, effects-heavy guitar leads help to break up these grooves - but this is largely an energetic, if mid-paced, rocker with a strong sense of melody. The Revenants I is the album's slow number, with the duo here looking back to Led Zeppelin III. Organic acoustic guitar and subtle keyboards are all that back Bowles' voice early on - and they utilise a breathier, more ethereal vocal style than usual. There is a gentle vibe throughout, then, whilst the acoustic guitar strums away in the background. The keyboard tones change as the song moves on, though, with denser textures and more prominent sounds slowly creating a bigger sound - despite ensuring that the organic base remains. There are a few times when it feels as if the song is going to grow in stature and become a bit more of a rocker, but it never does - with each mini crescendo a false dawn. The slow nature of the piece works well, though, and Bowles' later flute additions help the song to fade out nicely. It is left to the 19 minutes of Apocalypse to round things out. Whilst there have been plenty of classic progressive tropes on the album so far, this is the song where they all shine - and the song harks back to the longer cuts on the Fearless. Pulsing synth and guitar melodies dominate early on, whilst Bowles lays down drumming with a mixture of groove and busy tom-work. The lengthy instrumental intro is pretty epic, in the bombastic manner of many side-long epics, and the band's Rush influence is certainly heard during parts of this number - alongside all of the other influences already mentioned. There is a lot of variety here, with a good mix of harder rock sections alongside much more atmospheric moments - some of which recall early Genesis a little. Whilst the song is impressive musically, though, I think Bowles really shines as a vocalist here. There are sections that feature lots of call-and-response vocal moments, and they utilise different styles and textures during these moments - some of which are surprisingly aggressive and sound quite different to anything else on the album. There is also a lot of busy synth work. Comeau of course uses his guitar a lot, but he has also made more room for synths melodies and leads this time - with lots of warm and flashy melodies throughout, often in place of guitar leads. There are still plenty of big guitar moments, though, both in terms of big textures thanks to larger-scale riffing and cinematic clean guitars, but also in terms of leads and solos. A guitar solo section never feels too far away, with cutting leads contrasting nicely against the warmer synth melodies and Bowles' occasional flute. What I like about Crown Lands, too, is that they are a very melodic and lyrical band. Even though this song is long, a lot of thought has been put into the vocal arrangements and lyrics - and this is not just a long vehicle for lots of soloing. The musical passages really help to emphasise the story being told - and the use of musical reprises throughout to return to previous musical motif and melodies gives the song a complete feel. Writing a side-long epic is not easy, but Apocalypse manages to hold the interest - and its overall epic nature ends things on a real high. Given its shorter overall runtime, there is very little fat on this album - and overall I think that it is a very strong and enjoyable effort. It is unashamedly retro, but this is no bad thing - as the songwriting and overall musicianship throughout is excellent. There is a lot to like here for fans of classic progressive rock, and Crown Lands are one of the best new bands doing this kind of sound.

The album was released on 15th May 2026 via InsideOut Music. Below is the band's promotional video for Through the Looking Glass.

Crashdïet's 'Art of Chaos' - Album Review

When it comes to the Scandinavian sleaze revival that swept through Europe during the late 2000s and early 2010s, I think that it is fair to say that Sweden's Crashdïet were probably best in class. Whilst bands like Hardcore Superstar laid the ground work, Crashdïet's proper hair metal aesthetic and poppier edge helped them to stand out from the off - with their debut album Rest in Sleaze from 2005 likely one of the best hair metal releases since the early 1990s. Whilst clearly heavily influenced by what came before, Crashdïet's approach felt fresh during their early run - and they are still well respected in Europe despite never exactly becoming world-beaters. Despite this, though, Crashdïet's journey has never been plain sailing. Founding frontman Dave Lepard's suicide in 2006 led to a hiatus after only one album - but the band have always fought back from adversity. H. Olliver Twisted, who later returned to his own band Reckless Love under his real name Olli Herman and found success, got the ball rolling with 2007's The Unattractive Revolution, but it was arguably during the Simon Cruz era between 2009 and 2015 where the band had their busiest and most successful period. It was during Cruz's time at the helm that I got into the band and saw them live for the first couple of times - and 2010's Generation Wild is likely still my favourite Crashdïet album despite it not having the same impact as Rest in Sleaze. The band entered something of a hiatus following Cruz's departure, but in 2017 singer number four in the form of Gabriel Keyes came on board. Rust (which I reviewed here) followed in 2019, and it felt like the start of a successful new era. I also saw the band live in 2019 for the first time since 2013 - and I was really impressed by the then-new line-up. Sadly, though, Rust's follow-up, 2022's Automaton (which I reviewed here) was a bit of a strange release that never wholly felt like a Crashdïet album. It has its moments, but it is certainly not an album that I have revisited much since reviewing it - and it is likely my least favourite of the band's albums to date. Keyes then also left in 2024, and I really started to wonder why the band struggled to hold onto singers. As such, Crashdïet are now on singer number five - as John Elliot (Confess) was brought in to replace Keyes. The band have certainly felt a bit busier live over the past couple of years since Elliot joined - and they impressed again when I saw them live last year. It was time to hear what Elliot could do in the studio, then, and last month the band's seventh album Art of Chaos, the first with Elliot, dropped. More than ever, though, Art of Chaos feels like a fresh start for the band - as the Crashdïet line-up featured here is very much a new-look one. Singer changes have been common as pointed out, but the other three long-time band members had remained the same since Rest in Sleaze. Drummer Eric Young left the band in 2024 along with Keyes, although he had barely played live with them for a number of years beforehand despite writing a lot of Automaton, whilst bassist Peter London stepped back from the band last year for health reasons - after also missing some live dates. The door does seem open for London to return, but his replacement Chris Young (Midnight Danger; Lipz) has signed on for this album cycle at least - whilst regular touring substitute Michael Sweet (Lipstixx N Bulletz; ToxicRose; Sweet Creature) has joined on drums. Michael's guitarist brother Martin Sweet, then, remains the only classic-era Crashdïet member left - rounding out the new-look line-up consisting of Elliot, Martin, Chris, and Michael. Martin has essentially been responsible for all of the songwriting here, despite a couple of co-writes from producer Patrik Frisk (who also produced The Unattractive Revolution) and one from Keyes, which is fitting given that he did not seem to have as much input as usual on Automaton.

Despite the big line-up overhaul, Art of Chaos is very much Crashdïet at heart. Some of the early reports suggested a full-on return to the Rest in Sleaze sound and vibe, but I am not sure that such is true - and there are shades of all Crashdïet eras here. As such, Art of Chaos is a strong and fun album - which does get better with repeated listens despite a hooky overall approach. A 40 minute run-time helps things flow, too, and this is a punchy release as a result. It is not an album that stands on ceremony, either, with lead single Satizfaction kicking things off immediately with a hooky and melodic guitar riff that lays down a solid groove. Hooky and heavier riffs sit side-by-side, whilst the verses are much more bass-led - with percussive drumming backing Elliot's first vocal for the band. His voice is largely melodic, but there remains a gritty edge - and he suits the band well. All of the band's previous singers have brought something to Crashdïet, and it looks like Elliot will be no different - as he really comes into his own during snappy and slightly Def Leppard-inspired chorus, with sugary harmony vocals and the repurposed riff from the intro. A gang vocal-led later bridge section injects a heavier moment briefly, but largely the song is all about hooky riffs and a chorus that is sure to go down well live. Sick Enough for Me feels a bit more sleazy overall, with a snappy bass and drum groove settling in early whilst Martin lays down some melodic and cutting guitar leads to introduce the song. Like the previous song, Chris' bass is a big player during the verses. The guitars often drop away here, leaving the bass to pound away beneath Elliot's voice - with sleazy vocal harmonies increasing in power as the verses move towards the chorus. They remain during the hooky chorus, which feels tougher than the previous song's chorus, although it is one of those choruses that takes a twist half way through to push a melodic approach in a much more overt way. It is really easy to sing along with after a handful of listens - and the song feels like one of the most anthemic pieces here. More hooky guitar leads are utilised later on, before Martin throws in a busy, yet playful, guitar solo that builds on some of the hooks and sleazy vibes heard elsewhere. Chaos Magnetic goes for a bit of a heavier approach overall. Michael lays down some double bass drum patterns from the off and the riffing overall feels quite a bit tougher. Slightly discordant guitar motifs are occasionally thrown in to add accents to the main guitar riff-led moments - whilst the verses switch back and forth between a powerful bass-led sound and crunchy guitar rhythms, often backed by the aforementioned double bass drumming. This drumming approach continues throughout the chorus, too, which introduces a much sleazier and melodic sound - with more big vocal harmonies and Elliot pushing the poppier side of his voice above the crunch of the guitars. To fit in with the heavier overall feel, too, Martin lays down a much lengthier guitar solo here than is typical - with shredded melodies and a later riffy instrumental section really building on the tougher overall feel. Parts of this song remind me of the bluesier, heavier end of the Cruz era of the band - but the vocal approach is more reminiscent of the poppier end of the Crashdïet sound, meaning that Chaos Magnetic is a bit of a mix of different Crashdïet eras crashing together.

Can of Worms opens with a pretty strident mid-paced guitar riff that is packed with plenty of crunch. The guitar tone utilised throughout this album has a certainly 1980s brightness to it, but there remains a dirty crunch at the same time - and the opening riff here is a really good showcase for how the album sounds overall. The riff is really allowed to shine, too, as early on there is little behind it - although Michael soon starts to hit one of his toms in a rhythmic manner before the first verse kicks in and the band crash in. As is often the case here, the bass feels quite dominant during parts of the verses. The song is more guitar-driven overall, and there is a weight to the verses, but the bass still does a lot of heavy lifting whilst Elliot's rasping vocals add to the grit. The chorus takes a more melodic turn, though, with cleaner guitar melodies behind the sugary vocal harmonies that often characterise this album - during which Elliot delivers another pretty hooky selection of chorus vocal lines. A 1980s-style key change later impacts the last chorus, too, which is a classic move that never really seems to feel old. Loveblind is the album's ballad, with Frisk adding some piano to bulk out the sound. This piano fills out the guitar-heavy intro - and when Elliot starts to sing in more of a gentle manner clean guitar melodies, the slow-burning groove of the rhythm section, and some occasional piano motifs form the basis of the song. Despite being a hair metal band, for which ballads are often common, I have never really felt that Crashdïet excel at writing ballads. Despite many great songs in their canon, they do not really have many memorable ballads - and this one does not especially stand out much either. It is certainly not a bad song, but it lacks the big, heartfelt melodies in my opinion that really make ballads shine - although I do really like Martin's later guitar solo which is quite Slash-like in approach. The chorus has started to stick a little more now, though, following a few listens - but generally I still prefer the more hard rocking tracks here. Get Out returns more to the album's core sound, though, with some cowbell introducing a slow-moving yet somewhat anthemic riff - which sets a heavier tone before the band crash in and the song picks up the pace, somewhat speeding away. It is one of the album's more high-octane efforts, then, with hard-driving verses and a big, groovy chorus led by cowbell and some shout-along vocal melodies. The verses are packed full of energy, with a juddering main riff full of character behind Elliot's somewhat snarled vocals - whilst the attack of the bass tone really cuts through the mix nicely. The chorus is where the song really shines, though, with a really infectious groove and a call-and-response vocal style with gang vocals and big hooks. A busy instrumental section later includes plenty more energetic riffing and some melodic guitar leads - before wordless vocal melodies are also used to good effect. Quitter pulls back on the high-octane energy of the previous song to instead go for a pretty typical mid-paced sleazy sound, similar to Satizfaction. There is a good mix of gritty sleaze and Def Leppard-inspired poppy hard rock here - with lighter riffing, plenty of grooves from the rhythm section, and Elliot utilising the higher end of his vocal register to deliver a powerful, poppy approach. The verses are perhaps a bit less interesting than some of the others here, but the chorus is a real winner that does raise the pace a little - and there are hooks aplenty during it. The guitar solo is a little unusual, too, and it sounds like Martin is utilising a slide at times to create some strange noises.

Killing It Now, the one track co-written by Keyes which suggests that it is a song that has been hanging around for a while, ups the heaviness somewhat - and harks back to the Cruz era somewhat. The band generally sounded consistently heavier during Cruz's era, despite all Crashdïet albums having some heavier moments, but the riffing here feels really purposeful - which allows Elliot to really dig in vocally and deliver one of his best performances on the album. There is an urgency to the verses, which are backed with snappy riffs and another big bass presence, whilst the chorus is another with something of a call-and-response gang vocal approach - whilst Michael allows himself to throw in a few busy drum fills. The drumming during parts of this song consist of some of the album's best moments from that perspective in my opinion - whilst there is another fast-paced guitar solo section, too, which ensures that the overall energy levels are kept high. Silent Place is much more of an overtly melodic piece, with the toughness and energy of the previous song stripped away to leave a cleaner guitar sound, some precise bass melodies during the verses, and further Def Leppard-influences vocals. There is far less actual riffing here, with much of the song based around hookier guitar and bass melodies - with Elliot singing in a much cleaner overall manner. There are shades of Cheap Trick to be heard throughout parts of the song, which is certainly not unique. Sick Enough for Me also had a bit of a Cheap Trick vibe earlier on - and many of the original hair metal bands used to cite Cheap Trick as an influence. This is an easy on the ear number, then, with a hooky chorus and some of the most overtly melodic guitar playing on the album. It may lack some of the trademark bite found elsewhere, but Crashdïet have always been a very melody-focused band - with Silent Place ticking that box perfectly. The album then comes to a close with Edge of a Knife - another song which picks up the pace somewhat, going for a high-octane sleaze approach that recalls the band's first album perhaps more than any other song here. The chorus really reminds me of the band's early days approach, with a razor-sharp vocal melody that really cuts through the guitars and band toughness - creating an anthemic and poppy sound that is easy to latch onto. I like the varied approach to guitar playing here, too, which includes some faster-paced riffing that sounds a little heavier than average - alongside some busy, cleaner melodies that snap and pop away in the background of the verses. This move away from riffing during the verses allows the aforementioned chorus to hit a little harder - and this is what partly really helps the chorus melodies to stick as much as they do. This is a very melodic and memorable number, then, and it stuck with me from my first listen to the album. It has remained a favourite ever since - and it really ensures that the album ends on a big high with one of its best cuts overall. It is a real shame that every other Crashdïet album seems to find the band launching yet another new era - but they have generally managed to navigate each challenge well with hardship taken in their stride. Art of Chaos is another album that steers the good ship Crashdïet around some potentially rocky waters - and the new-look band have delivered a strong and hooky album that largely just sounds like themselves. It may not be as much of a statement of intent as the debut or Generation Wild were, but for a band that are over 20 years deep at this point there is a lot to like on this latest effort - with simple, hooky songwriting that sticks in the brain and songs with enough muscle to go down well live.

The album was released on 8th May 2026 via Ninetone Records. Below is the band's promotional video for Satizfaction.

Mostly Autumn - Bilston Review

As I mentioned in yesterday's post covering a strong showing from Ethyrfield here in Plymouth on Saturday, this past weekend I also headed up to Wolverhampton for yet more live music. I have said this quite often on this blog over the past few years, but Wolverhampton has become one of my favourite cities for live music of late - with both KK's Steel Mill and the refurbished Civic Hall complex providing the working class and very honest city with some top-class venues of their size. This was not always the case, though, as the Civic Hall was closed for a number of years for refurbishment - and KK's Steel Mill is a relatively new space, which took a little while to build up the excellent reputation that it now has. As such, Wolverhampton was a bit of a live music wasteland for a few years, and it was only really The Robin 2 in nearby Bilston that was providing quality live music to the Black Country. I think that the town of Bilston actually falls under the remit of the City of Wolverhampton Council these days - but as a historic town with its own identity The Robin 2 never quite feels like a product of Wolverhampton itself, despite its proximity. When travelling from Wolverhampton to the venue, though, I am not sure exactly where Wolverhampton stops and Bilston begins - but I am sure that proud Bilston residents know, and that is all that matters. Despite this, though, the triumvirate of KK's Steel Mill, the Civic Hall complex, and The Robin 2 makes for a powerful and busy Black Country hot-bed of live music - which is why I seem to spend so much time in Wolverhampton these days. The Robin 2 largely seems to cater for some of the bigger name tribute bands these days, but plenty of original acts still perform there - and one regular visitor is the York-based progressive rock seven-piece Mostly Autumn. Regular readers of this blog are likely sick of me going on about Mostly Autumn at this point - but as they are one of my very favourite bands they come up a lot. Historically, I have generally seen the band live multiple times a year - and they have often been quite prolific when it comes to new studio albums, meaning that there is often something to talk about when it comes Mostly Autumn. Sadly, though, unless the band surprise us with a new album release before 2026 is out, which is unlikely given that their last album Seawater (which I reviewed here) only dropped last year, this will likely be my only Mostly Autumn coverage this year. I will miss sadly the band's yearly trip to Devon in July, as I will be up in London catching Def Leppard and two Metallica shows over that weekend, so I cannot complain too much, and they have not, as yet in any case, announced a pre-Christmas show in Bilston - something which I have made the effort to attend over the past couple of years, as well as a handful of other times previously. Even if they were now to announce a pre-Christmas show it is unlikely that I would be able to make it due to being quite low on annual leave already - so I decided instead a few months ago to get to the band's June Bilston show instead. The band have been playing at the venue for years, always attract a healthy turnout, and it has become a real haunt in more recent years as they have scaled back on the venues which they regularly play. With the venue happy to open early on a Sunday, it also means that the last few shows I have been to there have finished at around 8pm - which makes getting back to Wolverhampton afterwards a real breeze. As such, after a quick wander around Wolverhampton, a Wetherspoons lunch, and a brief rest in my regular Premier Inn - it was time to catch the 79 bus to Bilston for another excellent afternoon/evening of live music.

5pm rolled around, and the now-familiar country-esque strains of Stefan's Hope rang around the venue as the seven members of Mostly Autumn took to the stage - but soon the synth intro of Tomorrow Dies replaced it, with the band soon attacking the upbeat rocker with venom. As is generally the case at The Robin 2, the sound mix was excellent. All of the levels were spot on, with each instrument clear in the mix, and frontwoman Olivia Sparnenn-Josh powered through the dancing synths and grooving drums of the set-opener. Setlist-wise, the songs played were similar to the setlists of last year - with a few tweaks. Six of the eight songs played live from Seawater remained, but a few older favourites, including Tomorrow Dies, returned. The band recently undertook a short tour of Germany for the first time in quite a while, and the setlist looked to be the same as the one played on that tour - presumably to give a better balance of material for those who likely had not seen the band before. As such, the decade-old Tomorrow Dies returned to kick things off, before the band went right back to their first album for the folk/AOR of Nowhere to Hide (Close My Eyes) - a sing-a-long number that pulls back on some of the band's progressive tendencies to deliver a hooky chorus and a more organic sound. This allowed Bryan Josh (vocals/guitar) to take the lead vocally for the first time, with the rest of the band harmonising during the chorus and the later fade-out. The symphonic metal-adjacent Western Skies later rounded out an opening trio of 'older' cuts - with the song building from its delicate piano and flute base, the latter courtesy of multi-instrumentalist Angela Gordon, to a full-blown metallic workout with driving symphonic keyboard riffs, hard rock guitars, and pounding drums from Henry Rogers. The songs from Seawater were largely held back for the second half of the show - but two of the best were showcased early on. The folky Why Do We Remember All the Rain really harks back to the early days of the band. Chris Johnson (vocals/guitar) backed the song with his acoustic guitar, whilst Sparnenn-Josh sang the song in a warmer manner to contrast her siren-like delivery of the previous song. Gordon also added plenty of whistle - with the song closing with a great instrumental jig. Future Is a Child, which followed, is likely Seawater's greatest cut - and the song deserves to be a setlist staple going forward. Josh and Sparnenn-Josh traded vocals throughout, the former taking the verses and the latter the chorus, but it is always the bridge section that moves me the most - before the band morphed into epic instrumental mode with a connecting flute solo and one of Josh's most searing guitar solos of the night. The rest of the first half of the show focused on older material. The slow-burning yet uplifting Passengers never feels too far from a Mostly Autumn setlist, and Sparnenn-Josh delivered it with real emotion as she has done since she took over the band's lead singer role in 2010. The spotlight was then turned over to Johnson for the first of three lead vocals from him - with his magnus opus Silver Glass winning over the crowd as it always does. His shimmering voice always gives the band something different - and the piano-led piece feels different from other similarly-arranged songs in the band's canon. Before the band took a break, there was time for one more, though, and a melancholic synth melody from Iain Jennings (keyboards) heralded the introduction of The Night Sky - a song which Josh often describes as the first that he wrote for the band. It has been great hearing it live again over the past couple of years, after a very lengthy absence from regular rotation - with the current arrangement featuring a lengthy flute workout from Gordon after the Pink Floyd-esque opening vocal section, before Josh's dynamic guitar solo. This solo contains perhaps my favourite individual lick that Josh has ever played - and hearing the song live is always an emotional moment.

The band's 20 minute break actually pushed to around half an hour, but when the lights went down again the crowd were well watered and toileted - and ready for more. There was a lot more focus on the now during the second half, but another very old song in the form of the bluesy, folky The Last Climb opened things up. The largely instrumental piece has come and gone from the set with regularity since Sparnenn-Josh became the lead singer - but she has not featured during recent arrangements, with Gordon instead singing the early harmonies alongside Josh's lead vocals, before launching into another lengthy flute solo. Hearing the song live always transports me back to what I imagine the band's early gigs were like, and Josh's bluesier solo in the song often feels a little different to his usual approach. Three new songs in a row followed, each taking on a different mood. Josh led the downbeat and emotional My Home, although a later instrumental section does feel a little more upbeat, and he again took the lead on the organic harder rock of Be Something - one of Seawater's more straight ahead pieces. Be Something has never been one of my favourite newer cuts, but hearing it live a few times now has made me more of a fan - as it has a strong sing-a-long vibe and positive message. Jennings was really belting out the lyrics during the song, too, and he seemed especially animated throughout the gig - often singing along and headbanging. He often used to seem quite reserved up there behind his bank of keyboards, but more recently he seems to have cut loose a bit - and he always seems to be having a great time up there on stage. Sparnenn-Josh then had her first real showcase of the second half with If Only for a Day - Seawater's big ballad. There was a lot of power in her delivery as always - and the song builds from its base with Jennings' piano and Sparnnen-Josh's vocals through to a whole-band arrangement with another big guitar solo. Back in These Arms then looked back one album, with the post-COVID anthem seemingly now a live staple. The synth-led intro also builds pleasingly live, before the folky melodies thanks to Gordon's whistle playing and the twin lead guitars of Josh and Johnson added plenty of positivity to the set. Josh always really gets into the chorus of the song live, and it is notable for the harmonising throughout by the band's two main singers. Into the Stars, another of the band's shorter, poppier pieces, was fun as always - but the song could likely do with being rested at this point (as could a couple of others in my opinion). As such, the next big highlight was Johnson's Changing Lives - a song which always adds something to the set despite also having been played live a lot in recent years. I think that Johnson's differing songwriting style mean that his songs provide a point of difference live in a way that a song like Into the Stars does not - although it would be fun to hear one of his other songs given a chance live, such as either The Undertow or a re-arranged version of Blue Light with him singing. There were only two songs left in the main set to go at this point, and one more new one in the form of a somewhat condensed When We Ran proved to be a real highlight (it is probably my second favourite song on the latest album) before the gargantuan White Rainbow, with the synth intro reinstated, rounded things out. There was time for a few more, though, and a three-song encore followed. Johnson and Gordon first took to stage alone, delivering a delicate version of Gaze. Various versions of this song have been played live over the years, but this version was one of the more stripped back - with Gordon adding delicate vocal harmonies and the occasional flute melody. It was the calm before the dramatic encore storm, though, with heartfelt renditions of both Heroes Never Die and Tonight rounding out what, by that point, had essentially been two and a half triumphant hours of music. The setlist was:

Tomorrow Dies

Nowhere to Hide (Close My Eyes)

Western Skies

Why Do We Remember All the Rain

Future Is a Child

Passengers

Silver Glass

The Night Sky

-

The Last Climb

My Home

Be Something

If Only for a Day

Back in These Arms

Into the Stars

Changing Lives

When We Ran

White Rainbow

-

Gaze

Heroes Never Die

Tonight

Mostly Autumn shows are always events, and I was pleased to get my 2026 live fix this past weekend. It is a real shame that this show will likely be my only experience of the band live this year, as I often get to multiple shows each year, but I am glad that I still managed to get to one - and The Robin 2 is always a great place to see them. With the Seawater material still riding high, too, the set felt current despite plenty of older favourites being included - and it was great to hear some of those songs live again as they entrench themselves in the canon.

Ethyrfield - Plymouth Review

I am not long back from another weekend away, and my next blog post on here will cover my trip to the Midlands to catch yet another Mostly Autumn gig, but before that adventure up to Wolverhampton I enjoyed some live music much more locally - as, on Saturday, I made the short walk up to The Junction on Plymouth's Mutley Plain to catch the Newton Abbot-based progressive metal act Ethyrfield playing their first gig of the year. For a while a few years ago, Ethyrfield seemed to be playing locally here in Plymouth pretty regularly. I saw them twice in quick succession at The Junction, opening for both Diamond Head and The Fallen State in 2021 - and I also saw them twice in 2018, this time at Livewire over in Saltash, opening for both Bad Touch and The Quireboys. The band, that had released EPs in both 2017 and 2019, released their debut album In Delirium (which I reviewed here) in 2021, too, so those latter two support slots were well-timed for me - as I enjoyed In Delirium quite a bit when it dropped earlier that year. I am still not familiar with the band's EPs, although I picked up the Black Sky compilation at this show which contains both on one CD, but In Delirium impressed - and I enjoyed revisiting it last week in the lead-up to Saturday's show. Ethyrfield, a three-piece, mix Alice in Chains-esque grunge, particularly in their approach to vocal harmonies, with progressive metal - but the denser end of the progressive metal genre. Ethyrfield do not sound like Dream Theater or Symphony X - but there are certainly shades of the more recent output from Opeth, as well as bands like King's X. Not everything the band does is dense and complex, though, and there is plenty of melody throughout - as well as a few songs which are very much Alice in Chains inspired that are far less progressive. Since 2021, though, I had barely given the band a thought. Over the past few years they have undertaken a number of support slots and have played more further afield, but, at least as far as I was aware, they have not played in Plymouth since those shows that I mentioned. The band are young, and have likely been juggling band activities with studying, work, and other commitments, but it was a shame that Plymouth went so long without seeing Ethyrfield live. I was under the impression, too, that in more recent times they took a bit of a break from playing live to write and record their second album. I am not sure if this album has been recorded yet, but the band certainly now have plenty of new material - as the setlist of this show can attest. Clearly getting cabin fever and wanting to get back out there and play a show, a few weeks ago the band announced that they would be returning The Junction, this time as a headliner, where they would be previewing a lot of new material from album number two. No advanced tickets were sold, with the show being £5.00 on the door - which felt very old-school. Two Plymouth-based bands that I had heard of but had never seen live were on the bill, too, so the night was very much one of South West-based metal with lots of local talent on display. The overall turnout was decent, but given how cheap it was to get in and it being a Saturday night I had expected a few more to turn up - but I imagine that the bands were pleased with the effort made by those that turned up.

The first of the two support acts were Manipulated, who were the least interesting of the two in my opinion. I have seen the band described as thrash, and there were some thrashy moments in their set, but much of their material was quite mid-paced - so I am not sure that thrash is the best descriptor for them. There was not enough speed and energy throughout for me to consider them thrash - and they came across as a competent, but perhaps lacking in a spark, crunchy heavy metal band. Some of the riffs were quite memorable, and vocally they were largely decent with a mix of mostly gritty clean vocals with occasional harsh vocals, but the overall songwriting largely lacked for me. A couple of days on, none of the choruses have stuck with me - and this is usually a sign that a band is not really for me. I do remember thinking that the last couple of songs in the set felt a bit stronger, with better choruses and a stronger overall arrangement, but there was little else that really stood out. There is certainly some potential when it comes to Manipulated, then, but, for me, the songwriting just is not really there - and that is a key thing when it comes to hooking me in. I also felt that the drummer seemed to be quite rudimentary - and a more technical drummer may have helped to flesh out the arrangements and pick up the pace somewhat. Their half an hour or so on stage did not outstay its welcome, though, and the band received a fairly warm reception - which is always nice to see.

Up next were Stealth Moose, a five-piece band with a bit of a sense of humour (there were some pretty amusing t-shirts for sale) that played a brand of metal that included plenty of grunge, sludge, and stoner influences. At times they reminded me a little of early Orange Goblin, whereas other times they sounded like something Mastodon might come up with of they dropped most of their progressive leanings. The band's sound was riffy, bass-driven, and largely pretty heavy, then, but there were a few decent choruses to be found - and vocally the band were powerful, both thanks to their frontman and their use of harmonies. Whilst there was not a significant progressive influence to be found in the band's sound, all of their songs were on the longer side. This was largely, though, due to the slower pace that the band tended to operate in - as well as that stoner tendency of settling in on a groove for a while and just letting it do its thing. There were a lot of grooves in the band's songs, then, both from the riffs of the two guitarists and the bass playing. The bass was often quite high in the mix, and it utilised distortion to give the band a real growl, whilst the guitars were a bit more chunky and bluesy in their tone. Traditional guitar soloing was fairly rare, but there was the occasional solo - whilst other instrumental sections seemed to be a bit more discordant. I think that it is fair to say, then, that Stealth Moose were often doing something a bit different. Not all of it connected with me, but there were moments that did - and the band interacted well with the crowd, especially as there seemed to be a few Stealth Moose fans in attendance.

'Local bands' often have something of a stigma attached to then, even though essentially every band is one at some point, but I think that it is fair to say that Ethyrfield are a step above the average - and the three-piece deserve to make something of themselves in the rock and metal scenes. Following the two support acts, for the next hour-plus, the band delivered a confident 12-song setlist - largely made up of songs from album number two. Four songs from In Delirium were played, alongside one cover, so that meant that seven new numbers were played - and the new material often felt quite a bit different from what came before. One thing that was noticeable from the start, and the delicate intro piece Let This Dream, was that guitarist Ben Cornish has taken on more of a vocal role on this new material. Bassist Zach Cornish remains the lead singer, and Ben always played an important role as a harmony vocalist - but the latter sang some lead this time, including throughout this first number, as well as adding some occasional harsh vocals. Let This Dream and Follower seemed like a part one and part two - with the former being gentle and the latter being heavier and more typical of the band's core sound. I would say that the grunge element of Ethyrfield's previous work was largely absent from the newer material - with more of a progressive metal sound entrenched, as well as a bit more synth work to give the songs depth. Thankfully, the band left a setlist laying around so I was able to make a note of the song titles, and it was Reverie up next that perhaps impressed the most. It was the first time the song had been played live, and the lengthy number was a true prog juggernaut - with some harsh vocals utilised later on and plenty of guitar soloing. Many of the songs started slowly, with clean guitars and synths, but soon transitioned into heavy, riffy pieces with snaking grooves and plenty going on. Phantom later on was another such lengthy piece, but some of the new songs also showcased a more melodic and straight forward sound - such as the somewhat atmospheric and darker Long Drive Home. Some of the vocal harmonies from the band's first album were put to good use her, a little of that grunge influence creeping back in, and it was fitting that the riffy and hard-driving older cut The Hunter followed. It was good to hear some of the older songs, but really it was the new material that impressed the most. Egomania was perhaps the one played that did not do all that much for me on first listen - but Vanished later on was another strong cut with plenty of twists and turns. The ending portion of the set was extra progressive, then, with Vanished and Phantom preceded by Laying On of Hands - likely the most progressive number from In Delirium. It is clear that the band want to go in a more technical and heavy direction - and much of the new material worked well for me in that regard. They then ended their set with a powerful version of Gojira's Stranded, which allowed Ben to deliver some more harsh vocals - whilst drummer Dan Aston was put to the test thanks to Gojira's notorious grooves. The setlist was:

Let This Dream

Follower

Reverie

Remembering

Long Drive Home

The Hunter

Overgrown

Egomania

Laying On of Hands

Vanished

Phantom

Stranded [Gojira cover]

It has been five years since Ethyrfield's first album, so their second one somewhat feels overdue. Given the strength of the new material on show this past weekend, though, it should be a pretty special one when it is done - and I am looking forward to giving it a listen when it is ready. It was good to see the band live again after so long, too, and it was a nice local night out before my trip to the Midlands the next day.

Frozen Soul's 'No Place of Warmth' - Album Review

It feels like time to cover some proper extreme metal again. A couple of years ago I made more of an effort to cover death metal on this blog, as it had rarely featured here up to that point, but that effort has dropped off more in recent times. I do like death metal, but it makes up quite a small portion of my overall listening habits - and it remains a genre that I am just not all that knowledgeable about outside of the big names. I am casually familiar with a lot of death metal bands, and my knowledge rarely moves beyond such - but there are times where I end up making a bit more of an effort and I start to expand my death metal collection. Today's band is one such example - and I discovered them earlier this year when I saw them live. That band is the Texas-based five-piece Frozen Soul - an old-school-sounding death metal band that play the sort of chunky, groovy, classic-sounding death metal that I tend to like. I generally like death metal that essentially sounds like a much heavier version of traditional heavy metal or thrash - with the more intricate and chaotic end of the genre often not for me. It was likely this sound which helped Frozen Soul stand out on a seven-band bill that I caught in London earlier this year. The mammoth evening, which kicked off at 4:30pm, was the result of two metal gigs that had been booked in London on the same night joining forces - meaning that all seven bands that were scheduled to appear over the two bills all appeared on the one enlarged bill. This sounds like a bit of a crazy idea, and it made for a long night, but I got the impression that both shows were not selling too well due to the competition - alongside the fact that Deftones were also playing at one of the city's larger venues. The night was topped by Sylosis, and included well-known acts Heaven Shall Burn and The Black Dahlia Murder, but there were a handful of smaller bands that I was not familiar with that played early on in the evening. Following a decent hardcore band, alongside a deathcore band that did nothing whatsoever for me, Frozen Soul came on third and seemed to turn up the heat. It likely helped that there were a few more people in the room by the time they came on, as the early start meant that the venue took a little while to fill up. As such, I was impressed by Frozen Soul's set. I did not really know anything about the band before seeing them live, but their crunchy, largely mid-paced death metal sound was fun and filled the room - and there was a good atmosphere during their set, with some of the evening's first proper mosh pits getting underway. I have since heard 2023's Glacial Domination, the band's second album, a couple of times - but when I saw that they would be releasing a new album later in 2026 I thought it would be suitable to use it to dive in properly. Last month, then, this third album arrived - with No Place of Warmth being Frozen Soul's first album for three years. Unlike the last album, which was co-produced by Trivium's Matt Heafy, No Place of Warmth was produced by Josh Schroeder - who is probably most-known currently for working with deathcore darlings Lorna Shore. This is a very well-produced album, meaning that the riffs feel very heavy - but there remains an organic sound befitting the band's old-school death metal sound. The drums do not sound too processed as they often can on extreme metal albums, whilst there is space in the arrangements to allow the songs to breathe - which is not something that could be said about Schroeder's production jobs for Lorna Shore.

There a couple of quite big-name guest vocalists that appear here, too, so it feels like Frozen Soul are moving up in the world. In truth, they have been on a big label for a while and Heafy's aforementioned involvement was a similar big-name involvement - but it feels like only a matter of time before Frozen Soul become more widely known in the metal world. Those guest vocalists are all utilised early on, too, but only one really stands out. Kicking off with its title track, No Place of Warmth gets off to a strong start. Cold synths shimmer as the song fades into view, creating an unsettling sound, but Frozen Soul are not a keyboard band - and these synths are just utilised as an intro to the riffing that follows. Tolling bells soon give way to the first of the album's riffs, a snaking, mid-paced effort that creates a slow-moving groove early on. Despite being a proper death metal band, there is still melody to be found here. Lead guitarist Chris Bonner lays down some mournful leads during the verses - which see mid-paced chugs backed by some slightly faster double bass drumming from Matt Dennard. The song never feels all that fast despite this drumming, though, with the song largely lumbering along in classic death metal fashion - whilst frontman Chad Green barks the lyrics. He might not have the biggest range vocally, but his deep growls really suit the band's sound - and his tough verse delivery is filled with power. Following a busier guitar solo section later, which is more measured and melodic than shredded, the most prominent guest vocalist in the form of Gerard Way (My Chemical Romance) joins in - adding some black metal-esque rasps to the song. Way had previously shown his extreme metal side on Ibaraki's Rashomon (which I reviewed here) - and he dominates the later parts of this song, either singing alone or with Green. Invoke War then follows a similar sound, continuing a fairly mid-paced sound with something of a chugging stop-start riff early on, which is backed by more double bass drumming. Green bellows the song's title early on, creating something of an early chorus, but later verses feel a bit groovier thanks to a simpler drum arrangement and more varied riffing - with Bonner and fellow guitarist Michael Munday switching things up. This song is a bit more varied pace-wise, too, with some faster sections coming in later on. It never really feels like thrash or truly fast-paced, but there is some more energy that kicks in as the song moves on - with flashier riffing and a bit more of Dennard's fast footwork. Robb Flynn (Forbidden; Vio-lence; Machine Head) appears, after also featuring in my last review here, delivering some gnarly spoken word towards the end of the song - and then duets a little with Green as the song comes to a close. Absolute Zero is a very short song, which opens with some intense drumming - which gives the impression that the song is going to be a fast number. Whilst there are some short blast beat-led sections, much of the song is actually quite lumbering - with the piece a contrast between very slow and much faster riffs. It only lasts for just under a minute, though, so there is little to write home about here.

Dreadnought slows the pace right down, and goes for a very slow-moving and groovy sound - with shout-along chorus vocals and a good mix of somewhat doomy riffs and some old-school death metal mid-paced grooves. There is a stronger bass presence here, too, with Samantha Mobley opening the song with a powerful bass riff - and there are bass-led breaks throughout the song, too. This helps the slow-moving sound to settle in, whilst a brief, shredded guitar solo does add some later energy. The final guest vocalist in the form of Devin Swank (Limbsplitter; Sanguisugabogg; Earthburner) is included here, too, although I am not sure exactly what he brings to the song - perhaps some of the raspier growls that can be heard during parts of the song. The transition to Chaos Will Reign is obvious, as the band immediately start to up the pace - with some faster double-bass drumming kicking in early on, giving the early parts of the song a somewhat thrashier feel. Despite this initial speed, though, the band largely rein in the pace - with the song, on the whole, being another mid-paced number. Old-school death metal generally operates the best at this pace, to allow the grooves of the riffs and the slow-moving vocals to shine - but this is a song which switches up the pace somewhat, with occasional blast beats shaking things up despite the core of the song being slower. That mix of double bass drumming and slow-to-change riffing is another feature of big parts of the song - whilst a later breakdown section feels a bit doomy with some much slower riffing and a bit more of a bass presence. Eyes of Despair immediately feels faster, with a slightly more anthemic riff that has more than a shade of hardcore kicking things off, as Dennard uses various drum breaks and fills to build an early excitement. An opening, shredded, guitar solo is something a bit different for the band, with Bonner laying down some chaotic, fast-paced lead playing early on, and the rest of the song maintains a faster overall pace. This is certainly much more of an energetic piece, with some thrashy riffs and punkier drumming often dominating - whilst the blast beat sections utilised here are a bit longer and feel more impactful as a result. There is a lot more pace and energy throughout this song, then, and Green's vocal melodies feel a little more anthemic at times - building on that early hardcore influence. Ethereal Dreams opens in a similar manner to the album's title track, with some cold synths fading in to set the tone - before some more percussive drumming creates something of a groove, before the band launch into a faster, more chaotic sound that, at times, seems to borrow a little from black metal. The early riffing has a nastier, buzzsaw guitar tone - with some screaming shredded leads backing up this harsher sound. The early moments of this song are a bit different from the rest of the album, then, but when things settle into a more familiar groove the core Frozen Soul sound returns. Despite this, there is a bit more of an intense and harsh sound here. The drumming is generally busier and faster this time, and there is less reliance on fat, groovy riffs - with speed more of a feature. The riffs just feel a little less defined here, which is different from the band's usual sound - which does help this song to stand out from the crowd. Speaking of black metal, there is a section later on which features muffled vocals and some strange riffing which returns to those influences somewhat - before a riff that is much more typical of the band's core sound takes over to bring things to a close.

Skinned by the Wind is another short song, but this one is a little longer than Absolute Zero - and it is largely just the band's core sound distilled down into a snapshot. It is a groovy, mid-paced number with chunky riffing, deep growls, and some double bass drumming - so really there is little to say about it. Deathweaver opens a little more slowly, with a building riff that allows the band to evolve a little beneath it - with some interesting drumming and a few false starts before the song gets going. Overall, the song's intro is quite long, which is rare for the band. It speeds up later on, but the opening feels quite doomy, with some sluggish riffs and even a feature guitar solo section that includes some more melancholic leads. It seems as if the song is going to be more of a doom anthem, then, but once the double bass drums kick in in a big way the song does speed up - and the band's usual mid-paced sound is restored. Some of the verses here feel a little faster than is typical, but there is still plenty of groove here - with the double bass drumming bringing the best out of the groovy guitar patterns. The doomy feel of the song's opening is returned to later on, though, with some slower riffing, backed by a strong bass presence, taking over as Green delivers the lyrics in a slow and menacing way. Frost Forged ups the pace, and feels like a much more intense song from the off. All of the doom trappings from the previous song are stripped away - and those hardcore influences that were heard earlier on in the album return somewhat. The song is not all that anthemic, but the riffing has a little more of a slamming feel at times, with hardcore-esque grooves and more of a focus on vocal melodies. Blast beats are utilised again for speed, and there are some much faster than is typical moments here, but generally the band's typical groovy approach is retained - with a good mix of double bass drumming and simpler grooves to bring the best out of the riffing. There is a lot of groove here as a result, and there are some moments that feel a bit more overtly hooky, more in the sense of how the guitars and drums link up rather than anything that is being delivered vocally. The song is a powerful one, then, and its much heavier closing minute or so really aids this feeling. The album then comes to a close with much more up-tempo Killin' Time (Until It's Time to Kill), a much more anthemic and energetic piece that mixes more of a thrash attitude with a core death metal sound. As such, there are much faster moments here throughout, and pace is a bit more of focus this time. This is the case during the verses in any case, which speed along with more of a carefree attitude, but a more groovy approach does return for the chorus - which is quite the shout-along moment. It may be the album's most overtly hooky chorus, and I can see it really working well live as a crowd shouts along with the main lyrics. This is not a vibe that the band go for too often here, but it works well in my opinion - and there is also another memorable guitar solo with some shredded, yet fairly melodic, leads. Structure-wise, then, this song feels a bit more typical metal with strong verses and a memorable chorus, but the band's core sound is still very much here - and the fists-in-the-air number is a great way to close out the album. Death metal may not always be my thing, but there is a lot to like about Frozen Soul and I think that No Place of Warmth feels like a very well-crafted, memorable, and well-produced album. The songs here generally do stand out, and there is enough variety whilst sticking to core sound which means that no one song really outstays its welcome. I am not convinced that the guests add too much, aside from Way, but this aside the album is likely to be one of death metal's key releases of 2026.

The album was released on 8th May 2026 via Century Media Records. Below is the band's promotional video for No Place of Warmth.

Black Veil Brides' 'Vindicate' - Album Review

It feels like a long time since I thought much about, let alone wrote about, the Hollywood-based five-piece Black Veil Brides. Despite considering myself a fan of the band that mix mid-2000s emo, mid-2000s metalcore, and 1980s hair metal to good effect, I do not think that I have really listened to any of their albums all that much since I reviewed their last album, 2021's The Phantom Tomorrow (which can be read here), five years ago. In truth, this has been something of a trend for me when considering Black Veil Brides over the past decade or so. I started off as quite a big fan, and got into them around the time that their debut album We Stitch These Wounds came out in 2010. I really liked their next couple of albums, too, and even saw them live in 2014, but I am not sure that my genuine fandom of the band continued past this point. I remember the show being enjoyable, but I was very much one of the oldest there even back in 2014 - and I could never quite shake the feeling that Black Veil Brides were a band aimed at teenagers, and I, in my early/mid 20s at the time, was far too old for them. Clearly such notions are stupid, and anyone is entitled to enjoy any band - but it certainly did not feel that way at the time. Also, though, I just happen to think that the band's first three albums are their strongest. We Stitch These Wounds mixed metalcore and a 1980s sheen nicely; whilst 2011's Set the World on Fire was packed with anthems - and cemented my view that the band were just a 1980s hair metal band in disguise. Their third album, 2013's more expansive Wretched and Divine: The Story of the Wild Ones (which I reviewed here - one of the first albums I covered on this blog), felt like the one where everything came together - and the concept album continued on the early influences whilst going for a more bombastic and mature sound. For me, nothing that the band has done since has really lived up to those three albums - with the three following albums, whilst all enjoyable to an extent, failing to really live up to that early promise. The band have always tried to keep things interesting, and each subsequent album has still managed to have its own identity - but nothing has felt as exciting as those early releases. Despite all the praise I have given those three albums, though, I cannot remember the last time I listened to any of them. Perhaps I am due a reappraisal of their catalogue, but over the past decade I have tended to only listen to Black Veil Brides when a new albums drops. I listen to the new album, enjoy it for what it is without being blown away, review it, and then put it away - never really to listen to it again. I then repeat the whole exercise a few years later when the next album drops - and that is something that I have been doing over the past month or so as last month Black Veil Brides released album number seven: Vindicate. Vindicate is their first album in five years - and it will be interesting to see if this is the one to break the recent cycle. As things stand, probably not, but that does not mean that I have not been enjoying it. Black Veil Brides have a very distinct sound, largely thanks to frontman Andy Biersack's voice. He does not have the greatest range, but his tone and approach to melody is quite distinct - and he can also deliver harsh vocals when he needs to. Those harsh vocals were utilised quite liberally earlier in the band's career, but they have been somewhat lacking of late. They return in a bit more of a prominent form on Vindicate, though, and this album is likely the band's heaviest for a while. It is certainly a more aggressive album, which the band opted to self-produce this time, and that does help to set it apart from some of the others.

Like many of the band's albums, Vindicate appears to be a concept album - although I am not sure what story it is telling. It is their second album with their current line-up, too, although the core of the band, apart from bassist Lonny Eagleton, has remained the same since album number two. As is typical of the band's approach, too, this is quite a theatrical album in terms of sequencing. There are 14 tracks here, but quite a few are on the short side - with some being instrumental interludes or other such linking pieces. It is only just over 45 minutes long, then, so none of the songs stick around for any real length of time. The opening track Invocation to the Muse is one of the smaller pieces - opening with dense church organ, before Biersack delivers a spoken word monologue to set the scene. Aside from the initial organ and some swirling atmospherics behind Biersack there is little to note musically here - and it is largely just a spoken word piece. The album really gets going with its title track, then, when the band kick in. Some dancing strings open the track, but some stabbing guitars back Biersack's opening vocal lines - before a chaotic thrashy riff and drum pattern take over. This initial intensity is likely the heaviest the band has ever sounded, but much of the song remains typical of their core sound. Parts of the verse feel thrashy, with buzzsaw riffing and Christian Coma's fast double bass drumming, but the chorus has that melancholic, anthemic sound that Black Veil Brides are known for - with some hooky vocal melodies that are easy to latch onto. It is one of a few big choruses on this album and it draws the listener in from the off - and it is contrasted by a later bridge section that features some Pantera-esque groovy riffing and harsh vocals, before Jake Pitts launches into a big guitar solo. Certainty follows, which also opens with some strings, but following this low key intro a mid-paced groovy riff kicks in - and that heaviness which characterises much of the album is showcased here. There is a bit of a modern tech metal feel about some of the riffing during this song, whilst Coma's drumming underneath the stabbing and groovy guitars changing the tone as his patterns shift. The verses often make use of harsh vocals, so there is a bit of a metalcore feel to parts of this song, especially thanks to some interlocking guitar riffing between Pitts and fellow guitarist Jinxx, but the chorus is another slightly more anthemic moment - with HIM-like vocal hooks and more of a dense atmosphere. I like how this album often shifts back and forth between more metallic and more hard rock modes - and there is a good balance between intensity and melody. Bleeders, a song which has been kicking around online since 2024, opens with dense piano notes and Biersack singing in a deeper manner against this backing - whilst some programmed drum beats are slowly added into the mix. The track is one that builds fairly slowly, then, so when the main riffing kicks in its power is felt. Even when the band kick in proper, though, later verses still feel quite low key - with more percussive drumming and a synth backing adding a depth that allows the guitar riffing that kicks in later to feel more powerful. Wordless, anthemic backing vocals really add to the chorus - whilst a heavier later bridge section includes some brief moments of harsh vocals.

Hallelujah is another pretty heavy song overall, with some fast-paced drumming early on and a riff that mixes thrash and metalcore vibes providing some headbanging grooves. This mix of intense riffing with the band's more melodic vocal approach is a bit of a theme of this album, and this song is a real feast of groovy and thrashy riffing - with the band speeding up and slowing down as the song moves along, whilst Biersack liberally makes use of harsh vocals during the toughest moments. The chorus is quite poppy, though, with the contrast perhaps being more stark than usual - but the melodies are hooky, even if the melodies remind me a little of Paramore's song of the same name. Cut sees the band slow things down quite considerably and deliver more of a melodic, mid-paced rock track with ballad-like tendencies. Singer-songwriter, and Biersack's wife, Lilith Czar sings with Biersack throughout - although the track opens with Biersack singing alone, against a more atmospheric backing including some violin from Jinxx. Despite the slower vibe, the song never feels like a true ballad due to the big band arrangement throughout - and the fact that the chorus is hard-hitting with busy Coma drumming, snappy guitar riffing, and a dense overall arrangement. There is still quite a bit of energy in the song, then, despite some slower moments - but there is still quite a bit of guitar crunch, and no-one seemed to tell Coma he could pull back a bit. Czar adds a lot to the song from the second verse onwards with her melodic vocals - and later chorus renditions benefit from the two singers singing together. Pitts' later guitar solo is a soaring one, too, adding to the song's overall melodic pull. Alive gets back to a much heavier sound from the off, with a fast-paced riff kicking in and harsh vocal-led verses a key feature of the song. All of the subtlety of the previous song has been stripped out here, and instead the band just deliver a powerful metalcore-adjacent anthem with heavy verses and a more melodic chorus - very typical of that mid-2000s sound. Biersack's harsh vocals are probably the best they have ever sounded on this album, and it is good that he uses them so liberally here - with the verses, alongside a later breakdown section, sounding pretty venomous. The chorus is another pretty soaring one, too, especially as it speeds up towards the end and adds in some hooky wordless vocal melodies. Purgatory (Overture IIII) is an instrumental interlude, and it acts as something of a break following the fast-paced and heavier previous number - with slow-moving strings and delicate piano melodies providing a couple of minutes of respite before the band crash back in. Black Veil Brides have often utilised good string arrangements, and this album is no different, and the interlude sets things up nicely for Revenger. Robb Flynn (Forbidden; Vio-lence; Machine Head) contributes vocals to the song - and he possibly shows up elsewhere on the album, too, despite this being the only song he is credited as appearing on. A big growl opens things up, but the main lead guitar melody early on is very memorable - and it certainly recalls the band's 1980s influences nicely. The song as a whole is not very 1980s-coded, though, despite a hooky chorus kicking in later, as the verses are essentially harsh vocal battles between Biersack and Flynn. Biersack really shows his diversity as a harsh vocalist during the first verse, delivering some pretty interesting screams, whilst Flynn later bellows his way in his trademark style through the second verse. The latter's 1990s groove metal approach works well given the heaviness of the piece and some of the riffs that have featured on the album - even if the later chorus is packed with the band's classic melancholic hooks.

Sorrow reins in some of the intensity somewhat, opening with some distant melodic vocals, before the song morphs into much more of a mid-paced, crunching track. The chugging guitar riffing here is a bit more typical of the band's other more recent albums, and the metallic intensity of the rest of this album is largely absent here. The sense of groove is retained, though, thanks to some excellent and fairly prominent bass playing during the verses, whilst Biersack sticks to his clean vocals throughout - which especially shine during a poppier chorus that ends with some effects-heavy vocal hooks. Grace (Interlude), as the name suggests, is another brief instrumental piece - this time focusing on Jinxx's violin playing against a sombre piano backing. It feels like the intro to the last three songs which feel something like one longer suite - with Ava Maria kicking off the home straight. Given the violin-based intro, one might expect the song to feel a bit more grand - but Ava Maria is another fast-paced and quite thrashy song. The intensity of the album's core sound is back here after being somewhat left out of the previous song - with the interlocking guitar riffing and busy drumming that has often characterised this album returning. Biersack largely sticks to his clean vocals, though, despite the heaviness - although there are some heavier, mid-verse sections that feature harsh vocals for a brief period. These sections allow the song to have more of a dynamic overall feeling, which works nicely, whilst Pitts' later guitar solo is one of the album's best and longest in my opinion - thanks to some great neo-classical melodies. Woe & Pain follows, which slows the pace - transitioning from the riffing of the previous song to focus more on a piano-based sound. Ringing piano melodies and a muted, industrial drum groove back Biersack's vocals early on - whilst occasional guitar stabs add colour. The early parts of this song are quite atmospheric and low key, then, but things do get heavier as the song progresses - with riffs later kicking in and a dramatic spoken word section taking over. At times it sounds like Flynn is doing this monologue - but I am not 100% sure. The liner notes only credit him with appearing on Revenger, but some online sources suggest he appears on quite a few of the album's later songs. Occasional growls could be him, or him backing Biersack, as could this spoken word section - but overall it is not that clear and the liner notes are quite sparse sadly. Either way, though, the spoken word feels quite dramatic, more intense than how the album opened, before another pretty lengthy guitar solo from Pitts is thrown in. This song is a bit different structure-wise, then, but it works well in my opinion - especially as the closing four tracks feel like something of a suite. It is the last song that goes for riffing and heaviness, too, but it never reaches the heaviness heights of many of the other tracks here - with more of a dramatic overall feel thanks to the strings and the monologuing. Eschaton is the closing track, then, but it is a short piece that essentially acts as a coda. Again, it is based around piano and strings for the most part - with Biersack singing in a mournful manner. It is under two minutes long so it does not stick around - and it essentially feels like an extension of the previous song, to bring the album to a calm and more emotive close. Overall, then, Vindicate does feel quite a bit different from the band's other more recent efforts. The focus on a heavier sound is welcome and, whilst it never approaches extreme metal, the energy throughout does help to set the album apart. As such, the album feels a bit more vital than other more recent albums from the band - and it could well be my favourite since Wretched and Divine: The Story of the Wild Ones thanks to this heavier overall approach.

The album was released on 8th May 2026 via Spinefarm Records. Below is the band's promotional video for Certainty.