The Cruel Intentions' 'All Hail Hypocrisy' - Album Review

Whilst I might not listen to as much glam/hair/sleaze metal (use which ever term you are comfortable with) as I used to, I still have a certain soft spot for the genre due to its importance in my musical development during my teenage years. I rarely listen to bands like Mötley Crüe and Poison these days, but I still enjoy their albums when I do decide to put them on - and I have lots of good memories associated with hair metal and all things adjacent. As such, last year I went to a mini festival in London called the Mayhem Rock Festival - a touring hair metal festival that took place in London, Nottingham, and Wakefield. It happened again this year, although only in Nottingham this time, and it plans to return to Nottingham next year with a much-expanded two-day format, but for various reasons I did not go this year - and I probably will not go next year, either. The reason for that is more down to the fact that there are likely to be much better things to use my annual leave on, as opposed to my enjoyment of last year's event - as I enjoyed the inaugural festival. It was great seeing Crashdïet live for the first time in six years - and it was also great to see Crazy Lixx live for the first time. The festival had a triple-headline arrangement, plus two opening bands, with each headliner topping one of the three stops on the tour. Crashdïet were the headline act in London, whilst Crazy Lixx put on the strongest show in my opinion - but perhaps the band that received the biggest reception were The Cruel Intentions, a band that I had not heard of before buying a ticket for the show. I had become a fan by the time the show rolled around, though, and enjoyed their set quite a lot - but they were a new discovery at the time. Like all of the other bands on the bill, The Cruel Intentions are Swedish - which is where all the best hair metal released over the past 20 or so years has come from. Some Swedes must think that they still live in the 1980s, but some of the Swedish bands are releasing material that is up there in quality with the classics from that decade - and I have enjoyed quite a lot of it over the years. When I started to get into The Cruel Intentions, though, I realised that I was partially aware of the band's frontman Lizzy DeVine. This is because, when I was in my hair metal phase, some of my fellow hair metal-loving peers enjoyed another Swedish band called Vains of Jenna - which DeVine fronted at the time. I never got into Vains of Jenna, so I should probably catch up on them at some point - but the band has not existed since 2012 and DeVine actually left in 2010. DeVine formed The Cruel Intentions in 2015, and the four-piece play a pretty abrasive and punky brand of hair metal. They are an energetic and pretty straight forward band. There is nothing complicated about their sound, with DeVine's rasping and punky voice driving everything whilst tough riffing, slightly poppy choruses, and a hard-driving rhythm section keep the short songs ticking. Hair metal fans will have heard it all before, but there is something infectious and enjoyable about The Cruel Intentions' carefree attitude - and all of the songs played live by the band last year really came alive on stage. Prior to last month, the band had released two studio albums: 2018's No Sign of Relief and 2022's Venomous Anonymous; both of which I listened to a lot in the lead-up to last year's show. They might not be the most prolific band, but what they have put out is strong - and album number three was released last month in the form of All Hail Hypocrisy. Like their previous album, All Hail Hypocrisy was produced by Erik Mårtensson (Eclipse; W.E.T.; Nordic Union) - who also contributed some additional instrumentation throughout. The band's line-up since the start join DeVine here again, too, with guitarist Kristian Solhaug, bassist Mats Wernerson, and drummer Robin Nilsson making up a tight, potent unit.

There are 11 songs here and the album is around 35 minutes long. Nothing lasts very long at all, then, so it is an album that essentially can be put on and enjoyed anytime. There is nothing pretentious and even significantly varied about what The Cruel Intentions do - but their overall sound and attitude does a lot of the talking, alongside some pretty anthemic choruses. Album opener Beating in My Chest is very typical of what follows throughout the album, then, with some effects-heavy guitars soon giving way to a drum roll - which is followed by a snappy power chord riff. Mårtensson's production approach here is  a bit less polished than it usually is, but the mix is still very clear - and the guitar tones throughout are excellent, with Wernerson's bass high in the mix. The verses are fast-paced and punky, with understated guitar chugging and a pulsing bassline, whilst the chorus feels a bit more involved with subtle guitar leads beneath DeVine's throaty vocals and a slightly busier riff. The punkier end of bands like Skid Row is certainly referenced here, although DeVine's voice is rougher overall - whilst a later guitar solo is surprisingly shreddy and less bluesy than one might imagine. The album gets off to a fine start - and the quality largely continues throughout.  Living Out of Line slows the pace down somewhat, instead going for a groovier approach. A pulsing, bluesy main riff sets a strong groove early on, whilst the verses feel much more stripped back than is typical - thanks to some lone guitar leads and a swinging drum beat behind DeVine's vocals. Later verses feel a bit bigger, but there less of a chugging overall approach this time - with more of a less-is-more guitar sound that is more lead-based and less crunchy. This changes somewhat during the chorus, though, which is more typical of the band's core sound with some shout-along vocal melodies and a punchier overall sound. Guitar leads and much more precise solo are also included, upping the overall melodic approach and reining in some of the punk. The album's title track follows, with some spiky initial guitar rhythms and drum hits soon overlaid by some guitar leads - somewhat mixing the sounds of the two previous songs. In fact, the rest of the song also follows this pattern, with a bit more of a stripped back verse approach with prominent bass playing and some gang vocal accents - whilst the chorus is more energetic and perhaps one of the album's most anthemic moments overall. It really harks back to the 1980s thanks to its shout-along melodies and swinging overall approach - and it is one of those choruses that gets stuck in the brain from the off. A fairly lengthy guitar solo follows, too, and the track overall feels a bit more involved than some of the others - despite remaining pretty basic arrangement-wise. Triple Threat picks the pace back up, and returns to the hard-hitting vibe of the album's opening cut. The main riffing feels pretty furious, as is the later chorus which reminds me somewhat of fellow Swedes Hardcore Superstar, but the verses are a little more cultures thanks to a somewhat grooving drum approach and some tasty little guitar riffs and melodies that break up the vocal lines. There is a fait bit going on here arrangement-wise, then, despite the overall simplicity remaining - which is evident when a pretty metallic bridge section later takes over before a wah-drenched guitar solo.

Wasteland slows the pace down, with acoustic guitars dominating early on - over which DeVine starts to sing in a very organic and rasping manner. I really like DeVine as a singer, but I am not sure he suits acoustic-based songs all that well - although there are some fairly tight vocal harmonies thrown in later as the first chorus approaches. I would not exactly call the song a ballad, as the main acoustic guitar pattern is quite staccato and upbeat, but it certainly feels much more light-hearted than anything else on the album up to this point - with subtle percussion the only thing that really backs the vocals and acoustic guitars. An acoustic guitar solo is thrown in later, under which some wordless vocal melodies add depth, but really this song is all about the acoustic guitar base and DeVine's still-snarling vocal approach. It is likely one of my least favourite cuts here, as I just prefer the band rocking out, but it is certainly not a bad song - and it is interesting to hear something like this from The Cruel Intentions. When Eden Burn returns to something much more typical, with plenty of big snare hits early on as some simple riffing and busy bass playing heralds another pretty mid-paced hard rocker. Despite being mid-paced, there is certainly a strong energy created throughout. The staccato drumming early on helps, whilst the bass playing during the slightly smoother verses is also pretty energetic. There is a slight AOR edge to the track, then, especially during the later chorus which retains a smoothness and includes some poppier vocal melodies and harmonies - but overall the band's core sound remains, and there is another big riff later on that really reminds me of Hardcore Superstar. It is a hooky and memorable track that has become a bit of a favourite over my multiple listens to the album so far. Picking up the pace quite considerably, Pseudo Genius returns to a much punkier sound. The opening guitar riffing and shout-along wordless vocal sections are some of the paciest moments on the album - with the vocal melodies adding a slightly folk punk edge to the track. The verses are not quite this fast, but there is still a strong overall sense of pace to them - whilst the chorus ups the pace again, also going for a bit of a shout-along approach that fits in nicely with the punky vibe of the song. A pretty melodic guitar solo is surprisingly poppy in its approach - but perhaps this is a song that belongs to Nilsson thanks to some really intense and pretty busy drumming. Bad Addiction is still a pretty fast song, but it reins in the much faster pace of the previous number to instead just go for something energetic and hard rocking - even if the later chorus remains pretty hard-hitting. Call-and-response vocals during the verses give the song a bit of a different feel, and reaffirms the band's punk side, whilst the chorus feels poppy and accessible despite its pace. There are some guitar breaks here, too, that feature riffing which feels a bit more involved compared to the band's usual bluesy or punky approaches - meaning that the song feels, at times, a little different from the norm. It very much fits in nicely with the album's core sound, though, and some of the shout-along vocals during both the verses and the chorus are extremely memorable.

Porridge Head, despite some spiky riffing early on, actually is another number that approaches a smoother overall sound. This is certainly no shiny pop, but there is a poppier approach taken - with some occasionally more sugary backing vocals and less of an abrasive guitar tone. Many of the original hair metal bands spoke of how much an influence Cheap Trick were on their songwriting - and this is one of those hair metal anthems that certainly owes a little to bands like Cheap Trick. There are pop hooks here and a smoother overall approach guitar-wise - with a good mix of crunchier riffs and more melodic sections. The guitar solo is well-phrased and similarly melodic, too, and the smoother vibe has made the song a bit of a sleeper hit for me - and I enjoy it more with each listen. Cowbell and juddering riffing then introduces Watcha Gonna Do, a song that moves back and forth between bigger riffing and a slightly more atmospheric approach. It is certainly no ballad, something which I do not think that the band really do, but the verses are a bit different to the norm, with ringing clean guitar chords and less of a chugging overall sound - despite a rhythm guitar presence still notable. There is a bit of a depth to the verses, then, even if the main chorus is very typical of the band's core sound - and the cowbell often returns throughout to add that classic hair metal percussive groove. More shout-along melodies and another pretty memorable guitar solo make the song one that sticks in the brain - whilst the slightly different verse approach allows for an overall vibe shift for a brief period. The album then comes to a close with Cashed Out, and song that returns to the band's core sound all the way through. Whilst not hugely fast, it remains an energetic number - with both hair metal and punk sides that are evident from the off. Sing-a-long wordless vocal melodies turn the clock back to the 1980s, whilst chopping guitar rhythms and another driving bassline keep the verses ticking. There is something infectious about the guitar melodies during the verses - whilst the chorus is a proper energy-fest with harder-driving riffing and big backing vocals to make the hooks sound huge. The guitar solo takes a bit of a different approach overall, too, with a much busier and technical approach which allows Solhaug to express himself a little more than usual. The song ensures that the album ends on a high, showcasing the band's core sound nicely, showing that the similar and enjoyable previous albums were not one-off efforts. The Cruel Intentions are not the sort of band that I tend to listen to all that often these days, but I have enjoyed listening to them over the past year or so - and All Hail Hypocrisy is similar in style and quality to what came before. This album does little to truly shake up the formula, despite some variety here, but those who love gritty and punky hair metal will find plenty to enjoy here - and the album's short length means that there are no truly weak cuts here. The album flies by - and it is one that I can see myself periodically enjoying when I need something a bit more straight forward.

The album was released on 29th May 2026 via Indie Recordings. Below is the band's promotional video for Beating in My Chest.

Dan Byrne's 'This Is Where the Show Begins' - Album Review

I am writing this review at the end of what has been a hot and frustrating week. The current heatwave has just about come to an end, at least where I live, but the last few days have been a struggle due to the high temperatures - and where I live was not even one of the worst-affected areas of the country. Concerns relating to travel, as the UK's rail system can be quite fragile during high temperatures, meant that I opted not to go to London on Tuesday, too, which meant that I missed seeing one of my all-time favourite bands Queensrÿche live again. Frustratingly, the travel there and back would have likely been absolutely fine, despite maybe some short delays, whilst the concert seemed to go off without a hitch. I have been rather down about my own poor decision making this week, a rare occurrence of me falling in line with the 'abundance of caution' mindset that has gripped the country following the pandemic, but music has always been there to provide a pick-me-up - and the latest of 2026's releases that I am covering on this blog is This Is Where the Show Begins, the debut solo album from the Liverpool-based hard rock singer-songwriter Dan Byrne. I first came across Byrne in 2021 as a member of Revival Black, when I saw the band perform a decent if unremarkable set opening for Vega, and then again in 2024, this time as a solo artist, opening for a double bill of Tyketto and Little Caesar. I enjoyed Byrne's solo set more, but I was not totally sold - so I was surprised that, over the past year or so, the hype that has been building towards the release of Byrne's debut solo album has been as big as it has been. The level of hype is relative of course, and confined to the UK rock scene, but compared to most newer acts Byrne seemed to generate a lot of excitement before he had substantially released anything substantial - largely on the back of 2023's Beginnings EP and seemingly being pretty good on social media. I ended up seeing Byrne again, this time as a headline act, earlier this year - a show which I certainly enjoyed but I am still not sure that I was totally sold, despite him playing to a packed Exchange in Bristol. It likely did not help that I had been blown away by Silveroller the day before, my discovery of the year so far, who are easily my favourite up-and-coming UK-based rock band at the moment, but I still did not really buy into the hype. He comes across as a very nice, if overly earnest, man, who can certainly write decent songs and has a strong voice - but for me he lacks presence and that unknowable quality that just seems to push certain people to stardom. I am not sure his voice is as powerful as some of the TikToks would have you believe - but Byrne is certainly a strong singer and I do like his overall approach for the most part. Turning to This Is Where the Show Begins, then, and my view is largely the same. This is a solid and enjoyable modern hard rock album - but it certainly has not blown me away. I think back to British rock and metal debuts such as The Morning After's You Can't Hurt Steel or Heaven's Basement's sole release Filthy Empire (which I reviewed here) and this album certainly has not made anywhere near as much of an impact on me - but there is a lot to like here despite this. The Heaven's Basement reference is timely, too, as the band's former guitarist David Radahd-Jones produced the album, co-wrote two of the songs, and played various instruments throughout. The core band here is guitarist Glenn Quinn (Tigertailz; Son of Man), bassist Colin Parkinson (Inglorious), and drummer Max Rhead (Tribeless; Kira Mac; Kit Trigg; The Desert Plaza) - although Bryne himself also plays some guitar and keyboards.

There are a few other players here, especially as one song has been re-purposed from Beginnings seemingly without being re-recorded, but the core band, alongside Radahd-Jones, that largely accompanies Bryne on the road backs him during the 10 tracks here. This is quite a short album so it does not outstay its welcome, although I do feel that it is quite front-loaded. Kicking off with Saviour, the album gets off to a strong start. The main riff has quite a cinematic feel to it, with tough rhythm guitar and bass accents - with the riff grinding away in the background whilst the drums lay down simple hi-hat groove. The song builds quite slowly, then, with the rest of the band not really kicking in until the chorus, but Byrne sings in a nasally manner over this gradual build - before the song explodes into a powerful chorus, backed by a more up-tempo and bluesy riff. Byrne switches between a tougher, more nasal delivery during the verses and a more powerful approach during the choruses - whilst somewhat gospel-inspired backing vocals are utilised during the chorus to allow for a hooky refrain. There are no real big instrumental moments here, and they are largely a rarity throughout the album, but the main riffing throughout is powerful and hard-hitting - whilst the chorus is memorable. She's the Devil is the song that seemed to do well on TikTok, and it is a strong effort that showcases a rawer, slightly more old-school hard rock sound. It opens with a huge bassline, which is soon doubled by the guitars - and there is a strutting blues rock sound throughout. Byrne moves away from his more nasal approach here, letting rip a bit more, and he does sound great here - especially during some of the more high-octane moments of the chorus. This is certainly a memorable and hard-hitting track, but for me it just sounds a bit too close to Inglorious' core sound for comfort. With Inglorious' bassist on the track, too, it does make me wonder if this is a bit of an attempt to fill the void left by that band's seemingly now quite-sporadic existence. From the off I could hear Nathan James singing this one, and Inglorious' five albums are filled with songs like this - so as much as I enjoy the song it just feels a bit too familiar overall for me. Praise Hell is a bit more varied and interesting, with a more layered production that includes prominent piano and other keyboard parts - alongside some hooky lead guitars to open things up. Vocally, Byrne goes for a bit more of a soulful approach here. He does not let rip as he did during the previous number, instead going for a more restrained and bluesy approach during the piano-driven verses. This approach really suits him, and I prefer it to the more modern nasally approach that he adopts at times - and the song is likely one of my favourites here as a result. It is a song that just feels like quite a bit of thought has gone into it arrangement-wise. The gospel-esque backing vocals from the first song return, and are used to good effect during the chorus, whilst the use of lots of different keyboard textures and more of a lead guitar approach gives the song a big sound. There is a melodic guitar solo later on, too, which continues on even after Bryne starts to sing again - which is a trope I often really like. Quite a few of the songs on this album are fairly straight ahead rockers, with little to write home about arrangement-wise, but this one much more interesting and it shows that Byrne has something about him as a songwriter - and I would like to hear more songs like this from him going forward.

Sober is a bit more restrained, opening with some hypnotic clean guitar melodies and the occasional synth sparkle - over which Byrne soon starts to sing. Whilst not exactly a ballad, the song is slower overall and less hard rocking than many of the cuts here - even though the eventual chorus is bigger, with huge drum rolls and stabbing guitar riffing contrasting with the relatively smoothness of the rest of the track. The more prominent use of keyboards works well for me, with the verses having quite a pleasing spacey feel thanks to their presence, alongside the memorable clean guitar melodies, whilst the toughness of the band is really felt during the chorus - which sees Byrne showing that his somewhat more restrained vocal approach can also work against a hard-hitting backing. This is another song where he rarely lets rip, but the vocal approach works well in my opinion - especially given that much of the song is on the more low key side. Cherry & Leather is another favourite of mine, and it was one of the songs that really stood out when I saw Byrne live earlier this year. The main riff might be simple, but there is something very memorable and hard-hitting about its descending melodies, and the darker, hard rock sound that the song takes, with a strong bass presence, speaks to me. There is also a bit more variety in the overall arrangement, too, with some lead guitars coming in part way through each verse for effect - and I really like the way that Byrne utilises the higher end of his register here. He is not screaming or really pushing himself, but the more natural higher-pitched vocal lines during the chorus just make it that little bit more memorable than it otherwise would be - and it also helps that the chorus is just hooky in and of itself. Big riffs and strong melodies are always a winning combination for me - although a few little twists and turns also help, which is why both Praise Hell and Cherry & Leather are the standout cuts for me here. Death of Me, which also appeared on Beginnings, is re-used here - and as I said earlier it does not sound like it has been re-recorded. As such, the song is likely familiar to Byrne fans at this point - but the darker, somewhat slower moving rocker sits nicely on the album. It has more of a modern overall sound than some of the songs here, with the slow-burning piano-led verses and the lack of any big hard rock riffs, but the tough chorus still sounds strong - with some vocal melodies that help the song to stick. Slightly more industrial-sounding guitar leads are utilised later on for effect, but really the guitars here do little of note apart from provide a heavy backing during the choruses and some of the later verses - whilst the piano and Byrne himself vocally do much of the heavy lifting. In my view, the rest of the album is a step down from what came before - with the last four songs seemingly less interesting. Temple is a song that part of me wants to like, as there are certainly some strong hooks, and the way the song builds around some piano and percussive drumming is interesting - but lyrically it leaves a bad taste. I am not always a lyric guy, although I love a good concept album and well-written lyrics often speak to me, so I can often block out inane lyrics - but occasionally a song rubs me up the wrong way for some reason, and the main chorus hook just feels a strange mix of cheesy and sleazy; whilst a bridge section later expands on this vibe. It is certainly not a terrible song, but I just cannot really get past the way the lyrics make me feel - especially as they seem very different to Bryne's usual positive vibe and personality.

Pulling Me Under gets back to a more riff-driven approach, with the opening guitar riff certainly a memorable one that sounds quite similar to a few others that have already been heard on the album. I think that is largely my issue with this song. It is not a bad song at all, and the chorus is decent thanks to the aforementioned riff, but it is less memorable than many of the songs that were featured earlier on in the album - and those songs just did what this is trying to do in a more convincing manner. As such, there is nothing here that really makes the song stand out from the crowd on the album - although there is perhaps a bit more of an atmospheric backing this time thanks to a bigger synth presence. The riff and some of the vocal hooks during the chorus save the song, though, it is just not one of the standout cuts here in my opinion. Hate Me picks up the pace, opening with a pretty energetic guitar riff - which later forms the basis of a stop-start verse, alongside a strange synth accompaniment. This is a song that goes for a heavier overall approach, although there is a bit of a variety thanks to something of a more percussive chorus and the big synth backing. It is one of those strange songs, though, where the chorus never feels like the song's main focus point - with the two-part verses much more interesting. This is not necessarily a bad thing, but I feel that the song lacks some really soaring hooks - even if the percussive approach taken during the chorus does break up the heaviness elsewhere. It is a bit of a strange song arrangement-wise, then, and it is not one that has really grown on me all that much during my time with the album over the past month or so. The album then comes to a close with Home, a song which I saw Byrne talk about in interviews as being the song on the album that was very different to everything else. I am not sure that I agree, really, as to me it just sounds like an extension of some of the more modern hard rock influences that are very present throughout many of the songs here. This is somewhat the logical extension of songs like Death of Me in my view - pushing a song like that in a much more cinematic direction with big synths, formless guitars, and a pretty strong overall vocal. I get the impression it is a song that Byrne is very proud of, but for me it does not really hit the spot. There are some strong moments, such a somewhat more symphonic and choral mid-section - but the main issue I have with it is that the guitars are a bit lifeless. I like a cinematic rock song, but so many of the overly modern-sounding hard rock bands forget that they need to riff - and Home never really riffs. There are certainly some good ideas here, with some of the piano-led sections working well, alongside the aforementioned symphonic side of the song, but otherwise it lacks real hard rock grit and I wish that there was more of an epic, riff-led sound to close the album out. I think that I have sounded probably quite negative throughout this review, and This Is Where the Show Begins is certainly not going to trouble my end of the year list, but I do actually like most of this album - it just does not blow me away and I do not feel that my view aligns with the relative amount of hype surrounding it. In truth, this has often been the case. With the exception of Heaven's Basement briefly, the young bands I champion rarely get the hype that others I find less interesting do - but nevertheless it is always good when any new act gets some level of hype, and Byrne is certainly a talent that has produced a strong debut album.

The album was released on 22nd May 2026 via Frontiers Records. Below is Byrne's promotional video for Praise Hell.

Armored Saint's 'Emotion Factory Reset' - Album Review

Given how much variety there is in the heavy metal world these days, with metal having been taken in pretty much every conceivable direction at this point and fused with just about every other genre of music going, sometimes it is good to return to something a bit more straight forward and old-school after experimenting with stranger and more out-there sounds. A bit like returning to a hearty roast dinner after weeks of dining out on exotic goodies, listening to the California-based five-piece Armored Saint can often feel like coming home. Whilst sometimes considered part of the US power metal scene alongside bands like Riot and Metal Church, as well as having an influence on the thrash scene that came later on the in decade, Armored Saint were just one of those 1980s metal bands that did not fall into any of the popular subgenres at the time - and just played hard, heavy, and melodic metal that never made them world-beating superstars but gained them huge respect with metal fans the world over. Whilst the band's frontman John Bush later became a bit more of a household name due to his tenure with the thrash legends Anthrax throughout the 1990s and early 2000s, Armored Saint have generally remained something of a cult band - but any self-respecting metalhead should be familiar with the band's early releases at least, with 1984's debut release March of the Saint and 1991's Symbol of Salvation both cult classics. The 1990s was quiet for the band, as this was during Bush's stint with Anthrax, but since the turn of the millennium Armored Saint have essentially been a going concern again - with sporadic periods of activity early on and a busier period more recently. They might not be as active as some bands, but over the past decade or so at least they have been pretty busy - with new albums coming every few years, alongside touring and festival appearances. I have seen the band live four times, twice back in 2015 on consecutive days and then twice more recently - with shows in 2024 and 2025. They always deliver live, with their no-nonsense metal sound and a chemistry that comes from the same five musicians having played together since 1989, and their recent albums have all been enjoyable - even if they do not quite touch those best moments from the 1980s. It had been feeling like it was time for a new Armored Saint album for a little while, though. Their last album Punching the Sky (which I reviewed here) was released six years ago back in 2020 - but it was not until 2024 that the band made it over the UK to play some of those songs live, partly due to the pandemic. The band have often talked about the follow-up in interviews, and I think that new songs had been in the works for a while - but last month they finally released the successor to Punching the Sky in the form of ninth studio album Emotion Factory Reset. If anyone was hoping that Armored Saint were going to experiment on their next album, then Emotion Factory Reset will be a disappointment - but anyone hoping to hear more of the band's trademark form of riffy, chunky, and hooky metal will be very pleased with album number nine. Like everything that has come before it, Emotion Factory Reset is full of big riffs, shredded solos, and anthemic choruses - alongside accessible song structure, the band's usual slightly quirky approach to lyric writing, and that somewhat hard to pin down blue collar vibe I generally associate with them. The band's longest-serving line-up returns here as always, too, with original members Bush, guitarist Phil Sandoval, bassist Joey Vera, and drummer Gonzo Sandoval joined by guitarist since 1989 Jeff Duncan.

Bush and Vera have handled the bulk of the songwriting as is typical, but everyone has chipped in to make this album what it is. Production-wise, it follows the same trends as the band's previous efforts - big-sounding, but with a raw edge and very little sparkle. I think that is that blue collar vibe I mentioned before. There is nothing flashy here really - and there is an honesty to what Armored Saint do. Kicking off with lead single Close to the Bone, the band get off to a powerful start. Atmospherics soon give way to a snappy little clean guitar motif, over which punchy chords and drum hits are soon laid - before a barrelling, fast-paced riff kicks in and the song gets underway proper. Whilst not exactly thrash pace, the song shows why Armored Saint were an influence on all things fast and heavier than them in the late 1980s - and there is a real energy throughout this track. The mix of powerful guitar riffing and intricate lead lines shows that the guitar duo of Phil and Duncan is one of the genre's more underrated partnerships - whilst Vera's bass is often high in the mix to allow for a rumbling, heavy sound. Bush sounds as good vocally now as he did in the 1980s. He may not be the most varied of singers, but there is a pleasing honesty and power to his melodic delivery - with enough grit that can be applied when necessary. That is the case during the faster verses here, with Gonzo's powerful drumming propelling everything, whilst the chorus feels a little smoother thanks to plentiful guitar leads. Dual guitar leads and harmony solos are thrown in later on, whilst the pace remains high, and I can see the song becoming a concert favourite on the band's upcoming tour - likely acting as a powerful set opener. Opening with a strange bass riff, Every Man-Any Man goes for something of a groovier approach. The bass and drum combo which sets the scene early on really forms the basis of the song - as when the guitars kick in they generally add colour with hung chords and clean guitar melodies whilst the bass adds the weight. The song feels less heavy than the opening cut as a result, but there is nevertheless a strong metal groove and a more restrained energy here that settles in from the off - which allows Bush to sing in a slightly lower and pulled back manner during the verses, before a crunchier chorus feels a little heavier. The song does get weightier as it moves along, with some later verses feeling a bit riffier - but the core bass groove never really goes away, and the later guitar solo section is a bit more melodic and less shredded thanks to some Thin Lizzy-esque lead lines. Not on Your Life feels like a real hark back to the band's first album in my view. There is something pleasingly simple about the song, with Vera's bass really cutting through the mix and a slab-like mid-paced riff that builds on the NWOBHM influences the band inevitably were channelling during the early 1980s to create something hooky and memorable. Verses with juddering riffs and accented lead lines stick in the brain, whilst a shuffling chorus with bluesy guitar leads and a simple vocal refrain is one of the album's best moments for me. The slight sharpness to the lead guitar tone harks back to the 1980s, too, as does the lengthy shredded solo that is later thrown in. Despite the overall simplicity, there is a great melodic and metallic quality to the song that harks back to the band's early days than many of their other more recent efforts - despite the Armored Saint core sound being long established and still rooted in those albums.

Hit a Moonshot ups the pace again, creating a kinetic energy from the off and again showcasing that slightly thrash-adjacent sound that Armored Saint helped to pioneer. Despite the song overall feeling on the faster side, the overall arrangement is bit more dynamic than is sometimes the case. The verses are chunky and pretty fast-paced, with punky vocals from Bush and chugging rhythm guitars - but a later pre-chorus section ups the pace further, with some snappy drumming from Gonzo and some harder-driving riffing. The chorus is then slower, going for a groovier approach overall, which works nicely following the pace of what came before. This variety of pace helps the song to stand out somewhat - whilst the vocal melodies during the chorus have a pleasing grinding quality to them. Buckeye opens slowly, with some drawn-out clean guitar melodies and strange, laboured vocals from Bush. I am not really a huge fan of this intro, as it does not really bring the best out of Bush - but once a slow, heavy riff kicks in the song gets better, with Bush's slower delivery sounding better against a heavier and slightly southern backdrop. This is certainly no doom track, but there is a bit of a darkness to the slow riffing that differs from the band's core approach - whilst occasional southern grooves and slide melodies are utilised well. The chorus might not be the catchiest here, but it is still memorable thanks to the southern overall approach and some decent melodies - but the instrumental sections feel a bit more laboured. The slide soloing should work well, but it feels a bit too low in the mix to have a real impact. As such, the song is a strange one overall. It does something a bit different without quite sticking the landing. Compromise returns to something a bit more typical of the band's core sound, with a faster riff kicking in from the off and Vera's bass is once again very prominent in the mix. There is quite a bit of energy whipped up throughout this one, and it is one of those song that largely focuses on its riffs and overall speed to hook people in. There is not much of a chorus here to speak of, aside from Bush repeating the song title over a bit of a barrelling riff - but guitar-wise there is a lot to like here including some discordant clean guitar additions and a great instrumental section later on that mixes powerful riffing, high-octane unaccompanied shredded guitar leads, and even some bass leads. There are better songs here to sing along with, but from a guitar playing perspective the song is perhaps one of the album's best - and I really like the instrumental section in particular as it shows off what the band's instrumentalists can really do. It's a Buzzkill is more of a mid-paced number, with slightly laboured verses that revolve around some pretty busy drumming from Gonzo and a somewhat more atmospheric approach to guitar playing. This is certainly a song that reins in the heaviness overall, instead laying down some bluesy grooves with a slightly grungy overall approach. The drum and bass grooves provide that blues vibes, whilst the cleaner guitars and chord-heavy approach create a grungy atmosphere. Riffing is largely pushed to one side here, although there are still some strong guitar leads at times - including a pretty melodic and cinematic solo. There is something quite pleasing about the shout-along, mid-paced chorus, too. There are some similarities between this song and Buckeye in terms of pacing, but I feel that this song does this slower paced approach better - with the bluesy, grungy sound working surprisingly well as a point of difference.

Throwing Caution to the Wind picks the pace back up again and returns to the core Armored Saint sound nicely. There is a bit more of a smoother, melodic overall sound on display, though, which reminds me somewhat of the style adopted throughout Symbol of Salvation. Melodic guitar leads are utilised quite often throughout to provide another hook alongside Bush's powerful vocals - so there is a good mix of heaviness and melody here. I feel that the song feels heavier the more it moves along, too, especially as there is quite a weighty instrumental section later on that introduces some busier riffing and plentiful soloing that feels tougher than the overall approach taken elsewhere. Ladders and Slides opens with Gonzo drumming alone, laying down quite a hollow and weighty groove - under which some distant guitar riffing starts up. Once the guitars kick in proper, though, the drum groove feels a little less hollow - although there is certainly a bit of a Black Sabbath vibe throughout this number. The chorus is more anthemic, more typical of the core Armored Saint sound, but the main riffs and verses have a little bit of a darker overall tone - with some of the riffs having shades of Tony Iommi's approach at times. Despite this influence, the overall approach is very much typical of the band's core sound - even if some sharper, clean guitar melodies are utilised during parts of the song to also create a strange, atmospheric sound. There is a good mix of riffing and melody here, then, with the chorus being one that stuck in the brain from the off even if it is not traditionally the sort of chorus one would describe as anthemic. There is a pleasing groove here, though, and Gonzo's busy, percussive drumming under the later guitar solo helps to reinforce this. Bottom Feeder also opens with some interesting drumming - with another percussive and busy groove the basis for some more chunky riffing to kick off, which morphs into something more lumbering and mid-paced when it kicks in proper. Some of the riffing here might well be some of the album's heaviest moments - and the chunky riffing has a groove that is nicely infectious and really sticks in the brain. This riffing style also allows for a few different approaches throughout, including some stop-start moments during some of the verses and a more atmospheric, bluesy approach elsewhere. The chorus is another shout-along moment, too, with a grinding approach to riffing that makes the whole song sound much heavier. Songs called Epilogue are usually short, closing instrumental pieces, but this album's closing song of that name is a proper effort - and one that ups the pace compared to the previous number. It is not as fast as some of the fastest tracks here, but there is an energetic feel throughout - largely thanks to some kinetic riffing and another pretty infectious chorus that brings the best out of Bush. Snappy riffing and hard-hitting drumming keeps things moving, whilst a bigger overall vocal arrangement sees the band making fairly rare use of vocal harmonies during the verses - and some moments of gang vocal power as the chorus is approached. It feels like the sort of song that is just supposed to be memorable and anthemic, then, which works well given that the song closes the album out. It is a memorable way to leave things off, and the band's great mix of heaviness and melody really shines. Whilst a new Armored Saint album is always never really going to surprise, it is always pleasing to hear more from this band - as their core sound delivers and largely feels timeless. There is no real sense of age or the band slowing down here, and they sound as vital and as potent as ever. A lot of these songs would work well live, too, so I hope that they return to the UK soon for a proper tour.

The album was released on 22nd May 2026 via Metal Blade Records. Below is the band's promotional video for Close to the Bone.

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.