Velveteen Queen's 'The Greater Good' - Album Review

I have often said on this blog that so much great new hard rock and metal comes from Scandinavia - especially Sweden and Finland. Whilst a few bands came from that part of the world during the 1970s and 1980s, with Europe and all things King Diamond related perhaps the best examples, the Scandinavian countries were not known for their rich rock and metal scenes back in the day - something which has changed significantly in more recent years. A not insignificant chunk of my music collection comes from Scandinavia these days, with symphonic, power, and progressive metal perhaps dominating. Scandinavia has also been a fruitful breeding ground for all things more melodic, too, with a hair/sleaze metal revival kicking off 20 or so years ago. That scene, driven by bands like Hardcore Superstar, Crashdïet, and Reckless Love, has certainly had its peak - but many of the bands from that era are still operating and are still popular; and I am looking forward to seeing Crashdïet live next month. Every so often, though, another band appears from Scandinavia looking as if they have just flown in from the 1980s Sunset Strip - and the latest to catch my attention are Sweden's Velveteen Queen. There is relatively limited information on the band that I can easily find online, but it seems that the five-piece were formed in 2022 - so have only been operating for four years. Despite this, though, they seem to have been pretty busy. 2023 saw the release of their debut EP The Theater Sessions, with their debut album Consequence of the City dropping the following year - which included three of the EP's four songs. I am not familiar with either of these releases, and neither seem to be especially easy to track down here in the UK, but I started hearing a bit about the band a few months ago - when news of their upcoming second album The Greater Good broke. I had not heard of the band before, but their image and the comparisons being made to bands like Guns N' Roses and Skid Row certainly piqued my interest. I checked out one of the advance singles, I cannot remember which, and enjoyed it - so decided to pre-order The Greater Good, which has been released through a bigger label with proper distribution, and wait for it to arrive. Whilst this time of year is typically very busy for new releases, and 2026 seems to be no different, I have been trying to get to as many new albums as I can - and I have been enjoying The Greater Good over the past month or so. I have to say that, from the off, the comparisons made to Guns N' Roses are very accurate. Whilst frontman Samuel Nilsson does not really sound like Axl Rose, outside of a few moments, the band are clearly influenced by the bluesy strut of Slash and the overall swing that Guns N' Roses had in their heyday. That sound essentially fuels the 11 songs here, with balls-out guitar riffing from Lukas Axx and Noah Mårdh - and drumming from Isac Borg that has just enough looseness to allow that vibe to shine through. Nilsson, Axx, Mårdh, and Borg are all original members of the band - with Consequence of the City seemingly recorded as a four-piece, and I cannot find out online who played bass on it. It seems that original bassist Elias Knutsson was out of the band by the time the debut came around - but The Greater Good sees the debut of the band's current bassist Vilmer Fall, who rounds out the five-piece. The band seem largely responsible for everything here, with Nilsson also playing some piano throughout - although there are a couple of guests on the album, helping out with both piano and backing vocals.

The album was produced by the band alongside Magnus Ax (Swedish Erotica), Axx's father who also collaborated with Motörhead, and Søren Andersen (Kick the Kangaroo; Mike Tramp & The Rock 'n' Roll Circuz; Glenn Hughes). The album is really well produced and the band sound powerful - but there remains a rawness to the overall sound which is necessary for music like this to shine. This is a pretty short album, too, at just over 40 minutes, which is perfect for a sound like this. Kicking off with Too Far Gone, a busy, bluesy riff gets things underway - creating something of a strange, hypnotic feel as some crunchy rhythms join in, only for the riff to change to something more barrelling once the band as a whole crash in. The riffing throughout this album is pretty strong. Axx is the lead player, but Mårdh should also receive credit for his tight rhythms and riffing - which allow Axx to often shine. The verses are barrelling, showcasing a pretty fast-paced approach, whilst the chorus slows things down somewhat - with a heavier version of the opening riff bubbling away beneath the snarling vocals of Nilsson. A screaming, bluesy solo from Axx later builds on some of the melodies heard elsewhere - whilst a percussion-led breakdown is pure Guns N' Roses when it comes to groove. There are hooks aplenty here, and the mix of a strong chorus and plenty of riffing makes the opening really tick. The title track follows, which is one of the bigger sounding pieces here. Peter Keys (Lynyrd Skynyrd) plays the piano throughout - and his bluesy playing is heard throughout, kicking things off with a swaggering piano-led intro that really reminds me of a Use Your Illusion era Guns N' Roses deep cut I cannot quite place my finger on. The song is more of a mid-paced effort compared to the opening number, but there is still a sleazy vibe - as well as something of an anthemic vibe. Aerosmith influences are also on display here, although the guitar playing is generally more high octane - with bluesy interlocking riffs swirling around Keys' ever-present piano playing. The piano gives the song an organic drive, whilst Borg's drumming swings especially hard here - and there is a hooky strut to the mid-paced chorus, which Nilsson nails. The guitar solo is similarly bluesy, but it is more fittingly restrained than the previous effort - which suits the song's mid-paced groove and overall approach nicely. There is a maturity to the song that allows the album to exhibit some variety. Talk or Walk opens with a talk box riff, before a somewhat punky power chord pattern takes over - creating a simple hook before Nilsson starts to sing. That punk vibe remains throughout, and the overall arrangement is pretty simple. The verses are bass-driven, with the guitars often dropping away to add occasional leads here and there - kicking back in for a snappy chorus which utilises the same power chord pattern as the song's intro. This strident guitar riff works nicely as the backing for Nilsson's venomous chorus vocals - whilst the talk box from the song's intro returns during a brief guitar solo. None of the songs here are especially involved, but this is one of the least involved here - allowing the power of the riff to really shine. Adrenaline may have been the song I heard before pre-ordering the album, with the up-tempo single one of the best cuts here. A circular, bluesy riff backs the verses, allowing for that classic swing to settle in nicely, whilst the punch of Borg's drums really shakes the speakers. Juddering riffs elsewhere and an urgency to the verse vocals makes the song sound exciting - but it is the chorus where things shine the brightest. There are hooks throughout the album, but the chorus hooks here may well be the strongest - with the chorus a true anthemic moment made for the stage. A later percussive version only showcases this further.

Can't Go Back in Time feels a bit heavier overall, kicking off with a more metallic riff that fades into view - only for it soon to be doubled when the drums kick in. I said that Nilsson rarely sounds like Rose, but this is one song where he does - as his lower register approach reminds me of the way Rose sings songs like It's So Easy. There are no high-pitched screams here, but the deep delivery is quite Rose-esque at times - and Nilsson's snarl really suits the heavier nature of the song, with the headbanging verses moving along at a groovy mid-pace. The chorus feels a bit brighter, with Nilsson singing in his more typical range - with a little more of a cinematic guitar approach, allowing the song to have a bit of a mix of light and shade. This is a song that has grown on me quite a bit since first hearing the album - and it has become a bit of a favourite over the past month or so. Chains slows things down considerably, opening with some stark acoustic guitars that Nilsson starts to sing over. As much as I like this album, I am not convinced that ballads are Velveteen Queen's strongest suit. In my view, this is one of the weakest efforts here. Nilsson sings the song well, but the guitars in the background sound quite ham-fisted. Both Axx and Mårdh are clearly great guitarists, but they seem to lack the subtlety required for stark acoustic parts. Funnily enough, there is a section later in the song where they do exercise a bit of restraint, but the way the acoustic guitars are attacked throughout the song is quite distracting - and some more delicate playing throughout would have definitely improved things in my view, and would have been a much better backing for what is quite a decent vocal performance. It Ain't Over gets the band back to doing something more typical of their core sound. The acoustic guitars are thankfully cast aside here, with the band instead back to rocking out - with a descending, bluesy riff opening things up at pace. This is quite an energetic song overall, and it is another with some punky influences here and there. Fall's bass drives the verses, with the guitars somewhat dropping away again - although mini versions of the opening riff and the occasional lead at colour. Despite this punk drive during the verses, there remains a smoothness throughout thanks to a slightly poppier vocal delivery from Nilsson - which he expands on during the chorus. There is a slight AOR edge to the chorus in my view, with more of an overtly melodic feel - even if the bluesy base remains thanks to the guitar riffing. This is a song all about hooks, then, and it is another that has stuck with me quite considerably since first hearing the album. Liar is another that opens with a heavier riff - with police sirens also filling the speakers and creating a bit of a discordant sound. In many ways, this song feels like a bit of a sibling piece to Can't Go Back in Time. The tone of the riffing is quite similar, which gives the song a real kick from the off - whilst Nilsson often again utilises the lower end of his register to fit in with the overall heaviness. Fall gets in on the act this time, though, with a strong bass presence throughout that only adds to the heaviness. He powers through the verses nicely, adding plenty of weight, whilst the chorus is suitably more melodic - with a lighter tone, urgent, snappy vocals, and a busy guitar underpinning. A bridge section sees Nilsson doing his best Rose impression again briefly, which then launches into another tasty guitar solo. On an album of largely strong cuts, this is another overall highlight for me - and I like the darker edge to the riffing that Velveteen Queen sometimes come up with to keep things interesting.

Best of the Best opens with possibly the most Slash-like riff on the album. Slash has such an identifiable style that when people ae trying to ape him it is very obvious - and that is certainly the case here. The Slash worship is no bad thing, though, as Velveteen Queen are very good at that kind of high-octane, bluesy riffing - but sadly the rest of the song does not really live up to the promise of the riff. Nilsson's vocal melodies are generally excellent throughout this album - but they feel a bit awkward this time around. The chorus feels a bit forced in terms of the overall melodies and some call-and-response vocals - and there are some sections throughout the song where it almost feels as if the melodies and rhythm of the vocals do not really fit with the main song. Despite some strong riffing, then, the song is one of the weaker cuts here in my view. It lacks the anthemic hooks that the band are usually so good at to make the song stick - and the song is one overall that probably could have done with a bit more refinement in the studio. The band return to ballad mode for Sorry. It is not a song that totally changes my view on Velveteen Queen as a writer of ballads, but it is certainly a better song overall than Chains. It helps that the acoustic guitars are not the most prominent instrument this time. They are there in the background, being quietly strummed, but the main guitar melodies come from an electric guitar - so there is certainly more subtlety on show this time. This allows a more emotive sound to settle in, especially thanks to some subtle keyboards in the background and a slow-burning bluesy solo, whilst Nilsson does a decent job vocally. The chorus is quite memorable, and I do like the guitar solo section - but Velveteen Queen really are a band that just need to rock out. I know that bands love their ballads and getting all emotional, but not all are built for it - and, on the evidence of the two ballads here, I would prefer it if Velveteen Queen just focused on what they do best going forward. If they do feel the need to slow things down again, then more songs like the brooding title track would certainly be welcome. The album then comes to a close with Try (To Believe Me), a swinging, mid-paced hard rocker that is very much within the band's wheelhouse. It might not be one of the best examples of this sound here, especially as some of the chord progressions have a bit of an unintentional Status Quo feel to them, and the riffing is perhaps less clever here than it sometimes is, but there remains something pleasing about the overall strut and the somewhat more primal, in-your-face feel of some of the riffing and grooves. The song certainly feels more stripped back and primitive, until the strangely atmospheric bridge section that is, but the harder rock moments feel more deliberate following the previous ballad - and the song does allow some crunch and rawness to take over as the album closes out. There is a case to be made that the album does run out of steam towards the end, with the final three songs being on the weaker side, but the best material here is very enjoyable and of a high quality. I really like the band's overall sound and attitude - and I imagine that they would be excellent live. Hopefully they make it over to the UK at some point so that I can catch them - and I will try and track down copies of their earlier work, too. There is room for improvement here, such as losing the ballads and just tightening things up here and there, but overall the band is on a strong trajectory in my view - and I look forward to see where things go from here.

The album was released on 18th September 2026 via Silver Lining Music. Below is the band's promotional video for Adrenaline.

Haken's 'In a Fever Dream' - EP Review

A band's first album following a quite significant line-up shift often ends up being an important release in their catalogue - especially if the band is not one known for line-up instability. Will the new-look band reassure the fans with a new release that essentially gives them what they want, showing that the change has not significantly shifted the band's focus or core sound, or will the band instead take the change as an opportunity to branch out - entering a new era with a fresh sound and approach. Both approaches can succeed or fail, depending on the quality of the songwriting, and I can point to plenty of examples of both in my vast collection. In truth, though, I am not sure which approach the UK-based progressive metal band Haken have taken on their latest release In a Fever Dream. Firstly, In a Fever Dream is an EP, only their second EP following 2014's Restoration, so the band's fairly large fanbase are yet to be hit by a full album following this year's line-up changes; but, secondly, In a Fever Dream is neither a safe-sounding Haken effort that will hit fans in the warm and fuzzies, nor is it a complete reinvention. The band have somewhat tried to take both roads here, which I think contributes to the pretty varied reviews the EP has received. Some really love it, whilst others really do not - and there seem to be quite a few who are a bit confused as to what to think. Whilst I am certainly no Haken expert, this diversity of views has been quite rare throughout the band's catalogue. In my understanding, the Haken fanbase have largely been very accepting of the band's twists and turns over the years. Fans will likely have their favourites, but there is no album in the band's catalogue that is universally considered a bit of a weak link - let alone something outright awful. As such, In a Fever Dream is likely the band's first release to be met with such a mix of opinions - and I have been somewhat unsure myself what to think. My history with Haken is a bit patchy. I really enjoyed 2011's Visions around the time it came out, and ended up seeing the band play it live in full the following year. I dropped off the Haken train for quite some time not long after, though, and did not get back on board until 2023's Fauna (which I reviewed here). I have since caught up, and pretty much like the whole catalogue, but I do not have that lengthy history that others have - so I still consider myself as coming at the band pretty fresh. I will be seeing them live for a second time next year, which I am looking forward to, and, judging by their recent setlists, In a Fever Dream will feature heavily. To address the referenced changes in the band, In a Fever Dream is the band's first 'proper' release (not including their much-loved 2008 demo Enter the 5th Dimension) to not include guitarist Charlie Griffiths and the first since 2013's The Mountain not to feature bassist Conner Green. At this stage, neither musician has been replaced. Bassist Freddie Draper is currently touring with the band, but he played no part in In a Fever Dream, whilst band leader Richard Henshall is currently operating as a lone guitarist. As such, the EP was put together as a four-piece, with Henshall joined by frontman Ross Jennings, keyboard player Peter Jones, and drummer Raymond Hearne - all of whom are original members of the band, even if Jones left after the release of Enter the 5th Dimension and did not return until 2022. Interestingly, the band also worked with an outside producer for the first time here, too: George Lever - who has previously worked with bands like Sleep Token and Heart of a Coward. The bass is handled throughout by Bryan Beller (Steve Vai; MullMuzzler; James LaBrie; The Aristocrats; Dethklok; Joe Satriani) and Adam Getgood (Red Seas Fire; Periphery), who play on two songs each.

Sound-wise, then, the EP certainly sounds like Haken - but it is more atmospheric than is typical for the band. Jones' keyboards are generally more prominent in the mix, and the overall approach is much less riffy. Haken have always been a very modern prog metal band, though, so the approach taken here is quite typical of the wider scene - and I never agreed with the comparisons made between Haken and Dream Theater, as the two sound nothing alike save for maybe the odd riff here and there. Those who prefer the band's heavier side may well be disappointed, but those who enjoy soundscapes, Jennings' heartfelt vocals, and a bit of a less-is-more approach to prog metal will likely find things to enjoy here. The EP kicks off with its title track which, at just over seven minutes, is one of the longest cuts here. Haken have generally gone for shorter songs this time, but the EP is bookended by seven minute-plus numbers. A hypnotic clean guitar melody opens things up, and Jennings soon starts to sing over the top. Given the sparser approach to the arrangements here, Jennings possibly benefits overall. His voice always has plenty of room to breathe - and his higher-pitched delivery sounds great early on, whilst synths start to shimmer away in the background and some distant, programmed drums add an electronic depth. Electronics and synths play a big part of the sound throughout this EP, as the quieter moments of this song can really attest - but when Henshall launches into an angular riff, Hearne's drums kick in and the heavier sound that fans will be used to establishes itself for a time. The song moves back and forth between heavier sections and sparser moments - but, even when it riffs away sometimes, the lone guitar of Henshall is often more in the background, with Jones' synths taking the centre stage. As such, this EP really feels like the domain of Jennings and Jones. Their performances stand out the most, but when a tech metal riff cuts through the mix the power of Henshall's guitar playing is forced back into focus - and as the song progresses things certainly get heavier. Jennings even experiments with some brief moments of harsh vocals, something which I do not recall him doing before - and there is section later in the song where he does so against a very TesseracT-esque riff that judders with some chaotic Hearne drumming nicely. There is a lot going on throughout the song, then, despite the lack of showcase instrumental sections - all wrapped around a floaty, atmospheric chorus that recalls Anathema somewhat. Delirium follows, upping the heaviness pretty much from the off. A grinding guitar riff kicks the song off, backed by Gotgood's dry-sounding bass and some dancing synths. Whilst the previous song had heavier moments, it was largely characterised by atmospherics. This song is much more hard-driving, then, recalling some of the heavier moments of the band's more recent albums. Henshall is much more assertive here, his riffing largely ever-present - whilst the grind of the bass and the lairy edge of the synths give the song a discordant and rougher edge at times. Hearne is busier, laying into his double bass drums at times for some tough, jazzy metal beats - whilst Jennings leaves the more emotive delivery of the previous song behind for something much more powerful. He really soars during the song's chorus, which is built around the opening riff and some off-kilter drumming - whilst synths pulse away in quite a loud and abrasive manner throughout essentially the whole song. Things can feel a bit chaotic at times, then, but the song largely hangs together - and it will likely work really well live.

Eclipsed by You is the only song to not feature any traditional bass playing - with Jones instead covering the basslines on his synths. At first, though, the song feels very stripped back and mellow. Henshall's guitar melodies are quite up-tempo, but his tone is soft - and Jennings' early vocals are easy on the ear, despite some vocal effects coming and going. Some sombre piano melodies being added also give the impression that the track is going to be a soundscape-like ballad, but there is something hypnotic going on that belies something greater - and soon a synth bassline comes in, alongside some electronic drums, and Jennings starts to sing with a lot more vocal effects. The overall tone unravels at this point, then, and it is not long before some pretty ravey synths take over. Early on the synths seem quite floaty, against some subtle programmed drums - but when Hearne kicks things up a gear drumming-wise there is a real energy to the song, with synth bass and busy synths seeing the song out as Jennings continues to sing. Bleeding Sky opens in a similar manner, although the guitar melodies are much more slow moving this time - and the vocal effects on Jennings' voice are more prominent. Unlike the previous song, though, this one gets more organic as it moves along. At one point it seems as if things might take a similar route as previously - but the guitars become more prominent later on, whilst Jennings' voice becomes more full bodied. A bass bridge then allows the song to transition to its next section - which sees a somewhat heavier riff kick in, and the song largely proceeds from this point as a mid-paced, chunky modern prog metal cut, albeit with synths somewhat similar to that from the previous number. The song is a bit all over the place, then, but it does just about hang together - which is largely a theme of this EP overall. The closing section of the song is certainly much heavier, too, with more double bass drumming and organic riffing - even if Jennings' complex vocal arrangements ensure that a floaty sound often associated with Haken remains. The EP then comes to a close with Lotus, the other seven minute-plus song here. It is my understanding that the title track and Lotus started life as one longer song, but it was split in two to bookend the EP - and stick to the theme of shorter compositions. It is another that starts slowly with mournful vocals and piano melodies - before a precise guitar riff kicks in and the song becomes bigger. Mid-paced drumming and melodic bass playing from Beller come and go, with tougher, groovy sections sitting nicely side by side with atmospheric and melodic moments. Jennings impresses as always - with some of his vocal melodies calling back to the title track, giving away that the two songs were once one. The occasional use of harsh vocals is another link, and there are some cinematic, riff-led sections here over which Jennings screams - only for the pace to pick up once he starts to sing clean again. The arrangement is interesting, then, and a calm piano break never feels too far away, with much of the latter part of the song built around such - and it grows from there. Complex vocal arrangements and a rather slow groove characterise the closing sections of Lotus, then, with the previous heaviness stripped away - allowing a mournful guitar melody akin to how the EP started to bring the latest Haken platter to a close. It is unclear yet how representative In a Fever Dream is of where Haken see themselves going forward. The EP has grown on me since I first heard it, and listening to it again whilst writing this review I have enjoyed it more again - but it will be a shame if some of the knottiness and driving riffing of the band's core sound is largely left in the past. The EP is not as different as some are making out, though, and overall there is quality here - it is just perhaps showcased in a bit of a different way.

The EP was released on 18th September 2026 via InsideOut Music. Below is the band's promotional video for Delirium.

Anthrax's 'Cursum Perficio' - Album Review

Whilst I have not reviewed a huge amount of thrash so far this year, the thrash that I have enjoyed in 2026 has been of a very high standard. I know that Megadeth's latest self-titled effort (which I reviewed here) was not universally loved, but I really enjoyed it - and I have also reviewed strong efforts from Kreator, Exodus, and Flotsam and Jetsam. Some thrash-adjacent bands have also received some love this year, and there is likely to be at least one more thrash review to follow before the December comes to an end. Today's piece also returns to all things thrash, and to another member of the Big 4, as the long-awaited twelfth studio album from the New York-based five-piece Anthrax was finally released last month. Whilst Anthrax have remained a busy live act over the past decade, work on this latest album seemed so sluggish that I was not convinced that any progress was actually being made - and it had gotten to the point where I had stopped paying attention to whatever any member of Anthrax said in an interview on the subject. This was a shame as the thought of a new Anthrax album should be something to look forward. Prior to last month, since the current era kicked off in 2010 when frontman Joey Belladonna returned to the band for a third stint, Anthrax had released two studio albums: the excellent Worship Music in 2011 and the almost as good For All Kings (which I reviewed here) in 2016. Whilst I like parts of the John Bush era, and love Bush in Armored Saint, Anthrax have always been at their best when Belladonna was in the band - with both Worship Music and For All Kings better than anything else they had put out since 1988's State of Euphoria. As such, they seemed to be on something of a late career renaissance, with two excellent albums in the 2010s and a packed touring schedule - but work on album number 12 always seemed slow, and after a while I just stopped caring. Over the past few years, it has become quite clear that Anthrax are one of those bands for whom new material does not come easy. Some bands are awash with songs, and could essentially record a new album at any point, but, for some, writing anything new seems like a genuinely painful activity - and I can only assume that is the case for Anthrax. For All Kings, a generally well-regarded album, should have been followed up years ago - but it took the band 10 years to do so, even when they had been saying that a new album was close to being ready for about the last six or seven years. Given some of the interviews that various band members have done recently, too, I get the impression that they likely do not talk to each other that much outside of core band activities. I think I have heard two or three different 'futures' for Anthrax over the past month or so - so Anthrax are now clearly one of those bands that is a business entity rather than a band of brothers. That is not necessarily a band thing, but it does go some way of explaining why anything new was not forthcoming for quite some time - but, last month, album number 12 finally dropped in the form of Cursum Perficio. The band's second album from the current line-up, Cursum Perficio is certainly similar in vibe to the previous two - although it does not feel as strong in my opinion - albeit slightly more experimental. It is quite frontloaded in my opinion, but there are still strong numbers throughout. Produced again by Jay Ruston, Anthrax sound powerful here - with Belladonna in fine voice and the band's typical up-tempo and bouncy take on thrash largely present and correct, with a few heavier experiments thrown in.

I was surprised to see a few Blair Daly co-writes on the album, who is more known for writing songs with alternative rock/post-grunge bands as well as pop stars - but his handful of co-writes do not significantly shift the sound of Cursum Perficio. The band have written the bulk of the material here as always - and at just over 50 minutes there is quite a bit to get stuck into. Persistence of Memory, the first track here, is an instrumental scene-setter. At just over a minute long, with dark piano and synths setting a creepy tone, the song does not really add much to the album - but it builds up nicely towards The Long Goodbye, the first proper song here. Immediately the song opens with a mid-paced, building guitar riff - the classic fat tone of guitarist Scott Ian recognisable. Percussive drumming from Charlie Benante is soon added, and the song starts to build around this riff and drum pattern - in a surprisingly understated way. I would have expected the album to roar out of the traps, but Anthrax have often had a dose of traditional heavy metal in their sound, alongside their love of the New York punk and hardcore scenes, so something more crunching and mid-paced is not out of character for the band. The mid-paced riffing is driving and groovy, whilst the drumming is punchy and full of character - which creates a strong bed for Belladonna's melodic vocals. The verses utilise this building sound, whilst the later chorus is a bit more full-bodied - although the pace and crunch remain quite similar. The song is a bit of a strange one, then, but I find it quite an effective album opener. It really allows Belladonna to shine, as he was always one of the best actual singers on the thrash scene, whilst the tight rhythmic grooves allow for a bit of a heaviness as well as an accessible overall sound. Jonathan Donais' first guitar solo on the album comes towards the end, with some high-octane shredding upping the pace somewhat, with a double bass drum backing, only for the aforementioned groove to return for a final chorus. Lead single It's for the Kids then takes over, with the band upping the pace and returning to a punky, jumpy beat that is much more typical of the core Anthrax sound. If there was more of a classic heavy metal sound throughout the previous number, then this song is much more typically thrash. Benante's drumming is snappy and well-produced, whilst the juddering guitar rhythms and ringing bass playing from Frank Bello ensure that the classic Anthrax sound is established from the off. The verses are especially punky, with the bass driving everything and the drumming providing a choppy, staccato rhythm - whilst the chorus is on the slower side, with Belladonna going for a more anthemic approach overall vocally. A powerful, mid-paced breakdown later ups the heaviness, laying down further chugging riffs and prominent bass playing - whilst gang vocals add to this crunchier vibe, before the pace is upped again and Donais rips into another shredded solo. Everybody's Got a Plan sits somewhere between the two previous numbers speed-wise. It is not as groovy as the opening cut, but the break-neck thrash of the previous number is reined in somewhat - to allow a pretty purposeful groove to settle in, built around a quite acrobatic riff that injects itself into the verses on occasion to act as punctuation between Belladonna's vocal lines. There are moments again here where the bass takes over, seemingly the most prominent instrument, but this is a much riffier piece overall - with quite a few different riffs coming and going as the song progresses. Another slower breakdown is used here for effect, and this time the slowness remains during the guitar solo - which includes lots of long-held, screaming notes and some slower moving bluesy melodies. The multitude of riffs throughout and the pace changes throughout give the song a pretty dynamic feeling overall - even if hooks remain via the vocals.

The Edge of Perfection is one of the songs here that experiments with some heavier vibes at times. Despite a quite calm opening of clean guitar melodies, the main riffy section that follows is quite black metal-coded, with very fast-picked tremolo guitar riffs and more of an extreme metal approach to drumming. I cannot recall Anthrax quite sounding like this before, but the sound evolves over the fairly lengthy intro - with discordant clean guitar melodies later thrown in, alongside some wordless vocal melodies. There is melody alongside the tougher guitar approach, then, but once Belladonna starts to sing properly a more chunky, typical riff takes over - with the verses more classically Anthrax with some powerful mid-paced grooves. There is a great headbanging vibe to the verses, with a percussive edge thanks to a few little drum flourishes, whilst the crunch gives way to the black metal adjacent riffing when the chorus kick in - which is faster overall with some expressive vocals from Belladonna. The return of the wordless vocals from the intro help to add an anthemic edge at times - and the song is a great mix of styles that sees the band doing something a bit different whilst still sounding like themselves. After four very strong songs, I find Infectious to be a bit of a step down in quality. Given its title, it is quite a plodding, mid-paced number that lacks any meaningful big hooks in my opinion. A faster song might have fit the title better, but the song as it stands is quite plodding and deliberate - with little that really jumps out melodically. Belladonna sounds great, and some of the harmonised vocal parts see him as a powerful force - but the never-changing pace and the lack of a really strong chorus let the song down for me, and mean that the vocal performance is never truly capitalised on. I do quite like the guitar solo section later on, which is a bit more restrained than usual and filled with melody - but overall the song is one of the weaker cuts here in my opinion. It might have worked better had it been shorter, but given that it barely changes up during its five minute runtime it does start to drag as it goes on. NYC 93 gets the album back on track, though, with the song being one of the thrashiest on the album up to this point. Picking up the pace again, the song is a speedster, and one that really showcases that punk influence that Anthrax have always had. The juddering riffing and bouncy bass playing keep the song ticking - whilst the power chord pattern during the verses really sticks in the brain. Whilst Belladonna may sound better with more room to breathe, he also does these faster songs well - and his rapid fire delivery during the verses is excellent, whilst the shout-along gang vocals of the chorus are sure to make the song a live staple. Unsurprisingly, the guitar solo is fast-paced, too, with the song overall retaining a high tempo throughout - making it one of the most energetic pieces here. The album's title track follows, opening with some murky clean guitars that slowly build up around some atmospherics - until a proper riff that works off the same overall melody takes over. Reining in the pace of the previous song, this track is more mid-paced overall - although there is still quite an energy thanks to the main guitar riff and a very snare-heavy drum pattern. The verses are pretty snappy, then, with the aforementioned riff driving everything - whilst the chorus slows the pace down, going for a somewhat more epic overall sound with occasional gang vocals and more of a snaking groove. It is a song that has grown on me quite a bit since first listening to the album - with the dynamic approach and clean guitar breaks helping it to stand out.

T.O.M.B. feels a bit heavier and more grinding overall. Whilst not as standout as The Edge of Perfection in terms of taking a slightly different route, there is certainly a tougher feel to this track that has more of a 1990s Pantera feel in terms of the darker guitar tones and mid-paced grooves. There is little of the band's punk influence this time, then, with the song instead largely being a pretty mid-paced number with ever-present riffing, another strong vocal performance, and a meaner overall approach. That is, though, until around half way through when things do speed up and something much more thrashy takes over. The bass becomes more prominent and there is a high-octane approach for a while - with urgent vocals and that culminates in some shredded guitar soloing. There is a dynamic approach taken here too, then, as the mix of the grinding grooves and thrashier sections does work well to create something interesting and powerful. Sticking with a heavier overall vibe, Watch It Go ups the pace to return to something more overtly thrashy. Like The Edge of Perfection, though, there is a bit of a black metal rasp to some of the riffing early on, especially in the slightly strange drum beats laid down - whilst the verses here are very off-kilter, with unusual grooves and a chug that sits just behind the beat. As such, the song seems to mix traditional thrash, extreme metal, and something a bit more progressive and left-field together. The song does not exactly sound all that technical, with the grooves being quite organic - even with the strange rhythms in mind. As such, there are no real links to the current tech metal scene - with the off-kilter nature more akin to extreme metal than anything more modern. It is a song that takes a few listens to fully appreciate, as it is a bit all over the place arrangement-wise, but there is a lot going on for those who persevere and want to enjoy something a bit different overall. The album then comes to a close with My Victory, a song that returns to a much more typical thrash sound for Anthrax - ending the album on something much more familiar overall. After a couple more slightly experimental numbers, hearing some Anthrax 101 is quite welcome - with the main riff a pretty anthemic and memorable one, with verses that are very bass-driven and built around some more very strong vocals from Belladonna. Like many classic thrash songs, the chorus sees the song slow down somewhat - with strident vocal melodies that lodge in the brain from the off a big feature, as well as some pounding drums that keep the song moving despite the slower pace. In terms of the overall arrangement, there is less here that really stands out compared to some of the other more complex numbers - but the hooks are strong and the riffing throughout is full of those classic Ian patterns of chugs. There is a bit of a false ending, too, where it seems as if the song is over - only for another riff to kick in, which leads into a mid-paced instrumental breakdown section which keeps going for a while until it fades out. Cursum Perficio may well end up being Anthrax's last album, or at least that was what one of the aforementioned contradictory interviews I recently read recently suggested, but I hope that it is not - as Anthrax still sound strong and creative here. I think the previous two albums were stronger in terms of pure songwriting, but this one feels a bit more varied and experimental - so it would be good to see more of that side of Anthrax in the future. Either way, more Anthrax is always welcome - and Cursum Perficio is an enjoyable entry in the band's canon.

The album was released on 18th September 2026 via Nuclear Blast Records. Below is the band's promotional video for It's for the Kids.

Kris Barras Band - Torquay Review

Over the past few years, since live music resumed following the pandemic, the Torquay-based singer, songwriter, and guitarist Kris Barras has become a fixture of my live music calendar. Whilst I had heard of him beforehand, due to him living fairly locally to me, it was in 2021 that I actually started paying proper attention to Barras - when I saw him opening for Black Stone Cherry in Exeter. Whilst I had already been to a few shows in 2021 before that Black Stone Cherry one, the novelty of live music being back was still providing an extra level of excitement - and Barras proved to be the right kind of support act to capitalise on that feeling. At the time, Barras was reinventing himself. Starting out as more of a blues-based rocker, a sound which characterised his first three albums, the 2021 tour was on the eve of his fourth album Death Valley Paradise (which I reviewed here) being released earlier the following year - which saw Barras moving into heavier, more modern-sounding hard rock waters. Since that Black Stone Cherry tour and the release of Death Valley Paradise, Barras has risen through the ranks somewhat - and has become a fixture of the UK live music circuit. He is no longer just a local name, then, and local-boy-done-good stories are always pleasing ones. He has been very busy ever since, too, and I have seen him live at least once every year from 2021 to now. Lengthy UK tours have become pretty common for Barras, and he has since also released two more albums - with his latest, Monsters We Made (which I reviewed here), only a couple of months old. He also released an EP last year (which I reviewed here) as a member of the band Hollow Souls - a vehicle through which Barras could return to his bluesier roots. With his solo albums and tours continuing to sell well, and with Hollow Souls in place as alternative creative outlet, all seemed rosy in Barras' world - but, sadly, he has now called time on his music career. About a month before his most recent tour, which came to a close last night in Torquay, he announced that it would be his last - and that he was stepping away from music for the foreseeable future. The main reason given seemed to be wanting to shift towards a more secure financial future for his family - which would suggest that, even though he seemed to be doing well, the numbers were just not adding up in a positive way. This just goes to show how precarious music careers can be, even for acts that seem to be doing fairly well, and it should be a concern for all live music lovers. I would not be surprised if the serious damage that he did to his voice when falling ill on tour earlier this year with Smith/Kotzen played a part in his decision, too. He mentioned that he had considered calling it a day then a few months ago, but kept going as he had Monsters We Made waiting to be released. Thoughts of hanging it all up have clearly been circulating for a while, then, but it still came as a bit of a surprise when he made the announcement a month or so ago. I already had tickets for the tour's final night in Torquay, but that show became a bit more special overnight. Barras has always included the South West in his tours, hence why I have been able to see him so often, but calling time on his career in his hometown of Torquay certainly has a poetic ring to it - and The Foundry in Torquay has seen many a Barras show over the years. It was with a mixture of excitement and sadness that I travelled to Torquay after work yesterday, then, getting to the venue just after it opened following dinner in the local Wetherspoons.

I do not think that the show was actually sold out, or at least it was not announced as such, which was a bit surprising given that his Torquay shows usually do - but perhaps that was giving some context to his decision. Despite this, though, The Foundry was busy - and it had already filled up nicely by the time the evening's sole support act 10 Years took to the stage at around 8pm. The Tennessee-based five piece played almost in darkness the whole time, with only subtle lighting giving them a slightly murky appearance, whilst their sound was an interesting mix of late 1990s/early 2000s alternative rock/metal riffing, an atmospheric, almost progressive, soundscape backing, and the strong, melodic vocals of frontman Jesse Hasek. When the band took to the stage and the first riff kicked in, I thought that they were going to be a heavier post-grunge/nu-metal band, but overall they were much more atmospheric and melodic than that. Whilst there were certainly shades of both, particularly the former, Hasek's more restrained and heartfelt vocals removed a lot of the big posturing often associated with those genres - instead allowing for something more restrained and atmospheric. Whilst the band's songs often seemed quite simple on the face of it, with memorable riffs and some pretty big choruses, there was actually a lot going on in the background at times - with interesting synth arrangements, as well as guitar melodies and layering that was a bit different from the norm. I had not heard of the band before, but they seem to have found success in their career - having been around since 1999. Last.fm shows them as having quite good scrobbling numbers, whilst their Wikipedia page is quite extensive - which you would not expect for a band with limited success. As such, they are a likely a bigger band globally than Barras - but Hasek said on stage that they had rarely been over the UK previously, which would perhaps suggest that their profile over here is not that big. Despite this, though, there seemed to be plenty in attendance who were fans of 10 Years - and there was a pretty good atmosphere in the room throughout their 45 or so minutes on stage. Whilst I had largely enjoyed some of the early numbers in the set, it was perhaps their atmospheric take on Nirvana's Heart Shaped Box that drew me in. I am not much of a Nirvana fan, but 10 Years did something quite interesting with the song arrangement-wise - and it helped the elements of their sound click into place. Some of the later songs in the set felt a bit more anthemic, too, and I did not feel like the band's set dragged - which is usually a good sign. As such, I quite enjoyed what 10 Years had to offer, even if their sound is not 100% aligned with what I generally listen to. I will certainly check them out further, though, going forward.

Around half an hour later, during which the crowd was subjected to a rather tedious nu-metal playlist, although I am sure plenty enjoyed it more than I did, the lights went down and Barras and his band took to the stage - launching into Who Needs Enemies. Band regular Josiah Manning (guitar/vocals) had missed the tour due to recently becoming a father, meaning that ex-Inglorious guitarist Danny Dela Cruz had taken his place - but with Manning also being a Devon local he made the drive up from Plymouth for this final show, meaning that the band operated as a five-piece, with both him and Dela Cruz providing guitar backing to Barras' own excellent guitar playing. Barras' regular rhythm section of Frazer Kerslake (bass guitar/vocals) and Billy Hammett (drums) rounded out the band - and for the next 80 or so minutes the five on stage delivered a strong set of many of Barras' best recent tunes, with the odd look back to the past. I had wondered if the Torquay show, being the final one, would be a bit more 'special', with maybe a longer setlist and guests, but with the exception of Manning back the show seemed the same as the others on the tour. It seemed a rather unsentimental affair, and Barras seemed very much in business-as-usual mode - crashing through the modern hard rock of both Unbreakable and Dead Horses early on. Despite his vocal injury earlier this year, he still sounded strong vocally - and his guitar playing was fiery, with plenty of solos coming thick and fast. Four songs from Monsters We Made featured in the set, too, with the more melodic Unspoken and its title track the first two to make an appearance. For me, the album is not as strong as the other more recent efforts - but it was nevertheless good to hear some of the material live. The title track in particular was a powerful moment, and it led nicely into the gang vocal chorus of Savages - which was the first big crowd participation moment of the night. Barras shed his guitar for this number, getting up-close with the crowd instead - with Dela Cruz stepping forward to take the main solo. A melodic bass intro from Kerslake, on his huge six-string bass, heralded the arrival of the more atmospheric and cinematic These Voices, whilst Devil You Know upped the heaviness - and saw Barras again prowling the stage sans his guitar, with Manning taking over the solo duties. Despite the relative lack of sentiment, there were a couple of more reflective moments. Before launching into the blues ballad Watching Over Me, dedicated as always to his late father, Barras spoken about his early days gigging Torquay and reflecting on how far he had come. His soloing during the ballad was as poignant as ever, whilst a heavier blues vibe was continued throughout Ignite (Light It Up). A melodic solo showcase was then afforded to Dela Cruz, which reminded everyone what a great player he is, before a couple more new cuts in Beautiful Lie and Riot of One hit the crowd. The latter was especially powerful, and it seems a shame that the rocker is not going to get a chance to become a setlist staple - as its gang vocal-led chorus deserves it. The other moment of sentiment came from Manning, who delivered a brief speech in tribute to Barras' career before the main set's final number My Parade. The song has long been Barras' show-closer, and it was as powerful as ever - with crowd participation before the band took a brief step away from the stage. They were called back for one more, of course, and it left to Hail Mary, arguably Barras' signature tune through the years, to close out just over a decade in music. The setlist was:

Who Needs Enemies

Unbreakable

Dead Horses

Unspoken

Monsters We Made

Savages

These Voices

Devil You Know

Watching Over Me

Ignite (Light It Up)

Guitar Solo

Beautiful Lie

Riot of One

My Parade

-

Hail Mary

Whilst I never truly believe musicians when they say that they are retiring from music, especially ones as young as Barras, if, as of last night, Barras truly is done as a musician then he will have a career to look back on and be proud of. His body of work speaks for itself, and his tours have become fixtures on the UK scene - so will be greatly missed. I am sure that whatever he turns to next he will succeed at - and, perhaps, after a few years away from all things music, he may feel a certain itch again and be persuaded to pick up a guitar once more. We can only hope.

Green Lung's 'Necropolitan' - Album Review

Whilst the UK remains a hotbed of new music, covering all sorts of genres, I think that it is fair to say that metal is not something that the UK is currently producing all that regularly - at least when it comes to bands that receive international attention. Bands like Bullet for My Valentine and Architects both made waves in the metalcore scene, but neither could be described as 'new' these days, whereas acts like Sylosis and Bleed from Within are finally starting to catch on internationally after slogging away as undercard fillers for many years. There are plenty of metal bands, new and old, from the UK, then, but I am not sure that the country punches its weight like it used to when it comes to the international scene. As such, any rising star is to be celebrated - and perhaps the current UK example is the London-based five-piece Green Lung. I am not sure when I first heard of Green Lung, but it was not until 2023 and the release of their third album This Heathen Land (which I reviewed here) that I started to pay attention. Around that time, I was attempting to make a bit more of an effort with doom - having been impressed with Sorcerer at Bloodstock Open Air, as well as enjoying some of the dense catalogue of Candlemass. Whilst that end of doom is more up my street, i.e. what is sometimes called epic doom and often sounds like the Ronnie James Dio and Tony Martin eras of Black Sabbath, I also experimented with the bluesy, more stoner influenced end of doom. I had been quite an Orange Goblin fan for a number of years, who are sadly no more, and I tried bands like Saint Vitus and High on Fire around the same time, too. Something about the early reviews of This Heathen Land stood out to me during this doomy period, and I ended up pre-ordering the album and reviewing it. For the most part, I was impressed with what I heard. The band's Hammond organ drenched sound stood out from the off - with the melodic vocals giving the band a hint of polish, even if Green Lung's early Black Sabbath influenced overall sound remains quite organic. I have since described the band to those unaware as sounding like early Black Sabbath joined by Ken Hensley and fronted by Tobias Forge. They are unashamedly retro in their approach and image, but the songwriting of This Heathen Land pulled me in - and I ended up seeing the band live last year, when they headlined the O2 Forum in Kentish Town. I think that it is still their biggest headline show to date, and I enjoyed it despite not feeling 100% and it falling third in a run of four gigs in as many days. I could see why the band were held in such high regard, and why they have started to make waves abroad - but I have to say that nothing else the band have released has come close to This Heathen Land for me. I have not yet heard their debut album, but 2021's Black Harvest did not hit as hard - nor has last month's Necropolitan, the band's newly-released fourth album. That is not to say that I do not like either, but This Heathen Land seems to be an outlier that really stands out. In truth, my view seems to be the opposite of most - which seems to be that This Heathen Land was a bit more of an overtly melodic and more commercial release that lacked a lot of the band's core stoner qualities and overall heaviness. As such, many older fans are seeing Necropolitan as a bit of a return to form. I certainly enjoy it more than Black Harvest, and the standout songs here are excellent, but the ever-present organ and focus on hooks that I enjoyed about This Heathen Land are scaled back here.

John Wright's organ still comes out to play when necessary - but Necropolitan is a heavier album overall, with much less of that Deep Purple and Uriah Heep influence that I enjoyed so much about the last album. The bluesy, stoner vibe is back here in a much bigger way, then, even if the album somewhat tries to fuse the sounds of the last two albums - which is largely a success on its own terms. Like the previous one, this album is pretty short - at just over 40 minutes. It kicks off with the short Open the Hellmouth, a classic intro piece with swirling atmospherics, haunting, chanted-type vocals, and sombre percussion. There is something quite tribal and cult-like about the piece, which was likely the intention, but there is none of the band's usual heaviness - instead they here create a dense and spooky mood, before segueing into the first song proper Dance to the Grave. A huge guitar riff from Scott Black opens the song, and there is a powerful, mid-paced groove settled on from the off - whilst Matt Wiseman's drumming is suitably organic. Overall, I like the sound of the album - save for the organ not being as present as I would have liked. Produced by Tom Dalgety, who has worked with bands like Opeth and Ghost, as well as Green Lung previously, the band sound pretty massive here - but there are times I think that frontman Tom Templar's voice is a bit low in the mix. That can often be the cases during the verses in this song - at least when the full band is rocking out. Parts of the verses are much more percussive, with the vocals largely alone with Wiseman's percussive and building drums - but Templar can be a bit buried at times, which is a shame. He powers through the mix a bit more during the chorus, which has a catchy, swinging beat and some infectious vocal hooks. The hooks I liked from the previous album are not totally absent here, and my intro paragraph to this review may give the impression that I like this album less than I actually do, as this chorus is one that does stick in the brain - whilst a bluesy guitar solo and a spooky synth solo follow later on to add some instrumental interest. The mix of heavy riffing, dynamic verses with less heaviness in places, a hooky chorus, and a fairly progressive-sounding instrumental section means that the song ticks a lot of boxes. The next two songs are probably the hookiest efforts on the album, with both likely to go down well live. Black Magick Radio picks up the pace, with a juddering main riff and hard-driving drum pattern creating a headbanging opening - before Joseph Ghast's bass playing steps more into the spotlight for the verses. The guitars remain in a more atmospheric quality, whilst the bass drives the verses - whilst Templar's vocals are full of purpose. He often has a haunting, storytelling quality to his vocal delivery, and that is on show here - almost delivering a ghost story as the bass rumbles beneath him. Strange synth melodies add an atmospheric backing, whilst the band crashes back in in a big way for the chorus - which does actually see the organ sounding pretty mighty. Those Deep Purple and Uriah Heep vibes are back here, then, with heavier riffing - whilst the chorus vocal hooks are pretty infectious. Harmony guitar lines and slower, doomier riffing kick in later on, creating a pretty tight bridge section towards the end - which really contrasts nicely with the faster chorus when it kicks back in to close the song out with.

Perhaps my favourite song here, though, is the urgent and hard rocking Necropolitan Line. The Deep Purple vibes are back in a big way here, with Wright's organ one of the song's main driving forces. A big drum roll kicks things off, before the fast-paced song barrels away into the distance. Templar starts to sing immediately, with the verses feeling like a train careering off the tracks - with ever-present rumbling organ and chugging guitar riffing perfectly meshing Deep Purple and Black Sabbath together. Brief bass breaks and sections that see the organ play some melodies on its own break up the pace - but overall this is a song that throws doom away and instead just focuses on old-school heavy metal pace. There is a really infectious energy throughout the song, whilst the stop-start grooves of the chorus make it another that really sticks in the brain. The guitar and organ solo section is easily the band's biggest tribute to Deep Purple yet, too, with neo-classical melodies and a structure that is similar to the interplay solos of Highway Star and Burn. Some might find this solo section a bit on the nose, but I love it - and, for me, songs like this, with an organ-drenched approach, are where Green Lung truly excel. The album's lead single Evil in This House follows, and the song slows things back down to something more akin to a plodding, doomy, mid-pace. The main riff here is one of the most overt Black Sabbath-esque moments on the album, but there is enough of an organ backing to ensure that the band's core organic feel remains. Whilst I would have preferred a bigger organ presence, the song still impressed from the off and remains a favourite now. The chorus hits really hard thanks to the main riff reprising throughout - whilst Templar sounds creepy and powerful during the lumbering verses, which again see the bass take on quite a prominent role. Subtle guitar leads also add some additional depth during the chorus - whilst the instrumental sections are a bit more atmospheric and stoner-coded this time, moving away from the virtuoso, neo-classical approach of the previous song. Spacey, bluesy soloing is generally the order of the day this time - even if the guitar solo does end with a pretty shredded crescendo. Together in Death opens with some acoustic guitar melodies and distant piano - over which Templar soon starts to sing in a deeper manner than is typical for him. He generally sings in a higher, more nasal, register - whereas his performance here, especially early on, feels more throaty. In truth, I am not sure that Templar has a voice to really suit ballads. I really like his approach when the band rocks out, but there is little emotion in his delivery - which ballads tend to require. Despite the song being on the creepy side, which does ramp up in places, I would still call the song a ballad - at least in part. The vocals for me feel at odds with the music at times here - but when the band crash back in later on something more typical is returned to and a more pleasing balance is struck. The second part of the song is certainly much heavier, with denser riffing - even if the slower pace remains. It never feels like an out-and-out rocker, with the opening acoustic guitar patterns often returned to, whilst the guitar solo is a bit more emotive - and not backed by anything especially heavy. Despite this, though, I find the song to be one of the weaker efforts on the album - mainly as I do not feel that songs like this suit Templar's voice.

The final three songs here feel a little more on the progressive side. Ozymandias is a bit of a standout moment for me, and it helps that the organ feels quite a bit more prominent here. It dominates during the early instrumental opening, with juddering stabs sitting nicely in between guitar chords - whilst it is just higher in the mix more generally throughout. It backs the later hooky chorus nicely - whilst a melodic guitar lead often doubles the vocal melodies, making the chorus one of the album's stronger efforts. There are parts of the song which are more stripped back, with lone guitar riffing against an boomy drum beat during parts of the verses - but when the organ kicks in during parts of the verses and the chorus the song seems to really come alive. It is a song that does a bit of everything that Green Lung do well - and given that Templar perhaps did not come out of the previous song that well, he really knocks it out of the park this time with true power and a snarling tone. There is a fun, psychedelic instrumental section later on, too, which starts with the band dropping away and some synths filling the gap - before an organ build up soon gives way to one of the album's most soaring guitar solos. A new riff or melody is never too far away in this song, which means that repeated listens tend to bring the best out of it. Alostrael (Be My Babalon) opens with some busy bass playing, and spoken word by Riley Pinkerton (Castle Rat), creating a stoner vibe early on - but soon another Black Sabbath-esque riff kicks in, and the song moves along at a steady mid-pace with plenty of headbanging grooves. Twin guitar harmonies and a swing to the drumming really helps the song to click, but I really wish the organ was higher in the mix. There are moments when it really roars, but there are moments when you can hear it doing something really interesting if you really listen hard. It should be up front in the mix loud and proud, and this does let the song down a little for me - even if the unison guitar and organ soloing later on is excellent. It probably feels like I am nit-picking sometimes, but I really feel that the album would have been improved with Wright being higher in the mix pretty much all of the time. That said, though, the song is still hooky - with a pretty poppy chorus thanks to the harmony guitar melodies, as well as some fun bass interludes. The album then comes to a close with To the Gallows Born, a song that feels a bit more experimental overall. It opens with some distant vocals, again laying down a spooky vibe, before some prominent bass playing and a fairly snappy clean guitar melody kicks things off proper. Despite some slower moments and the cleaner guitar approach in places, the song does not really feel like a ballad. Templar's voice works better against this slower backing than it did during Together in Death, whilst mellotron and other atmospheric synths often fill in the gaps between the clean guitars and bass playing. As the chorus is approached, there is a bit more of a heavier sound established - with heavier guitars and organ returning. The band's core sound feels strong during these sections, but it does actually sit quite nicely against the cleaner, more psychedelic sounds of the rest of the song. This is a piece that largely feels quite different for the band overall, but there is still enough of that core sound to keep fans on board. The 1960s vibes are certainly fun, with the heaviness coming in later to drive the album to a close. Whilst I may have given the impression that I was disappointed with this album, I still like quite a bit - and even listening to it again to write this review my opinion has improved. I just wish the organ dominance of the previous album was applied here, as many of the songs would have been boosted by more organ in my view. That said, though, at least half of the album is great - and there is only one song here that does not really do it for me in any way. Green Lung continue to be a success - and this album is only likely to further that aim.

The album was released on 11th September 2026 via Nuclear Blast Records. Below is the band's promotional video for Necropolitan Line.

Myrath - Bristol Review

After a fairly local night out on Saturday, which saw me travel to Torquay for the evening to see Steve Hackett play through a few Genesis classics, yesterday I was back on the road again - this time up to Bristol. Despite having only visited Bristol recently, where I saw Marillion deliver a customarily fantastic performance at the Beacon last month, and its relative proximity to me, 2026 has not seen me visit Bristol as often as would be typical. For whatever reason, Bristol shows just have not been the most convenient this year - but it does feel strange to have not visited all that often of late. That is about to change, though, with four more visits planned for the next couple of months - and there are already a few things in the diary there for next year. Trips to Bristol are always enjoyable. It is a nice city overall, and the suite of venues it has on offer means that bands of all sizes can visit. It is lacking a proper arena-sized space, but rooms of all other sizes are essentially catered for - and they are all generally high quality spaces that bands enjoy coming back to. My Marillion trip in September found me at the Beacon, one of the city's larger rooms, but last night I was in somewhere much smaller - as my trip consisted of a night out at the Exchange, one of the smallest dedicated venues in the city. Whilst I prefer The Fleece and the Thekla when it comes to smaller rooms in Bristol, the Exchange has its charm. It is not the most pleasant place to be when sold out, but when there is a little space to move around it is enjoyable - and I have been to a number of quite memorable shows there over the years, even if it is not somewhere I visit too often. The reason for this visit was to see the Tunisian progressive/power metal band Myrath bring their latest European tour to the city. I have been a big fan of the five-piece for a number of years. I cannot remember exactly when I started listening to Myrath, but 2011's Tales of the Sands was their newest album at the time. I remember looking forward to, and pre-ordering, 2016's Legacy (which I reviewed here), too, so it was likely sometime in the early 2010s that I became a Myrath fan. Despite this, though, prior to last night, I had only seen them live once before - which was back in 2016 when they opened for Symphony X in London. I remember the band delivering a strong, but short, set that night - and ever since then I have wanted to see them properly. Since that Symphony X tour, though, Myrath had not returned to the UK until now. I am not 100% sure why it took the band 10 years to return - but a recent interview with them undertaken at one of the earlier UK dates suggests that visa were often an issue. They were scheduled to play at Bloodstock Open Air one year and mysteriously disappeared from the bill - which appears to be down to paperwork not being completed on time. I have always been disappointed by the lack of live UK shows by Myrath, so much so that I am just used to seeing their tour announcements lacking any UK shows, so I was very surprised earlier this year when multiple UK shows were included as part of a second leg of European shows supporting this year's Wilderness of Mirrors (which I reviewed here) - not just an obligatory London appearance. Perhaps the band getting booked to play at Quest Fest in Wolverhampton this past weekend allowed for the necessary paperwork to be completed - but whatever the reason I am very grateful that the UK were finally included, and that I could see them in Bristol without having to travel too far. As such, this was a show that I had been looking forward to since booking the tickets earlier this year - so it was with excitement that I walked up to the Exchange last night.

Given that there was only one support act, the show finished quite early. I was walking back to my hotel just after 10pm - and there was barely any waiting around during the night. The Exchange can sometimes be guilty of making people wait quite a while for the first band to go on - but the evening's sole support act Roses of Thieves went on at 7:30pm, following the venue opening at 7pm. I knew nothing about the Hungary-based folk metal band, but from the off I was quite impressed - and throughout the next 40 or so minutes a good time was had by all. The gig was not sold out, but there were still a decent number of people in the room by the time Roses of Thieves started. The band are quite new, having only been around for a few years, and seemed to be a violin player down, but their bouncy, accessible folk metal was easy on the ear - with the band having seemingly come quite a long way in a short space of time. They already have two albums to their name, with their sound based around accordion and violin (the latter of which was on a tape due to being a band member down) - as well as more traditional metallic riffing. Whilst I like folk metal, I often find it to be a bit cheesy. I tend to prefer the more 'serious' end of the genre occupied by bands like Eluveitie, but I really enjoyed Roses of Thieves' set - largely as there was a big dose of power metal and the folky elements did not seem all that gimmicky. The band just write poppy, memorable songs - and there was no real cheese to be found - unless one considers pop hooks inherently cheesy. Perhaps the cheesiest thing about the band's set were the dungarees worn by guitarist Miklós Kovács - but otherwise the band just rocked through their set and looked like they were having a great time whilst doing so. It helped, too, that frontwoman Ivett Dudás had a great voice and stage presence. She delivered to songs with real conviction, driving everything forward and connecting well with the crowd - despite what was probably a bit of a language barrier. It also helped that the band's material is so easy on the ear. Roses of Thieves are not the sort of band to try and inject progressive moments or other such left-field turns into their music. They stuck rigidly to their folk/power metal sound - with short songs built around folky melodies and strong choruses. I enjoyed essentially everything the band did, and there was a good atmosphere in the room as their set progressed. I ended up buying a copy of their latest album Demons Ascend after their set, so I am looking forward to getting to know band better going forward.

I did pop outside for a breath of air between the two sets, as someone decided it was a good idea to flood the venue with dry ice during the changeover, but I was soon back inside - and pretty close to the stage. The Exchange is one of those venues where the band have to walk through the crowd to get to the stage, so when the five members of Myrath passed me I knew that it was showtime - and soon the lights went down and the intro to The Funeral started playing over the PA. The band took to the stage, taking over from the intro tape at an opportune moment - with the silky vocals of frontman Zaher Zorgati soon filling the room. The Exchange might be a strange little place, but the sound quality last night was excellent. There was a good balance between the guitars and the keyboards - whilst the vocals were always high in the mix. For the next 80 or so minutes, the band ploughed through 17 songs - bringing the best of their North African-influenced progressive/power metal to Bristol. All but one of the songs from Wilderness of Mirrors were played, with the rest of the set made up of older tunes. The band are used to larger stages these days, but they seemed to be having a lot of fun in Bristol. Older cuts Born to Survive and Dance hit the crowd early on, with the latter in particular seeing plenty of movement from those gathered - before Dudás was brought back on stage for the duet Until the End. Zorgati did not speak to the crowd too often, but he did talk about the meaning behind The Clown, as well to offer his heartfelt thanks on occasion, but this just allowed the night to really fly by. Given that I was quite close to the stage, I felt transported back a few years - to when I regularly used to get to the front. It was one of the most fun gigs for a while, then, and I was just swept along with songs like Through the Seasons and Merciless Times - with chorus after chorus coming. I was in front of Malek Ben Arbia (guitar) most of the time, so it was great watching his eight-string riffing and melodic soloing up close - whilst Anis Jouini (bass guitar) seemed the epitome of cool much of the time, playing complex basslines with such a laid back demeanour. Whilst it would have been nice to hear some of my favourite older songs from the band, I cannot blame them for standing behind their excellent new album. Not enough bands do that, and hearing basically the whole thing live made me appreciate some of the songs more than I had previously. Still the Dawn Will Come, which is not one of my favourites from the album, sounded excellent - but songs like Edge of the Night and Breathing Near the Roar, which I already loved, sounded even better live. Myrath are a band for the stage, and their grand sound filled the room. I get the impression that the band are often a bit more theatrical live, but were likely limited by the space last night. Despite this, the music still across very well - and it was good to see Kévin Codfert (keyboards/vocals) actually playing a lot of the main string, etc., melodies live, rather than just adding atmospherics. There was an organic vibe to the set despite the band's complex sound, then, which was emphasised during the slower Soul of My Soul - with its lengthy piano-led sections and aching guitar solo. By this point, there was not much time left, but Endure the Silence and Les Enfants du Soleil were both late set highlights - with the latter turning to stage over to Zorgati's vocals in a big way. The brief instrumental Jasmin essentially acted as a showcase for masked drummer Morgan Berthet, as well as an intro to the band's anthem Believer - which brought the night to a close. There was a good amount of crowd singing during the number, and the band stretched it out, too, ending on a fairly low key note focusing on Zorgati once more. The setlist was:

The Funeral

Born to Survive

Dance

Until the End [w/ Ivett Dudás]

The Clown

Through the Seasons

Tales of the Sands

Merciless Times

Still the Dawn Will Come

Edge of the Night

No Holding Back

Breathing Near the Roar

Soul of My Soul

Endure the Silence

Les Enfants du Soleil

Jasmin

Believer

Given the 10 year wait, I am really pleased to have finally seen Myrath live properly. I have good memories of that support slot in 2016, but I am much more of a fan now - and it was great hearing so many of the band's best newer songs live last night. The small room did not phase them, and the crowd was having a great time throughout. Now that Myrath have been able to come to the UK under their own steam, I am hoping that it will not be another 10 years before they return. I will certainly make an effort to see them again when they return - and I am also now the proud owner of a Myrath shirt.

Steve Hackett - Torquay Review

Whilst I always enjoy travelling away, and having nights out in other cities, it is also nice to sometimes enjoy live music a little closer to home - without the need for trains and hotels. I have lots more travelling to do this year, but I also have a handful of more local events this month - with two here in Plymouth as well as two nights out slightly more further afield in Torquay. I may not cover the staging of Jeff Wayne's The War of the Worlds that I am going to be seeing in Plymouth at the end of the month, as it is not likely to be a concert in the traditional sense, but everything else will be covered here as usual - and the first of those more local nights out happened last night, when I took the trip to Torquay to catch the former Genesis guitarist Steve Hackett on his latest, lengthy UK tour. Torquay does quite well for live music these days. Whilst this is good, as it is pretty close by, it is not the easiest place to get go, either by road or rail, and it is also not the nicest place to spend a significant amount of time in. I can imagine that the town was once thriving and looking its best, especially down by the seafront, but time has not been kind to most of the old seaside resorts - and much of Torquay looks quite rundown these days. As such, an increased live music offering in the town can only be a good thing, and it can hopefully be one spoke of the wheel of wider regeneration - but it also means that those of us within striking distance can enjoy plenty of nights out at the town's music venues. Hackett, being a bigger artist, does not frequent any of the fairly thriving clubs in the main town centre - but instead brings his progressive rock show to the Princess Theatre whenever he comes to town. Last night was my third time seeing him live, and my second time seeing him in Torquay. The first time I saw him was in Plymouth in 2021, which was an excellent night due to him playing the whole of Genesis' Seconds Out, whereas the second time came the following year in Torquay - where, that time, Foxtrot received the full album treatment. Whilst I enjoyed both shows, Hackett is someone that I am unlikely to travel and stay overnight to see, given the amount of competition he faces, so I had not caught him since - as the closest he had come since 2022 was Bristol. When his current tour was announced last year, then, and I saw that it included a Torquay show, tickets were picked up pretty quickly. Hackett and his band are always worth seeing locally, and the Princess Theatre is a pretty decent venue - which is not as tired as it could be given much of the rest of Torquay. This current tour, though, has no particular theme. Hackett is always going to play some Genesis material, as he knows which side his bread is buttered having gone many years barely touching his former band's catalogue, but there was no full album performance this time. As such, then, the tour was billed as a celebration of the best of Genesis - alongside some solo material from his vast catalogue. In truth, this is essentially how Hackett has been operating for the past decade-plus. His shows generally include a first set of solo material, before a second, often longer, set showcases some Genesis material. The second sets are what keep him in the bigger venues, but his solo material has kept him in work over the years - and the mix of the two often makes for an enjoyable night. As such, then, after a fairly quiet Saturday at home resting, it was soon time to head up to Torquay for the evening. Wetherspoons was packed but there was room for a small one - and a quick dinner was enjoyed before taking my seat in the venue's circle.

The lights went down at bang on 7:45pm, and Hackett and his band took to the stage - with new keyboard player Lalle Larsson launching into the classical-esque, gothic intro of the rocker The Devil's Cathedral. Hackett's band looked a little different to recent tours, and now includes three alumni of The Flower Kings, but singer Nad Sylvan remained - and he sang The Devil's Cathedral with all of the power that he brings to the band. Despite Sylvan impressing early on, much of the first set was instrumental. Hackett's solo work is largely instrumental, with vocal-led pieces included occasionally, but there are generally quite lengthy instrumental passages even in the vocal-led songs - and that was evident last night. There was a lot of soloing throughout the night. Hackett, of course, had plenty of time in the spotlight - but it was actually Larsson who maybe soloed the most during the course of the show. Multi-instrumentalist Rob Townsend, a long-standing band member, also soloed, largely on the saxophone, so a lengthy instrumental incursion never felt too far away. Despite this, the first three numbers all included vocals. The upbeat and melodic Every Day followed The Devil's Cathedral, with its whimsical vocals and fluid guitar melodies - whilst a new number in the form of The Sea Inside saw Hackett taking the lead vocally, with Sylvan harmonising. Hackett's voice has never been the strongest, but it worked quite well in the context of The Sea Inside, which also featured plenty of melodic guitar playing. The second half of the first set was largely instrumental, then, save for the strange Camino Royale. Proper progressive rock and jazz workouts were then thrown at the crowd. Ace of Wands was a look back to Hackett's first solo album form 1975, and was more on the melodic side, whereas the dense The Steppes and the aforementioned Camino Royale were a little less digestible. These numbers ended up being some of the biggest soloing vehicles early on - with a lengthy Larsson solo coming at one point, before the sultry jazz club vibes of Camino Royale brought the best out of bassist Jonas Reingold. The bass playing in the song was pure jazz, but there was a fairly laid back vibe throughout thanks to some slow moving grooves and Hackett's fair weak vocals. This song ended up being one of the main showcases for Townsend, though, whose smoky saxophone soloing ended up being a big feature. The first set then came to a close, as tends to be the case on these tours, with the second half of the epic length Shadow of the Hierophant. The almost operatic first section is rarely played live, but the guitar-led closing instrumental section often is - with its slow-burning shredded guitar intro that morphs into some aching guitar melodies, many of which Townsend doubled with one of his saxophones. The guitar melodies in the track always feel quite moving - and the lengthy guitar solo essentially capped off the set nicely following a couple of somewhat less accessible pieces. The solo set felt longer than they have been on previous tours, and I did find that it dragged a little in the middle - but it opened and closed on highs, and, given that he has been a solo artists for significantly longer than he was ever in Genesis, it is understandable that Hackett wants to showcase as much of it as he can before giving the people what they want.

Following a 20 or so minute break, Hackett and the band trooped back on stage - ready to launch into a number of Genesis favourites. The second set may have only included five songs, but they included some of the best material of the Hackett era of Genesis - and the atmosphere clearly took a boost from the off. I was personally very pleased that they kicked off the second set with Dancing with the Moonlit Knight. The song is one of my very favourite Genesis songs, and I had not seen Hackett do it at any of the other shows I had been to. Looking back at the other setlists from the tour so far, it being played is not guaranteed - so I got lucky last night. Sylvan was featured a lot more during the second set, of course, and he nailed Dancing with the Moonlit Knight for me - with some emotive vocals early on and a more powerful delivery during the somewhat heavier mid-section. The song also included some of Hackett's fieriest soloing of the night, showcasing that he was an early user of tapping. Whilst all of the rest of the set I had seen Hackett and the band do live before, it was great to hear some of those Genesis greats live again. The Cinema Show came next, with more emotive vocals from Sylvan - and a lengthy instrumental section later on that gave Larsson plenty of time in the spotlight. Clearly Hackett shone during his solo spots, but Genesis were always much more keyboard driven overall. Larsson's melodic playing throughout did the songs justice, though, and he looks to have already really integrated himself in the band after the fairly recent retirement of Roger King - who had essentially been Hackett's right hand man for years. As it does on Selling England by the Pound, too, The Cinema Show segued into Aisle of Plenty - with the much shorter number bringing Sylvan back to the stage. A fairly lengthy keyboard solo from Larsson followed, which was largely made up of classical piano playing. It probably went on for a little too long for my liking, but it did nicely flow into the opening melodies of Firth of Fifth - a song that has largely become Hackett's signature song over the years. The guitar solo in the song is one of his most notable moments, so it is a part that fans look forward to each night. Despite this, the band really rocked through the track, so it was not just a case of waiting for the solo, but when it did come Hackett attacked it with everything - delivering the busy, melodic feast as would be expected. There was only one song left at this point, but with that song being the 23 minute Supper's Ready thing were far from over. I did wonder if the song might be rested for this tour given that it has been played a lot over recent years - but I suppose it is one of Genesis' best songs, so it was fitting that it was played. The progressive rock epic is always impressive to see played live. Sylvan again really did the vocals justice, whilst Townsend was here, there, and everywhere playing different instruments. There was quite a lot of flute playing during the track - and at times he even seemed to be playing the basslines on a keyboard, whilst Reingold doubled Hackett on the guitar. The song was as powerful and fun to experience live as always - and when it finished the band received a standing ovation as they left the stage. There was time for a couple more, though, and the soaring, melodic Dance on a Volcano was the first song of the encore section, with some excellent guitar and keyboard melodies, as well as that hooky chorus, before drummer Felix Lehrmann launched into a fairly brief drum solo that the morphed into a medley of Genesis' Los Endos and Hackett's own Slogans. Hackett often pairs Los Endos with other songs, with this arrangement, I think, being the same as the one played in 2021 - with the 2022 show being different with another song thrown into the mix. As such, it was one last return to something more jazzy to close things off - with some powerful soloing bringing what had been a lengthy night to a close. The setlist was:

The Devil's Cathedral

Every Day

The Sea Inside

Ace of Wands

The Steppes

Camino Royale

Shadow of the Hierophant

-

Dancing with the Moonlit Knight [Genesis material]

The Cinema Show [Genesis material]

Aisle of Plenty [Genesis material]

Keyboard Solo

Firth of Fifth [Genesis material]

Supper's Ready [Genesis material]

-

Dancing on a Volcano [Genesis material]

Drum Solo

Los Endos [Genesis material]/Slogans

Given that it had been a few years since I last saw Steve Hackett live, it was nice to catch up with him again in Torquay last night and hear some of those Genesis classics. Hackett always delivers live, and his new-look band were as tight as ever - despite Larsson and Lehrmann both being new recruits. My appreciation of classic Genesis only improves with time, and if Hackett comes back to the South West on future tours then I imagine that I will see him again.