Megadeth's 'Megadeth' - Album Review

For those of us that still follow many of the legendary hard rock and metal bands of the 1970s and 1980s, final albums and tours are becoming regular occurrences. Some bands seem as if they will go on forever, such as The Rolling Stones, but even very long-standing acts like Deep Purple and Uriah Heep are hinting at slowing down over the next few years - whilst others have called it a day. Clearly there are also plenty of bands that did call it a day only to return a few years later - but we have to take a band's word for it when they initially announce that they are retiring. One of the latest bands to announce such are the California-based thrash titans Megadeth. Formed back in 1983, Megadeth have, save for a hiatus between 2002 and 2004, essentially been ever-present on the thrash scene since. Considered one of the genre's 'Big Four', alongside Metallica, Slayer, and Anthrax; Megadeth have often been my favourite of the four. They were probably the first that I properly explored, despite likely knowing plenty of Metallica songs beforehand, and I would say that their catalogue is likely the strongest and most interesting. Not every experiment that the band took throughout their career paid off, but there are few genuinely poor albums in the Megadeth catalogue - and they have also remained the most prolific over the years, which is something I really value in legacy bands. Not only have they remained prolific, too, but many of Megadeth's more recent albums have also been strong. Metallica's last three have been strong too in fairness, but they have released significantly fewer albums - whilst Slayer are done as a recording act and getting a new album from Anthrax in recent times is like pulling teeth. As such, Megadeth just have more to listen to and enjoy - although in recent years I have not listened to the band as much. There has been no specific reason for this. My music taste continues to evolve and expand, and that means that there is just so much more to listen to. I know that I can return to a classic Megadeth album at any time and enjoy it - but I feel that a bit of a deep dive is due. The reason for such, at least in part, is the release of the band's seventeenth album last month. The self-titled release will be, according to bandleader Dave Mustaine, the band's final offering. Mustaine is looking to retire after over 40 years in the business - with the next year or so focused on a final big world tour in support of this latest release. Mustaine is younger than many of the old rockers still going strong, be he has not always been in the best of health in recent years - and it is harder for metal bands to keep going with the same levels of intensity that they once had. It is better to go out on a high than with a whimper - and as far as recorded output goes Megadeth is certainly a strong effort. Coming four years after 2022's The Sick, the Dying...and the Dead (which I reviewed here), Megadeth feels like a tight, punchy offering. The 2022 release was a longer, more sprawling affair - whereas this latest effort feels like an old-school album in terms of length and flow. Mixing fast-paced thrash with the creeping, melodic mid-paced sound that the band did so well in the 1990s, Megadeth does a bit of everything in just over 40 minutes - although it focuses on the latter. Given the number of personnel changes over the years, Megadeth's core sound has remained largely consistent. Mustaine keeps a tight grip on things, then, despite generally being surrounded by strong players. Drummer Dirk Verbeuren is the only musician to return from the 2022 release, whilst Megadeth is the first album to feature bassist James LoMenzo since 2009's Endgame despite him re-joining the band before the last album dropped. The new face here is guitarist Teemu Mäntysaari (Wintersun; Smackbound) - who replaced Kiko Loureiro in 2023 and has made significant writing contributions to this latest album.

In terms of songwriting, this album is a fairly collaborative one. There is only one song credited to Mustaine alone, with Mäntysaari co-writing everything else. Both LoMenzo and Verbeuren also make significant writing contributions, ensuring that Megadeth feels like a true band effort. It opens with lead single Tipping Point, a hooky track which is sure to become a real setlist favourite on the band's final tour. It opens in a mid-paced manner, with a snappy riff right out of the band's 1990s playbook, which is soon improved with a harmony guitar lead, but this mid-paced intro is a bit of a ruse - as the song is generally a fast-paced and thrashy track. After the main riff establishes itself, Mustaine launches into a trademark furious, buzzing riff - which forms the basis of the song's verses. Snappy drumming, the buzzing riffing, and Mustaine's snarling vocals fill the verses - and they are full of all the vim and vigour which Megadeth have always been known for. Mustaine's voice might not be as strong as it once was, but he does a good job throughout this album - and the simple, shout-along chorus is a really hooky moment. The pace slows a little during the chorus, and Verbeuren lays down some great double bass drum fills, whilst each chorus rendition is followed by high-octane shredding. Mäntysaari follows the first chorus, whilst the second sees Mäntysaari and Mustaine trading off. Ending as it began, with some more mid-paced riffing, Tipping Point gets the album off to a fiery and impressive start. The first half of this album is particularly strong - and these vibes continue on throughout I Don't Care, a punky mid-paced number. Driven largely by LoMenzo's bass and a simple drum groove, especially during the verses, I Don't Care features that semi-spoken word delivery previously used on songs like Sweating Bullets. This vocal delivery is not for everyone, but it works well here in my opinion - especially given how simple the arrangement is. The bass does all the heavy lifting, whilst guitar riffs are thrown in here and there to add colour. Regular short solos are also utilised, with both Mäntysaari and Mustaine soloing throughout. The snaking bass is ever-present, though, even during the soloing - and there is something smooth about these instrumental moments which contrast nicely with the punk feel of the main verses and pseudo chorus. Hey, God?! retains the mid-paced vibes of the previous song, but the punk feel is reined in - and the song instead goes for that snaking, creepy mid-paced vibe that Megadeth have done so well for many years. Chugging guitar riffing, with knotty little accents, propelling bass playing, and organic drumming are a great backing for Mustaine's storytelling vocal style on this track - with the verses and chorus melding together nicely to allow the song's core groove to remain. The headbanging and foot-tapping overall feel that this track conjures up very much taps into Megadeth's more commercial side, but Mustaine has always had the knack for making songs like this hooky - and there are more solo spots, with Mäntysaari shredding and Mustaine laying down some bluesier licks. So far this album has covered three of Megadeth's core sounds in three songs - and there is still plenty more to come.

Picking up the pace again is Let There Be Shred, a fast-paced, thrashy number which really showcases that NWOBHM influence which has forever found its way into the thrash scene. The main riff, which resurfaces throughout the song has that spiky Diamond Head vibe which the West Coast thrash scene was essentially born from, whilst a simplified version of such forms the basis of a furious verse - which sees plenty of short busts of shredded lead guitar punctuating Mustaine's vocals. Unlike many faster songs, the chorus does not see the song slow things down. The riffing becomes somewhat simpler during the chorus, but it maintains the song's overall pace - with hanging chords allowing Mustaine's vocals to stand out a little more. Given the song's title, the use of plentiful lead guitar throughout makes sense - even if Mustaine's main solo section is actually the slowest part of the song overall. Puppet Parade returns to the snaking, somewhat smooth mid-paced sound of Hey, God?! - and it is very much a song which feels inspired by the sound of 1992's Countdown to Extinction. It is certainly a fairly mainstream-sounding song overall, but Megadeth have always done this sort of song well - and it feels like Symphony of Destruction is being channelled in the sense of the song's simple, pulsing verses and a slightly haunting chorus backed by a lyrical guitar melody. Semi-spoken verses against a simple riff and a strong bass presence echo the band's classic era, then, whilst the overtly melodic nature of the chorus is sure to get people singing along live. In some ways, I am surprised the song was not released as a single. I would not be surprised to see it included in the setlist of the upcoming tour, though, as it feels like many of the classics of the past. Another Bad Day opens with a distant guitar lead, which returns when the song starts proper - laying down a simple melodic hook over another crunchy, mid-paced riff. Like the previous number, too, this song is clearly tapping back into Megadeth's 1990s sound - but perhaps the more overtly hooky vibes of 1997's Cryptic Writings are more closely represented here. Mustaine sings the song in a more melodic manner, and the repetitive chorus, with its bluesy guitar lead backing, feels somewhat poppier than much of the rest of the album. Even the guitar playing here feels a bit more reined in. The guitar leads throughout are slow-burners, and the riffing is deliberate and crunchy. Mäntysaari's solo is fairly slow-paced, too, with plenty of bluesy licks to fit in with the song's somewhat more restrained feeling. Opening with a big drum barrage, Cozy Powell style, Made to Kill picks up the pace somewhat following the last couple of songs - and injects back in plenty of that classic Megadeth attitude. It is not the fastest song here, but there is certainly a powerful urgency throughout. Given how high LoMenzo's bass is in the mix, the verses have a buzzing sound to them which only aids the urgency - and the overall guitar riffing is a bit more potent again here. Despite my previous comments about the song's overall speed, there are a couple of very fast sections which significantly up the urgency for brief periods. These moments are full of pure thrash energy - and are capped off with high-octane guitar solos.

Moving to the back end of the album now, Obey the Call opens with some almost laid back lead guitar licks which slowly fade into view. This guitar playing sounds strangely distant until the song gets going proper - and the overall vibe is that of another mid-paced crunchy hard rocker. The verses here have something of an old-school heavy metal sound, with Judas Priest-esque drumming and chugging riffing - over which Mustaine snarls in that semi-spoken word approach he utilises so well. As was the case with Puppet Parade, and a couple of other cuts here, the chorus feels more overtly melodic. Mustaine seems to truly the sing the chorus here, whilst a subtle guitar lead in the background somewhat seems to harmonise with him. Whilst the song is largely mid-paced, then, things do speed up at the end. The last section of the song is essentially a big guitar battle - with two solos from Mäntysaari sandwiching one from Mustaine. This final burst of energy makes the song much more interesting than it otherwise would be - and it becomes a pretty powerful effort as a result. I Am War opens with something of a phased guitar riff, which continues on as the rest of the band crashes in - albeit with an edgier and more powerful overall tone. As was the case with Made to Kill, LoMenzo's bass is quite high in the mix again - meaning that the verses chop along despite the overall mid-paced grooves. Overall, though, this is another pretty melodic mid-paced number. There are a few songs very similar to it here, and I feel that others are stronger. There is nothing wrong with the song, and the simple chorus is pretty effective thanks to some strong vocal melodies and another decent guitar lead, but this is a seam which Megadeth have mined a lot on this album. Another truly fast-paced number would have really added to the back end of the album in my opinion. Some true thrash would have been welcome, then, but Megadeth have always operated in mid-paced circles - so a focus on such here should not come as much of a surprise. The album then comes to a close with The Last Note, a somewhat lengthier piece which, whilst not exactly a fast-paced number, feels crunchier and heavier than the previous song. It actually opens slowly, with clean guitar melodies and some mournful vocals from Mustaine - before a fairly quick, crunching riff takes over and dominates the rest of the song. I do not always pay close attention to song lyrics, unless they genuinely stand out or I am trying to follow a concept album, but I do like the lyrics here - even if they are a bit on the nose. The song is essentially Mustaine setting out why he is going to be calling it a day in the near future - and it seems surprisingly heartfelt, which is not something I would generally say about Megadeth's songs. It is a memorable and strong song for those reasons - but it is also hooky, with a decent chorus and a great overall groove. Mustaine's solo is actually done acoustically, too, which gives the song a different feel - before Mäntysaari takes over with one last shredded moment. The acoustic guitar returns for the song's coda, too, which features Mustaine talking over the delicate melodies - bringing the band's recorded output to a typically snide close. Megadeth have released stronger albums over the years, but as a final effort I think this self-titled album gets a lot right. I would have preferred a little more speed overall but many of the songs here are hooky and the guitar playing throughout from both Mustaine and Mäntysaari is excellent. There are worse ways to go out than releasing a very solid album that covers a lot of ground and Megadeth can go out feeling that their recorded output ended with something strong.

The album was released on 23rd January 2026 via Tradecraft/BLKIIBLK Records. Below is the band's promotional video for Tipping Point.

James Bruner - Plymouth Review

Living in Plymouth, a decision to go to a last-minute gig is not one that I often make - but living a short walk away from The Junction, one of the city's premier small venues, occasional last-minute evenings out do happen from time to time. I have said something similar here before, but given how barren the city often is when it comes to live music, particularly when it comes to hard rock and metal, The Junction can sometimes be a little oasis. The city's largest purpose built venue, formerly the Plymouth Pavilions, has recently rebranded itself as Plymouth Arena in an attempt to attract more talent. We will see whether or not that makes a difference. I do go to that venue on occasion, and will be seeing 10cc there next month, but it has been a long time since I went to a proper metal concert there - with Slayer back in 2015 being the only one springing to mind. Alternative lovers were treated to Gary Numan performing there a few years back, though, and my last trip to the venue actually fuelled last night's trip out. Back in October 2025 I caught the high-flying Welsh rockers Those Damn Crows on their latest UK tour. I was surprised that the band booked a venue the size of the Plymouth Arena - but I think I under-estimated how popular Those Damn Crows are these days. I had not kept up with them since seeing them open for The Quireboys in 2018 - but the five-piece are likely one of the current British rock scene's biggest names. It was fun to catch up with the band again after so long, and seeing a young rock band pull a pretty decent crowd in Plymouth. The venue was laid out to make it look smaller, but there was still probably around a thousand people in attendance that night - and those that turned up early would have caught the short set from American rocker James Bruner which opened up the night. I knew nothing about Bruner before seeing his set that night - but I enjoyed what he had to offer. I remember him coming across like a bluesier version of The Struts' Luke Spiller - and his music fused retro bluesy rock with snappy modern indie traits to create something energetic and hooky. I was not blown away that night, but I certainly came away thinking that Bruner and his band had talent - and that is where I left things. That was, until a week or so ago, when I realised that he had booked a headline show at The Junction. Currently Bruner is over here again opening for modern guitar hero Orianthi - and he decided to schedule in some headline shows around those support slots. The show was announced a month or so ago but I did not really pay attention at the time - but after seeing the poster a few times it clicked and I decided to check him out. The ticket was cheap and it is little effort going to The Junction - plus it is always good to support up and coming interesting new rock acts. Every ticket and t-shirt sold really means a lot to acts rising up the ranks - and given the lack of live music action here from touring acts anyone making the effort deserves to be rewarded. I knew that I would at least casually enjoy the show, having casually enjoyed his previous set - so I headed up to The Junction after a long day at work last night, getting there just before the evening's sole support act kicked things off.

Opening the show were local act The Outlanders - a band who seem to be something of a mainstay on the Plymouth scene these days. I had seen the band live a couple of times before, but I had not seen them since 2023 when they opened for Massive Wagons. I remember casually enjoying them before, and that is essentially how I felt about their 45 or so minute set this time. Whilst not a true hard rock band, there is certainly enough hard rock in their sound to keep me interested. Easily the star of the band for me is Jake Walke (guitar/vocals), whose riffs really drove everything. Not to take anything away from anyone else in the band, who are all fine musicians, Walke seemed a step above everyone else. His riffing looked effortless, and was generally hooky, whilst his soloing was busy and fluid considering that the band are more modern in tone and arrangement - where soloing is often curtailed or left out completely. I enjoyed watching him play, but I think, overall, I was a little less impressed songwriting-wise this time. I think when I last saw them the band were still in their early stages, but now they seem to have released quite a few songs - so I was expecting a stronger repertoire overall. There were a couple of strong choruses, but there was nothing played that I would call anthemic - and some of the riffs played deserved bigger choruses to bounce off. Despite this, I still enjoyed watching the band's set. The band are clearly very passionate about what they do, and there is a bit of a mix of influences present which makes for an interesting mix of sounds. Frontman Kalum Wilmot has a fine voice, but I am not sure that his slightly emotional and occasional falsetto quite works with the dryer riffing the rest of the band churn out - and at times the different influences seem to be fighting each other rather than harmonising. That being said, The Outlanders have been around for a while now and have made a name for themselves locally - so are clearly doing something right. A few in attendance were clearly fans, which was good to see, and, despite them not really being for me, their set was a fun one.

It is always hard to know what you are going to get when it comes to headline sets from young acts that have not released that much music. Sometimes the shows can be very short - but Bruner gave people their money's worth (which was easy given the tickets were only £10) by playing for around an hour. I would not say that the turnout was especially great - but given that Bruner is only just starting out, being able to attract 40 or so people on a Tuesday night so far from home is likely a win. Everyone in attendance was up for the night, though, and there was a good atmosphere in the room as Bruner and his band took to the stage. I remembered guitarist Zach Mears from the previous show. I seem to remember him having more of a beard last time, so he looked a bit less like Gregg Allman this time without it, but perhaps this time he resembled Duane Allman more - given that he opened the set with a lengthy slide guitar workout. I knew some of the songs played, as I had listened to EP The Otherside, a handful of times before the gig - but much of the set was unfamiliar. This opening number was unknown to me - and it opened slowly with Mears' aforementioned slide guitar melodies before Bruner started singing and the mid-paced number proved to be something of a brooding opening cut. Despite having much less space to work with this time, Bruner still moved around a lot. He is a great rock frontman already, pulling all the trademark moves and interacting well with the crowd - whilst he strapped on a guitar himself for a few songs to add some tough rhythms behind Mears' soloing. Mears soloed a lot, which was good to see, and the tight rhythm section of Shannon Wilk (bass guitar/vocals) and Sam Jenkins (drums), the latter of whom was also in Bruner's band last year, added a lot of groove to help the songs move forward. There were some songs played which I was familiar with, such the riffy Switchblade early on - alongside the lengthy closer I Get Everything. Stand-alone single Alibi was also included - but some of the best moments of the night were actually some of the new songs which have not yet been released. One was played early on which Bruner said had not even been recorded yet, but the fast-paced, punky rocker was one that made an impression - whilst there was another newer number later on which really focused on Wilk's bass playing to drive everything, with the guitars adding colourful leads. Despite the low turnout, the crowd helped to make a strong atmosphere and reacted well to all the songs played. There was some good banter between Bruner and the crowd - and he seemed to having a good time back in Plymouth. So much so, that there was even an unplanned encore - something which is rare. Following the final song, Bruner had made his way over to the merch and ambient music was playing in the venue - but he was persuaded to do another one, so he and the band quickly crashed through one last rocker to the delight of those in attendance.

Overall, the night was very much worth the short walk to The Junction and the £10 entry fee. Bruner is a clear talent and his tight band put on a strong show in Plymouth. I am looking forward to hearing more from him as he moves forward in his career - and I would not be surprised to see him return to Plymouth one day. I bought a vinyl copy of The Otherside after the show, which he duly signed. A new 12" record for £10 is rare in this day and age - and the physical copy includes two songs not included digitally. I will enjoy playing that in due course - and I hope to hear more from Bruner going forward.

Glamour of the Kill's 'Vengeance' - Album Review

I have to say, I did not think that I would be covering the York-based metal four-piece Glamour of the Kill on this blog again following the band's ill-fated reunion in 2018/2019. As such, when the band's social media pages suddenly sprung to life last year I was genuinely surprised. I suppose bands come and go with regularity these days, but Glamour of the Kill seemed well and truly over. I am not sure exactly when they formed, but I first came into contact with them in 2009 when I saw them opening for DragonForce in Truro. In retrospect, that four-band bill of DragonForce, Sabaton, Sylosis, and Glamour of the Kill went on to have a big influence on my musical tastes, and I have seen each band numerous times since that night in 2009 - and Glamour of the Kill kicked off the stacked bill with their melodic metalcore-esque sound which I always think sounds like how Bullet for My Valentine would have sounded if they had more fun and listened to more 1980s metal. At the time, the band just had a self-titled EP to their name, but they made an impression - and I saw them as a headline act a couple of times in 2010 and then again in 2011. By the time the 2011 show rolled around, the band had released their excellent debut album The Summoning - which is still likely the best thing they have done. It seemed that the band would kick on from there - but sadly that never really happened. Savages (which I reviewed here) followed two years later, but it felt like a step down from what came before. Around half of the album is great, but the other half remains lacklustre - and it was clear that the band were trying to 'modernise' their sound by included a lot more synths and moving away from some of the razor-sharp 1980s-inspired riffing which made their early material really tick. The EP After Hours (which I reviewed here) followed in 2014. It took a similar route to Savages despite feeling a bit stronger overall, but I do wonder if, looking back, the band were struggling a bit with their direction as this era felt somewhat trend-chasing. I saw the band a few more times during the Savages/After Hours era and they were as good as ever live - but in 2015 they decided to call it a day, citing financial pressures - save for a handful of farewell shows in 2016. I was saddened by the news, but it was a statement I had read many times before from other bands. I suppose most bands come back eventually, though, and Glamour of the Kill did reunite for a run of shows in 2018 - which promised to be a full-blown reunion. A new album, Resurrection, was announced and two singles were even released - but by 2019 the band were once again no more. Resurrection never happened, then, and I recently saw a 2019 tour poster online which I have no memory of - which suggests a tour that likely never happened. Given that they had tried to reunite once, I had assumed that the band were very much dead at this point - so the current reunion was a genuine surprise. Especially as frontman Davey Richmond had been active in DeadFlight, who released the strong Arrival (which I reviewed here) in 2022, but I guess the Glamour of the Kill pull was too strong - and the band formally reunited last year, releasing a string of singles in the lead up to the dropping of Vengeance, the band's actual third album. Three quarters of the band's classic line-up return here, with Richmond joined as ever by guitarist Mike Kingswood and drummer Ben Thomson. Guitarist Sam Brookes, who played with Richmond in DeadFlight, rounds out the current line-up - replacing Craig Robinson from the ill-fated Resurrection era, who in turn had replaced Chris Gomerson from the band's original run.

Sound-wise, Vengeance finds Glamour of the Kill in a heavier mood than ever. Gone are the up-beat synths and flashier elements that the band added to Savages and After Hours - with metallic riffing back in a big way. The material here is closer in tone to the debut EP and The Summoning, but it stands alone sound-wise in my opinion - with a much thrashier overall feel and less of an emphasis on anthemic choruses. That is not to say that the album is not hooky nor melodic, as it is, but it feels like a much more mature and considered release - with little of the band's poppier side which had always been there and a much larger dose of true metal. The short instrumental First Breath of the Reaper kicks things off, and it sets the darker tone which largely permeates this release. Sombre piano melodies form the basis of the track, before crunching power chords are added - as Thomson lays down a marching drum beat. This vibe continues on for a minute or so, but the riffing gets more involved and heavier - whilst gothic strings add depth. The song acts essentially acts as an extended intro for The Forgotten, the first song proper, which opens with some percussive riffing and drumming - before Richmond shouts the song's title and the first thrashy riff kicks things off. The riffing style here is still very much inspired by the 1980s metal scene, but the guitar tones are tougher. Richmond's vocals still have that pop edge to add some melody, but even his delivery feels a bit tougher at times - and the occasional harsh gang vocals from rest of the band which used to be a part of the band's sound are also brought back. Parts of the fast-paced verses see Richmond backed by these growls - whilst Kingswood and Brookes riff away and Thomson lays into his double bass drums. The song is like the heaviest moments from The Summoning, only heavier and darker - but the overall vocal melodies and riffing patterns are instantly recognisable as by Glamour of the Kill. Those trademark melodies are present here, despite the darker tones, and the synths from the last couple of releases have instead been replaced by gothic strings. There is an epic feel to much of this album as a result - but there are still plenty of hooks, as the slower chorus, which feels somewhat poppier, showcases. The chorus is very easy on the ear, showing that Richmond still has a knack for a hooky delivery, whilst the song's lengthier overall arrangement allows for riffs to be lingered on a little longer - as well more diversity in terms of bridge-type moments. Lead single Grace of God follows, and looking back it was easy to see why it was chosen to kick off this new era. It is very representative of the album as a whole - whilst containing enough of the past to hook in long-time fans. Like the previous song, Grace of God is pretty thrashy overall - but the buzzing riffing is not too far away from the band's old sound. There is enough of that old-school metalcore sound here to please long-time fans - with Richmond's accessible vocals hooky as always, whilst those occasional harsh vocals once again act like punctation during the verses. Something that is a bit different here is the introduction of Kingswood as a supporting vocalist. He was always partially responsible for the growls, but he sings clean occasionally throughout this album - and he takes over for the pre-choruses here with his grittier vocal style. Richmond returns for the big chorus, which is pretty anthemic, and the contrast between the two vocal styles works well. It is certainly a chorus made for the stage - and the whole song just feels hooky, from the riffing through to the vocals. Multiple guitar solos are thrown in here, too, showcasing Kingswood's talents as a player - with shredded passages very much fitting in with the song's furious overall nature.

The album's title track follows, and it opens with a strong wordless vocal hook which resurfaces quite often throughout the song. As such, this song feels like another written deliberately to be more anthemic. There are shades of the old days here, then, but there is also a groovier overall approach taken - with the pace somewhat slowed at times. Parts of the verses are fast-paced, as has been the case so far on this album, but there are a lot more mid-paced moments to allow for some bigger, more pronounced guitar riffing - with the second half of each verse in particular benefitting from this pace change as Richmond's vocals and some choice harmonies really shine. The chorus is simple, as it is largely the wordless hooks from the song's opening repurposed around a couple of lyrics - but it is memorable as a result. It is another that I can see going down well live, as a crowd really latches into the hooks, and the good mix of faster and mid-paced moments would allow for a dynamic addition to the set. A harsh vocal-led bridge and another shredded solo finish things off nicely. Another single in the form of Feed Them to the Pigs in next, and the shorter number is the first here to rein in the thrashy vibes fully and go for a mid-paced approach throughout. The album's intro aside, it is the only song here under four minutes long. The band have generally stretched out here, writing longer songs, but this one is a bit more contained - with chugging, headbanging riffing complete with accenting pinch harmonics the song's main draw, whilst clean guitar-led verses allows Richmond's sneering vocals to really shine. Given that the song was another single, it is unsurprising that it is another hooky one. The main riffing and groove really gets stuck in the brain, whilst the chorus is maybe the poppiest on the album thanks to some interesting vocal melodies and its eventual shout-along core melody. The arrangement is much simpler than that of most of the other songs, then, but the song is satisfying thanks to its hooks. Diseased goes for a much more dynamic approach overall - mixing slower, ballad-like moments with heavier sections. Many of the songs here take a few listens to fully appreciate, and I feel that this song has only really opened up to me as a I write this. The opening guitar melody is busy and almost progressive metal in tone, whilst the slow-burning verses mix clean guitar and snarling vocals to create an emotive tone. Strange spoken word moments and occasional harsh vocals add heaviness - but the chorus injects some weight back in with fast double bass drumming sat under slow chord changes to create quite an epic sound as Richmond sings. All the different sections add up nicely, though, and the song is another strong addition to the album. Delirium changes things up quite a bit, insofar as it features Kingswood on vocals throughout. He has featured here and there throughout the album, but this is his first effort as a lead vocalist proper - and his breathy, slightly gritty delivery works well given the expansive and slow-burning overall sound that the song puts forward. He reminds me of someone else vocally, but I am struggling to pin-point exactly who annoyingly, but as traditionally a non-singer he delivers here - with a varied performance that mixes an emotional clean delivery with the occasional growled section. Richmond adds harmonies when needed, but this is Kingswood's showcase - and he particularly shines during the slow-burning verses with their mournful clean guitar melodies and sombre drumming. The heavier chorus sees him letting rip a bit more, but I think this song works at its best when it is more mournful - even if the choruses are still strong. The song is something different for the band overall - but it works well as a change of pace without sounding especially out of place.

Rampage gets back to something more typical of the rest of the album, unsurprisingly given its name, delivering more of the thrashy sound which characterises much of the album. The song is fast and furious from the off then, with snappy riffing and urgent vocals - with less of the dynamic approach which characterised the last couple of songs. In fact, this song seems to hark back to the sound of The Summoning quite a bit - despite feeling heavier overall. The chorus, with its easy-on-the-ear hooks and wordless vocal melodies certainly channels the overall vibe of that album - meaning that it is a song which grabs hold early. There are more interesting pieces here, especially as I like how the band has evolved their sound for the most part, but for a simpler throwback to the old days I feel like Rampage is a fun addition to the album. Aeternum Immortalis keeps the pace up, but injects back in some of the gothic elements which have been heard throughout the rest of the album. The song opens slowly, then, with gothic strings and choirs, which return occasionally during the later chorus, but much of this song is another hard-driving thrashy number - with razor-sharp verses and snappy vocals from Richmond. Like many of the songs here, though, the arrangement feels a bit more involved - so there is a dynamic approach once again. The verses are fast-paced and heavy, but the chorus is much slower to allow for a somewhat anthemic approach. It is not a chorus as hooky as some here, but it gets the job done - and the gothic strings add some depth. A bridge backed by a gothic choir later feels a bit different - but it soon transitions into a big, shredded guitar solo where Kingswood really lets rip. Some gothic vibes remain throughout Suffer - with the tolling of a bell kicking things off, before a buzzing, fast-paced riff kicks in. This thrashy riff is another candidate for the album's fasted and most furious - but a slow-burning guitar lead which sits atop it does perhaps limit its power somewhat. Despite the speed of this opening riff, though, much of the rest of the song is more mid-paced and groovy. The verses here feel quite typical of the band's past work, with Richmond's vocals in particular turning the clock back, his poppy snarl sounding as good as ever. There are bursts of speed, and the song does feel quite urgent at times despite some more mid-paced sections sitting between the outbursts of riffing, but compared to many of the other songs here Suffer is perhaps one of the least interesting in terms of hooks and arrangement. The album then comes to a close with Broken Halo, which opens slowly with some clean guitar melodies and percussive drumming. This initial murk sets a dark tone, but once the song gets going proper it feels heavier overall - with a strange fast-feeling, yet ultimately mid-paced, riff and verse section which sees Richmond singing in a hooky manner whilst harsh gang vocals add punctation. Overall, this song actually feels quite different to anything else here. It feels quite epic, but in a different manner to the band's usual hooky approach - and there are shades of mid-1990s Metallica here at times, with the grinding chorus feel like something Metallica would have included in one of their bluesier mid-1990s pieces. The chorus remains hooky, though, but more for its grooves overall - and I like how the last chorus goes through an unexpected key change. Despite the differences, I think the song ends the album well - with the snaking approach and different melodies all coming together well to bring the album to a close. The two singles from the Resurrection era aside, Vengeance represents the band's first release in 12 years - and overall it feels like a big success. There are a lot of memorable songs here, and I like how the band have evolved their sound without losing too much of what made them great in the first place and dropping some elements which perhaps they never needed to introduce. It is great to have Glamour of the Kill back properly this time - and I looking forward to hearing some of these songs live on the upcoming tour.

The self-released album was released on 22nd January 2026. Below is the band's promotional video for Grace of God.

Kreator's 'Krushers of the World' - Album Review

January 2026 is turning out to be a pretty heavy month. With the exception of Alter Bridge, despite a metallic edge to their sound at times, all of the bands that are dropping new albums which I am planning to cover this month are metal acts - with two of them being some of the world's premier thrash bands. I am writing this piece in the wake of Megadeth's latest, and supposedly final, album dropping - but today's piece looks over towards the Germany thrash scene, and Essen's Kreator, a thrash four-piece that has been active in one form or another since 1982. Whilst the US thrash scene, and in particular the Big 4, all found an element of mainstream success and somewhat crossed traditionally firm genre boundary lines, the German thrash scene was much less concerned with status and the odd hit single. From the outset, the German thrashers were always much heavier than anything America generally had to offer - doing a lot to influence the late 1980s extreme metal scene at the same time. Kreator were no different in this regard, and many of their early albums contain elements of what would become both death and black metal a few years later. It is somewhat funny, then, that in more recent years Kreator have streamlined their sound and have morphed into something much more accessible and anthemic. In fairness, it took the band a while to get to this point. Following their classic 1980s run, which many fans see as the band's true peak and where they were at their most aggressive, the band then spent the 1990s experimenting with different sounds. Many of the thrash bands of the 1980s had somewhat difficult 1990s, either commercially or critically, but Kreator's flirtations with gothic overtones and industrial sounds were perhaps some of the 1990s thrash scene's more interesting experimentations. I doubt many hold up those albums as true greats, but Kreator kept attempting to reinvent themselves during this time - and did find some success doing so. 2001's Violent Revolution was the turning point, though, as it saw Kreator return to their thrash routes - albeit with cleaner and more melodic sound. It was lead guitarist Sami Yli-Sirniö's first album with the band - who brought with him a more Scandinavian-based melodic death metal approach to riffing and guitar leads which has helped to fuel Kreator's sound ever since. Essentially, all of the albums to follow Violent Revolution have followed a similar pattern - with anthemic songwriting made for big stages, flashy guitar riffing and solos, and a retained thrash intensity the hallmarks of Kreator over the past 25 years. Founding frontman Mille Petrozza's gravelly voice suits this sound nicely - and founding drummer Jürgen 'Ventor' Reil never seems to slow down. Kreator have not really put a foot wrong since, then, and this sound and approach remains on the newly-released Krushers of the World - Kreator's sixteenth studio album and their first since 2022's Hate Über Alles (which I reviewed here). Hate Über Alles felt a little different in so far as it was heavier and grittier overall production-wise - which meant it was perhaps less melodic as a result. Krushers of the World see the band returning to working again with Jens Bogren - who produced the two albums prior to Hate Über Alles. As such this album feels a bit more anthemic and overtly melodic again following the last album which seemed to want to tap into the band's more extreme past somewhat without truly committing to such. Krushers of the World is the band's second album with their current line-up, too, with bassist Frédéric Leclercq completing the four-piece.

Kreator's albums do not tend to overstay their welcomes, either. Some of their more recent efforts have been on the longer side - but most are very digestible. At just under 45 minutes, then, Krushers of the World feels like the right length for this sort of album - as there remains plenty of typical thrash intensity here despite the hooks throughout. Kicking off with Seven Serpents, the album initially opens slowly - with some dense strings and a slow-burning melodic guitar lead. This guitar lead is soon doubled, as the strings become more intense, but it is not long before the band crash in - and the song picks up the pace with a snappy, melodic death metal-adjacent riff and plenty of busy drumming from Ventor. The main guitar hook during this riff pattern immediately sticks in the brain, and a simplified version backs Petrozza's snarling vocals during the fast-paced verses. The verses here are very typical thrash in terms of pace and intensity, with plenty of double bass drumming and the aforementioned guitar pattern providing a secondary hook. The chorus sees the pace slowed down somewhat, with more of a groovy mid-paced approach allowing Petrozza to really shout the main chorus hooks in an anthemic manner. Later iterations of the chorus are long, with choral vocals adding to the overall pot and giving the song an even more anthemic feel. Later parts of the song remain similarly mid-paced, too, with a groovy bridge and a shredded solo section reining in some of the thrash intensity to allow for something bigger sounding overall. Satanic Anarchy feels heavier from the off. There is little standing on ceremony this time, as the song immediately takes off at pace - laying down another melodic death metal-esque riff early on. There is less guitar flash during the song's intro this time, though, with the riff just being a barrelling thrash/melodic death metal guitar pattern as Ventor lays into his double bass drums. The verses are built around the same pattern, so they maintain the early pace. Petrozza has lost none of his vocal power over the years - and his fast-paced and punky delivery during these verses showcases all of his power and grit. His performance ensures that there is plenty of energy throughout the song as a result - whilst he goes for a more melodic approach during the chorus. The chorus is another which slows the pace somewhat - and it is clearly going for an extremely anthemic approach. A big guitar lead adds an additional hook during the chorus - but the shout-along vocal melodies are what really make the song tick. The title track follows, and I have to say I really hate the fact that 'crushers' is spelt with a K, and it reins in the pace somewhat - instead going for a much crunchier, mid-paced sound with a headbanging groove and plenty of bass in the mix from Leclercq. Kreator have often done this more mid-paced, melodic thrash sound pretty well - and this is a song which sticks in the brain from the off thanks to the stomping main riff, Petrozza's barked verses vocals, and the gang vocal-led chorus which is as fists-in-the-air as the album really gets. Despite the guitar playing this time largely being a bit less interesting to allow the grooves to shine, a few guitar leads are thrown in - with the chorus again backed by one. It is clearly a song made for the stage - and it can see it going down really well live on the band's upcoming tour. The chorus is made to shouted back at the band - and the mid-paced grooves will certainly inspire plenty of headbanging. Throw in a slightly haunting spoken word-esque bridge section and a pretty classic rock-inspired guitar solo - and the album's title track brings the best out of the modern Kreator sound.

Tränenpalast sees Petrozza duetting throughout with Britta Görtz (Cripper; Critical Mess; Chaos Rising; Hiraes) - who adds her harsh vocals throughout. Given Görtz's background in melodic death metal, and the elements of that sound which Kreator have incorporated for years at this point, it is unsurprising that this song channels a lot of that energy. The main riff features some of those tremolo twin guitar leads which are often a big feature of the genre - whilst the verse riffing is mid-paced and NWOBHM-inspired, just turned up to 11. Petrozza's thrashy barks and Görtz's growls are a good combination, with the two trading vocal lines during the verses - whilst another mid-paced, shout-along chorus sees Görtz using her growls as backing to make the gang vocals feel even more powerful. She also unleashes a couple of shrieks, too, which act as transitions between sections of the song - with one later giving way to a melodic guitar solo section. Barbarian then ups the pace, returning to something much more typical and thrashy. Kreator often throw in quite a lot of mid-paced material on their more recent albums, but there is still plenty of room for fast-paced thrash - and Barbarian is a good example of such. The riffing once again contains shades of a classic Scandinavian melodic death metal sound, but the pace and overall grooves are very much classic thrash. Fast-paced riffing really characterises the song, then, with the verses filled with that punky venom that all the best thrash bands can call upon at times. Fitting in with the overall vibes of the rest of the album, though, the chorus is another which goes for a more classic, anthemic feel. The pace does slow somewhat during the chorus, then, to allow Petrozza's simple and strident lyrics to be barked out of the speakers - but this song perhaps slows down less than some, which allows the thrash vibes and overall energy to be properly retained. Blood of Our Blood opens with a strident thrashy riff, and the song overall ups the pace again further. Following a couple of mid-paced numbers, the way the band move through the gears during this song and the previous number shows that Kreator still have plenty of old-school thrash energy to expel. Parts of this song may be some of the fastest thrash moments so far. The main riff is fast-paced, but it is slow enough to allow the hooky elements of it to shine, but the simplified version of it which later backs the verses does not care so much about clarity - and instead just goes for it in terms of pace. Some of Ventor's busiest and fastest drumming is found here, too, and there is some of the band's old-school intensity here despite the chorus still containing plenty of big hooks. It is another chorus which slows the pace down somewhat, but as with the previous song it does not do so all that much - which allows the band's old-school fire to really burn. A fast-paced and dual guitar solo also allows such a vibe to feel present. Combatants returns to a grittier, mid-paced sound - which following the lightning pace of the previous song ends up ensuring that the crunchy number feels suitably heavy. Headbanging grooves and a melodic approach to riffing is found throughout this number - and the guitar playing of Petrozza and Yli-Sirniö throughout seemingly focuses on hooks and grooves rather than a thrash intensity. The heaviness here comes from more of a place of traditional heavy metal, then, despite some snappy vocal arrangements - with wah used during parts of the guitar solo and some neo-classical melodies utilised for a NWOBHM-esque sound.

Psychotic Imperator opens in a similar fashion to how the album opened, with slow-burning guitar leads which are eventually doubled as Ventor lays down some percussive drumming. As was the case with the opening song, too, this slower opening is disguising a faster core song - and it is not too long before the song explodes proper with a burst of pace and a verse which is driven by some intense, heavy guitar riffing and plenty of double bass drumming. Some of the riffing here, despite the pace, feels like some of the album's heaviest moments - and Petrozza doubles down on this with a gruffer vocal performance. His verses vocals are typically punky as is often the case when the band speed up - but the chorus seems him delivering the shout-along lyrics in a more extreme manner. His throatier vocals here make it clear why Kreator were such an influence in the burgeoning extreme metal scene in the 1980s - and it is nice to see flashes of that sound and approach remain here despite Kreator having long streamlined their sound. Deathscream maintains the faster approach of the previous song, although it does slow things down somewhat - going for a more anthemic thrash approach, typical of the band's recent core sound. It sits somewhere between the band's anthemic mid-paced sound and the sound of the previous song - but the riffing is hooky and heavy throughout, whilst Ventor's fast drumming ensures that there remains plenty of pace throughout. Görtz is also utilised here, but only really in a supporting role this time - her growls adding a little more grit to a chorus which actually speeds up compared to the rest of the song rather than slowing down. Her role here is much smaller compared to her duet earlier in the album - but the brief harsh vocals do make the chorus pop, and it is another memorable moment on the album as a result. Another busy guitar solo section keeps the song moving, too, and Kreator feel as vital as ever here. The album then comes to a close with Loyal to the Grave, which opens with some gothic choral vocals and chiming clean guitar melodies - as the song builds towards a final mid-paced anthem that is another which is really made for the stage. In terms of the modern Kreator sound, this song is one which very much is in keeping with the band's current approach. There is little of the band's old-school thrash intensity this time, with traditional heavy metal vibes, big vocal hooks, and those flashy guitar riffs and melodies which come from the Scandinavian scene all present. This song just feels a bit more epic overall, too, thanks to some subtle strings utilised throughout - as well as the return of the choir used during the song's opening at times. The chorus feels particularly epic thanks to the strings, and it is another that is sure to go down well live as a result. As the song acts as the album's closing number, too, this more epic approach is fitting - and the grander Kreator sound does work well when it is used sparing, particularly in contrast to the thrashy numbers found elsewhere. Overall, then, Krushers of the World is another excellent album in a pretty long line now of melodic thrash platters from the German band. If the last album was perhaps a slight misstep, then this latest effort returns to the path - but there is still plenty of heaviness and thrash intensity here that will keep long-time fans of the genre happy.

The album was released on 16th January 2026 via Nuclear Blast Records. Below is the band's promotional video for Seven Serpents.

Epica/Amaranthe - Bristol Review

Following a month or so to rest and recover following a busy 2025, just like that 2026 is now underway from a gigging perspective. After my last weekend away in Wolverhampton just before Christmas, I was very much ready for a bit of a break from both travelling and live music. I certainly overindulged somewhat last year, getting to a record 58 concerts, which took its toll during certain parts of the year. I will never stop loving live music - but you can have too much of a good thing at times, and the last few free weekends and the longer Christmas break were certainly much needed. By the time yesterday rolled around, then, I was very much ready to get back at it - and it was with excitement that I headed up to Bristol yesterday afternoon for 2026's first adventure. Gigs always feel a bit more special after a little break - and the first couple of months of 2026 are relatively quiet, before things pick up in a bigger way in March. I have another month or so before my next planned weekend away, a double header in London to see both Sylosis and Smith/Kotzen, but January's only gig took the form of one of the year's best touring packages - a co-headline tour featuring the Dutch symphonic/progressive metal act Epica and the Swedish pop metallers Amaranthe. With former Delain frontwoman Charlotte Wessels also along for the ride as an opening act, the tour promised to be a really special one. It is also one that I had had the tickets for for a long time - perhaps nearly a full year. It certainly feels like along time ago that I booked them - so it was one that I had been looking forward to for a long time. I would consider myself a pretty big fan of all three acts - especially Epica. Given the current uncertainly surrounding Nightwish and their ongoing hiatus, I would consider Epica my current favourite symphonic metal act. It helps, too, that Epica were always something a bit different. They never felt like just another symphonic metal act that came in the wake of Nightwish and Within Temptation's early success. They always had their own sound, and that has only been perfected over the years. In terms of live shows, too, Epica have always impressed. Last night was my seventh time seeing them live - and the first since their tour with Apocalyptica in 2023. I generally catch Epica live each time they come to the UK - largely as they always impress. They are pretty good at keeping their setlists fresh, generally focusing on whatever their latest album is, whilst always delivering from a performance standpoint. I have not been to an Epica show where the sound mix was less than stellar - and the band always seem to give their all whilst appearing to have a lot of fun. I keep coming back for these reasons - and I will continue to do so whilst the band operate at such a level. Amaranthe, though, I am less into - although I have liked them since the start. I was really into their first two albums at the time - but they never really impressed as live act (albeit one of my two prior experiences was a very compromised set at one of the Bloodstock Open Airs due to technical issues) and after a while the albums started to all sound the same. I have always kept up with their new releases, and have enjoyed them all to an extent, but they are certainly a band that has slipped down the pecking order over the years. Regardless, though, I was looking forward to seeing them live after many years - and giving them another chance as a live act. The wider European tour included four UK dates - and Bristol made obvious sense. The Beacon was a bigger venue than either band had played in the city before, too, but it was pretty full - despite there being quite a bit of room towards the back of the standing area and visible empty seats upstairs.

With the two co-headliners afforded 80 minutes each - Wessels and her band had around 40 to play with. The room was already pretty full when she took the stage - and she impressed with a seven-song set which largely included material from 2024's The Obsession (which I reviewed here), alongside a couple of newer songs. Whilst this was my first time seeing Wessels as a solo artist, I saw her a number of times fronting Delain - including a memorable Bristol show in 2015 at the now-closed Marble Factory. This was my first time seeing her since Delain's London show in 2020 - which likely ended up being one of the last shows of the Wessels era, given that the pandemic hit a month or so later and that line-up of Delain splintered during the madness. In fact, the band line-up last night was only one person different from that 2020 Delain show - with Timo Somers (guitar/vocals), Otto Schimmelpenninck van der Oije (bass guitar), and Joey de Boer (drums) all joining Wessels on her solo venture. Her band was rounded out by Nina van Beelen (keyboards/vocals) - who contributed as much with her excellent vocal harmonies as much as she did instrumentally. Wessels' solo sound is different from her past work, with a heavier, dryer riffing style mixed with atmospheric passages and quirky vocal arrangement. The songs still soar with her typical melodic approach, though, with set-opener Chasing Sunsets perhaps the closest thing to her previous band. The first three songs in the set all felt pretty rocking, with the band giving it their all behind her. Somers seems to be her right hand man these days - his big riffs driving many of the songs, and he also found plenty of time to throw in a few big guitar solos. He soloed so hard during one song that he broke a string - but he kept going and the set kept flowing. The Crying Room was perhaps a little less hard rocking than the opening two numbers - but the more atmospheric Soft Revolution allowed for a softer overall vibe to fill the room. The lighter, floatier piece ended with Wessels and van Beelen singing together in a delicate manner - and it was one of the best moments of the overall set in my opinion. Their two voices worked well together - and it will be interesting to see how the two work together going forward, as van Beelen was not part of The Obsession. Two new songs followed. Tempest was another heavier track, with Somers adding some key vocal counterparts during the chorus, allowing for a three-part vocal arrangement, whilst the newly-released, piano-driven After Us, The Flood was a good mix of theatrical vocals and heavier riffing in places - alongside Somers' best solo of the night. Hopefully a new album is in the works - as both the new songs played sounded very promising indeed. The Exorcism then brought the 40 minute set to a close - and Wessels received a decent reception from the growing crowd. I hope that she returns as a headliner to the UK soon - and I am looking forward to what comes next from her and her band. The setlist was:

Chasing Sunsets

Dopamine

The Crying Room

Soft Revolution

Tempest

After Us, The Flood

The Exorcism

Breathe;

30 or so minutes later the lights went down and it was time for Amaranthe's set. Despite not previously considering the six-piece a great live act, I was open to giving them another chance given that it had been many years since I had last seen them. Their last album, 2024's The Catalyst (which I reviewed here), is one of their better efforts in my opinion, too, and I had recently enjoyed a run-through of their catalogue in advance of the gig. Despite not matching the majesty of Epica later, nor the songcraft of Wessels beforehand, Amaranthe turned in a strong performance. Like so many of the current brand of pop metal acts, much of Amaranthe's sound relies on backing tracks. This can sometimes make a live band feel a bit soulless - but the three vocalists ensured that there was plenty going on on stage, and the interplay between Elize Ryd, Nils Molin, and Mikael Sehlin has always been their USP. All three vocalists sounded strong throughout, with Molin perhaps sounding the most powerful, but the harmonies and countermelodies provided by the three helped to distract from the disembodied synths which form such a big part of the Amaranthe sound. Guitarist and driving force Olof Mörck impressed with a few shredded guitar solos, too, which helped to add further interest. In terms of the setlist, the 18-song set included material from all but one of the band's albums - with newer material generally dominating. 2020's Manifest (which I reviewed here) was plundered the most, with half the album featuring, whilst three were featured from The Catalyst alongside a fairly recent stand-alone single and an unreleased new song. Fearless and Viral got the set off to a fun start, but it was perhaps Damnation Flame where the set really felt like it was motoring. The song introduced newest member Sehlin when it was originally released, and his harsh vocals were a big part of the song - but generally he impressed throughout. He added a lot of backing vocals throughout which allowed for some additional grit during chorus after chorus - whilst the main pop hooks and energy came from Ryd. Songs like Maximize and the more slower-paced Strong really saw her dominate - whilst some of the somewhat heavier pieces like PvP and a later rendition of my personal least-favourite Amaranthe song BOOM!1 saw the two male singers dominate. Sehlin in particularly had a lot to do during the latter, with his half rapped/half growled vocals dominating during the dated verses whilst Molin joined in during the chorus. This was the set's low point, but thankfully the excellent The Catalyst was up next, which saw Ryd join back in after sitting the previous number out, whilst the new track Chaos Theory likely gave an indication of where the band's next album might go. It sounded pretty typical of the Amaranthe sound which has changed little since the debut album - but it was perhaps on the heavier side of that core sound, which is never a bad thing. Towards the end of the set a lot of the older big hitters were brought out - with one of the highlights being a great rendition of the ballad Amaranthine. Mörck played the first verse and chorus of the song on the piano, after a brief classical piano solo, which Ryd sang in a delicate and emotive manner - before the rest of the band joined in and the track played out like it does on record. It certainly saw plenty of singing from the crowd, who largely seemed to be really into Amaranthe, and it set the scene for the two big oldies, The Nexus and Call Out My Name, which rounded out the main set. The band then briefly stepped off the stage, but given the co-headline nature of the night they came back for a three-song encore - which kicked off with the heavier Archangel. Sehlin had a lot to do during this number, too, but the last couple of tracks were largely much poppier - with the anthemic That Song being one of the evening's poppiest moments. A small portion of Queen's We Will Rock You was included during the song, before the set came to an end with the industrial and groovy Drop Dead Cynical. The setlist was:

Fearless

Viral

Digital World

Damnation Flame

Maximize

Strong

PvP

Crystalline

BOOM!1

The Catalyst

Re-Vision

Chaos Theory

Amaranthine

The Nexus

Call Out My Name

-

Archangel

That Song/We Will Rock You [Queen cover]

Drop Dead Cynical

Following another 30 minute break, during which I stretched my legs a bit, it was time for, in my view, the main event. I enjoyed both of the other acts - but Epica are one of my favourite bands of this type, and their shows are always special ones. Given the longer nature of their songs, they only had time for 13 - but they made their 80 or so minutes count with a balanced set that focused on newer material. Many of the songs played were either ones I had never seen the band do live before, or had not seen for a very long time. This made it a lot of fun, and two songs from last year's Aspiral (which I reviewed here) opened things up. Their set was easily the most theatrical of the night, too, with a big screen backing the band - and the show started with frontwoman Simone Simons appearing on the riser at the rear of the stage in what looked like a widow's veil as the band launched into the groovy Apparition. The song was perhaps a more gothic and less bombastic opening than was expected, but it worked well. Simons was essentially static throughout, which only helped the gothic vibes, but by the time the band crashed into the more dramatic and up-tempo Cross the Divide she was more her usual self. As always, the band were clearly having a lot on fun on stage. Coen Janssen (keyboards) made good use of both his wheeled keyboard stand and his keytar to move around the stage - whilst Simons was all over the stage after the opening number, interacting with the rest of the band. She was in fine voice throughout, as was Mark Jansen (vocals/guitar) - whose growls were potent as ever. The growl trade-offs between him and Isaac Delahaye (guitar/vocals) during resurrected oldie Martyr of the Free Word filled the room with death metal vibes - whilst the symphonic feast Eye of the Storm saw plenty of Jansen growls during the verses as Simons handled the massive chorus. A couple of the songs played were slightly re-arranged, too. Unleashed, once a setlist regular, returned - with the opening verse sung solely against Janssen's piano and strings. It gave the song a bit of a different edge - and when the rest of the band kicked in after the first chorus it only ended up feeling more powerful. I do not recall ever seeing the band do Never Enough live before, despite the song being a bit of a crowd favourite in the early days, so the more straight ahead, melodic track was a welcome addition to the show - but perhaps the next big favourite was Sirens (Of Blood and Water) which saw Wessels come out to sing with Simons. Wessels co-wrote the song with the band so it made sense for it to be brought out on this tour - and the duet made the gothic, slow-burning number really shine. Sadly, as things were going so well, the set was somewhat derailed for a bit after this song - as a fire alarm meant that the band had to stop for around 10 minutes. Thankfully there was no need to evacuate - but it seemed ages before the show got back underway. I was worried that this would mean a shorter set, but the band still got to play their full set - even the curfew was breached. They eased back in with the delicate ballad Tides of Time, featuring just Simons and Janssen - before the epic The Grand Saga of Existence proved to maybe be the song of the night. The big chorus was made for the stage - and Delahaye delivered one of his best guitar solos during it, too. Everything following this felt like a victory lap, with the ever-present Cry for the Moon prompting quite a bit of singing - before one last new number in Fight to Survive (The Overview Effect) kept things fresh. The band took their bows after this track - but did not leave the stage for an encore break. Perhaps given that they were against the clock they just kept moving - and they stuck around for two more. The oldie The Last Crusade was a treat to hear again after so long - before the slightly funky and upbeat Beyond the Matrix acted as a powerful and melodic closing number following what had been a largely forward-looking set. The setlist was:

Apparition

Cross the Divide

Martyr of the Free Word

Eye of the Storm

Unleashed

Never Enough

Sirens (Of Blood and Water) [w/ Charlotte Wessels]

Tides of Time

The Grand Saga of Existence (A New Age Dawns - Part IX)

Cry for the Moon (The Embrace That Smothers - Part IV)

Fight to Survive (The Overview Effect)

The Last Crusade (A New Age Dawns - Part I)

Beyond the Matrix

Whilst Epica were the band of the night, all three of the acts on the bill were excellent. The sound was generally great and, save for the fire alarm-related confusion, everything seemed smooth and well paced. It was also good to see acts like this in a venue like the Beacon. It really is becoming a real jewel in Bristol's crown again - and I have been quite a few times now since it re-opened. It was good to change my view on Amaranthe as a live band and see Wessels as a solo artist live for the first time. Epica were just as good as always, too, but I hope that next time they tour they do so as a proper headline act again - so that we can be treated to a longer set.

Alter Bridge's 'Alter Bridge' - Album Review

At one stage during the past couple of years it looked as if the Flordia-based hard rockers Alter Bridge were on some kind of hiatus. In more recent times the band has co-existed alongside the solo careers of both frontman Myles Kennedy and guitarist Mark Tremonti, as well as the former's work with Slash, but with the return of Creed in 2023, as Alter Bridge's touring cycle for 2022's Pawns & Kings (which I reviewed here) came to an end, it was likely that Alter Bridge would move down the pecking order - at least for a while. That is certainly how things seemed for a while. Tremonti, alongside fellow band members bassist Brian Marshall and drummer Scott Phillips, has been touring a lot with Creed over the past couple of years - whilst also releasing a new solo album and taking it on the road. Kennedy has also recently released a new solo album, which he has spent time touring, as well as spending a lot of time on the road with Slash. Perhaps, though, after seven studio albums, everyone involved in Alter Bridge just needed to do other things for a while. The Creed reunion has seemingly been a success, although the pre-Alter Bridge band were never as much of a big deal over here as they were in the US, and Kennedy has remained active and creative. Interviews with both Kennedy and Tremonti over recent years also seemed to downplay any imminent Alter Bridge activity. Something would come along at some point, they would say, but they were unsure when. As such, it just seemed like the band were not a priority for a while - but this clearly changed last year, as the four band members reconvened, alongside ever-present producer Michael 'Elvis' Baskette, to write and record Alter Bridge's eighth studio album. It, along with its touring cycle, which kicked off earlier this week, was announced quite a few months ago now - so the lead up to this latest, self-titled, Alter Bridge album has been something of a long one. Perhaps, given the relative lack of activity and news in the preceding few years the band wanted to get the message out there early and slowly build some interest in advance of the album dropping - but that time period seems to have flown by, as the album dropped through my door last week following its early January release. January is not always an especially busy time for new album releases, with such usually picking up in February and March. January 2026 is quite busy compared to normal, then, with, alongside Alter Bridge, Kreator's new album dropping yesterday and Megadeth's new and final opus due out next week. Hard rock and metal fans are being well-treated early this year, then, and Alter Bridge's latest effort is certainly a fine way to kick things off from a new release perspective. I am not sure exactly what I expected from the album, but I have been enjoying it perhaps more than I expected to. I think that the band's first four albums are fantastic, and some of the best modern, mainstream hard rock/metal releases of the 21st century, but the more recent efforts have been patchy. 2016's The Last Hero (which I reviewed here) was a poorly-produced and bloated album that failed to stick the landing, 2019's Walk the Sky (which I reviewed here) was surprisingly strong and memorable, but not up to the standard of the first four, whilst the aforementioned Pawns & Kings upped the heaviness at the expense of some of the band's core melodic traits. In some ways, Alter Bridge feels like a combination of the last two albums. It is certainly similarly heavy to Pawns & Kings, but the emphasis on melody is back in a big way. It is a stronger effort in line with Walk the Sky in my view, then, and a worthy entry into the canon.

With the album's 12 tracks clocking in at just over an hour, there is quite a bit to digest here - but the classic Alter Bridge sound is well and truly on show throughout - albeit with some of the additional heaviness of the last album retained. Kicking off with Silent Divide, the album opens with a pick scrape - before the first of many excellent riffs kicks in. A mid-paced and moody rocker, Silent Divide is very much representative of the darker side of the band's songwriting over the years - but the atmosphere created by the somewhat doomy riffing and headbanging grooves is offset by plenty of melody. Kennedy remains a great hard rock vocalist, and his performance throughout the album is emotive and powerful. The main riff here has a Black Sabbath-esque quality to it at times, and this vibe continues on through a snaking verse and a choppy pre-chorus - the former of which sees Kennedy operating in his lower register, before he moves through the gears during the pre-chorus. The eventual chorus sees him let rip a little, with some higher-pitched vocals at times, whilst a melodic guitar melody adds a little light to the shade of the rest of the piece. The chorus is similarly mid-paced, but it feels more anthemic overall melody-wise - and the song is the first of many hooky efforts here. The groove of the verses mixed with the hooks of the chorus helps the song to kick things off in a powerful manner - whilst a later chugging instrumental section ups the heaviness further and includes the album's first guitar solo. Guitar soloing is a big part of this album as usual - with both Kennedy and Tremonti getting plenty of opportunity to showcase their abilities. Continuing on in a similar fashion, Rue the Day is another pretty mid-paced hard rocker - with another big riff opening things up. The song feels a bit more stop-start and even more anthemic than the opening cut, though, with plenty of percussive drumming from Phillips during the verses - with Kennedy's vocals and the guitar riffing accenting around the drumming to create a building and somewhat staccato vibe. This jagged vibe is only pushed further during the pre-chorus, which often sees the guitars pause their riffing for effect, before the smooth chorus goes for a full-on old-school Alter Bridge feeling. The sing-a-long chorus could have easily sat on one of the band's earliest albums - and from the off it grabbed hold and has not let go. This is the sort of song I have always loved from the band - and some classic Alter Bridge dynamics are later employed, with a cleaner-sounding bridge and a spacey guitar solo sitting atop a more atmospheric backing. In my view, the somewhat thrashy Power Down completes a great opening trio of songs here - and the faster, heavier song certainly borrows from Tremonti's early solo albums as well as previous rippers like Addicted to Pain. Alter Bridge often sit on the border of hard rock and metal - but songs like this feel much more metallic. The hard-driving verses here are packed with hooky riffs and urgent Kennedy vocals - whilst there are even flourishes of NWOBHM-esque twin lead guitar for a few seconds here and there. The energy whipped up during the verses is infectious, whilst the pace slows down somewhat for another pretty hooky chorus that also sticks in the brain after only a few listens. The way Kennedy somewhat whispers the song's title as the chorus transitions back into the main riff makes the riff only hit harder - and the later high-octane, shredded guitar solo suits the song's metallic vibes.

Trust in Me is a bit of a step down in quality compared to the opening trio - and it is the first of two songs here to feature Tremonti on co-lead vocals. He has tended to sing a song per album of late - but tis two lead vocal contributions this time feel less prominent, which is a bit of a shame. Trust in Me returns to a more mid-paced vibe, with a slightly off-kilter riff backed by some droning guitar leads - which leads into a somewhat murky verse, with a mix of heavy, chugging guitars and atmospheric melodies. The song has an overall strange vibe as a result, dining out on some post-grunge vibes a little, but the sections all feel interesting and fit together nicely. Tremonti's voice is quite prominent during the chorus, which is quite hooky, but Kennedy is still there to back him up - meaning that his rich delivery is less prominent than it can often be. A cleaner bridge section later harks back to the early days of the band - which further diversifies the song's overall vibe, with off-kilter grungy metal and uplifting atmospheric sections sitting nicely side by side. Disregarded is a bit more typical of album's core sound, though, with a Gojira-esque riff kicking things off. This main riff is based around only a couple of notes, but the way the notes are subtly manipulated gives it that left-field Gojira feel. The song is less tech-focused and groovy than Gojira overall, though, but the French band have often felt like an influence on Alter Bridge in recent years - and this song showcases such. There are parts here where the aforementioned riff sits in the background whilst either a more typical driving riff or a flashier guitar lead sits atop it - which gives parts of the song a strange clash of styles which works surprisingly well. Other parts of the song are more typical, though, with strong vocal melodies and more straight ahead riffing - such as the chorus which is another pretty anthemic moment. In some ways the chorus feels a little out of place given how different much of the rest of the song is - but this moment of big melody works nicely given the droning nature of some of the riffing and the bass-heavy feel of other parts. Marshall's bass playing takes the lead later on, creating a deep bridge section that concludes in a guitar solo, with the song, like the previous one, being a real mix of vibes. Tested and Able is the second song here to feature Tremonti more prominently as a vocalist, and it kicks off with another big mid-paced riff that actually reminds me a little of a cold and high-gain sound of the recent Orbit Culture album. Clearly this song soon returns more to a classic Alter Bridge feel, but the guitar sound early on is reminiscent of that Swedish band - even if there is much more warmth elsewhere. Once the verse kicks off, the same guitar pattern is toned down and it sounds more typical of Alter Bridge - whilst the chorus, with Kennedy's warm vocals, is more atmospheric with a good mix of clean guitar backing and background riffing. Tremonti's prominent vocal contributions are left for the second verse, which he delivers with his usual class, whilst the chorus sees the two vocalists singing together for a bigger sound. A slow-burning, yet still relatively busy, guitar solo fills quite a bit of the middle of the song - whilst a slightly more light-hearted melodic guitar pattern following the solo acts as a summery bridge to a final chorus reprise, even though that big opening riff crashes in one last time to see the song close.

What Lies Within is a bit more typical of the recent Alter Bridge sound - and it somewhat returns to the vibe of Silent Divide which opened the album. What Lies Within is perhaps a bit more dynamic overall, though. The opening riff is similarly heavy, with a somewhat doomy mid-paced feel kicking things off. I like how the riff fades in from the distance - with an effects-heavy version of it starting things off before it crashes in properly. The verses are where the dynamism is found, though, with clean guitar melodies and more of a murk present - with Kennedy's voice allowed to dominate as a result. As the chorus is approached, though, the song gets heavier - with a spiky pre-chorus introducing some bigger riffing once more, before the chorus feels much more urgent and fast-paced. There is something more metallic about the chorus, then, which is welcome. Often songs like this are heavier elsewhere and slow down for the chorus, but much of this song feels the other way around. It works well, though, and the chorus is hooky as a result - and this burst of pace is retained for a later guitar solo which is busy and full of shredded motifs. The song is another powerful and pretty anthemic one as a result, then, which is typical of some of the bigger songs on the band's recent albums. Slowing the pace quite considerably next is Hang by a Thread - the album's ballad. Alter Bridge have written quite a few strong ballads over the years, and something more reflective and warm is expected on each album. Perhaps the band's best-known ballad at this point is Watch Over You - and musically this song actually feels quite similar. The similarities are such in places that it must be deliberate - so Hang by a Thread somewhat feels like an unofficial sequel to the 2007 song. Unlike some of the band's ballads, though, this effort is a bit more band-orientated at times. Some of them can feel pretty acoustic-based the whole way through, but this one does rock out in spots - with the whole band making the chorus feel huge. It is a chorus made for the stage, and I can imagine it going down well live, whilst the more low-key verses see Kennedy doing what he does best with an acoustic guitar. Scales Are Falling also opens slowly, but the clean guitar melodies have something of an unsettling vibe from the off. As such, it is clear that this song is not going to be another ballad - with the opening there to set a certain tone before something heavier kicks in. Arrangement-wise, the song is something a bit different. Following the spooky intro, a similar guitar line takes over - but this time with a harder tone, which soon gives way to a mid-paced and fairly hollow verse. There is little big riffing here - with Marshall's bass rumbling away beneath the spiky guitar line and Kennedy's relatively deep vocals. Kennedy does not really push himself vocally throughout the song - and largely sings in a lower register. This works well, though, given the song's strange overall vibe - and even the chorus has a similar overall feel. There is a bit more warmth later, with Kennedy singing against a fuller sound backed by strings - which leads into a laid back guitar solo. The song overall is a bit of a strange one, then, and something which is quite different for the band. It feels fresh as a a result, even if it is not always the hookiest piece - and variety is always welcome.

Playing Aces then sees the band return more to the album's core, heavier sound - with a fast-paced riff kicking things off. Despite the band upping the pace here, the thrashy vibes of Power Down are not really repeated here. The band's more typical groove-based approach is retained instead, and the song soon reveals itself to be another pretty anthemic effort. The fast-paced riffing is still pretty headbang-worthy, and the snappy riff accents during the relatively sparse verses are also metallic - but later portions of the arrangement are much more typical of the band's older sound. The punchy snare drumming in the verses only aids this heaviness, but by the time the pre-chorus rolls around a more melodic approach is taken - with Kennedy really soaring vocally. The main chorus slows things down somewhat, also, and feels typical of the band's anthemic approach. It is another chorus which sticks in the brain pretty easily - so much so that the song is another which is likely to go down well live. This is a feeling which I have about most of the songs here. The album feels closer in tone to some of the band's older works in that regard - and that is likely why I have been enjoying it more than I expected to. Penultimate number What Are You Waiting For, though, feels like a little step down in quality following the recent string of late-album winners - which is a shame. It is certainly not a bad song, but compared to many of the more interesting pieces here it feels a little lacking. It is just a bit more of a bog-standard hard rocker, which feels like some of the less interesting pieces on the band's more recent albums. The chorus, whilst memorable to an extent, just lacks those cutting melodies which the band's best songs have - and the riffing is less potent and powerful. It is just a song which feels like a step down in every regard - and it is likely my least favourite song here. The other songs I have clicked with less here at least generally feel like they are trying something interesting arrangement-wise - but this one feels a little lazy compared to everything else. Given the length of the album, it is a track which could have been left out in my opinion. The closing number Slave to Master picks things up again, though, and the nine minute-plus epic is the band's longest song to date. I am not sure that the band are ever going to replace Blackbird as their signature epic - but Slave to Master is a strong effort, particularly from a guitar playing perspective. This long track opens slowly, with clean guitars and Kennedy's downbeat vocals. The first part of the song is low-key, then, and it remains that way for a little while - setting an atmospheric tone before a brief pause. Following this, the song ramps up in power, with a snappy, heavy riff kicking in. Much of the rest of the song is hard-driving and powerful, then, with juddering riffing at times and a chorus which is pretty anthemic - although not anthemic enough to dethrone Blackbird. The overall pace and heaviness when the song kicks in proper is what makes it strong, though, despite a few cleaner and atmospheric moments returning here and there. Mid-paced groovy riffing sections only up the heaviness further in places - and this makes some later cleaner sections feel much floatier and more effective than they otherwise might. The light and shade balance works well. The heaviness dominates, but the moments of calm are needed to ensure that the heaviness feels as good as it does - but the best is yet to come. The song's last third or so is largely taken by two lengthy guitar solos, with both Kennedy and Tremonti getting to stretch out. This section is easily the best on the album from a guitar playing perspective - and it could well be the best ever from the band. It is a great way to end the album - and overall Alter Bridge has impressed. Production-wise it feels big and clear, unlike some of the band's other recent efforts - and the songwriting is largely quality from start to finish. In time this album might overtake Walk the Sky as my favourite of the band's more recent efforts - and 2026 has certainly got underway nicely with this powerful album.

The album was released on 9th January 2026 via Napalm Records. Below is the band's promotional video for Silent Divide.

Music of 2025 - Part 2

2026 is here - and with it will come a huge amount of excellent new music. Yesterday I highlighted a few releases which I am already looking forward to, but it is inevitable that plenty more excellence will follow - and I also already have quite a few gigs booked, including ticking off some big names like Metallica. Yesterday I picked off a few of 2025's stragglers - briefly reviewing a few albums that I did not get the chance to review properly, as well as highlighting my favourite live release of 2025. I always like to start each year by looking back properly at the previous one, though, so this first post of 2026 will, as is custom, present my Top 10 albums of last year - as well as highlight some of the very best gigs I went to. As always, putting this list together was hard. The top two were largely set in stone, as is often the case when some very favourite bands release new albums - but the rest of the spots could have been filled with around 15 or so releases. Narrowing these lists down is always hard, so I generally tend to think about how many times I have listened to each one - with those that have received the most listens generally making the cut. As such, the rules for inclusion are quite nebulous - but I do not want to expand my list to include more albums, as I just do not have the time to write such a post. I need to have at least a bit of rest each Christmas break - so I have always strictly kept the list itself to 10 albums. I should also point out that my very favourite bands do not automatically get to top a list. Previous yearly lists will show that the band to top the list this time have not topped every list in a year when they have released something new - with two of their last three albums not reaching top spot. It is always hard to remove bias from these lists, though, but at the end of the day - this list is mine and mine alone. It is not supposed to represent any wider opinions or present a definitive Top 10 - it is just meant to showcase my personal favourites, and my top album this time is the one I have listened to the most and have gotten the most out of. In terms of what makes up the list, it is probably a bit more varied genre-wise than 2024's list - which was heavier overall. With both progressive rock and metal, power metal, symphonic metal, AOR, and yacht rock all featured - there is a good spread of genres, but my re-discovered love of a power metal is certainly reflect here with three entries. The list is a good representation of my listening patterns of the year, then, even if a few quite important albums had to miss out. I should point out, too, that only full-length albums of new material are eligible to be included - meaning that live albums, EPs, compilations, or any kind of re-recorded/re-visited material are not up for consideration here.

10) Young Gun Silver Fox - Pleasure

The UK/US soft rock duo Young Gun Silver Fox are a real favourite of mine - with 2022 and 2023 in particular being filled with the soft rock, poppy, and jazzy sounds of Andy Platts and Shawn Lee. I saw the band live twice in 2023 and, in truth, likely over-listened to the band somewhat during that period. As such, I did not listen to them as much during 2024 - but I came back to them again in a big way last year due to the release of their fifth album Pleasure. Perhaps a little more up-beat and disco-influenced than their previous work, the duo's core yacht rock sound is still very much evident. When it comes to this kind of music, there is no newer band out there doing the breezy, West Coast sound better than Young Gun Silver Fox. They totally get what makes that sound tick, without ever really resorting to true pastiche. The band sound modern and radio-ready despite mining the late 1970s/early 1980s for influence - and each album so far has been a feel-good platter of excellence. Pleasure is more feel-good than ever in my opinion - with the uplifting vocals of Platts and the intricate guitar playing of Lee, plus a big dose of horns, yet again coming up trumps here.

Listen to: Stevie & Sly, Burning Daylight & The Greatest Loser

9) Sabaton - Legends

Due to being disappointed with their last album, and not enjoying a 2023 show as much as I should have for personal reasons, I came to the Swedish power metal legends Sabaton's new album Legends with middling expectations - and it has actually become one of my most-played albums of the last couple of months. Sabaton's chunky, largely mid-paced power metal sound is largely set in stone at this point, and Legends does not really do anything different. Despite this, though, following a relatively lacklustre previous release, in my opinion anyway, the latest album feels much more energetic - and it also feels a bit heavier overall. The synths are still there, but they are less prominent throughout - with the guitar playing of Chris Rörland and a returning Thobbe Englund really driving everything. There are some of the band's best riffs, lead guitar melodies, and solos for a while on this album as a result - and the heaviness allows frontman Joakim Brodén to really double down on his gritty delivery at times. The more varied theme helps, too, moving away from the First World War lyrical content of the previous two albums. Overall, then, this album just feels fresher than the last album - and I have been enjoying being back on the Sabaton train recently.

Listen to: Hordes of Khan, A Tiger Among Dragons & Crossing the Rubicon

8) Amorphis - Borderland

A new album from Finland's Amorphis is always a reason to celebrate - and Borderland was another regular companion during the last few months of 2025. Whilst Amorphis' core sound has long been established at this point, at least since current frontman Tomi Joutsen came on board in 2005, the band never disappoint. Each album tends to feel and sound very similar to what came before, but given that no-one else really sounds like Amorphis this similarity does not bother me. The band are just great at what they do - and Borderland is another very strong album from the band that mixes progressive, gothic, folk, and melodic death metal into a soup of emotion, atmosphere, and majesty. Compared to the previous album, which was a bit heavier overall, this latest effort does feel a bit more atmospheric and floaty than is sometimes the case. Joutsen's clean vocals dominate this time, with his harsh vocals utilised relatively sparingly, whilst big guitar riffs are generally replaced by soaring guitar leads and retro synth and organ textures. These sounds are nothing new for Amorphis, of course, but the balance is certainly more in their favour this time - which is perhaps unsurprising given that keyboard player Santeri Kallio dominated from the songwriting here. It was a great album for the winter months, hence its inclusion here.

Listen to: Bones, Dancing Shadow & The Strange

7) The Night Flight Orchestra - Give Us the Moon

There have been two Swedish melodic rock/AOR albums that I listened to a lot last year. Only one could make the list, though, given the plethora of other things I wanted to include, so The Night Flight Orchestra's Give Us the Moon won out over H.E.A.T's Welcome to the Future (which can be seen as another honourable mention) - largely because it was probably my most-played album of the first few months of 2025. H.E.A.T delivered the better live show when I saw the two bands back-to-back, but Give Us the Moon could be the most consistent album yet from frontman Björn 'Speed' Strid and his supergroup of pop rockers. It is the band's first album since the death of guitarist and songwriter David Andersson, despite an old song of his being recorded by the band here, so it was always going to be an interesting one. Strid has always written a lot for the band, but he stepped up in a big way here - alongside new guitarist Rasmus Ehrnborn and multi-instrumentalist Sebastian Forslund. Despite the band having put out many excellent albums in the past, everything really seems to have clicked here in a big way - with each song trying to out-do the previous one in terms of hooks and choruses. It is a hugely memorable melodic rock/AOR release as a result, with more Toto than Journey in its sound which helps to set the band apart from other modern AOR acts, and is a big reason why I listened to it so often.

Listen to: Stratus, Shooting Velvet & Runaways

6) Epica - Aspiral

Returning to a heavier sound, the Netherlands' Epica are another band that never disappoint. I have been following the band for nearly 20 years at this point and in that time they have released excellent album after excellent album - whilst also consistently delivering live. They will be my first live experience of the year, alongside Amaranthe and Charlotte Wessels, and I am hoping that a good number of songs from 2025's excellent Aspiral are featured in the set. The gap between it and Epica's last album felt like a long one, so I was very much ready for something new - and Aspiral did not disappoint. Like Amorphis, Epica's core sound has been in situ for many years at this point - but there have been twists and turns along the way to keep things fresh and to give albums bespoke identities. With the possible exception of 2005's Consign to Oblivion, Aspiral feels like the band's most accessible album yet. Whilst there are plenty of extreme metal influences here, and guitarist Mark Jansen's growls are as potent as ever, this seems to be an album which pushes melody and hooks in a bigger way than before. The songs, generally, are shorter this time - with the longest piece here being just over eight minutes long. As such, there are fewer progressive moments this time - but the arrangements are still interesting and knotty, meaning that there is still plenty to keep die-hard fans coming back to discover.

Listen to: Cross the Divide, Darkness Dies in Light (A New Age Dawns - Part VII) & The Grand Saga of Existence (A New Age Dawns - Part IX)

5) Avantasia - Here Be Dragons

Returning to power metal with my fifth choice, and Tobias Sammet makes a welcome return to my Albums of the Year list for the first time since 2016. He was a regular inclusion for a while, both with Edguy and Avantasia, but with Edguy on hiatus and the last couple of Avantasia albums somewhat disappointing I was pleasantly surprised by how much I enjoyed Here Be Dragons. Like Epica's new album, Here Be Dragons is perhaps a more straight ahead album - with a bit less of the bombast and progressive flair of albums past. Sammet tried that with the last Avantasia album, to a less successful end, but Here Be Dragons balances hooks and bombast nicely - with shades of Edguy in some of the simpler tracks and plenty of epic arrangements typical of the best Avantasia albums elsewhere. It helps that this is likely the best collection of songs that Sammet has written for quite a while - with no obvious weaker moments to break up the flow. It is very much an album that contains hit after hit - and perhaps less focus has been put this time on creating a coherent album that feels as one, with more focus given to just writing great songs. This has paid off in my opinion - and it helps that a number of excellent guest vocalists flesh the songs out as always. Regulars like Geoff Tate and Bob Catley return, whilst Tommy Karevik and Adrienne Cowan are some of those making their debuts here.

Listen to: Here Be Dragons, The Witch & Bring on the Night

4) The Doobie Brothers - Walk This Road

I always love it when an older band that has not been all that prolific of late releases something new. Arguably this current era of The Doobie Brothers started in 2021 with their last, very solid album, but Walk This Road is the band's first since the 1980s with Michael McDonald in tow - and their first album which properly features all three of the band's classic singer-songwriters in a more or less equal capacity. McDonald alongside founding members Tom Johnston and Patrick Simmons have really gone back to what made The Doobie Brothers great throughout the 1970s here, with songs that could have sat on the early and late 1970s albums alike. Vocal duties are split pretty equally, with all three singers still sounding strong, whilst a large cast of session musicians, including producer and co-writer John Shanks, helped the three core members, alongside long-standing multi-instrumentalist John McFee, to bring their songs to life. All of the classic Doobie Brothers sounds are here, from smooth vocal harmonies, through boogie rock numbers, to furious bluegrass instrumental sections - with a good mix of rock, pop, blues, folk, and country present to make Walk This Road easily the band's best album since, at least, 1989's comeback effort Cycles.

Listen to: Walk This Road, Angels & Mercy & Here to Stay

3) Helloween - Giants & Monsters

Germany's Helloween are still out there showing everyone else how to properly do a reunion. In fairness the previous entry in this list are also somewhat doing something similar, but Helloween's on-going seven-piece line-up is easily the ultimate version of this band - and it allows all eras to shine. Whilst perhaps a good idea for a tour, I am not sure that too many thought it would translate well to the studio - but Giants & Monsters is the current line-up's second album, and it might even be better than the one that came before. Whilst the previous album might be a bit more epic in scope, Giants & Monsters feels a bit more cohesive and assured as a full album - and the band also feel more relaxed here. On the previous album it often felt as if a true balance between co-frontmen Michael Kiske and Andi Deris was trying to be struck - whereas the balance this time feels more natural. If a song is more fitting for one over the other, then the other has no qualms sitting it out - and the vocal arrangements feel a bit more natural as a result. Many of the best moments see the two joining forces, though, and the greater involvement this time from Kai Hansen from a songwriting perspective means that there are some real throwbacks to the band's early days here. Despite some strong competition, Giants & Monsters is my favourite power metal album of 2025 - and Helloween continue to deliver more than 40 years deep into their career.

Listen to: Giants on the Run, Universe (Gravity for Hearts) & Majestic

2) Dream Theater - Parasomnia

I imagine that anyone who knows me well could have guessed my final two choices. Any new Dream Theater album generally finds its way into my Albums of the Year lists - but Parasomnia feels like a special release. It is the first album to feature returning drummer Mike Portnoy since 2009 - and the band have seemed extremely fired up since his return. Their reunion tour was epic, and they have barely stopped since kicking it off in 2024. Parasomnia does not exactly do anything new, and it is very much Dream Theater through and through, but it returns to a heavier side of the band's sound which had perhaps been absent since the mid-/late-2000s - and Portnoy very much feels at home back in the band. This is not to say that Dream Theater floundered without him, as some of my favourite Dream Theater songs were released whilst Mike Mangini was in the band, but I think, since Portnoy's return, it is very clear that he really is the true drummer for this band. His relationship with guitarist John Petrucci was always what made this band tick - and everyone has really stepped up to the plate on this new album, with James LaBrie delivering a fantastic vocal performance. Sometimes a band just delivering more of the same, but in a freshly confident and defiant way, is enough to make an album shine - and Parasomnia certainly shines.

Listen to: Night Terror, Midnight Messiah & Bend the Clock

1) Mostly Autumn - Seawater

Surprise, surprise - one of my two all-time favourite bands topped 2025's list. In fairness, Mostly Autumn's last album did not top 2021's list - but Seawater has been my most-played album this year, and it is a marvellous album from a band that continue to impress. It very much follows a similar path to the band's longer and more complex albums of the past decade or so - with quite a few lengthy tracks and a dense, emotive atmosphere. My opinion of the last album has probably dropped a little since 2021, largely as the pandemic-themed release feels very much a product of its time and the fact that many of its songs did not stay in the live set for very long, but Seawater is easily as good as the three albums which preceded it - with a few standout songs perhaps being among the band's best for a while. One thing that is a bit different about this latest effort is the more prominent folk influences on show again. The band started out with plenty of folk in their sound, but this has largely faded away over the years. One song here really harks back to that sound in a big way, whilst other numbers also showcase those vibes. Angela Gordon's flute has been utilised here more than it has been for a while, then, whilst the searing guitar playing of bandleader Bryan Josh is as emotive as ever. His and Olivia Sparnenn-Josh's vocals really shine throughout, too. Josh perhaps sings a bit more throughout this album than has been the case of late - but the balance struck ensures that both singers, who were the only two to write songs for the album this time, bring the band's latest effort to life.

Listen to: Let's Take a Walk, When We Ran & Future Is a Child

Whilst the above list contains my favourite 10 albums of 2025 - there were, as always, plenty more albums I wish I had included. My overall shortlist was perhaps a bit shorter than it can sometimes be, but nevertheless some excellent albums still had to miss out - and I always like to briefly highlight a handful before moving onto the previous year's best gigs. Alongside the H.E.A.T album already mentioned, then, was the latest effort from Arch Enemy: Blood Dynasty. I had been a bit disappointed with the band's previous couple of albums, but Blood Dynasty felt a lot stronger. It did not exactly do anything new, but the melodies and riffs were bigger than ever - with frontwoman Alissa White-Gluz delivering a stellar performance. Given that she and the band parted ways at the end of their recent European tour, too, it will act as her final say with the band which she fronted for four albums. Also included here is Ghost's Skeletá - an album I listened to quite a bit when it dropped but then have not revisited all too often since. It is not quite as strong as the two albums which came before it, but it nevertheless continues Ghost's journey as one of rock and metal's biggest current acts. Some of the songs are among the band's best, and the show I caught on the tour was excellent (despite it also not appearing in the list below), but other bands just felt more vital for me this year than Ghost - despite Tobias Forge still being someone I admire immensely. Finally, too, I would like shout out Styx's latest offering Circling from Above. Like the Ghost album, Circling from Above perhaps suffers from being not as strong as the band's previous two efforts - but I have still given it a lot of airtime this year. It is easily much more mellow than the band's other recent albums, and perhaps less progressive, too. Some of the classic Styx bombast is missing, then, with Beatles-esque harmonies and melodies in their place - which makes it very much a mood album. The choice to change things up feels very deliberate, though, and the album is very cohesive and well-considered as a result - with both Tommy Shaw and Lawrence Gowan delivering vocally. All that is left to do now is to highlight my favourite gigs of 2025 - which I have listed below. I have just picked out the best five of the past year rather than trying to group them - and there were plenty of other excellent ones which had to miss out, as I went to a record number 58 shows in 2025!

5) The Doobie Brothers, BP Pulse Live, 17/07/2025

Whilst some perhaps more technically impressive shows missed out on this rundown, I had to include seeing one of my favourite bands The Doobie Brothers live for the first time. I only got into the band a few years ago, and for a long time it seemed as if the band's wider touring days were over. Each year saw them cycle around America, playing to some pretty big venues once Michael McDonald returned to the fold, but shows further afield seemed like a dim prospect. This slowly changed, though, and following missing the band opening for the Eagles in 2024 some headline shows were booked for 2025 - and Birmingham made the most sense. Hot on the heels of their latest album dropping, four new songs sat in the set which otherwise was made up of classics from the 1970s. All three of the band's classic singer-songwriters sounded great - and the current live band is made up of plenty of excellent and very professional musicians, who all had a chance to shine. The arena was made to look small, but the low thousands that turned out had a great time - and there was a feel-good vibe in the room throughout.

4) The Temperance Movement, Trinity Centre, 17/03/2025

Following the band going on hiatus as a result frontman Phil Campbell's departure in 2020, I assumed that I would never see The Temperance Movement live again. At one point they looked like a band destined for the biggest stages, but sadly such a break never really came - and Campbell's addiction issues, by his own admission, essentially saw the band fold. With plenty of time for reflection, getting clean, and water passing under the bridge, though, the band reformed towards the end of 2024 for a series of live shows in 2025 - and I was at the very first one in Bristol. The packed out room made for an electric atmosphere, whilst the band really roared - sounding more powerful than ever. The gentle, acoustic start to the show, with a very stripped back Chinese Lanterns, was one of the most emotive gigging moments in recent memory, too, as it was very different to how a rock show usually starts, and it only made the big riff of Only Friend feel more powerful when it then kicked in. Campbell was redeemed from the opening few lyrics in my opinion - and the rest of the band were clearly all there for him. It was unclear whether the tour would be a one-off to give the band a proper send-off or whether it would be the start of a new era - but given the band are playing some festival shows this coming summer there is at least a little more gas in the tank.

3) Fish, Bristol Beacon, 26/02/2025

Lots of musical acts retire, only to return a few years later - but I think I believe Fish when he said that his last tour would be his final one. His health in recent years has made touring hard for him - and he has now moved to a small Scottish island and intends to properly retire. He shut down his record label and online store and, save for a handful of occasional social media posts, has essentially left the public eye. I had seen Fish many times over the years, but the Bristol show on his final tour might well have been the best of the lot. Sounding the strongest he had vocally for a long time, and backed by a tight band of long-time collaborators, Fish's career-spanning and lengthy set was a good mix of classics, fan-favourites, and lesser played numbers. From the spine-tingling opening Vigil to the closing folk rock of The Company, Fish had the packed Beacon in the palm of his hand. It was great seeing him in such a large venue to close things out - and the atmosphere was electric from the first note. Plenty of classic Fish banter was thrown in of course, as well as a couple of nods to his past with Marillion, but overall this was a night celebrating all things Fish - and he very much went on a high and on his own terms.

2) Toto, BP Pulse Live, 02/02/2025

It seems strange that two of my favourite gigs of 2025 took place at the BP Pulse Live - especially as both of the shows were played with the venue in a smaller configuration to crowds in the low thousands. This did not effect the vibe of The Doobie Brothers' show as already mentioned, and it certainly did not effect Toto's showing - which rivalled the first time I saw them as the best live experience of this classic melodic rock act. Whilst only Steve Lukather and Joseph Williams remain from Toto's classic eras, the current line-up is a musical juggernaut. Greg Phillinganes has been associated with the band on and off for years, whilst Shannon Forrest is one of the most in-demand session drummers going. The surprise package, though, was Dennis Atlas. Not only a fantastic keyboard player, but he essentially became a third lead singer - duetting a lot throughout with Williams in particular. Atlas' higher voice allowed Williams to rein it in a little, preserving his smooth tone, and the current line-up really brought the best out of everyone. It helped, too, that the setlist was a real treat for die-hard fans - with deep cuts like Carmen and Angel Don't Cry getting airings, whilst the more modern Mindfields was debuted on the tour. Toto are masters of what they do and I will keep going to see them as long as they keep coming back.

1) Savatage, O2 Shepherd's Bush Empire, 16/06/2025

Savatage are not a band I ever thought I would see live - largely as they had not existed in any permanent form since the early 2000s. They might not be an all-time favourite band of mine, but they are certainly a band I like a lot - so I jumped at the chance to see them when they announced a London show as a part of a short run of summer reunion shows. Whilst some might see the current line-up as compromised without bandleader Jon Oliva, who is currently side-lined for health reasons, all of the current line-up are long-time Savatage members - and it is easily the most legitimate version of the band that could realistically tour these days. Whilst the lengthy show focused on the band's later, Zak Stevens-fronted, albums, the setlist overall was career-spanning - with plenty of older traditional metal classics thrown in alongside the more theatrical and progressive material which came later. This was one of those shows where everything just came together to make it special. The show itself felt like an event, the band sounded great on stage, and the packed out venue was as one - with everyone singing along to every song and creating a dynamite atmosphere. Everyone was just pleased to be there, whether it was their first time or they were Savatage veterans from back in the day. Sadly the band are not returning to the UK on their run of summer shows this year - but this London show will live long in the memory as one of the very best.