Anthrax's 'Cursum Perficio' - Album Review

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

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

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

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

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

Kris Barras Band - Torquay Review

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

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

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

Who Needs Enemies

Unbreakable

Dead Horses

Unspoken

Monsters We Made

Savages

These Voices

Devil You Know

Watching Over Me

Ignite (Light It Up)

Guitar Solo

Beautiful Lie

Riot of One

My Parade

-

Hail Mary

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

Green Lung's 'Necropolitan' - Album Review

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

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

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

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

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

Myrath - Bristol Review

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

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

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

The Funeral

Born to Survive

Dance

Until the End [w/ Ivett Dudás]

The Clown

Through the Seasons

Tales of the Sands

Merciless Times

Still the Dawn Will Come

Edge of the Night

No Holding Back

Breathing Near the Roar

Soul of My Soul

Endure the Silence

Les Enfants du Soleil

Jasmin

Believer

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

Steve Hackett - Torquay Review

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

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

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

The Devil's Cathedral

Every Day

The Sea Inside

Ace of Wands

The Steppes

Camino Royale

Shadow of the Hierophant

-

Dancing with the Moonlit Knight [Genesis material]

The Cinema Show [Genesis material]

Aisle of Plenty [Genesis material]

Keyboard Solo

Firth of Fifth [Genesis material]

Supper's Ready [Genesis material]

-

Dancing on a Volcano [Genesis material]

Drum Solo

Los Endos [Genesis material]/Slogans

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

Tygers of Pan Tang's 'Electrifyed' - Album Review

There are some bands that can feel like comfort bands. They generally release new music pretty regularly which, whilst likely not ground breaking or even especially outstanding, is solid, enjoyable, and follows an established formula that makes it easy to get stuck into. There are many bands that could fall into that category, but one such for me is the Whitley Bay-based five-piece Tygers of Pan Tang. Forming back in 1978, although only guitarist Robb Weir remains from those early days, the band became a pretty big name during the early 1980s NWOBHM era - with a number of striking album covers, razor-sharp songwriting that mixed melody and crunch, and a guitarist in John Sykes that went onto bigger things with Thin Lizzy, Whitesnake, and Blue Murder. Tygers of Pan Tang have always been more than Sykes' first proper band, though. He was not a part of 1980's Wild Cat, a debut album with a raw edge similar to those early Iron Maiden recordings that showcased Weir as more than capable a guitarist on his own, and the band always felt like more than the sum of their parts - with early frontmen Jess Cox and John Deverill both underrated voices of the NOWBHM era. Save for the back end of the 1980s and much of the 1990s, too, Tygers of Pan Tang have pretty much been active and busy. Whilst Weir is the only member from the 1980s left at this point, something which has been the case for a long time, and there was even a brief period before the band broke up in the late 1980s where he was absent, the band have been on something of a strong run for a while. They have been releasing new material pretty regularly since reforming in 1999, but I feel that the current era started with the arrival of frontman Jacopo Meille in 2004. Meille, Weir, and drummer since 2000 Craig Ellis have essentially formed the core of Tygers of Pan Tang ever since, with guitarists and bassists coming and going - with 2008's Animal Instinct the first album to feature all three. Since then, the band have continued to go from strength to strength - releasing new albums on a pretty regular basis and getting on the road whenever they can. The first album that I got when it was new was 2012's Ambush - and I have picked up everything the band have released since, covering them all here. A new Tygers of Pan Tang album may not be a yearly highlight, but they are certainly albums that I look forward to - as I know that I am likely to enjoy them. This has certainly been the case of late, with 2023's Bloodlines (which I reviewed here), the band's last album, perhaps my favourite of the recent crop alongside the excellent Ambush. They have not released a bad album of late, either, and, at this point, I feel that such is unlikely. Weir and the rest of the band have a core approach that they largely stick to - and there are shades of their classic 1980s sound on all of these recent albums, alongside a newer identity that has been around since Meille came on board. Three years on from Bloodlines and the band have again hit us with something new - with Electrifyed dropping last month. Built again around Meille, Weir, and Ellis, bassist Huw Holding also returns from Bloodlines. There is a new face in the form of guitarist John Foottit (Nerve Senta; Change of Heart; Chrome Molly), who joined the band earlier this year in place of Francesco Marras. I do wonder if some of the album had been worked on before Foottit was in place, though, as Marco Angioni (Chaoswave; Meridian; Empire Drowns; Street Fighter; Withering Surface), who also produced the album, played some guitar here, including some solos, meaning that the guitar playing throughout seems to be split between Weir, Foottit, and Angioni.

Whilst Marras seemed a big part of Bloodlines' success, and it is a shame that he only stuck around long enough to co-write one album, Electrifyed still finds the band in rude health. Their core sound is very much still established here - with the main three of Meille, Weir, and Ellis once again writing some strong songs. Holding has also stepped up here as a songwriter, contributing to a few songs - making the album something of a team effort. It kicks off with Rise Up!, with swirling orchestration and distant twin lead guitars setting a dense tone - but soon a muscular, mid-paced riff kicks in, which feels faster than it actually is when Ellis' drumming kicks in. The main riff is a bit heavier than the band's usual approach, but it works well - especially when it drops in and out during the verses that follow, with Holding's bass sometimes left alone to drive the band behind Meille's vocals. Vocally, Meille sounds as good as ever. He may not be the band's classic singer, but he has been around for over 20 years at this point - and his melodic tone perfectly suits the band's sound. His smoothness nicely counters the tougher riffing during the verses - whilst the chorus here is the first of many pretty memorable ones found throughout the album. The band are rarely genuinely anthemic, but they have plenty of strong choruses in their catalogue - and there is a nice sheen throughout this song thanks to some underlying keyboards, Meille's vocals, and a later guitar solo that is fast-paced yet melodic. The mix of heavy riffing and hooks elsewhere works nicely, and the album gets off to a strong start as a result. Forevermore picks up the pace somewhat, with some hanging power chords opening the song up ahead of some stabbing drumming - before a pacier riff takes over with some shredded guitar leads above. The song does not feel as heavy as the opening number, but the classic Tygers of Pan Tang sound is very much on show here. The riffing style harks back to the 1980s, and there is an energy and smoothness to the overall riffing that is a sound that the band have been exhibiting for many years. The faster, chugging verses are packed full of energy here, with the band sounding fired up from the off, whilst the chorus slows things down a little - with longer held chords and a bit more of a precise approach to allow the vocal melodies to shine. There is a bit more of a dynamic approach taken at times, too, with a slower bridge section that includes clean guitar melodies and some twin guitar leads. The Powers That Be was one of the songs that stood out from the off when I first listened to the album, and it remains one of the overall highlights in my view. Like the previous song, there is a chugging quality to much of this number - but the pace has been reined in a little, instead allowing for a bit of a groovier approach. Despite this, though, there is still an energy to the verses - with a pleasing crunch to the guitar riffing and the prominent bass playing of Holding. This is also one of those songs that does not change things up much for its chorus. The rhythms throughout are similar, but the vocals during the chorus become more pointed - with subtle harmonies and some punchier hooks which would certainly go down well live. There is a strong sense of melody throughout the song, too. Meille's vocals throughout are very easy on the ear, both during the verses and the chorus, whilst the guitar soloing later on is also packed full of melody.

Dark Divinity returns to something more akin to the crunchier sound of the opening number. There is less grandeur this time, though, with the song being a crunchy, slower, heavier number - with a strong bass presence and a pleasing, mid-paced propulsion. Tygers of Pan Tang never feel genuinely heavy, but they can adopt a bit of a creeping vibe when they want to - and this song certainly exhibits such, especially during the pre-chorus, which builds towards a chorus that actually ups the pace a little. The song overall is a powerful one, then, with a simple, strong chorus that is very easy to sing along with - meaning that it is likely to be another one that would go down well live. The way that the song speeds up towards the end is pleasing, too, and it contrasts nicely with the slower pace heard elsewhere. The album's title track follows, and it is a song that I heard the band play live a few months ago when I caught them in London on tour with Demon. I enjoyed the song at the time, but hearing it properly has made it go up in my estimations. It is a song that mixes the band's somewhat heavier side with some classic chorus hooks. The spoken word opening is something a bit different for the band, but the song overall is pretty much typical of the album's core approach. The verses have a snappy energy to them, despite some slightly darker riffing, whilst the chorus is one that really harks back to the classic albums of the 1980s - with a slower, groovy riff topped by some excellent vocals from Meille. The chorus is another of the album's standout sections - whilst the shredded guitar leads that are thrown in quite regularly, backed by Ellis' double bass drumming, give the song more of a kick. A Shadow of Fire opens with some quite bluesy riffing, although the guitars have a metallic edge to them - under which Ellis lays down some percussive drumming. Tygers of Pan Tang have sometimes gone for a slightly bluesier approach, especially in more recent times, and the sound often works well - mixing 1970s riffing with a more metallic guitar tone. That being said, though, the rest of the song is not all that bluesy. Perhaps some of the verse guitar playing feels a bit more organic, but there is a strong drive throughout from the rhythm section that allows for plenty of energy - whilst the chorus is backed by one of the best riffs on the album in my opinion, over which Meille lays down more strong hooks. For me, many of the album's strongest cuts around found during this mid-section run. There are hooks all throughout this group of songs - with the current line-up sounding at their best here. The Nail slows the pace down quite considerably, going for a groovier sound backed by slower riffing and a chugging approach. Whilst not exactly Black Sabbath levels of lumbering, the band's usual snappy approach is not really present here. The guitars throughout have a strong headbanging pattern, under which Ellis' more organic drumming sounds a little louder than usual. The bluesy grooves are pleasing, and it is interesting hearing Meille singing in a lower register than is typical for him for parts of the song. The verses especially have that heavier, deeper sound - whilst the chorus is a bit more typical for the band, with Meille letting rip a little more vocally. Whilst I do like the approach, the song overall is not as memorable as the run of songs that came before it - even if the change of pace is a welcome addition to the album overall to shake things up.

The Fight Goes On returns to something more typical of the band's core approach, picking up the pace again with a snappy riff and a much more strident Meille vocal performance. This song has a lot of the key ingredients to be another strong Tygers of Pan Tang effort, including some excellent lead guitar flourishes throughout which are a bit more dynamic than is typical, but I find the chorus a bit of a let down. The band have attempted to do something of a call-and-response approach, with backing vocals singing the song's title and the Meille responding. The issue is, though, that the backing vocal sections have no power behind them - and they are quite low in the mix. If there were proper, Accept-esque gang vocals during this chorus, it would likely sound very powerful, and the song would be another highlight, but as things are it falls flat - which is disappointing given that many of the other sections of the song are pretty strong. Dark Skies opens with some mid-paced, grinding riffing, before a melodic guitar lead that reminds me of something Michael Schenker might have written for one of his early solo albums comes in. It is a shame that this guitar approach is not retained throughout, but the song is still a pretty enjoyable effort - and it is one that somewhat returns to the majestic nature of the opening cut. The band have never been big users of keyboards, but they are employed in an atmospheric manner occasionally - and this song is one that does so on occasion. There is a bit of a bigger sound conjured up as a result. Tygers of Pan Tang rarely go for an epic sound, and they have something of a working class aesthetic, but this is one such number that feels a bit more ambitious for the band - with lengthier guitar solo sections, the use of synths as mentioned, and Meille really going for it vocally. The chorus has something of an epic feel, even if it is not that expansive in the grand scheme of things, and there is a lot to like here - with the band pushing the envelope a little compared to their usual approach. Revenge Is Sweet, which brings the album to a close, is somewhat similar in approach. It is the longest song here at just under six minutes, and there are a few different sounds going on. Weir makes use of a talk box at times, something which he has done occasionally in the past, whilst the keyboards are much more prominent this time - with a smoother, melodic rock approach conjured up at times. The guitars still drive everything, but there is just a bigger sound on show due to the more prominent use of keyboards. The song is likely the most expansive thing on the album, but compared to any mildly progressive band the arrangement is pretty typical. There are hints of Magnum in the use of keyboards and the slightly more pomp-based sound, but otherwise the core Tygers of Pan Tang sound is well and truly entrenched - with Meille sounding great as usual. It is a strong and slightly different end to the album, but really the song is just Tygers of Pan Tang doing what they do with a few more bells and whistles. Whilst I do not think that this latest album is quite as strong as the last one, Electrifyed remains a very enjoyable effort from Tygers of Pan Tang. The middle of the album in particular is strong, and there are a number of songs here that would work well live. It will be interesting to see what Foottit brings to the band when he is involved right from the start - but with the core three driving the songwriting the core sound will no doubt remain.

The album was released on 11th September 2026 via Mighty Music/Target. Below is the band's promotional video for Electrifyed.

Airbourne's 'Airbourne' - Album Review

After covering quite a bit of heavier and more progressive stuff on this blog of late, it has been quite nice recently to return to things more organic and stripped back. Ricky Warwick's latest opus was my last album review here, with the Northern Irish singer-songwriter once again delivering the goods on his latest folk and punk inspired rock solo album, but today I will turning to Australia and a band that has rarely been mentioned on this blog before: Airbourne. Despite the possible passing mention, the only time that the hard rock four-piece have been covered here in any detail was back in 2014, when I saw them opening for Black Stone Cherry in Birmingham. In truth, I am not exactly sure why I have not given Airbourne more love over the years. I remember being quite into the band's 2007 debut album Runnin' Wild in the aftermath of its release. I was never a die-hard fan of it, but I liked it quite a bit due to its relentless energy and strong songwriting. Quite a few friends were into the band at the time, too, so I was also lent 2010's No Guts. No Glory. around the time it dropped. I did not own either album at the time, so perhaps I was only ever really a casual fan - and I did not enjoy the second album as much as the first, which is maybe why I slowly stopped paying attention. I periodically check in over the years, though. I remember borrowing 2013's Black Dog Barking from the local library when I was working there, probably a few months or so after its release, and there was that 2014 show that I already mentioned. I remember enjoying Black Dog Barking more than No Guts. No Glory., and the band were also good live, but I soon stopped paying attention again - with even Runnin' Wild rarely getting any attention. I was put off getting 2016's Breakin' Outta Hell due to hearing its title track probably 30 or 40 times over the course of the weekend at that year's Bloodstock Open Air as it was part of one of the few repeated adverts played on the festival's big screens. Following that, I never really revisited the band again. I would often see news snippets so I was generally aware what they were up to - but I did not give their albums or concerts any meaningful thought until earlier this year, when I saw that the band were gearing up to release their sixth studio album. This sixth album, their first since 2019's Boneshaker, is self-titled - and their first to feature rhythm guitarist Brett Tyrell, who replaced Jarrad Morrice in 2023. In a way, it seems strange that it has taken Airbourne seven years to follow up their last album. Airbourne's no-nonsense brand of true Australian hard rock, which is often compared to AC/DC, is not exactly complex - so putting new material together is unlikely to be as challenging as it could be. Despite this, though, Airbourne have never been the most prolific - generally having three year gaps between albums which are, often, very short. Most of the band's album's are under 40 minutes long - but Airbourne is the longest at around 47 minutes, with No Guts. No Glory. the only other album to breach the 40 minute mark, any bonus tracks notwithstanding. Airbourne sees the band reuniting with producer Brian Howes, who also produced Black Dog Barking, and the classic Airbourne sound is very much present and fiery here. They still sound pretty much like AC/DC, albeit a little heavier, but there is a tightness and energy to the album despite its relative length. Aside from the rhythm guitar spot, which has now changed hands a few times, the rest of the band's line-up has appeared on all of their other albums - with frontman Joel O'Keeffe, drummer Ryan O'Keeffe, and bassist Justin Street here as ever.

Airbourne is not an album that is going to change anyone's views regarding the band. Each album essentially sounds the same as the one before it, and this one is no different. If you like what the band do, though, there is plenty to like here - although at 47 minutes it is perhaps a little overlong. Airbourne operate best when they get in and get out - but given the gap between albums perhaps they wanted to give the fans more for their money. Some of the songs have been floating around online for a year or so, too, with the kick-off track Gutsy one of them. Hanging clean guitar melodies actually open the song, before a simple hi-hat beat kicks in - and the clean guitar lines turn into something more hard rocking, with the song growing in stature over the first minute or so of the song. Chugging guitar rhythms and a driving bluesy riff form the basis of the song - whilst the verses proceed in a rather stop-start manner. Joel's voice has always been powerful and full of character, and that remains the case here. His riffing generally accents his vocals, filling the gap between lyric lines, whilst the rhythm guitar and bass plod in the background. The arrangement is simple, then, but there is an energy to the riffing - and Joel's vocals always elevate any Airbourne number. Shout-along choruses are generally the order of the day here, too, and there is a powerful one here with big gang vocals and a fists-in-the-air attitude. A bluesy guitar solo from Joel is thrown in, too, and the song is a strong opening cut. Alive After Death (Last Plane Out) opens with some punchy drumming from Ryan, before a more mid-paced guitar riff, overlaid by a melodic guitar lead, forms the basis of the song. With the chugging guitar rhythms and 4/4 drumming present throughout this song, the AC/DC comparisons make total sense. Airbourne never really push the envelope, but they have become very proficient over the years. This song is perhaps not as furious as the opening number, but there is a more of a melodic strut to this one - with plenty of memorable guitar lines and a chorus that sounds a little more on the slick side. Airbourne's material often has a rawness to it, but their albums are always well-produced - and this one is no different. There is real power in the riffing here, whilst the slight sheen to the chorus adds a 1980s edge. The song is one of my favourite cuts here as a result. Here She Comes opens with some wordless vocal melodies, which form a pretty melodic opening against a simple drum groove - before a busy guitar melody, Thunderstruck style, takes over. The mid-paced groove of the previous song remains here, but there is perhaps even more of an overtly melodic feel this time. The riffing feels more strident and less scrappy though, with verses that feel made for big venues - whilst Street keeps everything locked in with his bass playing. There is more of a gang vocal focus here, especially as the chorus is approached, whilst the chorus features layers of backing vocals which are more melodic than is typical, too. It is an easy song to sing along with, then, and Joel's later guitar solo builds on the busy main guitar motif that returns throughout the song. Kid in a Candy Store returns to something a bit more scrappy and groovy, with a juddering, simple guitar riff that kicks in from the start and essentially drives the song from then on. The melodic sheen of the past couple of songs has largely been stripped away, with a heavier feel returning again. The simple AC/DC-esque rhythm section provides plenty of punch, whilst the interlocking guitars are just separated enough to be able to pick them out. This is very much just hard-driving and high-octane rock. It is not as fast as Airbourne can be, but it certainly feels more energetic than the previous two - with more of a gang vocal chorus at pace. A breakdown with some cleaner guitars acts as a brief change of pace later on.

Sky High reins in the pace again, with the band this time going for more of a bluesy strut. The guitar tone feels a bit more organic and less distorted here, but there is still plenty of crunch - whilst the drumming and simple bass playing does an awful lot to give this song its overall feel. There is certainly an early AC/DC feel to this number, when the band let their bluesy roots shine a little more, but the song still rocks hard with brash open chord riffing and the heavy stomp of the drumming. A lengthy chorus, which mixes band-led gang vocals and more melodic trade-offs is another memorable one, even if it is not as urgent as some of the other examples, whilst Joel gets to cut loose a bit more on the guitar this time with a bit more soloing than is typical. The soloing is suitably bluesy, too, which fits nicely into the song overall. Who Put the Rhythm in You? opens with a couple of big snare hits and some surprisingly clean guitar melodies. Whilst there is still an edge to the early melodies, the guitar melodies are still a bit brighter and cleaner than might be expected - and the song builds around them for a while, with swirling vocals and the band fading in. Once the song gets underway proper, though, the band have locked into another pretty typical mid-paced groove. Brash riffing and that ever-present pulse of the rhythm section ensures that the core Airbourne sound is present and correct, and it is another pretty enjoyable cut as a result. The song's chorus feels like a more energetic version of the last song's chorus. The vocal approach is quite similar, but the pace is a bit faster overall - and the riffing feels a bit heavier. The guitar solo is more typical of Joel's usual style, too, so the song returns to something more like the rest of the album. Christmas Bonus, which feels a little out of place currently in October, is another song that has been hanging around for a while. It is not the most Christmassy-sounding song, though, despite some sleigh bells early on, and, lyrics aside, it is basically just typical Airbourne. Similar to the last song, the track is high-energy and hard rocking - but perhaps even more so, building up the overall pace and heaviness again. The chorus, for a Christmas song, is high-octane and shout-along, made for playing live, whilst the lyrics are packed full of Christmas-themed innuendos. It is safe to say that it is not a song that the Grandparents would enjoy around the dinner table, but I can see the song becoming a favourite of rock and metal Christmas parties - and there is a good sense of Christmas fun throughout. It is a very catchy and energetic song, then, and the lack of any typical Christmas melodies means that it is one that can, just about, be played at any time of year. Last Man Standing pairs the pace back in again, instead laying down a slower, more deliberate groove. These mid-paced songs that Airbourne often whip up are generally full of groove and power - and this one is no different. Like some of the other similar tracks here, the song builds fairly slowly around some cleaner guitar melodies, but the classic Airbourne sound kicks in once the song starts proper. The verses feel a little different to the norm, though, as the drumming pulls back a little. There is less of a a typical 4/4 drive during the verses, with a slightly more percussive approach taken to allow the guitars to do most of the heavy lifting. The chorus is much more typical, though, with the drums crashing back in a big way and more loud gang vocals. The more deliberate nature of the song works nicely for me as a bit of a point of difference.

Rock 'n' Roll Ya opens with some lone gang vocals, laying down part of the chorus, but this intro is short lived as the band soon kick in - with another riff that is Airbourne 101. After the subtle differences found in the previous song, this one very much gets back to the band's core sound. The driving groove of the rhythm section sounds as potent as ever, with the verses snappy despite a relatively mid-paced arrangement - whilst lead guitar breaks feel a bit more prevalent here, especially after each chorus. The gang vocals of the chorus proper feel more powerful compared to the song's opening rendition, and it is another shout-along chorus that nicely sticks in the brain. A slightly lengthier guitar solo builds on the guitar leads elsewhere - with the song being another that is likely destined for the stage over the coming years. Bogota is slightly more grinding overall. A relatively busy drum intro soon gives way to a riff that feels a little heavier than is typical which, when paired with a slower pace, gives the song a little bit of a different feel. The chorus is pretty typical of the band's sound, but the song as a whole feels a bit noisier. There is little of the precise grooves and snappy riffing generally found, with a much more distorted sound - with the guitars just generally sounding noisier. It is hard to explain how the song sounds, as at its core it sounds like Airbourne, especially once the gang vocals of the chorus kick in, but the verses have a snarling dirtiness to them - wrapped up in an almost metallic 1970s riff. The guitar solo is very whammy bar heavy, too, adding to the noisy sound previously described. Hells Got No Vacancy (with its disappointed lack of apostrophe) returns to something much more typical, with some bluesy guitar playing early on, before another pretty hooky open chord riff kicks in - and the song just really rumbles along from there. Rumbling is the appropriate word, too, as Street's bass playing is pretty prevalent during the verses, with the two guitars laying down riffing and grooves above the pulsing basslines. The song is very similar to a number of other songs here, but the energy keeps it interesting - and there is another shout-along chorus that is packed full of simple, caveman hooks. The album then comes to a close with Send Me to Rock 'n' Roll Heaven, one of my favourite cuts here. The band have ended things on a strong note here, and the song pays tribute to a lot of their favourite musicians who have died. It is not a sentimental number, though, with the band's trademark hard sound present - and the song rocks out hard in tribute to many name-checked passed greats. The chorus is one of the fastest and hookiest on the album, whilst the main riff is snappy in that way that made AC/DC's best numbers really tick. There is nothing really to dislike about the song, and its energy keeps the album rocking to the last moment. There is a bit of a breakdown section included, too, which includes snippets of news reports about some of the musicians' deaths - whilst Joel's guitar solo is another pretty high-octane, bluesy affair. It is always great when an album ends on a real high, and Send Me to Rock 'n' Roll Heaven is one of Airbourne's big highlights for me. Overall, then, despite having not paid much attention to Airbourne in recent years, I have been enjoying this latest album from them since it dropped last month. It is certainly nothing original, but as far as hard-driving and high-energy rock goes it ticks a lot of boxes - even if cutting a couple of the lesser numbers would have probably allowed for a stronger overall album.

The album was released on 4th September 2026 via Spinefarm Records. Below is the band's promotional video for Alive After Death (Last Plane Out).