Myrath's 'Wilderness of Mirrors' - Album Review

I opened my review of Myrath's last album, 2024's excellent Karma (which can be read here), stating that it had felt like a long time since I had last listened to the band in any meaningful way. Karma was Myrath's first album in five years, following the somewhat dense and more progressive Shehili (which I reviewed here), and something of a gap in live activity due to the pandemic. Not that the enforced live break affected us in the UK, as the band has not played a concert here since supporting Symphony X on tour back in 2016, but Karma certainly felt like a long-awaited comeback for Myrath - and the Tunisian band have been pretty busy ever since. In some ways, too, Karma was an important album for the five-piece. It was their first without founding keyboard player, songwriter, and original lead singer Elyes Bouchoucha - who officially left the band in 2022. I was somewhat concerned how the band would operate without Bouchoucha, as I had often been under the impression that he was perhaps the main driving force from a songwriting perspective. Often the band's songwriting credits are not that specific, generally crediting the whole band, but on the occasion that they have been, Bouchoucha featured regularly. His replacement, long-time producer and behind the scenes contributor Kévin Codfert, ensured that Myrath kept trucking on, though. Whilst only becoming an official member of the band following Bouchoucha's departure, Codfert had been working with Myrath since the beginning. He produced all of their albums, often contributed additional instrumentation and string arrangements, as well as chipping in songwriting-wise. He was like a sixth member of the band, so him stepping into the vacant keyboard spot made the most sense - and Karma felt like a bit of a clean break. Myrath, from the off, have always mixed progressive metal, power metal, and folk metal together to create this North African-tinged take on a European prog/power sound - which has evolved over time. They were perhaps at their most progressive early on, stemming from their days as a Symphony X tribute band, but a progressive nature is something that often characterised their songwriting - with Shehili perhaps being their most progressive album since 2010's Desert Call following a couple of more accessible releases. As if wanting to broaden their reach, though, Karma ditched much of the progressive side of the band's sound - and embraced the power metal in a big way. Karma is perhaps less unique overall as a result, and some fans certainly missed the progressive twists and turns, but in terms of pure fun and melody there is very little to dislike about Karma. It perhaps ran out of steam a little towards the end, but the sheer number of anthemic choruses, hooky riffs, and sweeping arrangements made the album one of 2024's best releases in my opinion - and it is an album that I have continued to listen to regularly since it dropped. Clearly wanting to capitalise on this melodic success, and not leave it another five years between albums, last month the band dropped their seventh studio album Wilderness of Mirrors - only two years on from Karma. Given the lack of any line-up changes since the last album dropped - this is the band's second album with the current line-up, and, in truth, Myrath's line-up has been fairly consistent for quite a while now. Original members guitarist Malek Ben Arbia and bassist Anis Jouini; long-time frontman Zaher Zorgati; and long-time drummer Morgan Berthet all join Codfert here - and Wilderness of Mirrors takes the soaring, more accessible sound of Karma and injects back in some of the progressive flair.

This is still a pretty accessible album, but it feels a bit more adventurous and experimental than the previous effort - with a lot more of that North African vibe which was toned down a bit previously. It is not as immediate as a result, but the songwriting is strong and the hooks are there - ensuring that Myrath continue their pretty impressive run of releases here. Interestingly, it is also the first album where the band have largely not worked with outside lyricists - with Zorgati and Codfert writing most of the lyrics this time. As if to showcase putting a more progressive bent back into their music, the opening number The Funeral immediately feels knottier than anything from the last album. Nature noises and some distant African chanting opens the album, and as the vocals fade in a dancing string arrangement starts to swell behind Zorgati - and it is not long before a drum roll introduces a mechanical guitar rhythm. The album opens in a bit of an atypical way, then, but it works well - with the dry early riffing a contrast to the lush strings and Zorgati's expressive vocals; but soon the vocals drop away, and the song gets going proper with a lone guitar riff that soon explodes into a hard-driving verse. The strings drop away here, leaving the guitar and bass to up the overall heaviness, whilst Codfert adds synth stabs and accents in a typical power metal fashion. The later chorus is somewhat borrowed from how the song opened, but the arrangement is simplified somewhat and slowed down - allowing for the typical power metal trope of a faster verse contrasted with an epic and slower chorus to rear its head. The chorus is lush like the song's opening, though, with impressive string arrangements and big vocals from Zorgati - and some progressive flair follows with a bass-led instrumental section which showcases Jouini's funky approach to his instrument. The chorus soars, the string and keyboard arrangements recall the previous album, but the riffing here feels heavier - with the somewhat false opening and bass-heavy moments feeling more progressive in nature. Until the End, the album's lead single, is one of the most overtly hooky pieces here - and it features Elize Ryd (Amaranthe) duetting with Zorgati. The song opens with a juddering guitar riff which is overlaid with some dancing strings - mixing Arabic-style melodies with Kamelot-style bombast, which is something Myrath has done so well since the beginning. This opening motif is extremely memorable, and it leads into a fairly urgent verse, built around some potent bass playing, over which Zorgati and Ryd trade vocal lines. Ryd's poppier tones match Zorgati's smooth delivery - but the former delivers a powerful performance, pushing herself particularly as the verses progress and the verses feel heavier. She is given plenty of space to breathe, with the song feeling like a true collaboration as a result - with the bombastic chorus really benefitting from the two singers singing together. The arrangement overall is a bit more straight forward here, but this is a song all about hooks - and the vibe of the last album is retained here. Ben Arbia makes his presence more known as the song progresses, too, with an emotive guitar solo and a powerful closing riff. Breathing Near the Roar opens with some more chanting, similar how the album opened, but the chanting here is immediately more upbeat - with some percussion behind it to keep the energy going. In some ways, this song feels like the best mix of some of the band's older progressive flair with their newfound love of prominent hooks. The song's chorus is a true melodic feast. It soars like those of the previous album, with Zorgati showcasing why he is one of the best vocalists in power metal currently - but the North African elements are integrated seamlessly, with the chanting from the intro part of the chorus. The verses are also a bit more angular and groovy, with an off-kilter time signature, percussive drumming from Berthet, and some busy and prominent bass playing from Jouini.

Following three excellent opening cuts, I do feel that Les Enfants Du Soleil feels a bit weaker. It is the longest cut here, at just over six minutes, but I do not find that the song has the standout melodies that many of the others do. It opens slowly, with a children's choir - over which Zorgati soon also starts to sing. It is an interesting contrast of styles, which is quite memorable, but once the rest of the band kick in the song is largely quite unadventurous - which, given that it is the longest piece here, seems a bit strange. The chorus has grown on me, but it is certainly not as bombastic nor as soaring as many of the best efforts here - and there are times when the vocal melodies randomly seem to stop to allow guitar leads to take over. There is a strange flow to the song, then, without really any genuine progressive flair which the band certainly are capable of. Zorgati does really deliver, though, and during some of the verses he sings in a much lower register than is typical for him - which does showcase his versatility. Still the Dawn Will Come gets things back on track, though, with some great Arabic-style melodies opening the song - with soaring, dancing strings sitting above a driving guitar riff. As is often the case with Myrath, though, the song is quite dynamic arrangement-wise. The verses here are generally a bit more stripped back, especially early on, which allows the vocals and bass to dominate - but Ben Arbia still makes his presence felt throughout, as there are moments where the riffing is really allowed to cut through and and later portions of each verse tends to be heavier. Building on Zorgati's vocal versatility as mentioned previously, too, this is a piece which really showcases such. There is an almost sweet, poppy delivery to parts of the verses - whilst the chorus sees him really going for it, pushing his upper register for some power metal-esque screams. There are even very brief moments of harsh vocals, too, which add to the heavier overall feel of the chorus - which is later built on during the lengthy and pretty progressive-feeling guitar solo section. Myrath do not always cut loose in this manner, but Ben Arbia really lets rip during this one. The Clown goes for a strong, strident mid-paced power metal sound - with a pulsing keyboard motif leading the charge whilst the rest of the band add a solid, metallic groove beneath it. This feels like another song which could have sat on the last album - as it feels as if it is one which prioritises hooks over everything else. The chorus has that Kamelot-esque bombast that Myrath often do so well, with the keyboard motif from the intro returning, whilst the verses are mid-paced and hard rocking - keeping the song moving with a strong energy. A more low-key bridge section features Zorgati singing in a more tradition North African manner, likely in Arabic, which helps to set a strong atmosphere and allows for a change in pace - and this acts as the calm before the final chorus, which is complimented by screaming guitar leads. Soul of My Soul slows things down, acting as the album's ballad. The song does open in a bigger, more bombastic manner - but it soon slows down, leading Codfert's piano alone as the first verse kicks in. As such, the verses here are largely piano-driven. Even later verses largely just return to this piano base, and the combination of Zorgati's emotive vocals with some rumbling piano and occasional string swells makes for a change of pace compared to the rest of the album - and the power of the chorus when the rest of the band really crash in allows for a big symphonic moment. The chorus is another pretty hooky moment, too, despite the slower pace - and it shows the band's love of a big arrangement. Sadly, though, a big guitar solo is not included - and I feel that one could have taken this song to the next level.

Edge of the Night returns to a much more straight ahead and bombastic power metal sound. Similar to The Clown, there is a big keyboard motif which drives the main parts of the song - but this piece does feel a bit heavier and more percussive overall. There are strange beats which sit in the background of parts of the song. I am not sure if they are percussive or some kind of synth, but they add a non-Western groove to some of the song's slower moments - which allows the band's heritage to shine through. The song is also much more guitar-driven than some of the other comparable cuts. The keyboard motif kicks things off and also does lots of heavy lifting during the chorus, but the verses here are snappy thanks to some potent riffing from Ben Arbia - and the song feels heavier as a result. This continues on throughout, as there is a guitar-heavy bridge which includes those percussive beats mentioned earlier - which seems tech metal-esque riffing and a shredded guitar solo to add some progressive weight to what is otherwise a pretty hooky piece. Echoes of the Fallen is another pretty mid-paced tune, this time with a pretty juddering and cinematic guitar riff sitting beneath some busy and Arabic-sounding string melodies. The band always mix Western and Eastern melodies in their music, but some lean more heavily on the latter despite the Western arrangements - and this is one which feels that way. Funky bass playing is often utilised throughout the verses to create a percussive feel, whilst other parts of the song feature electronic drum beats to add to that flavour - whilst the real drums and the guitar add a Western edge. Pinch harmonic guitar riffing ensures that there is a heaviness, and this is another song with a pretty lengthy guitar solo. There is a lot here for Ben Arbia to do, then, despite some of the verse moments allowing the bass to stand in the spotlight. This mix of guitar, bass, and keyboard dominance as the song moves forward really allows the whole band to shine - and it is great that such a hooky song, due to another big chorus, feels so varied and progressive. The album then comes to a close with Through the Seasons - a song which opens with a somewhat slower riff and motif, which creates a dense and epic vibe, but once Zorgati starts to sing the pace picks up. Whilst the strings are retained, they tend to only really cut through occasionally - which allows parts of the verses to have a much rawer and guitar-heavy sound. The hard-driving drums and the urgency in Zorgati's voice only allows this song to feel heavier overall - and there is some additional percussion thrown in at times to improve the overall grooves more. These percussion breaks are a fun change from the riffing of elsewhere - and lead into another pretty big chorus which returns to the opening slower pace and lush arrangement. This mix of heavier moments and lush arrangements works well - and is typified later due to a guitar-heavy instrumental section which sees guitar and North African percussion joining forces for a tight groove. As a closing statement the song showcases quite a bit of variety, then, alongside some strong melodies - and the album ends showing off the band in a big way. Whilst Wilderness of Mirrors may not be as immediate nor as joyous as Karma, I think that this latest effort from Myrath is similarly strong. It is an album that demands a bit more attention than the previous effort, but the soaring choruses and hooky motifs remain. The band's progressive flair has become more subtle over the years, but reintroducing it here in a bigger way is certainly welcome - and this album feels like a great mix of the band's older work and their more recent desire to showcase melodies in a bigger and more overt way.

The album was released on 27th March 2026 via earMusic. Below is the band's promotional video for Until the End.

Hellripper's 'Coronach' - Album Review

Despite having stepped away from metal for my last album review, as I have previously mentioned, 2026 so far has been somewhat heavier than average - and this blog has already covered a lot of metal this year. Whilst thrash has taken the spotlight, other forms of metal have also featured - and I am also aware of plenty more metal albums that are scheduled to drop over the coming months. Following a diversion into melodic rock territory last time, it is perhaps fitting that today we cover the heaviest, or at least rawest, album of the year so far. Despite making more of an effort a couple of years ago to cover more extreme metal, death and black metal are not often covered on this blog. I still occasionally tackle death metal, although my drive to cover such has certainly waned following a spurt in 2024, but I have generally never really been a fan of black metal. I have occasionally enjoyed specific albums by bands like Behemoth and Dimmu Borgir, particularly the latter, and I like bands that had a big influence on the genre like Venom and Mercyful Fate - but true black metal largely leaves me cold. Today's piece is a rarity, then, insofar as I am covering a black metal-adjacent band - but I am not sure that the Scottish one-man-band Hellripper would class themselves, or be classed by others, as true black metal. Instead of going for a true kvlt approach, Hellripper, which is essentially just the multi-instrumentalist and songwriter James McBain, go for something much more old-school in overall sound and approach. As such, Hellripper are usually described as being a blackened speed/thrash metal act - harking back to the likes of Venom's classic era and Slayer's debut album, whilst injecting plenty of Motörhead-esque energy and a lot of NWOBHM-esque tropes. As such, Hellripper join the long list of bands to play a somewhat more stripped back and less oppressive blend of black metal with more traditional heavy metal and punk influences - from 1990s stalwarts such as Deströyer 666 and Witchery to more recent exponents such as Midnight and Vreid. I first become aware of the band a few years ago, and reviewed their previous album, 2023's Warlocks Grim & Withered Hags (which can be read here), when it released. I had heard 2020's The Affair of the Poisons beforehand, but Warlocks Grim & Withered Hags was my first proper exposure to Hellripper - and I enjoyed it quite a bit at the time. I have not really revisited the band since, largely as black metal and its adjacent sounds are just not something that I often want to hear, but when I learnt that the band's fourth album was incoming I decided it was time to dip my toe back into all things black - and I pre-ordered Coronach, which dropped last month. The band's previous two albums, following their independently-released debut, were released through Peaceville Records - but Coronach has been released via Century Media Records, showing that Hellripper are moving up in the world. This is very much a major label release, then, despite Peaceville's strong reputation in the metal world, and it is always good to see young UK bands finding success. As has always been the case on the band's previous albums, Coronach is essentially the total creation of McBain. There are musicians that back him when Hellripper play live - but on the band's albums he is essentially responsible for everything. There are usually a few guests that help him out, though, and this album is no different - with Joseph Quinlan (Desert Heretic), who often plays live with the band, contributing to a couple of songs, among other guests. Given McBain's love of Scottish folklore as lyrical inspiration, it is unsurprising that guest folk instruments, in the form of violin and bagpipes, are utilised occasionally.

Warlocks Grim & Withered Hags felt like a step up from what came before in terms of complexity - and Coronach also feels like a similar upgrade, at least in terms of McBain's more progressive songwriting approach. The shorter songs that largely filled the band's early albums have been replaced with lengthier and more intricate compositions here - although with only eight songs and 44 minutes of music the album does not outstay its welcome. Kicking off with the powerful Hunderprest, a fast-paced and discordant riff, with chaotic drumming beneath it, opens the album - and the song is largely a fast-paced and thrashy track that channels the Hellripper core sound. McBain's vocals certainly channel plenty of black metal energy, with his throaty screams sounding primal, but he is perhaps more organic vocally than many black metal vocalists - and I do not find his vocals as grating as I often do in the genre. It helps, too, that McBain clearly has an ear for a strong melody. His take on black metal is very influenced by traditional metal, especially the NWOBHM, so it never feels like a hooky guitar lead or a more straightforward grooving section is too far away. Even some of the faster and more aggressive riffing here has more of a traditional approach - and this song features melodic guitar leads during the verses; a barked, punky chorus; a more intense instrumental mid-section with blast beats; and a back-and-forth guitar solo section which likely features McBain and Quinlan trading licks back and forth. Everything hangs together nicely, though, and a closing, more cinematic section with deeper vocals and more prominent synths shows some of the variety that this album has to offer. If anyone needed convincing of the NWOBHM's influence on Hellripper's music, then Kinchyle (Goatkraft and Granite) should leave them in no doubt. Whilst there are heavier moments here, including a pretty intense and noisy pre-chorus, the vast majority of the song is just a turbo-charged collection of NWOBHM riffs and attitude - with punky guitar leads and some snappy vocal lines. Despite his black metal edge, the vocal melodies here are fast-paced and traditional metal in their construction - whilst the chorus is filled with shouted gang vocals and some of the biggest hooks on the album. Discordant guitar chords often sit in the background to give the song an eerie feel, but the song's overall traditional metal base is evident from the off. The main riff has a real Diamond Head vibe, and the ever-present guitar leads bring the more melodic side of Angel Witch to mind. This sound has always been an influence on Hellripper, but this song perhaps showcases it the most to date - with the later harmony guitar soloing taken straight from Iron Maiden, whilst the occasional acoustic bridge sections showcase the more adventurous side of that time period. It is all wrapped up in a raw black metal cloak - but McBain is not really hiding his love of the 1980s too hard here. As if wanting to go for something more epic from the off, The Art of Resurrection opens with some haunting piano melodies which remind me a little of mid-period Opeth - before they started utilising keyboards in a big way and only included them occasionally. This intro is dense and melancholy, but the rest of the song is a bit more typical of the core Hellripper sound - albeit reined in somewhat. There is less of the pace of the opening two songs here, but there are still riffs which hark back to the 1980s - with NWOBHM grooves and some trilling guitar melodies forming a key riffy moment. The verses are a bit more discordant and stabbing, with a more intense beat, but the smoother chorus which follows makes use of keyboards in a more prominent manner again - alongside some more melodic guitar melodies beneath McBain's vocals.

Baobhan Sith (Waltz of the Damned) is one of the longer pieces here and it feels heavier compared to the previous song - opening with a riff that Trivium would likely be quite pleased with coming up with. Considering the black metal aesthetic of Hellripper, this opening riff is strangely un-spooky. The guitar's natural tone is largely allowed to shine through, and there is a bit of a metalcore vibe present briefly - before a thrashier pattern takes over and the core Hellripper vibe is re-established. A version of the opening riff does sit behind the verses, but by this point the coldness of the black metal aesthetic has returned - and there is a fitting raw buzz that sits above the fast-paced verses, whilst McBain delivers some machine gun vocal melodies. Unsurprisingly, given the song's length, there are a few twists and turns here. I really like the very brief acoustic interludes which sit between the verses and the chorus - and there are also other instrumental moments here which allow new riffs to surface and create strong grooves of their own. Some of these riffs mimic the overall vibe of the aforementioned Trivium-esque riff, which gives this song more of a technical feel overall, but there is enough of the band's core atmosphere to keep things on track in terms of a coherent sound. Perhaps unsurprisingly, Blakk Satanik Fvkkstorm returns to a more core blackened speed/thrash sound. It is the shortest song here, at just under four minutes - and it somewhat harks back to the band's earlier sound by going for a more intense black metal sound and pace. Thrashy riffing drives the song from the off, and there is an intenseness thanks to plenty of double bass drumming and buzzsaw guitar tones - but McBain's throaty vocals help to ground everything nicely. It helps, too, that the band's love of a big guitar melody remains here. Throughout the verses, screaming guitar leads are essentially ever-present. The guitar leads and soloing essentially never let up. This is the other song here, alongside the opening cut, to feature Quinlan - and it feels like him and McBain just let it all out here, throwing on guitar lead after guitar lead to make the snappy, thrashy song feel a bit more intense and fun. There is a big shredded solo later on to really capitalise on this approach - and the song is over quickly compared to many of the others here, but it remains satisfying. Sculptor's Cave follows in a somewhat similar vein, in so far as the song is quite fast-paced, but the somewhat more complex approach of much of the rest of the album is returned to. The opening guitar trills in the riff are instantly hooky, but the use of guitar leads is somewhat reduced overall here - with big riffing instead allowed to shine again. The main riff, like some of the others here, is allowed to shine a bit more thanks to a lack of that black metal buzz - even though it is present throughout much of the song. I like that the production allows for this more melodic and traditional approach at times - and it helps me to appreciate some of the riffing a bit more, as sometimes they can be a bit too buried under fuzz for my taste. Like many of the songs on this album, though, there is quite a bit of variety here. Not all of the songs here are long, but even many of the shorter ones seem to move through quite a few different vibes as things progress. There is a much slower and groovier bridge section during this song, which allows some slab-like riffing to shine - whilst there are also a few moments that strip the guitars away and allow the bass some brief time in the spotlight. There is another shredded guitar solo, too, just to balance out the relative lack of leads this time.

Mortercheyn opens slowly, with some distant guitar melodies fading in - but this slow-burning intro is pretty short lived. It would have been interesting to see the band go down a murkier route here, and deliver something almost ballad-like and haunting - but after a few seconds of the quieter guitar approach the band crash in proper and the song turns into another fast track. Parts of the this song may be the album's fastest moments, with McBain really pushing himself vocally and going for a real throat-shredding and high-octane approach, whereas other sections see Judas Priest-esque duelling guitar melodies break through the rawness to spread some brief moments of melodic cheer. This is balanced out by some discordant overtones during parts of the song. These sections really help the more melodic moments to shine - and there are also some strange sections later on where the volume drops quite considerably and some riffing is allowed to meander away briefly before the band crash back in. This happens a handful of times later on the piece, and it precedes a section which slows the pace overall to more of a strutting mid-pace - and the song is from this point on packed with groove and bluesy guitar melodies. The song is a bit chaotically structured, then, but I feel that everything just about hangs together - even if some of the transitions can be a bit jarring. The album then comes to a close with its title track - which is the longest song here at just under nine minutes long. It opens with McBain singing in a cleaner manner than usual. This is one of those moments that Hellripper occasionally do which feels somewhat folkier than the norm - with McBain's booming, cleaner vocals reminding me somewhat of the serious end of the European folk metal scene. The instrumentation behind these vocals is somewhat heavy, but there is a plaintive feel - which largely carries on throughout the whole song, even when it gets going proper. Much of the song is sung by McBain in his typical black metal-esque approach - but the cleaner vocals do resurface occasionally, especially during a chorus-like section which rears its head from time to time, and there are also sections which see him employing a much deeper death metal-esque growl. As such, there is quite a bit of vocal variety in the song, which works well given its overall length, and there is also variety throughout musically. There are quite a few mid-paced sections, which maintain that plaintive approach from the song's opening, but then there are grinding death metal sections - alongside more up-tempo sections which again recall the NWOBHM. The song's main solo sits on top of one of these somewhat galloping sections - and it feels exciting as a result. To build on this, later in the song another Iron Maiden-esque twin guitar lead is utilised and occasionally returned to - meaning that big chunks of this song are packed with old-school melody. The second half of the song really is guitar-fest, then, with soloing and harmony guitar sections coming thick and fast - and McBain really just went all out here, throwing riffs and leads at the song endlessly. The melodies act nicely as a hook, though, and this section is very memorable as a result. This lengthy and busy song, with plenty of twists and turns and big guitar moments, does really end the album on a high. There is a lot to like here, even for someone like me who struggles with black metal. There is enough black metal to give the album an edge, but overall the songwriting is generally rooted in thrash and traditional metal - with plenty of big guitar moments and shout-along choruses to draw me in. Hellripper continue to impress, then, and Coronach sees them pushing themselves further than before.

The album was released on 27th March 2026 via Century Media Records. Below is the band's promotional video for Kinchyle (Goatkraft and Granite).

Tyketto - London Review

After spending the Easter long weekend gigging closer to home, and the following one at home with no travel plans, it felt good to get away to London again yesterday. Whilst I have a few gigs planned elsewhere, this year seems more London-centric than ever. I usually go to London quite a few times each year, but the vast majority of my plans this year fall in the city - and before April is out I will go twice more. It is nice to spread things around, and visit lots of different places, but London is so big which means there is always something to do - and I spent much of yesterday afternoon walking around Islington and Finsbury Park before having a couple of hours rest in the hotel, including a nap and a shower, before heading out for the evening. The reason for the trip out was to catch the American melodic hard rockers Tyketto on their latest UK tour. Despite Tyketto being a US band, most of their touring activity these days takes place in Europe - with the UK seeing much of it. The band, for some reason, seemed to take hold here in a bigger way than anywhere else - and I have managed to see them live quite a few times over the years since I first saw them in Wolverhampton back in 2014. With three of the current line-up of the band originally from the UK, and frontman Danny Vaughn, the only original member left, now living in Spain, it seems fitting that Tyketto focus so much of their time on Europe - and those efforts seem to be paying off. Tyketto have never been a big band, but their 1991 debut album Don't Come Easy did attract some positive attention when it dropped - and a couple of the album's singles became minor hits. Since then, though, Tyketto have essentially operated on a small scale - and spent much of time on hiatus or only undertaking occasional, small-scale tours. Over the past few years, though, that seems to have changed. Perhaps the decision of both founding drummer Michael Clayton and long-time guitarist Chris Green to step back from the band a few years ago, and the need to put a new line-up together, actually worked in Vaughn's favour. He was able to bring in people who were perhaps more keen to get on the road more regularly - and Thunder's inactivity due to Danny Bowes' health also meant that Chris Childs (bass guitar/vocals) could return to the line-up. Since launching the new Tyketto line-up in 2023, then, the band have been busier than has been typical for them - playing quite a few UK shows, branching out further afield, and also recording their first album for 10 years. Closer to the Sun (which I reviewed here) dropped last month and, like all of the band's previous albums before it, it is already becoming a bit of a favourite. Vaughn has largely managed to keep the trademark Tyketto sound intact despite him being the only original member left - and live the current line-up are a force to be reckoned with. I will always see Tyketto when they tour should I be able to go - so it was with excitement yesterday that I headed up to London to catch the band on their launch tour for the new album. The show took place at 229 - which is on Great Portland Street, just outside of the tube station of the same name. It is quite well-hidden, as it seems to be in the basement of what seems to be student accommodation, but it is somewhere that I have enjoyed going to before. Yesterday was only my third visit to the venue, and I would actually like it if more bands played there - as the high stage means that views are great throughout the room and the sound has been very clear every time that I have been.

Tyketto tend to attract decent crowds in London, and yesterday was no exception. The first band on the bill, though, came on not long after the doors opened - so they started their set to a fairly empty room, but during their 30 or so minutes on stage the place filled up. Opening the night were Collateral, a young UK melodic rock act that have been making a bit of a name for themselves over the past few years. They now have two albums to their name, both of which I have reviewed on this blog, and they have toured with an impressive list of other bands. I previously saw them opening for both Reckless Love and H.E.A.T, both back in 2022, so I was looking forward to seeing them live again given that it had been quite a while since I last saw them. Despite crowd looking a bit thin on the ground at first, it was clear that everyone who had turned up early had done so to ensure that they caught Collateral's set - as everyone around me down near the front seemed to be fans. There was plenty of singing from the off, then, with a big cheer erupting when frontman Angelo Tristan took to the stage - as the rest of the band had already erupted into the opening riff of No Place for Love. Despite only having time for six songs, the band made their time count - and really fed off the crowd's early energy. Usually when the first band on tries to get the crowd to sing they fail miserably, but this was not the case for Collateral - as both No Place for Love and Glass Sky were stretched out to include audience participation during the choruses, which were impressively loud given the relatively few in attendance so early. The band have slimmed down since I last saw them, with Louis Malagodi (guitar/vocals) now the sole guitarist - whilst drummer Charlie Southard is also a fairly new recruit. Losing a guitarist did not seem to make a huge difference to the live sound, though, with Malagodi impressing throughout with lots of excellent soloing. Tristan still added acoustic guitar when needed, too, with the summery Midnight Queen feeling bigger thanks to the organic acoustic guitar backing - whilst the soaring ballad On the Long Road was an overall set highlight. It largely started out with just Tristan and his guitar, but the song grew as it went along - culminating in one of the most emotive choruses of the night and a soaring solo from Malagodi. Southard and Jack Bentley-Smith (bass guitar/vocals) formed a tight rhythm section throughout, perhaps compensating for the lack of the second guitar - but, in truth, Collateral's melodic rock sound was never the heaviest, so perhaps only having one guitar actually works in their favour. It is a shame that they only had time for six songs, as I have never been able to see the band play for longer than around half an hour before - but with Merry Go Round and Mr Big Shot rounding out a powerful and anthemic set, those who turned up early certainly had a great time. The setlist was:

No Place for Love

Glass Sky

Midnight Queen

On the Long Road

Merry Go Round

Mr Big Shot

The main special guests, Warrior Soul, were very different entirely. I knew very little about the New York-based rockers before last night, apart from the fact they were another band that was originally operating during the early 1990s, but I was not prepared for how strange they were going to be. I assumed that they would be a tougher sounding 1990s hard rock act, perhaps with a touch of grunge, which I suppose they are, but there was a raw, almost industrial feel to some of their work - which was all underpinned by the really caustic voice of frontman Kory Clarke. Clarke is the only original member of the band left, and Warrior Soul seems to have gone through a huge amount of members over the years, but he was immediately captivating - from swaggering onto the stage in his sparkly jacket, shades, and clutching a large bottle of what looked like whiskey; to his uncompromising vocal style and stage presence. I cannot really think of anyone to compare him too vocally. Having now listened to a couple of the band's old singles online, it seems that he has always had essentially the voice that he does now. I wondered if he had just really suffered over the years in terms of blowing his voice out - but it seems that he has essentially sounded like that from the off. Rough does not really cover it, but after a while his aggression and overall tone started to make sense - and the band's grinding riffing and occasional bluesy solos worked well alongside him. Perhaps the best way to describe the band's sound is to imagine Sonic Temple-era The Cult turning up to the studio - only to find all their equipment damaged and their producer pushing them towards a more extreme metal direction, all whilst Ian Astbury has the nastiest cold imaginable. Given the feelgood vibes of Collateral before them, and Tyketto to follow, Warrior Soul really stood out - and sounded much heavier and more aggressive than anything else being played. Tyketto last toured the UK with a grittier hard rock band in Little Caesar, but that pairing worked quite well due to Little Caesar's approach to melody. Warrior Soul sounded like Napalm Death by comparison - and their 45 minutes on stage was roaring chaos amid the relatively calm of the melodic rock sandwich. Despite all this, I found myself largely enjoying Warrior Soul's set - and I was certainly captivated. Clarke is one of those frontmen that you can barely take your eyes off, partly as he looks he could keel over at any moment, but he is clearly someone with years in the tank - with his banter and overall vibe that of a true rockstar. Whether or not Warrior Soul will ever be a band that I 'get' remains to be seen - but I am glad that I finally got to learn more about this unique band, and their set was certainly extremely memorable.

Despite one very good support act, and one certainly memorable one, it was Tyketto that everyone was in attendance to see - and around half an hour following Warrior Soul's set coming to an end, the lights went down and Tyketto took to the stage. Over the next 90-plus minutes, the band delivered a strong 16-song set, which covered plenty of favourites whilst also delivering a few choice cuts from the new album. I had expected the band to kick off with something new, but following the intro tape fading out Harry Scott Elliott (guitar) started the familiar riff of the old favourite Rescue Me - and Vaughn bounded onto the stage with his usual infectious energy and started belting out the classic number with his ageless voice. Vaughn still pretty much sounds the same as he did in the 1980s when he started his career proper with Waysted - and he has clearly looked after himself over the years. There was not a moment during the set which was vocally weak - and the band were extremely tight as ever, rocking from the off. In the end, five songs from the new album were played - but the band chose not to throw them in right away. As if to ease in the casuals, the set opened with three big favourites - as both Wings and Burning Down Inside followed Rescue Me. The large crowd did not need much encouragement to get involved - but the choruses of both the Don't Come Easy cuts were sang loudly by the crowd. The live sound mix was also great, with the backing vocals nice and audible throughout - whilst Ged Rylands' (guitar/keyboards/vocals) keyboards were also high in the mix. His role in the band has expanded in recent years, with him adding extra guitar to some of the heavier songs - but he played much more keyboard last night, with the big intro to Burning Down Inside really standing out. He also added plenty of Hammond organ to the bluesy Higher Than High - the first new song played. The riffy number hit nicely after the melodic rock classics which started the set - and Vaughn also got to play around with his harmonica during the bluesy track. From this point on, classics and new cuts came fairly evenly. Despite the focus perhaps being on the new album, the band still included a handful of songs from their last album - with the title track Reach and the more ballad-esque Circle the Wagons particularly hitting the spot. Both of these songs, but particularly Reach, have become real live favourites in the 10 years since the last album dropped - and for a band with a relatively small catalogue it is important that newer songs stay in the setlist, so as to ensure some variety going forward. Some of the brand new songs are likely to become favourites, though. We Rise is certain to remain a staple going forward thanks to its anthemic chorus - but the cinematic, acoustic-filled Closer to the Sun also has the potential to find a home in future setlists due to its melodic nature. I personally would not have included the band's cover of Roxette's Harleys & Indians (Riders in the Sky) in the live set, but Vaughn was clearly having a lot of fun with it - and it came following an organic rendition of the older favourite Seasons which turned the clock back somewhat after a portion of the set which focused on the last two albums. One more new number, the piano-driven The Brave, later closed out the main set - but the soaring ballad Standing Alone sounded as good as ever before that, whilst the sleazy, hard rocking Lay Your Body Down was stretched out to include soloing from Childs and plenty of crowd interaction. By the the time the band left the stage after The Brave there was not much time left before the curfew - but they did not leave the crowd waiting for long, and were soon back and powering through the perennial favourite Forever Young to round out what had been another excellent set. The setlist was:

Rescue Me

Wings

Burning Down Inside

Higher Than High

Strength in Numbers

Reach

Closer to the Sun

The Run

We Rise

Circle the Wagons

Everybody Wants to Rule the World [Tears for Fears cover]/Seasons

Harleys & Indians (Riders in the Sky) [Roxette cover]

Standing Alone

Lay Your Body Down

The Brave

-

Forever Young

Tyketto do not disappoint live, and they certainly did not start doing so last night. Their set in London at the 229 was as good as ever, and it was good to hear a revamped set with plenty of new material and a remaining helping of the old favourites. A healthy crowd was gathered, too, and it is good that Tyketto seem to continue to find success so long after their classic albums - and, if anything, they seem bigger now than they have done for quite some time.

Chez Kane's 'Reckless' - Album Review

After covering quite a bit of metal so far this year, with the thrash genre in particular having a rather fruitful start to 2026, it is nice, today, to turn our attention to something a bit more light-hearted, poppy, and anthemic. It seems a while since I reviewed an out-and-out AOR band on this blog, as Tyketto have always been too riffy and heavy-hitting to truly be such in my view, but Reckless, the third solo album from Welsh singer-songwriter Chez Kane, certainly fits the bill. There is a link to Tyketto here funnily enough, as I first came across Kane in the band Kane'd, which she formed with her two sisters, back in 2019 when they opened for Tyketto in Nottingham. Kane'd do not seem to be a thing anymore, and over the past few years Kane has been operating on her own - launching a solo career back in 2021 with her strong self-titled debut album (which I reviewed here). The summery album, which dropped in April 2021, came out just as things were looking up somewhat during the COVID-19 era. I went to my first gig since early 2020 only a month or so later - so Chez Kane is one of those albums I remember as being part of that cautious optimism. Whilst Frontiers Records has been known to release a lot of second and third-rate AOR over the years, Chez Kane immediately felt like a strong effort. It unashamedly went for a 1980s AOR sound, tinged with a little hair metal, and ran with it - not watering anything down in the process. As if to capitalise on the initial success of her first album, Kane followed things up the following year with Powerzone (which I reviewed here). Whilst I did not feel that Powerzone was as good as her debut, there was still a lot to like about Kane's second album - and it was another that got quite a few plays. Her albums came out quite close together, which makes me wonder if at least one of them was something of a pandemic project, but either way Kane was starting to build a reputation as a great AOR singer. As has often been typical of Frontiers' releases, though, Kane's albums were essentially put together for her - with Crazy Lixx's main man Danny Rexon writing all of the songs for, playing most of the instruments on, and producing both albums. I always found it strange that Kane did not contribute creatively to her own albums, but the partnership seemed to work - and the results were strong. With two albums now behind her, Kane has spent much of the past few years slowly building her reputation as a live act - which has taken her to a few countries and up and down the UK a few times. I caught her live last year opening for H.E.A.T, and she really impressed live. The songs came across really well on stage - and it was great to revisit both albums after they had been on the shelf for a while. I will be seeing her again, this time as a headline act, next month - and the reason for such is Reckless, which dropped last month. As if not to tinker with a winning formula, Rexon is still largely responsible for everything here - but there are a couple of changes. Kane has, this time, been involved in the songwriting, co-writing four of the songs with Rexon, and Andreas Eriksson (Crazy Lixx; Inglorious) lent his guitar talents to some of the songs - allowing for some more high-octane guitar leads and solos. As such, this album feels a bit more up-tempo and harder-hitting than Kane's previous two albums. Her trademark AOR sound is still very much present, with poppy choruses and sparkling 1980s synths aplenty, but the hair metal side of her sound is perhaps more noticeable this time - with riffier songs and a bit more punch. The album is shorter, too, which only allows this punchier approach to be more noticeable - and this punch has come with a much more risqué feel, both lyrically and image-wise.

All of the pictures of Kane in the CD's booklet find her wearing very little - whilst the lyrics have moved away from themes of love and a few innuendos and towards David Coverdale telling us that he is going to slide it in. This might be a bit much for some but, to paraphrase Spinal Tap, there is nothing wrong with being sexy - with the music, lyrics, and overall image all coming together to create a strong album that feels more intense than her previous work. The album kicks off with its title track - with a staccato drum groove opening things up, over which a pretty simple power chord and synth riff is laid. The guitar tone and the chord progression are very 1980s-coded, though, and Kane's core sound is established from the off. As if to build on the sounds of the era being evoked, backing vocals are often used in a call-and-response manner throughout the verses - whilst the hard-hitting opening riff and some occasional screaming guitar leads add colour. Kane herself sounds as good as ever vocally. She has a powerful voice, but there is a bluesy edge to it which gives her an organic feel - which gives her albums character. The synths and gated drums are grounded by Kane's vocal performances - but she still nails all the trademark vocal melodies of the era. The chorus here is a real sing-a-long moment as a result, with those big backing vocals returning to create some soaring harmonies, whilst a saxophone solo is later used to add some more bluesy and soulful vibes to the piece. A screaming guitar solo would be more expected, but the saxophone works well - and there is a sultriness to the song as a result. Personal Rock n' Roll ups the pace. The opening title track is very much a mid-paced and anthemic piece, but this second cut is much more energetic and overtly hard rocking. The main guitar riffing here feels a bit crunchier - whilst the rhythm section picks up the pace with some hard-hitting drumming. Synth stabs are used as accents during the verses, which is a classic 1980s AOR trick, and the pulsing keyboards tend to act as full stops after each lyric line - with their bright melodies contrasting nicely with Kane's somewhat more urgent vocal delivery. Due to the pace, the song's chorus is not as overtly anthemic as many of the others here - but there is something pleasing about its harder rocking edge, and Kane still lays down some strong hooks. Eriksson's first solo is here, too, and his shredded guitar playing further elevates the harder rocking song. Night of Passion returns to a more mid-paced sound, with pulsing synthy basslines and gated drums perfectly creating a melodic rock base for Kane's higher-pitched vocal delivery - whilst Rexon lays down some shredded guitar melodies of his own early on. There is much less guitar riffing here, though, with the guitars generally in the background unless they are delivering leads. The pulse of the rhythm section is the main driving force this time, but the synths also do a lot of heavy lifting - with the accent-like approach of the previous song built upon with plenty of AOR-esque keyboard stabs and melodies throughout both the verses and the chorus. The latter returns to a more anthemic feel, with call-and-response backing vocals giving it a massive sound - whilst a Steve Porcaro-esque synth solo and another surprise saxophone solo lead to a rather yacht rock-esque instrumental mid-section.

Strip Me Down returns to a much more typical harder rock sound, with chugging guitar rhythms kicking in from the off - whilst Night Ranger-esque keyboard stabs provide a main musical hook early on. Screeching guitar leads are thrown in here and there, too, to aid that harder rocker sound - but much of the heavy lifting here is done by some powerful drumming and some of Kane's sleaziest vocals on the album. She sings the song in a grittier manner than is typical of her smooth and AOR-esque approach - but a rougher edge of her voice is on show here and it works well given the chugging guitar riffing and occasional bluesy leads. Some moments of cowbell-led drumming in the lead up to each chorus create a strong percussive feel at times - before each chorus rendition then explodes with faster vocal melodies, huge vocal harmonies, and a great sleazy vibe. Another busy guitar solo later adds to the sleazy feel - with the song being a real highlight overall. Tongue of Love somewhat returns to the vibes of Night of Passion, insofar as it feels very keyboard driven. There are guitars in the background, and they play a very typical slow-burning AOR chord progression that allows for booming drums behind it alongside a stab of synths with each chord change. Variations of this song have been released by essentially every AOR act going at this point, but the chord progression works for a reason - and it allows for strident verses and a much more powerful chorus which sees the song ramp up with bigger keyboards and plentiful vocal harmonies. The more deliberate mid-paced feel allows for a sultry vibe to really settle in, whilst funkier bass lines are occasionally given prominence to further an over all 1980s feel - alongside yet another big guitar solo from Eriksson. Love Tornado opens with a building drum beat, over which a shredded guitar motif is soon overlaid. The opening vocal lines, though, are just sung against the maintained drum groove, despite some synths in the background, but the guitars and bass soon join in - and the verses from this point on are snappy. The main guitar riff in the background of the verses has a strong hair metal feel - and this song overall feels a bit spikier than some of the others. Guitar-wise, it is one of the busiest songs on the album. The hair metal riffing is essentially ever-present throughout, whilst Eriksson's guitar leads are utilised liberally. The opening shredded motif returns a few times in slightly different guises - whilst occasional one-off leads are thrown in elsewhere in the absence of a big synth presence this time. There are a couple of big guitar solos, too, and the song is a much more high-octane affair with great guitar playing and another strong chorus. Bad Girl is somewhat similar, with a much more driving guitar presence from the off - although the synths also return in a more prominent fashion. The main guitar riff is nicely accented with some synth stabs in a pleasing manner - whilst as the song progresses the keyboards grow in stature, especially as the chorus is approached. Vocal-wise, the song is perhaps a bit less interesting than some of the others, though. The verses are fine, with smooth melodies that work nicely against the slightly crunchier guitar tones - but the chorus is quite repetitive. It feels like Rexon ran out of lyric ideas here somewhat - and the overall melodies are less hooky, too. It is not a bad song overall, but it is certainly one of the weaker moments on the album.

Street Survivor has a somewhat more organic feel guitar-wise - with slightly bluesier overtones in some of the riffing, despite the presence of plenty of sparkling synths. The main riff sounds like it could have come from a Brian Howe-era Bad Company album, with its mix of bluesy feel and 1980s sheen. It just has a much more 1970s-esque riffing pattern overall, which harks back to bands like Bad Company, but it is paired with the synths and gated drums of the 1980s. As is often the case, too, the guitars are not that prominent during the verses, with the bass and synths doing much of the heavy lifting whilst that big gated snare sound booms out of the speakers. The chorus feels bigger, with layers of Def Leppard-esque harmony vocals and more of a guitar presence - and the chorus also retains the smoothness of the rest of the song, which is a bit different to many of the other tracks here which see the chorus go big and bold. The approach works well, though, and the song is a late album highlight in my opinion. Too Dangerous ups the pace again, and the song is one of the more energetic pieces here. A shortened version of the chorus kicks things off, before Rexon plays some of the main vocal melodies that raise their heads later on the guitar. This lengthy guitar intro is quite different to anything else on the album, as he essentially goes through the whole chorus instrumentally before the first verse kicks in - but the approach works quite well. Given the song's slightly pacier feel, this is another one that sees Kane sing in a slightly grittier manner. She does not deploy that side of her voice too often, but it is effective when she does - and the chorus here feels a little heavier than it would do otherwise. Kane is no Bonnie Tyler, but there is certainly more grit here than there usually is - and when she pairs it with some higher-pitched vocals the chorus shines quite a bit. This is one of the few songs here which Eriksson does not play on, and Rexon shows instead that he is a capable guitarist. His solo is melodic, but it is not as furious as Eriksson's efforts - and given the song's energy perhaps something faster-paced would have worked a little better. Given the melodic guitar opening, though, this solo still works nicely. The album then comes to a close with another hard rocking track in Bodyrock - a snappy, guitar-driven piece with some of the album's most overt and in-your-face synth stabs. Those who dislike big 1980s keyboards will struggle with this one, but that sound generally works for me - and the chorus here is one of the hookiest on the album for me thanks to a combination of the huge synths and more big vocal harmonies. By this point on the album, the core sound is very much apparent and there is nothing in the closing number that does anything different - but the crunch of the guitars and the parp of the keyboards are very pleasing for an AOR lover; plus there is plenty of energy that is whipped up here thanks to driving drums and an urgent vocal. The song ends the album on a high - but in truth there is little here that lets the side down. Even the weaker moments are still enjoyable enough - and nothing here is long enough to outstay its welcome. Both of Kane's previous albums were very good, but they were longer than this one and both featured a few songs which I was less keen on. There is only one here that I would say is obviously weaker than the rest - and the shorter overall length just makes this a much more digestible album. The songs are easy to sing along with and the guitar work feels better this time around - and Kane has certainly furthered her cause of being of the 21st Century's strongest melodic rock acts with Reckless.

The album was released on 27th March 2026 via Frontiers Records. Below is Kane's promotional video for Reckless.

Black Label Society's 'Engines of Demolition' - Album Review

There are not enough hours in the day to listen to every band, but even with that in mind I am quite surprised that I never gave much attention to the California-based heavy metal four-piece Black Label Society. I remember listening to a compilation of theirs many, many years ago, which also included songs from one of bandleader Zakk Wylde's solo albums and his southern rock band Pride & Glory, but it clearly did not stick - and I lasted barely a song during their set at one of the Bloodstock Open Airs that I attended. I think that the main reason for me largely ignoring the band for many years is that, for quite a while, I was not that much of a fan of Wylde. I always appreciated his raw talent as a guitar player, but as a songwriter he left me cold. In my opinion, with the exception of 1991's No More Tears, his work with Ozzy Osbourne marks the point at which I start to loose interest in the latter's solo career. Osbourne's first four solo albums are all excellent, but things started getting less interesting for me with 1988's No Rest for the Wicked - Wylde's first album with Osbourne. No More Tears is the exception, and even that cannot really hold a candle to Osbourne's early work, but the albums which followed were all pretty dull - and seemed over-calculated to appeal to the booming American radio rock/metal market at the time, as basically every single Ozzfest line-up can attest. In fairness to Wylde, this was likely not always down to him. He was not always involved in the songwriting - and the Osbourne brand became a corporate juggernaut around this point, so creativity was always likely to come second to making money. Nevertheless, working with Osbourne made Wylde a superstar - and the 2002's Live at Budokan certainly helped me to warm to him a bit more in recent years. Strangely enough, though, it was seeing Wylde live with the reunited Pantera last that made me really appreciate him as a guitarist. The late Dimebag Darrell was certainly a unique player, but Wylde was able to play those songs with ease - whilst injecting some of his southern rock grit into the band's set. In an effort to check out some bands that I have long ignored, then, I felt that it was time that I gave Wylde's own Black Label Society a go. Clearly something about southern-sounding 1990s/2000s US metal bands is speaking to me at the moment, as I will also be reviewing the new Corrosion of Conformity album in due course, Black Label Society is likely one of the poster children for such a sound. The band has always been Wylde's main creative outlet, and he has been the driving force since the off. In reality, the band is his solo project - but it has always been present as a band. It does seem to be more of a true band now than it was in the early days, but even so Wylde is still the focus of everything that goes on. With a new album coming, I thought that it would be my jumping off point, but I did check out the Pride & Glory album and the band's own 1998 debut album Sonic Brew in the lead-up to the new album's release. I cannot say that I loved either, but since the new album Engines of Demolition dropped last month I have been enjoying it somewhat more. Black Label Society will never be a favourite of mine, but there is a place for southern-sounding and not all that complex metal from time to time - and this latest album feels crunchier than the swampier, bluesier debut. Engines of Demolition is the band's twelfth studio album overall - and their first since Doom Crew Inc. from 2021. Whilst it is the band's fourth album since the current line-up came together in 2014, it is only the second to credit guitarist Dario Lorina as performing alongside Wylde - with long-time bassist John DeServio and drummer for the past decade or so Jeff Fabb rounding out the line-up.

Sound-wise, Engines of Demolition is pretty typical of Black Label Society's core approach. Most of the songs here are driving, mid-paced metal anthems with blues and southern rock overtones - whilst occasional songs up the pace and heaviness, with others utilising keyboards, also from Wylde, and going down a more ballad-esque route. There are 13 songs here, but with a runtime of just over 50 minutes none of them are really all that long. The opening number, Name in Blood, is perhaps not the blistering album opener one might expect. It opens with a juddering clean guitar riff, which reminds me a little of the slow manner in which AC/DC occasionally start their songs, with Wylde soon adding some distant, slow-moving vocals as some heavy guitar feedback distorts everything. It is a bit of a strange opening, but soon a more typical slab-like riff takes over - which forms the basis of the song's verses. Fabb's 4/4 beat underneath this riff ensures the simplicity of the song remains - whilst Wylde's semi-howled vocals, which have always reminded me somewhat of Osbourne, sound much as they ever have. He will never be a favourite singer of mine, but his voice fits the music - and he is able to come up with decent hooks, as the somewhat more melodic chorus, backed by some clean guitar arpeggios, shows. There are plenty of guitar solos on this album, but the solo section here is particularly lengthy - and seems to feature both Wylde and Lorina, as two distinct guitar tones can be heard and parts of the solo seemed to be played in unison. Gatherer of Souls is perhaps more what one would expect from a Black Label Society song, with the band channelling their obvious Black Sabbath influence from the off. The main riff, which picks up the pace somewhat compared to the last song, is very Sabbath-esque in tone, despite the faster pace, whilst Wylde sounds even more like Osbourne than usual during the verses - even utilising Osbourne's classic 'alright now!' at times. The main riff is later utilised during the chorus, which sees subtle vocal harmonies creating a little bit of an Alice in Chains vibe - whilst the verses are much more foot-stomping overall thanks to a simple chug and a hard-hitting drum beat. Black Label Society have never been an inventive band, but songs like this scratch a certain itch - with the big riffs often pleasing. The Hand of Tomorrow's Grave slows the pace down somewhat, going for a much doomier and heavier feel overall. The Sabbath vibes are still very much present, with a stoner/blues vibe coming from the main riff - which snakes its way through much of the song whilst DeServio's bass rumbles along in the background creating a heavy vibe. The doomy vibe serves the song well, though, and there is a real 1970s feel during the smoky verses - before bigger vocal harmonies and more weight gives the chorus a more metallic kick. This pace often brings the best out of Wylde's drawling voice, too, and this vibe is a bit part of the band's core sound. Better Days & Wiser Times is the album's first ballad - opening with acoustic guitar chords, a subtle piano backing, and some wordless vocal harmonies. These bluesy, southern-sounding ballads, with an occasional country twang, are regular features of the band's canon - and this song provides a nice change of pace early on. The verses are largely piano-led, showcasing that Wylde is proficient on the piano as well as the guitar, whilst a sombre groove is laid back by the rhythm section. The later certainly has a modern Lynyrd Skynyrd vibe thanks to some big vocal harmonies and Wylde's distinct drawl - whilst occasional slide guitar swells are used sparingly to add an atmospheric depth. A lengthy, and emotive, guitar solo is thrown in later on, too, and the song ticks a lot of strong ballad boxes.

Broken and Blind opens with some percussive drumming - over which some bluesy picked guitar lines and backing chords start to ramp things up, before the main riff kicks in proper. After the previous ballad, this song is very much back to business as usual for the band - with the powerful main riff returning once again to Sabbath territory, whilst the verses are much more overtly chugging and metallic thanks to some stop-start patterns and some tight drumming. The chorus is hooky, re-using the opening riff, with Wylde yelling the chorus with all of his power - whilst a later shredded solo is full of all of Wylde's classic bluesy touches. It is a pleasing and hooky song overall, which gets in and gets out quickly whilst impressing. The Gallows opens with a bluesier riff which has some effects on it to make it feel quite distant - over which Wylde sings in a similarly-distant manner. The song continues in this vein for a little while, but when the drums kick in the distance retreats and the band's usual power is more on show. Thumping drumming and Wylde's laid back, yet heavy, riffing drives the song from this point on - and there is little to shake up the formula. There is not really a proper chorus here, with the song being more of a riffy piece - although there is a somewhat more percussive instrumental breakdown later on with some prominent cowbell usage, before a quite lengthy guitar solo takes over. Following the riffy previous song, Above & Below is a bit more typical arrangement-wise. Opening with another slab-like riff, the song moves along at a creeping mid-pace, over which Wylde sings in his trademark manner. The verses are quite slow-burning, then, with subtle vocal harmonies utilised occasionally to create points of difference. This song does take a few twists and turns, though, with the choruses taking a much slower route - with clean guitars and strings backing Wylde for a few bars. The arrangement is a bit more dynamic overall than is typical, then, and the second chorus really sets up the lengthy guitar solo section nicely. Back to Me is the next ballad-like piece here, with acoustic guitar chords setting things up early on - before hollow drumming and a simple, bluesy guitar lead create a mournful intro. Unlike the last ballad which felt more piano-led, this one has driving acoustic guitar chords and bluesy guitar leads - although some piano is mixed into the background for depth. Vocally, Wylde sings the verses in quite a quiet manner, which lacks his usual power and tone, but he ramps things up for the chorus - which features a bigger overall sound, with more guitars, and some subtle vocal harmonies. It is quite a delicate song in the context of Black Label Society's core sound, then, and it feels raw in the sense that Wylde is somewhat laying it all out vocally and emotionally here - which is only enhanced by the relatively simple guitar melodies. Lord Humungus returns to a more up-tempo hard rock sound. Whilst Black Label Society rarely speed things up significantly, there are moments which feel a bit more pacey - and this song is one of those moments. It is certainly no thrasher, but the main riff's crunch has more energy to it than is sometimes the case - and the pulsing bass playing from DeServio really drives everything alongside Fabb's simple drum groove. Outside of the main driving riff, the song is largely sung all the way throughout - and Wylde sounds quite urgent and powerful throughout. A shredded guitar solo, which is also quite fast-paced and may also feature both guitarists trading off, only keeps the song's pace feeling weighty and up-tempo, too, with the song overall being a bit of a highlight.

Pedal to the Floor, despite its title, is not really a fast-paced rocker - with the band's core mid-paced sound largely stuck to. It is less doomy than some, though, and the crunch and chug of the main riffing does whip up something of an energy. If anything here does feel up-tempo, though, the raw chorus has a slightly sleazy side to it that is a little different from the norm. The vocal melodies are quite 1980s-inspired, and the vocal harmonies are used a bit more liberally than usual - giving the chorus a big sound. As such, the chorus is one of the hookiest on the album - and the chugging riffs throughout give the song a very immediate feel. I found that some of these songs have taken a few listens to fully appreciate, despite the band's simple core sound, but this one hits hard from the off. Broken Pieces is the shortest song here, at just under three minutes long, so I would have expected something faster and to the point. The song, though, is pretty typical of the band's core sound - and instead is quite bluesy and the stoner side of the band's sound is on show here. Clean guitar melodies are present throughout, adding a psychedelic depth, whilst there is still plenty of crunch thanks to the rhythm guitars - even if the edges have been rounded off the heaviness somewhat. The approach works quite well, though, and a bluesy guitar solo is used later on to further this overall feeling. Songs like this are usually longer, so it does seem strange when it ends so soon. The Stranger is a bit more what I expected from the previous song, and it is easily the fastest and most headbang-worthy piece here. The opening guitar riff, which plays unaccompanied, sets the tone, and once the drums kick in the band steam ahead at a pace which is certainly at the top end of their usual approach. There is plenty of energy whipped up here as a result, with fast-paced verses and a somewhat more mid-paced chorus bringing things down a little to allow for some hooky melodies. The song is quite catchy as a result, then, and it features some of Fabb's busiest drumming on the album - allowing him to add some more complex fills away from the typical pounding approach taken elsewhere. Bluesy guitar melodies are thrown into the riffs sometimes for additional interest - whilst the guitar soloing here is one of the album's most high-octane moments. The album then comes to a close with Ozzy's Song - Wylde's tribute to the late Osbourne. Unsurprisingly, it is another ballad - which opens with delicate piano lines and some wordless vocal melodies. Acoustic guitar sits in the background, adding depth, but overall this is largely a piano ballad - with Wylde singing in a heartfelt manner against this melodic, yet sombre, backing. The first verse and chorus are essentially just Wylde, then, but the rhythm section do join in during the second verse - although their presence does not alter the song that significantly, as the overall tone remains. Wylde's later guitar solo is largely played unaccompanied, too, with just an acoustic guitar backing until a busy shredded run reintroduces the band. Overall, then, the arrangement is quite sparse, but the song feels suitably heartfelt in my opinion - as Wylde pays tribute to the man who essentially gave him a career all those years ago. Overall, this being my first true Black Label Society experience, I have enjoyed my time with Wylde and his band. None of the songs here outstay their welcome, and the band's core sound is pleasing and familiar - despite my lack of experience with their catalogue. I certainly would like to hear some more of their past work - although this is the sort of music that I do not need to listen to all that often, so the journey might be a slow one.

The album was released on 27th March 2026 via Spinefarm Records. Below is the band's promotional video for Broken and Blind.

Exodus' 'Goliath' - Album Review

With two of the biggest thrash acts having already released new albums this year, one from America and one from Germany, it only seems fitting that a third would follow in fairly quick succession. Both Kreator and Megadeth impressed back in January with their latest efforts - but there has not been much thrash for me to cover since. As if sensing a lull in all things heavy, then, the California-based thrash legends Exodus stepped up to the plate last month and dropped something new - their thirteenth studio album overall and their first in four years, following on from 2021's Persona Non Grata (which I reviewed here). Whilst I am no thrash historian, given that Exodus can trace their history back to 1979, they may well be the first true thrash band. Whilst only drummer Tom Hunting is left in the band from that original genesis, as even guitarist, principal songwriter, and de facto bandleader Gary Holt did not come on board until 1981, Exodus are nevertheless a very important band in the history of thrash. Metallica's Kirk Hammett cut his teeth in the band before jumping ship in 1983 - and the late Paul Baloff is often considered one of the best thrash frontmen and overall personalities of all time. For whatever reason, though, it took the band until 1985 to release their debut album, the seminal Bonded by Blood, by which time they had been overtaken by many of the younger bands they had somewhat mentored. This is likely why Exodus were never considered part of the Big 4, despite deserving a place in truth due to their historic importance to the genre, and commercially they never managed to reach the heights of some others from the same scene. Bonded by Blood is, though, rightfully considered as one of the best thrash albums of all time - but, like many thrash acts, Exodus have had a bit of a mixed career since. Lots of line-up changes over the years have often hindered the band's momentum - particularly given that the band have had three distinct frontmen over the years who have often swapped places with each other. Hunting has been in and out of the band over the years, too, due to health reasons - and Holt's more recent commitments as a member of Slayer has limited songwriting opportunities over the past decade or so. Despite this, Exodus' recent work has been strong. Outside of Bonded by Blood and 1989's excellent Fabulous Disaster, I probably think that much of what has been released since the band's 2001 reunion has been some of their best work. Persona Non Grata, despite its length, has held up well - with both 2004's Tempo of the Damned and 2014's Blood In Blood Out also being excellent releases. The three albums released between the two, too, with frontman Rob Dukes are also strong - but I am less familiar with them, as I only expanded my Exodus CD collection earlier this year. Dukes is key here, too, as on Goliath, the band's aforementioned new album, he returns for the first time since 2010's Exhibit B: The Human Condition. Dukes was sacked in 2014 after a nine-year run - only to be reinstated again last year following Steve 'Zetro' Souza's third stint in the band coming to an acrimonious end. Given the length of time between Blood In Blood Out and Persona Non Grata, I fully expected to wait longer for the next Exodus album - and the frontman change I thought was sure to delay things further. That does not seem to have been the case, though, with Dukes instead likely giving the album sessions a boost - as he is credited with co-writing four of the album's songs. He has reignited his songwriting partnership with long-standing guitarist Lee Altus which was starting to bloom at the end of his previous era - which means that Holt handled the other six songs. The album is the band's most collaborative effort for a while, then, with Hunting also chipping in with some lyrics - meaning only long-standing bassist Jack Gibson the only band member to not contribute to the writing.

Many of Exodus' recent albums have also been on the longer side, but Goliath is the band's shortest since 2005's Shovel Headed Kill Machine at just under 55 minutes. This is still on the long side, but it is more concise than Exodus generally have been of late. It is also the band's first album since the 1990s where they have not worked with Andy Sneap in some capacity - who has produced and/or mixed every Exodus release since the 1997 live album Another Lesson in Violence. Exodus produced Goliath themselves, with Mark Lewis on mixing duties. The album kicks off with lead single 3111, a relatively mid-paced and crunchy number that does not exactly race out of the blocks - but instead hits the listener with a powerful opening riff that almost crawls out of the darkness, whilst Gibson's bass, which is often high in the mix, adds lots of weight and clang as the song opens out. At first, it seems as if the track could be a doomy number, with the initial slow-moving riffing, lumbering drums, and subtle synth backing - but the pace is soon picked up. The song does speed up, and it is energetic, but it is not as furious or as fast as the band can be - but there is plenty of crunch thanks to the guitar and the bass, and it allows Dukes to come in for the first time. His voice might not have the distinctive rasp of Zetro's Bon Scott-on-speed approach, but he has a great thrash tone and attitude - and there are some moments throughout this album, including during the chorus here, where he goes for a somewhat more extreme metal approach, which suits the heaviness the song is portraying. Holt's later guitar solo is strangely tortured and noisy, too, going for an effects-heavy approach. There is plenty of shredding elsewhere on the album - but 3111 goes for something a bit different overall and it largely works. Hostis Humani Generis segues nicely from the previous song, hitting the listener with another riff that builds up from a slower base - but this time the band roll through the gears and reach peak thrash speed and tone. Hunting really lays into his double bass drums during this intro section, which moves back and forth between thrashy and traditional metal riffs - but when Dukes starts to sing the pace remains fast. He spits out the lyrics with power, both the verses and the chorus are snappy, but the verses perhaps see him at his most unhinged - with a howled approach working well against the buzzsaw riffing beneath him. As is often the case with Exodus, the song here is a real riff-a-thon, with a particularly groovy one following the first chorus - whilst the bass patterns beneath Holt's later solo are also a bit different from the norm. Holt delivers a more typically melodic solo this time - but Altus then takes things to the next level with some high-octane shredding, which fits in nicely with the song's chaotic approach. The Changing Me features Peter Tägtgren (Hypocrisy; Pain; Bloodbath; Lindemann) on guest vocals - and he mixes well with Dukes throughout. The song opens in quite an anthemic manner, with a bit of a call-and-response guitar approach. A juddering main riff and a melodic lead call back and forth - before the two join forces in a NWOBHM-esque manner over some percussive drumming. Like 3111, and both of the songs are Altus compositions, The Changing Me is a bit more of a mid-paced number. The verses chug along nicely, with a good mix of energy and crunch, although as the chorus is approached the vocals become more erratic and distorted. Dukes utilises that more extreme end of his vocals here, whilst Tägtgren spits out some of the lyrics - but the song's overall highlight is its chorus. The chorus sees a more melodic approach taken, with both Dukes and Tägtgren singing in a cleaner manner - although Tägtgren does also add some screams into the background. The mix of vocal styles works well, and the chorus is a strange, melodic, mid-paced anthem which sounds a bit different from the norm for Exodus.

Promise You This returns to something much more akin to Exodus' bread and butter. It opens with just Hunting's drums, with the drummer playing quite a simple and punkish beat, but the song soon grows around him - with a chunky mid-paced riff allowing Hunting to change up his beat somewhat, and the band slowly speed up, so that when Dukes starts to sing a much thrashier vibe is present. The song is not as fast as Exodus can go, but it certainly feels more energetic and in your face than some of the more mid-paced moments here - and as thrash goes the track is pretty straight ahead. Exodus generally do well with twists and turns, but sometimes something just typical of the band's core sound is welcome - and the hard-driving crunch of this song and Dukes' raw thrash delivery helps it to become a bit of an overall highlight. The chorus is pleasing, too, adding a slightly more melodic edge whilst retaining the overall crunch. Backing vocals add a little bit of depth and take some of the harshness off Dukes' voice - making the chorus something of a fun shout-along affair that impresses after only a couple of listens. As if to ensure that the album's variety remains intact, following a pretty typical thrash song the band then slow thing down quite considerably with the lumbering title track - a doomy effort that is built around Black Sabbath-esque riffs, some booming drumming from Hunting, and a huge bass presence from Gibson. Gibson's work is often highlighted on this album as the bass is usually high in the mix - and he adds a lot of slow-burning swagger to this track, whilst Holt and Altus instead add riffs that are heavy and full of stoner energy. Dukes goes for a rawer approach vocally here, too, allowing the rougher side of his voice to shine. He sounds massive throughout this song, and the slower pace really allows him to have fun with his performance and express himself in a bit more of an unhinged and wild manner. Rather than traditional guitar solos, too, the band instead go for a riffier instrumental section which is backed by some dramatic strings - which, again, helps to shake things up, contrasting nicely with the creeping pace and riffing elsewhere. Clearly feeling the need to up the pace again following the doomy title track, Beyond the Event Horizon really speeds things up - with the band operating in high-octane thrash territory throughout. The main riff has that great thrash rhythm and buzzsaw sound on which the genre was built - whilst Hunting's drumming is punky and fast-paced and Gibson's bass flies around, again sounding prominent in the mix. Exodus like to shake things up, but they also like to deliver on the traditional thrash front - and this is one that just excels at a core sound. The pace is infectious and the excellent performance from Dukes has a great 1980s barked quality to it - whilst later instrumental sections briefly slow the pace to allow for groovy riffing and soloing. Two Minutes Hate is similar in that it is another pretty typical thrash number, but it reins in the pace and goes for a crunchy mid-paced sound that is still pretty energetic and anthemic. The sound of this song overall, including the bass-heavy mix and Duke's rawer vocal performance, reminds me quite a lot of Overkill - although some of the riffs that Holt and Altus throw in are a bit knottier and more complex than the punkier sound of the New Jersey band. The chorus is very Overkill in nature, though, and it is a real shout-along moment that makes it one of the album's hookiest segments. It also has one of the lengthiest guitar solo sections, too, with both Holt and Altus trading licks back and forth for quite a while. All of these things come together to make the track one of the album's standout cuts overall in my view.

Violence Works goes for a bit of a groovier approach, and it is one of those Exodus songs which feels slightly more experimental overall. Holt has always been a riff wizard, and before Dukes starts singing here he has already thrown out quite a few. The main riff feels like something a NWOBHM band might have tried if they were trying to compete with Pantera and Machine Head in the 1990s for groove - with some great little drum interludes from Hunting that showcase some impressive footwork and Lamb of God-esque rhythms. There is just something really interesting and rhythmic about this song that sets it apart. Very rarely are typical thrash patterns or drum grooves utilised here. Hunting has a lot more swing than usual in his drumming, whilst the way that the guitars and the bass lock in create something a bit more mechanical sounding at times. Other riffs later on feel like mid-2000s metalcore bouncy riffs with a thrash edge - and the whole song a real mix of moods as a result. Everything just about hangs together, though, and Dukes delivers over the top of this cacophony in a bit more of a straight ahead manner that brings some grit and grounding that would otherwise be missing. Summon of the God Unknown is the album's longest song, at just under eight minutes. Songs of this length have been typical on other recent Exodus albums, but most of the songs here are between four and six minutes long - so this track is the one that sees the band stretch out somewhat. It slows things down quite a bit early on, going for another stoner-esque approach - albeit there is more energy here than there was during the doom of the title track. Much of the song features snaking riffs which give the song a bit of a southern rock feel in places - and there are ever-present grooves in place as a result. As it is a longer song, it does branch out as it moves along - but early on it does largely stick to a heavier Corrosion of Conformity-type sound, with southern fried riffing, barked vocals, and plenty of groove; albeit with the razor-sharp production synonymous with thrash. The pace does pick up a bit as the song moves along, but it never really gets to proper thrash territory - with a lengthy guitar solo section instead sitting on top of a surprisingly bouncy riff with a busy bassline beneath it. Holt and Altus really stretch out here, though, with a good mix of soloing and some excellent twin lead guitar moments that add a lot of overall melody. The album then comes to a close with The Dirtiest of the Dozen, a faster-paced song which picks up the pace following the lengthy and snaking previous number - immediately hitting a strong thrash grove with some Diamond Head-esque guitar leads and a cut-away riff which really builds up excitement before the band crash back in. Following a couple of groovier pieces, a proper fast number is welcome - and it ensures that the album ends with a real burst of energy. The pace is slowed a little once Dukes starts to sing, as a choppy and neck-breaking riff is instead thrown in - but the pace is still pretty fast; and there are some extreme metal-esque sections later which up the pace further and see Dukes delivering harsh vocals with ease. A strong instrumental section later sees Gibson throwing down a few unaccompanied bass licks, building on his playing elsewhere, before Holt and Altus solo as would be expected. The song is a great way to end the album, as it feels nice and energetic following some less thrashy numbers - emphasising the core Exodus sound as album 13 draws to a close. This is an album that has grown on me quite a bit. I was unsure at first, but the mix of thrash and some more experimental pieces comes alive after repeated listens - and I think that this album showcases Dukes' best Exodus performance yet. The guitar playing is stellar as always, too, with Holt and Altus both writing plenty of big riffs. Thrash is still doing well in 2026 - and Exodus join Kreator and Megadeth in proving such.

The album was released on 20th March 2026 via Napalm Records. Below is the band's promotional video for 3111.

Dan Byrne - Bristol Review

Spending the Easter long weekend away is something that I have done a few times of late - and it often seems to be a good one for live music. This is despite towns and cities often being somewhat closed down, especially on Easter Sunday itself, which can make the hours around a gig a bit dull, but it is always good to get away - and this past weekend was another good one. As I described in yesterday's post, my trip away got off to an excellent start in Trowbridge with The Wildhearts - with special mention having to also go to Silveroller, one of the best unknown support acts I have seen for a long time. Without wishing to give too much away, The Wildhearts' show was easily the gig of the weekend - and it was not even the original reason for my trip away. It was bolted on to an existing trip to Bristol, which I booked a couple of months ago, to catch the up-and-coming Liverpool-based rock singer Dan Byrne on his most extensive solo tour of the UK to date. Whilst I am not hugely familiar with his history, I first came across him back in 2021 when his then-band Revival Black opened up for Vega in Bilston. I do not remember being all that impressed with Revival Black at the time, and I recall them being somewhat bluesy and generic, so I never gave the band any time after that - despite them being one of those names I had seen around quite a lot and would continue to do so until Byrne left the band. I do not think that Revival Black exist anymore, and over the past few years Byrne has been focusing on a solo career. I knew that he has sometimes worked with former Skin guitarist Myke Gray, fronting his solo band, but I have never seen any of these shows - so it was not until 2024 when I next came into contact with Byrne. He was the opening act for an excellent double bill of Tyketto and Little Caeser in London that year - and I was somewhat more impressed with Byrne that time, despite not exactly getting hooked. His solo material seemed much sleeker and less bluesy than what I remembered of Revival Black's 2021 set - and I enjoyed his short set despite, as I said, not being blown away. Over the past year or so, though, Byrne's stature seems to have grown. He is not exactly a world-beater, but his name has popped up quite a bit I have noticed - and he has also released an EP and some other singles in recent times. This current tour, though, is easily his biggest undertaking as a solo artist - and it takes in much of the country. At the time of writing there are a handful of shows left - but the Bristol show came towards the end of the lengthy trek. Byrne has recently signed to Frontiers Records and will be releasing his debut album This Is Where the Show Begins in May - and this tour is essentially the album's launch tour. It is a shame that the album did not drop before the tour, as it would have been nice to have heard it before hearing a number of the songs live - but decent-sized crowds up and down the country did not seem to mind this. The Bristol show took place at the Exchange - a small venue that I have been to a number of times before. It is not one of my favourites, I much prefer The Fleece when it comes to smaller shows in Bristol, but the Exchange is smaller and likely more suited to someone with Byrne's current reach - especially given the number of shows on the tour. I did wonder what the turnout would be like, but it was clear after only being in the venue for a few minutes that it would be good. I do not know if the place was sold out, but it was certainly busy - with the main room full throughout the night.

Before Byrne's set, though, the crowd were treated to two support acts. In my view, one was much better than the other - although unfortunately neither were as strong as Silveroller had been the night before. The better of the two, though, was up first - with Kit Trigg playing for around half an hour, getting the crowd warmed up. I was not sure what to expect, as Trigg is the least rockstar-looking musician going - but he soon stormed through a handful of breezy and enjoyable hard rock numbers on his Les Paul. He was a bit weak vocally in my opinion, which meant that the songs lacked a little power, but as a guitar player he had a lot to offer. His riffing might not have been anything especially original, but it was solid and enjoyable - with each song containing plenty of energy and drive as a result. Unlike some younger rockers that are not wedded to the 1970s and 1980s, and I think that it is fair to say that Trigg was not looking to ape that style, at least visually, he included plenty of guitar solos into his set. Some modern acts avoid such, as they seem a bit old fashioned to some, but Trigg clearly does not agree - and his soloing was a lot of fun. Everything felt loose and breezy - and there was a light-heartedness to the whole set. Trigg came across as a very likeable man, and he seemed pleased with the reception he got and seemed like one of those musicians that was just happy to be there. There is always something refreshing about that kind of attitude - and there was certainly no posturing nor rockstar ego on show. It is just a shame that, in my view anyway, his voice let him down a bit. The songs were certainly there, but he lacked vocal power to really push them to the next level. There was a much slower number part way through the set, though, which was dedicated to a friend that had passed away - which saw a much stronger vocal. This heartfelt number was a bit of a highlight of the set, then, as everything seemed to really come together during it - with the rest of his backing band largely sitting the number out until much later on. There were clearly people in attendance that knew Trigg's work, though, as there was quite a lot of singing going on around me - and the overall vibe during the set was positive, which kick-started the night well.

Following on from Trigg's set was the Derby-based three-piece MuddiBrooke. I knew nothing about the band beforehand, despite being familiar with their name having seen it on posters and such - but they really did not impress at all. I did miss their first couple of songs due to a call of nature, but I saw the rest of their set - and it was genuinely one of the dullest I have sat through for quite some time. The band describe themselves as grungy, but in truth I am not really sure what they are - as nothing in their set stood out at all. There is not one riff nor one chorus that I can now remember - with everything sounding lumpy, monotonous, and essentially the same. There was not much spark or life coming from the stage during their set - and the crowd's reaction throughout was certainly much more muted than it had been during Trigg's. His set got the crowd going somewhat, but MuddiBrooke seemed to suck all of the energy back out of the room. I do not like being negative, so I not going to put the boot in further, but I really expected more given that I had heard of the band and that they have something of a following. It was not just a case of them not being for me - as they genuinely sounded like a band that were literally just starting out with no real songs or sound to boast of.

The night's changeovers were pretty quick, so it was not too long before the lights went down and Byrne took to the stage. For just over an hour or so, Byrne ran through most of what will be included on his upcoming debut album, all four songs from his previous EP, and a couple of other bits - in what was an enjoyable and spirited performance from the up-and-coming rocker. Backed by Glenn Quinn (guitar/vocals), Inglorious' Colin Parkinson (bass guitar/vocals), and Max Rhead (drums/vocals), Byrne's 13-song set was generally a powerful one. Rhead did double duty, having also played with Trigg earlier in the set, whilst Byrne added some acoustic guitar to one number. They kicked off with Saviour, a powerful opening rocker - but it was perhaps the following Like Animals, from the previous EP, and She's the Devil, from the upcoming album, where the set really got going. The latter was the lead single from the upcoming album, and it was the song which prompted me to pay a bit more attention to what Byrne was doing. Byrne's current sound is more modern-sounding and sleek overall - but there is still plenty of classic rock influence. She's the Devil reminded me somewhat of Inglorious, and there was a bit more of a classic rock strut in it compared to some of his other songs. Throughout his set, it were the heavier songs which actually resonated with me the most. Both Pulling Me Under and Cherry & Leather were two of my favourite songs of the night - and they both allowed Quinn to show off a bit with some strong riffing. Sadly, he was afforded limited soloing opportunities. There were a couple of solos in the set, but these songs are written by a vocalist for a solo project - big guitar showcase moments are always going to be short lived. Byrne himself came across well and as very likeable, as he has done in the past, and, like Trigg, was just happy to be there with a strong turnout. I did think that he was perhaps less impressive vocally than I have seen him previously - but I think this might have just been vocal fatigue. This tour is likely the longest he has ever done under any guise, and the Bristol show fell near its end. I imagine that his voice was feeling the effect of such a long tour - but this did mean that some of the vocal power Byrne is known for was not always present. He was a little low in the mix at times, too, although generally the sound mix was pretty good - with plenty of weight behind Quinn's guitar and Parkinson's bass, especially during those moments which the latter led. As such, the set was largely pretty hard rocking, but the ballad Easier was a nice moment of respite - whilst there were some slightly more cinematic moments such as the stand-alone single Sentimental. The crowd were clearly enjoying the set, too, and there was a strong atmosphere in the room - and it is always nice to see a young artist getting such a reception. Byrne left his more well-known songs to the end, but also threw in a cover of Audioslave's Show Me How to Live, which I do not think suited his voice all that well and it was one of the set's weaker moments. This was soon rectified, though, with powerful closing versions of both Hard to Breathe and Death of Me, both from the EP, which rounded out the set nicely with powerful riffing and soaring choruses. The setlist was:

Saviour

Like Animals

She's the Devil

Praise Hell

Hate Me

Easier

Pulling Me Under

Sober

Sentimental

Cherry & Leather

Show Me How to Live [Audioslave cover]

Hard to Breathe

Death of Me

I heard enough to pre-order Byrne's upcoming album when I got home - and some of the heavier album tracks caught my ear. He put on a strong showing in Bristol, despite some vocal fatigue, and it is good that an artist like Byrne can pull decent-sized crowds up and down the country before his album has even dropped. Hopefully he can build on this momentum going forward - and I am looking forward to charting his progress.