Flotsam and Jetsam's 'Rats in the Temple' - Album Review

It feels like a little while since I last reviewed a new thrash album on this blog. July was quite thrashy in terms of concerts, as I saw Metallica twice and Vio-lence, but I have not picked up too much new thrash yet in 2026 - and today I am going to cover a thrash band that has never been covered here before. I would generally consider myself a thrash fan, but I certainly do not keep up with every name in the genre and, for some reason, the Phoenix-based Flotsam and Jetsam had largely eluded me until recently. All that I really knew about them were that they were the band that Jason Newsted was a part of before he left to join Metallica - but I did not know much about their music at all. I was also aware that quite a few thrash fans considered their recent run of albums to be some of the strongest and most consistent in the scene. I had been meaning to check them out for quite some time as a result - but I did not get around to doing so until earlier this year. When I saw that the band would be releasing their sixteenth studio album this year, I decided that it would likely be a good way in - but I picked up a few of their other albums to sample beforehand. Whilst my sample size is only small, I so far agree with those who think that the band's recent albums are very strong and consistent. 2024's I Am the Weapon was my first proper exposure to Flotsam and Jetsam, and I was pretty interested from the off. Whilst they are certainly a thrash band, I also felt that the album had quite a strong US power metal feel at times - with the occasional Iced Earth and early Savatage vibe mixed in with a more typical, albeit very melodic, thrash sound. 2021's Blood in the Water was similar - but I am yet to venture further back. Both of those albums, the first two with the band's current line-up, impressed - but, for whatever reason, I was not that taken with 1986's Doomsday for the Deceiver, the band's debut album. I am under the impression that Doomsday for the Deceiver is often considered something of a thrash classic, but it, so far at least, has not done all that much for me. It felt more typically thrash, with not a particularly punchy production, than the band's newer work - with none of the choruses that drew me into to the newer stuff. Perhaps in time, and with further exploration, I will come to like the band's more classic work - but I know that I certainly like what I have heard of what has come recently, so I may well slowly work my way backwards through their lengthy catalogue. Despite a number of line-up changes over the years, with frontman Eric Knutson the only person to appear on all of the band's albums, Flotsam and Jetsam have been very prolific over the years - generally releasing a new album every two or three years. I get the impression that their sound has shifted over the years, too, more so than the difference between the early days and now, and this is likely down to the various line-up changes, as well as an attempt to stay relevant through changing times. Guitarist Michael Gilbert has been on all but four of the band's albums during the late 1990s and 2000s, so is the main long-time driving force alongside Knutson - but the current line-up has now produced three excellent albums, with Rats in the Temple having dropped last month. Guitarist Steve Conley, bassist Bill Bodily, and drummer Ken Mary join Knutson and Gilbert again here - which has been the band's line-up since Bodily joined in 2020. Sound-wise, Rats in the Temple is similar the other recent efforts that I have heard - with a strong, melodic thrash sound that, at times, dabbles in more of an old-school US power metal sound with plenty of hooks.

This is the band's first album for a while to feature more specific writing credits - and it seems that each of the 13 songs largely came from one of the two guitarists, with Knutson and Mary then working with them to bring that song to life. Knutson and Mary do not have writing credits on every song, but that looks to have been the arrangement here. The guitarist who wrote the song also seems to be the one to solo in it, too, so the album seems to be very much split between Gilbert-driven and Conley-driven material. A Conley idea gets things underway, then, with Harvesting the Hate kicking the album off. A percussive main riff builds around some busy drumming, whilst gothic strings blare away in the background, but once Mary stays to lay down a more typical thrash drum beat the song morphs into a fast-paced number - with slow chord changes and plenty of energy. The riffing becomes crunchier when Knutson starts to sing, with subtle guitar leads sitting underneath his voice to add to the overall energy. Knutson's voice is still full of power. He has a fairy clean and epic delivery compared to many thrash singers, which is possibly, in part, where the US power metal vibes stem from, but he can still deliver moments of real grit. The pre-chorus here feels pretty tough, with a harsher vocal delivery, before something more clean and soaring is used for the fast-paced chorus. Many of the choruses here have a real anthemic feel to them, despite the pace, and this one is no different. It is very easy to sing along with, ensuring the band's accessible nature remains, whilst Conley's two-part guitar solo is varied and melodic. Damnation opens in a similar manner to the previous song, albeit the percussive drumming is a little slower - and Knutson lays some wordless, heroic vocals over the top. It does seem from this intro that the song may be something more mid-paced, but once the main riff kicks in and the chorus speeds off it is clear that the song is still pretty fast - although there is more crunch this time. There are slower moments, such as a headbanging and groovier chorus, but the verses are still full of energy - even if they feel heavier and a little slower than the previous song. There is definitely something Iced Earth-esque in the crunchy chorus, with it wordless vocal accents and snappy melodies, whilst the riffing through is much more melodic and interesting than most thrash pace-setters. Absolution returns to the faster vibes of the opening number, and the Gilbert-led song does not stand on ceremony like the others here so far - instead kicking straight in with a short riff before Knutson starts to sing. The riffing here is perhaps a bit less intricate, with hard-hitting thrash patterns and 1980s drum grooves filling the speakers. The verses have some neck-breaking, stop-start riffing, whilst the chorus, despite its speed, is filled with NWOBHM-esque vocal melodies - ensuring that the whole thing has more of an old-school feel. Given that he is essentially one of the band's original members, at least in terms of having appeared on Doomsday for the Deceiver, Gilbert is a thrash scene original - so it is to be expected that his songs are more routed in that time and its core influences. Blame the Knife opens with some stop-start riffing and some discordant clean guitar melodies, soon launching into verses which see the stop-start vibe continuing - with Mary's drums left at times to lead the way. Arrangement-wise, then, this song is a bit different to the norm, but the song's overall structure is still pretty typical - with plenty of thrash trademarks, including furious double bass drumming, and one of the album's strongest choruses. The shout-along chorus is very easy to get on board with - and I can see the song becoming something of a live staple going forward.

The gothic strings return to introduce the title track, before a massive drum fill transitions to the thrashy opening riff - with the song being another pretty high-octane speed merchant. Despite the chunky riffing and relentless drumming, though, there is quite a lot going on guitar-wise here. There is an early shredded solo from Gilbert to set the tone, whilst there are some twin guitar leads utilised occasionally - adding some old-school metal harmonies where required. Lead guitar moments are abound, then, whilst the strings are kept during choice moments to add depth and create a dense, power metal feel behind the thrashy riffing. Another snappy chorus ensures that the song remains hooky throughout - and the title track is a great mix of speed and old-school metal melody. The Ghost Behind My Door maintains some of the harmony guitar leads from the previous song, opening with some Iron Maiden-on-speed melodies - which are retained in the background even when Knutson starts to sing. Despite the speed of much of the song, the arrangement here is a bit more dynamic. Percussive drumming backs some of the early guitar leads, whilst the verse is almost as pure as thrash can be - in terms of riffing and drumming. To ensure that some variety remains, though, the chorus slows the pace somewhat - going for a crunchier and more melodic feel. This chorus is perhaps not as anthemic as some of the other examples here, but the slower riffing is welcome - and Knutson delivers a strong, characterful vocal. First on the Spike is a bit more crunchy throughout. Whilst still an energetic piece, it does not feel as fast nor as thrashy as many of the other songs here - and this is a song where that US power metal sound shines somewhat. There are moments of early Savatage here at times, albeit bigger and more modern sounding - with occasional strings again adding depth, whilst Knutson utilises a more overtly melodic vocal style at times, especially during a particularly soaring pre-chorus section. There is something anthemic about the whole song, with a strong 1980s feel, which is included in Conley's lengthy solo, too. The Edge of Nowhere opens in slower manner, with Eastern-tinged guitar leads and more of a bass presence, but the song does not go down a more mid-paced path - with the intro soon giving way to a pretty typical thrash riff and verse. There is a pleasing, bouncy feel that the main riff gives off, though, which sits nicely behind Knutson's verse vocals - but in terms of an anthemic chorus this is a song which is somewhat lacking. The melodies and the approach of the intro is never really returned to, either. It would have been interesting to have incorporated the Eastern melodies of the intro into the bulk of the song somehow - which would have given the song something of a USP that it is currently lacking. It is probably one of the weaker songs here overall, despite some strong riffing. Last Rites is somewhat similar, although the atmospheric intro this time is brief - with another Mary drum fill bridging the gap between it and the main song. This song is much more anthemic, though, and the riffing generally is more melodic. There are some melodic twin guitar leads early on built into the riffs, whilst the verses really drive along with an infectious pace and some great vocals from Knutson. There is a smoothness despite the pace and energy, whilst the grit really returns for a chorus that is packed with shout-along hooks - and a later drum and bass-led version only showcases the hooks further.

A Taste for War is a bit more of a deliberate song - which builds slowly from a bit more of a crunchy base. Built around a percussive, round-the-kit beat from Mary, the mid-paced number is the first real such example here - and, overall, the song is likely one of the album's most dynamic. Bodily's bass rarely shines on this album, as he is not that high in the mix, but there are moments here where he does get to stand out a bit more - laying down a main groove alongside the drums whilst clean guitar melodies allow for an atmospheric base. The verses move back and forth between these percussive, more mid-paced moments and crunchier, mid-paced metal sections - with groove and a 1980s strut to many of the bigger riffs here. The relatively slower pace of the song is welcome in a sea of largely faster numbers here - whilst Gilbert's solo is similarly more restrained, allowing for some long-held notes and bluesier melodies. Her Blood Your Pain returns to something more typical of the album's core sound, although a strong 1980s vibe is retained thanks to the ever-present harmony guitar leads throughout. The verses are built around some of these harmonies, which nicely back Knutson's vocals, and there is an instrumental bit that kicks in after each chorus to focus more on the guitar playing. As such, the verses are not as heavy as some of the others here - but the chorus returns to something heavier with some hard driving riffing and a bit more of an overt pace. The chorus is pretty anthemic, too, and there are plenty of hooks throughout the song thanks to both Knutson's excellent vocals and the guitar lines. Anthem for the Broken is somewhat similar, but there is more of a toughness throughout. Whilst the guitars are relatively as busy, there is less of a focus on twin guitar leads this time. As such, whilst there are lots of guitar leads throughout, there is also more of a tough rhythm guitar presence, allowing for plenty of crunch as well as melody. As such, this track feels heavier than the previous one - even if the overall melodic approach is largely the same. The chorus is less anthemic, but it is perhaps more overtly melodic, though, to fit in with the song's overall approach. There is a lot to sing along with here as a result, with the song being a strong, melodic track sitting nicely towards the end of the album. The album then comes to a close with Not Goin' Down That Way, another somewhat more dynamic piece. Whilst perhaps not as varied as A Taste for War, there are still moments here that focus on more of a clean guitar approach - with some of the core thrash elements reined in somewhat. There are mid-paced moments again here, whilst the riffing overall is much crunchier overall - allowing for headbanging grooves and more of a classic heavy metal approach, whilst the chorus is another with a strong US power metal vibe. There is plenty of melody throughout, despite the crunch, and it is always great when a band ends an album with a strong and memorable cut. Gilbert's shredded solo is busy, too, whilst he also uses a few more melodic leads throughout to good effect. It ends the album on a high, with Rats in the Temple showing that Flotsam and Jetsam certainly are show no signs of wanting to slow down. Most of the songs here are very memorable, and the production throughout is great - with the band sounding heavy without feeling too mechanical. I am glad to have finally made an effort with this band, and I am looking forward to listening to more of the band's albums in due course.

The album was released on 28th August 2026 via Napalm Records. Below is the band's promotional video for Rats in the Temple.

Triosphere's 'Oceans Above, Stars Below' - Album Review

Whilst I imagine that what I choose to review here is pretty obvious to regular readers, occasionally something new drops that I was not really planning to check out - but end up doing so anyway. Sometimes I really could do with giving myself more of a break, given that my day job can often involve a lot of writing, but I have become pretty committed to talking about music - and I cannot see that drive dying down any time soon. Whilst me reviewing the latest album from the Norwegian power metal band Triosphere might seem sensible in principle - in truth, I have not really been much of a fan of the band until recently. I remember seeing them live back in 2011, when I saw them opening for Sonata Arctica in Wolverhampton. I do not remember having much of a strong view either way regarding their set - but this was likely due to that night being the one where I discovered the Italian band Labyrinth. Sometimes there is only room for one discovery per night, and I think that I was still on a bit of a Labyrinth high during Triosphere's set. As such, I do not remember much about it - and I was never really inclined to check them out properly afterwards. Over the years, too, it has been clear that the band are just not all that active. I do not know much about the band's history, but online sources suggest that they date back to 2004 - and last month they released their fourth studio album. When I saw them in 2011, they had two albums: 2006's Onwards and 2010's The Road Less Travelled. I remember there being some hype around 2014's The Heart of the Matter when it released, as the fans had been waiting four years for it, but that gap paled in comparison to what followed - with the gap between The Heart of the Matter and the band's latest opus Oceans Above, Stars Below being a lengthy 12 years. I do not know enough about the inner workings of the band to know why album number four took 12 years to come out. I get the impression that the band are generally known for taking their time to do anything, and are not a regular touring act either, so they have something of a mythical quality due to their long periods of inactivity. Another thing that I have noticed about the band over the years is that people rarely have anything negative to say about them. They might not be one of the big names in power metal - but essentially every review that I have ever read of one of their albums has been hugely positive, often bordering on being sycophantically so. As such, Triosphere have often intrigued me. I certainly did not not enjoy seeing them live back in 2011, but I cannot say that I was blown away either - so I always wondered what it was that generated such blind loyalty, particularly given how long the fans often have had to wait for anything from the band. In truth, having now heard all of the band's albums with the exception of Onwards, I am still not sure quite what all the fuss is about. I have certainly enjoyed my time with Triosphere over recent months - but I have not found delving into their short catalogue to be life-changing. Their gritty, heavier take on traditional European power metal is certainly pleasing, and frontwoman Ida Haukland has a great voice, but nothing the band do is especially unique - in my opinion anyway. That being said, I have enjoyed my time with Oceans Above, Stars Below. The songwriting is solid, the album is well-produced, and Haukland probably ups the overall quality single-handedly with her vocal performance. Despite him having been in the band since 2014, it is the first album with drummer Kenneth Tårneby (Course of Fate; Clone Industry) - who joins Haukland and guitar duo Marius Silver Bergesen and Tor Ole Byberg throughout.

Keyboards are handled on a session basis throughout by Espen Warankov Godø (Lumsk), but his playing is not a huge part of Oceans Above, Stars Below's sound. This album is very much a grittier power metal effort - although the keyboards do add something of a grandness to the overall sound. The 12-track album opens and closes with instrumentals, meaning that there are 10 'proper' songs here for power metal fans to enjoy. The fairly short Premonition kicks things off, with clean guitar melodies, occasional power chords, and dense strings. Whilst not as symphonic as some kick-off tracks, Premonition is certainly of a type - although a pretty aching guitar lead later takes over as the band move towards Of Tyrants. Of Tyrants follows this opening instrumental, immediately upping the pace with a pretty fast-paced riff - with some of the song's early moments feeling quite thrashy. There is certainly a classic speed metal influence in Triosphere's sound, which helps that heavier vibe to settle in - and this is on show during the first verse here, which is propelled by weighty double bass drumming, subtle gang vocals, and tough riffing. There is plenty of true metal energy throughout the verses here, then, with later verses following a similar path - whilst the chorus slows the pace a little, going for a more epic overall sound. Haukland's voice may be the best thing about Triosphere. She certainly sits at the grittier end of female metal singers - but there is still plenty of melody in her relatively deep delivery, as this song's chorus can attest. There is more of a change of pace later on, too, when a bridge section sees the heaviness drop away - returning to a clean guitar base over which a slow-burning guitar solo is laid. This dynamic approach is welcome, but the song soon builds back up to something faster-paced - with the solo also upping the pace. I got the impression that Byberg was mostly a rhythm player, but he does some of the solos here - with him and Bergesen feeling more like a true guitar duo than before. The album's title track follows, and it opens in a much more melodic manner with some precise guitar leads. Overall, the song feels much less heavy than the previous number - with more of a smooth power metal sound, albeit grounded by snappy verses and the grit of Haukland's vocal delivery. The verses are the fastest thing here, as the song overall feels a bit more mid-paced and varied. There is less of a focus on double bass drumming here, whilst the keyboards take on a bit more of a role during a somewhat more cinematic verse - with clean guitar melodies adding further depth. The vocal melodies in the chorus are a bit more off-kilter which gives the song a unique feel - whilst Bergesen, who is still the dominant lead player, later takes a lengthy solo. When considering the mix of light and shade, Haukland's excellent vocals, and the guitar solo showcase, songs like this do start to make me realise why some hold this band is such high regard. Monster's Ball, which was one of the songs I heard online before the album dropped, is more of a mid-paced cruncher. There are Judas Priest-esque riffs throughout, but the overall sound is smoother - culminating in a fast-paced chorus. This song is the inverse of the classic power metal arrangement, then. This is because the verses feel a bit more reined in pace-wise, with a mix of groovier drumming and double bass segments, whilst the chorus is more all-out in terms of pace. As such, everything feels like it is accelerating towards the chorus - which is one of the album's most memorable in my opinion. This song is certainly one of the ones here that has stuck with me - and that is largely thanks to its speed metal chorus.

Through the Phantom Wall feels a bit heavier initially despite a mid-paced arrangement. The early guitar lines, which are more chord-based than riffs, have a slightly discordant feel that brings black metal to mind. This song is certainly not black metal, but some of the strange harmonics and guitar patterns have shades of such an approach - whilst later guitar riffing is a bit more note-based, with fast-moving single note patterns creating a juddering, percussive feel. There are snappy instrumental moments which are similar, too, with military-like snare hits and big guitar stabs, whilst the chorus has a relative smoothness to it. Overall, then, the song is a bit all over the place style-wise. More extreme metal tropes and a more of a classic power metal feeling sit side by side - with the chorus perhaps being another of the album's best moments. There is another lengthy guitar solo section, too, with both Bergesen and Byberg trading shredded licks back and forth. Shorelines ups the pace, immediately lunching into a pretty hooky power metal guitar melody - which is soon harmonised with Thin Lizzy-style. There is a bouncy vibe to the song's opening, then, and the overall song certainly reins in some of the heaviness of the previous song. There is a smoothness overall that sets the song apart from much of the rest of the album - with a harder rock mid-paced feel during the verses, before soaring melodic rock vocal melodies grace a chorus that ups the pace somewhat. This is another song where the keyboards take on a bit more of a bigger role - especially during the chorus. There is a sweeping feel to parts of the song as a result - and it is a bit of an overall highlight as a result. Lightning in a Bottle picks up the pace again, with some percussive, round-the-kit drumming early on settling in on a pretty up-tempo groove. This allows for a good mix of chugging guitar riffing and fleet-fingered shredding before the song even gets going, with the bulk of the song retaining this somewhat higher-octane feel. There are some moments with slab-like riffing that feel a little more mid-paced, but overall this is a pretty energetic number - with Tårneby laying down quite a few different, interesting, faster drum beats. The chorus is probably not as a strong as it could be, though. The energy of the chorus is good, but I do not find the vocal melodies to be that pleasing nor hooky. Something more anthemic would have maybe worked better here, rather than the speed metal approach taken. The chorus just feels a little rushed in my opinion, and something more hooky would have elevated the song further. Encore slows the pace down, and acts as the album's only true ballad. Delicate clean guitar melodies set a gentle and slower tone early on, over which Haukland soon starts to sing. This song does allow her to sing a different manner. She sings in a bit of a higher register here, with less of the grit and power that she is known for. She does not exactly sound ethereal here, but she certainly sounds sweeter than is typical. Generally her vocals are the focus, with the clean guitar melodies backing her up - whilst strings and keyboards swirl around, creating quite a dense backing. There is a heaviness created by the denseness of the strings, but there is no real metal here at all - even during moments where it feels like the band would kick in. Given that there is a general lack of slower songs here, this stripped back ballad is certainly welcome - and it sits nicely in the overall flow of the album.

Embers gets back to something much more typical of the core Triosphere sound, with a mid-paced, crunchy power metal track. Like most of the album, though, there are strong doses of both traditional heavy metal and speed metal here. The early parts of each verse are very old-school metal, with crunchy power chords and a classic rock strut, but the song does pick up the pace as the verses move along - with a swinging double bass drum groove acting as something of a later pre-chorus. This is another song that builds meaningfully towards its chorus, then, but I actually feel that the pre-chorus is a little stronger than the chorus. That is because this is another song with a chorus that is a bit of a disappointment. It really speeds away, which is unlike much of the song, so, again, something more overtly anthemic may have worked better - rather than returning to a speed metal approach. Orpheus' Bane ups the overall quality, though, with the song perhaps being the album's most epic statement. The main riff is hooky whilst still sounding quite heavy - and the hard-driving pace created by the ever-present double bass drumming is infectious. Despite all of this, though, there is still plenty of melody. For me, this band is at their best when they straddle the line between heaviness and melody perfectly. This song does that, and there is a great, dynamic approach taken throughout - with faster verses, a groovier pre-chorus, and, finally, another chorus that feels suitably epic. The slowed pace during the chorus allows Haukland's excellent vocal melodies to shine - and it perfectly follows the heavier pre-chorus which does include some snappier melodies. The constant variation works well, then, and there is even a percussive bridge section later with some guitar harmonics - which leads into the only guitar solo on the album that Byberg does alone. It is his showcase moment, then, and it caps off what is one of the best cuts here nicely. Cadence of Chaos is the longest song here at just under six minutes, and it is also the last of the vocal numbers. It is another song that is going for more of an epic feel overall, and it certainly builds on the previous number somewhat. Overall, I think that I prefer Orpheus' Bane, but there is still a lot to like about the somewhat similar Cadence of Chaos - including another really strong pre-chorus. For some reason, Triosphere really seem to excel at writing rousing pre-choruses - but then do not always seem to be able to follow them up with equally strong choruses. The one here is better than some of the previous examples - but the one in Orpheus' Bane is stronger in my opinion. The guitar solo section here is great, though, with both guitarists taking fairly lengthy solos - sometimes against a really fast double bass drum pattern that is another moment that briefly recalls a more extreme metal sound. There is still a lot to like about the song, then, even if I feel that it is somewhat upstaged by the one before it. Gjenklang is the final number here, with the slow-burning instrumental largely a collaboration between pianist Arild Følstad and cellist Kjell Magne Robak. The song is written by the band, but it does not seem to feature them at all - with the two quoted instrumentalists seemingly doing everything. The song is basically a piece of classical music, and there are some music motifs which have been heard throughout the album reused here. Triosphere have done something similar before, closing the album with something of the opposite of an overture. It works well, and the album ends strongly. As I said earlier, I have been enjoying this album and I have also enjoyed properly listening to Triosphere. I still do not quite get why some put this band on such a high pedestal, but this album is a worthy addition to any power metal collection - and perhaps, in 12 years, I will review album number five.

The album was released on 28th August 2026 via Frontiers Records. Below is the band's promotional video for Oceans Above, Stars Below.

Xandria - Birmingham Review

This past weekend was another pretty lengthy one, including plenty of travelling, problems on the railway, and live music. My last post here covered an excellent Friday night spent in Bristol in the company of Marillion - one of my very favourite bands. Marillion concerts always feels like special events, and Friday was no different, and it was great seeing the band again - even if it was Marillion show number 13 for me! Whatever was going to follow Marillion was likely to struggle in comparison - and the task fell to the German symphonic metal act Xandria, who kicked off their latest, lengthy European tour last week with a run of UK shows. In support of their strong new album Eclipse (which I reviewed here), Xandria's tour is likely one of the longest they have done for a while - at least as a headline act. I have been following the band since around 2012 but, before Saturday, had only seen them live once before - which was back in 2023 when I saw them opening for Delain in London. That show is one that really lives in the memory - with both Delain and Xandria delivering excellent performances. Both bands at the time had recently undergone pretty significant line-up changes, with both of those line-ups still finding their feet after recently releasing new albums. Both of the break-ups which led to the line-up changes seemed quite fraught, too, so there was certainly a strong vibe of 'please still like us' coming from the stage that night. Three years on, though, the current era of Xandria is now going strong - and with plenty of shows under their belts, plus a second album, so any drama seems long behind them. There has been some changes, though, with band leader Marco Heubaum switching from guitar to bass guitar, at least live, and the band operating as a four-piece, but the current era, fronted by Ambre Vourvahis feels well-entrenched at this point - despite the many eras which have already passed in Xandria's history. Whilst the band are not one of my favourites, I would consider myself quite a big fan - so it is perhaps a surprise that Saturday's show was my first time seeing them as a headline act. They have been pretty regular visitors to the UK over the years - but, for whatever reason, I just never made the effort. I remember that they returned to the UK later in 2023 for a few headline shows, with Skarlett Riot in support, which I was certainly interested in - but sadly any plan to get to one of those shows just did not work. As such, when the band's current tour was announced earlier this year, I knew that I had to try again - and the Birmingham show tied in nicely with the Marillion show that I already had booked. The venue, the O2 Institute 2, is one that I like - but it is not one that I had visited too often. I have never really liked the main room upstairs, but this smaller room has always led to enjoyable experiences - and it has symphonic and power metal pedigree for me as I saw both Edguy and Delain there many years ago. It had been a few years since I visited the venue, though, with a 2022 show by The Quireboys, from memory, my last time there. I will be seeing Haken there early next year, which I am looking forward to, so it will not be such a long wait before my next trip into Digbeth. As such, then, it was from Bristol to Birmingham that I journeyed on Saturday - although the train journey was not as straight forward as it should have been. Nothing was running through Cheltenham Spa due to signalling issues - so I ended up having to travel via Reading, turning an 80 or so minute journey into one that took over three hours. I left much earlier than I had planned to, though, so I ended up in Birmingham around the same time as was originally planned - only to learn that the train I was supposed to have taken was one of the first to travel through the affected area after the lines re-opened.

Travel drama aside, which sadly is becoming a regular feature of gigging trips away, it was good to be back in Birmingham - and soon I was waiting in the O2 Institute 2 for the night to start. I seem to remember reports of the band's 2023 shows suggests that crowds were on the thin side - but the Birmingham show was fairly well attended I thought, at least considering the band's small stature here in the UK. A decent bill likely helped to shift some tickets, though, with the Texan four-piece Tulip kicking things off. I had seen Tulip live once before, opening for Serenity in London in 2024 - but I had not really checked them out properly since. I remember somewhat enjoying their set in London a couple of years ago, and my view on Saturday's set is largely similar. Fronted by Ashleigh Semkiw, Tulip are largely a quite modern-sounding alternative metal band - with the occasional symphonic and atmospheric flourish. The riffing from Colin Parrish (vocals/guitar) and Cody Casillas (guitar) was largely grinding and heavy, with little in the way of instrumental showboating. Parrish did throw in the occasional solo, as well as the occasional harsh vocal bridge, but generally the band's riffs were groovy and heavy - with drummer Dylan Gowan, on loan from and doing double duty with the other support act Seven Spires throughout this tour it seems, laying down some tight, muscular post-thrash grooves. Semkiw's quite poppy vocal approach nicely contrasted with this riffy onslaught - and there was quite a lot of light and shade in the band's sound as a result. In truth, calling Semkiw a poppy singer does her a bit of a disservice. There were certainly more powerful and even some semi-operatic moments from her - but generally she just sang in a pleasingly melodic manner, grooving nicely along with the big riffs. Tulip certainly have something of a distinct sound as a result - and I enjoyed their 30 or so minutes on stage again last night. Given that is twice that I have enjoyed the band live now, I probably should do them a favour and actually give some of their material a proper listen.

There was only a short break between the evening's two support acts so, as mentioned before, it was not long before the Boston-based four-piece Seven Spires took to the stage. Gowan had barely had time to have a break before he was called upon again - with the unique and dynamic band delivering 40 or so minutes of technical, heavy, and symphonic music that is quite unlike anything else. Like Tulip, I had seen Seven Spires live once before -  as I caught them in Manchester last year opening for Sonata Arctica. I have nearly all of the band's albums, and enjoy them whilst feeling that I have only just scratched the surface, but live they are a different beast. If their long albums can be quite hard to sit through due to how much of an aural assault they can be, live the band seem so much more direct. This is likely, in large, down to frontwoman Adrienne Cowan - a singer and performer in a league of her own. She is an excellent musician and composer, too, as the band's albums can attest, but live she gets to focus on singing - with a dynamic mix of warm, powerful clean vocals and black metal-esque shrieks her USP. I enjoyed seeing the band live last year, but I remember the sound mix being a bit muffled - but on Saturday they sounded very powerful indeed. Kicking off with the lengthy Songs Upon Wine-Stained Tongues, the band delivered a headline-worthy performance. Cowan was always the focus, her perfect vocal delivery and strong stage presence capturing every glance - but the rest of the band are just as key. Few can pull of fluid, tapped runs on his instrument like Peter de Reyna (bass guitar/vocals) can - whilst Jack Kosto (guitar) is full of neo-classical tricks to anchor the band's larger-than-life material. There were clearly quite a few fans in attendance, and Seven Spires were likely the band of the night when it came to the audience's reaction. Bands that do something different tend to turn heads - and I am sure that the powerful performance and generous sound mix gained Seven Spires a few new fans. It was good to hear a few different songs to those performed last year, too. Almosttown was an early highlight, with its good mix of gritty power metal and plenty of progressive flair, whilst the somewhat poppy Lightbringer reined in some of the band's usual excess to instead just focus on big hooks. Semkiw joined the band to duet with Cowan on that number, reflecting the two bands' long-standing friendship due to touring together previously, whilst she also showcased some proper operatic tendencies during a brief segment of the lengthy Love's Souvenir - where she followed a particular heavy section dominated by Cowan's harsh vocals with something more angelic. I would have been happy for Seven Spires to play for much longer, but sadly it was soon time for Gods of Debauchery and the end of the band's set. I can only hope that next time Seven Spires return to the UK they do so as a headliner - as hearing more from this excellent band live is something I am keen to experience. The setlist was:

A Fortress Called Home

Songs Upon Wine-Stained Tongues

Almosttown

Succumb

Lightbringer [w/ Ashleigh Semkiw]

Love's Souvenir [w/ Ashleigh Semkiw]

Wanderer's Prayer

Gods of Debauchery

Given the excellence of Marillion the night before, and Seven Spires' strong set, Xandria felt a little destined to disappoint. Whilst I do not think that they actually disappointed, their pretty typical symphonic metal felt a little one-dimensional to what came before. Given that the turnout was not exactly poor, too, the atmosphere in the room never felt that strong. Seven Spires had received a stronger reception, with Xandria instead receiving a warm, if somewhat muted, one. This was a shame, as I still think that Xandira put on a good show - but sometimes a support act just shines that bit brighter. Focusing on the positives, though, the band played much of their strong new album - kicking off with a powerful one-two punch of Eclipse and Colours. These were two of the heavier numbers of the night, with both featuring some harsh vocals from Vourvahis. I remember Vourvahis really impressing as a live singer when I saw the band before, but I did not feel that she was as strong this time. I think that she was having issues with her in-ear monitors at times, which cannot have helped, but she sounded a bit timid and flat at times - which was a shame. This was especially the case on the older songs performed - particularly those from the era where the band went all-out on operatic-style singers. She sounded strong on the more gothic anthem Ravenheart, but Forevermore later on did not fare so well in my opinion. Vourvahis can do operatic vocals to an extent, but she did not feel as powerful as I was expecting. On the newer songs, though, she largely sounded strong. The EP-only anthem Universal was new to me, but it came across well live - whilst the folky single The Shannon's Home was something of a highlight thanks to its big chorus and jig-like melodies. It was also one of the songs which Rob Klawonn (guitar) really shone on. As he is currently the only guitarist in the band's ranks, with Heubaum now on bass as previously mentioned, he had to do a lot of heavy lifting - but his riffing throughout was strong, whilst his soloing was busy. The folky The Shannon's Home allowed for some big guitar leads, too, and he even ended it with some acoustic guitar playing. That folky vibe was later returned to during Northstar, with more excellent guitar playing from Klawonn, but before that there was time for a few different vibes. The somewhat longer Two Worlds allowed for a slightly heavier, more progressive sound - whilst there was also a ballad in the form of The Last Generation played. The latter saw Vourvahis more at her best, and early on she stood alone on the stage to perform the gentle intro - before the rest of the band slowly joined in. Despite enjoying Seven Spires more, I still felt that Xandria's time on stage passed pretty quickly - and it was not long before a main set-closing version of Reborn received quite a strong reception. As the band left the stage, though, there was an awkward silence for a brief period - before some half-hearted calls for an encore started and the intro of Valentine started playing. A three-song encore followed, although I am not sure the crowd really deserved it, with the operatic Valentine and Nightfall looking back to the past somewhat. These were not Vourvahis' strongest moments, either, but the lengthy Lore that ended the night fit the bill more appropriately - with the dynamic and more progressive number a strong way to end the night. The setlist was:

Syzygy

Eclipse

Colours

Ravenheart

Universal

The Shannon's Home

Forevermore

The Grand Delusion

Two Worlds

The Last Generation

Northstar

Reborn

-

Valentine

Nightfall

Lore

I enjoyed my time with Xandria on Saturday, even if the crowd never really seemed to get that into the show - and with Vourvahis perhaps not at her best. It was good to see a headline-length set from the band after so many years, though - and with a decent-sized Birmingham crowd gathered. The band of the night for me though was Seven Spires - and I hope to see them again soon, this time with more time to allow their unique music to truly shine.

Marillion - Bristol Review

Even though this summer felt busier than some, it was still the case that gig numbers were down compared to the rest of the year. With bands concentrating on festivals, regular gigs tend to drop away somewhat over the summer, and start to pick up properly again around now - ramping up again throughout the autumn and winter. Looking at my schedule for the rest of the year, October and November are extremely busy - so gig reviews will be coming thick and fast over the coming months. September has not exactly been quiet, either, as it kicked off with a strong weekend in London taking in Geoff Tate and Bon Jovi - but this past Friday I was in Bristol for the first time for a few months seeing one of my all-time favourite bands: Marillion. I have been lucky enough to see Marillion quite a few times over the years - and, with the exception of 2020, I saw them live every year between 2016 and 2023. I did not see them in 2024, but I got back on the Marillion live train again last year with the band's set at the, sadly one-off, Kernowfornia Festival in Looe. That was a local show for me, so it was good to see the band live without having to travel a long distance and stay overnight - but it was actually my second time seeing them in Cornwall, having also seen them at Carnglaze Caverns many years ago. Not too long after that festival appearance, the band started announcing touring plans for 2026 - and a pretty lengthy run of UK shows was soon put on sale. Given its proximity to the South West, the Bristol show made the most sense - and, being a Friday, it worked nicely in terms of time off work. Whilst I have seen Marillion live a number of times and in a number of different venues, this was my first time seeing them in Bristol. I saw them in nearby Bath a few years ago, and the band have been regular visitors to Cardiff over the years - but Bristol has not been a regular destination for them since I have been following them. With the Beacon back in business following its lengthy closure and significant overhaul, it is likely one of the premier venues in the South West now, having looked tired and underused for many years, and I have been there a number of times recently. I have not been to Bristol that often this year, but I was last at the venue in January for Epica and Amaranthe's co-headline tour. I was standing on the floor for that show - but this time for Marillion I was sat upstairs, funnily enough not too far away from where I sat when I caught Fish's final tour at the same venue last year. When the band were originally planning this tour, given its length, I imagine that they thought that it would be celebrating the release of their next studio album. Marillion are not exactly known for their speed when it comes to writing and recording new material these days, though, so the tour just became an excuse to get out and play some shows - with the new album still unfinished. This is a shame, of course, but the album will come when it is ready - and I am sure that when it does it will be accompanied by another tour. It is always good to catch Marillion live, regardless of the circumstances, and it does not take much persuading to get me out of the house to see one of my favourite bands. The train journey up to Bristol was a strange one, with stops at some of the smaller stations cancelled due to overcrowding. I have certainly been on busier trains, so I am not really sure what the issue was, but it meant a delay at Exeter - although I only got into Bristol around 20 minutes late which was not too bad. The weather was not great, so after some dinner near the station I hunkered down in the hotel for a while, before taking the short walk to the Beacon - ready for an evening of live music.

Before Marillion took to the stage, the crowd was treated to half an hour of music from the Cornish band Haunt the Woods. Due to them being local to me, as well as forming at the same musical-based youth club that I used to attend, they are a band that I have been somewhat familiar with for years - but I had never had the chance to see them live until now. I do own their latest album, although it has never really grabbed me, but I went into their set with an open mind - as I have had been wanting to check them out properly for years. Whilst I am not sure that the band are 100% for me, as there is a bit too much of an earnest, singer-songwriter quality to their music, which is generally not a vibe I gel with, I nevertheless enjoyed their set - and half an hour passed pretty quickly. There are certainly some similarities between Haunt the Woods' sound and Marillion's, largely in their emotive depth and the way that the arrangements can be layered, but Haunt the Woods are less proggy overall - focusing more on the vocals of frontman Jonathan Stafford, with bigger musical moments a relatively rarity. That is not to say that such were totally absent, with Phoenix Elleschild (guitar/vocals) taking a couple of solos and including a few quite emotive leads into the overall arrangements - but largely there was a more organic, stripped back vibe to the band's sound, with songs usually growing from an acoustic guitar base and ending sounding much fuller. Haunt the Woods have a bit of history with Marillion, having opened for the band before at some of their famed 'weekends' - and Stafford was one of the team behind the ill-fated Kernowfornia. As such, and due to the band's growing presence in and of itself, there were certainly a few fans in attendance - and Haunt the Woods received a pretty warm reception from the off, not having to do too much to generate an atmosphere. This was nice to see, as Marillion do not always have strong support acts in my opinion - with many often feeling like something of an afterthought. The pairing this time, then, was much stronger overall and I enjoyed the band's set even if I am still not 100% sure that what they do is wholly for me. I will certainly give the album of theirs that I have another listen in due course, though, with this set still fresh in my mind.

As always seems to be the case at the Beacon, the night was well-organised and ran to time - so it was pretty much bang on 8:30pm when the lights went down and Marillion took to the stage. Distant Eastern melodies and helicopter sounds, alongside searchlights, heralded the opening number Gaza - with the mammoth political number back in the set after a few years away. I have always loved the song, and from the off the band sounded excellent. The sound mix was very clear without being too loud, so the nuances of the band's complex, layered sound were able to shine through. Marillion have never been afraid of kicking off with a long song, and for the next 15 or so minutes the large crowd was captured by some of the heaviest riffing of the night, delicate synths, Steve Rothery's (guitar) first big solo of the night, and frontman Steve Hogarth delivering emotive, powerful vocals. Unlike some of his peers, his voice remains excellent. He may have lost some of the control over his highest notes, but his power remains - and he was in rude form throughout the band's two-plus hours on stage. He also had quite a bit to say to the crowd. Some of this was enforced, as Rothery was having issues with his pedal board all night. The show was derailed slightly after Gaza whilst it was fixed for the first time, during which Hogarth and Pete Trewavas (bass guitar/vocals) treated the crowd to a partial, stripped back version of the old B-side The Bell in the Sea - but once Rothery was ready the band powered through Seasons End, with Hogarth showcasing his power and Rothery laying down one of the best solos of the night. Overall, the setlist was a good mix of songs that have dominated shows in recent years and some surprises. You're Gone and a new number Ribbons and Lace were rare upbeat moments in what was quite an emotive set. The new song certainly showcased the band's whimsical side, with more soloing from Rothery, whilst a truncated, largely instrumental take on Hotel Hobbies was the only look back to the Fish era. It worked surprisingly well as an intro to Afraid of Sunlight - a song which the band seem to never tire of playing. Treats for the die-hards later came in the form of Enlightened and Built-In Bastard Radar - two rarely-played numbers from the recently reissued marillion.com. The latter was particularly fun, as a rare, bluesy slab of hard rock - something pretty different when compared to the band's core sound. The second half of the main set really upped the levels of emotion, though, with the lengthy, multi-part Care wowing the crowd. The pandemic-inspired song has become a live favourite over the past few years - and the band nailed it, from its fairly funky, industrial bass-driven beginning to its soaring closing section. The piano-led section about three-quarters of the way through is always special, with Mark Kelly (keyboards/vocals) laying down some understated melodies. The Crow and the Nightingale which followed kept a similar vibe going - and the song has become one of my favourites from the band of late. Rothery's guitar playing throughout is always a highlight of any recent Marillion show. A couple of bigger numbers were then left to round things out, with Hogarth letting the crowd sing much of Easter. A medley of pieces from 1994's Brave rounded out the main set - culminating in a powerful version of The Great Escape, a song made for drawing concerts to a close with its soaring crescendo. Even with the various breaks to fix Rothery's pedal board, there was still time for more - and a two-song encore took the crowd back to the past. Both of the songs played dated from the very early days of Hogarth's time in the band, and he strapped on a guitar for the up-tempo pop rock of The Release, another old B-side that the band wheels out during encores on occasion, whilst the dense and soaring The Space... acted as the band's final statement. The Space... is not played live all that often, so it was good to hear it again on Friday - with Kelly's various keyboard melodies and Hogarth delivering one last time. It was a triumphant end to a powerful night of music - and the large Bristol crowd lapped it all up. The setlist was:

Gaza

The Bell in the Sea

Seasons End

You're Gone

Ribbons and Lace

Hotel Hobbies

Afraid of Sunlight

Enlightened

Built-In Bastard Radar

Care - Part I: Maintenance Drugs

Care - Part II: An Hour Before It's Dark

Care - Part III: Every Cell

Care - Part IV: Angels on Earth

The Crow and the Nightingale

Easter

Wave

Mad

The Great Escape

-

The Release

The Space...

Being one of my very favourite bands, Marillion never disappoint - but, given that I had not seen a proper headline show from them since 2023, Friday night in Bristol hit harder than it may otherwise had. A great sound mix and being in a great venue helped, but so did an excellent setlist that included plenty of favourites as well as a few songs I had not seen the band do live before despite having seen them live many times. With work on their new album still progressing, too, I would imagine there is another pretty lengthy UK tour planned around its release - neither of which can come soon enough.

Mastodon's 'Marrow Deep' - Album Review

Given that I cover a fair amount of progressive music on this blog, although perhaps not as much as I should, it may surprise some to learn that I have never written about the Atlanta-based band Mastodon before. Outside of the more traditional progressive metal scene, headed by bands like Dream Theater and Symphony X, and perhaps Tool who essentially sit apart from everyone else, Mastodon could well be one of the biggest names in progressive music. Their roots in the sludge and hardcore scenes, and their strong stoner influences, root them firmly in the metal world, although in a part far away from the more classically-inspired bands that dominate progressive metal, but there has always been a psychedelic and even a jazzy side to Mastodon that ensures a progressive leaning - and this influence has only increased over time. The main reason that I have not covered the band before is that, until recently, I just did not like them all that much. They are one of those bands that I have tried to get into a handful of times over the years - only to mostly bounce off. I came closest around the time their fourth album Crack the Skye came out in 2009. I was familiar with Mastodon by reputation before Crack the Skye dropped, but the album was the first of theirs I heard - and I liked it quite a bit without ever getting truly drawn in. I think I also checked out 2006's Blood Mountain around this time, and 2011's The Hunter not too long after it dropped - but neither felt as strong as Crack the Skye and, given that I still struggled somewhat with Crack the Skye, the other albums were not going to change my mind. Both Crack the Skye and The Hunter were much loved by prog fans around the time that they dropped - and over the years the band have perhaps become less popular with the metal crowd and more popular with the prog crowd. They have certainly gotten less heavy over time - and I think it can be easy to forget now how heavy the band could be. I somewhat enjoyed 2004's Leviathan when I found a copy in a charity shop a few years ago, maybe as it was on the heavier side, but, again, I was not exactly hooked. For some reason, though, a few months ago I decided to undertake a proper Mastodon journey - and I picked up all of the albums that I was missing, and listened to them all in order: from 2002's Remission to 2021's Hushed and Grim. I found quite a bit to enjoy - and my Mastodon fandom has never been higher than it is now. I would still consider myself a casual fan, but I have enjoyed the journey - which has led up to the release of ninth album Marrow Deep, the band's first album in five years. In some ways, Marrow Deep seemed like a good place to truly dive in. It is the start of a new era for the band, as it is their first album without guitarist and vocalist Brent Hinds since his departure, and subsequent death, last year. Hinds' departure was the first proper line-up change in the band's history - with every album up to and including Hushed and Grim being written and recorded by the same line-up. As such, Marrow Deep is a notable Mastodon release - and the band's first album as a five-piece. Bassist and vocalist Troy Sanders, guitarist Bill Kelliher, and drummer and vocalist Brann Dailor now form the core of Mastodon - with guitarist Nick Johnston and keyboard player João Nogueira (Terra Prima; Dol Guldur) rounding out the current line-up. Nogueira played on Hushed and Grim as a session musician and had been touring with the band since 2021 - but Johnston is a new face. Whilst the core three wrote most of the songs here, both Johnston and Nogueira also have writing credits.

Sound-wise, Marrow Deep is not too dissimilar from the band's other recent efforts. This is quite a psychedelic release, although the album does rock pretty hard in spots. Keyboards play a bigger role in the band's sound than ever, with Nogueira employing plenty of retro sounds, whilst Johnston brings a perhaps more typically guitar hero style which differs from Hinds' approach. Hinds' voice is missed, of course, but Sanders and Dailor between them sound great - and there are a few guest vocalists throughout that add some additional variety. Hinds had sung less in recent years in any case, so the change is perhaps not as drastic as it could have been. As with most of the band's albums Marrow Deep is quite lengthy - with 12 songs here clocking in at just over the hour. Kicking off with Barbarians Blood (noting the disappointing lack of an apostrophe), a lumbering, percussive drum pattern from Dailor opens the album - over a which a slow-burning, bluesy riff is laid, showcasing the band's stoner influences from the off. As the opening riff intimates, this is largely a mid-paced and groovy number on the whole. The opening riff is quite slab-like, with Sanders soon adding his howling vocals over the top. The opening vocal section resurfaces throughout the track, whilst snappier, quieter sections with juddering guitar patterns and atmospheric keyboards rein in the heaviness. Whilst this album certainly fits nicely alongside the band's other more recent releases, it does feel a bit riffier than some of them. Kelliher has written quite a few memorable riffs for this album - and there are a few in this song alone, with an off-kilter heavier one later backing a flashy, old-school synth solo. A few moments of twin lead guitar showcase the band's self-confessed love of Thin Lizzy, whilst stabbing riffing elsewhere is a bit of a hark back to heavier times. The song is a bit of a mix of everything, then, with the band firing on all cylinders. Poisonous Weapons feels a bit heavier initially, with more of a driving, jagged guitar riff kicking things off - which, again, is repurposed throughout, usually with Sanders singing over the top in his gruffer, yet still clean, delivery. His bellowing vocal style is full of character, whilst jazzy, quieter sections act as something of a respite - with chiming clean guitar melodies, off-kilter basslines, and shuffling drum grooves. Dailor sings over some of these sections, but some are left instrumental - with grinding keyboards also doing a lot of heavy lifting. The vocal interplay between Sanders and Dailor has grown organically over the years - with the former generally taking the heavier sections and the latter the more melodic. That clash of styles works well here, whilst Johnston lays down his first proper solo of the album later on - with some bluesy motifs sounding strong. Picking up the pace, lead single Your Ghost Again is Mastodon at their chaotic best. The fast-paced main riff has that barrelling yet off-kilter vibe that was a hallmark of the band's early days, whilst Dailor's hard-hitting drumming showcases those hardcore roots. There are uncompromising moments here, then, with some of Sanders' most aggressive vocals - but there are also spacey moments with plenty of keyboards which cut in occasionally. Generally, though, this song is heavy - and is less dynamic overall than is typical. There is a pretty hooky chorus, but it remains pretty fast-paced and tough-sounding, whilst Johnston shreds in a more overtly metallic way than is typical of Mastodon at this point. The mix of the faster riffing, big chorus vocal hooks, and a jazzy outro with fluid riffing and busy bass playing is likely to make the track a winner live.

Snakes for Dinner is one of the more instant songs here. Mastodon songs tend to take a few listens to settle in, but I found this one memorable from the off - with some excellent drumming from Dailor early on and some guitar riffing that is, again, a little more metallic than is the norm. The addition of some rumbling organ in the background is always going to draw me in, too. Mastodon have utilised keyboards before, of course, but Nogueira adds a lot to this album in my opinion. The guitars still dominate, but there are so many strong textures on this album - and the ever-present organ here sits nicely against the snappy guitar riffing. Structure-wise, this song is a bit simpler, too, with tougher verses, with vocals split between Sanders and Dailor, alongside a pretty soaring chorus that sees the two singing together to great effect. The chorus vocal melodies really stick in the brain for me, and it is one of the album's true sing-a-long moments - whilst the second iteration is followed by a great, lengthy, retro synth solo. The first of the album's guest vocalists is utilised here, too, with Josh Homme (Kyuss; Queens of the Stone Age; Eagles of Death Metal; Them Crooked Vultures) adding his drawling voice to the ending segment of the song - his voice standing out from the band's two main singers' to add something different. Out Like a Lamb reins in the heaviness somewhat. It opens with a pretty acrobatic guitar riff, but it feels more 1970s in tone, with less of a metallic bent - which the song doubles down on when Dailor starts to sing. A version of the riff sits under his voice, but it is mixed into the background - with percussive drumming and the synths largely dominating. There is a strong psychedelic vibe to the main verses, then, with later verses seeing different synth textures popping in and out, although the song does get a bit heavier again during a lumbering chorus - which sees Sanders take over vocally and some double bass drum patterns. The spacey vibes are later returned to when the opening riff leads a bridge section in its fuller form - over which synth melodies flash. Mellotron is also made use of later on, making the second half of the song sound even bigger - whilst a lengthy guitar solo, followed by a proper distorted organ wig out, leans fully into the band's prog side. In the Ruins continues down a proggy path, with more of a stripped back sound - losing some of the metal and focusing on warmth and emotive vocals. Early Pink Floyd and those dense ballads found on early King Crimson albums feel like a touchstone here, with whimsical, distant vocals floating around the mix early on - whilst a surprisingly busy drum groove and percussive guitar patterns form a sweeping backdrop. Some of the album's gentlest moments are found here, then, and there is a meandering quality to parts of the song - with subtle guitar leads coming and going. As if to be deliberately varied, though, there are also some distinctly heavy sections - which roar into life in a surprising manner, with Dailor unleashing some double bass drum patterns whilst snarling guitars take over. These sections perhaps feel heavier than they are due to the quieter nature of much of the song, but there is certainly a strong contrast between light and shade here - with one of the heavy sections also containing a pretty epic guitar solo. Mastodon songs always need a few listens to fully appreciate, and this one is no different, but the smashing together of two sounds works well for me on repeated listens - and it is a song that has become a bit of an overall highlight for me.

They're Coming for You (this time with a correct apostrophe) is a bit of a riff-fest, at least early on. With the band largely going for heavy, stonery riffs in the main - the opening minute or so of this song feels like 'proper' prog metal. The kinetic guitar playing of Johnston and Kelliher is busy and interlinking - with melodies aplenty in their playing. I love how the riffing varies slowly as the instrumental opening moves along - whilst Nogueira later joins in with his keyboards, adding an extra layer of energy to the song. Even when the busier riffing finishes, and the band settle into more of a bluesy, mid-paced groove, the song still feels quite busy - with Sanders and Dailor trading vocals across lengthy verses that feature intricate drumming, a mix of riffing and sparser moments, and more synths. There is always something new to hear as this song progresses, and it feels like a truly progressive piece of music as a result. The band do not want to sit still at all here - with a few heavier sections kicking in later on, with Sanders bellowing the vocals with real power. Neo-classical keyboard runs and another pretty lengthy guitar solo add a lot to the song - which is another overall highlight for me. Golden Spires has a buzzing opening riff that somewhat feels like it comes in from a distance. It repeats a few times over some percussive drumming - before the band lunch into a bit more of a chaotic verse that ups the heaviness and has something of an old-school vibe. There are certainly shades of albums like Leviathan during the heavier moments of this song - and there are times when Sanders' vocal style approaches the tone of the late Hinds. As with most of the songs here, though, this is quite a dynamic number - with Dailor taking the lead vocally during some spacier sections that flourish thanks to layers of synths and a great bass underpinning. The contrast between light and shade is perhaps not as pronounced as it was during In the Ruins, but the song goes for a similar approach - even if the two approaches feel a bit more cleanly integrated this time. This has been Mastodon's way of working for a long time at this point, though, so the collision of worlds should not come as much of a surprise - with Johnston once again delivering with a couple of memorable guitar solos later on. Moth and Bone opens quite slowly, with some distant guitar melodies - before a fairly organic acoustic guitar pattern cuts through the haze, against a shuffling drum groove. In terms of a a proper old-school prog sound, this song is one here that delivers on that approach in a big way. The shuffling drum beat is just a bit left-field to allow for a prog groove to settle in - whilst Nogueira really shines here as he adds his retro synth melodies over the top of the warm acoustic guitar backing. Vocal harmonies and the synths add to the warmth, but the song does grow from this sparser base. It does get heavier, although it never feels truly heavy. The tougher guitar tones here feel more retro in nature, and the vocals are never as aggressive as they can be - staying melodic as the synths still cut through. The contrast between the light and shade is another strong example of such here - even if the whole song retains a retro feel. Even the heavier moments, including some later sections that feature double bass drumming, feel less metallic and more old-school, hard-hitting prog rock - with the vibes conjured up early on by the acoustic guitars and synths never truly leaving.

The last three songs all feature guest vocalists - with A Vampire's Demeanour (another correct apostrophe) up first. Nate Newton (Jesuit; Converge; Old Man Gloom; Doomriders; The Ocean Collective; Cavalera Conspiracy) and Randy Blythe (Lamb of God) add their voices to the track - which is heavier overall than the last few, returning instead to the more hard-hitting way the band opened the album up. Vocally, the song feels a bit more aggressive than has generally been the case up to this point. There is more of a hardcore vocal approach taken throughout - with Sanders, Newton, and Blythe using harsh and screamed vocals to sit nicely against the heavier and sludgier riffs which make up the bulk of this song. As such, this song feels like a real hark back to the band's early days. Mastodon have rarely been this consistently heavy for sometime, and the heavy riffing and grinding grooves of the track should please all old-school Mastodon fans. There is little of the prog and the light and shade largely seen elsewhere here - but as a flat out metal track that turns the clock back somewhat I think the song succeeds. The Vanishing opens with quite a lengthy bass intro, provided by Geezer Butler (Black Sabbath; Ozzy Osbourne; Heaven & Hell; Deadland Ritual). Butler played a number of bass intros of this nature on Black Sabbath's early albums, and this song sees him harking back to those times - his fuzzy, acrobatic playing opening what is actually quite a progressive number. The bass intro seems like it might give way to something heavy and doomy, but actually a popping drum groove and spacey guitar melodies soon take over - whilst dreamy vocals from Dailor dominate. In terms of old-school prog, this is another that really harks back to the 1970s. Black Sabbath could at times be rooted in prog, so the bass intro is not totally out of character, whilst meandering guitar riffing, occasional dancing guitar leads, and warm synth melodies constantly weave in and out of the mix - building a dense song that is easily the most atmospheric thing here. I really like the more straight ahead lead guitar approach that Johnston has brough to Mastodon - and his guitar solo here showcases why. It feels quite heroic at first, before settling into some legato runs that fit nicely with the core vibe of the song. There are some slightly heavier sections, which feature brief harsh vocals from Joe Duplantier (Gojira; Cavalera Conspiracy), but largely this is a song that revels in soundscapes and an old-school sound. The album then comes to a close with The Three Fates, the longest track here at just under eight minutes. Neil Fallon (Clutch; The Company Band; The Bakerton Group; Dunsmuir) is the final guest vocalist here, with the song having something of a three-part vocal approach as a result. In many ways, the song feels like bits of everything that has come before. There is heavier riffing early on, but it is not as heavy as some of the examples here - but the song meanders through various sections. There is something of a strange spoken word section during part of the song, under which the band groove away in a retro fashion, and there are also some quite lengthy instrumental sections here that return to jazzy influences - particularly when considering Nogueira's keyboard playing. There is a sparse guitar and keyboard solo interplay section late on which feels pure jazz - although it does later expand into something more metallic and sweeping. It is definitely the song with the most instrumental experimentation - and it helps the album to end on a technical and progressive high. Whilst there was a journey to get here, Marrow Deep feels like the first Mastodon album I have truly digested. I enjoy much of it, and it is an album that continues to impress. Maybe this will be my true gateway to Mastodon, but even if I remain a casual fan I will be grateful for the proper introduction - and given the line-up change it is great seeing the band still sounding so powerful and so like themselves.

The album was released on 28th August 2026 via Loma Vista Recordings. Below is the band's promotional video for Snakes for Dinner.

Kamelot's 'Dark Asylum' - Album Review

Given how much new music I listen to each year, which is significantly more than I get the chance to review here, it can sometimes be easy to get blasé when it comes to new album releases. Most weeks see at least one new album of interest drop - and in choosing to review many of them, taking in the near-constant stream of new music can sometimes feel a bit like a second job. I have never made any money from this blog, and every album that is covered here I have paid for. I have never been sent anything to review, with the exception of releases by a couple of small-scale bands a number of years ago that I was somewhat friendly with, so this blog is 100% my own personal outlet for what interests me musically. With all that being said, it can sometimes be easy to lose sight of what an event a new album release can be. Even bands that I love can get lost in the shuffle sometimes, especially when four or five new albums drop on the same day, and it is quite rare that I treat a new album release as something of an event. There are a handful of my very favourite bands that do still receive such treatment, though. Mostly Autumn and Marillion are the obvious two, and given that both are currently working on new albums I hope to have that experience again soon, likely in 2027, but the US-based, multi-national power/symphonic metal act Kamelot are another. I had already started listening to both symphonic and power metal before checking out Kamelot, as I am pretty sure my love of Nightwish and Epica pre-dated my love for Kamelot, but they were likely the first band that I listened to that fused both sounds together - alongside that gothic melodrama that has always set Kamelot aside from most power metal bands. No other band truly sounds like Kamelot, and those that come close have likely done so deliberately. Serenity are the band that has likely come closest in the most authentic manner - but Kamelot remain in a league of their own, even if their sound has somewhat shifted over the years. I think that most would agree that they are no longer pushing the envelope of what their sound could be. though, instead settling back on a long-established core sound and a knack for writing great songs. There are still some minor shifts, with the band occasionally diving into heavier territories, but generally the Kamelot core sound is safe and sound - and their particular brand of melodic and lush bombast can be heard on their recently-released fourteenth studio album Dark Asylum. Following three years on from 2023's The Awakening (which I reviewed here), Dark Asylum continues on the more upbeat and overtly melodic approach of the previous album. The Awakening felt like something of a course correction, following the darker and more mechanical The Shadow Theory (which I reviewed here). Whilst I like The Shadow Theory, it is one of the band's weaker efforts overall in my opinion - and it lacked much of the heroic nature of Kamelot's core approach. The Awakening brought it back after a five year gap - and, if anything, Dark Asylum has doubled down. In terms of pure hooks and choruses, Dark Asylum may well be one of Kamelot's strongest releases. It does run out of steam somewhat towards the end, but the first three-quarters of the album contains some of the most overtly-memorable songwriting that the band have committed to tape. On the whole, though, that does come at the cost of the band's progressive flourishes. Most of the songs here are on the short side, with straight forward arrangements, so those who enjoy their knottier, layered numbers will not find much of that here. Those who love guitarist Thomas Youngblood's soaring lead melodies, keyboard player Oliver Palotai's sweeping orchestrations and flashy synth solos, and frontman Tommy Karevik's smooth, dynamic vocal melodies, though, will find a punchy Kamelot album that, more than ever, focuses on hooks.

It is also the band's first concept album since 2012's Silverthorn - although I am not 100% what Dark Asylum is about, aside from the fact the story seems to take place in RavenHill Asylum. An understanding of the concept is not required to enjoy this album, though, as the hooks do more than enough heavy lifting. As is typical, the album gets underway with a largely instrumental scene-setter in Sanctorium. There is some semi-whispered spoken word to kick things off, before swirling orchestrations see that classic Kamelot symphonic sound take hold. It soon segues nicely into lead single Ashen World, though, a song that really grabbed hold of me from the first time I heard it. As much as I liked the last album, I am not sure its opening song was one of its strongest cuts - but Ashen World is modern Kamelot at their best. Youngblood's soaring guitar lead is instantly memorable, whilst the bombastic, staccato stabs of the rhythm section get the blood pumping - before drummer Alex Landenburg lays into his double bass drums. As is often the case with Kamelot, the song is a mixture of pace and smoother moments - and once Karevik starts to sing the track is more mid-paced. The smooth verses feature vocal melodies that include a few subtle twists to keep things interesting - and Karevik continues to really impress. As was the case on the last album, his vocal melodies here are often brighter - seeing some more of the side of his voice that he used to use with Seventh Wonder. I love the smooth verses here, and the melodies really stick in the brain - before a heavier and faster chorus kicks in, with double bass drumming and urgent, anthemic vocals. Later verses are more bass-heavy, with bassist Sean Tibbets shining, but they are still somewhat smooth - with the contrast between them and the chorus a strong one. Ignacia Fernández (Decessus) later adds some growls to a bridge section, 'harmonising' somewhat with Karevik, continuing the band's trend of using an up-and-coming guest vocalist on each album - before a shredded guitar solo and a final chorus bring the song to a close. The album's title track follows, with the song slowing the pace somewhat and being more of a hard-hitting mid-paced number throughout. The song opens with some juddering guitar riffing, although the guitar and drum patterns morph to become a bit more off-kilter as the intro moves along. It is epic and memorable from the off, before the main verse here feels heavier - with more of a snappy rhythm guitar presence and some piano counter-melodies. There is just generally more of a toughness throughout, with later segments of the verses picking up the pace - whilst the chorus is smoother, with warm vocal melodies, plenty of orchestrations, and driving guitars. Despite this core sound remaining, there is a piano break, which includes some higher-pitched vocals before the second chorus - as well as another excellent bridge section. Both guitar and keyboard solos are included this time, with the song being another pretty instant highlight for me. Whilst not a pure ballad Sanctuary is slower and more deliberate, with more gothic overtones. Fernández adds some growls again here, whilst Clémentine Delauney (Whyzdom; Serenity; Visions of Atlantis; Exit Eden) also adds her voice to the song - duetting more traditionally with Karevik. The opening of the song, with its slower pace and gothic choirs, hits hard - whilst the verses are more piano-based, seeing the heaviness stripped away. Karevik sings the first verse, whilst Delauney takes the second - with the two joining forces for the chorus, whilst Fernández adds some growls here and there. The chorus is another moment here with subtle vocal twists that elevate the song above the norm - whilst the more deliberate pace and emotive vocal interplay make what could, in the wrong hands, be a bit of a dreary number another excellent cut.

Following the brief orchestral interlude Nocte Veritas, One Last Masquerade kicks in - with yet another guest vocalist in the form of Tobias Sammet (Edguy; Avantasia). The guest spots are largely frontloaded here, which is a bit strange, but they all add something positive to the album in my view - and Karevik and Sammet previously duetted on last year's excellent Here Be Dragons (which I reviewed here) by Avantasia. Even though Sammet has not had a hand in writing the song, he certainly could have - and if I had been told that the song was recorded during the Here Be Dragons sessions I would have believed it. Whilst the verses are murky and much more Kamelot-coded, the main opening riff really feels like something Sammet could have written (think Twisted Mind) - as could the chorus, which is less theatrical and gothic, instead more playful and traditional crunchy European power metal. Despite this, the song does not feel out of place on the album, it just makes Sammet's presence feel at home - and there is enough Kamelot here to make the song work. The band slow things down on the following song, with the ballad Ivy, My Dear the gentlest piece here. Written by Karevik and regular behind the scenes collaborator Michael 'Miro' Rodenberg, all of the band's usual bombast is replaced here by delicate piano melodies, acoustic guitars, and folky strings. There is no metal at all here really, despite some more percussive moments, with Karevik allowing his emotive, delicate vocals to dictate everything - whilst subtle flourishes from the acoustic guitar and the strings occasionally add depth. The song never builds towards something bigger, and its gentle nature works well - sitting nicely alongside the more stripped back Kamelot folky ballads of the past. Immediately returning to something more upbeat, single Godlike Alchemy is a great example of Kamelot's poppier side. The opening guitar leads are full of that heroic nature that has been a part of the Kamelot core sound since the 1990s, whilst the song dispenses of much of the gothic drama that the band often operate within. As such, this is one of the band's most overtly poppy power metal tracks yet. It is bouncy and pretty feel-good overall, despite the strings and orchestrations being pretty dense - with Karevik really channelling his Seventh Wonder vocal style, and even throwing in some pretty high-pitched melodies at times. The chorus sticks in the brain after only a single listen, and the rest of the song hangs around it. This one might be a big sugary for some, but I like it as something of an explosion of fun. The Sleeping Mind (Orphic Paradigm) is much more typically Kamelot, though. It remains full of hooks, but there is a lot more of a gothic feel this time. Fast-paced, the song opens with some more excellent lead work from Youngblood, before snappy riffing backs a faster verse, with gothic piano melodies ringing in the background - as Karevik is more emotive vocally. The faster Kamelot songs generally feel more upbeat by default, and there is less of their brooding nature on display here - but there is still a darkness when compared to the previous song, with a chorus that is both dark and hooky, with more of those slightly off-kilter vocal melodies that elevate things. Kaleidoscope is similar, although the pace is reined in somewhat - with precise double bass drumming backing another big guitar lead, before a strident verse takes over with dancing stings and tough guitar accents between Karevik's melodies. Compared to some of the songs here, this one feels less memorable - but it is still a pretty strong effort. The chorus is much more gothic, meaning it takes a few more listens to fully appreciate, and there are some heavier moments here with some pretty venomous double bass drum patterns.

For me, the rest of the album is largely not as strong as what has come up to this point. Enigma (Think of Me) may be my least favourite song here, and the ballad just does not really have the hooks to take hold. The opening is quite heavy for a ballad, but the verses feel a little dirgy - with a rumbling bass presence and the piano mixed too far into the background. Karevik often excels during slower numbers as he has such an emotive delivery, but the verses here do not feature his best efforts in terms of melody. The chorus is an overall improvement, as it is a little tougher and Karevik's melodies are stronger, but overall the song still does not really latch on - and, in some ways, it seems caught in between wanting to be a proper stripped back ballad and a more gothic, mid-paced number. As things stand, it has the benefits of neither, with the song overall a rare misstep in my opinion. Cassandra's Disease gets things back on track, though, and it is a song more in-keeping quality-wise with what came before. In some ways, the song sounds like what the previous one could have been had it been heavier and more of a proper rocker - as Cassandra's Disease is more overtly gothic, with mechanical riffing early on creating genuinely headbanging vibe. Slow-burning verses are still packed with weight thanks to Youngblood's guitar playing - whilst the chorus is a winner on the level of many of those heard earlier on, with yet more off-kilter vocal melodies. The number of excellent choruses on this album is what has kept me coming back over the past few weeks, and this is the last of the really big ones - with the song a late-album highlight thanks to its grooves and hooks. Beneath the Moon (Tunglið) is a strange number, totally sung in Icelandic by Rannveig Sif Sigurðardóttir and Sólveig Sara Leupold (the former of whom actually sang on 1999's The Fourth Legacy). The main musical hooks come from Lea-Sophie Fischer's (Eluveitie) violin, too, so there is not much Kamelot to be heard really - and Karevik is absent. I am not really sure why this song has been included. It sounds nice and folky, but it has nothing really to do with Kamelot sound-wise. I can only assume that it is part of the overall concept. It is really short, too, at just over two minutes - so the whole thing feels very strange. The last proper song here is The Puppet King, which immediately gets back to sounding like Kamelot after the previous Icelandic adventure. It is pretty fast-paced early on, although the main verses are more mid-paced overall - building towards a fast-paced chorus. Unfortunately, though, this is one of the few songs here that does not really excel chorus-wise. Overall, the song is just a bit generic - and does have a bit of a feeling of being filler, even though there is an excellent bridge section later on. It is also short, too, at just over three minutes - which is odd given that it is essentially the album closer. There is no epic finish here, then, which is a real shame - and the band have dropped the ball a bit when it comes to rounding things out. Sanctum Requiem is true closer, but it is a piano-based instrumental outro which does not link back to The Puppet King that well to give the two together the feeling of proper closing statement. It is a real shame, really, as had the album had a proper, epic closing number then Dark Asylum could have been one of Kamelot's best albums. As things stand, it is a strong effort, with some of the band's best individual songs for a while, but it is let down by a neglected back end that features undeveloped songs and strange inclusions. A number of the songs here will be excellent live, though, and due to the anthemic nature of most the album I can see myself coming back to it a lot - with one of my favourite bands delivering, for the most part, again.

The album was released on 28th August 2026 via Napalm Records. Below is the band's promotional video for Ashen World.

Marilyn Manson's 'One Assassination Under God - Chapter 2' - Album Review

It is always great when a musician that has perhaps experienced something of a career lull returns with a bang - releasing a new album that makes people sit up and take notice again. Whilst I would not call much of what he released prior to his last album bad, I think that it is fair to say that 2024's One Assassination Under God - Chapter 1 (which I reviewed here) was generally considered to be Marilyn Manson's best album for quite some time. I had quite enjoyed the rawer, stripped back, bluesy sounds that he forged on 2015's The Pale Emperor (which I reviewed here) and 2017's Heaven Upside Down (which I also reviewed here), but they were unlikely for everyone. At the time, though, they felt like a bit of a breath of fresh air. Ironically, I think that it is fair to say that Manson's true golden age closed out with 2003's The Golden Age of Grotesque, and some would not even include that album in his generational early run of classic albums, and, for me anyway, The Pale Emperor and Heaven Upside Down were his strongest releases since that classic era. 2007's Eat Me, Drink Me saw Manson trying something poppier and more synth driven, with mixed results, whilst both 2009's The High End of Low and 2012's Born Villain were quite tame rehashes of the classic Manson sound. The Pale Emperor felt fresh, then, but Manson's star had faded quite significantly by then - and his live shows no longer received the reviews that they had. 2020's We Are Chaos (which I reviewed here) moved back towards his classic sound again, but the album has not really stuck with me despite enjoying it at the time. It was released during the pandemic, so it never really got all that much attention - and Manson's career was essentially put on hold shortly afterwards due to a string of sexual abuse allegations. Whilst he has never formally been charged with any crimes, various controversies still dog him to this day. He has settled out of court with at least one alleged victim, which could mean anything, and due to the age of some of the accusations they were not pursued by the prosecutors. We will probably never the know the truth, and Manson remains a controversial figure - with the stigma of the numerous allegations likely to remain. Despite this, though, he remains defiant - returning to his career in 2024 with a well-received tour and the aforementioned One Assassination Under God - Chapter 1. Despite liking those 2015 and 2017 releases quite a bit, One Assassination Under God - Chapter 1 was much better - and really the first truly classic Manson-sounding album since The Golden Age of Grotesque. It retained characteristics from the newer albums, too, so felt like a proper mix of old and new - with Manson renewing his creative relationship with Tyler Bates, who co-wrote and produced the 2015 and 2017 albums. I really enjoyed One Assassination Under God - Chapter 1, as well as the UK tour I saw him on last year, so I was really looking forward to what would follow. The 2024 album's title suggested more was to come - and last month One Assassination Under God - Chapter 2 was released. Recorded at the same time as the first part, Manson, Bates, and drummer Gil Sharone (Stolen Babies; The Dillinger Escape Plan) are responsible for everything here. This album hits nowhere near as hard as the previous one, and it is clear that it was intended to be more experimental and atmospheric compared to the harder rock edge of the last one. It is likely to be Manson's last collaboration with Bates, too, who has since left the Manson machine, perhaps under something of a cloud, to be replaced by a returning face from the classic era in Tim Skold.

I struggled with this album somewhat at first, and it is still a bit of a disappointment compared to the previous effort, but it has grown on me over the past month or so. The opening cut Unalive is one of the stronger tracks here, and it does somewhat hark back to the previous album. Swirling synths open up the song, before a strange keyboard melody, percussive drumming, and bluesy guitar leads take over. Manson has been sounding much stronger vocally of late than he has done for quite some time, and that is replicated throughout. He starts singing slowly here, against the strange keyboard melody as a lumbering drum pattern kicks in, whilst injections of heaviness act as something of a chorus - seeing Manson's more screamed approach against some stabbing, heavy guitar chords. These moments showcase more of the classic Manson aggression, but sadly those moments are fairly rare throughout this album - and even much of this song continues in a fairly low key manner, with rumbling bass playing and mournful vocals. That being said, though, there is quite an industrial mid-section later on - with effects-heavy vocals and screaming guitar melodies that do up the overall heaviness somewhat. The song in and of itself is well paced and put together, though, and it is certainly up there in quality with the songs on the last album - so it is one of the overall highlights here. Don't Answer the Door opens with some dark, chiming guitar melodies - under which a pulsing synth bass note rings out and Manson starts to sing in that semi-whispered manner that he has often adopted. The intro is quite effective, and it feels as if the song is going to explode further from this spooky intro - but the main song itself is pretty restrained. The opening guitar melody remains, albeit against a fuller, post-punk backing - with sparkling synth melodies and a driving bassline. There is no urgency to the song, though, and it somewhat creeps along. Manson sounds strong vocally, but the pace feels too deliberate and slow to ever get the blood pumping - although there is a slightly heavier mid-section that does include some tougher guitars, although this section is short so acts as a point of difference rather. This is the sort of song that would have worked well as a slower number in the middle of a heavier album, but as the second song in it rather does kill the early momentum whipped up. Front Toward Enemy is more energetic, though, and there are shades of the classic Manson sound here. Early on, the song gets underway with some thrashy, industrial guitar tones - stabbing away at pace as Manson screams rhythmically above them. This heavy section later resurfaces as a chorus, and there are some other generally tougher moments here - whilst the verses are the point of difference this time, with a snaking bassline and interesting drum groove the main backing for Manson's vocals. Whilst I had not heard the song before, it was actually released back in 2024 as the B-side to Raise the Red Flag. There are certainly similarities here with the last album - and it is a shame that one of this album's better cuts had already been released, even if in a limited capacity. That being said, this energetic and angry song remains a highlight here - with guitar tones that really hark back to the classic days and plenty of that Manson caustic nature that made him so popular in the first place.

All the Vilest Things is a song going for a much more expansive and cinematic sound. It is also one that somewhat returns to the more organic sounds of the 2015 and 2017 releases - as the verses have a strong acoustic guitar backing that is not something very commonly found on Manson's albums. Dirgy and fairly slow-paced, the song has a strong ballad feel - with emotive verse vocals, backed by the acoustic guitars and chugging bass playing, and spacey synths doing quite a lot of heavy lifting during the chorus. I do like the keyboard playing throughout the song, as it is surprisingly melodic and has shades of a progressive rock approach. I noted that the last album had occasional shades of 1998's Mechanical Animals, and this is another song that harks back to that approach. The synths are reminiscent of that album, as is the slightly rounded-off guitar tone - with something of a guitar solo thrown in later on which helps to elevate the song further. It is certainly a grower, as it was not a song that stood out initially - but I really like the overall expansive approach, even if there is little of the classic bombast and anger from Manson here. None of the Suns is strangely groovy, with a bit of a classic rock strut on show from the off. An ever-present bassline sets a kinetic and groovy tone from the off, whilst Sharone lays down another pretty interesting drum beat. The classic rock vibes here are in the groove, really, as this is not a song that ever really feels all that heavy. There is an energy to it, largely thanks to the rhythm section, but there is little in the form of big riffing here - with the guitars often stripped away. When they do join in, they tend to be laying down mournful leads or occasional rhythms - with the bass instead the main driving force, whilst the synths also flesh out the arrangement. This is also another song with a bit of a 1980s post-punk influence - but this time it is presented in a more energetic manner, even if the song overall is still relatively restrained. Lucifer's Tear continues on in a similar manner, although it ups the pace somewhat - with a bit of a Sisters of Mercy-esque groove and energy throughout. Like the last song, too, there is no real heaviness here. The chorus does feature more of a classic rhythm guitar backing, but it is not all that heavy, with the bass once again the main driving force - whilst the guitars lay down old-school gothic clean guitar melodies. The energy of the song largely comes from the snappy drumming, then, as well as from Manson himself who has more of a spitting vocal approach this time. Faster, snappier vocal melodies are a big feature of this song - whether during the gothic verses or the somewhat more rocking chorus. The song's main pace and groove never really lets up, either, regardless of what is in the background - and I do like this consistent approach even if I wish that parts of the song were heavier.

The Arsonist slows the pace right down, going for a mournful and creeping approach - with chiming, dark guitar melodies and some fuzzy bass playing. Despite the slower pace, though, there are some moments of heaviness here - and the song overall has a real darkness to it. This is, at least, until the chorus - which is surprisingly bright. The chorus again reminds me of the approach taken throughout Mechanical Animals, with those 1970s-style vocal melodies and guitar leads, but the rest of the song is darker and much more overtly industrial. The drumming feels much more processed and programmed at times here, whilst juddering, heavier sections see darker guitar chords and slightly more aggressive vocals that are a bit of a contrast compared to the slower-moving and more atmospheric main bulk of the song. It is quite a varied piece, then, which is welcome - and some dark piano playing towards the end fades the song out nicely. Lead single Exit Wound is a bit more overtly rocking, with a loud, industrial drum beat kicking in early off - over which some aching, distorted guitar melodies are soon overlaid. In many ways, though, this song is very much classic Manson in approach. There is a good mix of melody and aggression here, with some strident and confident vocals - crooned in a powerful manner against a driving verse bassline. There is also some heaviness here, with some true riffing during parts of the song - adding a classic heavy metal sound at times with snappy power chord patterns that are pretty hooky and stick in the brain. This riffing gives way to a pretty hooky chorus, too, that is quite anthemic and sure to go down well live. This song is more akin to the sound forged on the last album. It is clear that Manson wanted to try something a bit different with this second part, leaning more into his atmospheric side - but this song is overtly rockier, with stronger initial melodies that latch on from the off. It is one of my favourite cuts here as a result, and hearing Manson sounding this vital is always a good thing. The album then comes to a close with Enantiomorph, a song that opens slowly with some distorted and mournful spoken word - as some strummed guitar chords fade into view, only then to be replaced by some deliberate piano notes and some white noise drumming. In many ways, the song is the culmination of many of the other slower moments on this album. It really is a slow-moving, mournful piece that goes for a more emotive and atmospheric sound and there is no weight to this song at all. Occasional screaming guitar leads mixed into the background are the closest the track gets to a proper distorted sound - with much of the song being mournful bass playing, percussive drumming, and layers of synths. Manson sounds strong vocally, and there are some organ sounds mixed in later on which work well, but this sort of sound is generally my least favourite of Manson's sides. It does have a closing vibe in the sense of songs like Coma White, and it is clear Manson was trying something similar here, but the song is nowhere near as memorable as that example - and the album does end on something of a dreary note as a result in my view. As I said earlier, this album has grown on me but it does lack the power of the previous album. That was likely intentional but it just feels less vital overall for me - and some more riffs here would have been welcome. With Skold back in the fold it will be interesting to see if they revive their previous creative partnership - so it will be fun to see where Manson goes next.

The album was released on 14th August 2026 via Nuclear Blast Records. Below is Manson's promotional video for Exit Wound.