Buckcherry/Michael Monroe - Torquay Review

After two fairly quiet months, despite those two months including four very enjoyable and different gigs, 2026 is about to really kick into gear from a gigging perspective. I have mentioned on this blog before already this year that March was going to see things change - and from now until the end of the year gigs tend to come at a pretty regular pace. I do not think that 2026 will be quite as busy as 2025, but I will be seeing some very notable shows this year - and there are bands old and new that I am very much looking forward to seeing. I am next away at the weekend, but a busy March got underway yesterday relatively locally - with a post-work drive from Plymouth to the Devon town of Torquay, which is fast becoming, outside of the Bristol, the South West's premier gigging hotspot. Both Plymouth and Exeter, much bigger conurbations with student populations and history when it comes to live music, should hang their heads in shame - but their loss is currently, seemingly, Torquay's gain. With The Foundry gaining prominence over the past few years, and the recent opening of the Arena Torquay, which are a stone's throw from each other, alongside the more formal Princess Theatre for an all-seated experience, Torquay's music scene is starting to thrive. In the past couple of years alone I have seen Kris Barras and his band, Cradle of Filth, and The Wildhearts all tread the boards in the seaside town - and later this year I will be seeing both Steve Hackett and Black Stone Cherry. Other bands of note have played the town, too, and that has pleased us South West gig-goers - even if the town takes longer to get to than it should due to the state of some of the roads which link it to the A38. I am sure that I will continue to make semi-regular trips to the town, though, and the drive is generally worth it - with the venues in easy reach of plentiful on-street parking and, perhaps more importantly, a Wetherspoons. The reason for last night's trip to the seaside, then, was a co-headline show featuring the California-based sleazy hard rockers Buckcherry and the Finnish Godfather of Glam Michael Monroe. Like most tours that both acts tend to undertake here in the UK actually, it was quite extensive - with a number of dates to choose from. Torquay was the obvious choice in this instance - and it was a show that I had had the ticket for for quite a while. Whilst I am only really a casual fan of Buckcherry, despite listening to both 2005's 15 and 2008's Black Butterfly quite a lot during my teens, I am a pretty big fan of Monroe. Expect a review of his latest album Outerstellar to follow shortly, and his show in Bristol last year was memorable for all the right reasons. I first saw him back in 2011 at the final iteration of the High Voltage Festival, and had seen him as a support act a handful of times since - but that Bristol show last year was the first time I saw him as a headliner. The energy that he and his excellent band brought to the Thekla made for a memorable evening of punk and proto-hair metal that had everyone singing along - and he is now one of those acts that I will see as often as is possible. As such, a fairly local show, even a co-headline affair, was a no-brainer - and with Buckcherry on the bill it gave me an opportunity to catch up with some of their newer albums and see them live for the first time in a number of years. Given the post-work traffic, the drive to Torquay took longer than usual - but I was still there in plenty of time and, following dinner in Wetherspoons, soon took my place on The Foundry's balcony ready for the night.

Unlike some shows I have been to recently, this was a snappy evening. The two co-headliners played for an hour each - with the sole support act afforded half an hour. The change-overs seemed smooth, too, so there was little waiting around - and the evening flew by as a result. Opening the show were the Boston-based alternative rockers Rubikon - a slightly strange band who seem to have been around for a few years at this point. Sound-wise, I thought Rubikon had plenty of that American post-grunge sound of the 1990s/2000s in their sound, but perhaps with a little more of a funk edge thanks to some busy bass playing and the occasional Alice in Chains-esque vocal harmony. Despite some decent riffs, though, Rubikon did not do all that much for me. Visually, the band were quite a mish-mash of different styles, so they did not look like a very coherent band, and their overall sound was a bit too leaden for me - lacking in big hooks and melodies. Some of the choruses did pop to an extent thank to the aforementioned vocal harmonies, with the drummer adding quite a bit of vocal weight, but nothing really stuck in the brain - whilst the riffing was largely all of a type I had heard a number of times before, with a handful of decent guitar solos. The band were certainly soldiering on through some difficult circumstances, though. The bass player was having issues with his instrument during the first couple of numbers - and the frontman was suffering from food poisoning. He did not look all that well at all in truth, and probably should not have been on stage, but got through the set without incident - and everything seemed to be approached in good humour. Despite this, though, the band did not really garner much of a reception. The venue was still filling up whilst Rubikon played, and there was not much an of an atmosphere during their set. From my balcony view I could see a handful of people singing along, but there was not a huge amount of energy created during the night - and it seemed that the band left the stage without making much of an impact. With only half an hour to play with, though, the band did not outstay their welcome - and I have certainly seen worse over the years.

The overall levels of quality were about to shoot up, though, and after only around 15 minutes a percussive intro tape started to play and Monroe appeared up on the balcony - climbing down to the stage as his band joined him in a more conventional manner. They proceeded to rip through 14 songs in an hour, kicking off with the shout-along Dead, Jail or Rock 'n' Roll, delivering another excellent set. The show was not as good as the Bristol one last year, as it was shorter and the overall sound mix was not quite as clear, but Monroe and his band never disappoint. It was good to hear some different songs, too. Three songs from the new album were featured, whilst a few different numbers from his days with Hanoi Rocks were included this time. It was a more familiar Hani Rocks number in Motorvatin', opening as ever with Sami Yaffa's (bass guitar/vocals) busy playing, that followed the harmonica-led barroom rock of the opening number, though, and by this point the atmosphere in the room had raised significantly. Given the nature of the tour, there was perhaps less focus on his solo stuff - with Hanoi Rocks material accounting for around half the set. There were likely to be a few casuals in attendance, but no-one seemed to mind the song choices - with plenty down on the floor singing along or just getting swept along with the performance. Monroe's music is hard to ignore - and the short nature of each song means that melodies, riffs, and hooks are constantly coming. Some of the highlights for me, though, were actually the new songs. The new album is both familiar and different, mixing punky hard rock with some smoother power pop vibes - but the three songs culled from it were all high-energy rockers. Rockin' Horse came fairly early on, but it was perhaps Shinola that stood out the most - with another big shout-along chorus and plenty of snappy riffing from both Rich Jones (guitar/vocals) and Steve Conte (guitar/vocals). Big favourites from Monroe's solo catalogue including Last Train to Tokyo and the ever-present Ballad of the Lower East Side, the latter of which came later in the set, kept things pretty up-to-date, then, whilst a nice moment saw the band take a break to wish one of the members of their crew a happy birthday. The atmosphere did lift even further during some of the older Hanoi Rocks cuts, though. It was nice to hear I Can't Get It live, a song I am perhaps less familiar with, but tracks like the sugary ballad Don't You Ever Leave Me and the hard rocking Malibu Beach Nightmare, complete with an excellent saxophone solo, had everyone singing along - as did the sole cut from Monroe's 1990s band Demolition 23., Hammersmith Palais. The hour was very much just a whirlwind of energy from start to finish, then, which is typical of Monroe's shows. He climbed all over the amps and speakers, getting up close and personal with the crowd, and by the time he ended with Up Around the Bend he and the band left the good-sized crowd wanting more. The setlist was:

Dead, Jail or Rock 'n' Roll

Motorvatin' [Hanoi Rocks material]

Old King's Road

Rockin' Horse

Last Train to Tokyo

I Can't Get It [Hanoi Rocks material]

Shinola

Hammersmith Palais [Demolition 23. material]

Disconnected

Don't You Ever Leave Me [Hanoi Rocks material]

Boulevard of Broken Hearts [Hanoi Rocks material]

Ballad of the Lower East Side

Malibu Beach Nightmare [Hanoi Rocks material]

Up Around the Bend [Creedence Clearwater Revival cover]

The changeover between Monroe's set and Buckcherry was a little longer - but it did not feel all that long. As such, it was not long before the lights went down and Buckcherry, led by sole original member and frontman Josh Todd, took to the stage - and the five-piece filled the next hour with lots of riffy, sleazy hard rock. I had seen the band live twice before - both of which were as an opening band in half-full arenas. As such, I do not feel that I had ever really had the true Buckcherry live experience before - and I found myself really enjoying the full hour despite only ever really being a casual fan of the band. Todd was much better vocally than I remember him being previously - and the band's songs are certainly made for busy clubs like The Foundry rather than half-full arenas. A few had left after Monroe's set, which is typical of co-headline arrangements, but there was still a healthy crowd in attendance - and there was plenty of singing and dancing during the band's groovy and, often, lewd, songs. The golden oldie Lit Up got things underway, with Billy Rowe (guitar/vocals) driving the song both in terms of his riffing and his brief solo - but largely it was long-time guitarist Stevie D. that took the lead in terms of soloing. The snappy chorus of Lit Up had plenty down on the floor singing - and the next hour took in a fair amount of the band's catalogue. Four songs from last year's Roar Like Thunder made an appearance, with the title track coming up after Lit Up, whilst other relatively newer cuts like So Hott and Good Time sat alongside oldies like Ridin' and Gluttony. Despite the band's sleazy and loose sound, the band felt tight and powerful throughout. The riffing of D. and Rowe was just loose enough to bring the songs to life, but not so much so that the set felt sloppy, and the hard-hitting drumming of Francis Ruiz added a metallic edge at times - with a surprising amount of double bass drumming. Todd is a strange frontman, but he had the crowd going from the off. His shuffling, grooving movements give him an off-kilter and edgy vibe - and he was strong vocally, which differs from some of my previous memories of Buckcherry shows. The rest of the band added harmonies and gang vocals when needed, especially during the punchy Say Fuck It, but Todd was really the focus throughout - save for D.'s brief guitar solos. Rowe added some strong slide guitar licks and rhythms, too, adding to the band's bluesy edge - with this vibe coming together nicely on groovy tunes like Good Time. Fan-favourite ballad Sorry was also wheeled out, towards the end of the set, but before long the hour was almost up and Buckcherry launched into a lengthy version of their signature tune Crazy Bitch - complete with band introductions and snippets of many other songs. The medley brough the curtain down on another strong evening of live music - with Buckcherry impressing as a live act more than I expected them to. The setlist was:

Lit Up

Roar Like Thunder

So Hott

Ridin'

Let It Burn

Come On

Say Fuck It [Icona Pop cover]

Gluttony

Sorry

Good Time

Blackout

Crazy Bitch/Get Up (I Feel Like Being a) Sex Machine [James Brown cover]/Bad Girls [Donna Summer cover]/Irresistible Bitch [Prince cover]/Proud Mary [Creedence Clearwater Revival cover]

Monroe and his band were certainly the act of the night for me, as expected, but Buckcherry were also very good. I thought that they might struggle to follow Monroe's energy, but they had their own vibe and enough in attendance who were fans to ensure that they took the spotlight for themselves - and their pairing worked well overall. It was good to get out for the night, too, and it was another successful night in Torquay as a result.

Sylosis' 'The New Flesh' - Album Review

With the exception of Karnivool's atmospheric new album, pretty much every new release that I have covered here so far this year has been on the heavier side. 2026 has been a great year for metal so far, and there is plenty more to come over the coming months, and the heaviness has been welcome. Two classic thrash acts have delivered the goods so far - alongside a couple of newer acts proving that the older bands do not need to have all the fun. Today's piece covers easily the heaviest album of 2026 reviewed here so far, though, as the Reading-based modern metal four-piece Sylosis dropped their seventh studio album The New Flesh last week. Sylosis, to me, still feel like a new band - but they have long been a part of the furniture at this point, with the band having been formed back in 2000 and their first EP Casting Shadows following in 2006. Despite first coming into contact with the band in 2009, as part of a tour also featuring DragonForce, Sabaton, and Glamour the Kill, it was not until 2011 and the release of second album Edge of the Earth that I really started to pay attention. Sylosis were too heavy for me back in 2009, but by 2011 my tastes had changed - and I remember listening to Edge of the Earth a lot despite it still being at the extreme end of my tastes at the time. Over the next few years, Sylosis became one of my favourite up-and-comers. I saw them live a few times, both as a headline act as well as opening for other bands, whilst two more albums followed before they entered a quiet hiatus in 2016 - with bandleader Josh Middleton joining Architects on a permanent basis. I was gutted that the band appeared to be over, but I got the sense that Middleton was struggling to push the band forward onto bigger things - and was getting frustrated as a result. Looking back, there was perhaps something of a glass ceiling which was holding Sylosis back - with the band's intricate and complex material too progressive for the metalcore/melodic death metal crowd, whilst the music was too heavy for the prog crowd. The band were not away for too long, though, and in 2019 they came back to life - releasing their fifth album Cycle of Suffering (which I reviewed here) in 2020. The pandemic put paid to a proper relaunch, though, so it was not really until some shows in 2022 and 2023's A Sign of Things to Come (which I reviewed here) that Sylosis returned in a big way - and the band have been extremely busy since. The last two albums saw the band simplify their sound somewhat, although 2015's Dormant Heart (which I reviewed here) had started that trend a few years earlier, going for riffier and more anthemic arrangements - with songs written for the stage. This approach seems to have worked, though, with Sylosis now bigger than ever. It is great to see Middleton's hard work over the years now paying off - and the band's recent European headline tour saw them play their biggest headline shows yet. Turning back to The New Flesh, then, it very much feels in-keeping with the past couple of releases - as it somewhat feels like a mix of Cycle of Suffering's riffing and overall heaviness with the anthemic nature of A Sign of Things to Come. This latest effort is not as hooky as the last album, but it mixes those vibes nicely with some of the intricacies of the past - so it ticks a lot of boxes for me. It is band's first album with the current line-up, too, as former bassist Conor Marshall has picked up the guitar to replace long-time guitarist Alex Bailey - with Ben Thomas (Venom Prison) stepping in on bass. Long-time drummer Ali Richardson rounds out the line-up.

Production-wise, this album is as razor-sharp as is typical for the band - with the experimentations with synths and clean vocals which have become more prominent in recent years present here also. Middleton's riffing and lead guitar style is very much the same as ever, though, whilst his vocals are perhaps their strongest and most diverse here - which is something he tends to build on from album to album. Kicking off with Beneath the Surface, the song somewhat fades into view - before a staccato main riff kicks in, and the band builds around these guitar stabs. Pace-wise, the album is quite varied. Sylosis have often had prominent thrash influences on show, and the opening song showcases this to an extent - whilst other songs later on are more groove-based. Sylosis really started making use of groovy riffs in a big way on the last album, and this approach has been brought forward here. The verses here are a good mix of thrashy mid and faster-paced sections, with some particularly fast instrumental moments that feature some venomous Richardson drumming, with a more headbang-worthy chorus that ends in some groovy riffing. Other songs utilise grooves more effectively, but they act as a point of difference here - breaking up the thrashier and more metalcore-esque moments nicely. The arrangement here already feels a bit more involved than many of the songs on the last album - and Middleton's first guitar solo on the album is shredded and full of smooth melodies. Erased, one of the album's singles, then simplifies things somewhat - essentially going for a mid-paced groovy approach throughout. The opening riff is slab-like, and simpler than Middleton's typical approach, but this works well to blend into a similar verse - which is full of 1990s Machine Head-esque guitar patterns and pinch harmonics, whilst Middleton barks the vocals with real power. Some parts of some of the verses see the band speed up, but largely this is a mid-paced track - with cold synths adding depth, and occasional gang vocals building on the anthemic nature of the previous album. The chorus is sung clean, and Middleton's clean vocals on this album are easily the best he has done to date. He does not have a huge range but he gets the job done - and this slightly grungy chorus is hooky thanks to an underlying guitar melody. A later bridge and breakdown section returns to the song's core groovy approach, with an bludgeoning and repetitive instrumental section which recalls classic Pantera somewhat - which was clearly made for the stage. All Glory, No Valour ups the intensity significantly - and the gang vocal-led track may well be the heaviest and most hard-hitting thing here. The opening riffing is quite mid-paced, but things soon speed up - and this is a track which is very much packed full of thrashy influences. Richardson's double bass drumming really drives the song forward, whilst the shout-along chorus introduces a hardcore feel at times thanks to how simple it is. The overall pace of the song is capitalised on, though, with some great lead guitar moments, with some shredding being deployed after the first chorus, whilst Middleton also showcases some slightly higher-pitched screams during parts of the chorus, too. There are still groovy moments, too, such as another slower breakdown section - whilst a gang vocal version of the chorus works well with its simpler drum backing before another fast-paced guitar solo. Thrash and hardcore sit side-by-side nicely here, and the song is another made for the stage.

Lacerations, another single, feels like a more complex version of Erased arrangement-wise. Like the earlier song, there is a lot of mid-paced groovy riffing here early on - but things do speed up as the verses kick off. Aside from the chorus, which is another sung clean, the verses actually turn the clock back somewhat to the riffing, speed, and vocal approach of Edge of the Earth and 2012's Monolith. Despite the song's arrangement being more straight ahead, the riffing and guitar patterns feel old-school then - although it is clear how far Middleton has come as a singer as he feels more varied here in his harsh delivery. Occasional blast beats and shredded guitar leads keep the pace and energy moving - whilst the chorus is one of the more epic moments in the Sylosis canon, with a surprisingly emotive and melodic clean vocal delivery allowing it to stick in the brain. This is the sort of song which is likely to be a fan-favourite for years to come - and will please those who feel things have become a little too simple of late. Mirror Mirror is another song which features more of a hardcore-based approach, and it reminds me a little of No Saviours from the band's last EP The Path (which I reviewed here) from 2024. I do not mind an occasional hardcore influence, but this song feels a bit too hardcore for me overall - and I have never thought that a more chest-beating approach really works that well for Sylosis. It is not a terrible song, but compared to much of the rest of the material here it falls behind. The riffing throughout is a bit less interesting than usual - with the song clearly focusing more on attitude than hooks or interesting arrangements. This approach seems to have become a part of Sylosis' sound of late but, thankfully, it does not seem to dominate that often. Spared from the Guillotine gets things back on track, though, with the song really picking up the pace and going for a big-time thrash approach during much of the song. The opening riffing and much of the first verse features some of the fastest riffing on the album - whilst elsewhere the intricate arrangements of the past are brought back to an extent with a good mix of grooves and some prominent guitar leads. A Pantera vibe once again rears its head during parts of the song, particularly the few more mid-paced sections - whilst gang vocals are once again utilised sparingly to add to the overall energy that the song generates. Pace, grooves, and guitar technicality all fuse here to create something memorable. Adorn My Throne goes for a slightly different sound - and there is something of a symphonic edge here. Whilst not sounding like something from the band's past, it certainly feels more progressive than much of the album - with a good mix of riffing styles, a much more prominent use of synths, and some excellent guitar melodies. Semi-whispered vocals are utilised during quieter sections, whilst Middleton also delivers some of his deepest growls elsewhere - and even some occasional black metal-esque shrieks. There is a lot of variety here, then, and I really like how the chorus sounds grand thanks to the synths. The black metal influences are on show during a later, fast-paced bridge section - which is then followed by one of the floatiest solos on the album. It is one of those songs that reveals a new thing with each listen - and it is likely to become a real favourite as a result.

The album's title track follows, which also acted as its first single. It is another pretty fast song overall, but the opening riffs have some strong mid-paced grooves to kick things off - even if when Middleton starts to sing the pace increases. I can see why it was released as the first single, as it certainly mixes the anthemic nature of the previous album, particularly during the gang vocal-led chorus, with some of the flashier riffing and thrash influences of the past. It did not just feel like more of the same when I first heard it - and it acted as a good taster of what was to come. The thrashy moments are a little bit of a throwback to the band's past - but the use of grooves is very much in-keeping with more recent times. There is a lot of soloing here, too, with some speedy shredding early on alongside some more neo-classical melodies during the main solo later on. Everywhere at Once then changes the pace quite significantly - presenting the first true Sylosis ballad. The band have done slower songs before, but they have tended to be murky and atmospheric - likely building towards something heavier. Absent on the last album is the closest comparison - but this song feels more genuine in the ballad stakes, with clean vocals throughout and acoustic guitars dominating the verses. The chorus is heavier, but Middleton still sings clean - and the backing largely just ups the power of the music without really leaning into a truly metallic territory. Middleton has improved as a clean singer but I would not say that he has a great range. Despite this, though, he injects plenty of emotion into the piece - with the chorus really pushing him as a clean singer. A slow-burning and more melodic guitar solo adds to the overall vibe nicely later, too, and the ballad works well even if it does not really sound or feel like Sylosis all that much. The penultimate song gets things back to a more typical approach, though, with Circle of Swords opening with some venomous mid-paced grooves and surprisingly venomous, higher-pitched vocals before thrashier riffing takes over. This is one of those Sylosis tracks which feels a bit all over the place style-wise. It harks back to the earlier days somewhat as a result, and the arrangement is quite chaotic - with lots of thrashier moments sitting alongside groovy riffs and a few moments which even hint at a more tech metal approach with angular riffing and sparser drum patterns. The riffing throughout is great, it just takes a few listens to fully piece everything together. The album then comes to a close with Seeds in the River, a pretty groovy, mid-paced track overall. Again, though, this is a song which harks back to the band's older albums somewhat - and the arrangement is a bit more complex. Bass-led sections appear during some of the verses, which allow for a brief moment of respite before the next big riff, whilst those classic Sylosis little guitar lead moments are often utilised elsewhere in the verses to add additional melody. Snappy riffing adds a simpler edge at times, but there are also knottier moments - with blast beats again occasionally utilised. There is a lot going on here, then, but things hang together more coherently than the previous song - with the clean vocal-led chorus adding a point of difference and something melodic to build towards. Given the involved nature of the songwriting and the slightly epic approach added by the clean vocals, the song feels like a true album closer - with the chorus one of the hookiest moments here alongside another great guitar solo. Sylosis have never disappointed despite their changes in approach over the years, and The New Flesh is another very strong album from the Reading band. There are a lot of memorable songs here which cover a range of styles - and I like how some of the intricacy which was less prevalent on the previous album has been returned to here. This is an album I keep coming back to for more - and I can only see my opinion of it increasing as I become more and more familiar with it.

The album was released on 20th February 2026 via Nuclear Blast Records. Below is the band's promotional video for The New Flesh.

Smith/Kotzen - London Review

As I alluded to in my previous review here, which covered Sylosis' excellent London show last Friday, it was good to get back on the road this past weekend and take in a couple of gigs. 2026 has been somewhat barren so far, despite things picking up shortly, so the past weekend away was very much a welcome one. Multi-gig trips away are often tiring, and the later gigs can sometimes suffer from being overshadowed by the earlier ones, but they often work out well economically - and it was nice to spend a bit more time in London this past weekend. Given that I planned the trip as one, too, which is rare, I stayed in the same hotel for both nights. This meant that on Saturday I did not have to kill time between hotel stays - and it meant that I could take things easy on Saturday if I wanted to. I did head out for a bit of a walk around the East End, largely to get something to eat, but I mostly enjoyed a chill day and something of a lie-in. It was not the greatest day weather-wise, either, so I did not venture too far. It is nice to see that it has not just been the South West that has been battered with rain in recent times, though, and there was some pretty impressive flooding across the country which could be seen from the train on the way up. The weather was certainly not as bad as it had been at times of late, but it was not a nice day - and following a lengthy show the previous day some quiet was welcome. The reason for the second night in London was to catch the duo of Iron Maiden's Adrian Smith and musician's musician Richie Kotzen on the tour for their second album together Black Light/White Noise (which I reviewed here). The duo often seem like an unlikely match, given Smith's staunch NWOBHM past and Kotzen's career which has taken him from being a Shrapnel-era shredder, through stints in Poison and Mr. Big, to now being something of a multi-genre singer-songwriter who is beloved by guitarists especially the world over. Despite this, though, the pair's efforts so far have been fruitful. Two albums and an EP of pretty groovy and soulful hard rock have been released - and the first album was also supported by a brief run of shows. Clearly wanting the project to build some momentum, though, this second album has been supported by a much lengthier tour - including a healthy number of UK shows in decent sized rooms. I knew that I wanted to catch the duo live, but I had not decided which show to go to - so Sylosis booking their London show for the day before Smith/Kotzen's show at the O2 Shepherd's Bush Empire made the plan finalise itself. The fact that the Kris Barras Band, a fairly local act to me that I have followed for a few years now, was later added as the support act for the whole tour made the night an even more exciting prospect. As such, the show was one I was looking forward to quite a bit - and I had been enjoying getting back into the two Smith/Kotzen albums in the weeks prior to it. They are certainly closer to Kotzen's current core sound than much of Smith's career - but bluesy hard rock is generally something that I enjoy, and the mix of Smith's more-than-competent vocals and the soulful vocal style of Kotzen is a big part of what makes the duo an interesting one.

Sadly, though, on getting to the venue it was clear that Barras and his band would not be performing. He had pulled out of the show the night before due to illness, but with no further updates on social media during the day I had hoped that he felt well enough to play - but signs were up throughout the venue advising the crowd otherwise. A last-minute replacement has been sought, then, with local act Vieira and the Silvers taking Barras' place. Despite the doors opening at 7pm, though, the support act did not start until 8pm. Given that there was a 45 minute break between the support and Smith/Kotzen, too, there was an awful lot of hanging around. This seems to be a growing problem at gigs of late - and I would much rather doors opened later or shows finished earlier, as no-one enjoys hanging around waiting for something to happen. Vieira and the Silvers played for around half an hour, and they managed to win quite a few around despite a slow start. In terms of vibe, the band seemed to mix the proto-punk/garage rock sounds of bands like The Stooges and MC5 with the brasher end of Syd Barrett-era Pink Floyd. There was a strong late 1960s rock vibe, alongside a blues edge and some psychedelic moments. They were probably not the right band for the gig really, but the crowd did seem to enjoy them as the set went on. The band's frontman said during the set that it was the biggest gig they had ever played - but they did not seem over-awed by the occasion. In fact, the frontman was animated throughout, often making strange vocalisations to add to the brash instrumentation - which often then led into the next lyric. Sound-wise, then, despite the obvious retro vibes, I did feel that the band sounded quite original. Meandering arrangements, plentiful harmonica, and the occasional tortured guitar solo eschewed many classic rock tropes. There was still strong riffing and grooves throughout, but each song seemed to move through many different phases - so it was tricky to get a hold of any key melodies as a result. Despite this, though, I thought that the overall vibe the band delivered was strong. They clearly want to do something different from the norm, and I felt that they delivered their off-kilter sound with real confidence - despite the big occasion for them. They are not the sort of band that I would listen to at home - but I did not dislike their half an hour on stage, and I would not be surprised if they started to make a bit of a name for themselves on the alternative rock scene in due course.

Following a rather dull 45 minutes waiting for the main event, the lights went down and some Bad Company played over the PA as Smith/Kotzen took to the stage - with the four-piece launching into Life Unchained from the latest album. Smith and Kotzen traded lead vocals and guitar all night, and were backed by Julia Lage (bass guitar/vocals) and Bruno Valverde (drums). The four-piece were tight, but there was still a looseness to the material which helped the riffing and melodies to come to life. The vocal interplay was not exactly Daryl Hall & John Oates or the Eagles, but Smith and Kotzen weaved their voices together well - and I was of the view that most of the songs sounded better live than they do on the albums. I like the albums, but I think I ended up enjoying the show more than I expected to - largely due to the live punch given to the material. The 16-song set contained 14 originals, one Iron Maiden number and one of Kotzen's solo pieces. These two covers came near the end, so the bulk of the show just presented the two albums and lone EP nicely. Early highlights included the faster, shuffling Black Light and the very Bad Company-esque Glory Road - with its smooth chorus which was boosted by some extra vocals from Lage. With the exception of the covers, no one singer dominated any song - either vocally or from a guitar perspective. The exchanged vocal lines really helps to keep the songs sounding fresh - and the differing guitar styles allowed for a lot of exciting instrumental moments. I had not seen Kotzen live before, so was immediately impressed with his playing. He is known for his fast-paced and smooth style, often without a plectrum, and he really owned the night in my opinion. This is to take nothing away from Smith, who sang well and delivered plenty of excellent solos - but Kotzen is a rare talent. This was especially apparent on an elongated Hate and Love, which was stretched out with some more soloing - whilst simpler, more straight ahead hard rockers like Taking My Chances saw plenty singing along. A couple of overly drunk people aside, who seemed keen to annoy those around them, the overall vibe was strong. Clearly there were lots of Iron Maiden fans in attendance, but the overall vibe was different. This material is more grounded and, at times, laid back - and everyone was out to have a good time with some feel-good bluesy rock. There were slower and more plaintive moments in the set, too, though such as the fantastic Darkside which was one of the overall highlights of the night. The chorus has always stuck with me since first hearing the song, and it came alive on stage with plenty of soloing. The band were suffering from some tech issues around this point, though, with Lage's bass amp cutting out. A brief break was taken after Darkside whilst this issue was fixed - but the crew managed to sort things quickly and the band were soon back out rocking, with Smith delivering some tasty slide licks during Got a Hold on Me. There was not an awful lot of time left by this point - but there was time for a few more, including the hard rocking White Noise and the smoother Running which is a favourite of mine from the first album. The main set then came to a close with a powerful version of Iron Maiden's Wasted Years - with Bruce Dickinson, who had been watching the show from the balcony, joining the band to sing it. Everyone in the crowd sang along, and it felt like the most powerful moment of the night - with the band leaving the stage briefly afterwards. A two-song encore followed, though, with Kotzen's You Can't Save Me getting a cheer and adding a downbeat, grungy vibe to the set - before a blistering rendition of Solar Fire brought the band's powerful set to a triumphant close. The setlist was:

Life Unchained

Black Light

Wraith

Glory Road

Hate and Love

Blindsided

Taking My Chances

Outlaw

Darkside

Got a Hold on Me

White Noise

Scars

Running

Wasted Years [Iron Maiden cover w/ Bruce Dickinson]

-

You Can't Save Me [Richie Kotzen solo material]

Solar Fire

Despite some technical issues threatening to derail the set part-way through, the band battled through and delivered a powerful show that exceeded expectations. I expected to enjoy the show, but this is the sort of material which really excels live. It was also nice to see Smith in a smaller venue - and also to see Kotzen for the first time. This duo seems to have legs, and I would not be surprised to see a third album and another tour at some point in the future.

Sylosis - London Review

So far, this year has been very quiet when it comes to gigs. I have plenty of plans for the rest of the year, and things pick up quite considerably in March, but so far it has been quite quiet. My trip to Bristol last month for Epica and Amaranthe's co-headline tour was my only trip away so far this year until this past weekend - although James Bruner was a local welcome distraction earlier this month. This past weekend was my first multi-gig trip of the year, too, so it had been something that I was looking forward to throughout the quiet weeks that preceded it. I will cover Smith/Kotzen's London show shortly, which took place yesterday as I write this, but today's rather lengthy piece covers what turned out to be something of a mini festival on Friday night at the O2 Forum in Kentish Town  - headlined by Reading's metal heroes Sylosis. This is a show which changed and expanded over time. I had the ticket for the show for months beforehand, and it was essentially a Sylosis headline show, as part of their wider European headline tour, with a special guest in the form of Massachusetts-based technical death metal act Revocation and two opening acts. This was the case until about a month ago, though, when the line-up was strengthened by three more bands - two of which being notable acts. No-one has quite admitted such, but reading between the lines I think having Sylosis playing in Kentish Town and another show which would likely draw a similar audience topped by German melodic death metal veterans Heaven Shall Burn playing at the Electric Brixton happening on the same night was affecting ticket sales for both shows. I can only assume that was the case, especially given that when the tickets sold for Heaven Shall Burn's show were added to the pile of those sold for Sylosis' show that the combined show was still not sold out. Deftones playing at the O2 Arena on the same night likely did not help, either, but the combined show did eventually shift a fair amount of tickets. I do not know if it ended up selling out or not, but the venue was certainly looking pretty full for much of the evening - and the bands had been warning in the lead-up to the show that there were not many tickets left. Thankfully, for me, Sylosis still topped the bill - although they only had slightly longer than Heaven Shall Burn. Given that Sylosis' new album The New Flesh dropped on the same day, it made sense for the night to largely be about them - and they treated it as their album release show. They fleshed out the festivities further by holding a Q&A and signing session earlier in the day somewhere in Camden - so some likely celebrated with the band for most of the day. Given the trip up to London from Plymouth for me, this was not possible - especially given that the extended show started at 4pm and I had to contend with late trains and uncharacteristically slow tubes across London. I managed to get a bite to eat and check into my hotel beforehand, but getting to Kentish Town felt sluggish - and I was further delayed getting in due to Ticketmaster suddenly deciding I needed to change my account's password and then kept erroring when I attempted to do so. I finally got inside the building, though, and headed for the balcony upstairs - as the band had said on social media the day before that the usual ticket restrictions had been removed. Given the length of the show I decided it was wise to sit down - and I am certainly glad of that choice. I got to my seat literally as the first band were walking onto the stage - so I missed nothing despite the various travel and admin issues faced.

Given that there were seven bands on the bill, and that the first four only had half an hour each, the reviews of some of them might be briefer than is typical. Beforehand, though, I also want to give a shoutout to whoever was stage managing the night. Given how many bands played and the tight turnaround times things could have gone easily gone wrong - but every band stuck to their allotted times and some even managed to get on a little earlier than planned. The Stage Manager clearly was running the show with an iron fist - but that was appreciated as the night, at least out front, seemed to run really smoothly. Up first, from Texas, were the hardcore/crossover thrash act Life Cycles - and the band's mix of groovy riffing and fast-paced thrash songwriting got the evening off to a fine start. Whilst this was a heavy night, there was a fair amount of variety on show - and only one band that I actively did not really enjoy on some level. Given their hardcore side, there was plenty of energy alongside some big mid-paced headbanging breakdowns from Life Cycles - with frontman Jeremy Cuevas commanding the crowd from the off. Given that the doors opened at 4pm, with the music kicking off at 4:30pm, the first few bands had smaller crowds to contend with - but there was still a bit of an atmosphere in the room during Life Cycles' set. A few small mosh pits got underway early - and from the balcony it was good to see plenty of in-sync headbanging during the band's groovier sections. I think that bands like this tend to excel when they operate in a groovier manner - and it was the more mid-paced songs and sections which stood out for me. Shredded solos and a few strong lead guitar moments stood out - but generally Life Cycles seemed all about the riffs. They seem to have been going for about 10 years and have a number of EPs to their name, but this was their first show in the UK. They are not as new of a band as I assumed they might be, then, so they are likely scene veterans to an extent.

The following band, Distant, who seem to have members hailing from both the Netherlands and Slovakia, were the only act of the night that did not connect with me at all. Deathcore may well be my least favourite metal subgenre, so they were unlikely to ever win me around, and nothing the band played did anything to really change my mind. They did seem a bit doomier than is typical for deathcore, but all the typical deathcore tropes were present, including those strangely over-triggered bass drum patterns and the really incomprehensible deep vocals mixed with occasional shrieks. In truth, there is just nothing about deathcore that I really find interesting. The riffs are usually not very hooky and the pseudo black-metal vibes that are often utilised for atmosphere just leave me cold. The somewhat chavy look does not help, either, but the band still managed to whip up a bit of an atmosphere. I think that the bands either side of them fared somewhat better - but there was still some moshing taking place during the faster sections of the band's songs, whilst headbanging could be seen elsewhere. As mentioned, though, there was a doomy side to their playing which meant that there were quite a few slow sections. Some were very slow indeed, which did shake up the usual formula, and there was an odd vibe being generated during these sections. There was some originality, then, which was good to see, but overall Distant did nothing for me whatsoever - and they felt a bit like the odd band out as a result.

Another Texas band in the form of Frozen Soul followed - one of the three bands added to the line-up later on. Whilst many of the bands on the bill were upbeat in some ways, with the exception of Distant's doomiest elements, Frozen Soul felt at times like the heaviest, and certainly most crushing, band of the night. Their take on traditional death metal did not stray too far from the blueprint established many years ago - but there was a coldness to their sound, which was suitable given their name, and a focus on mournful guitar leads and crushing riffs. There were faster moments in their set, with classic death metal tremolo picked guitar lines and plenty of double bass drumming - but there was also plenty of groove and mid-paced riffs to be found. With two albums to their name, I felt as if the overall evening stepped up a notch with Frozen Soul. They certainly felt a cut above the previous two bands - and they are starting to make waves in the death metal scene. Despite having barely any room on the stage, which looked very funny during the first few bands due to the amount of gear that was set up, frontman Chad Green made his presence felt early on. He spoke to the crowd a lot and by the end of the set everyone seemed really into what Frozen Soul were up to. It likely helped that there were a few more people in the room at this point - so there was quite a bit of moshing to be seen during the faster sections. Green also took time to tell a few stories around some of the songs, which I think helped to draw people in, and I enjoyed the band's pretty traditional death metal antics. Frozen Soul's brand of death metal is certainly not the most original out there, but given that I am occasionally partial to some pretty traditional death metal I will likely give this band a bit more of a listen in the future.

The final act of the 30 minute club were Revocation - who likely suffered on this bill in terms of having a shorter set. I imagine that they have generally been playing for longer than half an hour on the rest of this tour - but the technical metallers did not seem phased by this and delivered a strong set full of twisting song arrangements, lengthy guitar solos, and pure death metal vibes. David Davidson (vocals/guitar), the band's sole founding member, looked like the least metal person on stage throughout the evening - but his powerful harsh vocals and intense guitar prowess certainly made up for his everyday looks. I have listened to a few of the band's albums but I am certainly no expert - but I enjoyed the arrangements which never stayed in one place for too long. Some slower, more melodic sections were welcome, given the onslaught of heaviness throughout the night, but the set was still largely heavy - with Davidson and bassist Alex Weber trading vocals back and forth. Weber's bass was high in the mix, and some songs really focused on his playing - especially whilst Davison and Harry Lannon (guitar/vocals) were trading lead sections or playing in unison. This bass focus at times helped to give the band a different sounding edge to everyone else on the bill. Tracks like Existence Is Futile and the newer Dystopian Vermin, from the band's latest album New Gods, New Masters (which I reviewed here), certainly filled the band's allotted time with plenty of power and intense riffing. Those aforementioned quieter moments did allow for some coming up for air, though, and the crowd seemed really into Revocation's set - which is unsurprising given that the band have been around for many years at this point.

Even though Revocation are a long-standing and well-respected band, I feel that the final run of three bands saw the overall standards and crowd reactions rise further. 45 minutes were afforded to the evening's fifth band, Michigan's The Black Dahlia Murder - a melodic death metal band that have been around for 25 years at this point. Guitarist-turned-frontman Brian Eschbach may be the only founding member left at this point, but the current line-up is certainly a potent force to be reckoned with. I had not seen the band live before, but I have been something of a casual fan for a while - so I was looking forward to seeing them for the first time. Despite Eschbach's voice not always high enough in the mix, and generally the sound mixes throughout the night were pretty good which is an achievement given how many bands played, the band smashed through a number of generally short and fast-paced songs to the delight of the crowd. The Black Dahlia Murder are generally quite thrashy in terms of pace - so there was little time for rest here. Occasional groovier riffs were thrown out, but largely the fast footwork of drummer Alan Cassidy kept things moving at pace. The overall vibe of the set was somewhat more light-hearted than everything else on the bill, too, with Eschbach generally coming across as a likable and funny frontman. There was not too much metallic posturing or taking things too seriously which was nice to see - but the playing from the five-piece was tight as one would expect from a band with such a pedigree. The guitar duo of Ryan Knight and Wes Hauch made sure that each riff hit hard - and both had ample opportunity to solo throughout the night. Whilst I was not familiar with all of the set, there were a number of standout tracks which I did recognise from my previous forays into the band's music. Mammoth's Hand, from the band's most recent album Servitude (which I reviewed here), was a rare slower moment in a pretty furious set - whilst the title track from 2017's Nightbringers also went down well. Perhaps the tracks which hit the hardest and the crowd enjoyed the most came from 2007's classic release Nocturnal, though, with the anthem Everything Went Black and the title track impressing towards the end of the band's set. The band's 45 minute set pretty much flew by, and it was great to finally catch this legendary and well-loved band live for the first time.

Perhaps this show in the end should have been seen as a co-headline effort with Heaven Shall Burn - but the night still very much felt like it belonged to Sylosis. Despite this, though, the German band were still afforded an hour on stage - and I largely enjoyed the band's efforts, particularly as the set progressed. I saw Heaven Shall Burn with Trivium a few years ago, and found their set to be a bit dull, but I had been listening to the band a fair bit in the lead-up to this show so was a bit more in the right mindset for them. Despite this, though, I am not sure that they came across well live as they do on their albums. Their take on melodic death metal is quite dense and a chunky live sound mix is not always going to help bring these nuances to life. As was the case with The Black Dahlia Murder, too, frontman Marcus Bischoff's voice was not always that high in the mix - and his raw growls are a big part of the band's appeal. Despite this, though, I enjoyed the band more this time than I did before - even if I feel that they might be a band better enjoyed on record than live. The guitar playing of Maik Weichert and Alexander Dietz was layered, with the latter laying down plenty of mournful and melodic leads throughout. The crowd were a little more muted than they were during the previous set a bit at first, which was perhaps befitting of the more atmospheric approach the band take, but the final third or so saw things really kick off. The security had their work cut out for them towards the end due to the number of people crowd surfing, something which Bischoff noted as things closed out, and their epic cover of Edge of Sanity's Black Tears saw plenty of singing from the crowd during the chorus. The band's own anthemic Endzeit also saw plenty of singing from the crowd - whilst Voice of the Voiceless, played early in the set, was another which got people going. Despite something of a slow start, then, I think that it is fair to say that Heaven Shall Burn went down well on Friday. They have not been regular visitors to the UK over the years, with that aforementioned Trivium tour a few years ago their first in around 10 years at the time, but they are clearly a well-respected band on the extreme metal scene who do something a bit different with a melodic death metal approach that has been done to death at this point. They were a worthy addition to the evening, with their dense take on the genre a good palate cleanser between The Black Dahlia Murder and Sylosis.

Despite the goodness which had come before, and some in attendance were likely there for Heaven Shall Burn and The Black Dahlia Murder - the reason that I and many others were truly there was for Sylosis. Afforded just over an hour, on the day The New Flesh dropped (expect a review on this blog in due course), the band soon set about showing the room why they are one of the current shining stars of the British metal scene. Despite their first release dropping 20 years ago now, Sylosis still feel like a new act. The hiatus and the glass ceiling that seemingly led to that hiatus likely help that vibe - but now, at last, Sylosis seem to be getting the recognition they deserve. Perhaps it took simplifying their sound somewhat to achieve it - but the last few years have been a great time to be a Sylosis fan given the amount of material the band have dropped and the number of shows played. This was my first time seeing the band since 2024, and the setlist was quite different. Four songs from the new album were played, with the mid-paced chug of Erased kicking things off, whilst the set largely focused on post-reunion material - with the occasional look back to the past. Thankfully, the mix issues which somewhat hampered to two previous bands did not affect Sylosis - with Josh Middleton (vocals/guitar) high in the mix. He continues, even now, to improve as a vocalist - as the focus on clean vocals during some of the new choruses showed. Backed by the now solidified line-up of Conor Marshall (guitar/vocals), Ben Thomas (bass guitar/vocals), and Ali Richardson (drums), Middleton really shone on Friday. His vocals and high-octane guitar playing were on show throughout - whilst the chemistry between the rest of the band seems tight. There were few moments in the set where Marshall was not windmilling his hair around - and the strut of Thomas added some grit to the proceedings. In terms of setlist, then, it was largely focused on anthems. This seems to be Sylosis' style going forward - with shout-along choruses from I Sever and Poison for the Lost coming early. I particularly enjoyed hearing the new numbers live, though, with the hooky Lacerations and the unknown to me All Glory, No Valour in particular impressing. The former has one of the band's best clean vocal choruses, clearly something Middleton has been building towards - whilst the later was pure venom with some great gang vocals from the rest of the band. It was great to hear some lesser played numbers in an amongst the new tunes and the classics from the recent past, too, with the rarely played Heavy Is the Crown getting a deserved outing - whilst the middle part of the set seemed focused on older material. The melodic and mournful instrumental piece Where the Sky Ends, which had not been played live before this tour, saw both Middleton and Marshall impressing on the guitar - whilst, sticking with the same album, the lengthier and knotty Eclipsed showcased the old sound Sylosis have largely left behind. The slower paced and grungy Servitude then showcased a slightly doomier, sludgier side, which was experimented with before the hiatus, whilst an all-time classic and crowd favourite in Teras took the crowd back to the band's 2008 debut album. It is good that the two eras of the band seem to be able to live together - and the 13 song setlist showcased just how much variety there is in the Sylosis catalogue. The closing moments brought things bang up to date, then, with Pariahs and the band's true anthem Deadwood, both from the last album, seeing the now-large crowd go crazy. The amount of moshing during the band's set was impressive, but it really peaked around this time, whilst The New Flesh saw the set come to a triumphant end. The setlist was:

Erased

I Sever

Poison for the Lost

Lacerations 

Heavy Is the Crown

All Glory, No Valour

Where the Sky Ends

Eclipsed

Servitude

Teras

Pariahs

Deadwood

The New Flesh

Sylosis continue to go from strength to strength - and Friday's showing was another reminder as to why they are one of the best British metal bands currently on the scene. I am really looking forward to hearing the new album having heard some of the songs properly now once my CD arrives - and I am sure it will be another excellent effort based on what I have heard so far. The band also mentioned on social media that the show was being filmed - so perhaps there are plans for the band's first true official live release at some point in the future. I certainly hope so - and I also hope for Sylosis live experiences over the coming years. 

Tailgunner's 'Midnight Blitz' - Album Review

With the exception of Glamour of the Kill's latest offering, everything that I have covered so far this year new album-wise has been from long-established acts. Even Glamour of the Kill have quite a history at this point, despite a lengthy hiatus, so feel like part of the furniture despite only just releasing their third album - but today's featured artist, until recently, only had a single album to their name. That band is Tailgunner, from the UK, a five-piece classic-sounding heavy metal band that have started to make some waves in recent years. Whilst Encyclopaedia Metallum suggests that they formed back in 2018, it does not look like the first full line-up came together until 2020 - with singles dropping in 2022 in advance of their debut album Guns for Hire coming out in 2023. I feel like I had heard Tailgunner's name mentioned occasionally beforehand, but I truly came into contact with the band in 2024 - when I saw them opening for both Armored Saint and KK's Priest in quick succession. I had picked up Guns for Hire in advance of seeing the band live, and had enjoyed it, but I think it was those two gigs that really made me a fan. Everything just sounded so much bigger live - and the band clearly put a lot of effort into their presentation, too, with an electric stage presence and excellent retro outfits. I had tickets to see the band headline in Bridgwater later in 2024, too, but a combination of not feeling too great following another gig the previous night and, what ended up being well-founded, concerns relating to getting home the following day given the weather forecast. I would have likely been stranded in Bridgwater had I gone to the show, so it was probably for the best that I ended up giving it a miss, but I was looking forward to seeing the band headline and playing a longer set. 2024 was a busy year for the band on the road, but last year was less so overall. The band still got out and about to play some shows, but much of the year seemed focused on writing and recording album number two. Guns for Hire was released through a small label, Fireflash Records, but the band's profile has risen quite significantly since 2023 - and album number two, which is called Midnight Blitz, was released earlier this month on Napalm Records. Tailgunner have stepped up in the world, then, and their tour with KK's Priest clearly made an impression on the former Judas Priest guitarist - as KK Downing ended up working with the band to produce Midnight Blitz. It looks like the video for the album's title track was filmed at KK's Steel Mill, too, Downing's Wolverhampton venue, meaning that everything here just looks and feels a little glossier this time. Sound-wise, though, Tailgunner have not changed significantly on album number two. This is very much a traditional heavy metal album in sound, with lots of Iron Maiden influences on show, but with a thrash-like pace at times and even the odd hint of the tougher end of power metal. Tailgunner rarely feel as heavy as most thrash bands, but most of the band's material races along at quite a click - meaning that the 10 songs here generally feel pretty energetic. The songs are perhaps a little more concise overall on this album compared to the debut, too, with the arrangements mostly feeling a tighter. In terms of line-up, three of the five that made Guns for Hire return, with frontman Craig Cairns, guitarist Zach Salvini, and bassist and apparent bandleader Thomas Hewson, also known as Bones, having all been in place since 2020. Making their debuts in the studio with the band here, though, are guitarist Rhea Thompson, who has played live with the band since 2023, and drummer Eddie Mariotti (Mass Crysis; Coltre), who came on board last year.

For lovers of 1980s metal, then, this album is rather joyous. There will certainly be plenty more original-sounding albums released this year, but as far as this brand of traditional, melodic heavy metal goes I cannot imagine there will be an album in 2026 which is substantially better than this. Kicking off with its title track, the album sets the tone for the next 45 or so minutes from the off. I knew from first hearing this song that the album would be a strong one, even if the opening air raid siren noises are somewhat cliché, and the opening twin lead guitar harmonies are immediately exciting. Salvini and Thompson are busy throughout this album, and lead guitar moments are rarely far away. That being said, though, any lead and solo work is always there to serve the song - and their focus on riffing is just as potent. The song's main riff, following the initial guitar leads, is powerful, then, and the hard-driving pattern later forms the basis of a chunky and fairly fast-moving verse. Cairns is introduced here, and he delivers again vocally. He sounded great on the first album, but perhaps his tone and approach is a little more focused and consistent this time - and it feels as if he has grown as a singer over the past few years. His delivery during the song's powerful and hooky chorus, whilst backed by a strong guitar lead, feels grittier than anything he has done previously - and he manages to add some heaviness whilst still allowing the melodies to flow. Both guitarists solo later in the track, allowing for a busy and fast-paced instrumental section, whilst the song later closes with some impressive high vocals from Cairns. Taking a more mid-paced approach, with a somewhat epic edge, the Blade Runner-influenced Tears in Rain is less furious than the opening cut - showing that the band can approach a song in different ways. Soaring guitar leads open things up, but parts of the song are fairly low key - with Hewson's bass driving the verses whilst Cairns sings in a more restrained and emotive manner. Guitar chords and occasional melodies add depth to these verses, but generally the bass and vocals do the heavy lifting here - before the band crash back in in a bigger way for the anthemic chorus. Cairns switches styles here, returning to the grittier approach from the previous song - contrasting nicely between the verses and chorus, whilst crunching power chords and another melodic guitar lead back his anthemic delivery. The mix of the sparser verses, the busy chorus, and a couple of busy guitar solo sections allow the song to build naturally and, even though it is not especially lengthy, it feels like the sort of song which later longer pieces build on. Follow Me in Death returns to the pace of the opening number, but there is more of an overt pace this time - with Mariotti's double bass drumming driving everything throughout. This is one of the songs with a thrash-like pace - but the overall vibe is more similar to bands like Primal Fear, albeit with less gritty vocals. Twin guitar melodies dominate the song's intro, but the verses generally see machine gun riffing and occasional shredded accents back Cairns' melodic vocal delivery - whilst the chorus later does that classic power metal thing of somewhat slowing the chord progression down to appear to slow things down whilst the double bass drumming continues on at pace. This allows the chorus to shine, and it is one that has grown on me a fair bit since first hearing the album. The song was not one of my favourites at first but it has since risen up the ranks thanks to this epic chorus approach and the interlocking guitar riffing.

Perhaps the most power metal-esque track here, though, is the upbeat and bouncy Dead Until Dark, a snappy and fun song that sticks in the brain from the off. Cairns sings the song's title to kick things off as some strange synths and distorted guitars swirl around him, before another high-octane guitar pattern introduces the song proper. Whilst not as fast as the previous song, it is still a pacy number - with Mariotti leaving his double bass drums alone somewhat to lay down a more straight ahead groove. Hewson's bass once again dominates during the verses, but the guitars are more prominent this time - and the song builds towards a chorus which is snappy and fast-moving, with clever vocal melodies and a closing riff which elevates the fun nature of the song overall, sounding like a more grounded version of something a band like Beast in Black might come up with. Both guitarists solo again, with two distinct solos impressing, and the song is sure to become a live favourite due to its energy. Barren Lands & Seas of Red then takes a heavier turn, upping the pace once again. Fast double bass drumming again drives this one, whilst the band's usual twin lead guitar approach is largely reined in this time - instead allowing riffing to dominate, especially during the intro and the verses. There are some thrashy overtones here, then, especially from the more melodic end of the genre and bands like Annihilator, but the band's trademark sound is still realised. There are a few moments where the classic twin lead guitars burst through - generally to signal a transition to the next part of the song. The fact that these guitar moments are utilised less here means that the ones that are included hit harder - but the riffing and more hard-driving approach generally taken here is welcome overall to provide some variety. There is an epic nature on show here, too, largely as the song is one of the longer cuts here and due to the chorus being both melodic and sweeping. The Iron Maiden influence is obvious during the chorus, with the melodies very Bruce Dickinson-esque - but the overall pace keeps the song sounding more intense than anything Iron Maiden have done for many years. Lengthy guitar solos and some busy, somewhat progressive instrumental breaks fuel this vibe, too, allowing the song overall to become the album's real centrepiece. War in Heaven takes a bit of a turn, next, slowing things down and presenting the band's first proper ballad. Adam Wakeman (Ozzy Osbourne; Headspace; Strawbs; Snakecharmer) adds some keyboards to the slow-burning track. His playing dominates early on, with spacey synth melodies adding depth behind some clean guitar melodies and Cairns' lower than typical vocal delivery. The verses are essentially just vocals, guitars, and keyboards - whilst the chorus is much more involved, with the drums crashing in and some heavier guitars. The synth melodies remain, though, adding a different edge - whilst bluesier guitar leads are utilised in place of the band's usual shredded approach. Having a true ballad here adds further variety to the album - and it is good to see the band branch out into this type of songwriting. Blood Sacrifice is more typical of the band's core sound, though, with a Mariotti drum barrage returning the band to heavier territories. This is another fast-paced track, with double bass drumming throughout - whilst the heavier approach from Barren Lands & Seas of Red is largely retained. Fewer twin lead guitar moments are utilised here, but the chorus is backed by another snappy and instantly memorable guitar lead - whilst looser soloing is utilised elsewhere to allow a moment of danger to match the song's pace. It might not be the most anthemic of songs here, but it is another which has grown on me quite a bit - and the relentless pace helps.

The album is very much on the home straight at this point, and Night Raids seems to open slowly - before another big guitar melody kicks in, and the song storms away, again at pace. Not as furious as the previous song, though, this is a track which feels more melodic overall - with the guitar leads which were somewhat more absent from the previous song back again here. The song's opening is filled with busy lead work, whilst the chorus is again backed by some fluid playing. The verses are more crunchy, but there is a smoothness to them thanks to Cairns' vocal melodies. There is something a bit different about his vocal delivery here - and it feels nicely curated. There is a storytelling approach to his singing during the verses - and his performance is really what makes the song tick. The verses are not that interesting musically, but the vocal melodies really make them work - and the chorus is aided by that classic combination of big vocals and busy lead guitar. Lots of guitar soloing is included later on, with both players clearly trading licks back and forth - with some moments seeing them solo together. The last of this trilogy of faster paced songs during the album's back end, Eye of the Storm, perhaps reins in the pace overall compared to the previous couple of songs - but it still feels pretty energetic for the most part, thanks to a busy opening riff-led section and a bit of a shout-along chorus which is climaxed by some precise and melodic guitar harmonies. Parts of the some of the verses are a bit more stripped back, with the pace dropping and a more cinematic backing allowing Cairns' voice to shine - but mostly the song feels pretty energetic and hard-driving, with a good mix of snappy riffing and soaring guitar leads. The precise nature of the guitar playing extends to the solo, too, which features some slower licks - with plenty of tremolo arm action to give the solo a bit of a different edge. Overall, though, the song is very typical of the Tailgunner sound despite some moments of a slower, more cinematic approach - and the chorus is another strong one thanks to a mix of simple hooks and a more drawn out approach. The album then comes to a close with Eulogy - another number, like Barren Lands & Seas of Red, which is a little longer overall and feels a bit more involved. It opens in a somewhat slower manner, with interlocking guitar leads and percussive drumming - but once Mariotti lays down a busy drum barrage the song kicks off properly at pace. Despite the track feeling more epic and expansive overall, this does not mean that the band hold back and space the arrangement out. This song is another with thrash-like pace at times, with the verses really speeding along thanks to plenty of double bass drumming and tight guitar riffing. The chorus is also fast, but it is another which pulls that trick of feeling like it is a bit slower overall thanks to the slower chord progressions - even though in the background the drums are still really pounding away. The chorus does feel pretty epic as a result, though, and Cairns' vocal melodies are allowed to shine thanks to the slower chord changes - and his melodies really hit home as a result. The guitar solo section is lengthy, too, with lots of high-octane and fast-paced melodies - including a lengthy sweep-picked section which aids the thrash-like feel of parts of the song nicely. The slightly longer nature of the song as well as this one last big chorus means that the album goes out on a high - and the 10 songs here really fly by as a result of the overall pace and plentiful hooks. I liked Guns for Hire but Midnight Blitz feels like a more assured album overall. I feel like Thompson has been a great addition to the band. She impressed live, and her and Salvini work magic throughout the album - and the intensity just feels more apparent here as a result. This is a step up for the band, and with quite a lot of shows planned for 2026 - this could be the year that Tailgunner really push on.

The album was released on 6th February 2026 via Napalm Records. Below is the band's promotional video for Midnight Blitz.

Karnivool's 'In Verses' - Album Review

With January's releases now all covered and out of the way, we move into February's efforts - which, already, feel a lot more diverse genre-wise than January's pretty heavy offerings. Two classic thrash acts put out new albums in January, and I also covered a favourite, now-resurrected, UK metal act releasing their third album. Even the sole rock act covered released an album heavier than is typical for them - so big riffs and anthemic choruses largely fuelled January, getting 2026 off to a heavy and melodic start. For the first of February's offerings, then, things take a different path - and we return to the world of all things progressive and atmospheric. We also take a rare trip to Australia, as one of the country's premier prog acts, Karnivool, dropped their long-awaited fourth album at the start of the month. Despite having been aware of Karnivool for many years at this point, they are actually something of a new band for me. I definitely heard some of their stuff a while ago, but it was not until I read that this album was imminent that I decided I should check them out properly. I thought about diving into their back catalogue, but by the time I caught up with the news I just decided to wait for the new album - so In Verses, the aforementioned fourth Karnivool album, has been my first foray into their work. I know little about the band's history, but they formed back in 1998 - with the current line-up having been in place since 2004. This line-up is responsible for much of their recorded output - and for a while they were semi-prolific, releasing three albums between 2005 and 2013. Until last week, then, the last time anyone heard anything from the band was in 2013 - with the album Asymmetry. As such, In Verses is the band's first album in 13 years - and I am not exactly sure why there has been such a big gap between releases. The band never broke up as far as I can tell - I can only assume that, instead of having a difficult second album, Karnivool had a difficult fourth album. Whilst I am sure that the fans will be happy to have the band back, I do wonder if the long gap between releases will have hurt the band's momentum. I remember Karnivool being quite a big name on the prog scene - but I had barely heard them mentioned of late, so I had somewhat forgotten about them. Regardless, I was keen to check out In Verses to see what I had been missing all these years - and I have been digesting the slow-burning, atmospheric album over the past week or so. Karnivool are one of those modern prog metal bands that straddle the line between rock and metal - utilising dryer guitar tones, cold synths, and meandering song structures. Metallic riffing and percussive drumming gives the band a heavier edge at times - but there is as much prog rock here as there is prog metal. I imagine, particularly given how much their name was being thrown around at one point, that Karnivool were one of the pioneers of such a sound, following the likes of Porcupine Tree, but nowadays this sound is very common - which perhaps robs the album of some the impact its predecessors enjoyed, particularly given the aforementioned gap between releases. Personally, too, this brand of prog metal has never really landed with me. I have generally struggled with all things Steven Wilson, and bands like Leprous and The Pineapple Thief do not do much for me. Fellow Australians Caligula's Horse, who merge this sort of sound with something more bombastic, I do like, though, and I did recently get into Katatonia's recent output to an extent - so I am always keen to try new things.

There is nothing here which really changes my mind about this brand of prog metal. That being said, I have found things to enjoy here - and it has been good to finally catch up with Karnivool. Opening with Ghost, the album gets off to a slow start - with cold synths and a bit of a simple drum groove, before the big riffing of guitarists Drew Goddard and Mark Hosking kick in. The riffing throughout the album is generally quite dry and doomy, but perhaps not as mechanical and grinding as some of the riffs which sit on similar albums. There is a smoother, less tech metal sound to Karnivool's approach, then, which I do quite like - and the doomy riffs fit nicely with the atmospherics. Frontman Ian Kenny soon starts to sing, too, and his voice moves back and forth between a lower, semi-whispered style which have a vulnerability to them, and a higher, more powerful approach - and this song features the former during the verses and the latter during the chorus. Structure-wise, the song tends to grow towards its chorus. Despite moments of heaviness, which are welcome, much of the verses are slow-burning - with chiming clean guitar melodies, subtle grooves from the rhythm section, and the synths filling all the gaps. I am not sure that I would call anything Karnivool do anthemic, but the chorus certainly has more life to it - and Kenny delivers an emotive and powerful vocal during it, whilst he riffing behind him picks up a bit. Generally, though, the riffing only feels big during instrumental moments, and there are a handful of doomy moments here - such as where the song's ending and the final vocal-led section which feels more urgent. I think my problem with this kind of prog metal is that there is actually little variety to be found within its walls. The formula of Ghost essentially informs the rest of the album - with Drone taking a similar path. Despite this, though, Drone is perhaps more overtly hooky. The bass playing of Jon Stockman features more prominently this time, giving the verses a little more of a snappy vibe - despite Kenny still singing them in a downbeat and mournful manner. There are doomy moments, too, but the guitar melodies are perhaps a little busier throughout this time - and the chorus is perhaps the album's most catchy thanks to Kenny's slightly pacier and heartfelt delivery. There is also something of a guitar solo here, with tremolo, fast-picked guitar melodies adding a slightly different vibe to parts of the song - even if Kenny sings over much of it. Much of the album is quite one-paced, but this song does have a little more urgency to it - which does help it to stand out and be one of the strongest cuts here in my view. Opening even more slowly than what has come before, Aozora is very quiet as it starts up - but it gets going proper once Steve Judd starts to lay down a staccato and punchy drum groove. There is less big riffing here initially, with the drum groove forming the main focal point - whilst clean guitar melodies and Kenny's vocals wash over it. An off-kilter and exciting drum break then transitions the song into its next mode - and some riffs do crash in at this point. The song never feels as doomy as the opening cut here, but there is a heaviness which was perhaps absent from the previous number - with the verses backed by some big chords, whilst effects-heavy clean guitar melodies also add depth. This is another track with a chorus that utilises more overt hooks, although it is quite short so it never seems to fully capitalise on them. Despite this, though, I do quite like the song - largely due to the excellent drumming from Judd throughout and the fact that, once it gets going, Kenny pushes himself a bit more vocally.

Animation feels a bit sparser overall. This brand of prog metal is generally on the sparser side, especially compared to the more bombastic, symphonic prog metal I tend to prefer, but this song feels sparse at times even compared to Karnivool's core sound. There are riffy moments, with another pretty decent chorus feeling quite weighty thanks to some dry riffing and emotive vocal melodies, but much of the rest of the song is very low key - with rim shot drum work providing a distant groove and simple guitar and bass textures adding a droning backing. Kenny is a bit more expressive than some of his peers, but he does spend much of this song in that semi-whispered/mumbling mode which characterises this type of prog metal - but he comes alive during the chorus which is welcome. A rare guitar solo is also a welcome addition to the song, despite its short length. Conversations, which is the longest song here at just over eight minutes, opens similarly to the previous song - but the overall arrangement feels a bit more lush from the off, with warmer strings sitting over the top of the simple drum groove and fading guitar melodies. The song feels somewhat more cinematic than much of the rest of the material here, then, but once Kenny starts singing the strings largely retreat and the typical slow-burning Karnivool sound is back - albeit with busier, more melodic guitar lines in the background. Given the length of the song, though, the arrangement is given quite a lot of room to stretch out. As such, the sections generally feel quite lengthy. They do subtly change in tone as things move forward, with Kenny's voice becoming more powerful during certain sections and instrumental breaks with punchier drums adding accents. There is certainly smoothness to the song overall, and I do like how all the sections seem to mesh together nicely. Given the song's length, though, I would have preferred a bit more variety. The band's core sound is really pushed to its limit here, and there are very few genuinely heavy moments which seems strange given its length. Reanimation is somewhat similar, albeit not quite as a long, and it is a collaboration between the band and guitarist Guthrie Govan (Asia; GPS; The Aristocrats; Steven Wilson). Whilst similar in tone to the previous song, there are some weightier moments this time - but largely this is another longer, slow-burning piece with subtle verses and a chorus which rises above the murk just a little. This chorus is a bit more overt, though, which means that Kenny gets to deliver some strong hooks - and the chorus is another which pushes the band in a more anthemic direction. Given Govan's prowess, though, this song does not especially make use of his talents - save for a guitar solo which is melodic and soaring (especially compared to the band's usual approach). Elsewhere, though, the guitar playing is no different to the rest of the album really - so it would have been nice to see Govan utilised more to create something different. All It Takes was actually released back in 2021, so this album had been in the works for some time, and the shorter piece immediately feels crunchier than the two longer songs which came before. The guitar riffing is more prominent this time, and the verses actually feel weighty - with a grinding guitar and bass pattern grooving away behind Kenny's emotive vocals. This riffing style largely continues on throughout much of the song, too, with quieter moments featuring more of a bass presence than usual. As such, this song feels a bit fuller than some of the others here - but the band's core sound is very much stuck to in general.

Following some riffing being reintroduced in the previous song, Remote Self Control continues on such a vibe - and opens in a more frantic manner than is typical for Karnivool. Judd's opening drumming is faster and less controlled than usual, whilst dry riffing is laid over the top of it to create an interesting, off-kilter sound. Nothing on this album feels fast really, but this is possibly the song which feels the fastest and most kinetic thanks to this drumming approach. It certainly shakes things up in a subtle way, but much of the track remains firmly rooted in the band's core sound - with spacey verses and plenty of floaty vocals from Kenny. The riffing from the song's intro does crash back in fairly often, though, which does help to keep the song moving. It feels a bit more dynamic and hard rocking as a result, then, which helps the track to be another favourite cut of mine here. Opal returns to a slower opening, with chiming clean guitars and a distant beat opening things up - over which Kenny sings with his typical approach. I would not say that the album contains any true ballads, largely as the band's core sound is quite ballad-esque a lot of the time by default - but there is something more ballad-like about this number. This is likely due to the lack of any big drums during much of the piece - with programmed beats and percussive drumming utilised during much of the song - at least the first half or so. Big riffing is kept to a minimum, too, allowing an atmospheric sound to settle in - but this does change later on, when something heavier does crash in. This heavier moment is welcome, but it is quite short lived, and it is not long before the more atmospheric and ballad-like vibe returns - albeit with a bit more of a potent drum backing. The song does evolve in quite a pleasing manner, then, and the way the drums are utilised does make it stand out. Kenny really shines as a singer during this one, too, with the somewhat cinematic arrangement giving his vocals plenty of room to breathe. I would prefer a bit more grit from him at times, but songs like this really play to his strengths - with the pseudo-ballad a great home for him emotive and, at times, fragile delivery. The album then comes to a close with Salva, another lengthier song which opens in a very slow manner. Even compared to the band's usual approach, the sparse arrangement is very limited - and Kenny's early vocals are sung so quietly they can barely be heard. Thankfully, though, this extremely quiet approach does not last for too long - and something more typical soon takes over, with another cinematic vibe allowing for some big, expressive vocals from Kenny and plenty of chiming clean guitar melodies. The chorus-like section of the song is perhaps one of the album's most moving and emotive moments vocally, showcasing Kenny as a great singer, but the rest of the song feels a bit bland in comparison - and it really meanders along without ever really getting going, with the exception of a bit of a heavier moment towards the end. These arrangements are generally why I struggle with prog metal of this ilk - and this song is an example of some good ideas which are stretched thin without the riffs and melodies to truly back them up. Overall, then, In Verses is an album very much of a genre and a sound which I struggle with - but I did find songs and moments to enjoy here. Kenny is a great singer for the most part, and I like how drum-driven a lot of the material is - with Judd delivering some great grooves. It is not an album that is going to change my mind about this brand of prog metal, but I am glad to have listened to it and entered the world of Karnivool after many years. I imagine the album will do well despite the gap between releases - with lovers of this brand of prog metal likely to lap up each mournful melody and dry riff.

The album was released 6th February 2026 via Cymatic/Sony Music Entertainment. Below is the band's promotional video for Opal.

Megadeth's 'Megadeth' - Album Review

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

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

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

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

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