Over the past few years, I have seen Arch Enemy live regularly. I have now seen them live seven times overall, but four of those have come since 2022 - starting with a co-headline show at the O2 Academy in Brixton with Behemoth that year. Two shows at the Eventim Apollo in Hammersmith followed, once as a co-headliner with In Flames and second as a headliner but backed by a strong bill including Amorphis and Eluveitie, with the band having long established themselves as one of the big hitters of the European metal scene. I started following the band in the late 2000s, when 2007's Rise of the Tyrant was their most recent release, and even then they were pretty big. Of late, though, Arch Enemy seem to have rise through the ranks further - with the Alissa White-Gluz era, that ran between 2014 and 2025, seemingly pushing the band higher up the food chain, even if, in my view at least, some of the albums released during her tenure as frontwoman felt less inspiring than what had come before. That being said, though, last year's Blood Dynasty (which I reviewed here) was an album I enjoyed more than I expected to. The two albums that preceded it may well be my least favourite Arch Enemy releases, despite some strong songs, but Blood Dynasty felt tighter and hookier overall - and it ended up capping the White-Gluz era nicely when she left the band late last year at the end of their European tour. I certainly did not see the line-up change coming, but I was not hugely upset by the news. I liked White-Gluz in the band, but I only genuinely really like two of the four albums that they put out during her tenure, so perhaps a shake-up was no bad thing. I was pretty hyped when it was announced earlier this year that former Once Human frontwoman Lauren Hart was going to be taking her place. Whilst I was never a massive Once Human fan, I always liked Hart as a singer - and I saw her live a few times with Kamelot during the couple of years she acted as their touring female vocalist. The song Arch Enemy released to introduce Hart as their new singer, To the Last Breath, impressed, too. It was very much Arch Enemy-101, but the hooks were strong - and it certainly got me more excited than many of their other songs from more recent years. Not too long after Hart was announced as the band's singer, too, Arch Enemy announced a European tour over the summer - which included some small club shows in between larger festival dates. With a new singer in tow, they clearly wanted to turn the clock back somewhat and play some venues that they had not played for a long time. This tour was not the first run of shows with Hart, as some long-standing Asian dates followed not long after she was announced, but it felt like the first 'proper' tour in a way - given that it looked to be a lengthy trek with something of a unique identity in terms of venues. Two UK shows were included, and when I saw that the band would be playing at The Underworld in Camden I knew that I had to try and get a ticket. They went on sale the same day as the tour was announced, and I was lucky enough to get one. The show sold out in about two hours, which is not surprising considering that the venue is significantly smaller than those the band tend to play these days. They last played The Underworld back in 2002 - so it was with excitement that I headed up to London again yesterday and joined the queue snaking around Camden not too long before the doors were due to open. The venue opened around 20 minutes late, which was annoying, but what was more annoying was the long wait that followed. The door time was 7pm, but Arch Enemy did not come on until 9pm - and there was no support act. This made for a dull couple of hours, but thankfully the venue's air con was doing a good job - and I got a t-shirt whilst waiting.
I got a spot about three-quarters of the way back on the main floor - as I have long learnt that trying to stand in the 'upstairs' bit at The Underworld during busy shows essentially means having very little view. I had a pretty good view from where I was - and, despite the sold out crowd, a modicum of personal space. I had wondered if the floor would essentially turn into one huge mosh pit, but thankfully that was not the case - with excellent moshing etiquette observed, ensuring that everyone enjoyed the show and an excellent atmosphere was present from the off. Given this atmosphere present, the long wait was soon forgotten when Arch Enemy took to the stage - and from the off the sound was excellent. A synth-heavy intro tape soon morphed into the percussive stomps of the brief Tear Down the Walls - which was a clue that the oldie Silent Wars was going to kick things off. Setlist-wise, the next 100 or so minutes were a really treat for classic-era Arch Enemy fans. Lots of songs that had not been played live for quite some time were included - including the thrashy opener Silent Wars and the more anthemic Taking Back My Soul which followed. A number of songs that I had not seen the band do live before were played - with only three songs from the White-Gluz era, which has dominated recent setlists, being retained. It is unclear what future setlists will look like, especially following the band's next album, but it is clear that they wanted to have some fun on this small rooms tour - and treat long-time fans with a setlist for the ages. I have already mentioned how good the sound was, but it really was crystal clear. Everything could be heard in the mix, and Hart powered above the band - her excellent harsh vocals really doing justice to material from all eras of Arch Enemy. In my view, she is a better fit than White-Gluz. Her growls are closer to that of classic frontwoman Angela Gossow's, and she even adopted a guttural bark to sing the one Johan Liiva era number played in full. She came across as humble and likeable, too, something which White-Gluz never seemed - so I feel that Hart is a real upgrade in all departments. This is not meant to dismiss White-Gluz's contributions to the band over the past nine years, as I saw the band numerous times with her and she always gave her all - but she, in retrospect, often seemed a bit standoffish and sometimes there seemed a lack of chemistry between her and the rest of the band. Hart seems a great fit, then, and she was given a huge welcome by the London crowd - with a couple of chants of her name breaking out at various times during the night. This was mostly down to the fact that she just nailed song after song.
Die-hard fans loved hearing songs like The First Deadly Sin after so long - but even setlist staples of recent years such as Ravenous and War Eternal sounded fresh. Bandleader Michael Amott (guitar/vocals) seemed really fired up, too. His Michael Schenker-on-speed guitar playing style was on full show, with solo after solo hitting the spot - whilst Joey Concepcion (guitar/vocals) played the shreddier side of the band's leads with aplomb, even if one of The Underworld's famous pillars meant that I did not always have a great view of him. I have already mentioned To the Last Breath, but it really shows that the future of Arch Enemy is bright - with the new anthem being greeted as warmly as any of the classics. The White-Gluz era songs were also well received, with The Eagle Flies Alone later in the set getting plenty of love. The band largely just let the music do the talking, but Hart spoke to the crowd a few times - and it is clear that she already feels at home in Arch Enemy, despite coming across very humble and happy to be there. She joked with those in the front row and had a great stage presence throughout - hyping up a return to the dark past during the oldie Bury Me an Angel and bringing out a flag to fly during Under Black Flags We March before realising there was barely any space to do so. The size of the room did a lot in terms of shaping the show, then, with everyone in attendance soon drenched in sweat despite the air con doing its best. The band seemed to love it, though, with plenty of jumping during the anthemic No Gods, No Masters - with even Amott at some point taking the microphone to briefly talk to the crowd about how special the show was. As the set reached the final quarter, there were still surprises to come. The brief instrumental I Am Legend was another rarity, but instead of being paired with Out for Blood as it is on 2005's Doomsday Machine it was paired with Dead Bury Their Dead - which featured an extended bass-led instrumental mid-section which allowed Sharlee D'Angelo (bass guitar) a moment in the spotlight. The choppy and melodic Burning Angel was another oldie that was great to finally hear live - before the main set came to a close with We Will Rise, a song which does not feel like it has been played live in recent years as often as it should have been. This was the end of the main set, but there was, of course, time for more - with the band coming back on stage after a couple of minutes to launch into the thrashy Blood on Your Hands - a personal favourite of mine that I was really happy to finally hear live. The crowd loudly shouted the chorus back at the band, in a fashion which made its lengthy absence from the setlist seem strange, before there was a brief respite in the form of the melodic instrumental Snow Bound. This was Amott's guitar showcase - but, as it so often is, it acted as the intro for Nemesis, the closing anthem that rounded out what was a truly excellent night, capped off by a instrumental rendition of part of Fields of Desolation as is often the case. The setlist was:
Tear Down the Walls
Silent Wars
Taking Back My Soul
The First Deadly Sin
Ravenous
War Eternal
To the Last Breath
Blood Dynasty
Bury Me an Angel
Under Black Flags We March
The Eagle Flies Alone
No Gods, No Masters
I Am Legend/Dead Bury Their Dead
Burning Angel
Dead Eyes See No Future
We Will Rise
-
Blood on Your Hands
Snow Bound
Nemesis
Fields of Desolation
Enter the Machine
I have enjoyed seeing Arch Enemy each of the previous six times, but number seven last night was the best by far. Seeing the band in such an intimate setting was a real treat - with a setlist that was so different from anything else the band had been doing in recent years. I imagine that some of these songs will go back into hibernation again after this tour, which makes last night extra special - but I do hope that the band is not as neglectful of some of their older albums as they have sometimes been going forward. I was pleased to see My Apocalypse dropped, too, as it has never been a favourite of mine - although I do note that is included in the festival set being played on this tour, which differs quite a lot from the setlist shown above. Arch Enemy have survived another member change, and, so far, seem to have come out the other side stronger - and I cannot wait for what is to come.
Given that I have covered quite a lot of power and progressive metal on this blog over the years, it is perhaps surprising that I have never written about the German five-piece Masterplan before. In truth, up until recently, Masterplan were just not a band that I knew all that much about. I remember hearing the title track of 2010's Time to Be King around the time it was released, and really liking it, but I never pushed on further - and did not actually listen to one of the band's albums in full until earlier this year. Given the band's links to Helloween, too, the fact that I largely ignored Masterplan until recently seems extra strange. Originally conceived as a side project of then Helloween guitarist Roland Grapow and drummer Uli Kusch, the band took on a life of its own in 2001 when the pair were fired from Helloween - releasing their self-titled debut album in 2003. When I heard Time to Be King in 2010, I am not sure that I was properly familiar with Helloween at that point - so I was more interested in then-frontman Jørn Lande who I was already quite the fan of. When I did become a fan of Helloween, too, it took me a while to catch up to the Grapow and Kusch eras. I started with the band's most recent work and the late 1980s classics - so getting around the band's 1990s/2000s albums followed somewhat later. As such, I was less clear on the Helloween link to Masterplan - but even when I learnt more about Grapow and Kusch's eras of Helloween I still did not check out the latter properly. A part of this is just down to the sheer amount of music that there is to listen, but I think that it also comes down to the fact that Grapow is probably the Helloween songwriter that I connect with the least. He certainly wrote some strong songs for the band, as did Kusch, but his songs rarely jumped out at me as much as the songs written by the classic era members, Andi Deris, and Grapow's successor Sascha Gerstner. As such, a whole band largely based around Grapow's songwriting did not really appeal - but I have likely been missing out on a solid and enjoyable band as a result. Grapow's Helloween contributions have certainly grown on me, and Masterplan is not just about him - even though he is the band's leader and the only person to have appeared on all of their albums. Keyboard player Axel Mackenrott has been in the band since 2002, but clearly came in after work on Masterplan finished - and the current line-up has been in place since 2016. A decade of stability has followed quite a lot of chopping and changing, then, with co-founder Kusch dropping out in 2006 and the band is now on their third frontman - with Rick Altzi having been in place since 2012. I actually picked up 2013's Novum Initium quite a few years ago, but never got as far as actually listening to it - but I will be going back to it soon, as I have been enjoying the band's new seventh album Metalmorphosis, which dropped back in June. It is their first album of original material in 13 years, since Novum Initium, and their first one at all since 2017's PumpKings - a Helloween covers album that Grapow seemed to put together out of spite given that he was not invited to be a part of the on-going expanded version of Helloween. Metalmorphosis is the band's second album with the current line-up, then, which debuted on PumpKings - with bassist Jari Kainulainen and drummer Kevin Kott joining Altzi, Grapow, and Mackenrott. I cannot compare this album to what has come before, but Metalmorphosis is certainly a strong and enjoyable crunchy power metal effort - that occasionally flirts with progressive metal trappings. This is not upbeat power metal - but instead is more of a gritty effort along the lines of bands like Gamma Ray.
Most of the songs here were written by the band as a whole, but three of them were written by Grapow and outside writers. Grapow also produced, mixed, and mastered the album - showcasing his position as bandleader - whilst he also contributed some lead vocal moments alongside Altzi. Kicking off with Chase the Light, with dancing gothic strings setting a dark tone - as percussion slowly builds up, creating a film score feel as the album gets underway. Grapow's guitar soon fades into view, adding some crunching rhythms, before the band kick in proper - behind a chugging riff, groovy double bass drumming, and plenty of keyboards. Despite the double bass drumming and the energetic guitars, the song never feels all that fast. It is a bit more upbeat than a typical mid-paced track, but it does not exactly speed into the distance - and this crunchy, energetic feel largely represents the album's core sound. Altzi is not really a singer that I was all that familiar with before hearing this album, but his deeper, raspy voice certainly follows on from Lande in terms of a similar overall approach - although Altzi is perhaps more power metal coded with a slightly smoother delivery. He really shines during the hooky chorus, which slows the pace a little, whilst Mackenrott shifts his attentions to some more organ-like textures to create a more metallic base. Grapow adds some pre-chorus vocals occasionally, his heavily German-accented vocals adding a surprising edge to the track. A little goes a long way with his voice, but he shows off properly later with a fluid and shredded guitar solo - and later chorus renditions feature more of a lead guitar presence. Electric Nights feels a little more up-tempo and bouncy - with a hooky guitar lead setting a more overtly melodic tone, whilst shimmering keyboard tones deliver a strong power metal feel. Despite the energy of the opening guitar lead, the song is similar pace-wise to the opening number. There is a pleasing, kinetic feel to the track even though the pace is not all that fast - with the verses feeling a bit more stripped back at times, with just a punchy drum beat and Kainulainen's bass playing backing Altzi. These moments still feel energetic - but when the band kick in the power returns, and the later chorus is another hooky moment with smooth vocals, subtle guitar leads, and a somewhat majestic feel. Mackenrott's keyboard playing is not as in-your-face as such often is in power metal, but he is constantly there to add a depth to the sound that makes Masterplan feel big and powerful. Shadow Man, after a brief piano intro, slows the pace down compared to the previous couple of numbers - with a muscular riff driving everything, although at a pace that gives doomy vibes. There are certainly shades of epic doom bands like Candlemass on show here - especially thank to Altzi's theatrical and powerful vocal performance. He definitely sounds a little like Lande on this song, but I think his approach to melody is a bit different - as exemplified by the later chorus which is a bit on the smoother side compared to the heaviness of the song overall. As such, the song is a really good mix of the heavier end of Grapow's songwriting alongside a strong melodic approach - with doom and power metal sitting side by side to create something powerful.
Bound to Fall, opening with a bit more of an overt keyboard presence over some simpler guitar riffing, is more of a mid-paced rocker. The guitar riffing is generally less interesting throughout this song - with the song's intro seeing the shimmering keyboards taking on a more prominent role. Despite this, though, the keyboards are not really doing anything too interesting. They are mostly just playing an atmospheric role albeit much more prominently - and I would have rather had something more of a proper riff or melody instead to create some interest. Overall, too, this song just feels a bit less interesting compared to what has come up to this point. The chorus is pretty good, as most on this album are, but nothing else really jumps out at me. There is much less interest from a musician perspective, with no real guitar or keyboard riffs, with the song instead being something of a chug - which only really comes alive during the chorus. Pain of Yesterday immediately feels much more interesting, with an Eastern-tinged keyboard melody sitting above a groovy guitar pattern backed by some occasional double bass drum rolls. There is a real epic feel throughout the song, and it feels like it ups the band's cinematic side compared to everything else heard on the album so far. Mackenrott's playing shifts back and forth between the aforementioned lead playing and a dense atmospheric backing - whilst the darkness of the guitar riffing showcases the heavier side of Masterplan. This is one of those songs that sounds a bit like a heavy metal version of Led Zeppelin's Kashmir. The keyboard melodies have a similarly Eastern tone - and Grapow's later guitar solo follows similar melodic cues, whilst feeling a bit more overtly melodic and less pace-orientated than some of the other solos here. Despite all of this, though, the chorus is one of the weaker efforts here. It feels a bit drawn out and less hooky than it could be, despite some strange gang vocals mixed into the background, so the song does lose a point or so for this. With a better chorus, the song would have likely been one of the best songs here. The album's title track follows, with a spacey synth melody opening things up - before another groovy, juddering riff takes over, with the synths providing melodies in the background. Picking up the pace again somewhat, driving double bass drumming and darker guitar chugs provide a tough verse backing for Altzi's vocals. There is a pleasing pace to the verses, although Altzi's smoother vocal delivery is surprisingly downbeat - but the contrast between the two approaches works pretty well. The band are back on their chorus game here, though, with a slower-burning, more anthemic chorus seeing the pace slow down for a period - whilst Altzi delivers some rumbling, powerful vocals. The song is slightly on the longer side compared to the others here, too, so the chorus and solo section really feel like they have space to breathe. Through the Storm, like the opening number, opens with some dramatic strings - but it is not long before one of Grapow's most venomous riffs takes over. There is a heaviness to this riff, but it is a pacy one - meaning that this song is one of the fasted cuts here. Masterplan are generally more of a crunchy power metal band as described, but this track is much more up-tempo - giving a more typical European power metal vibe. Mackenrott's keyboard textures are a little brighter, too, so as to really lean into such a sound - although they are fairly low in the mix, to allow a heaviness to remain present. Hooky vocal harmonies during what is another strong chorus allow for more melodies to establish themselves - whilst Grapow's fast-paced solo is a busy one.
Ghostlight returns to the album's more typical feel - with something of a crunching, mid-paced vibe thanks to some juddering, crunchy guitars and subtle synth undertones. Given the toughness of the guitar riffing, though, Altzi utilises the gruffer side of his voice. He is certainly a singer that can do quite a lot of different things. His smoother chorus delivery elsewhere on this album contrasts nicely with the grittier approach taken here - whilst his chorus vocals on this song are more powerful, allowing for something of a more epic approach. The chorus is the best part of the song, as it is another that perhaps lacks some big musical hooks. This is mostly a rhythmic and more mid-paced effort - but it does really allow Altzi to shine, and his vocal performance here is likely one of his best on the album as a result of the amount of space that he has to play with. The Call is the album's longest cut, at just over eight minutes. Most of the songs here are around the four-to-five minute work, so this song hints at a more progressive metal feel overall. As such, and given the presence of another really strong chorus, the song is one of the overall highlights here for me. It actually starts out quite humbly, with little to write home about early on, but the song morphs into a pretty powerful effort - with a chorus that really reaches for the sky. The overall arrangement is much more dynamic than anything else heard on the album, too. There is little on this album that is not pretty heavy. There are no ballads here, nor are there many moments that just slow the pace or strip the heaviness away, but this song does that - with a mid-section that sees clean guitars and Grapow's vocals creating a more atmospheric bridge moment, before the band crash back in again and Grapow launches into a big solo. As such, it is nice to have some variety here. I would not call Masterplan a progressive metal band, but this is certainly a song that includes plenty of progressive influences. The arrangement has a lot more room to breathe, and the length of Grapow's solo also brings many progressive metal bands to mind. Throw in the aforementioned big chorus, too, and the song is a winner. It may well be my favourite cut here, despite the lack of any real big riffs early on, and Grapow's vocal section resurfacing later on, this time heavier, also works really well. I wish there was a bit more on the album in this vein. The album then comes to a close with Rise Again, a much more typical Masterplan song - returning to the four minute approach of most of the rest of the album. Despite that, though, the song is another strong one. The opening instrumental section is instantly memorable, with screaming guitar leads, some synth interjections, and a strong groove from the off. Like many of the songs here, this is a pretty energetic number which feels a little faster than mid-paced without ever feeling fast. There are just strong headbanging grooves here, whilst some of Altzi's vocal melodies are a bit more on the urgent side at times. He slows down for another pretty strong chorus, which has a powerful keyboard halo to make it sound big, whilst the song climaxes with a strong, marching rhythm and some more big vocals from Altzi. The album ends on a high, then, with two of its stronger tracks, but overall Metalmorphosis is an album that I have been enjoying. There are some weaker moments here, and it has not blown me away, but for a slab of crunchy, melodic power metal there is a lot to like here. Altzi really shines as a vocalist, and the songwriting from all involved is largely pretty tight. I would certainly like to check out some more from this band - so I seem to have a few albums to catch up on.
The album was released on 26th June 2026 via Frontiers Records. Below is the band's promotional video for Chase the Light.
Over the past couple of years, The Wildhearts and Wildhearts-related reviews have seemed quite regular occurrences. The band itself, reborn by frontman Ginger Wildheart in 2024 following the break-up of the classic line-up in 2022, released a strong new album last year - and I saw them live last year and again earlier this year. Another member of that classic line-up, though, and one of the band's founding members, guitarist CJ Wildheart, has also been busy. Whilst he released solo albums alongside being a member of The Wildhearts, CJ has really stepped things up in his solo career since that 2022 split. Funnily enough, the first album he released following the split was called Split, which dropped in 2023, whilst Slots followed in 2025. Throw in the 2022 release Lives, a compilation of re-recorded songs from CJ's early solo albums, The Wildhearts, and other past bands, and 2023's live effort Kicks, and there has been a lot of CJ-related product to enjoy in recent years. He has also been fairly busy when it comes to playing live, too. I saw him headline locally here in Plymouth in 2024, which was my first experience of him live as a solo artist, whilst I saw him twice again last year - opening for both Michael Monroe and Ricky Warwick. 2026 has been quieter for CJ in terms of live activity, and he has been open about that and the challenges that essentially operating as a small-scale cottage industry music-wise brings - but CJ can never be accused of not giving everything his all and being open and honest with his fans. Despite the lack of live activity this year, though, CJ has still been busy over the past year or so - and released another solo album Devil back in June. Devil follows only a year after Slots - showing that this current creative streak that CJ finds himself in continues. He did suggest at one point that Devil may be his final solo album, or at least his final release for a while, but he already seems to be working on something new - and, like Michael Corleone, he seemingly just keeps getting pulled back in. Not counting the aforementioned re-recorded collection and live album, Devil is CJ's eighth solo album - his first, Thirteen, having originally come out way back in 2007. Before that, though, and before The Wildhearts reformed in 2001, CJ also fronted The Jellys - the songs for which he largely wrote. As such, The Jelly's two studio albums sit quite nicely alongside his solo albums - whilst Honeycrack's sole effort, Prozaic from 1996, also feels like a proper entry into the CJ canon despite him largely functioning as a guitarist and harmony vocalist in that band. The point that I am trying to make is that CJ has amassed a lot of material over the years - and that is not even taking into account the many Wildhearts albums that he was a part of during his two stints in the band. The Wildhearts' catalogue generally feels like Ginger's canon, though, even though CJ wrote and co-wrote some very memorable Wildhearts songs over the years - and a few choice Wildhearts deep cuts have graced CJ's solo setlists in recent years. Turning back to Devil, though, and the 35 minute, 10-track album is essentially what we have come to expect from CJ in recent years. The album is raw, punky, yet full of pop hooks - which is essentially the type of music he has been writing forever. As always, too, it is a true solo album in the sense that, bar the drums and some gang vocals, CJ is responsible for everything heard here. Jason Bowld (Pitchshifter; Blaze; This Is Menace; Pop will Eat Itself; AxeWound; Bullet for My Valentine; They Fell from the Sky) plays the drums throughout, as he has often done on CJ's solo albums.
I have been enjoying my time with this album, but I do not feel that it is quite as strong as the last couple - especially Split which I think is very strong. There is nothing mould-breaking here, and the songwriting is still strong overall, but I feel like the mix is perhaps less clear than is typically the case with CJ's work. His albums tend to have a rawness to them, but this one feels rawer overall - and, at times, it is perhaps a little too raw. His voice gets a bit buried at times, which is a shame, but that punk spirit remains - and there is still plenty to enjoy here. Kicking off with Nein Nein Nein, and in true punk fashion the song feels like it is fully underway the second the album starts - with layers of big guitar chords thrashing away from the off. Gang vocal chants sit in the background, although they are a bit too far in the background in my view, before CJ's snarling verse vocal takes over. His voice has always been a good mix of punk attitude and pop rock melody - and that remains the case here. He is perhaps more snarling here than he sometimes is - but he gets the song's message across, especially during the chorus which has a few folky vocal melodies as is often the case with punk. There is more going on musically than may be expected, too. Later verses have more of a guitar presence, with some subtle guitar leads, which are also utilised during the chorus. There is even a bit of a guitar solo later on - but nothing hangs around for too long, with the fast-paced, boisterous song a great way to kick the album off. The Art of Being Free opens with a strange bit of spoken word and a mellow guitar chord, but soon a juddering drum and guitar fill opens the song proper - and a mid-paced piece of pop-punk takes over. The song is one that opens with its chorus, a hooky section with vocal harmonies and accessible melodies. These influences have always been a big part of CJ's past - and the choruses of Honeycrack's sole album are somewhat referenced here I think. There is less of a punk drive here, with pop hooks and more of a typical rock approach overall. Some of the guitar leads feel like a throwback to the 1960s era of rock and roll, whilst the sing-song approach of some of the vocal melodies are similar in vibe. The guitar tones of the rhythms feel a bit more intense, though, which grounds the song within the album's overall toughness - but this is not a heavy song, even if there is still a bite to the guitar tone and the later guitar solo. Later shouty gang vocals do inject a moment of heaviness towards the end - but this song is CJ at his most accessible and melodic, and I can see the sing-a-long chorus working really well live. Diva picks the pace back up, with a slashing riff opening things up in a jangly, punky manner - before Bowld's drums crash in and the rest of the 'band' also join the fray. The opening riff is later repurposed pattern-wise in a heavier and more intense manner - whilst bluesy, high-octane guitar patterns are laid underneath this riff to provide some interest. The pop hooks of the last song have largely been replaced by attitude. CJ's vocals are back to their snarling best - with the semi-shouted chorus vocals recalling the 1980s punk scene quite a lot. This is certainly an uncompromising song filled with venom - but the overall attitude works for me, even if some the snarl of the vocals is lost due to the mix.
SOB keeps up the punk of the previous song, but reins in the pace somewhat - with the song feeling a bit more deliberate overall. There is less of the overall snarl of the previous number, then, but this allows for a more interesting guitar approach. Big chords are certainly utilised here riff-wise, but there are a lot more guitar leads thrown in this time - and CJ really gets to showcase himself as a guitarist here. He is certainly no virtuoso, but he is a tight player with an ear for a melody - and this song is elevated thanks to the utilisation of guitar leads throughout. Vocally, this song makes use of the dual vocal approach that CJ was often a part of during his time in The Wildhearts. There is a bigger vocal sound as a result - with the chorus having something of a chanted overall vibe. Sometime to Return is a cover of the Soul Asylum song from that band's 1988 Hang Time album. I have to say that I have no history with Soul Asylum, so Sometime to Return is not a song that I was familiar with previously. As such, I cannot say how this version compares to the original, but there is less of a punk feel immediately - with more a traditional hard rock approach guitar wise, alongside some more of CJ's trademark guitar leads. He also approaches the song a bit different vocally. There is less of a snarl and an attitude present this time - with his voice feeling a bit rawer in approach, with a slight gravelly feel on show. This vocal approach works given the more rock-orientated arrangement that this song suggests - although the later chorus is not a huge distance away from CJ's core sound, with poppy melodies mixed nicely alongside a heavier sound. It is quite a hooky track that has grown on me over repeated listens to the album. CJ also included a cover on his previous album, and choice covers can sometimes elevate albums - with Sometime to Return certainly not being unwelcome here. One of the Boys gets back to CJ's own material, and it is likely my favourite cut here. Perhaps what is lacking somewhat on this album is CJ's more anthemic side - but One of the Boys feels suitably anthemic, which is why it sticks with me. It is easily the hookiest song here in my opinion. The chorus is the catchiest on the album, with a great mix of loud gang vocals and folk/punk vocal melodies that lodge in the brain from the off. Great guitar leads are also utilised throughout - whilst some solo spots really add to the overall vibe, with great folky moments adding some melody to the hard-driving punk of the rest of the song. The mid-paced groove allows the song's anthemic nature to truly shine, though, and the song deserves to be setlist staple going forward. Rotten is somewhat similar in terms of the song's mid-paced nature, but overall the song does not feel all that anthemic - instead returning back to CJ's core pop-punk feel. That is not to say that there are not hooks here, as the chorus is pretty strong, with more folky melodies, whilst there is a bit of a call-and-response vocal approach utilised during the verses. I am not sure why so much punk utilises folky vocal melodies - but it has often been the case and the approach generally works well. CJ makes great use of that style and this album is a pretty strong advert for such.
No More kicks off the home straight with a riff that ups the overall heaviness somewhat - with something of a jagged and lumbering guitar pattern that is backed by some equally booming drumming. There is something weightier about this song when compared to many of the others here - especially early on and during the verses. The chorus feels lighter, with more pretty accessible hooks, but the verses are likely the album's heaviest moments - with foot-stomping riffing and CJ's gravely vocal approach again on display. The way that the poppier chorus transitions back into the heavier riff is quite pleasing, with the overall more metallic approach taken here also later represented during what feels like more of a screaming guitar solo. Those who prefer their music on the heavier side will certainly find plenty to enjoy here. Twenty Two opens with some slow-burning, fuzzy guitar - but this is another tease as the song soon kicks off proper, moving back towards a punk direction. This is another song that picks up the pace, and it feels quite furious at times. There is a rowdy vibe to quite a bit of CJ's work, but it is perhaps best exemplified here. The chorus in particularly has a strong party vibe, with a lot of scrappy gang vocals during it to give the sense of a bit of a drunken knees-up. The approach works well, especially compared to the somewhat more paired back verses which feature simple chugs - and another strong guitar solo later keeps the party moving. The album then comes to a close with Fade, a song that reins in some of the punky energy to present more of a power pop feel. Both Honeycrack and The Jellys were essentially power pop bands, and Fade would have likely sat nicely on one of the albums by the latter. There is still some bite thanks to Bowld's hard-hitting drums and CJ's guitar tone - but there is less energy here, with a smoother overall approach instead opted for. Chiming guitar leads and poppy vocal harmonies do a lot of the heavy lifting here, with the chorus actually feeling a little on the sweet side - which is a rarity for CJ. The overall approach works well for me, though, and it is certainly a bit of a point of difference compared to much of the album. CJ often flirts with such a sound, but rarely goes all-out - so it is nice to see him do so here. After nine pretty up-tempo and hard rocking punk anthems, something a bit smoother and laid back is welcome - but CJ's core approach to melody and 1960s style rock and roll guitar leads ensures that the song is well-routed on the album. The album is closed out nicely as a result - and CJ once again showcases his talents as a songwriter. Devil might be just another CJ album in some ways, but for those who like CJ's style the songwriting is strong and there are a number of choruses here that really stick. I do wish that the vocals, and especially the gang vocals, were higher in the mix, though, as I feel that some of the songs are a little robbed of power as a result. One of the Boys works so well due to the punch of the gang vocals - whereas other songs have them but they make less of an impact. There is still a lot to like here, though, and I do hope that CJ does manage to get on the road at some point to support this album - as live renditions of some of these songs would be good to hear.
The self-released album was released on 26th June 2026. Below is CJ's promotional video for One of the Boys.
Over the last couple of years there really has been something of a Skid Row-shaped hole on the touring circuit. Ever since I have been paying attention, Skid Row have been regular visitors to the UK - and I managed to catch them live four times at various points during the 2010s. Following the departure of frontman Erik Grönwall in 2024, though, two years after dropping The Gang's All Here (which I reviewed here), the band's first album since 2006, Skid Row have essentially been dormant. A few remaining booked shows were completed with Lzzy Hale filling in, which seemed to be something of a dream come true for her, but she was never going to be a permanent solution given her profile far eclipses Skid Row's these days - and Skid Row have essentially been dormant since. In truth, I found the Grönwall era a little odd - as he seemed rushed in to replace his relatively long-standing predecessor ZP Theart out of nowhere, only to leave for health reasons a couple of years later. There almost certainly exists, or at least existed, a version of The Gang's All Here with Theart's vocals, and he was credited with co-writing some of the songs, and I was a big fan of him in the band. I never got to see Skid Row live with Grönwall, who I do really like, but it did seem as if they ditched Theart for what was, in their eyes, a fancy newer model only for it to backfire shortly after. I do not know all of the ins and outs of course, but perhaps what goes around comes around, and maybe Skid Row are now paying the price for making a bit of a rash choice. Given how active the band generally were as a live act, the last couple of years must have come as quite a shock for the remaining band members - but the band's bassist and one of their main songwriters Rachel Bolan has seemingly used his time off the road creatively, as in June he released his debut solo album Gargoyle of the Garden State. Whilst this is not the first album to feature Bolan as a lead singer, as he fronted the band Prunella Scales during the late 1990s following Skid Row's initial break up with whom he released Dressing Up the Idiot in 1997, but Gargoyle of the Garden State is arguably the first album which Bolan has essentially put together on his own from a songwriting and creative perspective. He generally shares songwriting duties in Skid Row with guitarist Dave 'Snake' Sabo, with others occasionally chipping in, and Prunella Scales was a band effort, but this first solo album is pure Bolan - where he handles most of the lead vocals alongside the rhythm guitar and bass guitar duties. Bolan always brought a punk edge to Skid Row, helping to forge the band's dirty hair metal sound, and that influence certainly shines here. There are punk efforts on this 11 track album, but it is also just a great hard rock effort. Some songs have shades of Skid Row, but the overall sound is rawer - with short songs that fly by. All of the remaining members of Skid Row contribute. Rob Hammersmith (The Halls of Jupiter; Rockets to Ruin; Skid Row) plays all of the drums here, whilst Sabo and fellow guitarist Scotti Hill (Skid Row; Chrome Daddy) contribute a guitar solo each. Some of the songs feature lead guitar work from Damon Johnson (Brother Cane; Slave to the System; Alice Cooper; Thin Lizzy; Black Star Riders; Lynyrd Skynyrd), whom has co-written a handful of Skid Row songs in the past, whilst others contribute backing vocals throughout. There are a few guest lead singers, too, but Bolan handles most of the vocals here - with his punky, snarling voice perfect for the material here.
There really is nothing all that complicated on show here, and Gargoyles of the Garden State is pretty much exactly the album I expected it to be when Bolan announced it earlier this year. Some of the songs may have been destined for a future Skid Row album given the unplanned hiatus, and some could certainly work in that context, but there is a difference in overall approach here given the aforementioned rawness. Anything but You kicks things off, and it is pretty typical of the album's overall approach. A distant riff opens the song, but soon it fades in proper - with the snappy guitar pattern essentially becoming the driving force of the whole piece, whilst Hammersmith's punchy drumming adds a spiky rhythm. The immediately noticeable difference between this album and a Skid Row album is the more simplistic approach to guitar riffing. The high-octane, bluesy approach that Skid Row often utilise is replaced here by a hard-driving rhythmic approach common with punk - but these snarling power chords and choppy patterns work well, especially whilst Bolan's simple vocals cover them in attitude. Bolan may not have the biggest vocal range, but his voice suits the material here - and there is a power to his delivery, even if he does sound a little nasally. A hooky chorus draws the listener in, with some surprisingly poppy vocal harmonies, whilst a later guitar break showcases that Bolan is capable of more than just slashing away at a few chords. The barrelling punk effort gets the album underway nicely - and it is pretty typical of the core approach going forward. Lead single At War with Myself ups the pace somewhat, and the overall arrangement feels a little more involved. Bolan shares vocal duties here with Danko Jones, who sings the second verse, but the chugging guitar patterns here are a little more Skid Row coded - whilst it is the first song to feature Johnson, who throws in some melodic guitar leads at times. A shout-along chorus sees Bolan and Jones singing together in a hooky, chanting manner, which certainly sticks in the brain after a couple of listens, whilst Johnson's later guitar solo is also a melodic moment - despite its overall pace. There is something pleasingly anthemic about the song due do its overall simplicity, wordless vocal hooks, and driving guitars. This one likely would work well as a Skid Row song - but the punkier vocal approach from Bolan and the more modern metallic edge of Jones gives it a different vibe. Memory retains the pace from the previous song, but there is a bit of a stronger punk edge which harks back to the opening song. There is no guest singer this time, either, so Bolan's snarl drives everything - even if some subtle harmonies are added to a chorus that has a slight power pop edge. Bolan's day job as a bassist also gets a light shone on it here. The bass is high in the mix throughout the song, and it is the bass playing that essentially drives everything. The guitars just follow the bass for the most part, save for Johnson's short solo, and there are some classic punk inflections such as a few of the bass and drum patterns. The song is very typical of the album's core sound, but it is full of energy with hooks that soon start to sink in.
See You on the Other Side reins in some of the pace from the past couple of numbers, instead going for something of a more expansive, mid-paced sound. Expansive is meant here in quite a liberal manner, as the song does not deviate from the album's core sound hugely - but the arrangement feels a little airier thanks to the mid-paced approach, whilst the guitars sometimes drop away or deviate from a simple chug to allow for a bit more of a dynamic approach. This is another song with quite a prominent bass presence, too, and the bass does quite a lot of heavy lifting throughout - especially during the melodic chorus, with some more subtle harmonies. Sabo adds the guitar solo this time, and his somewhat more lengthy solo spot feels bluesier than anything that has been heard here up to this point. Later additional hooks are thrown in thanks to some wordless melodies as the song comes to a close - expanding the chorus further and building on a subtle anthemic nature. Bridges is the first song here not to feature Bolan on vocals at all, with Steve Conte (Company of Wolves; Crown Jewels; New York Dolls; Michael Monroe) instead singing the power pop-coded piece. I know Conte as a guitarist, largely through his work with Michael Monroe, but I do not think that I had heard him singing lead vocals prior to hearing this song. His voice is pretty strong, and it suits the more laid back vibe of Bridges - with chiming clean guitar melodies and subtle acoustic guitar backing during the verses, before the chorus, which is filled with sing-song melodies, feels somewhat heavier. Given what I know about Bolan's voice from this album, his snarl may not have worked quite so well for this song - so Conte's somewhat more overtly melodic approach instead allows the poppy and summery song to shine. The song is one that shows how much of an influence bands like Cheap Trick had on the 1980s rock and metal scenes - and it is always nice to shake things up with something lighter. Jet Black Universe gets back to something much more typical of the album, although the mid-paced rocker has something of a powerful classic rock strut rather than a true punk edge. Bolan's vocal delivery is always going to add a punk feel, but the guitar riffing here feels a little more strident - whilst Hammersmith's drumming is more percussive and grounded here. Despite the simplicity of the song overall, it contains the album's longest and most intense guitar solo - courtesy of Nuno Bettencourt (Extreme; Mourning Widows; Population 1; DramaGods; Satellite Party). I have often said that Bettencourt is the best guitarist I have seen live - and his playing here certainly elevates the strident, punchy song further, adding some fluid playing alongside another shout-along chorus. Big Stick also features a guest singer - with Corey Taylor (Stone Sour; Slipknot) relegating Bolan to backing vocal duties. Taylor is a more diverse singer than most give him credit for really, and he sounds great here. In terms of a punk sound, this is the song here with the biggest punk feel. The riffs are pure punk - and the gang vocals of the chorus make the song impossible not to sing along to. Taylor adds plenty of snarl to the song whilst still sounding melodic, whilst Johnson adds a brief turnaround-type guitar solo to keep things moving. There are clear Ramones references during the song, too, and it is one of my favourite cuts here.
Pretty Hell retains a similar energy, but there is a little more to the overall arrangement - with a guitar riff that feels like one of the strongest musical moments on the album. The riffing feels more involved than the slab-like punk chord progressions found elsewhere - although this song is still packed full of those moments. As such, the song feels like the album's core sound but pushed one step further - with the later chorus benefitting from the slightly more expansive guitar approach. Despite this change, though, there is nothing significantly different going on here. Bolan sounds strong vocally as always, with a simple chorus laying down some memorable hooks, whilst Johnson adds another old-school rock and roll guitar solo. A cover of Oasis' Rock and Roll Star follows. Oasis are certainly not a band that gets much coverage here, but I do quite like their first two albums - and Rock and Roll Star was always one of Oasis' rockier pieces. Bolan does a good job of turning the song into a more high-octane rocker, though, bringing out the underlying punk edge that Oasis have always had in their back pocket. This version of the song is more intense and hard rocking - but the snarl of Liam Gallagher's vocal approach remains in Bolan's, whilst Hill adds a lengthy and memorable guitar solo. I was not expecting an Oasis cover on this album when it was first announced, but I can see why Bolan would like early Oasis - and the song has been altered enough to fit nicely on the album in my view. Devil in the White returns to something much faster paced overall, and it really is a pure punk track. The bass does all the hard work here. The guitars essentially just add chords and the odd shimmer here and there, but the bassline is what keeps the song moving - and parts of the verses see the guitars drop away completely to just let the bass do all the work. Hammersmith's drumming is punchy and powerful, working well with the bass, and there is a lot of energy whipped up by the song as a result. It is very easy to latch onto, but hooks-wise it is perhaps not as memorable as some of the other cuts here. The chorus feels a little less strong, but the energy does a lot of the work here - meaning that the song still sits nicely on the album. The album then comes to a close with Walk Away, another fairly punky number - although the energy from the previous song is reined in somewhat. The track is more of a strident mid-paced number, but the bass-heavy approach from the previous song is retained. Again, parts of the verses here see the bass dominate, with the guitars dropping away, but when the guitars do join in this time there is something a bit more interesting about the riffing - plus Johnson appears one last time to add some leads here and there, as well as another strong guitar solo. The album somewhat opens how it closes, then, with a strident and powerful combination of hard rock and punk - with a decent chorus and plenty more attitude from Bolan. Overall, then, Gargoyle from the Garden State is a very enjoyable album from Bolan that essentially does what I expected it to. His love of punk is showcased here, but overall the album is a strong rock record with punk and pop influences - with strong and honest performances throughout. A few guests add their spice here and there, but this album is Bolan through and through - and it is fun to finally hear something that is 100% him after all these years of hearing him plough a lot of effort into Skid Row.
The album was released on 12th June 2026 via earMusic. Below is Bolan's promotional video for Anything but You.
The summer can often feel like a bit of a barren wasteland when it comes to gigs. With bands often focusing on the festival circuit rather than organising headline shows, this time of year often feels quite quiet from a live music perspective - especially as I feel that my festival-going days are likely now behind me. Whilst my epic trip to London to see Def Leppard and Metallica twice fell at the beginning of the month, it now feels like quite a long time ago - with the fairly relentless heat that has fallen over the UK of late somewhat making time drag. My August is uncharacteristically busy, with three notable gigs in the diary, but there was one last treat for July to serve up - as last night I went out in Plymouth for a night of thrash metal. The venue was The Depo, on the very edge of the city centre, a well-respected venue that focuses on operating as a nightclub and as a host for DJs rather than as a traditional live music venue. It is a shame that it does not host bands more often, as it is a good size and fills a gap otherwise unfilled in the city - but given it opened back in 2021 as the pandemic wore away, the fact that last night was only my second visit shows how little the venue caters for those with tastes such as mine. The reason for the night out was a surprising visit to the city by the San Francisco-based thrash act Vio-lence - a band that date back to 1985, so were very much part of that Bay Area thrash scene during the 1980s. They might not be as much of a household name as fellow Bay Area acts Metallica, Megadeth, and Slayer, among others, but Vio-lence certainly earnt their spot in the roster - with 1988's Eternal Nightmare often considered something of a thrash classic. Two former members of the band in Robb Flynn and Phil Demmel later went on to play together in Machine Head, too, which Flynn has led since its inception - whilst Demmel is currently part of Kerry King's solo band. Vio-lence was a band that I was familiar with in name-only for a while, but I did not listen to them properly until I saw them live at the 2022 iteration of Bloodstock Open Air. That was, surprisingly, the band's first ever UK show - as they had never toured here during their original run in the 1980s and 1990s. I remember them impressing live, and I have since become something of a casual fan. The band's line-up back in 2022 included three classic-era members, including Demmel, as well as two other well-known faces from the thrash and wider metal scenes - but over time that stacked line-up has disintegrated, leaving just classic-era frontman Sean Killian left. It was a real shame that the reunion imploded, but Killian clearly had the will to keep going - and has put together a new-look version of Vio-lence over the last couple of years to keep touring and bringing the band's small, but hard-hitting, catalogue to the fans. Since that Bloodstock show in 2022, Vio-lence have toured the UK once as part of a bill with Exhorder. There is clearly a desire from Killian to keep any current momentum going - as some UK headline shows were announced earlier in the year as part of a wider European tour that included both headline shows and festival appearances. I certainly did not expect to see a Plymouth date included - but when I saw that the band were going to be within walking distance I picked up a ticket and started swotting up on the band's albums.
Following dinner at the Wetherspoons across the road, by the time I got to the venue it was about 15 minutes after the doors were supposed to open - but everyone was still stuck outside. It was not too much longer before we were all let in, but I did not think that the night seemed all that well run. There seemed to be limited urgency between sets to get things ready for the next band - plus it was clear that little thought had been put into getting the venue ready for the paying public, as the toilets, moments after the doors had opened, already looked like they tend to at the ends of gigs with wet floors and no toilet paper. The Depo did little to ingratiate itself with me, then, but it is the music that is of importance here - and the night got underway with a fairly short set from local act Atom Smasher. I had not seen the band live before, but I was familiar with them by name and reputation. The three-piece slightly progressive death metal act were largely playing to a pretty small crowd, but they had an enthusiastic approach and were pretty tight throughout - with some of the drumming in particularly impressing. Songwriting-wise, though, I did not feel that they were always all that interesting - especially for a band with a clear progressive influence. The riffs were often not knotty enough for me, nor were the arrangements especially interesting - with the band's music being pretty typical death metal overall, and towards the lighter end of the genre. There were certainly some strong grooves, and the use of two different voices to mix things up between deeper growls and higher screams did shake things up - but overall I think that it was fair to say that what Atom Smasher were doing was just largely not for me. Those who turned up early did make a bit of noise for the band, though, so there was a bit of atmosphere early on - getting things underway nicely.
The main tour support in the form of Cutthroat LA were up next - a four-piece hardcore band based in Los Angeles but with many of the current line-up hailing from Brazil. Led by frontman Neil Roemer, I think that both the band and the crowd took a couple of numbers to warm up - but it was not long before both were having a good time. I am not the biggest hardcore fan, but the genre often comes across well live - and I found myself really enjoying what the band were doing. The riffs from Renato Romano (guitar) were powerful throughout, with plenty of trademark groove, but perhaps the most impressive member of the band was Betto Cardoso (drums) who played some pretty off-kilter drum grooves in a hardcore context. Roemer made quite a big deal of the influence the Brazilian musicians brought to his LA hardcore sound - and there was certainly a bit of a Sepultura influence in some of the grooves on show, even if Cutthroat LA rarely went for a thrash approach. Vocally, too, Roemer sounded powerful, even if he was a little low in the mix at times, but he really excelled as a frontman. He spoke well to the crowd throughout and spend quite a bit of time down on the floor, largely due to limited on-stage space admittedly, but doing so he really ensured everyone was involved. Despite the crowd not being huge, there was a lot of energy in the room. Quite a few mosh pits broke out, and those of us not moshing joined in with plenty of headbanging. Roemer really worked hard to get the crowd onside, but his efforts paid off and it was clear throughout the set how much fun he was having. That is always great to see, especially given that the turnout could have been better, and I certainly came away impressed by the band's effort, tightness, and overall performance - even though, as mentioned, hardcore is not always really my thing. They put on a fun set that brought everyone in the room along for the ride - and that is not always an easy thing for a band to do, especially as I cannot imagine that too many present were already familiar with Cutthroat LA.
Following the two openers it was soon time for Vio-lence. The crowd seemed to swell a little after Cutthroat LA's set, but the place was not exactly packed. The floor area looked nicely populated in the open area in front of the balcony - but further back there was certainly plenty of space, and I doubt there were too many on the balcony. That being said, the turnout was not too bad for a Wednesday night and for a band that are not exactly a household name - and everyone that turned up had done so for a good time. As such, as soon as Vio-lence took to the stage, the overall energy levels rose and the atmosphere was great from the off. The band played for an hour - which is on the short side but thrash shows are often shorter than average, and the 10-song set was largely culled from the band's first two albums. As I said, only Killian from the current line-up has any real history with the band, but the four musicians that backed him all look to be veterans of the scene - and I recognised Ira Black (guitar/vocals) due to his previous involvement with bands like Lizzy Borden and Dokken. Killian just really feels like a lifer at this point, and a huge smile barely left his face all night. I do not know a huge amount about him, but I get the impression he has struggled with his health over the years - as well as the original disappointment of Vio-lence ending in the early 1990s. He just seems to be happy to finally be able to tour the world with his music - and even though he was playing in front of a relatively small crowd in a UK city generally off the beaten touring path he seemed to be having a great time. He has lost almost none of his throaty voice, either, and he sounded powerful during the set - whilst the riffing throughout from Black and fellow guitarist Claudeous Creamer was tight. Setlist-wise, the show was packed full of favourites. Most of the classic debut Eternal Nightmare was played, with the knotty title track kicking things off - but all three of the band's studio albums were represented, as was the Let the World Burn EP from 2022. Riff after riff came throughout the night, with shorter, sharper numbers like the break-neck Serial Killer sitting nicely alongside the anthemic like I Profit - with gang vocals from the band and the crowd helping Killian out during the chorus. Killian spoke to the crowd well, generally just coming across like a guy happy to be there, but generally he kept things brief and the band powered on. Ageless Eyes saw 1993's Nothing to Gain get some rare representation, whilst Officer Nice is a live staple for a reason thanks to its groovy, grinding chorus. The anthemic and shout-along Kill on Command should be seen as a true thrash classic due to its chorus alone - and it felt like the centrepiece of the show, even though it came towards the end. It was a high watermark moment, but the newer Upon Their Cross also felt powerful - before World in a World, which was a single back in the day, rounded out the band's powerful hour on stage. The setlist was:
Eternal Nightmare
Serial Killer
I Profit
Calling in the Coroner
Ageless Eyes
Phobophobia
Officer Nice
Kill on Command
Upon Their Cross
World in a World
It might not have been the most spectacular gig going, especially given the recent competition of two nights of Metallica at the London Stadium, but there is always something pleasing about a thrash show in a smaller venue with a crowd of die-hards who are out to have fun. Vio-lence are one of those bands that are well-respected but that never truly broke through - but those familiar with the thrash scene love them and are enjoying getting to this current opportunity to hear some of those old songs live. Killian deserves this latest Vio-lence era, too, even if many of the classic line-up seem to want nothing to do with the band - and he gave his all in Plymouth last night.
Given how long many classic bands have been around for at this point, it is unsurprising that many look unrecognisable line-up-wise compared to their heyday. Whilst some bands keep their classic line-up together for many years, or only manage to go through a handful of line-up changes, most bands that are around for a long time have many different eras - usually delineated by line-up changes. Sometimes these line-up changes lead to reunions that excite fans - and sometimes former band members join forces again under new names to keep legacies alive whilst also doing something new. As time passes, these significant reunions outside of the original band have become more common. One of the most prominent examples of such has been The Halo Effect, which saw four former members of In Flames reunite with successful results - and 2026 has also seen something similar happen in the form of Lex Legion. The band that Lex Legion links back to is King Diamond - the self-titled band fronted by Mercyful Fate's frontman that dates back to 1985. With the exception of frontman Nils K. Rue (Pagan's Mind; Eidolon; Holter), everyone else in Lex Legion was a member of King Diamond during the 1980s. Both guitarist Andy LaRocque (E.F. Band; King Diamond; Death; Illwill) and drummer Mikkey Dee (King Diamond; Motörhead; Scorpions) were founding members of King Diamond, whilst guitarist Pete Blakk (Geisha; King Diamond; Blakk Totem; Disaster/Peace) and bassist Hal Patino (Maltese Falcon; King Diamond; Doctor Butcher; Force of Evil; Disaster/Peace; Dark Blue Inc.) both contributed to some of the band's biggest albums. They all contributed to more albums than just these two, but the four musicians all played together on both 1988's "Them" and 1989's Conspiracy - although Dee had left the band by the time the latter was released. Dee dropped out in 1988 having helped start the band, whilst Blakk was in the band between 1987 and 1990 - and Patino enjoyed two stints between 1988 and 1990 and then again between 2000 and 2014. LaRocque was a King Diamond mainstay until a few days ago, though, as this review is being written with the news of his departure after over 40 years still fresh. It is unclear why he left after so long, but given that King Diamond have not released an album since 2007's Give Me Your Soul...Please I do wonder if he just got tired of waiting. In some of his recent interviews he seemed to struggle to contain his frustration at the lack of progress when it came to new material. It is a shame to see such a long-standing partnership broken up, but if LaRocque's departure from King Diamond means that Lex Legion can become something of a proper going concern then that is no bad thing - as, in my view, the band's self-titled album that dropped last month is really rather very good. Whilst I am not sure that Rue needs any further distractions when it comes to new Pagan's Mind music, as Pagan's Mind fans have been waiting nearly as long as King Diamond fans at this point, Lex Legion is an exciting release. With four musicians on board who helped bring those classic King Diamond albums to life, there are certainly similarities to be drawn between that band and Lex Legion. Lex Legion is certainly a darker, slightly progressive metal band with a spooky atmosphere - but they are perhaps more ballsy and gritty thanks to Rue. Rue might lack the ethereal and unique mysticism of King Diamond's enigmatic vocal approach - but he is a more powerful singer in my opinion. As such, there are shades of bands like Crimson Glory as well here thanks to Rue's vocal delivery - but those who love the dark, intertwining guitars and gothic atmosphere of King Diamond, perhaps minus some of the theatricality, are sure to find plenty of enjoy in Lex Legion.
It is not often these days that I wish an album was longer, as so many modern albums are too long, but Lex Legion is on the short side at just under 35 minutes. There is no fat here as a result, though, and I can see myself giving the album a lot of love over the coming months. Like Queensrÿche's self-titled 2013 comeback album (which I reviewed here), Lex Legion feels like a proof of concept and a taster of what is to come - and it is better to leave the audience wanting more. With eight proper songs here and an instrumental outro, there is still quite a bit to dig into here - and the album kicks off in fine fashion with Sleep Eternally. There is no messing around, either, as Rue hits some big, high-pitched screams essentially as soon as the song opens up - with dramatic, punchy power chords acting as a building intro, before a chugging verse takes over. These more hard-driving moments on the album are where Lex Legion deviate from the core King Diamond sound. There is more of an in-your-face approach to some of the more metallic moments, such as the verses here, but the twin guitar leads utilised later on to form something of a more atmospheric and spooky chorus see that King Diamond sound brought to life. It is a good mix of the familiar and something heavier, more akin to Rue's background, so the sound here feels like the perfect mix of the five musicians that are involved. The strident verses are catchy, largely thanks to Rue's performance, but the chorus latches on over multiple listens thanks to the spookier vibe - with Rue going for a floatier approach to match the melodic guitar lines. With LaRocque and Blakk on board, a guitar solo is never too far away - and this album is full of great lead guitar moments and solos, often seeing the pair of them trading leads back and forth. There is a great solo section to feature both here - and the song is just a great, high-energy way to kick off the album. Gypsy Tears is similar, but the song feels a bit more mid-paced overall - and with a longer intro to really set the tone. There are slight Eastern vibes in the riffing pattern during the intro, over which a lengthy and hooky guitar lead is overlaid, whilst gothic choral vocal sections are utilised throughout - some of which are quite King Diamond coded whilst others feel a bit more modern power/symphonic metal in approach. Either way, though, the song is packed full of melody. The prowling verses see Rue sounding a bit more evil, helped, by the choral interjections, whilst the chorus is more overtly hooky than the one in the previous song - with some big melodies that hark back to 1980s metal pioneers like Crimson Glory. It is a chorus that really sticks in the brain after only a handful of listens - and I can see the song really going down well live, due both the wordless choral vocals and the mixture of melody and an anthemic quality during the chorus. When the Stars Align is another pretty mid-paced number, but the main riffing feels darker and a bit more intense here - with Dee's mid-paced double bass drumming rumbling away beneath it. Keyboards are utilised throughout the album, played by the two guitarists, but they never really dominate - although there is a strong atmosphere added early on here thanks to some shimmering synth textures. Despite the darker tones utilised here, there are actually some similarities here to Pagan's Mind darker side. Rue's vocal approach here is more akin to his day job, and he goes for a less acrobatic approach - with the verses in particular sounding like they could have come from one of Pagan's Mind more stripped back and crunchier numbers. The chorus is more aligned with the album's core sound, though, with Rue singing in a higher register throughout - although there is still a power/progressive sound, and the spacey lyrical themes remind me a lot of topics Pagan's Mind often cover.
(I Am) the Resurrected retains the powerful crunch of the previous number, although the overall arrangement feels a bit knottier overall - with some strong grooves during the verses in particular. The short length of the album, and by extension the songs, means that no song ever truly feels progressive as none of them ever get to stretch out - but there is something a bit more interesting arrangement-wise here. The chorus is pretty typical, with some strong vocal hooks and an expanded length with even more hooks on later repetitions, but the verses are somewhat off-kilter groove-wise. The guitars do not just chug along in a typical manner as they have done elsewhere on the album - with a somewhat unsettling vibe conjured up thanks to the interlocking guitar riffing and Dee's excellent drumming. I would like to see the band attempt some longer songs going forward, but it is good that there are few songs here that try something different within fairly contained structures - and the off-kilter grooves here are rested on somewhat and put into the spotlight towards the end as part of a surprisingly lengthy instrumental outro. Lost Inside feels a bit more riffy from the off, with a melodic and fast-paced melodic riff that again has some Eastern-tinged vibes. It is a shame that once the rhythm guitars kick in in a big way the intricacies of the riff are lost and the guitarists adopt a more power chord-heavy version of the same melody - but it does mean that there is quite a bit of weight behind the song. This strident power chord pattern, backed by some heroic Dee drumming, does give the song real purpose - and it feels like a number that would work really well live. Despite the overall heaviness, there is a real classic rock swagger to the track - with much of the riffing and drumming a little more simplistic than the album's core approach, but this only allows the riffs and grooves to shine. As if to ensure a heavier core sound is retained, though, Rue utilises this base to showcase plenty of range. There are lots of higher-pitched screams and big vocal moments here, including some of his most unhinged moments on the album in my opinion. It is perhaps not as hooky vocally as some, but the song overall works well thanks to the excellent riffing and just the overall sound of Rue's voice. Dreams of Darkness opens slowly, with some atmospheric synths and clean guitars - but the song is not a ballad, instead it is a fast-paced number with plenty of energy and more of those twin guitar leads that manage to conjure up a haunting atmosphere. A slower song would actually be welcome here, as there is not one on the album, but I am glad that Dreams of Darkness kicks into a higher gear - as it is likely my favourite cut here. The mix of the fast-paced verses, atmospheric guitar moments that almost sound off melodically but work nicely, and easily the most melodic and sing-a-long chorus of the album makes for a winning song - and I think that it brings together all of the core sounds that have been showcased up to this point. Some of the more overt King Diamond influences and sounds can be heard here - but also Rue does his own thing vocally, especially during the smoother chorus which is pure Queensrÿche in sound and melodic structure. This is the song on the album that I return to the most as it ticks a lot of my 1980s metal boxes - plus the overall atmosphere is pitched right with a good mix of spooks.
Saviours returns to something of a more mid-paced sound - although juddering riffing allows for something of a groove, and Dee still lays down some double bass drumming even though the riffs move in a slower manner. This is something of a classic 1980s power metal trope, but it works as well as it ever did here, especially as Dee mixes things up drumming-wise. The faster sections sound great, but his powerful ride-led groovy drumming later on really allows Rue's vocals to pop during those moments - whilst the guitar solo section is backed by the simplistic, powerful drumming that he would often use during Motörhead's crunchier, mid-paced numbers. Saviours, overall, is not one of the strongest cuts here for me - but it is something of a drumming showcase for Dee, and there remains a decent chorus that allows for a smoother Rue vocal. Nothing on this album is poor quality, but the highs are very high - meaning that some of the songs which do not reach those highs feel less remarkable. The last vocal track here is Life Eternal, a song that picks up the pace somewhat and goes for a more energetic approach. Given that this is the last piece of real metal on the album, a more high-octane approach is understandable - and it is another song with something of a strident approach. Lots of the song is once again driven by Dee's double bass drumming, but the juddering riffing that mixes faster note sections and held chords is another with a strong classic rock base - and there is just something pleasingly familiar with the way the guitars move during this song, with some Deep Purple-esque about the rhythm patterns during the verses. This is still very much a metallic number, though, with plenty of metal drumming and a hard-hitting chorus that feels a bit more mid-paced overall - which sees Rue deliver some powerful and well-spaced vocal lines as the guitars rumble away beneath him. It is another pretty hooky chorus that sticks in the brain after a few listens - with some gothic choral vocals adding some harmonies and additional power elsewhere. The album then comes to a close with Far Away, an instrumental that is essentially a couple of minutes of clean guitar melodies and leads - later backed by some drumming and atmospheric synths. The overall approach works well, and the song does it job nicely as a closing coda, especially when some lead guitar moments come in later on, but for me it highlights the lack of this sound elsewhere on the album. Going forward, I would like to see the band experiment with longer songs and a more dynamic approach. Interludes and bridges that feature guitar playing like that found in Far Away would really shake up the formula - as would a proper haunting ballad. This sound is definitely in the band's wheelhouse - so hopefully on future albums we can see a bit more of a dynamic approach that allows the more atmospheric side of the band's songwriting to show. Really, that is my only criticism of the album - and it is more of a wish for the future than a proper criticism. Overall, I think that Lex Legion is a really strong first album from four musicians that were familiar with each other had but not worked all together for a number of years - plus a singer that we have really not heard enough from of late. Some of the songs here have already lodged themselves into my brain - and I can only see my opinion of the album improving. If there is to be a second album at some point in the future, and I understand that is the intention, then I think, by building on the sound, it has the potential to be even better.
The album was released on 12th June 2026 via MNRK Heavy. Below is the band's promotional video for Sleep Eternally.
I am really enjoying that fact that so many classic bands are currently experiencing late career renaissances. Jethro Tull have released three strong albums in recent years, which constitute their best work since the 1980s, whilst bands like Uriah Heep and Deep Purple are in the midst of eras which are only marginally behind their 1970s heydays in terms of quality and creativity. I will certainly be covering Deep Purple's latest effort Splat! at some point - but today I instead turn my attentions to Yes, the British progressive rock act that formed all the way back in 1968. Whilst no-one in the current Yes line-up dates back to that 1968 genesis, guitarist Steve Howe first joined the band in 1970 - and during four stints has become one of the most notable contributors to the Yes story, likely third behind original members Jon Anderson and the late Chris Squire. Squire would still likely be in the band had he not died in 2015 - and drummer since 1972 Alan White also sadly died in 2022. Some criticise the legitimacy of Yes these days, but I think that Howe has every right to lead the current line-up - and since the band reformed without Anderson in 2009 Howe has essentially spearheaded Yes (along with Squire until his death) to create five more studio albums. 2011's Fly from Here is genuinely excellent, and remains a favourite of mine, but 2014's Heaven & Earth certainly felt less vital - even if I seem to like it more than most. It took the band a few years to recover from Squire's death, though, but since the pandemic Yes have been a creative force once more. The three albums that have now been released by the band in recent years feel like something of a trilogy - and they see a pretty stable and well-oiled version of Yes, comfortable in what they are trying to achieve, writing Yes-like music that certainly harks back to the 1970s but also feels a bit more accessible overall. 2021's The Quest (which I reviewed here) was one of my favourite albums that year - and it is one that I still return to. It was a release that exceeded expectations, as I did not really expect too much from Yes following the gap in albums and Squire's death - but the tight songwriting and retro sound certainly worked for me. It was the last album with White, too, although due to his poor health during his last few years I do wonder how much he actually contributed to it. Two years later, the band dropped Mirror to the Sky (which I reviewed here) - the first album by the band's current line-up, even if drummer Jay Schellen had contributed percussion to The Quest (although, as I said, his contributions may have been more than that). I really liked Mirror to the Sky, too, but it did not reach the heights of The Quest for me. Public opinion seems to suggest that the opposite is the case - with many preferring Mirror to the Sky. Either way, both albums saw Yes sounding strong in my opinion - and I hoped that Howe would find time for at least one more. Those wishes came true earlier this year, then, when Yes announced that their latest effort Aurora would be released in June. As such, I have had this album for just over a month at this point - and I have, unsurprisingly, been enjoying it. It really feels like the continuation of the band's recent era - with the current line-up's more simplistic approach to the classic Yes sound well entrenched at this point. Those who feel that Yes have not done anything worth listening to for years will not have their mind changed by Aurora, but those who enjoy the smooth and melodic take on the classic Yes sound that Howe and his colleagues have been pushing of late will find plenty to enjoy here.
As has been the case of late, the two main driving forces here are Howe and frontman since 2012 Jon Davison. The others all contribute of course, and this is the first album of this trilogy where all five members of the band get at least one writing credit, but Yes is very much driven by Howe and Davison these days - and the two of them wrote the kick-off title track. Opening with some ringing piano melodies and dramatic strings from the Czech National Symphony Orchestra, Aurora is one of the longer pieces here. At around seven and a half minutes, the title track crams a lot into its runtime - and lots of classic Yes tropes are covered here. The piano intro has a majesty to it, especially given the orchestral backing, and some of the bombastic motifs from this intro return elsewhere, but once Howe's spiky guitar lines kick in the first verse moves along in a much more jaunty manner. Upbeat guitar melodies, shimmering synths, and simpler drum grooves back Davison as he starts to sing - but that classic Yes mysticism is present despite the hooks, and the song transitions nicely into an easy-on-the-ear chorus with subtle vocal harmonies and melodies that lodge in the brain from the off. There is certainly a lot of prog in this track, though, especially from Howe. Davison actually adds some additional guitar here, likely the simpler rhythms, whilst Howe deviates in his trademark manner - adding meandering, jazzy leads throughout; as well as some juddering melodies during the chorus. A lengthy solo is later included, which starts in a laid back manner before some harder rock tones take over for something with a bit more bite. Elsewhere, Geoff Downes uses synth melodies to great effect - with some warm, retro leads cutting through towards the end of the song; whilst both he and Davison add organ throughout. The orchestra, utilised here and on one other song, adds an extra dimension to the track - and the piece is big and bold thanks to the string backing. Turnaround Situation, written by Davison, pulls back from the slight bombast of the previous track somewhat - with the song instead going for a floaty, atmospheric rock sound. Davison has the perfect voice for Yes in my opinion, and he continues to impress throughout this album - his ethereal melodies floating nicely through the verses. He is actually responsible for quite a lot of instrumentation here, too. The ever-present acoustic guitars come from him, whilst the subtle organ riffs and occasional piano melodies are also his creations. He showcases his talents both as a songwriter and a musician here, then, but the song is very much Yes-coded - with Howe's jazzy leads cementing that retro feel, with both another meandering guitar solo and some classical guitar interludes. Howe and bassist Billy Sherwood also add some trademark vocal harmonies, too, which further cements the classic Yes approach. Love Lies Dreaming feels much more Howe-coded early on, with a relatively lengthy intro that features a mixture of fast-paced guitar motifs against a sombre groove from the rhythm section and occasional synth flourishes. A lot of the keyboard work here again seems to actually come from Davison, but Downes does lay down the piano during the verses - which often form the only real backing for Davison's floaty vocals. The verses are quite stripped back at times, then, but the song as a whole feels bigger - with the guitar approach from the intro returning quite a bit, whilst a poppy chorus sees some surprisingly bouncy melodies. Sherwood's bass playing stands out, too, and it is the first song where I can truly say that - which is quite rare for Yes.
Countermovement is the album's real centrepiece. The 13-plus minute epic is the most progressive expression of Yes on the album - and it opens in a dramatic manner with quite a lengthy instrumental section. All five members of the band are credited with writing parts of the song, so it is a true collaboration - but Howe really dominates early on. The instrumental opening, grounded by Downes' organ playing, is a real guitar showcase. Both aching lap steel melodies and jazzy lead guitar melodies feature - with Howe moving back and forth between the two styles. The keyboards and the kinetic energy of the rhythm section keep this intro moving for a couple of minutes - before the second part of the song opens up and Howe starts to sing. This first vocal-led section largely sees Howe taking the lead vocally, his deeper, wispy voice working surprisingly well - whilst Davison adds subtle harmonies and creates an ethereal backing. I am not always a fan of Howe's voice, but his singing works well here in my view - and the contrast between this approach and when Davison takes over properly later on is part of what makes the song tick. The guitar presence from the intro is largely retained, too, with plenty of busy lead guitar runs between vocal melodies. Howe also throws in some mandolin later on, with the final section of this second part feeling quite folky and upbeat. The third part sees Davison dominate vocally, albeit with Sherwood providing a counterpoint this time, whilst Downes creates a groove with his piano playing. There is something a bit more overtly rocking about this section. It was co-written by the rhythm section, so there is something percussive about the overall groove - with Howe's guitar largely relegated to a supporting function aside from his lead showcase moments. The piano and the drums do much of the heavy lifting here, then, despite some scrappy riff-led moments adding some bite. There are some relatively fiery instrumental moments here, too, with both Downes and Howe trading solos back and forth - flashy synth flourishes and lengthy guitar runs working well against a similar groove laid down by the rhythm section. This then leads into the closing section of the song, which is also instrumental save for a closing vocal reprise, which is largely focused around lap steel melodies and a sombre overall groove. This part of the song is very traditional prog in its atmospheric approach - with Howe's melodies essentially driving everything whilst Downes' synths add depth. The lengthy track is one that improves with each listen - and it has become a real favourite of mine. Ariadne follows, and sees the return of the orchestra. They kick things off, with some string flourishes, and they also form the main backing behind the verses as Davison starts to sing. Following the lengthy and guitar-heavy previous song, there is a floaty vibe throughout this track - with the orchestra and Downes' keyboard playing driving much of the song. The rhythm section adds some bite when needed, but this is quite a dynamic piece - with the rhythm section stepping away during parts of the song to allow the orchestra to really dominate. This is one of the few songs that Howe did not co-write, so it is perhaps unsurprising that the guitars feel less important here - although some riffier sections do kick in later on, and there are some lead showcases, too, even if the keyboards from co-writer Downes generally feel more important. Sherwood also co-wrote the song, and his harmony and counterpoint vocals also do a lot of heavy lifting here - with some key bass passages from him also.
By this point, though, the album has largely said all it has to say. The final three tracks, which are all on the short side, feel less vital than what came before. That being said, there is something quite fun about the jaunty and surprisingly hard rocking All Hands on Deck. A Howe composition, the juddering main guitar patterns, backed by some Jon Lord-esque organ playing from Downes, give the song a driving, hard rocking feel - even if there remains a jazzy overall vibe thanks to Howe's guitar playing style. Davison sings the song in a bit of a lower register than usual, with Howe adding some vocal counterpoints during the chorus. The chorus is pretty hooky, but in truth the vocal sections of the song feel like something of an afterthought. The groove of the instrumental sections, including some flashy synth melodies later on, feel like the main point of this track - and perhaps it would have worked better as an instrumental, even if some of the vocal hooks are quite fun. Outside the Box is another somewhat strange piece. Whilst not instrumental, it has no lyrics - as the only vocals throughout are wordless vocal melodies. The opening part of the song sees Davison, Howe, and Sherwood all harmonising together whilst Howe adds a delicate guitar backing - whilst the main bulk of the song later on feels like something of a studio jam, with the rhythm section laying down a tight groove whilst Downes plays with different synth sounds and melodies to essentially create something of a keyboard showcase. Davison carries on with the wordless vocals on occasion, but it all feels a little strange - and Howe largely steps back here to allow Downes to dominate. There are a few lead guitar moments present here, but this second part of the song is essentially a synth workout, with occasional vocal interjections, and it all feels a bit superfluous. It reminds me a bit of those shorter solo pieces on 1971's Fragile, but expanded into a full song that adds little to the album overall. The album the comes to a close with Emotional Intelligence, a Davison-penned piece that is largely an acoustic-based number. The big Yes grandeur is largely absent here, but following two largely instrumental pieces there is something welcome about hearing Davison sing again - laying down those classic Yes-like vocal melodies. He drives the song with his acoustic guitar playing, whilst occasional organ and guitar motifs add depth. At first it does seem as if the song is going to be a wholly acoustic piece, which would not be out of character for Yes, but the rest of the band do join in towards the end - with the rhythm section adding a bit of a kick and Howe laying down quite an emotive guitar solo. The overall vibe of the piece does not change significantly, though. It remains laid back and acoustic in nature - and I do like the way that it closes out the album. I just feel that the album has lost a little steam by this point - and Emotional Intelligence would have likely hit harder had it acted as a coda to see things out following an epic number preceding it. Overall, then, there remains a lot to like here for Yes fans, at least those who remain open minded regarding the current era, but the album is front-loaded and feels weaker the closer it gets to the end. Countermovement is likely the band's best epic-length track for sometime, and there is a lot to like during the first two-thirds of the album. No-one expects perfection at this point, though, and Aurora is a worthy addition to the Yes catalogue in my opinion - sitting nicely alongside the last two.
The album was released on 12th June 2026 via InsideOut Music. Below is the band's promotional video for Aurora.
