Anathema - Exeter Review

With the exception of any project that involves Steven Wilson, it is probably fair to say that Anathema are one of the biggest modern progressive rock acts around. With a career that dates back to the early 1990s, and an expansive discography that covers a multitude of sounds, moods, and textures, Anathema are a band that are worth some time investigating and exploring. My introduction to Anathema's music was by taking a punt on their 2012 album Weather Systems not too long after it's release, and they have slowly grown on me over time since. My love for the band was truly cemented last November when I witnessed a truly masterful concert of theirs in Cardiff, and ever since I have been listening to Anathema's music at every opportunity. This led to me pre-ordering their eleventh album The Optimist, the first time that I had actively awaited their new album, and thoroughly enjoying it's contents when it was released back in June (in fact I reviewed the album here). The Optimist felt like the album the band had been working towards since 2010's We're Here Because We're Here, and it has received plenty of critical acclaim around the world. When I saw that some UK shows were added to their extensive European tour, tickets were snapped up immediately. Luckily for me they included an Exeter date in their itinerary, which is only around an hour's drive from home in Plymouth. I had previously seen the band perform an excellent acoustic show in the city's cathedral in 2015, so it was great to see the band return to the Exeter - although this time in the less-grand surrounds of the Phoenix Arts Centre. Anathema shows usually attract healthy crowds, and it was good to see a large crowd in the venue throughout the evening. The crowd was one of the most diverse that I have seen in a while too, with a good mix of ages and 'types' of people - ranging from out and out metalheads to trendier students. That shows the wide appeal of the band's music, and I always feel that Anathema have the potential to become really huge with the right exposure.

Before Anathema's set however, the crowd was treated to just under an hour of music from French blackgaze band Alcest. While I had heard of the band prior to this concert, I was unfamiliar with the band's work. I soon found out that the band's music is largely instrumental, often focusing on meandering atmospheric guitar passages interspersed with heavier sections with off-kilter riffing. Vocals did surface occasionally, ranging from high-pitched cleans to harsh black metal rasps, but the majority of the band's work seems to be instrumental. I cannot say that I really enjoyed the band's set, although some of the guitar melodies were quite hypnotic and melodic, but the meandering arrangements really made the music tiresome after a while. There seemed to be quite a few fans of the band in attendance however, so they received a healthy reception all throughout their set. In fairness a muddy sound mix did not help the nuances of the music shine through, but I doubt my opinion of Alcest would have changed too much with a better sound as their sort of music is just not my thing.

Despite Alcest's solid reception, it was Anathema that the majority of people were here to see, and they impressed with a near-two hour set packed full of highlights from their recent few albums. The concert started in a fairly unconventional way, as Daniel Cavanagh (guitar/keyboards/vocals) took to the stage alone with an swirling atmospheric intro tape behind him and began to absentmindedly solo over the top of it. This then led into San Francisco, the instrumental piece from the new album, which slowly introduced other members of the band. By the time the song was over, all six of the band were on the stage and immediately segued into both parts of Untouchable. The transition was somewhat jarring, as it missed out the song's iconic guitar intro, but picked up as soon as Vincent Cavanagh (vocals/guitar/keyboards/percussion) began to really belt out the lyrics. The two-part song is one of the band's best in my opinion, and it is always a treat to hear it live. The piano-driven second part, which features Vincent and Lee Douglas (vocals) trading vocals lines with ease, in particular always hits home and the crowd sung along loudly with the band. Three newer numbers followed, with the electronic rock of Can't Let Go and the soaring vocals of Endless Ways really captivating the crowd. It was the title track of the new album, however, that really impressed me. The gorgeous ballad, sung mostly by Vincent, it an awesome track and it came across really well live. The second half of the set was filled with songs from the band's other more recent work. Fan-favourite Thin Air went down as well as always, despite Daniel saying the song would be retired for a while soon, and Lightning Song was a real showcase for Lee to showcase her stunning voice. The vocal interplay between her and Vincent is a big part of the band's modern sound, and it is always great to hear the two play off each other. Another big highlight of this second part of the set was the lengthy prog epic Universal. Written by John Douglas (drums/percussion), the song has a slightly different feel to the rest of the band's work, with a murkier atmosphere and a fairly lengthy guitar solo from Daniel towards the end. This transitioned nicely into the main set closer, Closer, which featured dancey electronic beats, processed vocals, and a strong bassline from Jamie Cavanagh. By the end of the song, Vincent, Daniel, and Daniel Cardoso (keyboards/drums) were all behind their keyboards, which brought the main set to a synth-heavy end. A lengthy encore followed, starting off with the slow-burning Distant Satellites which is always a monster when played live. The subtle electronics clash with the hard-hitting percussion throughout and it makes for an excellent live experience. A short impromptu version of a Hans Zimmer piece of music followed, before a couple more from the new album were showcased. The largely instrumental Springfield, with Lee's sparse vocal lines, atop a guitar riff from Daniel backed up by Cardoso's piano filled the room with its post-rock vibes before the album's closing number Back to the Start was then played live for only the second time and it really came across well. The song has a somewhat anthemic feel, and saw Vincent really digging deep for an emotionally-charged vocal performance. Then, after a short section of Pink Floyd's Shine on You Crazy Diamond, Anathema launched into their traditional final number Fragile Dreams, a rocky guitar-led piece that features a soaring chorus that was sung by everyone in attendance. By this point it was nearly 11pm and the band left the stage to a huge cheer from the large crowd. The setlist was:

San Francisco
Untouchable - Part 1
Untouchable - Part 2
Can't Let Go
Endless Ways
The Optimist
Thin Air
Lightning Song
Dreaming Light
The Beginning and the End
Universal
Closer
-
Firelight
Distant Satellites
{Unknown} [Hans Zimmer cover]
Springfield
Back to the Start
Shine on You Crazy Diamond [Pink Floyd cover]/Fragile Dreams

Anathema are really riding on a high at the moment. This large tour seems to be a success for them, and reviews for The Optimist are still coming in. I hope that it will not be too long before another opportunity to see this great band live comes around.

Threshold's 'Legends of the Shires' - Album Review

With the majority of the world's biggest progressive metal bands hail from America or mainland Europe, Threshold have been flying the flag for British progressive metal since forming in 1988. They released their debut album Wounded Land five years later in 1993, and have been releasing high quality albums at a fairly regular rate ever since. With progressive metal on the whole often being quite a dense and polarising genre, Threshold are one of the few bands of that ilk who are often instantly accessible. After a few albums where the band were finding their feet, it could be argued that the band's true signature sound truly began on their fourth album, 1998's Clone, and has been continually refined and built up ever since. While the band's three earlier albums are not vastly different from Clone, I feel it was on Clone that everything seemed to really come together for Threshold. Fast forward nineteen years and the band have just released their eleventh album, the epic double concept album Legends of the Shires, which continues and builds upon the great work the band have been doing in their near-thirty year career. Legends of the Shires production was not without it's drama however, as the then-current line-up of the band, which had been together for around ten years, lost a couple of members earlier in the year. Guitarist Pete Morten, who had been in the band since 2007, chose to leave the band a few months ago; and this was quickly followed by the firing of frontman Damian Wilson. Wilson, who had also been in the band again since 2007, was on this third stint with Threshold, having also previously fronted the band between 1992 and 1993, and 1996 and 1997. Losing such a charismatic and popular frontman could have crippled the band, but Threshold have dealt with this kind of situation before. The band's sole-remaining founding member and guitarist Karl Groom, along with song-writing partner and long-time keyboardist Richard West, reached out to another former Threshold singer Glynn Morgan, who fronted the band between 1994 and 1995, and he jumped at the chance to rejoin the band after more than twenty years away! Morgan's last contribution to the band's studio output was 1994's Psychedelicatessen, the band's second album, but he has been fairly quiet in the music scene since. 2017 seems to be the perfect time for him to return to the metal world however, and his performance on this album is excellent. His voice has the right sort of tone for the band's music, and he is able to carry the melodies here perfectly. The album, once again produced and written by Groom and West, sounds as lush and powerful as we have come to expect from Threshold. Being a double album however, there is definitely a lot more material to get your head around than usual. In what seems to be a deliberate reaction to the more straight-forwardness of 2014's For the Journey (which I reviewed here), Threshold have once again embraced the more progressive side of their songwriting here. The big choruses and soaring melodies that have always been present in the band's sound, but particularly since 2004's Subsurface, are still here but this album feels like a step up in terms of scope and ambition. This is the most complex work that the band have attempted in a while, and is probably the band's most progressive album since 2002's Critical Mass. While I have loved the band's recent work, this change to a more technical approach to songwriting is certainly welcome and helps to keep the band's discography fresh and exciting.

The album is split over two discs of roughly equal length and the first gets underway with The Shire - Part 1, a largely piano-based piece that helps to set the album's concept with Morgan's smooth vocals atop a gentle musical backing. It is only a short piece, with gorgeous piano and acoustic guitar melodies throughout, and acts as an extended intro. The sound of country church bells then heralds the muscular guitar riff of Small Dark Lines, the album's lead single and first 'true' song. Those who prefer the band's more streamlined sound that has been featured heavily over the past decade or so will immediately connect with this number, as it has a trademark heavy Groom guitar riff, and a soaring chorus which really shows of the talents of Morgan. In many respects, this song is this album's Slipstream and is sure to become a live favourite for year to come. That being said, it does still fit in with the overall sound of this album, as the West's keyboard sounds here are more organic - something which is noticeable about this album in compared to the rest of the band's recent output - and there is a progressive breakdown which heavily features bassist Steve Anderson. Prog fans will love the album's third track, as the near twelve minute epic The Man Who Saw Through Time ticks all the boxes of what makes a great longer song. While comparable to the band's other lengthier pieces, this one really comes alive when viewed in context with the rest of the album. It starts off slowly, with West's piano playing dominating and giving Morgan plenty of times to spread his wings vocally. While less of a dramatic vocalist than Wilson, Morgan's smoother tones really help to bring out the emotion in the song. While definitely ramping up somewhat over time, the song never really becomes a heavy number, with Groom's riffs always taking a backseat to West's keyboard playing. Whether he is playing grand piano statements, or more progressive synth leads, West always knows what is right for the mood of the song. This is why he is one of the main linchpins that has helped to keep Threshold together over the years, and he is probably one of the most underrated songwriters in rock and metal. While mostly played at a mid-pace, there is certainly somewhat more urgency during the choruses - which feature some gorgeous harmony vocals from the entire band - which helps the song to remain interesting throughout. Not to be outdone, Groom's playing is highlighted throughout with short, delicate lead breaks throughout; but he particularly shines during a lengthy instrumental section about two thirds of the way through which contains a couple of guitar solos, as well as a keyboard solo from West. It is probably worth pointing out here that the band chose not to replace Morten, so all of the guitar work on this album is courtesy of Groom. It has been said that Morgan will handle the rhythm guitar parts live on the upcoming tour. Despite being shorter, Trust the Process is another progressive piece that features some more overtly metal stylings, with big guitar riffs and fast double bass drumming from Johanne James. Groom is featured more prominently here, with lots of his trademark jagged riffing that allows Morgan to toughen his voice up somewhat to fit in well with the heavier feel of the piece. The powerful melodies the band are known for are ever-present here though, with another excellent chorus that will sink in almost immediately. My favourite part of the song however is a jaunty piano-led section about half way through, that sounds a little like Supertramp, before Groom launches into another excellent guitar solo. Opening with a snaking bassline from Anderson, Stars and Satellites soon proves to be the album's real highlight. After a couple of more complex numbers, this one is more straight ahead with AOR-esque melodies and an excellent keyboard performance throughout from West. His leads drive the whole song, although some excellent moody guitar playing from Groom helps to make the verses what they are. In contrast, the choruses are extremely uplifting and feature Morgan at his most melodic with a stunning vocal display. Nothing I can say can really do this song justice, as even the heavier instrumental sections are instantly memorable. It really is one of the best songs the band have ever done. The first disc comes to an end with On the Edge, the first Threshold song wholly written by Anderson. While Groom and West have always dominated the band's songwriting, especially since founding bassist Jon Jeary's departure in 2003, other members of the band have chipped occasionally with songs. Given Anderson's position in the band, it is unsurprising that this song is very groove-orientated with a strong bass presence throughout and heavier overtones. Despite this, it still very much feels like a classic Threshold song, with a slow, smooth chorus and a intertwining instrumental section with both guitar and keyboard leads. It is great to see Anderson writing for Threshold, especially with Morten's departure, and I look forward to his future contributions.

The second half of the album opens with The Shire - Part 2 which is essentially an extended version of the first part. It starts off identical, with the same lyrics and melodies, but carries on further in a similar style with more acoustic stylings and a floaty feel. It does get slightly heavier towards the end however, with a couple of fairly lengthy guitar solos that lead perfectly into Snowblind. This is a more upbeat, heavier piece with one of Groom's signature guitar riffs and some driving drumming from James. With West's keyboards often dominating throughout this album, it is great to have a song that really amps up the guitar presence. It is not just the riffing throughout that is powerful, but there are plenty of sections that feature his lead guitar skills, often showing him harmonising with himself to great effect. It does not loose the band's melodic side however, with another massive chorus which really shows Morgan at his best. Threshold have always perfectly married the heavier side of their sound with soaring AOR-esque melodies, and this song showcases that dynamic perfectly. A few shorter songs follow, starting with Subliminal Freeways which has heavier verses matched up against an atmospheric, more ballad-esque chorus. The contrast works well however, especially as the chorus is so strong. While the more simple nature of this song makes it somewhat less interesting than many of the others, the strong melodies make it still very memorable. The chorus is easily the song's best moment, as the verses are a little more than a basic chug, but overall the song harks back to the simple sound found on the previous album. State of Independence is a bit of a ballad with more piano playing from West and acoustic interludes from Groom. Despite the relative simplicity of the song, and it's gentler vibe, it is still packed with drama which is emphasised by Morgan's excellent vocal performance throughout. The more stripped back feel of the piece really allows him to shine, possibly more so than any other song here. Perhaps unsurprisingly, the song has another excellent chorus, which feels a little like late-era Queen at times with the way the vocals are phrased. This trilogy of shorter, simpler numbers is completed by Superior Machine, which features a keyboard-heavy, cinematic sound throughout which sits perfectly atop another big riff from Groom. Despite still be very enjoyable, it is probably one of the least interesting songs on the album. The hooks are still here, but I just feel that other songs here do the same things much better. The chorus feels a little shoe-horned in, and the vocal melodies just do not quite sink in as others do. This is not a bad song by any means, and in fact I still enjoy it a lot (which I feel says a lot about the quality to be found here), but it just falls short of much else of what is on offer on this album. The short The Shire - Part 3 follows, and acts as a little bridge between songs and features the aforementioned Jeary on vocals on his first appearance on a Threshold album since Critical Mass. This leads into Lost in Translation, another epic ten minute-plus piece. While The Man Who Saw Through Time is a lighter, more atmospheric piece, this is a heavier, guitar-driven song with some excellent riffing throughout and a murkier atmosphere. Despite a section which vocally and melodically echoes Return of the Thought Police from 2012's March of Progress, this is a very catchy and instantly memorable song despite it's length. The chorus, with West's dramatic keyboard backing, is extremely catchy and the guitar-heavy instrumental sections really add some power to this back end of the album. It is also unsurprising that there are plenty of chances for Groom to solo here, and he cuts loose at every opportunity with shredded guitar leads that really show off his talents as a guitarist. Towards the end however the song takes on a slightly Floydy feel, with a floaty, piano-led section that features some emotive slide guitar swells that back up the echoey vocals perfectly. Lost in Translation feels like the album's true end, but Swallowed acts as perfect, reflective coda as to what has gone before. This is another gentle, piano-led piece that seems to reprise some of the melodies from one of the sections of Stars and Satellites at times. The way the vocal melodies are paced, especially towards the end, gives the song a similar feel to Eclipse from Pink Floyd's The Dark Side of the Moon, and really helps to bring this epic album to a melodic and emotive close. Overall, Legends of the Shires is a really fantastic piece of work from a band that has been putting out great albums since 1993. I think this album has the potential to be seen as the band's true masterpiece in the future, and it deserves all of the critical acclaim it is receiving. There is a strong chance that this will end up as my Album of the Year come December, and if it does it will fully deserve that accolade.

The album was released on 8th September 2017 via Nuclear Blast Records. Below is the band's promotional video for Small Dark Lines.

Voodoo Six's 'Make Way for the King' - Album Review

There was a time when I would have considered the British hard rock band Voodoo Six as one of my favourite bands. The year was 2008 and a friend of mine lent me a copy of First Hit for Free, Voodoo Six's debut album (well, technically it was their second album but since it was basically a reissue of Feed My Soul I count it as their debut). I was not that taken with the album at first, but the same friend and I saw the band supporting Blaze Bayley in the same year and I was blown away by the band on stage. We saw them again later the same year, this time headlining the same venue (the sadly-gone White Rabbit in Plymouth), and that show still ranks as one of the best small shows I have ever been to. As I have mentioned in many Heaven's Basement-related posts on this blog of late, 2008 (and the years immediately surrounding it) were key years in my musical development. It was when I was starting to discover new rock bands for myself, and at the time I genuinely thought many of these bands I was seeing in tiny venues would be the classic rock legends of the future. Sadly, this never happened for any of those bands I was growing to love, but thankfully Voodoo Six is one of the few bands of that ill-fated generation that are still going. In fairness the Voodoo Six of 2017 is almost unrecognisable to the Voodoo Six of 2008, with only two members to link the two eras of the band, but the attitude remains similar. First Hit for Free was dominated by the vocal prowess of Henry Rundell, who left the band sometime in 2009 to be replaced by Luke Purdie. Purdie's deeper, bluesier voice led Voodoo Six to adopt a heavier, grittier sound on 2010's Fluke? which remains a stellar album that really rivals First Hit for Free for me. The 1980s glam rock trappings were gone to be replaced with an almost southern/grunge influence at times, but overall Fluke? was just a hard-hitting rock album packed with attitude and energy. I saw the band a few times over the next couple of years, culminating in an excellent headline show at the Cavern in Exeter in 2013 which was almost as good as that show in Plymouth five years previously. This show was on the eve of the release of Songs to Invade Countries To (which I reviewed here), an album which contains plenty of strong songs but is not one which I regularly revisit. It gained the band some greater exposure however, and they toured as the main support to Iron Maiden for many shows throughout 2014. Towards the end of the year however, Purdie left the band due to health reasons and the band's momentum stalled. It took a year for the band to announce their new permanent singer, but Nik Taylor-Stoakes' (Voodoo Johnson) appointment was finally announced towards the end of 2015, as was the fact Voodoo Six were about to start working on their fourth album. Fast forward two more years and Make Way for the King, Voodoo Six's fourth album, is finally here! It has been a long time coming, but it is clear that there has been much change in the band and they needed to take their time to really get this album right. Taylor-Stoakes has made an immediate impact, and has gelled perfectly with the songwriting team of guitarist Matt Pearce and bassist Tony Newton to create an album of groovy, bluesy hard rock that has all the hallmarks of the past couple of Voodoo Six releases. Sadly however, this is also the band's first album (with the exception of the original Feed my Soul) not to feature guitarist Chris Jones, who left the band sometime over the past couple of years on the quiet. This is a shame, as his shredding leads were always a big part of the band's sound, and his style complimented the looser, bluesier style of Pearce perfectly. As a result Pearce's guitar sound dominates here, which gives the album a certain uniformity but lacks some of the real explosiveness that Jones could bring. Craig Price is credited on this album as a member of the band and a guitarist on the album, but I believe that all of the guitar work here is Pearce's. Price also seems to be out of the band now, so despite this excellent new album it seems that there is still some instability in the Voodoo Six camp.

The album opens with the mid-paced rock of Electric which starts off with a powerful grunge-inspired riff that is backed up well by Joe Lazarus' (who also is conspicuous by his absence on the current tour) hollow drum groove. The thing that is immediately apparent about this album is that the change of singer has not altered the band's sound in any way. Taylor-Stoakes has a similar voice to Purdie, although not quite as deep and gritty, so he fits perfectly in the band's established style. This is particularly apparent in the song's tough chorus, which reprises the opening riff, which sees him growl the lyrics with ease. Stylistically this song is classic Voodoo Six, and carries on the good work laid down on their previous three releases. The next song, which is the album's title track and lead single, picks up the pace somewhat and really opens out into a faster rock number after a slow intro. Pearce's riffing here is excellent, and really nails the bluesy southern rock style that Voodoo Six sometimes employ. Newton's bass is also historically very important to the band's sound, possibly more so than average for a hard rock band, and he dominates the slower verses with a snaking groove while the guitars add colour with effects-heavy clean sections. The chorus is instantly memorable too, with Taylor-Stoakes crooning the vocals perfectly against the heavy riffing backdrop. Pearce's guitar solo is also excellent here, and contains some bluesy shredded sections that are more furious than his usual style. If anyone needed any more convincing that Newton's bass playing is just as important to Voodoo Six's signature style as Pearce's guitar playing, then they should listen to Walk a Mile. The bass leads the song throughout, and gives everything real weight with a punchy opening while Pearce's guitar dances around it with a slow lead. The verses here are quite rocky, but the choruses are slower and more atmospheric with Taylor-Stoakes' crooning vocals. While initially he sounds very similar to Purdie, over the course of the album he demonstrates a little more emotional depth than his predecessor. This is not a criticism of Purdie, as he was a perfect fit for the band, but I do not think he would have excelled at singing sings like this one. Falling Apart is a groove-heavy piece that opens with Newton's growling bassline and some chiming guitar leads. It soon picks up the pace however, with a riff that would not sound out of place on an Alice in Chains album, and a choppy section towards the end of the verses that is instantly memorable. Once again the song slows down during the choruses, which helps them to make an impact after the faster verses, and showcase Taylor-Stoakes. Riot is one of my favourite songs on the album, and opens with a mid-paced bluesy riff that is full of kinetic energy that leads into a choppy verse that is once again backed up by an excellent bassline. It is the chorus that really makes this song however, from the stop-start riffing that introduces it to Taylor-Stoakes' excellent vocal delivery during it. It is probably the most memorable moment on the album, and that riff that heralds the chorus' arrival is constantly playing in my head at the moment. Amen is the longest song the band have ever written at over eight minutes in length, but it has all the classic hallmarks of the band's sound. The song was written in the aftermath of the terrorist attack at the Bataclan Theatre in November 2015, which helps to give the song some emotional weight, especially during the choruses. One this song does which is different however is to introduce some strings part-way through. Voodoo Six have never really used elements like this before, and it helps to add another dimension to this already grand song. The are prominent during solo, emotional Pearce's guitar solo, which really helps it to hit home. The song really becomes the centrepiece of the album, and will probably become seen as one of the band's real classics going forward.

Until the End returns the album to simpler, riffier territory however with a powerful opening riff and a hard rocking verse that makes a great use of it. The band's style on this album seems to be to slow down for the choruses, which often works well but sometimes I feel it would be better to keep the energy high throughout. I feel this song would have benefited from a more in-your-face chorus, rather than the slower one it got. Release the Hounds is another real favourite of mine, and again features Newton's bass playing prominently. As the bounds founding member and lead songwriter, Newton is the man who has held Voodoo Six together over the past ten or so years despite all the line-up changes. Voodoo Six is his band, and it is great that his bass is always so prominently featured. It has always been a big part of the band's sound, even right back in the early days, and it something that makes them stand out. The chorus in this song is another very melodic moment, with Taylor-Stoakes really howling the vocals with a real appropriateness given the song's subject matter. This is one song where the chorus remains up to speed with the rest of the song, and the energy never lets up throughout. The Choking is more of an atmospheric piece which maintains a slow pace throughout and makes more use of the strings introduced earlier in the album. Pearce's guitars mostly provide clean melodies and chords throughout, atop a slow drum beat, but thing do pick up somewhat during the choruses. They are heavier, with a bigger guitar sound, but retain the slower feel of the rest of the song. This is the closest thing to a ballad on the album, and it works well to contribute to a change of pace after one of the album's heaviest numbers. Walk a Mile is a more upbeat rock song lead by a simple riff that holds the whole song together. Many of the songs are bass-lead, but this song definitely puts Pearce's guitar playing right at the front of the mix. In many respects, this song has a real old-school Voodoo Six feel, and would have fitted perfectly on First Hit for Free and Fluke? as it fits in with the more back-to-basics aesthetics of those albums. The chorus is another catchy one, and even makes use of some gang vocals for extra effect. Despite a great guitar solo from Pearce, this is one of the songs here I feel would have benefited from one of Jones' moments of unbridled shredding. On the whole Pearce's guitar playing throughout this album is excellent, but that mix of styles that I mentioned earlier is certainly missed here. Wasteland opens with some bluesy guitar and bass interplay, that gradually builds up into a dirty guitar riff that again sounds like the Voodoo Six of old. While I like the style the band have adopted more recently with the slower choruses and more bass-dominance, I really like it when the band lets rip like this with a high-energy feel packed with guitar riffs and a commanding vocal performance. This is a song that was made to be heard live, and I can imagine it really hitting home like Crawl and Something for You do when those songs are played live. The album's final number, Swept Aside, returns to the more bass-heavy sound that dominates the album. While a good song, I think it would have been better if it swapped places with Wasteland, as the high-energy of that song would have made for a better closing number on the whole in my opinion. That being said, this song does grow towards the end and again features the strings which have been used in a couple of places already on the album. It does provide a strong end to the album, but I feel one of the heavier songs would have done this slightly better. Overall, Make Way for the King is another really strong album from Voodoo Six. While similar in style to Songs to Invade Countries To, which really introduced this grungier, more bass-heavy style in a big way, I feel this album eclipses it. A couple of songs on here are up there with the best things Voodoo Six have ever put out, and I look forward to hearing where they will go from here.

The album was released on 8th September 2017 via White Knuckle Records. Below is the band's promotional video for Make Way for the King.

Epica's 'The Solace System' - EP Review

I have said this on here previously, but there is no bigger symphonic metal act in the world right now (with the exception of Nightwish) than the Netherlands' Epica. Since forming in 2002, the band has become genuine big hitters on the world stage and have an impressive discography in which consistently great albums are released at a regular rate. Last year saw the release of The Holographic Principle (which I reviewed here), the band's seventh album, to near-universally excellent reviews. Despite never really releasing a bad album, I felt the found themselves in a bit of a rut with 2012's Requiem for the Indifferent. While the material on that album is still strong, I felt that the production of the songs really constrained their impact. Epica's sound has evolved gradually with each album, and has become more expansive and bombastic each time. In the band's early days there was a greater reliance on synths for the band's orchestral stylings, but over time this has become more organic with huge orchestras and choirs being used in the studio for an authentic symphonic sound. It is clear that the band felt a change was needed, and employed the services of producer Joost van den Broek for 2014's The Quantum Enigma. Suddenly, under this new guidance, Epica's sound really opened out and the music had real breathing room. The compression and dry guitar tones found on Requiem for the Indifferent were gone and instead replaced with warmer and more striking tones, that naturally increase the heaviness and power of the band's material. This sound and trend continued with The Holographic Principle, and continues again on the band's latest studio effort The Solace System. While not a full album, The Solace System still feels like an essential part of the band's discography. This six song EP came from the same sessions as The Holographic Principle, so overall has the same sound and production style, but still feels like a coherent standalone release. With these 'off-cut' releases, there is sometimes a danger that they will contain sub-par material. After all, if these songs were not good enough for the album during which sessions they were recorded during then why are they good enough for a stand-alone release? Thankfully that is not the case with The Solace System, as the six songs here all have strong identities of their own and do not feel like poor cousins of the band's other recent releases.

The EP gets underway with the title track, which in typical Epica fashion is introduced with a gothic choir and a dense symphonic arrangement. The songs on this EP are mostly short, to-the-point efforts compared to many of the sprawling epics on the band's past couple of albums, and this is no different with a strong vocal presence from frontwoman Simone Simons, who particularly shines during a groove-heavy verse. Mark Jansen's harsh vocals are used more sparodically than usual throughout the six songs here, but a heavier pre-chorus here sees him duelling with dramatic strings to good effect. Interestingly, he is once again credited with rhythm guitar on this release, unlike The Solace System's parent album, but I suspect all of guitars on this EP were handled by Isaac Delahaye. Speaking on Delahaye, his strong riffing drives the whole song, and his short guitar solo towards the end adds some extra melody into an already memorable song. Fight Your Demons is a faster, heavier song with some excellent double bass drumming from Ariën van Weesenbeek and a string-heavy opening riff. While the previous song was more of a mid-paced effort, this song showcases the band's death metal influences perfectly, with a few parts that feature Jansen's harsh vocals heavily and some a pummelling drumming performance. Simons also uses the more operatic side of her voice, especially during the choir-dominated choruses, which works well to contrast with the heaviness of the majority of the music. Architect of Light showcases the band's more progressive side somewhat with a great mix of sounds thrown together from the off. A gentle symphonic intro gives way to a heavier riff-heavy section, with plenty of gothic choral lines to provide a dense and foreboding atmosphere. This mood is shattered with the verses, which are based around a very simple guitar riff that has real classic rock swagger and Simons' confident vocal display. Other heavier sections are used throughout, including a great call and response section between Simons and Jansen set to a death metal backing, but overall this is a more melodic piece that stays interesting by constantly changing style.

Wheel of Destiny is more of a guitar-heavy piece with a riff that sounds like something a NWOBHM band might have come up with in 1980, with occasional stabs of orchestra for dynamic effect. While the strings do come to dominate slightly more as the song moves on, Delahaye's riffs, and a strong bass presence from Rob van der Loo, always form the basis of the song. The chorus is a really memorable one, and probably the best on the EP, and features some prominent piano playing from Coen Janssen. In some respect this song has the feel of the band's first couple of albums, before their progressive influences really came to the fore, as it is a more stripped-back song with overt melodies and a simple structure. It also contains one of Delahaye's best guitar solos ever for Epica, and he really lets rip with some really fast, shredded melodies. Acoustic songs are not something that Epica do often, but Immortal Melancholy is just that. Simons' voice really shines here over a simple acoustic guitar and orchestral backing. There are some renaissance-inspired melodies here, which give the song a bit of a Blackmore's Night vibe at times, but overall it feels like a typical Epica ballad that is stripped back even further to it's roots. After that short lull, the EP's final track Decoded Poetry picks up the pace again with a furious opening riff that has a gloriously dramatic symphonic backing. This is another real standout piece on this EP, with another excellent chorus that just gets embedded in your head and a grindingly heavy section with Jansen's grunts. This is another song that mixes things up quite a bit, with an almost-tech metal riff coming out of nowhere towards the end and a discordant symphonic section with demonic choirs galore. It ends the EP on a high, and shows that Epica are capable of cramming a lot into a relatively short space of time. Overall, The Solace System is a must-listen for all Epica fans, especially those who have enjoyed their expanded sound of late. It will definitely keep fans occupied until the band's next album which I am sure, given Epica's usual work rate, is not too far away.

The EP was released on 1st September 2017 via Nuclear Blast Records. Below is the band's promotional video for The Solace System.

Mostly Autumn - Leamington Review

A Mostly Autumn concert at The Assembly in Leamington Spa seems to be an annual event now and is always something to look forward to in the year's gigging calendar. While the band have been playing in Leamington for a number of years, over the past couple of years the shows have become real showcase events. 2015 and 2016 both featured extended shows at The Assembly, with the evenings consisting of acoustic sets, special guests, and setlist surprises featuring lesser-played songs and choice covers. While 2017's visit to Leamington was not quite as expansive as the previous couple of years, the band made the more 'traditional' concert experience an extra special one with a great setlist and an emotionally-charged performance. Despite releasing their twelfth album Sight of Day earlier in the year, 2017 has been a fairly quiet year for Mostly Autumn when it comes to live activity. The pregnancy of frontwoman Olivia Sparnenn-Josh has dictated the band's schedule somewhat but the gigs the band have played so far this year have all been excellent. I saw the band a couple of times earlier in the year, in Tavistock and Bilston, and both shows were excellent. The band debuted some of the new material on these early shows, but seemed to want to hold back the 'bigger' songs of the album for some special showcase shows later in the year. After a quiet summer, during which time Sparnenn-Josh gave birth to a baby girl, it announced that the band's three shows in September (London, Leamington, and a hometown show in York) would all feature the Sight of Day album in full, along with a second set of older material. This made the Leamington show a must-see event. The Assembly is a great place for showcase gigs as the venue is excellent and the town itself is in a very central location which is easy to get to. While I have certainly seem bigger crowds at Mostly Autumn shows over the years, the turnout for this September weekend was not bad at all, and was packed with many of the familiar faces that you see at the band's shows up and down the country.

The band hit the stage at 6:30pm with the rumbling piano intro of Sight of Day, so it was clear the band were going to be showcasing their new album right off the bat. The title track of the new album is one of the best songs the band have ever done in my opinion, and I had been waiting to hear it live for months. It did not disappoint, and it really got the show off to a great start with Sparnenn-Josh's delicate intro vocals atop Iain Jennings' (keyboards) piano melodies really filling the hall. The song is one that builds up over time, and the first part climaxes with a stunning chorus filled with harmony vocals and the band's trademark wall of sound approach. A quieter mid-section gives Bryan Josh (vocals/guitar) his first chance to shine of the evening with a beautiful Floydy guitar solo, before the third part kicks in with Chris Johnson's (vocals/guitar) acoustic guitar chords for a high-energy, melodic closing section. The song showcases everything that is great about Mostly Autumn, and it was great to get the chance to hear it live. The rest of the album followed in the order that it appears on the CD, with each track contributing something magic to the evening. The laid-back rock of Once Round the Sun is a fun number live, with a simple chorus that the crowd really latched onto and a strong instrumental section towards the end that was dominated by Angela Gordon's (flute/keyboards/whistle/vocals) flute melodies. There were some moments in the first set where the sound was somewhat muddy. Hammerdown in particular sounded a little rough, with many of the subtitles buried in the mix, but these moments were fairly minimal. Changing Lives is a personal favourite of mine from the new album so it was a real treat to hear it live again. Johnson sings the song beautifully and it is one of those songs that just changes the band's established formula up a little to keep things fresh. Only the Brave is sure to become a live favourite for years to come, and is one of the most in-your-face hard rock songs the band have done for a while. Josh's bluesy rock riff and strong vocals really carry the song, but the melodic chorus with Sparnenn-Josh's harmony vocals and the powerful folky instrumental section with Gordon's flute once again standing out, help to turn it into a dynamic little song. The album's other epic Native Spirit has never been a particular favourite of mine, but it has grown on me somewhat since the album's release. That being said however, the song came across very well live with the progressive arrangement really working well with Josh's lyrics. The song builds towards a symphonic climax, making great use of the band's two keyboard players, and actually became one the highlights of the set. The band were really on fire by this point and the crowd were really into the show. Raindown really comes alive on stage, and the lengthy ballad is another that is likely to be in the set for quite some time. It is a real vocal showcase for Sparnenn-Josh, and allows her to use both the quieter side of her voice and then unleash some real power towards the end. It also features Gordon a lot, with plenty of flute parts for her to shine and chances for her beautiful voice to be heard harmonising with Sparnenn-Josh. Josh also launched into a really explosive solo towards the end, that really came out of nowhere, and he was playing his guitar so hard that he broke his strap! The first part of the show finished with the whimsical Forever and Beyond, a simple little song with a positive message that brought the Sight of Day part of the show to a triumphant end.

A half an hour break followed, but it was not long before the band were back on stage with a set of the band's older material, which included many real fan favourites. Many of the songs played have been featured a lot over the past couple of years, but that did not seem to phase the crowd who cheered enthusiastically for each number played. The folky instrumental Out of the Inn got the second half off to a great start, before the gothic rock of Josh's solo number In for the Bite reintroduced Sparnenn-Josh for the second set. This second half felt like a victory lap after the triumphant Sight of Day showcase, and the crowd favourites came thick and fast. The folk rock of Skin on Skin was up next, which always features a lengthy and explosive drum solo from Alex Cromarty and a drawn-out instrumental section to close with plenty of soloing from Josh. Evergreen has been brought out of the box again this year after a well-deserved break last year, but it still really hits the spot and is one of the band's signature tunes. Sparnenn-Josh had made the song her own since taking the frontwoman spot seven years ago, and the whole band really work together as a whole to create the emotionally-charged piece. Another of the band's signature tunes Mother Nature followed, which has been enjoying a new lease of life of late with regular live outings. The first half is a gorgeous, organic, and folky song with strong vocal harmonies that climaxes with a power chorus, and the second half is an instrumental showcase, featuring an atmospheric keyboard solo from Jennings and ending with a stark bass solo from Andy Smith. There is a reason it is considered one of the band's best achievements, and it has been great to hear it live so often over the past couple of years. Passengers has not been featured much in the band's sets this year, so it was nice to hear it again after a year or so, and it is another fan favourite with an almost AOR-esque chorus. The short piano ballad Silhouettes of Stolen Ghosts just gets better every time you hear it, and it has become a real setlist staple of late and allows Sparnenn-Josh to show off her delicate and emotional vocal delivery over Jennings' simple piano lines. Another recent setlist staple is Johnson's Silver Glass, which is always greeted with a huge cheer and always manages to steal the show. Josh's guitar solo in the piece is one of his best in my opinion and the way Johnson sings it never fails to raise a few internal emotions. The main set came to an end with a great version of Sparnenn-Josh's Questioning Eyes which really seemed to hit harder than usual with her vocal prowess really shining through. After a short walk off stage, the band came back for a run through of Heroes Never Die, which is probably the band's signature song, and a spine-tingling version of Tonight complete with some extended soloing from Josh and a chance to introduce the band. The band took their bows to huge cheers from the crowd, and it was clear this special setlist had had the intended effect. The setlist was:

Sight of Day
Once Round the Sun
The Man Without a Name
Hammerdown
Changing Lives
Only the Brave
Native Spirit
Tomorrow Dies
Raindown
Forever and Beyond
-
Out of the Inn
In for the Bite [Bryan Josh solo material]
Skin on Skin
Evergreen
Mother Nature
Passengers
Silhouettes of Stolen Ghosts
Silver Glass
Questioning Eyes [Breathing Space cover]
-
Heroes Never Die
Tonight

Sadly this night in Leamington was my last of my three Mostly Autumn concerts of 2017, but I am sure there will be more to come next year. Readers of this blog will no doubt be aware of how much of a fan I am of this band by now, and getting so many opportunities to see them live is a real treat. I am already looking forward to the next one, whenever that will be!

Paradise Lost's 'Medusa' - Album Review

Halifax's Paradise Lost, one of the true originators of the death/doom genre during the late 1980s and early 1990s, have been riding on a real high over the past couple of years. For a band who created some of the most melancholic heavy music to come from the UK on their first few releases, Paradise Lost's experimentations with their sound over the years certainly brought mixed results. The initial move away from harsh vocals towards a cleaner, more gothic delivery, that came to a head on fan-favourite album Draconian Times in 1995, was a success and saw the band on a natural trajectory from 1990's debut album Lost Paradise. Post-Draconian Times, it is fair to say that results have been mixed. The introduction of prominent synths, which definitely took influence from bands like The Sisters of Mercy, on 1997's One Second worked well but this direction certainly outstayed it's welcome and Paradise spend ten years or so releasing divisive albums to little commercial success, some of which even the band themselves have now distanced themselves from. For the past ten or so years however, Paradise Lost have been back on the right track. 2007's In Requiem was a return to the gothic melodrama of Draconian Times and certainly raised a few heads when it was released a decade ago. Since then, Paradise Lost have firmly been back in the metal world's collective conscious again. Both 2009's Faith Divides Us - Death Unites Us and 2012's Tragic Idol, which were cut from the same cloth as In Requiem, were well received the band's touring schedule picked up once again as they were booked to play bigger rooms. As an aside, a few years ago the band's two main songwriters, frontman Nick Holmes and guitarist Greg Mackintosh, began to reacquaint themselves with their extreme metal roots. Mackintosh's death/grind side project Vallenfyre, which he fronts, is far heavier and dirtier than anything Paradise Lost have ever done. Their albums, particularly the 2011 debut A Fragile King, have been well received and the band are genuinely big hitters in extreme metal circles. Parallel to this, after around two decades of singing mostly with his clean voice, Holmes joined death metal supergroup Bloodbath in 2012 and unleashed his growls on the world once again. It was no doubt these extra curricular ventures that led to 2015's The Plague Within (which I reviewed here), a monster of a death/doom album that saw Paradise Lost return to their early sound. It was easily the band's best-received album in years, so it is no surprise that the band have returned to that sound once more for their latest opus Medusa, which is their fifteenth studio album overall. The production team responsible for The Plague Within returns here, so it is unsurprising that Medusa feels like a companion piece to the previous release. The only major difference here is Finnish drummer Waltteri Väyrynen (The Hypothesis; Abhorrence; Vallenfyre), who was officially announced as the band's drummer last year replacing the departing Adrian Erlandsson, but his slow, booming drum style is perfect for the bleak, heavy material found here.

The album gets underway with Fearless Sky, the longest song here at over eight minutes in length, which opens with melancholic organ playing before Mackintosh's first of many crushing riffs kicks in. Subtle, Black Sabbath-esque leads are thrown in over the top, but the song's initial power comes from Mackintosh's doomy chords, backed up well by rhythm guitarist Aaron Aedy and bassist Steve Edmondson. This riff forms the basis of the first part of the song, and sees Holmes unleashing some of the most demonic harsh vocals of his career yet. His slightly croaky delivery is perfect for the song's desolate mood and fits in well with the sluggish pace found here. There is a bit of a chorus which rears it's head every so often, and this sees Holmes employ his gothic clean voice, backed by some melodic guitar leads, which acts a great contrast with the much heavier sections. The majority of this album sees Holmes growling, but bursts of clean vocals help to stop the album from becoming monotonous. Towards the end, the song picks up the pace, with Väyrynen leading the way with lots of excellent drum fills, and sees Holmes' more traditional clean vocals put to good use. With Fearless Sky really setting a dark tone, Gods of Ancient reinforces this with a raw-sounding guitar and some frantic drumming. While the initial instrumental portion of the song is played at a faster pace, when the song reaches the verses the speed slows right down again to that of a crawl as Holmes' throaty harsh vocals pour out of the speakers. Mackintosh uses more guitar leads here, which add a cutting melodic counterpart to Aedy's suffocating chords, and he dominates the instrumental sections with spiralling melodies. Lots of comparisons can be drawn between the sound here and that of Black Sabbath's, as the songs here tend to speed up towards the end with a riff that is similar to something Tony Iommi might have come up with. This song is no different, and picks up towards the end with a heavy, bluesy riff that hits hard. The shorter From the Gallows has one of Mackintosh's trademark guitar leads during the intro, and picks up the pace somewhat with some fast double bass drumming from Väyrynen. The intro riff is still pretty slow, so the fast drumming beneath makes for a slightly unsettling listen. The verses are much faster than usual here, with crunching power chord-based riffing over some more traditional death metal drumming. Paradise Lost are known for their slower sound, but they can pick up the pace well on occasion too and relentless songs like this help to create a dynamic listening experience and allow Väyrynen more of a chance to show off. The Longest Winter returns to the band's customary slower pace however with a really dirty opening riff that really rumbles out of the speakers with true power. Holmes sings much of the song using his clean voice here, something not used since the album's opening number, and his deep, booming voice really cuts through the sludgy riffing perfectly. There is a strong chorus here, not something the band are particularly known for, but the vocal melodies are easy to latch on to and Mackintosh does his bit with some subtle, tortured guitar leads.

Opening with some distant piano chords, the album's title track is another long one at over six minutes in length. Mackintosh's guitar leads are not always as prominent here as they are on other Paradise Lost, but this song puts them back into the spotlight perfectly right away with some absolutely gorgeous phrasing that just steals the show. I often think that there is a lot of David Gilmour is Mackintosh's lead playing, and some of the melodies here really display that. Again, Holmes sings the song largely using his clean voice and he sound fantastic throughout. In my opinion, Holmes is sounding better than he ever has recently and has put down some of his best vocal performances to date on this album. Both his harsh and clean vocals sound stronger than they ever have here, and his ability to effortlessly switch between the two shows his talent as a vocalist. Every so often the song strips back to the piano lines used in the intro, which works well to provide a mix of light and shade. I feel this song really showcases Paradise Lost at their best as it has a great mix of their more gothic, melodic sound, mixed in with their heavier, death metal sound perfectly. No Passage for the Dead opens with another excellent guitar lead, before again descending into heavier territory with another slow-paced verse packed with Holmes' throat-shredding vocals. Despite the heavier feel, this is still a fairly melodic song with a lot of emphasis placed on Mackintosh's guitar leads and a chorus that features Heather Mackintosh (Tapping the Vein), who has contributed to many of the band's recent albums, harmonising well with Holmes. Single Blood & Chaos is a faster song, and definitely has hallmarks of the band's Draconian Times era but with harsh vocals used in places. Holmes uses both of his voices well here, and that song has a strong gothic overtone that fits perfectly with the somewhat spacey heavier riffs. The song's chorus is easily the most catchy here, which is clearly why the band chose to shoot a video for it. I imagine this song will become a live favourite with it's strong energy and overt melodies. There is a short, but excellent guitar solo from Mackintosh too that adds an extra spark of melody to make this song one of the most instantly memorable the band has done in a while. The closing number Until the Grave returns to the heavy doom metal sound found throughout the majority of the album with another sledgehammer riff. While not as slow as many of the songs here, this still manages to create a creepy atmosphere with with Holmes' perfectly evil vocal display and some chiming guitar melodies that rear their heads throughout to create an unnerving combination. Keyboards are used more extensively during this song however, which does give it more of an atmospheric feel at times, but this takes nothing away from the power of the riffs. Mackintosh gets one last chance to show off with an excellent guitar solo, which shows him playing faster than he often does, before the song comes to a doomy end with plenty of showcase drumming from Väyrynen. Overall, Medusa is another excellent album from a band which has found themselves in the middle of somewhat of a second wind. This album carries on from the great work forged on The Plague Within and sounds even dirtier and heavier at times, while still maintaining a strong gothic edge.

The album was released on 1st September 2017 via Nuclear Blast Records. Below is the band's promotional video for Blood & Chaos.

Accept's 'The Rise of Chaos' - Album Review

Accept, hailing from Solingen in Germany, have been around in one form or another since 1968; but since 1976 have been rocking the world with their back-to-basics brand of heavy metal. The band's self-titled debut album in 1979 laid the ground works for the band's sound, but it was four albums released between 1982 and 1986 - bookended by Restless and Wild and Russian Roulette - that really put the band on the world stage, and made them a part of the so-called 'German Invasion' along with the Scorpions and Warlock. Germany has always been a hotbed for new rock and metal acts, but Accept were one of the first to really breakthrough into the world market and became one of the country's most important metal exports. The razor sharp riffs of guitarist Wolf Hoffman and the raspy vocals of frontman Udo Dirkschneider became the hallmarks of the Accept sound and the band became popular for sticking to their principles and doing what they were good at album after album. For the most part Accept have stuck to the same blueprint throughout their career. I have always found them to be the heavy metal equivalent of AC/DC, re-using the same formula over and over, but usually managing to stay fresh despite this. The power of Accept's music has always been in their simple, but powerful riffs and their anthemic, fist-pumping choruses. This has served the band well over the years and there really is no reason for them to deviate far from this successful formula. Like many bands who have been around for a while however, line-up changes have been a big part of Accept's history. Hoffman and bassist Peter Baltes have been ever-present throughout Accept's career, and have become the band's main songwriters, but many others have come and gone over the years. When the band reunited for a fourth time in 2009, Hoffman and Baltes recruited frontman Mark Tornillo to replace Dirkschneider and the three have spearheaded the band since. Blood of the Nations, Tornillo's first album with the band, was released the following year to worldwide acclaim and was the start of a real resurgence for Accept, almost comparable with their early 1980s heyday. 2012's Stalingrad and 2014's Blind Rage followed, both with similarly excellent reviews, and Accept once again became big hitters on the world metal stage. The line-up change curse hit once again in 2015 however, as rhythm guitarist Herman Frank and drummer Stefan Schwarzmann left the band. Both had been with Accept since the 2009 reunion and both had played with Accept at various points in the past, so this was quite a blow for the band. Replacements were sought and guitarist Uwe Lulis (Grave Digger; Rebellion) and drummer Christopher Williams (War Within; Blackfoot) were brought in. As in the past however, Accept rode the line-up change wave well and Lulis and Williams were quickly integrated within Accept's ranks. After plenty of touring, this particular incarnation of Accept's first studio album The Rise of Chaos, which is the band's fifteenth overall, was released last month to similar acclaim to that of the previous three. It will surprise no-one that The Rise of Chaos is classic Accept and an album that sticks to the band's well-established and instantly recognisable sound.

After opening with a riff reminiscent of Black Sabbath, the album gets underway at speed with Die by the Sword, a song that really contains off the hallmarks of what makes Accept so good. Hoffman's riff drives the whole song, but Baltes' bass is constantly prominent in the mix which really helps to give the song serious weight. While many long-time fans of Accept may still miss Dirkschneider, Tornillo has really made the singer role his own since joining the band in 2009. His rasp has arguably more power than Dirkschneider ever possessed, and his is a great vehicle to carry these hard-hitting metal anthems. The song's chorus is as fist-pumping as ever, with powerful gang vocals from the rest of the band that sits perfectly atop a chugging riff. Hoffman is quite an underrated guitarist in my opinion, and he launches into a short neo-classical solo part way through that is a lot more technical that it seems on the surface. While many of Accept's songs are quite fast, many of them are also strong mid-paced efforts and that is exactly what Hole in the Head is. Baltes' bass drives the whole song, and his fat tones really cut through the mix perfectly as the band's two guitarists take more of a backseat. While Accept are not exactly a band to emphasis groove in their songs, this is one where it is more present, especially during the chorus which has a snaking guitar riff that sits below then anthemic vocal melodies that make more use of strong gang vocals. The album's title track picks up the pace once again, and this song is a real throwback to the band's early days. While Accept's sound has barely changed at all throughout their career, this is a song that really sounds like it could have appeared on 1983's Balls to the Wall. Hoffman's driving riff just dominates the whole song, and Williams' drum patterns are simple but come out of the speakers like sledgehammers to inspire plenty of neck movement. The chorus is simple, but very effective, and carries on the song's hard-hitting feeling. Tornillo unleashes some pretty high-pitched vocals in the chorus too, which is a great contrast to the deep gang vocals, and makes it instantly memorable. Koolaid is one of the album's best songs in my opinion, and tells the story of the 1978 Jonestown Massacre. Even for Accept's standards, this song is stripped back to basics and is built around a solid bassline from Baltes that just holds everything together. Tornillo's vocal delivery is understandably subdued during the verses, but picks up as the song moves towards the chorus. The gang vocals here really add some serious power to the song, which acts as a great contrast to the more subdued verses, even if the chorus' lyrics come off as a little unintentionally funny given the song's subject matter. No Regrets is another faster piece, that mixes short snaps of vocally-dominated pieces with almost-thrash metal riffs. The stop-start nature of the song works well however, and makes the bursts of thrash-like energy hit with real power when they come in.

Analog Man is another real standout song here, and deals with older people's struggles to fit into a modern, technologically-driven world. It is done in a somewhat tongue-in-cheek way, but the message still resonates clearly and it makes a serious point. This is another mid-paced song, with buzzing staccato guitar riffs atop a constant, rumbling bassline. The call-and-response style chorus is made to be played live, and some bluesier riffs that appear during the song's second half lead to a nice change of pace. Hoffman's guitar solo is surprisingly bluesy too, and relies less on speed that he does usually. What's Done is Done is another instantly catchy song with a bouncy, fast-paced guitar riff and a commanding vocal display from Tornillo. What makes this song so good however is the excellent chorus, which is possibly the best on the album. Most of Accept's choruses are simple and rely on basic melodies, and this one is no different, but it just seems to be catchier than usual. Gang vocals are often used by the band to make their choruses seem more powerful, but here the backing vocals are used in a more subtle way which enhances Tornillo's voice rather than drowning it. I think it works well and really helps to raise this chorus up to the next level while still retaining the band's signature sound. Worlds Colliding is somewhat less-heavy than many of Accept's sound, and instead takes on more of a hard rock crunch with shades of AC/DC and more overt vocal melodies. That is not to say that this song sounds vastly different from anything else on this album, as it does not, but it just seems to go for a slightly more nuanced approach with some surprisingly aching guitar leads in places and a more melodic vocal performance. This is all relative however, as the song still packs in a punch in a way that only Accept can, but there are subtle differences here that give the song a slightly more polished sheen. In contrast Carry the Weight is possibly the heaviest piece on the album with a furious drumming performance throughout from Williams, which makes a good use of some heavy double bass drumming, and some fast, flashy guitar riffs. Accept's riffs are usually simple affairs, that go for power rather than technical prowess, but some of the guitar moments are more intricate than usual which is a nice change and shows Hoffman and Lulis in a different light. The song seems to deal with many of the current affairs going on in the world at the moment, and even mentions Brexit, and portrays the world in quite a downbeat way. This is in contrast with the heavier, faster music here but it still works well and manages to get it's point across well. The album's final song, Race to Extinction, opens out with a slower, methodical riff but soon speeds up somewhat to a more mid-paced rocker that includes some evil-sounding guitar riffs, again reminiscent of Black Sabbath, in places which contrasts well with the upbeat nature of the rest of the music. Style wise this song is typical of the rest of the album, with a hard-hitting gang vocal chorus all led by Tornillo's powerful vocal prowess. It is a strong song to end the album on, and rounds out the themes addressed here perfectly. Overall, The Rise of Chaos is another really strong album from Accept that carries on the good work the band have been doing since Blood of the Nations. Lulis and Williams have fitted into the Accept machine perfectly, and the core of the band - Tornillo, Hoffman, and Baltes - have written another hard-hitting albums of metal anthems that is sure to be enjoyed by many.

The album was released on 4th August 2017 via Nuclear Blast Records. Below is the band's promotional video for The Rise of Chaos.

The Cruel Knives' 'Side One' - EP Review

Earlier this year, after more than a year of dormancy after the departure of frontman Aaron Buchanan in October 2015, Heaven's Basement announced that they were no more. As someone who had been a fan of the band since almost the very beginning, this was very sad news. While I had been a fan of rock and metal for some time before first hearing anything by Heaven's Basement, they were one of the first 'new' rock bands I discovered in my mid-teens and they, along with a few other bands, felt like part of 'my' generation of rock. Sadly most of these bands are now no more, but it was exciting for a time to discover a new wave of classic rock-inspired bands coming through when my love for the genre was really developing. While I never saw the original line-up live, I saw what became the band's most famous line-up live six times between 2011 and 2015 and two of those gigs in particular really stand out as being some of the best I have seen in small venues. While the end of Heaven's Basement was sad, it was not exactly a surprise either. The band's sound had changed over the years - from 1980s-inspired rock on the self-titled debut EP to a more modernised rock sound on the band's only album Filthy Empire - and it seemed that guitarist Sid Glover wanted to modernise his songwriting style further. As a result, the same announcement that sealed Heaven's Basement fate also gave birth to The Cruel Knives, which saw Glover and Rob Ellershaw (Heaven's Basement's bassist since 2009) deciding stick together, along with new frontman Tom Harris and drummer Al Junior, to start again under a new moniker. Harris, Glover, and Ellershaw; along with Heaven's Basement drummer Chris Rivers; performed a couple of secret shows towards the end of 2016 supporting The Pretty Reckless, and many assumed this would be the new line-up of Heaven's Basement going forward, but this was not to be the case. I am not sure if it was Rivers' departure that led to the name change/re-birth, or whether the band always intended to start again, but re-branding as The Cruel Knives seems to have been the right move as the band's material is quite different to that found in the Heaven's Basement canon. Side One, the band's debut EP, is made up of five songs that represent the direction Glover and Ellershaw are now heading in and was funded by a successful crowdfunding campaign. For a lover of classic rock, and the Heaven's Basement of old, the sound on Side One was a bit of a shock. While this is still 'rock' music, the dirty bluesy riffs and powerful vocals of old are largely gone to be replaced with a slicker, poppier sound. If I am honest, I am not sure this EP will ever really be to my taste, but that is not to say that there are no good songs here and going in with an open mind is highly recommended.

The EP opens with The World We Were Sold, a riff-heavy rocker that is the closest thing hear to Heaven's Basement's sound. Glover has always been a great riff writer, and this song is no different with a fast-paced guitar pattern that drives the entire song. Harris, while a strong singer in his own right, lacks the raw power of Heaven's Basement's two main frontmen and instead opts for a slightly higher-pitched delivery that works melodically but is less hard-hitting than the song probably needs. This song was released online on the day The Cruel Knives were launched, and it definitely seems like a bridge between old and new. The chorus is a strong moment, which makes the most of Harris' more melodic vocal delivery, and the twisted guitar solo from Glover is different from his classic rock-inspired past but works well in the song's context. Itch opens with a snaking bassline riff from Ellershaw which Harris sings over in his slightly thin style which gives the song a slightly modern indie rock feel - at least at first. Things do get heavier throughout however, and Glover does launch into a meaty riff which then leads into a punchy chorus with some catchy wordless vocal sections. Ellershaw continues to dominate throughout however, especially during the verses which really shows his skills as a player. The song really lets go towards the end, with a frantic hard section that draws the song to a close. Kill the Messenger opens with a slightly atmospheric intro that has layers of effects-drenched guitar and Harris' naked and somewhat fragile vocal performance. When the song gets going however it turns into an enjoyable rocker but this is a song which I feel could have benefited from a ballsier vocal delivery. One the one hand I do like Harris as a singer, and he can really let rip when the moment takes him, but on the other hand I feel his voice is often a little fragile for Glover's riffing. Glover has always worked with really strong frontmen, and I am not sure that Harris really falls into that category. Squeeze is easily the weak link on the EP for me, and attempts a more lighter hearted rock sound with Harris' perpetually high vocals and slightly funky overall feel. This is the sort of song that would probably work if done by a band like The Struts, who have that slightly quirky personality, but when done by The Cruel Knives just feels a little forced. There is certainly no dirt under the nails of this song, and sticks out on an EP that generally hits pretty hard. The Promised Land is the EP's closing number and is probably my favourite number here with a dirty slide guitar intro and a great bass groove throughout. There are certainly shades of the old Heaven's Basement sound here, but adapted well to make great use of Harris' higher voice. The chorus is an instantly catchy one, with some excellent tremolo guitar playing underneath the vocals, and the musicianship throughout is strong. I feel that this is the song where the sound The Cruel Knives are attempting to pursue comes together the best, and I hope to see more of this going forward. Overall, Side One is a good start from a new band that are going to have the break out of the shadow of Heaven's Basement. It is hard for fans of that band's work, especially the band's early work, to not be slightly disappointed with the lighter overall feel of the EP, but there are definitely more high points than low ones here and I will be interested to see where they go from here.

The self-released EP was released on 28th July 2017. Below is the band's promotional sound clip for The World We Were Sold.

Kim Seviour's 'Recovery is Learning' - Album Review

English singer Kim Seviour rose to fame as the frontwoman of the progressive rock band Touchstone, a band she fronted for eight years between 2007 and 2015. Despite Touchstone having been around in various forms since it was formed by keyboardist and vocalist Rob Cottingham in 2003, and even releasing an EP with previous singer Liz Clayden in 2006, it was with Seviour that Touchstone really began to make waves in the progressive rock world. The band's debut album, the excellent Discordant Dreams, was released the same year Seviour joined the band - and three more albums were released at regular two year intervals. While her role on Discordant Dreams is largely that of a harmony vocalist, as Cottingham initially dominated the band's sound vocally, this changed moving forward with her taking a much greater role on 2009's Wintercoast and then essentially singing all of the lead vocals on 2011's The City Sleeps and 2013's Oceans of Time. Seviour also had a greater hand in the band's songwriting process as time went on, with her being credited with the majority of the lyrics on the band's most recent releases. Sadly, it seems by the time Oceans of Time was released the band as it was had run it's course somewhat. I have never really got into Oceans of Time and I feel that it is significantly weaker than the rest of the band's catalogue. It is probably right then that two years later the classic Touchstone line-up split three ways. Seviour had already decided to leave the band, as she was struggling to commit to touring due to her long struggle with Chronic Fatigue Syndrome, and Cottingham announced in the run up to Seviour's planned farewell show that he too would leave the band. This left guitarist Adam Hodgson, bassist Moo, and drummer Henry Rogers to carry on the Touchstone name, which they have done excellently with vocalist Aggie and keyboardist Liam Holmes, and released the EP Lights from the Sky last year. Cottingham has since formed Cairo, and he seen him return to the sound of Discordant Dreams with his vocals once again taking centre stage, and released the album SAY last year. Seviour's plan when leaving Touchstone was to make her own album, and this was finally released in July titled Recovery is Learning. Taking influence from her struggles with illness over the year, the album is an extremely positive one that celebrates life and is driven by her charming vocal abilities. The album was written in collaboration with John Mitchell (Arena; Kino; Frost*; It Bites; Lonely Robot) who worked with Touchstone in the studio on all of their albums. Mitchell has also produced this new album and played the vast majority of the album's instruments. Graham Brown (Cairo) played all of the drums on the album, and Touchstone's Holmes contributed piano to one song, but everything else was played by Mitchell. This is both a blessing and a curse, as at times Recovery is Learning can sound like a cousin to his recent Lonely Robot solo albums, but overall Mitchell's songwriting and musical abilities is a big asset to the album. Unsurprisingly however, this is an album that largely focuses on the vocals and the vocal melodies. This is not a complex progressive rock album built on long instrumental sections, but instead a concise and melody-driven release that features some of Seviour's best vocal performances yet.

The album opens with the lead single Chiasma which is based around a strong piano riff with a tough rock backing. The verses are somewhat paired back, letting a snaking bassline dominate, while layers of atmospheric keyboards create a strong mood. Seviour's vocals in the verses are simply gorgeous, using a slightly higher register of her voice than usual, which works perfectly against the simpler backdrop. The chorus rocks harder, utilising the intro's piano riff and a more powerful vocal delivery. There is a short guitar solo in the song, not something which is used too often throughout the album, but it does give Mitchell a chance to cut loose on his main instrument. This is an excellent song, and a perfect way to kick off a new solo career with intent. Call to Action retains the energy of the previous song with a heavy opening guitar riff. While Touchstone were prone to heavier moments, I did not expect Seviour to carry this over into her solo career. I am glad she did however as it works well here. Like the previous number however the verses are calmer, this time with a chiming piano backing that sits atop a drum groove. The chorus is one of the album's best, with infectious vocal melodies that sink in after only a couple of listens and more heavier guitars. A short proggy guitar-led instrumental section provides a change of pace, before the song builds back up to another reprise of the chorus. Connect opens with a mid-paced guitar chug and a strong synth melody that provides the main hook. The bass guitar once again dominates the verses, with Seviour's fragile, almost whispered, vocals providing a counter melody. Despite the chugging intro, this is a fairly light song overall with little prominent guitar work outside of the intro sections, with it instead focusing on bass and chiming keyboards. Another spacey instrumental section adds a different dimension, although it does not last long before Seviour begins singing over it. Her vocals are mixed into the background however, with her becoming part of the soundscape as the piano takes centre stage. Fabergé, is the song to feature Holmes' piano playing and he teams up well with Mitchell in the intro as the two play the same floaty melody to great effect. After three fairly rocky pieces, this is the first real slower number on the album. The clean guitar melodies and the piano dominate, with Seviour's expressive and somewhat mournful vocals croon over the top. The song does build up somewhat over time, with drums coming in during the second verse and things open up after the second chorus with a subtle choral effect to give a big sound. Mitchell solos here once again, but this time he gets quite a long time to show off his skills with a slow, melodic guitar solo. Mother Wisdom retains the slower feel of the previous song, but adds some rock groove to the proceedings as the tight rhythm section drive everything forward. Seviour's vocals provide the main melodies, as the musical backing is often rather sparse, but there are some spacey synths throughout that add some sparkle and shimmer throughout. This is the case however until a slightly heavier instrumental section kicks in towards the end with a tough guitar riff and even more keyboards. It adds another dimension to the song, and helps it to remain interesting throughout.

The Dive returns to the slightly heavier feel of the opening few songs, with an upbeat guitar-led intro which features some melodic wordless vocals from Seviour. This is not a song that ever really lets the energy levels drop, as even the verses this time do not really pair things back too much, with fast keyboard riffs and swells of effects-heavy guitar. The choruses are fast, and very melodic, with a confident vocal performance and even some double bass drumming from Brown. While not a heavy album, it is good to see moments here where things move towards that territory somewhat. Seviour sings well over the rockier songs in my opinion, and it lets her break free a little and really let her hair down. A strong bluesy guitar solo provides extra melody here, and is one of the few moments where the pace slows down a little, before coming to a quiet end with Seviour's final chiming vocal line. Where She Sleeps is a piano ballad, and works well coming off the back of the heavier previous song. Mitchell is more known in the rock world as a guitarist, but he really is a man of many talents and proves this here with an excellent performance behind the piano. While the piano is the song's main instrumental, and often the song's only instrument, there is a section towards the end where the song builds up further with a strong symphonic backing with some rhythmic percussion. The album's title track follows, and again it opens up with some rolling piano melodies. I particularly like Seviour's vocal performance here, as she initially sings in a much lower register than she does usually and she raises the pitch of her voice gradually as the song moves forward. While not a ballad, the song is not exactly an out-and-out rocker either, and moves along at a nice pace with lots of strong melodies from various sources. The piano constantly stands out here, as to Seviour's vocals. At points she harmonises with herself which creates a surprisingly big sound that recalls some of the more epic tracks she participated in during her time with Touchstone. The album's final song Morning of the Soul carries on from the previous number in similar fashion with chiming keyboards and a driving bassline. In fact the album's two closing numbers are cut from the same cloth, so they seem to meld together into one big song. Some more prominent guitar playing does come in here too, with some heavier chugging sections and one final guitar solo too add a little piece of musical finesse towards the end. An excerpt from John Keats' poem To Hope is spoken towards the end to good effect, before a reprise of the song's chorus sees the album out to melodic close. Overall, Recovery is Learning is a strong start to Seviour's solo career, and one that is different enough from her work with Touchstone to make an obvious distinction between the two bodies of work. Obviously there are shades of her former band throughout these nine songs, but overall this feels like something new. Mitchell's influence is apparent however, and at times the album does feel a little too close to his Lonely Robot albums for it to have it's own true identity. I would like to see Seviour collaborate with a different people on her next album, if she does one, so she can really start to forge her own identity. That being said, this is still an impressive debut album from a great singer, and one that I can see myself enjoying a lot over the coming months.

The album was released on 28th July 2017 via White Star Records. Below is her promotional video for Chiasma.