Revolution Saints' 'Light in the Dark' - Album Review

AOR is not always a particularly popular genre of music in this day and age, so it is always great to hear new albums of that style. 2017 has already seen quite a few excellent new AOR albums however, and there was a day back in March that saw new albums from Brother Firetribe, Eclipse, and Night Ranger - it was as if the clocks had been turned all the way back to 1985 for the day! Since then however things have been fairly quiet on the AOR front, at least for bands that are on my radar, so I was pleased earlier this month when Light in the Dark, the second album from AOR power-trio Revolution Saints, was finally released. Revolution Saints were put together in 2014 by Italian melodic rock record label Frontiers Records and is comprised of vocalist and drummer Deen Castronovo (Cacophony; Bad English; Hardline; Ozzy Osbourne; Steve Vai; GZR; Journey), vocalist and bassist Jack Blades (Night Ranger; Damn Yankees), and guitarist Doug Aldrich (Lion; Hurricane; Bad Moon Rising; Burning Rain; Dio; Whitesnake; The Dead Daisies). Frontiers founder Serafino Perugino had apparently wanted to put out an album that showcased Castronovo's vocal talents, and the work that was initially to be a solo album ended up becoming the self-titled Revolution Saints album. Castronovo is of course more known for him drumming skills, but during his seventeen year stint behind the kit for AOR titans Journey he began to take the lead vocally on a few songs in the band's set. His smooth, melodic voice was often compared to that of Steve Perry's and there were many fans out there that were as keen as Perugino to hear a whole album dedicated to Castronovo's vocal skills. When Revolution Saints came out however, I was initially disappointed with it. While the material always left a strong impression, I was disappointed that Revolution Saints had become yet another Frontiers 'project' with songs written by the label's in-house songwriters. Producer and songwriter Alessandro Del Vecchio single-handedly wrote most of the album, and the band just recorded the songs in the studio. It seemed a real shame not to use the writing skills of the band, all well-established musicians already, and to rely so heavily on Del Vecchio's plentiful material. Revolution Saints was consigned to the back of the pile after a couple of listens, and I assumed it would be another one-album project. I was surprised to see then that the band were working on a follow up, and that this time it would be a band effort. When I received my copy of Light in the Dark I was pleased to see that virtually the whole album was written by Castronovo, Aldrich, and Del Vecchio, and it is clear that the three have formed a strong writing partnership already. The material here is still AOR of course, but often with a meatier tone thanks to Aldrich's signature guitar playing. Fans of the band's first album, and of the work of any of the three main musicians involved, are sure to find a lot to enjoy here.

The album's title track, and lead single, kicks things off in familiar fashion mimicking the sound from the band's debut. Aldrich's choppy riff drives the whole song, and Del Vecchio's keyboards provide that AOR sheen. While Castronovo is the vocal focus on this album, as with the debut Blades also contributes vocally here too and this song is sung as a duet between the two. It works well as the two play off each other perfectly, and this especially comes to a head during the melodic chorus. On the whole, this album is more varied and less immediate than the band's debut, but this song really helps to draw the listener in with an stadium-sized chorus and a lengthy, flashy Aldrich guitar solo. Freedom immediately showcases a much tougher sound, with Aldrich's heavy riff driving the intro along with a haunting keyboard backing. The verses are fairly slow, with the riff remaining along with Blades' snaking bassline, and sees Castronovo singing in a uncharacteristically restrained way which fits with the dryer sound. The chorus sees the song expand somewhat with a strong keyboard presence and choice uses of harmony vocals. The instrumental section of the song starts with a retro sounding keyboard solo, before Aldrich explodes into one of his trademark guitar solos that ends in a flurry of notes. I have always thought that Aldrich has such an instantly recognisable guitar tone and style, so it is great to hear him playing with so much freedom throughout this album. Ride On is an instantly more upbeat track, with Del Vecchio's jaunty keyboard melodies following the guitar riffs perfectly which really encapsulates that mid 1980s sound. The energy that this song creates is infectious, and it retains a good pace throughout with Castronovo's double bass drumming to drive everything. The chorus is pure Journey, with plenty of melodic harmony vocals, the guitar solo is a demonstration of Aldrich's virtuosic ability. I Wouldn't Change a Thing is a cover of a song by Mr. Mister's Richard Page that appeared on a solo album he released in 2012. It is a power ballad that is led throughout by Del Vecchio's sombre piano playing. It is a fairly sparse song and never really ramps up with any power, instead letting the piano and vocal melodies dominate. Cleaning guitar arpeggios and a few heavier power chords are introduced after the first chorus but this never really changes the energy of the piece. This is a song that really is all about Castronovo's vocal performance, and really highlights that he has a genuinely excellent voice that can carry real emotional weight when needed. Don't Surrender, which was written in conjunction with Simone Mularoni (DGM; Empyrios), is another slab of pure AOR and is easily my favourite piece here. It opens with a frantic riff, before turning into more of a mid-paced rocker with a tight drum groove that dominates with the other instruments weaving in and out when required. It is the song's chorus that really makes it a winner however with stadium-ready melodies, the likes of which have not been heard for a while. The song has a real feel-good factor to it, something which is common with most AOR, and it never fails to put a smile on my face. Take You Down is the first song here that fails to really connect. After an excellent start to the album, and a particularly excellent preceding number, this song just struggles to match up. Despite having a pretty strong chorus, it is just a song that comes and goes without ever really making any kind of impact.

The Storm Inside is better and opens with a heavy riff that draws you wandering attention back in. Despite this, the song is not a particularly heavy one, with a pretty low-key verse but it works well by using lots of subtle vocal harmonies to create a hypnotic sound along with an excellent bassline from Blades. The chorus is the opposite what is expected as the drums drop out and leave Castronovo singing atop a simple guitar line. This does ramp up in power in subsequent reprises of the chorus, but this comes as a bit of a shock initially despite working quite well. A lengthy guitar solo from Aldrich is the song's highlight however, and showcases him in a more restrained mood than usual, with longer melodic note choices instead of his usual busy style. Can't Run Away from Love is another ballad, which again is led by Del Vecchio's melodic piano playing. This song is a bit more direct than the album's previous ballad, with a heavy percussive base throughout with some excellent mid 1980s-style booming drums. The impact is not lessened by this however, and Castronovo's voice still dominates with his unique fragile power. Aldrich one again proves his modern guitar hero status with another excellent guitar solo. This one is a really emotional moment, with lots of soaring note choices that really compliment the song's mood perfectly. Running on the Edge picks up the pace a bit and opens with a big keyboard melody, something which resurfaces throughout the song to help add an extra dimension. The verses are quite sparse, with Aldrich's guitar mixed into the background, but the song really explodes and comes alive during the chorus. The song's upbeat energy carries it, as there are not as many stand-out melodies here as there probably should be, but the grooves remain infectious as they are played at the speed that they are. Another Chance opens with one of Aldrich's powerful riffs that comes roaring out of the speakers and immediately grabs the attention. This is another song that really plays up to the AOR stereotypes but it does it really well. The song's chorus is another winner, and one of the album's best. It is another moment that really helps to lift any mood and the walls of harmony vocals just make it sound huge. The album comes to a close with Falling Apart, a slower song that builds in power as it moves along. It is built around another massive chorus that really sounds like something Journey would have written in the early 1980s. It is clear that Castronovo's years with that band have rubbed off on him. The fact that much of the song is fairly slow, as portions of the verses are, only helps to amplify the power of the choruses. This is also reflected in Aldrich's guitar solo, which is somewhat slower than usual but helps to enhance the song's melodic nature. Many albums of this nature would have chosen one of the faster songs to end on, but I think this song is actually a perfect album-closer and helps to bring thing to a tight and melodic end. Overall, Light in the Dark is a really strong second album from Revolution Saints and one that shows this can be something more than a one-off project. That fact that these songs have been self-penned too shows this band has a future and I will be interested to see where they go from here.

The album was released on 13th October 2017 via Frontiers Records. Below is the band's promotional video for Light in the Dark.

Power Quest's 'Sixth Dimension' - Album Review

As I have said on here many times, power metal really is not much of a British thing. It is something that has never really caught on over here, with most of the European exponents of the genre playing token London shows in small venues as part of much larger European tours. There are a few well-known power metal acts from these shores however, and Power Quest are probably one of the most famous. The band was formed in 2001 by keyboardist Steve Williams after leaving the genesis of what would become DragonForce and an album, Wings of Forever, was released a year later. Due to his DragonForce connections, members of that band have appeared on Power Quest albums over the years along with a revolving door policy of official members with many people coming and going from Power Quest over the years. Williams is the sole-remaining original member of Power Quest, but it really is his band in every sense of the word as he has single-handedly written the majority of the band's songs over the years and his signature keyboard playing is a huge part of the band's upbeat sound. Fans of the band were sad however when, in 2013 and after five studio albums, Williams decided to end Power Quest for financial reasons. It seemed that the band were truly over for good, and Williams went on to join the multi-national melodic rock band Eden's Curse and played on their 2013 studio album Symphony of Sin and their 2015 live album Live with the Curse. It seemed that this time with Eden's Curse forced him to reconsider his decision to put Power Quest on ice, and last year he announced that he was putting the band back together with a new line-up and an album in the works. Joining Williams this time are bassist Paul Finnie and drummer Rich Smith, who had both previously been members of Power Quest and contributed to 2011's Blood Alliance, along with new members frontman Ashley Edison (Dendera), and guitarists Glyn Williams (Triaxis) and Andy Kopczyk (I AM I). A three-track EP called Face the Raven was released last year, featuring twins Gavin and Dan Owen on guitars who were originally part of the revived Power Quest before being replaced earlier this year, to excellent reviews and it only heightened people's interest in the band's upcoming sixth studio album. This album, titled Sixth Dimension, was finally released a couple of weeks ago and it is the band's first album for six years. In contrast to the heavier, more progressive Blood Alliance, Sixth Dimension definitely sees the band return to the more pure power metal sound found on their earlier albums, with a little of the AOR tinges found on 2008's Master of Illusion. As far as power metal goes, this is a great example of the genre, and shows that top quality melodic metal can come out of Britain. As is usually the case with a Power Quest album, there are quite a few guest musicians that contribute their individual skills to certain songs.

The album opens with the fast-paced power metal anthem Lords of Tomorrow, which is led by a jaunty keyboard lead that sits atop some crunchy guitar rhythms. All of the tropes of the power metal genre are present here, with soaring melodies provided by the keyboards and Edison's vocals taking centre stage, with a tough rhythm beneath led by Smith's varied drum performance. As suspected, the song's chorus is the centrepiece of the song and is where the biggest hooks can be found. Edison's vocals soar, and the mix of slower and heavier riffs really helps to create a memorable atmosphere. The majority of the guitar solos here seem to be played by Glyn Williams, and he impressed here with a lengthy solo section which also sees him trading licks with his namesake Steve Williams (no relation). Starlight City opens with Smith's powerful drumming, before a heavier guitar riff kicks in that is instantly memorable. Despite the overall slightly heavier feel, this is one of the songs where the band's AOR influences can be heard. While the guitars chug away throughout the song, the keyboards are always high in mix and help to provide a melodic sheen at all times. The song's chorus again reflects that AOR influence, with simple but extremely catchy vocal melodies that really jump out of the speakers. While there is some excellent guitar work in the instrumental mid-section, it is Steve Williams' keyboard solo that really stands out for me. Keyboards are always a big part of any power metal album, and it is great to hear so many fluid leads throughout. Kings and Glory, one of the album's singles along with the opening number, picks up the pace again despite a slower, keyboard-heavy intro. The verses steam along at a good pace, with some excellent drumming from Smith and Edison really racing to get the vocals out in time! Edison is a real find for Power Quest, as he has a very slightly lower voice than average for the genre which fits in with the type of vocalists the band have had in the past but he can still unleash plenty of extremely high screams when necessary. His performance on this song is excellent, as he sings the fast-paced vocals extremely clearly before fully expressing himself in the melodic chorus. It is on the next number, Face the Raven, however which really allows Edison to really showcase his abilities. This a new version of the song that appeared on last year's EP and it is easily the heaviest song here with tough guitar riffs and some ear-splitting vocal screams. The keyboards are less dominant here, instead letting the guitars really fill the speakers which is definitely the right choice to allow the song to pack the punch that it does. This is the song that really got me hooked on Power Quest after being a casual fan for a few years, and it is still my favourite song on this album. The chorus is truly potent, and shows that Edison really is an extremely powerful vocalist. No More Heroes is another AOR-inspired piece with a really smooth overall sound, and an even smoother vocal performance. Steve Williams' keyboards really dominate the song, including contributing a playful melody during the song's intro, and just help to aid the atmospheric feel. Even the guitar solos, which often are speed-fests in power metal, are much slower and more melodic on the whole here which again just helps to contribute to the overall mood perfectly.

Revolution Fighters starts off quite gloomily with some swirling keyboards and delicate acoustic guitar melodies, but this peace is soon shattered with a muscular riff and the soon morphs into another mid-paced slab of melodic metal. As with many of the band's songs, the keyboards provide the main melodic focus during the intro sections. In many bands, the lead guitarist fills this role, but Steve Williams often uses his keyboards to lead the charge. This makes a Power Quest song stand out, as the keyboards have such a specific sound that Steve Williams likes to make use of. There is another really excellent chorus here, which again relies on simple melodies to really soar, and the band's former guitarist Andrea Martongelli, who was a member of Power Quest between 2003 and 2009, contributes the song's shredded guitar solo. Pray for the Day opens with quite a bouncy main riff, but this soon gives way to a fairly sparse verse which allows Edison's vocals to really shine. Far too often, vocalists in metal get drowned out by claustrophobic productions that are packed to the hilt with layers and layers of guitars, so Power Quest, and producer Alessio Garavello (who also was the band's original frontman), should be congratulated on the streamlined and clear production job throughout this album. Edison is always the appropriate chance to shine in each song, and this one is no different as his extremely melodic vocals really are front and centre. Power Quest have not gone for the choral effect when it comes to backing vocals either, instead opting for more subtle harmonies, and I feel this works well and really allows Edison to stamp his authority on the songs. That being said, there is still plenty of crunch in this song, with Smith's drums and Finnie's bass really cutting through the mix with powerful precision. Coming Home is the second song reworked from last year's EP, and it is one of the album's more instantly memorable pieces with a hugely anthemic chorus and a dramatic keyboard-led intro. Another guest, Lars Rettkowitz (Freedom Call), contributes the song's guitar solo, but this is a piece that is all about the chorus. Not since the band's early days have they had a chorus which is this memorable and this really is a piece that is meant to be heard live. This is truly what power metal is supposed to sound like, and it is great to hear a song like this coming out of Britain! The album's final number is the lengthy title track, which harks back a little to the more progressive feel found on Blood Alliance. Steve Williams wrote this song with Richard West (Threshold), which may explain the lengthier, more progressive feel, but it is still packed with plenty of Power Quest's signature sounds. A synth-heavy intro soon gives way to a slower, crunchier guitar-led section and then a downbeat verse with chiming clean guitar melodies and Edison's vocals. The song moves through a few different sections during it's lengthy run time, with heavier choruses with plenty of harmony vocals interspersed within the quieter moments. Towards the end the song really picks up however, and features some guest vocals from Anette Olzon (Alyson Avenue; Nightwish; The Dark Element) who puts in a strong performance as always. In amongst all of this, there are soaring guitar solos aplenty, and the song really feels like one of the band's true masterpieces. Overall, Sixth Dimension is a great comeback from Power Quest after a few years away. The band's new line-up seems to have gelled together already, and I hope these six guys and stick together as I would love to hear more of what they have to offer.

The album was released on 13th October 2017 via Inner Wound Recordings. Below is the band's promotional video for Lords of Tomorrow.

The Darkness' 'Pinewood Smile' - Album Review

The Darkness are a band that never fail to put a smile on my face. Their back-to-basics brand of hard rock, which fuses the simplicity and groove of AC/DC with the theatrics and melodies of Queen, is instantly memorable and their carefree attitude is refreshing. The Darkness live in a world where rock music ruled the airwaves, and the world is a far better place for that. During their original run, which lasted between 2000 and 2006, the band truly conquered the world. The early 2000s was a time in which traditional rock music was enduring a bit of lull, something which had been going on for quite a few years. The big names in the rock world at the time were all part of the vaguely-defined 'post-grunge' movement with bands like Foo Fighters and Creed really gaining traction. These bands lacked the flamboyance and soaring melodies of old, and failed the scratch the itches of many fans of traditional hard rock. On the other side of the coin, Britpop was still a thing, with Blur and Oasis dominating the musical landscape. In amongst all of this seriousness, a little album called Permission to Land in 2003 reminded the world that rock music is at it's most glorious when it is also somewhat silly. The Darkness' larger the life sound was an instant success, and the band were catapulted into the big time almost immediately. While The Darkness cannot be single-handedly credited with the rise in popularity that classic rock music has once again enjoyed over the past decade or so, I genuinely feel that Permission to Land's release and success played a big part in reminding people that that kind of music still existed. It also introduced lots of younger people to that style of music, and The Darkness really are the classic rock act of the modern generation. Since reforming in 2011 after their big fall out in 2006, the band's trajectory has been much more modest. I doubt The Darkness will ever return to the arenas that they filled on the tour supporting 2005's One Way Ticket to Hell...and Back, but they are still a force to be reckoned with in the rock world. The mid-sized clubs and theatres are the band's homes now, but they seem more than happy with this existence. 2015's Last of Our Kind (which I reviewed here) was a success for the band, and introduced a slightly rawer sound. Two years on and The Darkness have released their fifth album Pinewood Smile, and it is very similar soundwise to Last of Our Kind. It is the first album to feature drummer Rufus Tiger Taylor (Queen + Adam Lambert), which is some kind of ironic wish-fulfilment, but acquits himself well here with a strong drumming performance throughout. Unsurprisingly, Pinewood Smile has been another success for the band, with the album cracking the top 10 of the Official UK Album Charts, finishing off at number 8 the week it came out. It is always good to see some hard rock in the charts!

The album opens with All the Pretty Girls, an upbeat song that carries a tongue-in-cheek message about all of the attention you can get when you are famous. Driven by one of guitarist Dan Hawkins' meat and potatoes riffs, the song's jaunty nature is instantly likeable. This is enhanced with Justin Hawkins' flamboyant vocal performance, which contains a lot of his trademark falsetto during the high-energy chorus, and witty lyrics. Despite his humorous approach to songwriting, I have always thought that his lyrics were always deeper than what they initially seem, and this seems to be the case again here. It is a strong start to the album, and a song that epitomises the band's sound. Buccaneers of Hispaniola is next and continues the fast-paced action of the opening song with a frantic drum beat from Taylor which is accompanied with some hurried guitar chords. The guitarwork throughout here is much busier than the previous song however, with plenty of cheeky little leads thrown in at regular intervals. The song's guitar solo, presumably handled by Justin Hawkins, is a strong moment with plenty of melody and Queen-like sensibilities towards the end. Solid Gold, one of the album's singles, is more of a mid-paced rocker with a great AC/DC-esque riff that drives the entire song as the rhythm section of Taylor and bassist Frankie Poullain form a solid foundation. This is another song about fame, but this time dealing with the music industry itself all wrapped up in the band's trademark humour. The song's chorus is one of the album's most memorable moments, and is sure to become a staple of the band's set. This is also probably the song on the album that is closest to the band's really early sound, with a muscular production and a flashy guitar solo towards the end. Southern Trains is the shortest song here, at just under 3 minutes in length, and it is essentially an expletive-filled rant at the infamous train company that are well-known for their terrible service and numerous lengthy strikes. This is something that reminds me more of Hot Leg, the band that Justin Hawkins fronted while The Darkness were not together at the end of the 2000s, than The Darkness' traditional sound, but it works well with plenty of vocal histrionics and angst-filled lyrics. This is the sort of song that many other bands would include on albums as bonus tracks, if at all, but The Darkness have just slapped it right in the middle of this album's tracklist and they should be commended for always having a good laugh! Why Don't the Beautiful Cry? is one of the band's trademark ballads, with plenty of Queen-esque guitar leads and lyrics which seem to poke fun at the typical power ballad formula that was so successful in the 1980s. While more famous for their anthemic stadium rock, The Darkness have always excelled at slower numbers too, and this is another great effort. While much of the guitarwork here is taken straight from the Queen songbook, the first half of the song's guitar solo actually mimic's Slash's tone so perfectly that you could believe that he had dropped by the studio for a quick jam session!

The band return to their more usual hard rock sound on Japanese Prisoner of Love, which opens with a pretty heavy riff which is certainly more in-your-face than the band's usual style. This does not represent the song as a whole however, which is a real mixed back of styles included verses that have a bit of a folk rock feel with strong drumming, and more melodic sections with twin-guitar harmonies and plenty of choral backing vocals. The band's Queen influence is once again extremely evident here, and fans of that band's early work will love this. Hints of the frantic-ness of Ogre Battle are definitely present here with a good mix of heavier sections of falsetto vocal-led passages. Lay Down With Me, Barbara is another spoof love song, which mixes slower sections with choppy rock sections with some strange guitar riffs. It is not really a ballad however, despite some slow parts, because the choruses really ramp up with some strong power chord riffs. The guitarwork throughout this song is pretty special and really showcases the Hawkins brothers' skills. There are lots of intertwining riffs and leads throughout that are quite different from the band's usual simple riffs. I Wish I Was in Heaven is a light-hearted ditty with an upbeat feel led by Taylor's drums. It steams along at a pretty fast pace throughout, but features an excellent chorus with some of Justin Hawkins' highest vocals on the album. Thin Lizzy-esque guitar leads are also featured in the chorus which helps it to stand out, but the rest of the song has something of a country/folk rock feel throughout which a strong acoustic presence alongside the rockier guitar sounds. Happiness is another jaunty 'love' song, but this time with a very sugary vibe with an almost Top 40 pop chorus which works surprisingly well with the band's more usual style. This is the sort of thing that would sound hideously twee if another band tried it, but The Darkness have always had a way of making this fairly awful concepts work surprisingly well. While I prefer the band's more traditional hard rock sound, it is always good to see them trying out new ideas. The album's closing song Stampede of Love has a strong acoustic presence throughout and features Taylor delivering some of the vocals. His voice is different to Justin Hawkins', but it works well; especially when the two harmonise together. The acoustic guitars throughout give the song a strong country feel, which again is something new for the band. It works quite well however, with some slide guitar parts throughout to emphasise this. It does start to rock harder towards the end however, with a power chord-heavy section with gang vocals and a strident guitar solo. Overall, Pinewood Smile is an album that follows the sound the band have been pursuing since their 2011 reunion. While not as strong as their early albums, this is still an excellent listen packed with great riffs, solos, and plenty of fun lyrics.

The album was released on 6th October 2017 via Canary Dwarf Limited/Cooking Vinyl Limited. Below is the band's promotional video for Solid Gold.

Brother Firetribe - London Review

The Finnish AOR band Brother Firetribe have been a regular on my iPod since I first heard their second album Heart Full of Fire in either 2008 or 2009. At the time Nightwish were my favourite band, and I was excited to hear more from their guitarist Emppu Vuorinen. Brother Firetribe is very different from Nightwish however, and takes inspiration from all forms of 1980s melodic rock. Shades of Foreigner, Journey, and Survivor are found in Brother Firetribe's songs, and as a big fan of that type of music it was great to discover a modern band playing music as if it was still 1985. Nightwish's busy touring schedule has always restricted Brother Firetribe's live activities, but with 2017 being the band's fifteenth anniversary and the year in which their fourth album Sunbound was released it seemed fitting that a European tour should be scheduled to celebrate these facts. Most of the band's previous live shows have been in their native Finland and selected other mainland European locations. The UK has never been one of their main targets, and this visit to London's small Borderline venue was only their second ever concert here. They played the now-defunct Firefest in 2014, but this Borderline show was their first ever headline appearance in the UK. While not exactly being a hugely well-known band over here, I knew that the band's first headline appearance here would no doubt attract a decent amount of people. I got down to the Borderline not long before the doors opened and there was already a modest queue gathered. I had been to the Borderline once previously, and that was to see The Reasoning in 2011, but the venue seems to have undergone quite a refurbishment since and the place looked a lot smarter than I remembered. It was good that I got down relatively early, as it turned out this was a sold out show and over the course of the evening there were plenty of people crammed into the small venue. I had a good spot throughout the evening, and had good views and great sound throughout.

Opening the night were fellow Finns Shiraz Lane, who's sleazy, high-energy hair metal was just what was needed to get the night started. I had purchased the band's debut album For Crying Out Loud on hearing that they were the supports for this tour, and was not disappointed by their 40 minutes on stage. Wake Up, the first song from the album, got things underway before three new songs, including new single Harder to Breathe, were showcased. Out of these new songs, the first number Carnival Days really stood out. The song has a killer chorus, and is sure to be one of the highlights of the band's next album. On stage, the band were full of energy. Frontman Hannes Kett deserves special mention for an excellent vocal performance that showcased lots of high-pitched screams that cut across the band's bluesy, sleazy riffs with ease. Elsewhere, guitarist Jani Laine impressed with lots of excellent solos; but in truth the whole band worked together as a unit to work the crowd. There seemed to be quite a few fans in attendance and Shiraz Lane received a loud reception throughout their entire set. Songs from their debut album were played towards the end, including an excellent version of the single Mental Slavery, before an older number, Out There Somewhere, was played to bring their portion of the night to a close. I was impressed by the band, and I look forward to getting the chance to see them again sometime soon. The setlist was:

Wake Up
Carnival Days
Harder to Breathe
People Like Us
Begging for Mercy
For Crying Out Loud
Mental Slavery
Out There Somewhere

After a fairly quick changeover, Brother Firetribe came on stage to a synthy backdrop and launched into the short instrumental title track from their new album. As on the album, this segued into Help is on the Way and this introduced frontman Pekka Ansio Heino to the stage. He is a very dynamic and interactive frontman, often taking the time to clap hands with those in the front couple of rows, and overall just rallying the five-piece band though their high-energy set. As this is the tour promoting the Sunbound album, the songs from that album dominated the set, but all four of the band's albums were represented throughout which helped to create a balanced, career-spanning experience. What was clear from the off was just how up for this night the crowd was, and every song was sung back at the band with real force, which seemed to even catch the band off guard at times. I do not think they had quite expected the reception they would receive over here! The single Indelible Heroes followed, before they went back to their debut album for the keyboard-heavy One Single Breath. Despite sometimes being buried in the mix at rock shows Tomi Nikulainen's keyboards were high in the mix throughout. He really drove the band forward with his retro-style playing, with many of the songs being based around his riffs and leads. Vuorinen mostly sticks to crunchy rhythm patterns, but most songs contain a solo which allow him chances to show off. He has never been the flashiest of guitarist, with either this band or with Nightwish, but his infectious smile and tough rhythms make him an invaluable part of both and he really anchored the band along with Jason Flinck (bass guitar/vocals). An early highlight for me was For Better or for Worse, the lead single from 2014's Diamond in the Firepit, before the slightly dancey Shock provided a change of mood and pace. Runaways, from Heart Full of Fire, contains one of the band's best choruses so it was unsurprisingly very well received. There were parts during the song where the crowd could be heard above the band, which should give a clue on the atmosphere inside the Borderline at this point. Another real highlight of the night was Taste of a Champion from the new album which really is this decade's Eye of the Tiger. It is probably my favourite song that the band have ever done, and live it took on another edge. Heino is a great live singer, ably backed up throughout by Flinck, and his passion in the song's delivery really made it the song of the night. The set ended with another two anthems, with the Survivor-esque Give me Tonight and the pseudo power metal of Heart Full of Fire bringing the main set to a triumphant close. There were calls for more, and there time for one final number. I am Rock was the song chosen, and the tough guitar riffing and minimal keyboards make it one of the heaviest Brother Firetribe songs. It still has a strong chorus though, and Heino often encouraged the crowd to sing, who of course obliged. Despite plentiful calls for more from the crowd, this was the end as the venue had to get ready to become a nightclub in a short space of time. The setlist was:

Sunbound
Help is on the Way
Indelible Heroes
One Single Breath
Heart of the Matter
For Better or for Worse
Shock
Runaways
Last Forever
Taste of a Champion
I'm on Fire
Give me Tonight
Heart Full of Fire
-
I am Rock

This was stunning debut headline show in the UK, and I hope that Brother Firetribe do not leave it another 15 years before coming again. It was a fairly short set, at around an hour and a quarter in total, and if I had any criticisms to make it would be that they could have easily fitted in a couple more songs - especially as there was a 50 minute gap between the doors opening and Shiraz Lane taking the stage. This seems a minor complaint however, as both bands really put on excellent shows that show there is plenty of excellent current melodic rock out there for those who are into that sort of thing.

Marilyn Manson's 'Heaven Upside Down' - Album Review

After just over a two-year wait, the self-styled 'God of Fuck' is back with his tenth studio album Heaven Upside Down. After what is often perceived as a decade-long slump in his creativity and studio output, Marilyn Manson returned to form in a big way with 2015's The Pale Emperor (which I reviewed here). Prior to The Pale Emperor's release Manson's last great album, in my opinion, was 2003's anthemic The Golden Age of Grotesque, an album which in many ways heralded the end of Manson's true heyday. It was the last album with longtime band members John 5 and Madonna Wayne Gacy, and was the last album to really showcase the industrial metal crossed with arena rock sound that he had been building on ever since his 1996's classic sophomore album Antichrist Superstar. That is not to say that Manson released nothing of note during the late 2000s and early 2010s. 2007's Eat Me, Drink Me, 2009's The High End of Low, and 2012's Born Villain all contained memorable songs, but none of those albums felt like complete pieces of work. Manson's previous work had always featured a strong aesthetic vision which gave each album it's own musician and visual identity. The three albums highlighted above certainly lacked this cohesion and suffered as a result. It was great to this changed on The Pale Emperor however, the first Manson album since The Golden Age of Grotesque to really feel like a complete piece of work. Manson chose to work with multi-instrumentalist Tyler Bates, who was more well-known for his work on many TV and film soundtracks, and the two immediately seemed to strike up a winning writing partnership. While it was sad to see Manson's longtime collaborator Twiggy relegated to largely just a touring musician as a result, Bates gave the spark back to Manson's music. Bates always brought about a slight change of direction, and injected a heavy dose of the blues into Manson's sound. As a result, The Pale Emperor sounded quite different to anything Manson had put out previously but still sounded right for the shock rocker. The album has a bass-heavy sedate strut throughout it, which works perfectly for Manson to croon over the top of, and was easily his best-received album for a while. This success, and to a lesser extent sound, has been built on on Heaven Upside Down. Bates again returned to co-write the album and play all of the instruments, with the exception of the drums which are again handled by Gil Sharone (Stolen Babies; The Dillinger Escape Plan). The blues influences introduced on The Pale Emperor return here, but are mixed in with a heavier industrial rock sound that recalls Manson's classic era. The anger is certainly back here, with plenty of heavier material in comparison to the previous album, but the bluesy strut worked on previously is retained to provide some class and groove.

Opening with distorted clippings from news reports, the album's first song Revolution #12 soon opens out with a dry guitar riff and Manson's trademark part-spoken vocal style. His voice has often been accused of deteriorating over recent years, and it is true that he can often have off-days live, he sounds excellent here with a confident display as he spouts the causing lyrics. The song is mix of bass-heavy verses and heavier choruses, which make great use of some stark guitar riffs, which is all underpinned by Sharone's somewhat tribal drumming style. While the song's main refrain, which is made up of Manson counting rather menacingly, sounds a little trite on first listen, this is something which gains more power the more that you hear it and makes for a strong opening impression. Tattooed in Reverse feels like a bit of a leftover from The Pale Emperor sessions as it is built around a bluesy bass groove with plenty of chiming guitar melodies throughout. This sound is mixed in well with some more traditional industrial tricks however, with fuzzy synths and white noise thrown in to give the song a creepy edge. The song's organic feel definitely helps it to stand out here, and creates a big contrast with the following number. WE KNOW WHERE YOU FUCKING LIVE, which is that following number, is probably Manson's heaviest piece in a while and is based around an angry chorus, packed full of punky guitars and electronic-sounding drums, that really hits home. Fans of 1998's Mechanical Animals in particular will particularly enjoy this one, as it resembles the sound that Manson forged on that album pretty closely. The verses are fairly slow, and all build up towards the chorus with mechanised drumming and cold synths. Manson even unleashes some of his blood-curdling screams for the chorus, something which he does less and less these days, to great effect. SAY10, which was originally going to be the album's title track, follows and is much less heavy but is filled with plenty of creepy effects to create a strong atmosphere. The verses are mostly whispered, with swirling atmospherics and distant piano notes to back up the sparse vocals. It does get heavier during the choruses, but this is nothing compared to the previous song. Instead the guitar plays a very classic rock-inspired riff while Manson barks a repetitive but catchy refrain. Sharone's slower, hollow drums really help to add groove to this chorus and it becomes one of the album's most memorable moments. KILL4ME sees the blues element return to the album's sound, with some surprisingly great guitar leads in the song's intro, but mixes it with poppy melodies that are most reminicient to the sound pursued on Eat Me, Drink Me. The bluesy verses mix well with this these more upbeat choruses, which are packed full of 1980s-style synths, to create a strange but somewhat addicting sound. This is a song you could genuinely dance to, and in the 1980s would have had a dance mix released on 12 inch vinyl.

Saturnalia is the album's longest song, at just shy of eight minutes in length, and it sounds like a culmination of everything Manson and Bates were working towards on The Pale Emperor. This is a fairly sparse song, despite it's length, and features lots of excellent bass playing from Bates. There are heavier moments, like a guitar-driven chorus with some surprisingly melodic vocals from Manson, but most of the song is led by this bass performance with swirling synths to provide a cold backing. That being said, the more upbeat sections of the song are surprisingly catchy. Manson has always been the master of creating tricky vocal melodies that sit atop music which would not usually be considered melodic and making them work. This song is a great example of that, and also one that showcases his modern sound perfectly. JE$U$ CRI$I$ is another bass-heavy song, but features some odd lyrics which, even for Manson, sound a little crass. He's also written challenging, and often controversial, lyrics but the main hook here just seems to be trying to be offensive for it's own sake. In fairness the song is still really catchy, with some great wordless vocal sections, but I just feel that this is the song that those who have always found Manson abhorrent will point to and say 'I told you so'. Manson has rarely felt contrived, but this is one occasion where it does feel that way. That being said, the slow, doomy section of the song is great with a strong guitar riff that really sticks out. Blood Honey gets things back on track with a doomy feel with slow guitar riffs and a hollow drum pattern. The best part about this song however is great keyboard work throughout. Bates has utilised a lot of classic synths here, many of which would not sound out of place on a 1970s progressive rock epic, which gives the song a great retro feel. The somewhat cheesy synths clash perfectly with the heavier parts of the song to create a creepy atmosphere and a perfect backing for Manson's tortured vocal performance. There is even something of a guitar solo towards the end, which sees Bates attacking his guitar with fury to produce an eerie sound. The album's title track is next, and is a fairly straight ahead rocker with plenty of prominent basslines and a strong chorus. Manson has always been inspired by classic rock throughout his career, and this song showcases that perfectly with a less-dense overall sound and a more conventional structure. Bates actually gets a true chance to solo here, with a bluesy guitar solo towards the end of the song which sounds a little out of place on a Marilyn Manson album but fits in with the style of the song well. The album comes to a close with Threats of Romance, a fairly gentle (by Manson's standards) song that actually reminds me a little of Queen in places. Famed session musician Roger Joseph Manning, Jr. plays the keyboards throughout and this gives the song a piano-driven sound which adds to the theatrical feel of the piece. Glam rock has always been another of Manson's big influences and I feel that this shines through here with the song's relatively upbeat sound. It's a good choice to end the album with, as it feels like a bit of a wind-down after a few harder-hitting pieces, and it is another instantly memorable piece. Overall, Heaven Upside Down is another really strong album from Manson that builds on the success of The Pale Emperor by expanding on that successful sound by looking at his past and key influences. Manson seems to be entering into a second golden age of late, and I hope he can keep this up going forward.

The album was released on 6th October 2017 via Loma Vista Recordings/Caroline International. Below is Manson's promotional video for WE KNOW WHERE YOU FUCKING LIVE.

Marillion - London Review

For the past ten or so years, Marillion have been one of my very favourite bands. While initially I only knew the band's very early work with their original lead singer Fish, as these are the CDs that my Dad already owned, seeing the band at the Cambridge Rock Festival in 2008 really opened my eyes to the rest of the band's diverse and expansive discography. They are now one of the few bands of which I enjoy every album (to an extent at least) that they have put out, and they are a regular feature on my stereo. I had seen the band live a few times over the years, and always enjoyed their live shows, so when the band announced a special show at the prestigious Royal Albert Hall in London I knew that I had to get tickets. In fact, the tickets went on sale the day after the band's show in London in December last year, so I purchased my ticket for the Albert Hall show in the car on the way home. It was just as well that I did, as the show sold out almost instantly, and it became something that I spent the whole of 2017 looking forward to. It is not too often that a rock band plays the Albert Hall, so it was a new venue for me. Part of the excitement of the trip was just visiting this hallowed musical ground, and the venue did not disappoint. Despite part of the building being clad in scaffolding due to maintenance works, the iconic Grade I listed building looked fantastic, and was even better when I got into the venue and found my seat. I went to the concert with my Dad, and when we found out just how close we were going to be to the stage we were shocked. We initially had tickets for the standing gallery, which is about as far away from the stage as possible, but for some reason our tickets were upgraded to the stalls. We were only a few meters from the stage, right next to guitarist Steve Rothery's little base, with a perfect view across the stage. It really was the perfect place to be situated, and it was fantastic that the venue chose us to get these fantastic seats. Lots of other guests of the band were sat in and around us too, with former Genesis guitarist Steve Hackett perched just behind us modern prog legend Steven Wilson a few rows behind us too. With Marillion scheduled to take the stage at 7:30pm with an 11pm curfew, this promised to be a long evening.

The band took to the stage bang on time, and a huge roar from the crowd greeted Marillion as they sidled onto the relatively small stage. The acoustic opening of El Dorado started things off nicely, and it was clear that they were going to start the evening with the whole of their excellent latest album  Fuck Everyone and Run. The album was one of my favourite releases of last year, so getting to hear it full live was a real treat. The band had played a fair chunk of the album at the O2 Forum last December, but hearing it all in sequence with excellent video projections really helped to bring the album to life. While the band initially seemed overwhelmed by the audience reactions and the grandness of the venue, they soon overcame this and proceeded to play through the album with extra vigour, and by the time El Dorado came to a close, they received the first of many standing ovations of the night. While everyone on stage really gave it their all, it was frontman Steve Hogarth that was the real standout performer. He seemed even more animated than usual on stage and really gave the vocal performance of a lifetime in these hallowed halls. Even when he was sat behind a keyboard, as in Living in F E A R which followed El Dorado, he managed to capture all the attention. It was great to hear the lengthy The Leavers live for the first time after this. It has always been my least favourite of the three epics on Fuck Everyone and Run, but hearing it live it really came into it's own. The excellent video projections really fit with the themes of the song, and the crowd seemed extra engaged here. About half way through the song, Rothery launched into one of his trademark guitar solos and it was at this point that I realised just how great the live sound in this venue is. Even as close to the stage as we were, everything sounded crystal clear and Rothery's guitar solo just cut through the mix perfectly to fill the venue. The ending of The Leavers is one that encourages crowd participation, and unsurprisingly everyone was on their feet for the One Tonight section and sung lyrics back at the band. White Paper, which is a real favourite of mine from the latest album, was another real treat. The melancholy tune came across fantastically live, with both Hogarth and Mark Kelly behind their keyboards for a dense and enveloping sound. The first set really came together towards the end however, with a barnstorming rendition of The New Kings - which is easily my favourite piece from the new album. I particularly love Hogarth's lyrics in this song, and hearing him spit them out in his smooth voice in this grand venue really made the song hit home even more than previously. After The New Kings finished, the band left the stage to take a small break as Tomorrow's New Country was played over the venue's PA and the crowd were left to digest what they had just heard.

This break also gave the band's crew chance to set up for what was coming next, as the second half of the show featured the band playing with a string quartet, a flautist, and French horn player. After about half an hour, the classical musicians took to the stage and immediately hit into the opening notes of The Space.... As they did, the place erupted and the band filed back into the stage for what seemed like one long, triumphant encore. The Space... is a magical song anyway, but hearing it with live strings just elevated it above it's already-grand status. What followed was a second set filled with some of the band's best-loved material, all augmented with live strings, to great effect. Both Afraid of Sunlight and The Great Escape felt more powerful for the extra musicians, and the emotional impact of the latter really hit home with Hogarth's stunning vocal performance. Easter was another highlight of the evening. The song contains one of Rothery's best guitar solos in my opinion, and seeing him play it from only a few feet away was a very special moment. It received one of the biggest cheers of the night, and that is saying something considering nearly every song received a standing ovation! The rarely-played Go! was up next, and this featured one of the most memorable moments of the night as nearly everyone in attendance raised little LED lights up in the air during the song's climax. The effect this had was fantastic and, as the stage light dimmed, the whole place was lit up by these little LEDs. This was done in an attempt to recreate something that spontaneously happened at one of the band's conventions earlier in the year, and it works fantastically and proved to be an emotional moment. The main set then came to an end with Man of a Thousand Faces, which starts as an upbeat rocker with Kelly's piano driving everything, before descending into an atmospheric wig out with Hogarth's effects-heavy vocals the swirling strings from the classical musicians. It was a triumphant finish, but there was of course more to come. The classical musicians joined the band again for the encore, and the oldie Waiting to Happen got given a rare live outing. I have been a fan of the song for a long time, and thing that Holidays in Eden is one of the band's most underrated albums, so hearing it live was a real treat. The aching chorus, with Kelly's keyboards and the dense strings, really filled the venue and I could see more than a few tears in eyes around me. The band's 'traditional' set-closer Neverland followed. This song is pretty much ever-present in the band's live shows, but this version was the most powerful version of it that I have ever heard, and one of the most powerful pieces of live music ever. The string section added so much, and the thick fog that swirled around the stage really added to the atmosphere. Rothery turned the entire ending section of the song into one of the best guitar solos I have heard in quite some time, all while the rest of the band created the rest of the song's magic. It rightly received another standing ovation, and it was hard not to be overcome by the majesty of what was going on on stage. After a brief step off stage, the band came back one final time for a reprise of the One Tonight section of The Leavers, this time with the classical musicians in tow. Everyone was on their feet by this time, and the 'We come together' section of the song resonated around the venue long after the band had stopped playing. The band took their bows and left the stage for the final time, probably failing to take in exactly what they had just achieved. The setlist was:

El Dorado - Part I: Long-Shadowed Sun
El Dorado - Part II: The Gold
El Dorado - Part III: Demolished Lives
El Dorado - Part IV: F E A R
El Dorado - Part V: The Grandchildren of Apes
Living in F E A R
The Leavers - Part I: Wake Up in Music
The Leavers - Part II: The Remainers
The Leavers - Part III: Vapour Trails in the Sky
The Leavers - Part IV: The Jumble of Days
The Leavers - Part V: One Tonight
White Paper
The New Kings - Part I: Fuck Everyone and Run
The New Kings - Part II: Russia's Locked Doors
The New Kings - Part III: A Scary Sky
The New Kings - Part IV: Why is Nothing Ever True?
Tomorrow's New Country
-
The Space...
Afraid of Sunlight
The Great Escape
Easter
Go!
Man of a Thousand Faces
-
Waiting to Happen
Neverland
-
The Leavers - Part V: One Tonight

In a world where everything is 'the best ever', '5 stars', '10/10' etc. to the point rendering those descriptions meaningless, I can honestly say that this show is up there with the very best things I have witnessed. It was up there with Bruce Springsteen at Wembley, up there with Guns N' Roses at Nottingham Arena and the London Stadium, and up there with Twisted Sister at Bloodstock. Hearing the whole of Fuck Everyone and Run live was truly special, as was the second set with the classical musicians. A truly wonderful experience that will no doubt be a watermark in the band's career, and will make a fabulous concert film when the filmed show is released next year.

DragonForce - Cardiff Review

While power metal is not exactly something the UK is known for, one of the biggest modern exponents of the genre, DragonForce, have made the country their home. Despite being a multi-national band, DragonForce have settled in London, and are considered a homegrown band by many UK fans. Despite at one point truly threatening to break into the big leagues, the last few years have seen the band treading a more modest, but still very successful, path. More diversity in the songwriting, particularly on the past couple of studio albums, has widened the band's potential fanbase and DragonForce are now less likely to be seen as the one-trick pony 'joke' band that they were sometimes seen as previously. I first saw the band live back in 2009 at the Hall for Cornwall in Truro while the band were promoting the Ultra Beatdown album. I have seen the band three more times, with the most recent being a rather truncated set at last year's Bloodstock Open Air. Initially, due to other gigging commitments, I thought that I would not be able to make any of the shows on the band's latest UK headline run, supporting seventh studio album Reaching Into Infinity, but some more careful though and planning made the Cardiff date doable. Cardiff is always a great place for a gig, and The Globe venue on the edge of the city centre is a great small club. I had previously seen Anathema take the place by storm last November, and I fully expected DragonForce to do the same. The show was sold out long before the day of the show rolled around and, as expected, the place was packed with metalheads all night.

Opening up the show were Power Quest, who were on the eve of releasing their latest album Sixth Dimension after regrouping last year. Despite only having a relatively short time on stage, they made the time count with a winning performance that mainly showcased the band's older songs, with one new one thrown in for good measure. Steve Williams (keyboards/vocals), himself an early member of DragonForce, is the band's only constant member, but he led his largely new band through their paces with ease from behind his stack of keyboards. The two standout performers however were Glyn Williams (guitar/vocals), who handled the vast majority of the band's solos, and frontman Ashley Edison who's smooth and high pitched vocals really helped bring the band to life. All of the songs were soaring and melodic slabs of metal, and I thoroughly enjoyed their set. I am very much looking forward to exploring Sixth Dimension fully now that it is out. The setlist was:

Ascension
Wings of Forever
Temple of Fire
Kings and Glory
For Evermore
Magic Never Dies
Far Away

It was not long after Power Quest's gear was cleared from the stage that the house lights went down and DragonForce took to the stage with Ashes of the Dawn from their latest album. As with their other more recent material, many of the song on Reaching into Infinity are less based around speed than their more classic output, but Ashes of the Dawn ensured thing began on a high. Guitarists Herman Li and Sam Totman immediately showed their chops with a great harmony guitar intro as frontman Marc Hudson took to the stage for the first of many flawless vocal performances. He is improving in his role as the band's frontman each time I see him, and this was easily the best I have seen him live. Older material was interspersed throughout the set, and Operation Ground and Pound was brought out of the vaults and predictably went down a storm with the crowd. The band, who are currently touring as a five piece without keyboardist Vadim Pruzhanov, definitely sounded rawer and heavier than usual. While Pruzhanov's keyboards were replaced with a backing track, this was quite low in the mix and allowed the guitars, as well as Frédéric Leclercq's bass, to really shine through. Judgement Day and Seasons followed, both of which really held the crowd captive, but it was the oldie Fury of the Storm at the around the halfway point of the set that really saw the biggest reaction from the crowd up until that point. That song has an extended instrumental section partway through, and saw both Li and Totman really shredding their hearts out with some of the best solos of the night. Another instrumental section followed, with Leclercq taking up a guitar to shred away but he was soon joined by Hudson on the bass and drummer Gee Anzalone to run through some old video game soundtracks. Anzalone also had a quick drum solo, so everyone on the stage really had a good chance to show off. There were three songs left in the main set after this little interlude, and the golden oldie Heart of a Dragon saw a rare outing, before the ten minute plus epic from the new album The Edge of the World wowed the crowd. While the initial cheer for the song was very muted, by the end I think everyone was on board. It is easily the band's most progressive piece, with lots of different sections that are knitted together perfectly, including a black metal-inspired section with harsh vocals. The main set came to an end with the newer classic Cry Thunder, which saw some crowd participation throughout, and the band left the stage to big cheers. There was time for a couple more however, and two bona fide DragonForce classics in the shapes of Valley of the Damned and their signature opus Through the Fire and Flames rounded out the evening in style. The setlist was:

Reaching into Infinity
Ashes of the Dawn
Operation Ground and Pound
Judgement Day
Seasons
Curse of Darkness
Fury of the Storm
Guitar/Drum solos
Heart of a Dragon
The Edge of the World
Cry Thunder
-
Valley of the Damned
Through the Fire and Flames

Overall this was another excellent display of modern power metal from one of the best the genre has to offer. It is always great seeing bands like this be able to sell out venues across the UK, and shows that the UK metal scene is alive and well.

Black Country Communion's 'BCCIV' - Album Review

While the term supergroup if often thrown around in relation to a lot of bands, there are few bands that quite deserve that mantle as much as Black Country Communion do. Formed in 2009, with the help of producer Kevin Shirley, the Black Country Communion flame burned bright with three studio albums being released in as many years interspersed with a fair amount of touring. Formed by vocalist and bassist Glenn Hughes (Trapeze; Deep Purple; Black Sabbath; California Breed) and blues prodigy guitarist Joe Bonamassa, the duo's aim was to recreate the heyday of great the British classic rock band. Keyboardist Derek Sherinian (Dream Theater; Planet X; Sons of Apollo) and drummer Jason Bonham (Airrace; Virginia Wolf; UFO; Foreigner; Led Zeppelin; California Breed) were brought on board, and the band's self-titled album was released in 2010 to excellent world-wide reviews. The sound was pure classic rock, mixing bluesy rock riffs, walls of Hammond organ, and the ageless screaming vocals of Hughes to form a perfect sound that could have been released in the mid 1970s. Due to the instant success of the first album, the band rushed back into the studio to record the follow-up. Black Country Communion 2 was released the following year, again to great reviews. Despite a few shows to promote the first album, it was after the release of Black Country Communion 2 that the band really took to the road for the first time. The decent-length tour was also well-received, and the band were the current darlings of rock magazines and websites the world over. The following year, the band's third album Afterglow was released. By this point however, cracks were beginning to show in the band. It was clear that Hughes wanted Black Country Communion to be everyone's main focus, but Bonamassa was struggling to balance the needs of the band with the needs of his hugely successful solo career. Things came to a head not too long after the album's release, and Black Country Communion were over. Hughes and Bonham formed the short-lived band California Breed, and Sherinian joined Bonamassa's solo band for a time, but it seemed that Black Country Communion were over for good. Hughes and Bonamassa's fairly public spat was evidence enough of this, and it also seemed that the pressure that Shirley was putting on the band to keep putting out albums at a yearly rate just burnt everybody out. That is why it was a surprise last year when Hughes and Bonamassa announced that they were putting the band back together and were at work writing the band's fourth album. That album, titled BCCIV, was finally released last month and it is clear that none of the spark that was found during the band's original run has been lost during the hiatus. In my opinion, the break has actually helped the band's creativity, and the material on BCCIV is probably my favourite from the band since their debut. The songs here are some of the catchiest and varied the band have done to date, but everything is presented in that fabulously retro hard rock sound, all wrapped up by Shirley's raw production.

While many of the album's compositions are fairly lengthy, BCCIV gets underway with two punchier numbers. Lead single Collide opens things up with a strong bluesy guitar riff from Bonamassa that drives the whole song, just resting for enough time to allow Hughes to croon the verse lyrics with Sherinian's keyboard backing. Structurally the song is quite similar to Led Zeppelin's Black Dog, with a repeating riff on which the song is hung, and strong bluesy overtones. While Black Country Communion is a true band, it is perhaps unsurprising that Hughes and Bonamassa dominate the sound. Bonamassa has plenty of opportunities to solo throughout this album, and that includes a somewhat psychedelic bluesy one here. While a faster solo might have been expected, the slower one here works well and is a great contrast to the song's simple riff. Over My Head is built around a staccato riff, with Hughes' bass guitar and Bonamassa's guitar playing in perfect unison, and is packed full of Hughes' soul and funk influences. The chorus in particular exemplifies this, with some fairly airy high vocals from Hughes and some spacey guitar chords. Fans of Mk. III/IV Deep Purple will certainly enjoy this one and sees Hughes pair things back a little to good effect. In contrast The Last Song for my Resting Place is an epic piece with folky overtones that mixes gentle, ballad-esque sections with heavier rock explosions. It is the only song on the album sung by Bonamassa and opens with acoustic guitars, pianos, and even fiddles (courtesy of Gerry O'Connor) which marry together perfectly. Bonamassa's vocal style is much more reserved than Hughes', but it works well for this song. His delicate bluesy overtones really fits in with the music here and gives the song a different feel to the rest of the material on the album. It is not all gentle and acoustic-based however, as heavier moments appear throughout. This is especially true during Bonamassa's lengthy solo section part-way through which has a driving keyboard backing and a fat bassline to back it up. After the gentler overall mood of the previous song, Sway comes in with the intention to rock! A frantic riff drives the song, but atmosphere is provides throughout by an excellent keyboard display from Sherinian. I have always felt his skills have been underused in Black Country Communion for the most part, so it is great to hear him in such a prominent role here. His organ playing really cuts through the mix and provides an almost-orchestral feel at times, which works well with the punchy hard rock sound the rest of the band are working towards. As with the majority of the band's songs, there is an excellent solo from Bonamassa part-way through. This one makes great use of screaming string bends, which really adds to the raw rock feeling of the piece. The Cove is another change of pace, and makes use of a murky, atmospheric blues tone throughout. Musically the song bares similarity to artists like Tom Waits, but Hughes' distinctive voice helps to add that classic rock swagger. Bonamassa's guitar playing is often fairly discordant throughout, which helps to create an unsettling vibe, and Sherinian's mix of simple piano notes and darker organ sounds adds to the murkiness. While this song does not represent the band's usual sound, it remains a strong number on the album and provides a change of pace around the album's halfway mark.

The Crow returns back to the band's more traditional sound with a huge bass opening and a palpable energy caused by Bonham's drumming. Hughes' vocal performances throughout the album are always expressive, but during this song in particular he really lets go with some wails that a man half his age would struggle to achieve so cleanly. A song like this has more in common with Led Zeppelin that Deep Purple, and shows the scope of sound the band are able to cover. There are even sections which are dominated by Sherinian's ringing piano chords which seem like subtle nods to Queen despite the rawer rock overtones. A fantastic instrumental section sits in the middle of the song, and opens with a fairly lengthy bass solo from Hughes, before moving through a Hammond organ solo from Sherinian. Unsurprisingly it ends with an explosive solo from Bonamassa, showing how talented all of the members of the band are. This is a song that sees Black Country Communion firing on all cylinders and is a perfect representation of what they are about. Wanderlust is the album's longest song at over eight minutes in length, and it opens out in a more relaxed manner with a laid-back piano led section that has more in common with bands like the Eagles than the band's usual influences. The length of the song allows some progressive influences to creep in, and it is perhaps telling that Sherinian's keyboard playing is very prominent throughout, often sitting behind his piano to dictate proceedings. Not to be outdone, Bonamassa makes his presence throughout heard with plenty of bluesy breaks of lead in between lines of vocals, and a laid-back but excellent solo part-way through. From his performance throughout this album, it is easy to see why he is often considered one of the best guitarists on the world at the moment. The next couple of numbers reign in the lengthy and return to the simpler structures of the opening couple of songs. That is not to say that Love Remains is a back-to-basics rocker however, as it has more of the soulful influences that Hughes has tapped into throughout his career with a smooth vocal performance and a strong keyboard presence. Hughes has made a big effort to return to his real rock roots since the turn of the decade, and his soulful influences have largely taken a back seat, so it is great to see a couple of numbers here that really make use of that sound. Bonamassa is up to the task for these kinds of songs too, and shines here with a really slow and slightly twisted guitar solo which is quite different from his usual bluesy style. Awake showcases Bonamassa's bluesy influences, with an upbeat shuffle sound that allows him plenty of room to improvise around his riff. The song's playful nature helps it to stand out from the rest of the album and gives the back end of the album an energetic lift. Perhaps the highlight of the song however is a great instrumental section which sees both Sherinian and Bonamassa playing off each other with fast keyboard and guitar runs that almost meld into one at times. The album comes to a close with another lengthy song When the Morning Comes. Like The Last Song for my Resting Place, the song opens up acoustically, but really builds up to an epic rock arrangement drenched in Hammond organ and another really expressive vocal performance from Hughes. There are plenty of instrumental moments here, and this gives Bonamassa a last chance to really spread his wings with some more excellent soloing. This is another song however which shows everyone at the top of their game, and perfectly showcases the band's somewhat proggier side. It is a great end to the album, and feels like a modern classic rock epic. Overall, BCCIV is a really great comeback from one of the best rock supergroups around. It contains some of their best material yet, and has firmly put the band back in the mind of rock fans the world over.

The album was released on 22nd September 2017 via Mascot Records. Below is the band's promotional video for Collide.

Arch Enemy's 'Will to Power' - Album Review

Since effectively being relaunched back in 2014 with the release of War Eternal (which I reviewed here), the Swedish melodic death metal legends Arch Enemy have been working around the clock to promote the album and to play in as many countries as possible. The touring cycle the band undertook for War Eternal is almost certainly the longest in the band's history, and it really helped to re-establish the band's place in the upper echelons of the metal world after a couple of weaker releases. The inclusion of frontwoman Alissa White-Gluz and guitarist Nick Cordle seemed to really rejuvenate the band's founder and main songwriter Michael Amott, and the result was probably the band's best work since 2005's Doomsday Machine. Sadly however, this line-up did not last very long, as Cordle left the band mid-tour a few months after the album's release. Jeff Loomis (Sanctuary; Nevermore; Conquering Dystopia) was announced as the band's new guitarist shortly afterwards, and the band carried on playing live around the world and completed the lengthy War Eternal touring cycle earlier this year. Despite their busy road lives, Arch Enemy still found time to record a new album, which was finally released last month as Will to Power. Will to Power is the band's tenth studio album, and second to feature the dynamic vocal presence of White-Gluz. Sound wise, this album is mostly full of the type of material that fans will have come to expect from Arch Enemy, although there are a few differences throughout to help keep things interesting. Mostly however, this is an album of solid melodic death metal anthems in the Gothenburg style, with plenty of hard-hitting riffs, twin-guitar leads, and fist-raising choruses. The band's two remaining founding members, Ammot and drummer Daniel Erlandsson, have written the vast majority of the band's music on this album together, with White-Gluz and Amott writing around half of the album's lyrics each. While Amott and Erlandsson have always been heavily involved in the band's songwriting, I have to say that I was disappointed to see that Loomis was not involved in the creative process of this album at all. Reading interviews with both Amott and Loomis, it seems that this decision was made by the former to the (well-hidden) disappointment of the latter. I was looking forward to hear an Arch Enemy song co-written by Loomis, as his progressive songwriting style could have really given the band's music a new dimension, but it seemed that Amott wanted to keep the creative process close to his chest this time around. Loomis' role on Will to Power is limited to some of the album's guitar solos, so his presence is not really felt at all here. Amott's brother Christopher, another of the band's founding members, is credited with co-writing a couple of the songs here, and even contributes some guitar and keyboard work to one of them. Elsewhere, Jens Johansson (Yngwie Malmsteen's Rising Force; Dio; Stratovarius; Cain's Offering; Rainbow) provides some subtle keyboard textures on a few other songs which help to add depth when required.

After the instrumental opening Set Flame to the Night, which focuses on moody guitar leads instead of the traditional orchestrations, the album proper gets underway with The Race, a furious slab of melodic death metal that takes no prisoners. Without a real opening riff or distinct melody, the song is a pure aural assault that makes use of White-Gluz's throat-shredding vocals and some relentless drumming from Erlandsson. This is a song that never really pauses for breath, despite slowing down a little during a groovier section about two-thirds of the way through, and certainly takes greater influence from extreme metal than usual with no defined song structure. While Arch Enemy albums have started with more memorable songs, there are few album opens by fairly big 'mainstream' acts that will hit with this much venom right from the start. Blood in the Water follows and this follows the band's trademark more closely with a strident opening riff that is instantly memorable and a real classic rock strut in the verses with a simple drum pattern and White-Gluz's almost-spoken vocals. The chorus, despite it's short length, is a very catchy moment, with an ascending guitar pattern that is accompanied by some strong vocals. This then explodes into a guitar solo that is packed with melody and technical prowess. The World is Yours was the first song to be released from the album, and definitely has all the hallmarks of an Arch Enemy 'single'. The song's main riff is a fast one, backed up by some fast double bass drumming, and the chorus makes greater use of twin lead guitar melodies with Amott's rousing lyrics perfectly delivered by White-Gluz. There are plenty of chances throughout for both Amott and Loomis to shred, but sadly the album's booklet does not detail who performs each of solos. The soloing is always solid on an Arch Enemy album whoever is partnering Amott, and that is no different here with Loomis' additions. There is a quieter moment towards the end however, with Johansson's sparse piano melodies accompanied by White-Gluz's whispered vocals. This is something a bit different for the band, and just helps to add an extra dimension to the song. The Eagle Flies Alone is the other song that was released to the public before the album's release, and it has a feel of the style of songwriting that dominated 2011's Khaos Legions. The song is not as heavy or as fast as much else of what is found here, but that is not to say that it is not a good song. The riffs are packed with a groove that is rarely found in the band's music, and the mid-paced nature helps to amplify this. The chorus is another rousing one in Amott's trademark lyrical style, but it could have hit a little harder by speeding up a light to differentiate it from the rest of the song. The sixth song here, Reason to Believe, makes the biggest deviation from the band's traditional sound. In White-Gluz's previous band The Agonist, she made use of her strong clean voice as well her growls, but this was not the case on War Eternal. This song however is largely sung clean which, along with many of the clean guitar melodies that sit beneath the vocals, make this song the closest thing to a ballad the band have ever done. It works well however, as the chorus is heavier with the growls to hit home who wrote the song, and just helps to diversify the album's sound. This is one of the two songs here co-written by Christopher Amott, who also provided some of the clean guitar and keyboard work on the song, and it makes you wonder if the Arch Enemy would have done more songs of this nature if he was still in the band.

If anyone was worried that Arch Enemy were going soft, the next song Murder Scene should put any rumours of that nature to bed. This has a very similar sound to the raw melodic death metal found on 2001's Wages of Sin with razor-sharp riffs and plenty of guitar melodies cutting through thanks to Amott and Loomis. This is one of the songs that instantly stood out to me on first listen to this album, and it remains a firm favourite of mine. The chorus is a real winner, and the explosive guitar solo really recalls the band's early days. First Day in Hell opens with some doomy clean guitar melodies with a bleak atmospheric backing, but soon opens out with a grinding mid-paced riff that sounds suitably evil to be following on from the intro. The song does pick up the pace when the vocals come in, but it never really reaches thrash speed, retaining a little of the opening groove. White-Gluz shows off the real diversity of her voice throughout this song, with some of her deepest growls yet during the verses before unleashing some higher screams elsewhere. This is another one that stood out on first listen, and is still a song I enjoy hugely. The riffing here is a little different to the band's typical sound, which I think makes it stand out. Saturnine is a short instrumental interlude, featuring some guitar leads over Johansson's piano, which leads nicely into Dreams of Retribution which opens out with a strong keyboard presence but explodes into a fast metal anthem with plenty of dual-guitar riffing and powerful drumming. Johansson's keyboard presence is strongly featured throughout, providing an atmospheric backing. When the riffs slow down towards the chorus, some gothic harpsichord melodies work alongside the guitars to create a sound that is quite unlike anything heard on an Arch Enemy album before. There is lengthy instrumental section here too, which sees Amott and Loomis trading solos throughout. The chemistry between the two guitarists is evidently very strong, which only makes the decision to not include Loomis in the album's creative process even more strange. Incidentally, this is the other song on the album co-written by Christopher Amott, showing that he was probably always responsible for some of the more 'off the wall' elements on previous Arch Enemy albums. My Shadow and I is more of a thrash number, with a strong guitar riff that carries the song throughout and forms the backbone of the verses. The choruses are a bit more anthemic than your average thrash number, but that is still the overarching mood that fills the song. White-Gluz's vocals in the chorus are positively evil however, and it is amazing that she manages to create this anthemic sound while singing with such venom. This shows off her skills as a vocalist, and seems that she only gets better with each album she participates in. The album's closing number, A Fight I Must Win, has a strong orchestral presence throughout and opens with strings, before a powerful mid-paced riff kicks in. While sometimes the guitars are playing alone, there are many instances here where the symphonic elements are added which provide counter melodies to the guitar riffs and add some emotional depth. Again, this is something that the band has not used much before in the past, so it makes the song stand out. The more 'epic' feel of the song makes it a perfect closing number for the album and rounds everything off nicely. Overall, Will to Power is more diverse than usual for Arch Enemy and as a result is a bit of a grower. War Eternal was classic Arch Enemy through and through, so was a fairly immediate listen, but the songs here take longer to reveal their intricacies. It is great to see the band trying a few new elements here, and I hope this is something they continue to do moving forward.

The album was released on 8th September via Century Media Records. Below is the band's promotional video for The World is Yours.