White Wizzard's 'Infernal Overdrive' - Album Review

As far as modern bands recreating the sounds of the early 1980s NWOBHM movement goes, there are few better examples out there than America's White Wizzard. Despite many of their songs being blatant Iron Maiden worship they have delivered the goods, and since their 2009 debut EP High Speed GTO they have made a name for themselves in the metal world for their melodic, and slightly progressive brand of traditional heavy metal. It is a shame then that despite their continuous success in the studio, the band have also made a name for themselves for the huge turnover of band members and more than one public meltdown - including a particularly embarrassing one which happened on their 2013 UK tour which saw the band members slinging mud over social media accusing each other of allegedly stealing a fan's handbag. That incident left bandleader, bassist, and main songwriter Jon Leon the only man standing in White Wizzard (not for the first time!). Not too long after this explosion, the band were dropped by their then-label Earache records and it looked like White Wizzard were dead and buried. Over the next couple of years Leon released a couple of stand-alone singles under the White Wizzard name which were essentially solo efforts, but towards the end of 2016 he announced that a new line-up of the band was to be put together and writing was underway for their fourth studio album - their first since 2013's The Devils Cut (which I briefly reviewed here). In an attempt to clearly make up for past indiscretions, Leon invited back a couple of members from the band's past who have always been popular with the fans. Wyatt 'Screaming Demon' Anderson, who is often rightly thought of as the true voice of the band, was invited back into the fold for his fourth(!) tenure as the band's frontman. He performed on the band's first two studio albums: 2010's Over the Top and 2011's Flying Tigers; and has the perfect voice for this kind of music. He can hit some impressive high notes, but has a voice that is still packed with plenty of grit to allow the band's music to have some bite. Also returning is guitarist James J. LaRue who last performed with the band on the High Speed GTO EP. This trio of musicians, along with new drummer Dylan Marks (Fermentor; Eukaryst), have put together another strong collection of retro-sounding heavy metal anthems which was released earlier this month as Infernal Overdrive. Marks however, who only joined the band last year, is only featured on a couple of tracks with German Moura performing on the rest on a session basis. A successful crowdfunding campaign financed the album's creation, which shows there are plenty of people across the world who still love the band despite all the drama and uncertainty they have created for themselves over the years. Sound wise Infernal Overdrive is not hugely dissimilar to the band's established sound, but with a greater emphasis on the progressive side of their songwriting. While some of the songs could have easily had some fat trimmed from them, this is an ambitious album from White Wizzard and one that is probably closest to Flying Tigers in sound.

Opening with a furious drum flurry from Marks, then a piercing scream from Anderson, and finally a flurry of shredded notes from LaRue; the album's title track gets underway in style and sets the band's stall out early on. While much of the material found throughout this album is fairly mid-paced, this song mostly keeps things moving along quickly with an excellent drumming performance and some tight riffing. With Leon handling the album's rhythm guitars; demonstrating he is more than a capable guitarist as well as a busy, melodic bassist; this allows LaRue to focus on his leads. There are plenty throughout this song, with lots of Middle Eastern-inspired lines which help to create a strong atmosphere which is different from what you would usually expect from traditional heavy metal. If anyone was doubting that Iron Maiden has been a big influence on Leon's songwriting over the years, than the twin-lead guitar opening riff to the album's lead single Storm the Shores should set those non-believers right! Despite being pure Iron Maiden worship, the song is so well written and performed that is hard not to enjoy it. The guitar lines ooze pure melody, and Anderson's captivating vocal performance - particularly during the big choruses - really grips and takes hold. Much like Iron Maiden's sound too, Leon's bass is often high in the mix and usually provides the main musical backing for the song. The bass in White Wizzard is often busier than the rhythm guitars, and it is that that really helps to drive everything forward. Pretty May is the album's shortest song, at just over three minutes in length, but is no less interesting as it opens with some bouzouki chords before transitioning into an instantly catchy little number with some excellent vocal melodies from Anderson. Despite it's short length, there is a lot crammed in to Pretty May - including an excellent guitar solo that ends on some great screaming notes. With the album's first three quick-fire efforts out of the way, the band's progressive streak takes over for the vast majority of the rest of what is to come. Chasing Dragons builds it's foundation on a sweeping mid-paced guitar riff that is backed by some excellent staccato drumming from Moura. Songs like this move away from the obvious Iron Maiden influences and start to see the band stamp their own true identity on the material. Anderson turns in a great vocal performance here, often harmonising with himself to create a rather spooky delivery, which is backed by the more tougher overall sound that relies more on big guitar chords rather than lead melodies. LaRue does throw in a few leads, including a particularly excellent solo about two-thirds of the way through, throughout however, often at choice moments to spice things up a bit, but this song is dominated by Leon's excellent guitar and bass performances.

Voyage of the Wolf Raiders is similar, but opens out slowly with some dancing clean guitar melodies which are backed up by some organic sound effects. Anderson is not hugely convincing when singing over a more mellow backing, but unsurprisingly sounds great when the song proper kicks in - after another excellent twin-lead guitar riff. Despite the slightly wobbly intro, this is definitely one of the best songs on the album as it really showcases everything that is great about White Wizzard. The song's epic chorus is made to be heard live, with a crowd of loyal fans belting it back at the band, and the occasional diversions into Middle Eastern-inspired instrumental sections; backed by LaRue's synths; really drive that progressive streak home perfectly. Critical Mass sees the band hitting back at their critics over the years, which given the way the band has behaved at times seems somewhat rich but in fairness there is little negative that one can say about White Wizzard's music! This is one of the rare moments on this album which sees the band really put their feet down and unleash a real speed metal epic with probably Anderson's best vocal performance yet. Some of his screams in the verses are extremely high, but he always manages to sound strong and in control despite this taxing performance. The choruses see him singing in his more usual register, which is then followed by an explosive guitar solo. This is a song that is just 'all out, all the time' which is refreshing after a couple of longer, more mid-paced pieces. Despite this however, the song is still fairly long and I cannot help but feel it would have been more effective if it was trimmed down somewhat. The mid-paced songs just seem to work better when stretched out, and I feel a more to-the-point arrangement would have benefited the song.

Cocoon is another fairly lengthy song, but with more variation throughout which helps to keep things interesting. There is a heavier use of keyboards here than the band have typically made use of, which helps to reinforce the progressive influences on show. The enveloping synths that back up some the instrumental sections sound great, and this is something I would like to the see the band develop further in future. Keyboards add a depth that other instruments just cannot, and it shows here and really adds something to the song - especially as they sounds used have quite a retro 1970s sound. Plentiful guitar lead breaks, and a somewhat mournful vocal performance help to give this song a really unique feel in the band's catalogue and is a song that reveals itself over many listens. The song slowly fades out and transitions into Metamorphosis, which opens with an off-kilter bass and drum intro that gradually builds up with strange, tortured guitar leads being added to the mix in layers. This song does not have the band's typical sound, but it works really well and helps to add some diversity to the album. I like the way that this album opens with a handful of songs that are very similar to what the band has done previously, before hitting the listener with lots of new ideas in the following numbers. While I do not feel that all of the new sounds work, and some of the songs are definitely too long, I think it is great that White Wizzard are showing ambition here. Leon clearly has a diverse range of influences and it is great to see him incorporating them all here. Metamorphosis is a key example of this, and is a song that allows LaRue to experiment with some new lead styles too and really shine as a guitarist. The album's final, and longest, song is the eleven minute-plus The Illusion's Tears. The song is in three parts, and even sees the band's long-time producer Ralph Patlan contributing some additional guitar leads throughout. The progressive elements in the band's sound are at their most obvious here, with mellotron mixing in with the guitars in the early stages of the song and subtle orchestrations used throughout. Mellow sections sit side by side with heavier sections to create what is easily the band's most ambitious song to date. Some of LaRue's guitar work here even recalls the style of David Gilmour at times, with some spacey, bluesy leads that really cut through the mix as Leon's bass guitar provides a laid back melody. It is a great way to end the album, and feels like a culmination of everything else found on this disc. Overall, Infernal Overdrive is an ambitious album from White Wizzard and one that sees them scream emphatically that they are 'back' after a rough few years. The songs are largely excellent and memorable, and has allowed Leon to really stretch his wings as a songwriter and take the band down a few new paths.

The album was released on 12th January 2018 via M-Theory Audio/Riffs of the Rose. Below is the band's promotional lyric video for Storm the Shores.

Leaves' Eyes' 'Sign of the Dragonhead' - Album Review

Despite never truly breaking through into the upper echelons of the symphonic metal world, Leaves' Eyes have become an enjoyable and reliable band over the years. Since forming in 2003, the band have now released seven studio albums, all of which are enjoyable and bombastic affairs, of which their latest - Sign of the Dragonhead - continues the good work that was started on 2004's Lovelorn. Despite never really releasing a true genre-defining classic, the band have come close a couple of times with 2009's Njord and 2013's Symphonies of the Night (which I reviewed here). In my opinion, these two albums best represent the band's particular brand of symphonic metal. Leaves' Eyes have never gone for the over-the-top production style that many of their peers use, but instead employ a simpler, more folky sound that focuses on the band's vocal melodies; often leaving the guitars to simply provide the songs' rhythms. While the band do of course utilise the usual symphonic metal tropes of choirs and orchestras, these are done in a much subtler way than other bands of the genre to allow the songs' tight rhythms and vocals to really shine. After making that point about the prominence of vocals in Leaves' Eyes' sound, it should be pointed out that Sign of the Dragonhead is the band's first album without founding frontwoman and lyricist Liv Kristine. Kristine and the band parted ways rather messily in 2016, with lots of rather unnecessary public sniping from both parties over social media, and many fans were worried for the future of Leaves' Eyes. Despite the band not exactly being a stranger to line-up changes, after all no two Leaves' Eyes studio albums have been made by the same group of musicians, Kristine was always the band's focal point and it did seem strange to imagine them successfully continuing without her lyrics and presence. I and many others were proved wrong however as the band immediately bounced back by hiring Finnish-born singer Elina Siirala (Angel Nation) who has fitted into the band's ranks seamlessly. While her voice lacks the shimmering fragility that made Kristine such a unique singer, she has a much more powerful delivery and it is this that really helps to give Sign of the Dragonhead it's punch. Despite Kristine's departure, the core writing team of Alexander Krull - the band's harsh vocalist and producer - and guitarist Thorsten Bauer remain and have once again composed all of the music found on Sign of the Dragonhead. Krull has also taken on the role of lyricist too, and his folky tales of Norwegian Viking history are not dissimilar the style of Kristine. Bauer once again handles the band's bass duties, while Pete Streit and Joris Nijenhuis both return from 2015's King of Kings (which I reviewed here) providing guitars and drums respectively. King of Kings is an album that was initially impressive, but my interest in it has waned over time. Sign of the Dragonhead however seems a much more powerful and dynamic album, and Siirala makes a strong impact from the off with her operatic voice.

The album wastes no time in getting underway with the crunching title track opening things in style. Bauer and Streit make their marks immediately with a driving mid-paced riff that sets the tone of the song, and Siirala makes it clear why she was chosen as the band's new singer. The verses are sung with a little floaty-ness in her voice, before she unleashes her full operatic range during the choruses; which are packed with folky melodies. Krull, who has always used his harsh vocals relatively sparingly with Leaves' Eyes, adds a menacing pre-chorus to the song and backs Siirala during the choruses which adds to the overall power of the piece. Folky melodies and a short guitar solo add depth, but this song feels more about definitely introducing Siirala to the band's fanbase. Across the Sea is similar, but with the band's folky influences taking on a bigger role with more acoustic instruments thrown into the mix, as well as what sounds like uilleann pipes. The folky elements give the song a jaunty sea-shanty-esque vibe, which is encapsulated perfectly during the simple, melodic choruses. Despite her more powerful delivery, Siirala still manages to sing these kinds of songs convincingly which will allow Leaves' Eyes to continue to showcase a style at which they excel. Opening with a gorgeous vocal and piano intro, Like a Mountain is a real highlight of the early part of the album. The symphonic side of the band is displayed here, with lots of orchestral stabs and walls to strings to replace the folky melodies that filled the opening two numbers. Siirala really shines here, and you cannot help but feel that this is the type of song she feels the most comfortable singing. There is still a strong metal base for the song however, as the band's guitarists lay down a solid foundation with a chugging riff that has a slight groove to it. The folk is back in Jomsborg, with traditional instruments providing the song's main melodies and Krull providing a bit of a battle cry with his growls. His vocals often surface throughout this song to add some Viking darkness to what is otherwise a fairly jaunty piece with one of the album's best choruses. I often feel that Krull is underused in Leaves' Eyes, and that trend seems to have continued on this album. I thought that now he has more creative control over the band's material he would use this to his advantage, but he seems to be happy with his more limited role. I would have liked to have seen more of his Viking battle chants in this song, as I feel the grit he provides would have been a great contrast to the song's melodies.

Völva again places a lot of emphasis on the traditional instruments, so much so that at times it sounds more like an Eluveitie song than a Leaves' Eyes one! Despite this, Siirala unleashes her full operatic vocal delivery throughout which adds some power to what otherwise could have been a fairly tame song. The guitars are mixed quite low, which does stunt it's power at times, but the vocal performance helps to stop things from become stale. With many of the songs on this album being fairly mid-paced affairs, Riders on the Wind picks up the pace somewhat with a driving drum pattern from Nijenhuis and some urgent folky melodies. Comparisons can be drawn between this song and the folky power metal sound of Nightwish's early work. Tarja Turunen is clearly a big influence on Siirala and there are parts of this song where she sounds like she is trying to emulate her hero. Siirala is not as over the top however, and I think that is ultimately to her credit. Krull barks some lines here and there to spice things up a bit, but overall it is the song's energy that really makes it so strong. I feel that this is a song that Leaves' Eyes could not have made previously, and it is good to see them incorporating some new influences and sounds into their established sonic tapestry. Fairer than the Sun is a ballad, and opens up with some delicate acoustic guitar playing; backed by some strings and traditional instruments; which forms the basis of the song. This is a real showcase for Siirala's vocal talents and she really owns the piece with her emotive vocal delivery. The band subtly backs her up throughout, with a metronomic drum beat keeping everything together and Krull's lush orchestral production enveloping it all. Guitar solos are not commonly found in the band's music, but a short one towards the end - presumably from Bauer - adds an extra emotional punch to the song with his simple phrasing.

Shadows in the Night picks up the pace again and displays some more of that power metal influence while also recalling the sound of the Njord album. This is a song that is instantly memorable, and is one of the album's overall highlights. Despite it's apparent simplicity, it also feels like one of the band's most involved songs musically. The guitars actually provide some lead melodies throughout, particularly during the verses, which makes a change from their usual chugging rhythms. It also takes a heavier turn as it moves along by giving Krull more time at the microphone with an extended harsh vocal part. Rulers of the Wind and Waves is an instrumental piece that focuses mainly on the traditional instruments, but maintains a dark undercurrent with some hollow percussion and sombre strings. Christian Roch, who provides the uilleann pipes and other wind instruments, shines here as he provides most of the song's swooning melodies. This soon transitions into Fires in the North - a song that was initially released in 2016 to introduce Siirala to the band's fanbase. It has found a permanent home here however, and the doomy song adds some bit after a relatively light-hearted few numbers. The guitar riffs dominate here, and the bass rumbles away during the verses to really add weight. Leaves' Eyes has never been the heaviest band, but songs like this prove they can really crank it up when they need to. The gothic end-chorus sections which are dominated by Krull's barks are particularly powerful and show a different side to the band. Leaves Eyes' have always had a slight progressive streak in their songwriting, and the album's closing number Waves of Euphoria showcases this. Siirala's dramatic opening vocals, backed by gothic strings, set the tone; but it is actually Krull that often takes the lead here with a passionate and throat-ripping delivery. It is great to hear him spreading his wings a little more on this song, with it being sung more like a traditional duet than anything else on the album. Siirala still handles the choruses however, and she soars here like nowhere else. This feels like a true closing number, and hopefully this is one that the band will begin to use to end their live shows with. Overall, Sign of the Dragonhead is a great new chapter in the book of Leaves' Eyes. While the sound is not drastically different to what we have heard from them before, it is certainly one of their better albums and it packs a real punch. They have successfully navigated some choppy line-up-related waters, and have come out the other side looking strong and confident.

The album was released on 12th January 2018 via AFM Records. Below is the band's promotional video for Sign of the Dragonhead.

Firewind/Rage - London Review

After a month or so without a gig, it was with glee that I headed back up to London for the first live music-related outing of 2018. The occasion was a double headline show, which saw Greek power metallers Firewind and German traditional heavy metal veterans Rage share top billing; with England's own rising stars COP UK acting as the support. The venue was the Underworld in Camden, which has never been a favourite venue of mine but it is a regular choice for European metal acts that can only pull a modest crowd here in the UK. Melodic metal is, sadly, not hugely popular over here and bands like Firewind and Rage can easily fill much larger rooms elsewhere in the world. Despite this, these bands keep coming back to the UK - for which I am eternally grateful. Speaking of 'coming back', it was actually only less than 12 months since Firewind last played at the Underworld. That was back in February last year, and was part of the first leg of their tour to promote the then-new album Immortals. That gig was a full-length Firewind headline show, and indeed a very good one, which attracted a good crowd on a Sunday night and saw the band on good form. Bands do not usually return so quickly, but I jumped at the chance to see the Greeks again so quickly. Being a co-headline show, I knew that Firewind's set would be truncated somewhat to allow Rage to have a similar amount of time on stage, which may have put me off the idea if it was not for COP UK also occupying a slot on the bill. They are a band I have seen a few times over the years, and are another group I will always take an opportunity to see. Due to the strong bill, there was a pretty good turnout for a Sunday night. I did feel however that Firewind suffered somewhat as it seemed that quite a few people left after Rage's set. All of the show's marketing heavily featured Rage over Firewind - their album cover was on the posters, for example - so it was clear that there were definitely more Rage fans in than Firewind fans. The show also seemed to be plagued with delays, which meant that both Rage and Firewind had reduced sets. Both bands were allocated 70 minutes on stage, but I would say that both lost at least 10 minutes due to slow changeovers - which is not really acceptable for a professional music venue. This could have been avoided if: a) the doors had opened at 6pm as advertised, rather than 6:30pm; and b) there was not nearly an hour gap (planned) between the doors opening and COP UK hitting the stage. The entire night felt like it was up against the clock, which could have easily been avoided if the evening was more smoothly handled.

Luckily, COP UK had their full 45 minutes set. They hit the stage at 7:25pm and immediately went into the opening two numbers from 2016's excellent No Place for Heaven - The Core and My Blood. The Sheffield-based five-piece are a band I have been following for around nine years now, having first seen them at the Cambridge Rock Festival in 2009, and this was my sixth time seeing them live. The Core is still a cracking opening number, right from Andreas Rippelmeier's (guitar) opening melodic guitar riff, and it contains one of the band's best choruses which frontman Dale Radcliffe belted out to the decent-sized crowd. COP UK, despite Radcliffe pointing out that over half of the people on the stage are not actually from the UK, are a band that regularly seem to change their line-up. Radcliffe, fellow-founding member Kevin Tonge (drums), and Henning Wanner (keyboards/vocals) were joined by the aforementioned Rippelmeier and Mystic Prophecy's Joey Roxx (bass guitar). It is unclear whether Rippelmeier or Roxx are permanent additions to the COP UK ranks, or whether they are just helping out on this tour. Things were further complicated when Rage guitarist Marcos Rodriguez replaced Rippelmeier for a rendition of Love Is to Die For. I believe that he may be the band's main guitarist these days, and that Rippelmeier is subbing for him so he does not have to pull double duty - but either way it is all rather confusing! As much as I love COP UK, I really wish they would settle down with a strong, permanent line-up going forward as all this fluctuation cannot be good for the band. That being said, Rippelmeier was a revelation, and easily my favourite person to have ever played guitar for the band. His John Sykes-esque style is perfect for the band's sound, and he added plenty of shredding solos to the songs - particularly in single Catch Me if You Can. A treat for fans of the band came towards the end, as they debuted a new song - Keep on Moving - from their upcoming fourth album. The song was similar to the melodic style found on No Place for Heaven, so I look forward to getting that new album when it gets released. After that, the band brought their set to an end with their hard-hitting cover of Journey's Separate Ways (Worlds Apart) which had many in the crowd singing along. Given the crowd's reaction at the end of their set, I think it is fair to say that COP UK make a few new fans with this London performance. The setlist was:

The Core
My Blood
Love Is to Die For [w/ Marcos Rodriguez]
Body and Soul
Catch Me if You Can
Stranger Than Fiction
Keep on Moving
Separate Ways (Worlds Apart) [Journey cover]

Despite them being around for years, and knowing I would be at this gig for months in advance, I regret to say that Rage are a band that I was not really at all familiar with prior to this gig. With a big crowd gathered for their set, the German three-piece - led by founding member Peavy Wagner (vocals/bass guitar) - proceeded to tear through an hour or so of hard-hitting, if fairly generic, heavy metal that was enjoyable and well-received. After a couple of numbers however it was clear that Wagner's voice was cracking a little due to what seemed like a bad cold. The aforementioned Rodriguez stepped in to help his band mate and sung one of the songs, and helped out with plenty of backing vocals throughout the rest of the set. Wagner made it through the show however, and started to sound stronger as time went on. While the songs the band played early on did not really make a huge impression on me, towards the end the songs started to stick a little more. The Price of War and the oldie Nevermore spring to mind as being memorable late on in the set; but it was the closing duo that really stood out. Don't Fear the Winter was probably the most melodic song of their entire set, which is probably why it ended up being my overall highlight of their hour on stage, and the following number Higher than the Sky led to quite a big crowd sing along conducted by Wagner. This song also contained a rather extended Dio tribute section, made up of snippets of Black Sabbath's Heaven and Hell and Dio's Holy Diver which were sung with much enthusiasm by Rodriguez. Despite a slow start, I found myself really enjoying Rage's set by the end, and they certainly received a big reception from the crowd. I shall I have to pick up a couple of Rage albums in the near future and investigate their music properly.

It was Firewind that I was mostly at the gig to see, but as I have already mentioned this did not seem to be the case for many others. There was significantly less people down in pit for Firewind's set than for Rage's, which was a shame, but luckily not enough to really ruin the atmosphere. After a really slow changeover, which really was not necessary considering that the drum kit and entire backline were used by all three bands, Firewind eventually took to the stage with the excellent Ode to Leonidas from their latest offering Immortals. It is one of my favourite Firewind songs, and hearing it live again was great. Henning Basse (vocals), despite being a relatively new face in the band, is a great frontman and really started to command the crowd from the outset. He had some microphone trouble in the first few songs, but after this was sorted he was like a beast unleashed as he prowled the stage and sung the band's songs with his gritty power. As was expected, the set the band played was a truncated version of the one that they played last year, but they still managed to include at least one song from each of their seven studio albums. Early highlights were the bouncy Head Up High, which has an excellent riff from Gus G. (guitar/vocals) - who is one of the best guitarists on the planet right now - and the darker-tinged Few Against Many which features a great chorus. Despite the delays and technical issues, the band were really on fire throughout their hour on stage and played like their lives depended on it. Johan Nunez (drums) in particular put in a shift behind his drum kit, twirling his sticks throughout the songs and just generally hitting his drums as hard as he could. He really drove the band forward and made the others up their games! Another highlight was the band's signature instrumental piece The Fire and the Fury, which seemed to be played with much more urgency than usual. G. shredded his heart out as always, and Bob Katsionis (guitar/keyboards) played blistering leads on his guitar and keyboard simultaneously. It was a seriously impressive few minutes of music, and it made me realise what a powerful band Firewind are when they are at their best. Another personal favourite song, Lady of 1000 Sorrows was featured towards the end. The ballad features some rare bluesy playing from G., and a heartfelt vocal from Basse that really carries everything. Mercenary Man followed, but by this point it was clear that the 11pm curfew was swiftly approaching. G. managed to persuade the staff to let them play two final songs - rather than just the one - which meant that the crowd got to hear both the anthemic Tyranny and the poppier Falling to Pieces. The latter rounded out the evening nicely, and even saw G. leap down from the stage during a portion of the song and solo in the crowd which was fun to see. The setlist was:

Ode to Leonidas
We Defy
Head Up High
Few Against Many
Between Heaven and Hell
World on Fire
The Fire and the Fury
Wars of Ages
Lady of 1000 Sorrows
Mercenary Man
Tyranny
Falling to Pieces

Despite the delays which cost both Firewind and Rage time on stage, this was an excellent evening of European metal that got 2018's gigging calendar off to a strong start. It is always great to see Firewind and COP UK, and with a potential new discovery unearthed in Rage, it proved to be a successful trip to London.

Black Veil Brides' 'Vale' - Album Review

Black Veil Brides are an interesting band. The American melodic metal five-piece made a big impact in 2010 when they released their debut album We Stitch These Wounds, and have managed to maintain a large global fanbase ever since. In their early days, Black Veil Brides sound was very influenced by the metalcore movement that had dominated the popular alternative metal scene for the best part of the 2000s. Melodic riffing and soaring, anthemic choruses mixed with punky breakdowns and harsh vocals helped the band to create an accessible sound while still having a bit of a bite, and the teen goth/emo scene had their new darlings. In fairness to Black Veil Brides, they have always been more than that. In contrast to many of their peers, who have rigidly stuck with the angsty teen rebellion tropes for longer than is believable or acceptable, Black Veil Brides have always strived for a grander sound with more thoughtful songwriting. The metalcore elements of their sound were mostly gone entirely by the time 2011's Set the World on Fire rolled around. By this point the band were displaying a big 1980s glam metal influence, both in sound and appearance, something which has continues to influence the band ever since. Unlike many commercially successful modern rock and metal acts, Black Veil Brides have always sought to go one further each time. 2013's Wretched and Divine: The Story of the Wild Ones (which I reviewed here) was an ambitious (by the band and genre's standards) concept album that showed a maturity that many of their peers lack, and 2014's self-titled album (which I reviewed here) streamlined the band's sound and showcased them in a simpler and sleeker light. Releasing four albums in five years, along with a fairly heavy touring schedule throughout, clearly took it's toll on the band and, as a result, Black Veil Brides have had a fairly quiet few years recently. This is set to change this year however as, last week, the band released their first album for four years - simply titled Vale. For this album, the band have hooked up once again with producer John Feldmann. Feldmann produced Wretched and Divine, so it is perhaps unsurprising that this new album contains many similarities to 2013's concept offering. The lyrics throughout Vale seem to reference the concept of Wretched and Divine at times and the lush sound, complete with plenty of orchestration, definitely borrows from the former's grandeur. That being said however, this album is much more concise than Wretched and Divine, showing that the sound forged on the band's self-titled album is here to stay to some extent. In many ways, Vale feels like a combination of the last two Black Veil Brides albums, but with some influences from frontman Andy Biersack's pop-centric side project Andy Black.

After the extremely short spoken word intro Incipiens Ad Finem, the album proper gets underway with The Last One - a catchy number that sets the tone for what is to come. Despite opening with some sombre piano melodies, which soon see clean guitar and slow drumming added to the mix, it is not long before a big guitar lead, courtesy of Jake Pitts, comes crashing in and establishes the song as a strong mid-paced rocker. Ashley Purdy's bass guitar features prominently throughout as he drives the song with his thick, pulsing playing; all while the band's two guitarists lay down simple, but crunchy, riffs. Biersack has such an instantly recognisable voice, and his commanding delivery really helps the song to stick. The chorus in particular showcases this, with his poppy vocal melodies sitting perfectly atop the band's tight metal riffing. Black Veil Brides, and lead guitarist Pitts in particular, have never been afraid to show off their musical abilities and this song is no different with a short shredded solo towards the end that helps to inject a little flair. Lead single Wake Up is an anthemic piece that revolves around a percussive motif, led by Christian Coma's drumming, which features a wordless vocal call-to-arms from Biersack that then forms part of the song's chorus. Musically this is typical Black Veil Brides, with crunchy guitar riffs providing a strong backbone which allows the theatrical Biersack to shine. Pitts, along with rhythm guitarist (and occasional violinist) Jinxx, own the song's mid-section however with a fantastic dual-guitar solo that is far more accomplished than what is usually heard on your average modern commercial metal album. When They Call My Name is a bit slower, and takes on a slightly ballad-y vibe in places with the piano and orchestrations playing a bigger part in the overall sound. The song does grow in stature as it moves forward, with the traditional metal instrumentation starting to gain more dominance. The chorus here contains another wordless vocal section, which is something that the band seem to fall back on a lot throughout Vale. These sections are often memorable, but when the trope resurfaces in several of the song here it soon looses it's appeal. This song even fades out with that wordless refrain, and this is something I would like to see the band do less of in the future.

The Outsider, which has been floating around online for quite a while now, is a really strong mid-paced effort that is one of the album's best moments. The song's sound takes me back to the glam metal-influenced sound found on Set the World on Fire (which is still my favourite Black Veil Brides album), and features a stadium-sized chorus to match! Pitts and Jinxx's riffs create a strong groove throughout the song, and the tougher overall feel really helps it to stand out from the crowd. Another excellent solo from Pitts adds to this, but it is the anthemic chorus where the song really shines - and it is one that will be in your head for days after hearing it. Dead Man Walking (Overture II) is a fairly lengthy song that runs in at over eight minutes. It is the band's longest song to date, and is not a bad first effort at a 'long' song. Heavier sections mix well with gentler, more emotional pieces to create a diverse sound. The long chorus is another strong moment with some really urgent-sounding vocal melodies - but the ending chorus section which repeat the phrase 'dead man walking' over and over feels clumsy and does spoil the effect somewhat. Despite this there is still plenty to enjoy here, including another excellent guitar solo (that actually has time to build and really 'go somewhere' this time) and a gorgeous symphonic closing section that references melodies from some of the album's other songs. Our Destiny is a more traditional Black Veil Brides rocker, but again it relies heavily on some wordless vocal melodies which do not really add all that much to the song. Elsewhere however the song shines - especially during the verses which are led by a great tripwire guitar riff, which is perfectly matched by Coma behind his drum kit and augmented by some excellent orchestral stabs. It also contains a strong chorus which, despite some rather overly earnest lyrics (another of the band's occasional pitfalls), is memorable. The King of Pain opens slowly, with some atmospheric clean guitars and keyboards, and soon moves down a slightly more poppy route than is usual for the band. During Black Veil Brides' downtime, Biersack released a pop-influenced solo album under the name Andy Black - and this song definitely sounds like some of the DNA from that project has been injected into it. The heavier guitars are still present, especially during the chorus, but overall this song just feels lighter with more overtly poppy melodies. This is no bad thing however, and adds another string to the band's bow while helping the album to feel more diverse.

My Vow is a short, punchy number that recalls the band's early sound with a driving guitar riff and a slightly punky attitude. Gang vocals are employed during the choruses, along with more wordless vocals (which actually quite work well this time), which really help the song to hit hard during it's short duration. Those who have been lamenting the more in-your-face sound that the band had on their first two albums will love this song, as it contains some of that youthful exuberance and strutting sensibilities. Ballad of the Lonely Hearts is, unsurprisingly, somewhat slower than much of what is found throughout the rest of the album. It is still not a pure ballad however, with plenty of riffing and dual-lead guitar melodies, but it is one that relies more heavily on the orchestral backing to create a strong atmosphere. Despite some good efforts however, I feel that this is one of the album's weaker moments. The chorus is, in my opinion, quite trite and lacks the razor sharp melodies that the band has built their career on. Luckily Throw the First Stone helps to get the album back on track with a real sledgehammer of a riff that is packed with real groove, that soon gives way to a bass-heavy verse which features lots of tricky drumming from Coma. The groovy riff from the song's intro resurfaces throughout, often accompanies by some rather menacing spoken word whispers that sound like something Machine Head or Fear Factory might have come up with in the late 1990s. It sounds slightly strange to hear Black Veil Brides doing it, but it works quite well and does not sound as forced as it could have. Vale (This is Where it Ends) is the album's closing number, and is another pseudo-ballad that opens up with delicate acoustic guitar melodies and a strong orchestral backing which creates a strong atmosphere. As with When They Call My Name, the song does build up somewhat as it moves along with crunchy guitar rhythms and drums being added into the mix, but at it's heart this is a gentle song that ends the album on a calm and reflective note. Overall, Vale is another strong outing from Black Veil Brides and one that sees them further the more mature sound they have been developing since 2013. While the band's newer work lacks the pure excitement of their earlier albums, the Black Veil Brides of 2018 is a band with more experience and one that shows more finesse when it comes to songwriting.

The album was released on 12th January 2018 via Lava/Universal Republic Records. Below is the band's promotional video for Wake Up.

Music of 2017 - Part 2

As promised yesterday, when I started my round of the 2017 musical year, today I will detail my favourite albums that have been released this year. Nearly every music blog attempts to do something like this each year, and it is a good way to look back at all the great music I have enjoyed over the past year. As always, writing this list has not been easy. 2017, each year before it, has been packed full of great new albums and there are plenty of albums that could have easily been included here but just missed the cut. Ask me on another day and this list might look different, but I feel I have picked the ten albums that have most defined my intake of new music throughout 2017. As always, only studio albums of new original material are eligible to be included. EPs, live albums, compilations, covers albums etc. are not in contention here so the below ten albums contain some of my very favourite new music of the year.

10) Aaron Buchanan and the Cult Classics - The Man With Stars on his Knees
Former Heaven's Basement frontman Aaron Buchanan returned to the rock world after a fairly quiet couple of years with a new backing band, which includes his guitar-wielding sister Laurie, and a new album packed full of new anthems. While some of the songs are similar to the sound he helped forge on Heaven's Basement's excellent 2013 release Filthy Empire, there are plenty of other flavours here too including plenty of early 1990s grunge and even some theatrical pomp. This is a hard-hitting album that is tied together by Buchanan's excellent and expressive vocal performance.
Listen to: Dancin' Down Below, The Devil That Needs You & Morals?

9) Firewind - Immortals
Firewind returned in January with their first album in five years and their first effort with German powerhouse vocalist Henning Basse. Founding member and guitarist Gus G.'s time away from the band focusing on his solo career clearly gave him new drive when writing the songs for this album, and the result is a heavy, yet melodic, collection of songs that could well the band's best effort yet. Firewind's brand of power metal has always been tougher than that of their peers', and this is clear here as each song is driven by one of G.'s knockout riffs and backed up by an earth-shaking vocal performance. While G. has done plenty of good work outside of Firewind over the years, the Greek power metal band is his true home and it is where he has always demonstrated his talents the clearest.
Listen to: Ode to Leonidas, Back on the Throne & Lady of 1000 Sorrows

8) Black Star Riders - Heavy Fire
Another album from the early part of the year, Heavy Fire sees Black Star Riders further establish themselves as one of the very best classic rock revival bands of recent years. This is another collection of no-nonsense hard rock with few frills, and similar in style to their previous two releases, but I feel this is the album which has finally allowed them to step out from the shadow of their previous band Thin Lizzy and stand up firmly on their own. From the air raid siren that accompanies the title track's muscular riff, past the twin-guitar laid back groove of Dancing with the Wrong Girl, to the soulful blues stomp of Ticket to Ride, this is an album which oozes classic rock class from start to finish.
Listen to: Dancing with the Wrong Girl, Testify or Say Goodbye & Ticket to Ride

7) Iced Earth - Incorruptible
Iced Earth are an extremely consistent band, so it should be no surprise that their latest effort Incorruptible is included here. Jon Schaffer is one of the best rhythm guitarists and riff writers in the world, and his distinct guitar style has dominated the band since their late 1980s genesis. There are plenty more great riffs to be found here, and frontman Stu Block - on his third album with the band - turns in a dynamic and powerful vocal performance throughout which helps to bring Schaffer's compositions to life. New lead guitarist Jake Dreyer also impresses throughout, and has contributed many of the band's most memorable leads and solos in recent years to the songs here. This is an album that continues to the band's impressive run of albums and reaffirms their place in the metal world.
Listen to: Black Flag, Seven Headed Whore & Clear the Way (December 13th, 1862)

6) Anathema - The Optimist
The Optimist feels like the album that the Liverpudlian six-piece Anathema have been working towards since their rebirth in 2010 with the critically acclaimed We're Here Because We're Here. The band's usual mix of trippy rockers and atmospheric ballads has been merged with a distinct experimental electronic vibe in places which has been used to great effect throughout. The vocal interplay of Vincent Cavanagh and Lee Douglas is still what makes Anathema such a captivating listen, but the subtle musical additions throughout have made this a stand-out album in their discography and feels like the culmination of their recent sound evolution.
Listen to: Leaving it Behind, Springfield & Back to the Start

5) Trivium - The Sin and the Sentence
Trivium prove that they are one of the best modern mainstream metal bands in the world with their eight album The Sin and the Sentence. With a fantastic new drummer in Alex Bent in tow, Trivium reacquainted themselves with their heavier selves here which has resulted in a technical, heavy, yet melodic, album that contains some of the band's best songs in years. Matt Heafy has never sounded better vocally. He largely sticks to clean singing throughout, but is not averse to unleashing some gut-wrenching screams when the moment calls for it. In many ways The Sin and the Sentence feels like the ultimate Trivium album, and one that contains the best elements of all their previous albums all wrapped up in a devastatingly heavy production.
Listen to: Beyond Oblivion, Betrayer & The Revanchist

4) Styx - The Mission
Each year throws up surprises, and Styx's sixteenth album The Mission was certainly one of 2017's greatest unexpected releases. A new Styx album was certainly not something I was ever expecting, with the band seemingly content to rest on past glories, but The Mission is a real return to form from one of the best pomp rock bands out there and one that recalls their late 1970s greatness. The melodic songwriting that helped make the band so popular has never sounded so fresh, all wrapped up in the glorious vocal harmonies of Tommy Shaw and Lawrence Gowan. What I really love about this album though is it feels as if it was recorded in 1978. The retro-sounding Hammond organ that appears throughout is very evocative of that era, and the spacey lyrics that fuel the album's tight concept feel like something from a bygone era.
Listen to: Hundred Million Miles from Home, Radio Silence & The Outpost

3) Brother Firetribe - Sunbound
There has been plenty of excellent AOR albums released this year, but the best of the bunch for me was Finland's Brother Firetribe and their fourth album Sunbound. While the band clearly write their songs in the style of and as a tribute to their 1980s heroes, they are so well written and produced that it does not matter that this is pure pastiche. The feel-good melodies and lyrics that made AOR such a force to be reckoned with in the 1980s. Sunbound is an album that just unashamedly wants to have a good time, and the band (for some of whom Brother Firetribe is a side project) clearly enjoy letting their hair down and remembering a simple time when a big chorus was all you needed.
Listen to: Taste of a Champion, Give me Tonight & Big City Dream

2) Mostly Autumn - Sight of Day
Regular readers of this blog will know that the York-based progressive rock band Mostly Autumn are one of my very favourite bands so it will surprise no-one that Sight of Day has been included here. While I feel that their previous effort, the dark concept album Dressed in Voices, is a better album overall; this new effort contains some absolutely stunning stand out songs that are up their with the best things they have ever one. Founding member and guitarist Bryan Josh continues to improve as a songwriter, and choice contributions from Olivia Sparnenn-Josh, Iain Jennings, and the returning Chris Johnson help to make Sight of Day an album packed full of variety and tonnes of heart. The album is worth hearing for the title track alone, which is quite possibly the band's best song to date and contains everything that has ever made Mostly Autumn great packed into a 14 minute epic that questions the very concept of life.
Listen to: Sight of Day, Changing Lives & Tomorrow Dies

1) Threshold - Legends of the Shires
The return of vocalist Glynn Morgan to the band after more than twenty years away, and the re-embracing of the band's progressive metal roots, has really rejuvenated Threshold and allowed Karl Groom and Richard West to write a soaring concept album full of the band's trademark melodies with plenty of twists and turns taking place along the way. This is a long album, but one that never gets boring and only improves over time. Morgan's vocal performance is excellent, and the soundscapes created by West's diverse keyboard textures are a perfect bed for him - and Groom's guitar solos - to lie on. While this is not as overtly catchy as the band's last few albums, I feel that this one will have more staying power going forward. This is packed with true class, and shows that Threshold should be held in as high a regard as bands like Dream Theater and Fates Warning.
Listen to: Small Dark Lines, Stars and Satellites & Lost in Translation

Well there you have it, my favourite albums of 2017! There are so many that could have been included, and there were some albums that I felt bad about having to miss out. Album's like Battle Beast's furious Bringer of Pain, DragonForce's Reaching into Infinity, and Kreator's Gods of Violence could have easily been included here, and that just goes to show what a wealth of riches 2017 has provided. Over the last few years I have also detailed my favourite gigs of the year, something which I will also do now. Last year I decided to pick my top 3 'big' and 'small' gigs of the year - as arena shows are really hard to compare against small club nights out - so this is something I have decided to do again. I have been to so many great gigs this year, so picking my favourites was just as hard as it was picking my favourite albums!

Top 3 'Big' Gigs of 2017:

3) Guns N' Roses, London Stadium, 17/06/2017
Axl Rose's reunion with Slash and Duff McKagan was one of the biggest musical events of the past few years, and the lengthy world tour that followed was always going to be something special. The London Stadium was the host of the band's two London shows, and I attended the second night with thousands of other people from across the country. The setlist spanned the band's entire history, and saw Rose and Slash really strutting their stuff and showing why they are such a loved duo. The show lasted for the best part of three hours, and included all of the band's best-known hits as well as a glut of deep cuts and lesser-known numbers. The actual show was one of the best I have seen, but I was quite far back from the stage which is why it has dropped down this list somewhat.

2) Kiss, Barclaycard Arena, 28/05/2017
Kiss were one of the first bands that I discovered on my own, and I had been wanting to see them for over ten years. The opportunity finally came earlier this year, and a night in Birmingham found the veteran glam band on top form as they stormed through a set that contained most of their greatest hits alongside a handful of deeper cuts. A Kiss concert is a true show however, and they had the stage show to back up their legendary reputation. There were pyrotechnics aplenty, and the moment which saw Paul Stanley fly out over the crowd to a small stage near the back to belt out a powerful rendition of the latter day Kiss classic Psycho Circus is the part of the show which really stands out

1) Marillion, Royal Albert Hall, 13/10/2017
While not as 'big' as the previous two shows in this list, the Albert Hall is still a large place and the show that Marillion put on inside the hallowed hall certainly made this a night to remember. The first part of the show included the entirety of their latest album Fuck Everyone and Run, before the second part saw the band joined by some classic musicians for a set of some of their greatest songs. The atmosphere within the sold out Albert Hall was something very special indeed, and being seated so close to the stage made everything even better. This seemed like it was a defining night for the band, often so cruelly dismissed and ridiculed by the mainstream, and this felt like vindication after so many years in the wilderness. This is one of the very best shows I have ever been to, and one that will stick in my memory for many years to come.

Top 3 'Small' Gigs of 2017:

3) Eclipse, Thekla, 23/04/2017
Sweden's Eclipse had never been a huge favourite of mine, but I am glad I took this opportunity to see them on their latest UK tour as it made me a real fan! The venue was surprisingly busy throughout the night, and the band played melodic anthem after melodic anthem that the crowd just lapped up. Erik Mårtensson is a great songwriter and frontman, and he really owned the stage all night as he belted out those soaring stadium-sized choruses. They made a new fan for life with this performance, and I cannot wait for them to come back!

2) Tyketto, Thekla, 28/01/2017
Tyketto are a special band, and a packed Thekla proved that they are still a draw here in the UK. Danny Vaughn is another excellent frontman and led the band through a lengthy career-spanning set that saw plenty of singing from the big crowd. New(ish) guitarist Chris Green often stole the show however. He played the old songs perfectly, and really cut loose when performing the songs that he co-wrote with the band for their latest album Shine. Tyketto are a band that never really got the credit and recognition that they deserve, which is sad, but there are still clearly plenty of us fans around and I am sure they will be back soon.

1) Mostly Autumn, The Assembly, 16/09/2017
A Mostly Autumn show in The Assembly in Leamington Spa has become an annual tradition now, and one that usually sees the band performing an extended set packed with fan favourites. The show this year opened with a full performance of one of my favourite new releases of the year Sight of Day, before undertaking a second set that included many of the band's best loved older numbers. This was another show that was pushing three hours, and was easily the best of the three Mostly Autumn shows that I saw in 2017. Mostly Autumn shows are always special occasions, but this one felt like of the best of theirs that I have seen, and I am already excited for the next time!