Michael Schenker Fest's 'Resurrection' - Album Review

German guitar wizard Michael Schenker, who made his name as a member of the Scorpions and then of UFO in the 1970s before starting an ongoing solo career in 1979, is one of the most influential guitar players in the hard rock and metal worlds. While he might not quite be the household name that his peers Jimmy Page and Ritchie Blackmore are, Schenker's fluid and melodic style influenced countless guitar players that followed in his footsteps. Despite a few brief reunions with UFO throughout the 1990s and early 2000s, Schenker's main creative outlet since leaving UFO originally in 1978 has been his own band - often called the Michael Schenker Group. The band's self-titled debut album from 1980 established the 'MSG' sound - melodic hard rock with Schenker's instantly-recognisable guitar solos - and little has changed since. Many people have come and gone from MSG over the years, and Schenker has battled his fair share of addiction issues along the way, often leaving the band in a fairly low place. In recent years however, Schenker has cleaned up and has been playing as well as he ever has. As well as releasing new material, Schenker has also been celebrating his entire career on tour recently under the name Michael Schenker's Temple of Rock - with setlists featuring plenty of MSG songs as well as Scorpions and UFO classics. In 2016 however, Schenker announced a few shows under the name of Michael Schenker Fest which would feature many of his former MSG collaborates, allowing him to play many of those old MSG songs with the original musicians and singers that were featured on the original albums. Joining Schenker were three singers: Gary Barden, the original MSG singer who featured on the classic One Night at Budokan live album; former Rainbow frontman Graham Bonnet who briefly fronted MSG in 1982 and performed on the underappreciated Assault Attack album; and Robin McAuley who was an MSG member during the late 1980s and early 1990s. Having these three singers back on stage with him, Schenker was able to play some of his best-known songs as they originally sounded, and the successful first few shows led to a large European tour being undertaken in 2017, followed by American shows this year. Joining Schenker and the singers were more former MSG members: bassist Chris Glen; drummer Ted McKenna; and multi-instrumentalist Steve Mann - all of whom have had various stints with Schenker over the years. The success of the shows led to calls for new material, and the debut Michael Schenker Fest album Resurrection was released earlier this month on the giant metal label Nuclear Blast. Resurrection, produced by long-time collaborater Michael Voss and featuring a fourth singer in the form of Temple of Rock frontman Doogie White, feels like an MSG history lesson. There are songs here that suit all of the key eras of the MSG sound, performed by those who helped to originally create that sound.

The album opens with the upbeat hard rocker Heart and Soul, which sounds like something straight out of the late 1980s. McKenna's double bass drumming drives the song, which is filled with chugging guitar and bass riffs and a subtle keyboard backing. McAuley takes the lead here vocally, and makes great use of his smooth voice to carry virtually all of the melodies throughout while the other instruments play their simple patterns. The first of many guitar solo sections on the album sees Schenker duelling with Kirk Hammett (Exodus; Metallica) for an explosive display of metal shredding. Hammett has gone on record previously stating how much of an influence Schenker was on his playing, so it is great to hear the two trading licks here. While most of the songs here feature one of the four lead vocalists, there are two that feature all four. The first of these is the lead single Warrior, which opens calmly with some clean guitar melodies and Barden's slightly hoarse, but still melodic, voice. It is not long however before the song turns into a rhythmic mid-paced rocker with a slow drum beat and a great neo-classical guitar riff from the man himself. The four vocalists trade vocalists throughout, with Mann's keyboards providing a subtle, but grand backing. It also contains the first really biting chorus of the album, with the entire band providing gang vocals throughout in between Bonnet's typically powerful delivery of the lyrics. The first real highlight of the album for me however is the White-fronted Take Me to the Church, a powerful mid-paced rocker that features a majestic vocal performance from the former Rainbow frontman. The strong use of keyboards throughout makes this the most dynamic song on the album so far, with Mann's organ often enveloping everything while Schenker and Glen provide the crunching rhythms. Those familiar with White's work with Rainbow in the 1990s will instantly be drawn to this song, as the powerful chorus really soars with White at the helm, and the guitar solo from Schenker is a real feast of fluid, melodic phrasing. Night Moods sees Bonnet taking his first solo lead vocal of the album, and the bluesy AOR piece is a fun song packed with muscular riffing and hard-hitting drumming. The main meat of the song is fairly heavy, with the guitars driving everything in the form of a dirty riff, but the chorus takes on a slightly poppier feel with clean guitar arpeggios and a more overt use of keyboards. Bonnet's foghorn of a voice suits the song however, and his powerful delivery suits the heavier feel here.

The Girl with the Stars in her Eyes gives another chance for White to shine, but this time with a slightly faster piece with driving, chopping riffing and a big AOR-esque chorus. The mixture of heavier verses and more melodic choruses makes the song feel similar to the previous one, but this song feels much stronger with one of the album's best choruses and a great performance from Mann who contributes a big keyboard riff. Schenker's solo is great too, and features his signature somewhat neo-classical style perfectly with many of the type of licks that made him so revered throughout the 1970s and 1980s. Everest, another Bonnet-fronted song, is one of the least-remarkable moments on the album. After a pretty strong run of songs from the beginning of the album up until this point, Everest sadly just never really takes hold. The main guitar riffing throughout the verses is great, but sadly it is very low in the mix which limits its impact. This is obviously allow Bonnet to shine vocally, but the melodies just do not grab hold as they should. The lack of a real chorus does not help, and overall the song just falls flat. Messin' Around gets everything back on track however, and introduces Barden to the project properly for the first time. As might be expected, this is a fairly upbeat and raw rocker which definitely sounds like it could have appeared on one of those early MSG albums from the 1980s. The guitar work is bluesy and packed full of attitude, and Mann's subtle piano backing helps to add some groove throughout. The chorus is simple and satisfying in the way that many great AC/DC choruses are, and I can imagine this song working really well in the live setting with a crowd really getting behind the simple chorus melodies. Out of all of the songs on the album, it is this one that probably feels closest to that old classic MSG style. While Barden's voice is somewhat hoarse these days, he still maintains most of the power of old. His voice always worked well with Schenker's guitar, and it is great to hear them having fun on this track.

Time Knows When It's Time is another McAuley number, which sounds remarkably similar to the album's opening piece with a driving double bass drum pattern and simple melodies and instrumentation throughout. I have to say that I am somewhat disappointed that McAuley and Schenker did not put their heads together and pen a great AOR track for this project. The McAuley Schenker Group (as the band was style at the time) albums were perfect for the late 1980s and were packed with soaring choruses and synths. I do not believe this pseudo-metal style makes the best use of McAuley's smooth vocals and it would have been great to hear something from the pair more akin to their 1980s output. Anchors Away is the final White lead. Interestingly he fronts three songs here, while the three classic MSG frontmen only get two songs each. White has been Schenker's most recent songwriting partner however, so their partnership may be naturally more fruitful currently than Schenker's relationships with the others. That being said, this is probably the weakest of the three White-penned songs, as it packs the power of the previous two excellent efforts. It is still an enjoyable number however, with lots of great retro-sounding organ throughout and some strange, choppy guitar riffing. The chorus is serviceable, but nothing like the memorable feasts elsewhere on the album. It seems to be a rule that Schenker's albums must have an instrumental piece, and Salvation ticks that box here. It is fairly typical of Schenker's other instrumental pieces, with plenty of room for him to lay down some fluid licks, but the shuffling drum beat from McKenna helps to create a strong vibe throughout. Livin' a Life Worth Livin' is Barden's second moment to shine, and again it sounds like something that could have been on MSG's self-titled debut album from 1980. It is somewhat bluesy, with lots more retro keyboard sounds, but is driven by Barden's excellent vocal performance and is all capped off by one of my favourite guitar solos on the album. Schenker is not one to shred too often, and this is a perfect example of his more melodic style. His phrasing is instantly recognisable, and has been imitated so often throughout rock music ever since. The album comes to a close with The Last Supper which, like Warrior, features all four vocalists sharing the lines. It is structurally quite similar too, with a clean intro leading into a more powerful rock body. This one is a bit more upbeat however, with some truly excellent melodies throughout, with Bonnet often shining the strongest with his AOR-influenced chorus section. While better songs exist elsewhere in the album, this is a great closing piece as it brings the best out of everyone involved in the project and allows everyone a chance to shine. Overall, Resurrection is a strong new album from Schenker and his band of collaborators. It is great to see that so many egos have been put to one side here to allow for the creation of this collection of songs which, a couple of weaker moments aside, is a strong reminder of why Schenker has been held in such high regard for so long.

The album was released on 2nd March 2018 via Nuclear Blast Records. Below is the band's promotional video for Warrior.

Shiraz Lane's 'Carnival Days' - Album Review

Previously on this blog I have mused about the amount of quality hair/sleaze metal that is currently coming out of Scandinavia. Despite the fact that the vast majority of the big glam metal acts from the 1980s came from America, over the past decade or so Finland and Sweden have ushered forward a new generation of bands that are willing to tease their hair, don their cowboy boots, and follow in the footsteps of Mötley Crüe and Poison. Of course it cannot be forgotten that one of the forerunners of the glam metal genre Hanoi Rocks hailed from Finland, but this anomaly aside Scandinavia had very little to do with one of the most hedonistic periods in rock history. The Scandinavian hair metal revival is quite remarkable however, with bands like Reckless Love, Crashdïet, and Santa Cruz putting out albums that put a fresh take on a genre that many thought was dead. It seems that there is still a market for good time party anthems, and these bands have filled the void. Finland's Shiraz Lane are another such band, although one who are less established than the others previously mentioned. The five piece have been around since 2011, but only released their debut album, For Crying Out Loud, two years ago after signing to Italian melodic rock record label Frontiers Records. What makes Shiraz Lane stand out however is their heavier sound, that makes use of a much bluesier tone than many of their Scandinavian peers. Shiraz Lane are not a glittery band that pack their songs with poppy choruses, but instead have headed down a tougher road with plenty of swagger. In some respects they remind me of some of the long-forgotten gems of the late 1980s hair metal scene, namely Rock City Angels and Salty Dog, with their bluesy riffs and heavier vibe. For Crying Out Loud showcased this well, and was dripping with classic blue traits all wrapped up in a dirty hard rock sound. Tropes from the hair metal songbook, including high-pitched vocals and gang-vocal choruses, were also present which helped Shiraz Lane's music to be catchy as well as brooding. Two years on from For Crying Out Loud the band are back with their new album Carnival Days, which is a collection of songs that builds on the ones that came before. While the raw edge from For Crying Out Loud has gone somewhat, it has been replaced by a more modern, heavier sound. Thankfully however, this has been done much more successfully than on Santa Cruz's 2015 self-titled album. That was a misstep nu-metal/glam hybrid that fell a bit flat, but this is a powerful album of modern sleazy hard rock that has enough of the blues to make it swagger, but enough of a metal edge to make it really pack a punch. The lack of a rawer edge has not sterilised the band in any way, but in my opinion has really improved their overall sound. There is a good balance of influences here, and th eleven songs contained within present the band in a varied and powerful light.

The album opens with the title track, which is a rollicking hard rocker complete with soaring saxophone leads and a bluesy piano backing. This is far from the traditional sleaze metal sound, with a slightly smokey, jazzy verses complete with wah-drenched guitar leads from Jani Laine (not to be confused with the late former Warrant frontman). This is a departure from the jaunty intro, but the song really gets going with the stadium-sized chorus which is filled out nicely by the additions of the saxophone and piano. At it's heart however, this is still a strong rocker in the 1980s style, with plenty of big vocal harmonies and a short, but soaring, guitar solo. The Crown is a heavier piece, and one that sounds more like the songs the band wrote for their debut album. Based around a big riff from rhythm guitarist Miki Kalske, the hits hard from the outset and rocks like a modern Mötley Crüe number - but with a slightly poppier chorus. It is the chorus that really defines this song, and sees frontman Hannes Kett unleashing some of his trademark high-pitched vocals. I felt that he overused this technique throughout the first album, but he has reigned it in here and only uses it at choice instances for strong effect. Lead single Harder to Breathe is another hard-hitting song with some strange effects-heavy vocal during the intro and a very rhythmic verse led by Joel Alex's bass. Despite the meaty, modern overtones, the chorus is still a real throwback to the 1980s with some huge melodies that contrast well with the tough metal riffing. This is a song that really sums up the sound that Shiraz Lane are trying to present throughout Carnival Days, and shows the successful mix of classic 1980s hard rock elements with a more modern sound perfectly. Tidal Wave has a bit of a different sound to anything else here, as the main melody hooks here are augmented by some synths for a slightly strange sound. The guitars still form the basis of the song, but some rather prominent electronics drag this one out the 1980s. This gives the song an overall quite dancey feel, with lots of strong bass work from Alex throughout. This definitely feels like a big of an experiment from the band, and is a far cry from the dirty blues of their debut album. They just about pull it off however, and it makes for an interesting song. Gotta Be Real is the album's first ballad, and the saxophone from the first song (played by session man Samuel Muntlin), returns too add some bluesy goodness throughout. The verses are fairly laid back, with the two guitarists strumming a gentle chord sequence atop a punchy rhythm, while the chorus ramps things up a little with soaring saxophone melodies and plenty of harmony vocals. It never becomes a heavy track however, and stays in ballad territory despite having quite a big, full sound. For me this is one of the album's standout pieces, as it makes good use of influences outside of the band's norm to create something familiar, but different at the same time. People Like Us is another strong rocker, which again features some driving piano throughout for that bluesy feel. Despite the upbeat nature of the song, it never feels in your face. It manages to remain fairly laid back despite everything, which gives it a strong summery feel. Laine lays down a great guitar solo here too, which really allows him to show off his skills as a musician.

Shangri-La is another fairly laid back piece, which again could be categorised as a ballad. It is probably the least Shriaz Lane-sounding song on the album, and instead sounds like a modern pop ballad with a little more of an edge. If it was not for the occasional soaring bluesy guitar lead you would be forgiven for thinking this was the latest chart favourite's new accessible ballad. Despite this, it is not a bad song and still manages to be memorable with a decent chorus. It does built up somewhat towards the end when a more traditional rock riff is introduced which leads into a short guitar solo. This reminds you that this is indeed a rock band playing this song, rather than some new country pop star! Luckily War of Mine brings the rock back to the album with some strident riffing and another excellent chorus with some great vocals from Kett. During my first listen to this album, this song was one of the ones that really stood out from the beginning. The chorus is one of the most instantly memorable here, and it remains a favourite of mine now. Musically this is a fairly basic song and it does not contain any major standout riffs or solos, but everything hangs well together to create a simple but melodically strong song that is sure to go down well live. Shot of Life features one of my favourite riffs on the album, which sounds like a country rock melody played through an 1980s metal filter. While this sounds like it should not work, it does and it forms the basis for another strong song. The chorus sees Kett once again unleashing some of his smooth high-pitched vocals, as well as some anthemic gang vocals in parts, while the verses build on the slightly quirky rhythms created by the aforementioned main riff. It also contains one of the lengthier guitar solos on the album, and it is really impressive. Laine starts off slowly, playing through a few wah-heavy licks, before really speeding up to a shredded conclusion. Hope is the last ballad of the album, with plenty of acoustic guitar chords and subtle bluesy leads thrown in fairly often for colour. Out of all three of the ballads here, this is probably my favourite as it feels like something that could have been released in the 1980s without any of the modern pop trappings that the others have. The chorus really feels like something that would go down well live, as the natural swing that is injected into it by drummer Ana Willman would help create some gentle movement in the crowd while everyone sang along. Laine's guitar solo is packed full of bluesy goodness too, and is perfect for this song. The album comes to a close with the seven minute-plus Reincarnation which starts out slowly with some gentle guitar moods before expanding into a fairly laid back piece that has a great organic sound throughout with some subtle organ textures and layers of different guitars. Shiraz Lane have not really written a song like this before, and the mature sounds throughout this piece really shines through. There are heavier moments throughout, which sound more akin to the band's usual sound, and these contrast really well with the more singer-songwriter esque parts elsewhere. This is a varied song that rounds out the album really well and shows a new side to the band. Overall, Carnival Days is a strong second album from the Finnish band and one that sees them branch out from their debut album. While some may be disappointed at the loss of the rawness here, the songwriting throughout is varied and offers a lot to a listener who is willing to give the album some dedicated listening.

The album was released on 23rd February 2018 via Frontiers Records. Below is the band's promotional video for Harder to Breathe.

Dukes of the Orient's 'Dukes of the Orient' - Album Review

In the context of 'albums that have been in development for a long time', the debut album from 'new' melodic rock duo Dukes of the Orient certainly ranks quite highly. In 2006 the original line-up of British progressive rock supergroup Asia reunited, which saw longtime frontman and bassist John Payne sidelined in favour of the returning, and now sadly departed, John Wetton. Payne, who had been a part of Asia since 1991, managed to retain a portion of the rights to the 'Asia' name due to his long-standing membership of the group and has been touring under the 'Asia featuring John Payne' moniker ever since. Despite mostly playing old Asia songs on tour, there had been talk from Payne about the group recording a new album. A single, Seasons Will Change, was released in 2012 but no more new material ever saw the light of day. Progressive rock journeyman session keyboardist Erik Norlander, who had been Payne's main collaborator when it came to putting the new material together, left the group in 2014 and it seemed that any hope of the famed album ever seeing the light of day was gone. This however all changed last year, when Italian melodic rock record label Frontiers Records put out a press release that a new project, called Dukes of the Orient, featuring songs written and performed by Payne and Norlander would release their debut album the following year. Fast forward to February of 2018 and that, self-titled, debut album was released to strong reviews. This is, essentially, the Asia featuring John Payne album that never happened. Payne explained that the change in name was out of respect to Wetton's recent passing, but I think that giving this album it's own identity was a good idea anyway. Soundwise however, this album is very similar to Asia - and Payne's era with the band in particular. The dense, melodic songwriting style that characterised his fifteen year stint with the band is present throughout this album's eight songs, which includes Seasons Will Change, and fans of Asia albums such as 1992's Aqua and 2001's Aura will certainly find a lot to enjoy here. While it is Payne's husky, emotive voice and Norlander's walls of retro keyboards that define Duke of the Orient's sound, the pair have enlisted the help of drummer Jay Schellen (Hurricane; Unruly Child; World Trade; GPS), who also played with Asia featuring John Payne, as well as a handful of guitarists who have been a part of Payne's past. Former Asia member and progressive rock shredded Guthrie Govan (The Aristocrats; Steven Wilson) contributes his skills to one of the songs, while other notable players such as Bruce Bouillet (Racer X; The Scream) and Jeff Kollman (Mogg/Way; Glenn Hughes) add their talents elsewhere. Payne, of course, contributes the bass guitars throughout as well as some additional guitar work.

The album opens with the slow-burning Brother in Arms, which sounds like a lost Asia classic. Schellen's drums form the basis of the song's intro as he crashes around the kit as a contrast to the atmospheric keyboard backing, which acts as a great backing for Payne's vocals. His deep delivery sounds as good here as he ever has, and he manages to inject a huge amount of weight into the song from the outset. Bouillet's guitars are very subtle, adding colourful leads here and there for some variation, because it is the drums and Norlander's keyboards that form the basis of the song. Despite this, a slow guitar solo dominates the song's mid-section, with Bouillet's notes oozing perfectly from the speakers atop a slightly funky bass riff. This leads into a final reprise of the simple chorus, which really allows Payne to demonstrate his vocal talents. Lead single Strange Days, which features a keyboard motif very reminiscent of Fleetwood Mac's Seven Wonders, sees the musicians flexing their muscles a little more, with a stronger hard rock feel throughout. The song is initially very sparse, with keyboards and a pulsing bassline providing the meat of the music, but the chorus sees everyone turn it up a notch with a wall of distorted and a driving drum beat to raise the energy levels. Govan makes his mark on the album with a typically technical guitar solo, which adds some 'prog' to the melodic rock, but not before a gloriously retro-sounding keyboard solo from Norlander which is packed full of synthy goodness. Amor Vincit Omnia (Latin for 'love conquers all') is a bit of a power ballad, with a strong piano-based opening and some excellent emotionally-charged vocals throughout. All of the guitars here are played by Payne, but it is Norlander that shines here with a masterfully varied keyboard display. The piano from the song's intro section never really leaves, but some more pomp-inspired sounds are added throughout (especially during the chorus) to add to the overall drama. All good power ballads should have a sense of drama, and this song certainly has plenty of that - mostly caused by Payne's fantastic vocal display. The song closes on a lengthy piano piece, which leads nicely into Time Waits for No One which, although much more upbeat in tone throughout, also opens with some piano. This is the most driving rock piece on the album up to this point however, with Schellen's energetic drumming providing the song's pulse throughout. The vocals throughout the song are have a slightly haunting quality, with some well-placed effects on Payne's voice causing this, which helps it stand out from the three preceding songs. The higher tempo of this song also helps it to stand out, as what has come before has mostly been fairly relaxed, with only the chorus of Strange Days really having any grit. The smooth sound suits Payne and Norlander's writing style, but higher tempo tracks like this helps to stop the album from becoming repetitive, and it is a welcome change of pace.

A Sorrow's Crown maintains the slightly higher pace, despite opening with some doomy church organ, and sees Payne laying down some crunchy power chord riffs on the guitar while Norlander adds some jaunty 1980s neo-progressive style keyboard leads into the mix. The song is not a 'fast' one throughout however, as the pace is mixed up throughout to keep things interesting. A keyboard solo part way through sees the pace slowing to give the mournful melodies greater effect, but things usually steam along somewhat more urgently while Payne is singing. While not quite as effective as Time Waits for No One for providing some real rock to the proceedings, this is a strong, memorable song. Fourth of July is one of the album's stand out tracks for me, and really brings back memories of Asia's Aqua album, particularly the catchy single Who Will Stop the Rain?. A big keyboard riff dominates the song, and provides the main hook throughout, and Payne's vocal melodies are really well crafted to ensure maximum memorability. If it was not for the song's eight-plus minute length, this would have been a perfect single. The keyboard hook is so strong it lodges in your brain instantly. While the song could have definitely been trimmed down somewhat, as I feel the length of the song is somewhat unnecessary, it is still one of the best songs here. The melodies are pure classic Asia, both from Payne's era and the more classic Wetton-era, and anyone who has ever enjoyed some of Asia's best-known work should enjoy this. Seasons Will Change, the song that effectively launched this album back in 2012, slows things down slightly to more of a deliberate mid-pace, but Kellman and long-time Asia featuring John Payne guitarist Moni Scaria help to toughen it up with some a tight guitar performance throughout. I am not sure if this song has been re-recorded for this album, or whether this version is the original that was first heard six years ago. Either way, this is still another highlight of the album. The strong mid-pace helps the song to really grab the listener, and a commanding vocal display from Payne showcases why he is probably one of the most underrated British singers of all time. It also stands out due to the lengthy, and excellent, guitar solo that is found within. It is not clear whether it is Kellman, Scaria, or a mixture of the two, who contribute this, but it is an excellent technical workout that is still packed full of a lot of melody. The album's closing number, the ten minute-plus Give Another Reason, is truly excellent and rounds the album out in style. It opens with a lengthy acoustic guitar passage, which is soon added too with an emotional guitar solo, but the keyboards soon kick in in a big way to turn the piece into a dense, progressive rock piece that is still packed with melody. The haunting vocals from Time Waits for No One return here, which add an extra dimension throughout, but overall this feels like a song that takes the best of everything else found on this album to create a special finish. Norlander's keyboards in particular are excellent throughout, which lots of great synth textures and sounds which old-school prog fans will really enjoy. Overall, Dukes of the Orient is an excellent display of melodic songwriting from Payne and Norlander, and is a collection of songs that was long overdue. Those missing Asia in any guise should give this a go, but also anyone who likes the melodic progressive rock bands of the 1980s.

The album was released on 23rd February 2018 via Frontiers Records. Below is the band's promotional video for Strange Days.

Angra's 'Ømni' - Album Review

Brazil's Angra have been undergoing somewhat of a resurgence of late. Now well into their third decade as a band since forming back in 1991, the progressive power metal quintet seems to be fired up and inspired like never before. Since recruiting former Rhapsody of Fire frontman Fabio Lione to the band's ranks back in 2012, Angra seem to be operating on another level quite unlike anything seen previously - including during their 1990s heyday when they were fronted by the venerable André Matos. 2015's Secret Garden (which I reviewed here), the first studio outing to showcase this new partnership, show the band willing to branch out and vary their established sound. Guitarist Rafael Bittencourt, who is the only founding member left in Angra's ranks, added to the diversity by revealing himself to be a more-than-competent singer in his own right. His lower voice added some grit to Angra's sound, and contrasted well with Lione's higher-pitched and cleaner tone. While Lione is clearly the band's frontman, Bittencourt's vocal contributions helped to push Angra's sound forward and made parts of Secret Garden sound totally different to anything heard on the band's preceding seven albums. The Angra ship was rocked later in 2015 however when guitarist Kiko Loureiro, who had performed on and co-written every Angra album up to that point, was picked by Dave Mustaine to join Megadeth. Obviously that meant that Loureiro's role in Angra was going to be affected, and he has rarely appeared live with the band since joining Megadeth. While he is still a member of Angra, his involvement with the band's recent activities has been extremely minimal. That includes on the band's ninth album, the newly-released Ømni, their second effort with Lione. While Loureiro has co-written one of the songs here and provided a guitar solo for it, Bittencourt's main guitar partner throughout is Marcelo Barbosa (Almah) who has been filling in for Loureiro live since 2015. He seems to have been made an official member of the band recently however, and has been a big creative force behind the scenes of Ømni and he is credited with co-writing many of the songs on it. Soundwise, Ømni is not hugely different from Secret Garden. The progressive power metal sound, with a few traditional Brazilian elements thrown in for good measure, remains but Ømni just seems to hit home a lot quicker than Secret Garden. Secret Garden was a real grower, but many of the songs on Ømni are packed full of so many great melodies that you are familiar with them after only a few listens. It never seems like you are far from the next big hook while journeying through Ømni, and that is always the sign of a strong album. Bittencourt remains a vocal presence throughout Ømni, but he uses his voice sparingly here letting Lione take the lion's share of the lead vocals. That is a wise move this time around, as the material here is often much better suited to Lione's soaring delivery than Bittencourt's grittier voice.

Forgoing the usual trend to open a power metal album with a symphonic intro, Angra get right down to business with Light of Trancendence. A majestic guitar lead, which echoes Lione's previous band Rhapsody of Fire, opens things up before transitioning into a great dual lead guitar riff atop Bruno Valverde's speedy drumming. While songs elsewhere on the album take more risks and have greater progressive overtones, this is a straight up power metal anthem with fairly simple melodies and bulging guitar leads. A stratospheric chorus allows Lione to show off his impressive vocal range, while pushing triumphant melodies out of the speakers. Sadly the guitar solos are not credited in the album's sleeve notes, but both Bittencourt and Barbosa acquit themselves really well here. A shredding mid-section shows the guitar talent in the band, before a final reprise of the chorus brings the song to a close. Travelers of Time was the first single released from the album a few months ago, and it presents a slightly heavier take on the band's usual sound. A traditional percussive intro gives way to a crunchy riff that forms the basis of the rest of the song. Valverde's drumming is a powerful force here, and his tricky progressive metal beats really add depth to what is otherwise a fairly straight forward song. Another big chorus sees Lione flying, while the verses see him lowering his style to a more gruff bark. Symphonic flourishes involving gothic choirs pop up occasionally to good effect, and a heavy shredded guitar solo atop an almost thrashy drum beat emphasises the song's heavier nature. Bittencourt also takes the lead vocally for a short section towards the end, but Lione then returns for the chorus to perfectly contrast the guitarist's voice. Black Widow's Web is one of my favourites here, and features guest vocals from Alissa White-Gluz (The Agonist; Arch Enemy) and Brazilian pop singer Sandy (who's voice sounds a little like that of former Nightwish frontwoman Anette Olzon). Sandy gets things started with a melancholic intro, before Valverde and bassist Felipe Andreoli create an-almost industrial beat for the verses which sees Lione and White-Gluz trading lines. The latter uses her powerful harsh voice, something not really heard before on an Angra album, which helps to create a really powerful duet. The chorus is more typically Angra however, with soaring melodies that catch on after only a single listen. The mix of heavy and melody is perfect here, and creates a new dynamic for the band. Insania (I wonder if this is about Geoff Tate's brand of wine...) returns to the band's more traditional power metal sound with a rolling drum beat of an intro that soon moves into a quieter verse led by Andreoli's muscular bass tones. Ringing guitar chords add some atmospherics, but on the whole it is the bass that drives things here. That is until the chorus kicks in which makes uses of Lione's soaring vocals once more over a chugging riff. There is less that jumps out here, but the melodies are still strong enough to make this an extremely enjoyable song that ticks all the boxes of what makes a good power metal song.

The Bottom of my Soul sees Bittencourt taking the lead vocally, and he turns in an expressive performance on the pseudo-ballad. The piece starts off acoustically, with jangly guitar chords providing the basic melodies for his breathy vocals. The song does build up, with more metal trappings including big power chords and hard-hitting drums being added in, but the acoustic basis is always present in the mix. This helps the song to feel more relaxed than it is, and effectively makes this the album's first ballad. War Horns is the song that features contributions from Loureiro, and is also the one the band have chosen to film a video for. Overall this is a heavy power metal track with crunchy riffing throughout and a strident drumming performance. It is a song that never really lets up, and the energy is palpable throughout the entire song's length. This includes the soaring chorus, which continues the fast tempos set elsewhere. Lione's urgent vocal wails help to enhance the chorus further, while Loureiro makes his mark on the song with a technical yet fluid guitar solo. It is great to see him adding his talents to this album despite his role as guitarist in Megadeth now taking up so much of his time. Caveman is more of mid-pace piece that has a distinct Dream Theater vibe running through it. The tribal chanting and percussive sections route the song with Angra's homeland, and remind the listener who they are listening to, but quite a few of the riffs sound like something Dream Theater could have written. Lione also sounds a little like an accented James LaBrie at times here, and I wonder if this was a deliberate choice to fit the song's vibe or whether all of the Dream Theater comparisons here are purely coincidental. The chorus in particular has a feeling of the American progressive metal giants, with a strong keyboard lead and AOR-esque vocal melodies - both of which are not in Angra's usual sound bank.

Magic Mirror has a slightly more progressive feel throughout, with a mid-paced tempo that allows the band to do different things. The intro is based around quite technical riffing, but this soon gives way to more of an atmospheric verse that again heavily features Andreoli's bass as a lead instrument. Both Lione and Bittencourt are featured vocally, with the latter adding a few effects-heavy sections to add a slightly spooky feel to compliment Lione's more refined feel. The song picks up the pace somewhat during the guitar solo section, which features plenty of double bass drumming, but soon returns to the more mid-paced feel afterwards for an atmospheric instrumental chug. A piano also makes an appearance to add to the overall atmospherics and adds extra depth to an-already varied piece. The song transitions directly into Always More which is a slower song that also has quite a few ballad traits. Parts of the song have a strong 1980s AOR feel however, which is great for fans of melodic rock like me, and this is not something that Angra have really actively sounded like previously. Bluesy guitar licks mix in well with the atmospheric keyboards, and Lione croons perfectly over the top in a laid back and whimsical way. The chorus picks things up a little, with heavier guitar work and driving symphonic keyboards, but on the whole this song takes on a less-is-more feel. The final moments of the album are taken up with the two-part title track. Ømni - Silence Inside is up first and opens with Middle Eastern-tinged acoustic guitar melodies and strong bass leads before finally exploding into a heavy guitar riff that is augmented with stabs of gothic strings. A wah-heavy guitar solo extends this instrumental intro, before things calm down once more to allow Bittencourt to sing atop some more bluesy guitar lines. Him and Lione share the vocals throughout, with the former singing during the quieter sections and Lione taking off as the song ramps up. The wah-drenched guitar lines from the intro resurface throughout, which creates a slightly haunting sound which permeates through the whole song. The band's heavier sound is also featured heavily here with crunching riffs surfacing often throughout to add some real power to the end of the album. The title track's second part, Ømni - Infinite Nothing, is an instrumental piece that reuses melodies from the first part to create a gorgeous symphonic closing piece that genuinely feels like a piece of classical music. While it might be a bit long for an album outro in truth, it works really well to bring some of the album's melodies together in a different form to round everything out nicely. Overall, Ømni is a real triumph from Angra and it could well be my favourite album from the band yet. Every song here works well for different reasons, and really brings the best out of everyone involved. I hope this album goes on to be a big success for Angra, as this album really deserves to be heard by as many people as possible.

The album was released on 16th February 2018 via earMusic. Below is the band's promotional video for War Horns.

Skid Row/Night Ranger - London Review

Only a couple of weeks had passed since my last trip up to London, but I found myself back in the capital for a double headline show from two great 1980s rock bands. This show was part of a much wider tour headlined by Skid Row, marking their first UK headline shows since officially confirming former DragonForce singer ZP Theart as their new frontman, which took in much of the UK. The London show was special however, as it was also announced that AOR veterans Night Ranger would be performing too. Night Ranger were in the UK playing the HRH AOR festival in Wales on the same weekend, so fitting in another show in London made sense for them. While Night Ranger have played in London a few times over the years, I have never been able to make the logistics work to travel up to see them. I made it work this time however, so took the train up from Plymouth to see them and Skid Row entertain a sold out O2 Shepherd's Bush Empire. Skid Row are worth travelling for in their own right too, and their show at Plymouth's now-demolished White Rabbit back in 2013 will always stick in my brain. I had not had the chance to see the heavy metal act since then however, so was looking forward to catching up with them too, as well as taking in Night Ranger for the first time. The O2 Shepherd's Bush Empire is a decent mid-sized venue, but I have always thought that the stage there is a bit low which makes views from the pit quite poor unless you happen to be very close to the front. In light of this, I opted to stand in one of the little viewing platforms near the bar, which provided a great view of the stage. Sadly the sound mix was often not as good as the view, with portions of the night sounding extremely muddy. I always think this is pretty unforgivable for established professional venues and bands, so it was a real shame that this kept rearing its head.

Bluesy rockers Bad Touch hit the stage not long after the doors opened and treated the growing crowd to half an hour of strong riffs and catchy choruses. Being the first band of a four-band bill is not always easy, but Bad Touch gave a good account of themselves - despite battling the above-mentioned muddy sound at times. I had seen the band a couple of times before, although not a for a few years, but I felt that this was the best showing I had seen from them yet. The presumably newer songs seemed stronger than I ones I remember from the previous gigs, and were packed with lots of excellent bluesy guitar soloing. The band had never really grabbed me previously, but this time I found myself enjoying them a lot more. It seemed that I was not alone in this, and by the time their set ended it seemed that many in the crowd were enjoying themselves. I think I will have to investigate the band further, as many of the songs played here were strong.

Toseland also only had half an hour, but the ever-growing band put on a good show which also seemed to go down well with the crowd. Fronted by former World Superbike champion James Toseland (vocals/keyboards), the band play modern hard rock in the vein of bands like Alter Bridge. Toseland are somewhat more generic than Alter Bridge however, but I still enjoyed their set. Many of the songs are based around simple, cutting riffs but all of them had big stadium choruses that were definitely lapped up by those in attendance. For a couple of songs Toseland was behind his keyboard, which helped to add an extra dimension to the material. Piano always adds depth to songs, so it was good to see things being changed up a little with this addition. I am not sure that I was tempted enough by Toseland's songs to now go out and buy their albums, but their half an hour on stage certainly was not unenjoyable.

Night Ranger were the first of the two headliners to play, and sadly they seemed to suffer the brunt of the poor sound. The first half of their set was extremely muddy, although it did improve as time passed. While this show seemed to be largely an evening of nostalgia from the two headliners, Night Ranger opened their set with Somehow Someway from last year's Don't Let Up. The song is a driving rocker which got the show off to a good start, before going straight into Touch of Madness from 1983's Midnight Madness. Jack Blades' (vocals/bass guitar) vocals were quite high in the mix, which was good, but the guitars sounded very mushy and the keyboards were almost inaudible. The sound hit a real low however with Sing Me Away, which featured Kelly Keagy (vocals/drums) on vocals, as Keagy's vocals were pretty much totally buried in the mix. The reaction from the crowd was quite muted early on, probably due to the poor sound, but things did pick up a bit from Coming of Age onward. The old Damn Yankees song (of which Blades was a part of) got everyone going, before a personal favourite Rumours in the Air was wheeled out. The sound was actually pretty good on this on, and during the following self-titled song which felt big and heavy. The sound mostly seemed strong from this point on, so the second half of the set was definitely the more enjoyable part. Lots of singing from the crowd ensued with a little medley of old Damn Yankees songs, including the epic power ballad High Enough, and Keagy was actually heard this time during Sentimental Street. The real highlight of the night however was a potent version of Don't Tell Me You Love Me, which also included a little snippet of Deep Purple's Highway Star. This song allowed both Brad Gillis (guitar/vocals) and Keri Kelli (guitar/vocals) to shine with some excellent guitar solos, before the high-charting power ballad Sister Christian saw the biggest sing-a-long of the night up to that point. There was time for one more, and (You Can Still) Rock in America proved to be a great closing number. By this point it seemed that most were really into what Night Ranger were doing, and they managed to end a fairly mixed set on a high. If the whole set had sounded as good as the last few numbers this would have been an excellent outing, but as it is it has to go down as a disappointing, but ultimately still enjoyable, hour or so of music. The setlist was:

Somehow Someway
Touch of Madness
Four in the Morning
Sing Me Away
Coming of Age [Damn Yankees cover]
Rumours in the Air
Night Ranger
Sentimental Street
Come Again [Damn Yankees cover]/High Enough [Damn Yankees cover]
Don't Tell Me You Love Me/Highway Star [Deep Purple cover]
Sister Christian
(You Can Still) Rock in America

Luckily for the majority of the crowd, who seemed to be there mainly to see Skid Row, Skid Row's set was largely free of any sound issues. Skid Row were always at the grubby end of their 1980s rock scene, so their loud and in-your-face sound filled the O2 Shepherd's Bush Empire as soon as they hit the stage with Slave to the Grind from their 1991 album of the same name. With exception of a Ramones cover that was played, the rest of the songs in the set were culled from their first two albums. We are the Damned from a recent EP was on the printed setlists but was not played due to the looming curfew, so this really was a trip back to the past with some of the band's best songs. What was immediately clear is how perfect Theart is for Skid Row. His powerful, but controlled, voice allows him to screech the vocals with real venom when it is required of him and tone it down for the ballads. He really shone throughout the night, while original members Dave 'Snake' Sabo (guitars/vocals), Scotti Hill (guitars/vocals), Rachel Bolan (vocals/bass guitar) ground out those timeless riffs and grooves. It was great to hear a few songs played that were not in the Plymouth setlist a few years ago, with Sweet Little Sister and Livin' on a Chain Gang being some of the early standouts. A real highlight was the duo of the punky and sleazy Big Guns being followed up with the pseudo-ballad 18 and Life. These two songs are ones you would always expect to hear at a Skid Row show, but they never fail to impress. Theart in particular shone on the latter, and shows just what an amazing voice he has. Rattlesnake Shake was another one that I had not heard them do live before, before Bolan took the microphone for the aforementioned Ramones cover - a furious take on Psycho Therapy. He mentioned during his spiel prior to the song that this was their fifth sold out show in London in a row. It sees that Skid Row are still as popular as ever over here, and I hope that means it will not be too long before they return. The main set came to an end with the ballad Quicksand Jesus and the heavy, bluesy groove of Monkey Business. The band left the stage to cheers, but it was not long before they were back for a couple more. Another ballad in I Remember You saw plenty more singing from the crowd, but it was Youth Gone Wild that really got everyone going one last time. It is easily the band's best known song, so there was plenty of movement from the big crowd, especially as Theart led them through a bit of a sing-a-long part way through. The band left the stage having made their shorter-than-average set really count, and I am sure everyone walked away happy. The setlist was:

Slave to the Grind
Sweet Little Sister
Piece of Me
Livin' on a Chain Gang
Big Guns
18 and Life
Makin' a Mess
Rattlesnake Shake
Psycho Therapy [Ramones cover]
Quicksand Jesus
Monkey Business
-
I Remember You
Youth Gone Wild

Overall, despite some sound issues throughout, this was still a very enjoyable evening. Night Ranger were still fun despite sounding like mud at times, and Skid Row really impressed once again. It is great to see bands like this still attracting good-sized crowds here in the UK, and I will definitely be trying to catch them again when they return.

The Temperance Movement's 'A Deeper Cut' - Album Review

While not ever really breaking through to the super leagues as it seemed might happen when they released their self-titled debut album back in 2013, The Temperance Movement have still become an extremely popular band. The band's upbeat sound, that forges driving blues rock with Britpop-era indie sensibilities, has managed to draw in fans from various walks of life which certainly accounts for much of their popularity. Despite seeming like veterans of the rock scene due to their heavy touring schedule over the past few years, The Temperance Movement are still a relatively young band that are still establishing themselves and their sound. The self-titled debut album was a great slab of raw blues rock; with riffy driving tracks mixed in with heartfelt ballads for diversity. The next couple of years were spent touring it, with their second album White Bear (which I reviewed here) coming three years later in 2016. Despite containing some good songs, White Bear felt sterile compared to the roaring debut. It is not an album I return to regularly, opting for the debut when I feel like I need a hit of The Temperance Movement's music. It was clear that they were trying to do something a bit different from the debut, which is commendable, but I feel that they did not quite pull it off. More touring, two years, and a couple of line-up changes later the band are back with their third album A Deeper Cut, a really strong collection of songs that returns more to the sound of the debut while still managing to incorporate some of the experimental streak found on White Bear. The line-up changes have made very little difference to the feel of the band, with guitarist Matt White and drummer Simon Lea fitting seamlessly into the groove of The Temperance Movement. White replaced former guitarist Luke Potashnick, who left the band before White Bear was released, and Lea replaced original drummer Damon Wilson later the same year after the latter amicably left the band. White and Lea join original members Phil Campbell, Paul Sayer, and Nick Fyffe; and the five men have worked together really well to craft the songs for A Deeper Cut. It is also worth noting that, as far as chart positions go, this is the band's most successful yet. Both the band's debut album and White Bear reached the top 20 of the Official UK Album Chart, but A Deeper Cut has broken into the top 10 for the band's first time and finished up at number 6. This is a big achievement for the band, and shows that they are a band that is still on the rise and continuing to gain fans across the country. This is evident when you go to one of their concerts. There is usually a whole range of different people in attendance, far more diverse than your average rock crowd, which shows how the band's music is reaching out to a broad audience.

The opening number and lead single Caught in the Middle is a driving rock number akin to the sound the band forged on their debut album. A choppy guitar riff drives the song, and forms the basis of the verse, while frontman Campbell barks the lyrics out in his trademark gravelly drawl. This is a very basic song, but one that is packed full of attitude and swagger - especially during the shout-along chorus which is packed with a bluesy stomp as the guitars roar at the end of each bar providing the perfect counter to the vocals. It is a short, but one that will stick with your for a long while. Built-In Forgetter is quite similar, with Lea's shuffling drumming driving the verses while a bare bones guitar riff punctuates in between the vocal lines for some true rock punch. This is a song that is packed with groove, and all of that is down to Lea's drumming. He is not playing a fancy beat throughout, but he is perfectly in the pocket and lays down a groove for everyone else to play with. Elsewhere, the somewhat gospel-inspired chorus is packed full of melody. Campbell's vocals are slightly cleaner here while helps to carry the melodies atop the jangly guitars. The gospel feel continues with Love and Devotion, which has a soaring soulful chorus and a dirty blues riff to drive everything else. It is clear that bands like The Black Crowes have always been a big influence on The Temperance Movement, and songs like this one really show this influence. The Robinson brothers could have written this song, and a great slide guitar solo towards the end seems to pay tribute that great American band and their peers. The album's title track is up next and this takes the form of a fairly delicate ballad, with acoustic guitar and Campbell's cleaner vocals dominating earlier on. Atmospheric electric guitar lines and chords are added throughout, especially during the sparse chorus, but the song never really departs from the basics - even when the drums kick in after the first chorus. Lovers & Fighters from the band's debut albums is one of my favourite rock ballads of the past few years, and this song really rivals that song for me. Campbell, while usually known for his harsh, bluesy vocals, sounds so different here and he manages to inject a tonne of emotion into the song. I love how the song slowly builds towards the end, with a distant, shouted refrain forming the basis of the progression while the guitars etc. swirl around it. Backwater Zoo is easily the band's quirkiest tune yet, and features a piano courtesy of Campbell - something which the band have introduced on this album. The song is a great piece of barroom boogie, with Campbell's piano driving everything while the choppy guitars dance around it and lock in perfectly for a bluesy groove. While not hugely different from the band's established sound, it still manages to stand out with the heavy use of the piano and become one of the highlights of the album. Another Spiral is another slower track, but one that falls somewhat flat compared to the title track. I think after seeing the band perform this song live a couple of times, during which Sayer would launch into a lengthy guitar solo to close the piece out, the more restrained studio version feels less interesting. There are good moments however, including an Eagles-esque pseudo-chorus with some subtle vocal harmonies that do capture the attention.

Beast Nation is probably the song on the album which has grabbed me the least, and it seems to be caught between wanting to be a rocker and a slower piece. The strange verses, with some stop-start guitar riffing, seem like an experiment that has not quite worked; but the gorgeous chorus definitely sits in the song's favour. I really like the simple melodies that Campbell creates with his voice, and the lyrics really sink in after a couple of listens - it is just a shame that the rest of the song does not quite feel right. The Way it Was and the Way it is Now gets things back on track with a strong mid-paced groove that makes a lot off Fyffe's bass. The guitar lines here are mostly simple, with chopping chords again being favoured by Sayer and White, leaving the bass to really provide the main rhythms. Fyffe is a really tasteful bassist, and often really adds to the songs' groove with subtle basslines that bring everything to life. This is a song that really shows what he adds to the band, and is is another example of the band's default bluesy rock sound. Higher than the Sun is a great laid-back piece that makes use of atmospheric guitars throughout and a cool vocal display from Campbell. While not a ballad, this is not a song that every really rocks out. It is a song that has a great summery vibe with shimmering atmospherics. There is nothing abrasive here, and nothing to really get feet stomping, but instead this is a piece to relax with a cold drink to. This vibe is enforced with a snaking and bluesy guitar solo that comes in towards the end, before leading into a final reprise of the chorus. It does seem strange for a rock band to end their album with three (or four if you include the previous number) slower songs, but that is what The Temperance Movement have chosen to do here. Children, with more piano from Campbell, is the first of the three and it is clear from the off that it is another winner. Piano and acoustic guitar dominate, while the drums and bass sit well in the background and only provide a simple percussive backing, which allows Campbell to lay down another really heartfelt vocal. He seems to have really upped his game when it comes to singing ballads recently, and his ability to really convey emotions in his delivery has improved immensely. There is more than a little country in Children, and it works within the context of the album. There's Still Time, while not a true slow song, still has a fairly chilled out vibe. A punchy drum beat helps to drive everything along nicely, while the acoustic guitar chords and playful piano melodies meld nicely with some jangly electric guitar lines. There is something about this song that I really enjoy, despite it being caught between two camps. This song, unlike Beast Nation in my opinion, manages to pull this feeling off successfully; plus there is something just so irresistible about the wistful chorus. The album comes a close with The Wonders We've Seen which seems like an odd choice for a closing number.  A true rock number or a soaring ballad would have been a better choice I believe, but instead the somewhat plodding piece comes and goes without ever really making an impact. The chorus is a little more like it, with a bit of a punch with some ringing guitar chords, but the rest of the song is a little saccharine for a band like The Temperance Movement. Overall, a couple of weaker moments aside, A Deeper Cut is a really strong third release from the band. This definitely packs a punch and rights some of the wrongs of the somewhat lacklustre White Bear. A few of the songs here are destined to become regulars in the band's setlists for years to come, and I hope the album is a big success for them.

The album was released on 16th February 2018 via Earache Records. Below is the band's promotional live video of Caught in the Middle.

Fragile Things' 'Echo Chambers' - EP Review

Only a year or so after officially releasing their debut EP Broken Sun (which I reviewed here), the Brighton-based hard rock four-piece Fragile Things are back with the second collection of songs. The new EP, titled Echo Chambers, follows a couple of stand-alone singles released over the past year and sees the ever-growing band really shine with five new songs that build on the excellent work done with Broken Sun. The past year has seen the band's star steadily beginning to rise, with numerous headline and support shows arranged around a good number of festival appearances. Rave reviews for both Broken Sun and the band's live shows have been popping up all over the internet, showing that the band are gaining fans wherever they go, have all culminated in the creation of Echo Chambers which has been funded as part of a successful crowd funding campaign. The band received their target funding extremely quickly, which allowed work on the recording to begin quickly. Once again the EP was produced by David Radahd-Jones, the man formerly known as Johnny Rocker and former guitarist of Heaven's Basement. He seems to be the go-to man when it comes to smaller bands wanting to record hard rock albums/EPs these days, and his powerful and gritty production jobs always bring out the best in the bands he works with. Of course, the fact that Radahd-Jones is a former bandmate of Fragile Things frontman Richie Hevanz makes the pairing a no-brainer. Speaking of the Heaven's Basement connections, Echo Chambers sees Fragile Things starting to form more of their own identity and break away from some of the comparisons that could be drawn about the Hevanz-era of Heaven's Basement and Broken Sun. There were a couple of songs on the first EP that really sounded like they could have been leftover old Heaven's Basement songs, but Broken Sun sees the band taking on a more modern, tougher sound while still taking influence from their early 1980s melodic hard rock influences. The changes in sound are not huge by any means, but it definitely shows the band are beginning to form their own sound which is great to see.

The EP begins with it's title track, which kicks in with a muscular riff and a rolling drum beat. The 1980s hard rock influences can be heard strongly here, with a strident verse and an anthemic chorus that sees Hevanz unleash his stadium-worthy vocal melodies. This is the song on the EP that is probably closest to the sound forged on Broken Sun and this is exemplified when guitarist Mark Hanlon launches into a shredding solo after the second chorus. This song is a set-opener in waiting, and I imagine their gigs are going to really hit the ground running from now on when this beast kicks in! Adrenaline has a different vibe, and opens with a droning bassline courtesy of Steve Lathwell. Overall this is a much more restrained song, and manages to create a pretty atmospheric sound despite the rock and roll basics of guitar, bass, and drums still dominating. Hanlon's guitar lines here are more subtle and melodic, which leaves the bass and drums to really drive the song during the verses which see Hevanz in a slightly poppier mood. Despite the song's title, this is not a song that ever really becomes a true hard rocker. There is a more in-your-face riff that follows the chorus, but overall this is a piece that is content to lay back slightly. It works well though, and shows a bit of a different side to the band. Pick Your Poison is heavier, with a great sliding riff from Hanlon and a bass-heavy verse that sees Lathwell laying down some venomously snaking basslines while the guitars chime around him. Things build towards to a driving hard rock chorus which really sees the band working together as a unit for maximum power. The mix of thrashed chords and choppy riffing that makes up the chorus is a strong combination and makes for an extremely memorable passage of music. Hanlon's screaming solo is excellent too, and really fits the vibe the song. Long, bent notes are mixed with faster, more fluid runs perfectly to create a true classic rock guitar solo.

Disappear is another somewhat laid back piece, and it is actually Hugo Bowman's drumming that really keeps everything on track during the verses. Hanlon again creates some more atmospheric sounds with his guitar, all while Bowman keeps the beat the Hevanz croons out the vocals with a slightly fragile slant on his voice. This is probably the closest thing on either of the band's EPs to resemble a true ballad, but the harder chorus stops it from truly being one. I would really like to see Fragile Things tackle a proper ballad in the future, as I think they would be able to write and perform a good one, but until then this song will show off the gentler side of the band nicely. The final track, The Big Reveal, is a powerful piece that could well be the best thing the band have put out yet. Heavy, chugging riffing characterises the song; and Hanlon's meaty guitar tone brings to mind Alter Bridge's Mark Tremonti at times. The verses are packed with real groove, as the guitar and bass play off each other to create subtle counter rhythms which forms the perfect backing for Hevanz's juddering vocals. The best part of the song however is the chorus, which is packed full of kinetic energy that powers through the speakers. Hevanz's vocals here are fantastic, and sees him hitting some pretty impressive high notes while still crafting catchy melodies. It ends the EP on a real high, and leaves you wanting more. Overall, Echo Chambers is a fantastic second release from the band, and one that shows them pushing the boundaries of their sound further. They are truly a band to watch out for, and I think British rock might be about to add Fragile Things to it's list of greats.

The self-released EP was released on 4th February 2018. Below is the band's promotional video for The Big Reveal.