Nine Inch Nails' 'Bad Witch' - Album Review

I am not sure that there is a more creative and vital force in alternative music at the moment than Trent Reznor. As a songwriter, composer, and producer, he has in many ways helped to define alternative music for the past three decades, and he continues to innovate and impress. There are few who can create music that can be so abrasive and alienating, and still be considered somewhat mainstream - but Reznor has somehow managed this. Who would have thought that the man who wrote, produced, and performed an album as caustic as 1994's The Downward Spiral would go on to win an Oscar in 2011 for the soundtrack to the film The Social Network? I doubt there were many people that genuinely predicted something like that would happen, but it shows how Reznor's music has crept into the conscious of so many. Reznor's main creative outlet over the years has been Nine Inch Nails, a band which continues to break convention and define genres today. After a couple of quiet years following the conclusion of their 2014 touring activities promoting 2013's Hesitation Marks (which I reviewed here), Reznor announced at the end of 2016 that a trilogy of EPs was in the works which would represent a new era for Nine Inch Nails. The first of these EPs, Not the Actual Events (which I reviewed here), was released shortly afterwards and saw Nine Inch Nails at their heaviest and most aggressive for some time. Raw guitars and pummelling electronic drums filled the EP's five songs, and certainly took fans back to the band's earlier works. Not the Actual Events was also significant because it was the first Nine Inch Nails release to credit Reznor's long-time collaborator Atticus Ross as an official member of the band. Reznor always been the sole true member of Nine Inch Nails, and Ross' elevation to such felt like a significant moment in the band's long history. Ross has been involved with every Nine Inch Nails release since 2005's With Teeth in a behind-the-scenes capacity, but Not the Actual Events saw him as a co-writer and co-performer of the material alongside Reznor. This EP was followed closely by Add Violence (which I reviewed here) last year, which focused more on the electronic and synthesised elements of the band's sound. The dense computerised soundscapes mixed in with occasional poppy melodies made for an interesting listen, and one that was very different from the raw, in-your-face style found on Not the Actual Events. It did not take long for Reznor and Ross to complete their trilogy, as last month saw the released of Bad Witch - although it has now been elevated to a full album rather than being released as an EP. It is still fairly short however, at just over 30 minutes in length, but there is a lot crammed into the six songs present. Soundwise, Bad Witch seems like a mix of the previous two EPs along with smokey, almost-jazzy sounds to take the Nine Inch Nails sound into rarely-explored territories.

The album's opening couple of songs are full of the pent-up, punky energy of the material found on Not the Actual Events. Shit Mirror opens proceedings with a barrage of distorted guitars and punchy electronic percussion that creates a powerful energy. Ian Astbury (The Cult; Holy Barbarians) and Mariqueen Maandig (West Indian Girl; How to Destroy Angels) add some additional vocals to the song, mixing in well with Reznor's trademark howls, with dense industrial soundscapes adding to the rawer rock of the guitars. It is a short song, at just over three minutes in length, but a lot is packed into the piece. A tribal-esque percussive mid-section is a particular highlight which sees Reznor chanting atop a catchy drum backing as the instrumentals build up behind him, culminating in a swagger hard rock guitar riff. The album moves immediately into Ahead of Ourselves which keeps up the high pace put pairs back the aggression somewhat with bass-led verses and occasional bursts of tortured lead guitar. Moments of the song are heavy however, with heavily distorted metal guitar chords cutting through the mix which really turn the clock back to The Downward Spiral. The bursts of metal really characterised that album, and it is great to see Reznor making use of that style again here. No-one does angry quite like Reznor, and his screamed vocals during these heavier sections really hit home and are easily the most abrasive moments on the album. The first of two instrumentals follows, and Play the Goddamned Part is a trippy piece of dark industrial electronica that slows the pace down and creates an unsettling atmosphere. Sombre, discordant piano lines are present throughout, with lots of other instruments joining the fray as the piece goes on. Synths and crackling, static-esque noises often fill the voids between the piano notes, but elsewhere the song descends into a murky jazz club from Hell with a demented horn section that fills the speakers with wonderfully abrasive melodies. Horn sections are not something that Nine Inch Nails have employed regularly, but the use works well here and really helps to create a strange, unsettling mood.

The horn section remains for lead single God Break Down the Door which mixes mournful saxophone lines with an upbeat percussion loop, driving basslines, and Reznor's strange vocals. It is well known that David Bowie is one of Reznor's biggest influences, and there is something about the late Englishman in Reznor's vocal delivery here. Gone is his usual part-sung part-spoken delivery, and instead we are presented with a dark, almost gothic, croon that fits the lyrics and distorted lounge-esque backing of the piece. Those familiar with Bowie's 2016 release Blackstar will instantly recognise the style here, although Reznor's interpretation of the sound is somewhat heavier with meaty synths and drum loops often crashing in to up the ante somewhat. I''m Not From This World is the second instrumental piece, and it is a song that revels in minimalist soundscapes to create a dense atmosphere. The dark, ambient, four-part instrumental album Ghosts I-IV, released in 2008, is probably the best comparison to make here. Droning synths drive the piece forward, while horror-esque sound effects often join the fray to create an unnerving feeling that is a good follow-up to the crooned despair of the previous number. The piece does slowly build up, with mechanical percussive sounds joining in towards the end, but on the whole this is a song that does quite a lot with very limited resources. I have to be honest and say that this end of the band's style does very little for me on the whole, but I appreciate what this song adds to the album as it builds am atmospheric bridge between the previous number and the final piece, Over and Out. Over and Out is packed full of classic Nine Inch Nails tropes, with a catchy synth riff providing an initial hook along with a groovy drum and bass backing. Reznor's vocals are sparse, but when he does sing he again employs the Bowie-esque croon found earlier on in the album. The extremely downbeat vocal provides a nice contrast with the catchy instrumental backing - although this soon gives way to another dense soundscape which sounds like guitar feedback mixed in with cold synths. This dense soundscape slowly fades out as the song comes to a close, with a more light-hearted, shimmering sound present as the song ends. This move from a dark sound towards the light works well, and ends the album on a more hopeful note than what otherwise would have been quite a downer. Overall Bad Witch, despite it's short length, is a powerful album from Reznor and Ross which fits a lot of sounds and styles into a short space of time. Long time fans will appreciate the nods to the band's past throughout, as well as styles that are not regularly part of the band's repertoire.

The album was released on 22nd June 2018 via The Null Corporation/Capitol Records. Below is the band's promotional soundclip for God Break Down the Door.

John Coghlan's Quo - Tavistock Review

After clearly getting the touring bug again after the original Status Quo line-up reunited for some shows throughout 2013 and 2014, John Coghlan has been on the road again over the past few years paying tribute to the songs that made the classic line-up of Status Quo so successful. John Coghlan's Quo, as his current four piece are called, are almost like a Status Quo tribute band, but one that happens to be led by the band's original drummer. Throughout the 1970s Status Quo were one of the best rock and roll bands around, and John Coghlan's Quo remains faithful to the band's original sound, and only plays material from the band's 1960s and 1970s output, focusing largely on the bona fide classics from the mid-1970s. Despite his age, Coghlan is still a solid drummer, and the three musicians that currently accompany him are clearly big fans of Status Quo. Rick Abbs (vocals/guitar), Mick Hughes (guitar/vocals), and Rick Chase (vocals/bass guitar) have clearly studied the old Status Quo albums in great detail, and have mastered the band's brand of boogie rock perfectly. They are great foils for Coghlan, and help him to bring his past back to life with with authenticity. The band made their first trip down to Tavistock's The Wharf last November, and enjoyed the show so much that they elected to return again within a matter of months. Those of us who live in the South West are lucky to have a venue like The Wharf so close by, as there are many bands who seem to love playing there and who return again and again. Crowds are usually healthy there too, and this show was no different with the place nearly full to capacity. The only downside of this was the considerable heat, something which seemed to affect the band at times and did make the gig slightly uncomfortable - especially towards the end. This did not affect my enjoyment of the music however, as Coghlan and his band once again played through two sets of classic Status Quo numbers which was lapped up by the noisy and appreciative crowd.

The setlist was almost the same as the band's last trip to Tavistock, and got underway with the old Steamhammer song Junior's Wailing which Status Quo used to open their shows with back in the 1970s. Chase handled the vocals, as he did for all the songs in the set originally sung by Rick Parfitt and Alan Lancaster, and was helped out by the crowd as he did so. The upbeat blues of the piece really set the mood for the rest of the night, and things continued in this triumphant fashion from then on. I Saw the Light was the only song included that was not played at November's show and it went down well, before the slower blues of In My Chair brought out the band's chug and allowed Abbs to showcase how remarkably similar to Francis Rossi he can sound. The first set was made up of largely lesser-played Status Quo songs, with oldies like (April) Spring, Summer and Wednesdays and Claudie giving the diehard fans in the audience something to really enjoy. One of the highlights of the first set however was a rendition of the ballad A Year. Status Quo are not exactly known for their ballads, but this is one of the better ones and Abbs sung it very well. It ended with an extended guitar solo from Hughes which allowed him to showcase his emotional playing. Hughes mostly stuck to Parfitt's rhythm parts during the evening, with Abbs handling most of the guitar solos, but A Year gave him a rare chance to show off a little. The heads down rock of Rockers Rollin' followed, and this took the show up the mid-point break. I was glad of the chance to take a quick trip outside and get some fresh air before heading back inside for a set of more well-known Status Quo songs. Caroline got the second set underway, and plenty more big hits followed. One of the highlights was a muscular take on Pictures of Matchstick Men, the Status Quo's first hit, before Paper Plane brought probably the biggest crowd sing-a-long of the evening. The crowd were encouraged to help Abbs out during the choruses, which of course they did and the band seemed pleased with the result. Despite the heat, the atmosphere throughout the evening was very good, and the large crowd had clearly come out to have a good time and sing some of their favourite songs. Coghlan got out from behind his drum kit at one point and gave a heartfelt speech about the late Parfitt, before dedicating a storming version of Rain to him. This has always been one of my favourite Status Quo songs, so it was great to hear it live again. Hold You Back and Big Fat Mama continued the boogie rock fest and brought the main set to a close, with the band leaving the stage afterwards to huge cheers. There was time for a one more however, and Down Down was chosen as the lone encore. The song is one of Status Quo's best known songs, so unsurprisingly went down a treat. Coghlan took to opportunity to solo towards the end, before bringing the band back in for a big finale - which seemed to go down well with the crowd. The setlist was (N.B. all of the songs below, unless otherwise stated, are Status Quo songs):

Junior's Wailing [Steamhammer cover]
I Saw the Light
In My Chair
Break the Rules
(April) Spring, Summer and Wednesdays
Claudie
A Year
Rockers Rollin'
-
Caroline
Roll Over Lay Down
Pictures of Matchstick Men
Paper Plane
All the Reasons
Rain
Hold You Back
Big Fat Mama
-
Down Down

Despite the band's setlist being very similar to their last show, I had a great evening in Tavistock with John Coghlan's Quo. It was great seeing some of the band's biggest hits played by one of the people who helped to create them with such an appreciative crowd. I hope the band return to Tavistock soon, and I hope next time they mix the set up a little and try a few different songs.

Tremonti's 'A Dying Machine' - Album Review

Despite becoming an arena-filling musician once again recently as a member of Alter Bridge, guitarist and songwriter Mark Tremonti has also found time over the past few years to also cultivate a successful solo career. Alter Bridge are a busy band, with fans all over the world demanding concerts in their countries, but have always seen the value in taking breaks between each touring cycle. This has allowed the members of the band ample time to rest between gruelling tours, or to dedicate to other musical ventures. Tremonti has used this time wisely over the years to branch out musically and create music that would not necessarily fit into the Alter Bridge canon and showcase some of his other influences and styles. Tremonti, and his self-titled band, roared into view in 2012 when their debut album All I Was was released. The album was far more metallic than anything Tremonti had been associated with previously, with powerfully heavy riffs and break-neck drumming courtesy of Garrett Whitlock. The album also introduced Tremonti as a lead singer, which was not something he had been known for previously. He had always contributed strong backing vocals and harmonies to his main bands, but All I Was saw his first true lead vocal performances. While not a diverse a vocalist as those he has worked with over the years, his rich, deep delivery suits his heavy solo material perfectly. All I Was was followed up in 2015 and 2016 respectively by compainion pieces Cauterize (which I reviewed here) and Dust (which I reviewed here). They were recorded at the same time and saw Tremonti, Whitlock and guitarist Eric Friedman joined by bassist Wolfgang Van Halen. The two albums showed a progression from All I Was, adding a few different styles to the tougher metal style Tremonti had established from himself. Two years on from Dust and the Tremonti band are back again with a new record label and a new album: A Dying Machine. The album is a concept album which will be accompanied by a full-length novel at some point in the future, and is easily the band's most ambitious work to date. The core Tremonti sound is present, but with a few tweaks to keep things fresh and exciting. The slightly progressive bent to the songwriting means that A Dying Machine may not be as immediate as his previous efforts, but over time I am sure this album will become a firm favourite with the fans. Van Halen chose to step aside from Tremonti a couple of years ago, so Friedman handled the bass guitar duties on the album along with his usual supporting guitar role. This was the case on All I Was, so the band's three core members are still present - which makes Tremonti feel more like a cohesive band than merely a solo project. As with most Alter Bridge-related projects in recent years, the album was produced by Michael 'Elvis' Baskette, who has got his usual powerful, and big sound out of the band.

Marching drums herald the album's opening, and Bringer of War is a powerful statement of intent. The song's main riff is heavy, with more than a little hint of Lamb of God in it's execution, but this is paired with a melodic, galloping verse that allows Tremonti to show off his vocal skills. The song moves along at a good pace, with Whitlock's drumming pushing everyone forward, while the choppy guitar riffs help to create a strong groove. The chorus feels a little smoother, with big guitar chords rather than riffs, but this helps to emphasise the vocal melodies. While the chorus is not as memorable as it could be, it still provides plenty of early hooks. The guitar solo might well be the highlight of the song however, and sees Tremonti demonstrating his metal credentials with some mean shredding. From the Sky has another great riff, and ups the tempo from the previous song to showcase some of the thrash metal influences that Tremonti includes in his solo work. The verses steam along with some tight double bass drumming and razor-sharp riffing, with more cinematic sections containing big wordless vocal melodies placed in and around the heaviness to break up the relentlessness. I like the mix of styles that Tremonti employs here, and it is good to see him incorporating the more melodic hard rock sounds he has become known for over the years with his love of heavy metal. The song is over quite quickly, and soon moves into the album's title track which is an early highlight. After a big drum intro, a crushing verse gets underway with a great mid-paced groovy riff. The diversity of the previous song remains however, with atmospheric sections complete with chiming guitar arpeggios providing light to the shade of the verses. While his voice works well against the heavier backdrops, I think Tremonti sounds at his best vocally against the murkier, cleaner parts of his songs. It is these parts that showcase his emotional vocal style, which helps to bring the songs to life and give them additional weight. The simple anthemic chorus is a real earworm too, meaning this song has a bit of everything that Tremonti's songwriting is known for. Trust opens more melancholically, with a big bassline that really dominates the entire song. It is the first song on the album that is not based around a big riff, and this gives the piece a denser, more atmospheric feel. In many respects it is the album's first ballad, and provides a nice change of pace after the tough riffing of what has come before. Despite the lack of the big riff, there is still plenty of excellent guitar work to enjoy, with hypnotic clean melodies constantly dancing around the vocals which really opens the song up. Throw Them to the Lions is another heavier piece, and easily the fastest song on the album up to this point. A driving thrash metal riff dominates the song, with Baskette's keyboards providing a slightly spooky backing. Keyboards are not used extensively throughout the album, but when they are utilised they add another layer to the song. The chorus is another powerful one, and probably the best on the album so far. It maintains the pace of the rest of the song and mixes soaring melodies with heavy riffing to great effect.

Make It Hurt is a powerful piece that is based around another powerful riff, but my favourite part is the chorus. Whitlock's fast drumming sets the pace throughout, and the rising vocal melodies really seem to push the band to bigger and better things. The song is another good example of how subtle keyboards can be used to enhance a song. The cinematic sounds used really bulk out the choruses, and in fact other parts of the song, to great effect and make a really tangible difference. Traipse is a dynamic piece that mixes slow verses with heavier choruses. Slow-burning bass and chiming guitars dominate the verses, with Tremonti's rich vocals really standing out, before the band moves into the next gear for the choruses. They are not overly heavy, but provide a nice contrast with the rest of the song. The stop start riffing works really well here and helps to bring the best out of the fairly simple chorus melodies. The First The Last is probably the most overtly melodic piece on the album, and sounds more like an Alter Bridge song than anything that has appeared on a Tremonti album previously. It still works well in the context of the album however, and provides a bit of a break from the metal riffing that dominates elsewhere. The verses chime with gorgeous guitar lines, with Whitlock's drumming providing an interesting percussive backing, while the choruses bulk out somewhat but not to the extent of many of the songs here. This is not a heavy piece, but one that is still packed full of great melodies and is sure to be a favourite of those who are not so keen on the heavier aspects of Tremonti's work. A Lot Like Sin is, in my opinion, one of the album's least interesting pieces and lacks many of the big melodies and riffs that make the other songs stand out. The chorus is decent however, but for whatever reason the melodies just do not hit home as much. I think that this says more about the quality of the rest of the album however, as up to this point the songs have really impressed. Very few albums maintain their quality throughout, and this is a song which just sees the quality dip a little in comparison to what has come previously. The Day When Legions Burned picks up the pace again, and hits the listener with a full on metal assault complete with some truly excellent riffing and drumming from all concerned. Thrash has clearly always been an influence on Tremonti's writing, and it is great to see him exercising this a lot through this album. His heavy riffs are always extremely catchy, and he manages to incorporate them into memorable songs such as this. It is a song that is over fairly quickly, but packs so much into a short space of time that it is hard not to enjoy it!

As the Silence Becomes Me is another ballad, and one that really soars and really showcases Tremonti's vocal skills. The chorus melodies are so powerful and they are likely to be stuck with you after only a single listen, but this would all be for nothing if the rest of the song was not up to standard - and thankfully it is. It builds up to the chorus perfectly, with gorgeous guitar melodies gently filling the verses, so by the time the slightly heavier chorus kicks in you are more than ready for what is to come. Great songwriting should flow perfectly, and this song is a great example of this. Everything is in service of the song, with the chorus melodies being the thing that really draw you in. While on the whole this is a heavier album, this ballad is one of my favourite songs here and one of my favourite Tremonti songs to date. Take You With Me is the album's lead single, and it shows from the off as the song is packed with polished vocal melodies and tight riffing that showcases the band's heavier side but with enough of a sheen on it to appeal to those who may not be the biggest metal fans. The verses are ridiculously catchy, with some of the best vocal melodies on the album, and actually upstage the chorus a little here in my opinion. That is not to say that the chorus is bad, as it certainly is not, but the verses here definitely win on the melody front for me. This is the sort of song that is destined to become a setlist staple for the band for years to come, and I am sure that fans will love hearing this one over and over again. Desolation is the album's last 'true' song, and it opens fairly slowly with acoustic guitar chords and a slightly strange vocal performance. Tremonti sounds a little more nasally here than he usually does, but this actually works well against the lower key backdrop that most of the song possesses. Acoustic and clean guitars dominate the song, but towards the end the song does ramp up somewhat with some stop start riffing then leads into a fluid guitar solo. Hearing Tremonti solo is a always a treat, as he is one of the best modern guitar players in my opinion, and this shredded but emotional solo really helps to bring the album to a bit of a close before the song's chorus rings out one last time. Found is the last track here, and this is a strange instrumental piece that is largely made up of spooky synths and spacey clean guitar melodies. It seems a bit strange tacking this on the end of the album, as it does not really sound like anything else here, but there is nothing wrong with it as an atmospheric closing piece. It definitely shows off a different side to Tremonti's songwriting however, as style is not something that he has really done before. Overall, A Dying Machine is a really strong effort from Tremonti that showcases the band's most diverse work to date. I like the new elements that the band have included throughout, as it really builds on what has come before and hints at what may come in the future.

The album was released on 8th June 2018 via Napalm Records. Below is the band's promotional video for Take You With Me.

Sons of Apollo - Nottingham Review

Since leaving Dream Theater in 2010, and indeed to a certain extent prior to this, Mike Portnoy (drums/vocals) has been expanding his musical horizons by lending his considerable talents to a myriad of different bands and projects. While nearly everything he has been a part of falls within the broad rock and metal spectrums, none of his endeavours really sounded like the band he was most known for. I imagine that this was deliberate to allow him to try his hand at some new sounds, but seven years on from leaving Dream Theater it seemed that he was ready to return to his progressive metal roots. This return to the genre came in the form of Sons of Apollo, his latest project and one of the most exciting 'supergroups' to be formed in a while. It also saw the reunion of Portnoy and his former Dream Theater colleague Derek Sherinian (keyboards) who last played together in the studio when Dream Theater wrote and recorded 1997's Falling into Infinity. Both have had long and illustrious careers since, but it seemed that the two felt that they had unfinished business. Sons of Apollo, and the band's debut album Psychotic Symphony, was definitely spearheaded by Portnoy and Sherinian's songwriting - but was fleshed out by the considerable talents of Jeff Scott Soto (vocals), Ron 'Bumblefoot' Thal (guitar/vocals), and Billy Sheehan (bass guitar). All three of these men are powerhouses in their own right, making Sons of Apollo a genuinely exciting prospect. Thankfully the album was not a disappointment and, despite taking a bit of time to grow on me, is currently one of my go-to progressive metal albums. The band have been touring pretty heavily since the beginning of the year, and included a fairly generous amount of UK shows as part of this world trek. The easiest show for me to make was at Nottingham's Rescue Rooms as it fit neatly around other plans. I always enjoy taking a trip back up to Nottingham too, so I never need much persuasion to head up to the Midlands city. It seemed that a Sons of Apollo show at the Rescue Rooms was an exciting prospect to many others too, as by the time the show came around it was sold out. This helped to ensure that there was a fantastic atmosphere throughout the night, which is usual for any concert in Nottingham in truth, which helped to make the night a memorable one.

Before Sons of the Apollo took the stage, the Dubai-based rock band Jay Wud entertained the growing crowd with half an hour or so of dense, riffing material. I do not know much about the band at all, but I would hazard a guess by saying that I do not think that they have been together that long. On the one hand I enjoyed their set, but on the other hand I felt like I was watching a band that was still finding their feet and attempting to settle on their sound. Most of their songs had strong riffs, but not too many of them had many hooks. Too me, hooks and melodies are some of the most important aspects of songwriting as it is what makes the songs memorable. Jay Wud's material was mostly lacking this spark, which meant that the vocals washed over me without really leaving a mark. This was a shame as they did have some strong riffs, so there is certainly the makings of a good band here. With a bit more practice and time honing their craft, I feel that Jay Wud could become and interesting and enjoyable bad - but they are not quite there yet.

Despite it being less than a year since Sons of Apollo released their debut album, they are already the complete package and delivered a two hour in set in Nottingham featuring all of their debut album as well as a selection of other goodies. It was one of the most technically-impressive shows I had seen in a while, with five virtuosos constantly displaying their considerable skills. The ten minute-plus God of the Sun opened the show with its Eastern-tinged melodies. Thal churned out the main riff on his fretless guitar while Soto took to the stage to big cheers. The song is a real prog epic, complete with a stadium-filling chorus that Soto nailed and a lengthy instrumental section that starts off slowly with Sherinian's keyboards before erupting into a cacophony of shredding from all concerned. It was a song that certainly set the tone for the night, and the set continued in a similar fashion for the next two hours with the grinding Signs of the Time and the Deep Purple-inspired Divine Addiction following on quickly and not giving the time any time to rest. Divine Addiction was a particular highlight for me, as it shows the band member's love for classic rock. Sherinian's Hammond organ growled throughout the piece, and Soto's slightly low voice added a certain weight. With one album to draw from, the set had to be filled out with other songs and the Dream Theater catalogue was raided for a spirited performance of Just Let Me Breathe. It has never been a favourite number of mine, but it came across well and the non-former Dream Theater member of Sons of Apollo did the song justice. There were also plenty of solo spots throughout the night, and the first of these belonged to Sheehan. I am not the biggest fan of bass solos, but it was great to see a real master of his craft showing off. It did go on for a little too long however, and I was glad when Lost in Oblivion started up and got the metal flowing once again.

Soto had a chance to show off after this in a spot which saw him performing the strange vocal solo part in Queen's The Prophet's Song, before he was joined by Thal for a stripped-back rendition of Queen's Save Me. The crowd helped him out during the choruses, and it was a real hairs-on-the-back-of-your-neck moment. Alive was then the last full band effort for a while, before an extended instrumental portion of the show began. It started with Thal's rendition of The Pink Panther Theme, before the lengthy instrumental epic Opus Maximus saw some of the most technical interplay between the band's four instrumentalists of the night. This led into Sherinian's keyboard solo spot, which naturally morphed into the semi-forgotten Dream Theater epic Lines in the Sand which brought the main set to a close. Lines in the Sand is one of my favourite songs from Falling into Infinity, so it was great to hear it performed live. Soto really owned the song vocally, and it proved to be the perfect end to the set. There was a short run off stage, before Thal came back on stage for a short guitar solo that morphed into a rollicking cover of Van Halen's And the Cradle Will Rock..., which Soto sung partly in the crowd. This show was the last night of the tour, and the band were clearly in very high spirits. There was lots of joking between the band and the crowd at this point, which extended into the final number of the night Coming Home. A call-and-response vocal section almost ended in insanity, and this only improved the atmosphere. By the time Coming Home came to an end, two hours had flown by and the band took their bows to huge cheers. The setlist was:

Gods of the Sun
Signs of the Time
Divine Addiction
Just Let Me Breathe [Dream Theater cover]
Labyrinth
Bass solo
Lost in Oblivion
The Prophet's Song/Save Me [Queen covers]
Alive
The Pink Panther Theme [Harry Mancini cover]
Opus Maximus
Figaro's Whore
Keyboard solo
Lines in the Sand [Dream Theater cover]
-
Guitar solo
And the Cradle Will Rock... [Van Halen cover]
Coming Home

I always like it when a gig surpasses your expectations. I knew that this would be a good night out, but I was truly blown away by the band and their performance. I hope Sons of Apollo are more than a one album project by all involved, as I would love to see what these five guys can come up with next!

Roger Waters - Birmingham Review

Roger Waters (vocals/guitar/bass guitar) is a genuine living legend. As a founding member of the progressive rock band Pink Floyd, Waters helped to mastermind some of the most-loved music to ever be written and was largely responsible for the band's lyrical and conceptual direction - especially during the band's most successful years. He left the band in 1985 as tensions between and David Gilmour reached breaking point, and embarked on a solo career that has kept him busy ever since. Waters was fairly prolific during the late 1980s and early 1990s, but then really wound down his activities only to surface every so often with a monumental world tour before going once again into hibernation. This changed last year however, when Waters released his first solo album in 25 years. Is This the Life We Really Want? proved to be a divisive album, but one that shows Waters is still as caustic and bitter as ever. Initially the album left me cold, but it has grown on me over the past year and now I quite enjoy it. He has done better throughout his career, but he has nothing left to prove and it was great to hear some new material from him after so long. Unsurprisingly a tour followed, although it seems the new material was not totally the impetus for the shows. Waters' current tour, dubbed the Us + Them tour, has seen him take in much of the world. While some new material is featured in the set, the majority of the show is made up of classics from the Pink Floyd catalogue. Waters last major tour was a few years ago, and featured him performing Pink Floyd's seminal 1979 concept album The Wall in full with a complete theatrical production. Given the magnitude of these shows, it was to be expected that his next tour would not be quite such a spectacle. That, of course, is a relative term as Waters is one of the greatest showmen of his generation, but this tour certainly allowed the music to do the talking than his previous one - which in my opinion is no bad thing. I have been a Pink Floyd fan for many years, so jumped at the chance for tickets when they went on sale last year. I had not seen Waters live before, so was really looking forward to catching him performing many of my favourite songs. I opted for the Birmingham show, as it was on a Saturday so meant that no time off from work was required. The Arena Birmingham was the venue for the night, and the place was packed out with fans who were probably not quite ready for the powerful evening they were in for.

There was no support act and, despite the tickets stating that the show would start at 8pm prompt, Waters and his band stepped onto the stage at around 8:20pm and immediately started with Breathe (In the Air) from 1973's classic album The Dark Side of the Moon. The show was split into two halves, with songs coming fairly thick and fast during the first half, with the second reserved for longer, more progressive pieces. The Dark Side of the Moon album dominated the early part of the show, with side one essentially being played in full with the older instrumental piece One of These Days replacing On the Run. One of These Days has never been a favourite of mine, but it hit hard. Waters and Gus Seyffert (guitar/bass guitar/keyboards/vocals) locked in to provide the double-tracked bass guitars of the original studio version, while the rest of the band created the psychedelic sounds around them. Time was an early highlight, with Waters delivering his first vocal of the night, and Dave Kilminster (guitar/vocals) also playing his first of a few big solos. While many of the musicians accompanying Waters on this tour are new colleagues for him, Kilminster has been with him for a while and he demonstrated why throughout with plenty of excellent guitar work. The Great Gig in the Sky allowed Jess Wolfe (vocals/percussion) and Holly Laessig (vocals/percussion) to show off with the song's trademark wordless vocals, and it brought The Dark Side of the Moon material to a close for the time being. Welcome to the Machine then filled the arena with its acoustic industrial trappings, before a trilogy of songs from Is This the Life We Really Want? were showcased. Waters' latest solo album has a much more stripped back sound than much of what was played at this concert, but the songs managed to hold their own. Of the three it was Picture That that stood out the most. The song sees Waters at his most biting, and the dry droning riffing that dominates most of the song is the perfect backing for one of his rants. The new album is known for its lack of any guitar solos, but live the song was extended somewhat with Kilminster and Jonathan Wilson (vocals/guitar) adding a couple of solos onto the end. A sing-a-long of Wish You Were Here came next, but it was a trio of songs from The Wall that really hit home and brought the first half of the show to a close. The first half of the show was fairly devoid of theatrics, save for a big screen behind the band, but Another Brick in the Wall - Part 2 saw local children take to the stage in Guantanamo Bay-style jumpsuits and hoods before tearing them off ready for the verse in the song that is sung by a children's choir. Part 3 of the song followed, and this brought the first part of the show to a close. A 20 minute interval followed, during which various political statements flashed up on the big screen.

This string of politics eventually ended with 'DOGS' on the screen. The lights went down again, and numerous large screens descended down the middle of the area to build the Battersea Power Station, as seen on the cover of 1977's Animals. This was an extremely impressive piece of set design, complete with smoking stacks and a small inflatable pig, and this dominated the next couple of songs which were, unsurprisingly, from Animals. Dogs was up first, and this was probably the song of the evening for me. It has been a favourite song of mine for a long time, so it was great to hear it live. Wilson sung the first part of the song, while Kilminster attacked the song's many guitar solos with ease. The spacey mid-section saw most of the band in pig masks sipping champagne, while Jon Carin (guitar/keyboards/lap steel/vocals) performed the lengthy keyboard solo. This led into Pigs (Three Different Ones) which was the most politically-charged song of the night, with anti-Donald Trump imagery being projected onto the various screens throughout the song, and a large remote-controlled pig was flown around the crowd. Waters' snarling vocals really brought the song to life, before Kilminster showed off with a growling talk box solo. Pigs (Three Different Ones) has never been a favourite of mine, but the way the song was presented live made it really stand out. It was one of the show's more memorable moments, that is for sure! With the Animals material over, the Battersea towers collapsed, but the screens remained in place for a couple more numbers. The rest of the set was essentially side two of The Dark Side of the Moon, but with the new solo number Smell the Roses replacing the instrumental Any Colour You Like. Money was a potent and funky as ever, with Ian Ritchie (saxophone) taking to the stage for the solo. He remained in place for Us and Them too, which filled the arena with its pastoral gentleness. Carin and Bo Koster's (keyboards) keyboards filled the venue, and the continuous drone of the saxophone made the song stand out. Smell the Roses upped the tempo a bit, and saw Waters prowling around the stage spitting out the song's lyrics in his inimitable style. Despite his age his vocals are still sounding pretty strong and when he put his instrument down and walked the stage mic in hand he still cuts a mean presence. All that was left then was for Brain Damage and Eclipse to finish things up. The latter included an excellent prism/light effect that was clearly an attempt to recreate the album cover of The Dark Side of the Moon. Rainbow coloured lights filled the arena, and Waters and his band received a standing ovation when it came to a close. A short break followed, before the band returned to be introduced by Waters. There was time for one more and there was never any doubt that it would be Comfortably Numb. Waters and Wilson shared the vocals, before Kilminster launched into the song's famous solo perfectly. He nailed it, and this led to another standing ovation as the band took their bows and left the stage to rapturous applause. The setlist was:

Speak to Me [Pink Floyd material]/When We Were Young
Breathe (In the Air) [Pink Floyd material]
One of These Days [Pink Floyd material]
Time [Pink Floyd material]
Breathe (In the Air) [Reprise]  [Pink Floyd material]
The Great Gig in the Sky [Pink Floyd material]
Welcome to the Machine [Pink Floyd material]
Déjà Vu

The Last Refugee

Picture That

Wish You Were Here [Pink Floyd material]

The Happiest Days of Our Lives [Pink Floyd material]

Another Brick in the Wall - Part 2 [Pink Floyd material]

Another Brick in the Wall - Part 3 [Pink Floyd material]

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Dogs [Pink Floyd material]

Pigs (Three Different Ones) [Pink Floyd material]

Money [Pink Floyd material]

Us and Them [Pink Floyd material]

Smell the Roses

Brain Damage [Pink Floyd material]

Eclipse [Pink Floyd material]

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Comfortably Numb [Pink Floyd material]

I had wanted to see Roger Waters live for many years, and the show surpassed all of my expectations. There was so much going on throughout the evening that it was sometimes hard to keep up, and the setlist contained a good mix of old and new, with many of my personal favourite songs included. I will never get to see Pink Floyd live, and this was a great substitute!

Ghost's 'Prequelle' - Album Review

I have to admit that, until very recently, I was not a fan of the Swedish occult rockers Ghost. Despite their rise to super stardom since releasing their debut album Opus Eponymous back in 2010, the band's somewhat strange sound and strong image passed me by. I can remember back to when Opus Eponymous was released, as there was a lot of excitement in the metal community. Ghost were almost an instant hit, and by the time 2013's Infestissumam was released the band were well and truly part of the furniture. I remember listening to songs from both albums around this time and just not understanding what all the fuss was about. While the mix of Black Sabbath-esque riffing, The Doors' keyboard-drenched psychedelia, and Blue Öyster Cult's quirkiness was an interesting one, I just did not find the songwriting to be that interesting. In truth I am still not really much of a fan of the band's earlier work, and it took me a further five years to become something of a Ghost fan, but earlier this year I finally started to 'get' what Tobias Forge - the band's mastermind and sole constant member - is trying to achieve with the band. They put out the single Rats earlier this year and I decided to give it a try, and instantly found myself to be enjoying it. Ghost's sound previously had been very rooted in the late 1960s/early 1970s fuzz rock era, almost harking back to the birth of the rock and metal that we know today, but Rats showcased more of an 1980s metal sound. I heard elements of Ozzy Osbourne's solo work, Dio's more commercial output, and even shades of bands like Ratt in the song, and it grabbed me unlike anything I had heard from the band previously. Then, on the recommendation of a friend, I purchased 2015's Meliora, the band's third album, which I enjoyed almost instantly. There was a catchiness about the material which reminded me of Rats, but it still maintained the fuzzy, organ-drenched sound of their earlier work. Opus Eponymous and Infestissumam still do not do a huge amount for me, but on the strength of Meliora and Rats I pre-ordered the band's fourth album Prequelle. Sound wise, Prequelle is quite different to anything the band have done previously. There is a stronger pop element in the sound, and the heavier moments are much more metallic than previously. It it clear Ghost have moved from the 1970s to the 1980s, and this is maybe why this album appeals to me so much. I am a big consumer of 1980s rock and metal, and much of this album feels like a real homage to that era. There are elements that recall their earlier work, but on the whole this is a pulsing, upbeat album packed with great riffs and anthemic choruses; and it is all held together by Forge's thin but somewhat hypnotic vocals. Despite the fact Forge has now officially been 'outed' as the Ghost mastermind, he still performs under a moniker - which is now that of Cardinal Copia. The controversy that has plagued him over the past year regarding the lawsuits filled by some of his former band mates does not seem to have quelled his creativity and, in fact, may have spurred him on to create some of his best work yet.

The album opens with Ashes, a short intro piece which backs a children's choir with dark, atmospheric synths. Despite the poppy melodies found throughout the album, there is a certain eeriness that pervades everything and Ashes helps to set the tone for what is to come. A big drum fill sees the album transition into Rats, the aforementioned lead single, which opens with a simple guitar riff that recalls the great metal acts of the 1980s. Forge's voice is certainly an acquired taste, but his strange delivery really works during the verses here as he creeps atop the guitar grooves. Big keyboard chords really help to enhance the atmosphere throughout, and by the time the chorus hits the song has already grabbed hold. The melodic wordless vocal chants during the choruses give the song a feeling of hits such as Shot in the Dark or Hungry for Heaven, while the slightly folky lilt to the guitar solo brings to mind Thin Lizzy. While certainly a pastiche of 1980s hard rock, the song grabs hold almost instantly and is a great introduction to the world of Ghost. Faith also opens with a memorable guitar pattern, but this time in the form of a flashy neo-classical run that Yngwie Malmsteen would be proud of. This virtuosity is short-lived however, as soon the song transitions into a tougher hard rock track, with a muscular riff and bassline driving everything forward. Sadly the song lacks the hooky chorus that it needs to take it to the next level, but the creepy atmosphere that it creates overall is extremely captivating. Despite the lack of a great chorus, there is plenty of strong guitarwork to enjoy - with a fluid solo impressing. Sadly, due to Ghost's mystique, the individual responsible for the guitar solos is not credited so they cannot be name-checked here for their sterling work. See the Light is more of a keyboard-led piece and it opens with a powerful church organ motif before leading into a gentler, piano-based verse. Forge croons his way through the verses in his trademark strange way, but it is during the choruses that the song really opens out. Guitars join the mix to up the heaviness somewhat, and the smoothness of the vocals really contrasts with the soaring gothic metal of the music. This certainly sounds more like the band's earlier work, but with more polish and stronger melodies - which will please those who have followed the band since the beginning. It is probably one of the most dynamic songs on the album too, mixing the light and shade of the band's work perfectly. Miasma is the first of two lengthy instrumental pieces. I would question the need for two five minute-plus instrumentals on a 40 minute album, but Miasma in particular is enjoyable. The early portions of the piece are keyboard-led, with some excellent retro synth leads mixed in with a grinding rock riff in the background. After a fairly laid back start, the song starts to speed up and get more intense with more guitar theatrics including some excellent shredded solos and a riff that definitely borrows heavily from Michael Jackson's Beat It. There is even an extended saxophone solo to keep things interesting, something which I would like to see the band use more going forward.

Dance Macabre gets the second half of the album off to a great start, and it is possibly my favourite Ghost song yet. There is a massive dose of AOR here, with a strident guitar riff getting things started before a bouncy verse makes great use of Forge's voice. The overall 'lightness' of the piece makes his thin voice sound more powerful than usual, and some excellent 1980s-style vocal harmonies create a big sound. Where this song really hits home however is the chorus. Jim Peterik would have killed for a chorus like this back in the 1980s, and it is a real travesty that the song is not topping the charts all over the world. I imagine those who like their metal to be heavy and free of cheese will struggle with this song, but for those of us who's CD shelves include efforts by Journey, REO Speedwagon, and Toto are sure to lap this up. Pro Memoria pairs things back somewhat again, and lets the piano take hold early for a twinkling verse melody. While the piano chords have a slight Elton John-esque flourish, the lyrics and slightly creepy way Forge delivers them ensures the song does not feel like a throwaway ballad. The repetitive chorus is not the band's best, but it still works well within the context of the song. It has a certain hypnotic quality that is hard to escape, something which is found in all of the band's best songs. Witch Image is another favourite of mine. It starts with a big drum sound, before exploding into a powerful guitar riff that once again recalls many of the great 1980s metal acts. The verses are quite murky, with atmospheric guitar melodies and a dense wall of keyboards. The thing that I love about this song however is the chorus. The melodies are just so infectious, and they clash perfectly with the horror-themed lyrics. Ghost manages to forge (pun intended) the horror with the pop effortlessly throughout this album, but this is probably one of the best examples. Helvetesfönster is the second instrumental, and this one is much less interesting than the first. It relies on dense atmospheres rather than big melodies, and reminds me of my initial listens to Ghost all those years ago when I dismissed them. The song does however feature Mikael Åkerfeldt (Opeth; Bloodbath; Storm Corrosion) on acoustic guitar. He is one of the few individual instrumentalists to be credited on the album, and his influence can certainly be felt on the track as some sections of the song do sound like some of Opeth's more pastoral moments. While probably my least favourite song on the album, it is not truly horrible and there is a great keyboard-led section part way through that sees some great retro synths cut through the mix to great effect. Life Eternal is the album's closing number, and injects some theatrics into the album with some excellent piano melodies and some of Forge's best vocals to date. The song is quite a mellow one, with the piano dominating throughout, but the way that Forge sings and some of the guitar lines that cut through remind me a little of Queen. By the time the last chorus is reached, Forge is backed by a choir and a dense orchestral backing. It sounds epic, and really helps the album to end on a real high - especially after the strange instrumental piece that preceded it. Overall, Prequelle is a really strong album from the Swedish band and one that will probably introduce them to new fans. There is a bit of filler to be found, especially the second of the two instrumentals, but there is also an awful lot to enjoy and I have to credit this album for making me finally take notice of Ghost.

The album was released on 1st June 2018 via Loma Vista Recordings. Below is the band's promotional video for Rats.

Tremonti - Birmingham Review

Despite currently being known primarily as the lead guitarist of the stadium-filling rockers Alter Bridge, Mark Tremonti has also been cultivating a successful solo career since releasing his first solo album All I Was back in 2012. Heavier and more metal-orientated than anything he had been a part of up to that point, All I Was allowed Tremonti to display another side of his guitar playing and songwriting as well as, crucially, introducing him as a singer. As a member of Alter Bridge, and before that Creed, Tremonti has always been joined by a charismatic frontman to help bring his creations to life. Myles Kennedy and Scott Stapp are both very recognisable and much-loved vocalists, but with All I Was Tremonti showed that he could more than hold his own vocally. While not as dynamic or versatile as either of his two main collaborates, Tremonti's smooth, powerful, and low voice suits his heavier material perfectly. The more straight-ahead riff-driven material that fills his solo albums does not require a vocal gymnast, but over time his vocal skills have improved significantly. Companion albums 2015's Cauterize and 2016's Dust followed All I Was, and both saw improvements on the vocal front. His skills have improved even further on the newly released A Dying Machine, a concept album that is easily Tremonti's most ambitious solo venture yet. A Dying Machine is less than a month old, but to capitalise on the album's release and the extremely positive reviews that it is receiving, Tremonti brought his solo band over to the UK for a few live shows as part of a wider European trek. I had seen the Tremonti band once previously: in Wolverhampton back in 2013 when All I Was was being promoted; but had not managed to catch them again since. I opted for the Birmingham show this time as it was at a weekend which meant that I did not have to take any time off work. I always enjoy visiting Birmingham too, so need little convincing to book a weekend away there. The show was at the O2 Institute in Digbeth, which is a good-sized room but far from my favourite venue. It is one of those halls that always feels over-crowded, no matter how many people are in attendance, and the stage is rather low which can make the views quite poor. The sound has a tendency to be quite mushy too, and sadly that was the case for parts of this show - although it was not as bad as I had experienced there previously. Luckily for the crowd however, the venue has a very good air conditioning system which was certainly welcome given how hot it was outside!

Despite the venue opening the doors around 20 minutes late, which was not appreciated considering the aforementioned heat, there was still a good-sized crowd packed into the venue when the sole support act The Fallen State hit the stage at 7pm. Being a band from my home county of Devon, I have been following The Fallen State's progress for some years and it was great to see them bag such a high-profile support slot. The band have been doing pretty well for themselves recently and, while there will always be a bit too much late 1990s/early 2000s post-grunge in their sound to consider myself a true fan, I have enjoyed watching their star gradually rise. I caught the band in Plymouth last year, so knew what to expect, but on a bigger stage they really came alive and showcased their talents. Despite battling poor sound throughout their set, the five-piece ran through half an hour or so of music culled from their various EPs and managed to elicit a strong reaction from portions of the crowd - especially towards the end of their set. Frontman Ben Stenning might not have the best voice out there, but he is a captivating frontman and led the band through a strong set that included oldies such as Hope in Revival, the power ballad Nova, and a personal favourite in Sons of Avarice. Jon Price (guitar/vocals) impressed during the latter with an emotional guitar solo, and Nova seemed to garner the biggest crowd reaction which is unsurprising given its soaring chorus. I am sure that the band made a few new fans with their performance in Birmingham, and I am looking forward to hearing their debut album which I gather they are currently working on.

After a fairly quick changeover, Tremonti took to the stage at around 8pm and played straight through until just before 9:30pm. With four albums of material to choose from now, the set featured a good selection of songs from all of Tremonti's albums - but with most of the focus being on the new material from A Dying Machine. Throw Them to the Lions got the show off to a fast, metallic start; before Another Heart and Cauterize added an anthemic side to proceedings. Tremonti shows are much lower-key affairs than Alter Bridge shows, and Tremonti mostly lets his music do the talking. He and his band - which consists of Eric Friedman (guitar/vocals), Tanner Keegan (bass guitar/vocals), and Garrett Whitlock (drums) - barely paused for breath all night, and neither did the crowd who fed of the energy being created on stage and often out-sung the band, especially during some of the more powerful choruses. Early highlights for me were the murky Traipse from the new album, and the Iced Earth-esque My Last Mistake which possibly contains my favourite Tremonti riff yet. As I had not managed to see the band live since the All I Was tour, I was glad that they chose to include a good few numbers from both Cauterize and Dust, meaning that most of the set was made up of songs that I had not heard performed live before. The lead single from the new album Take You With Me was another real highlight, and saw one of the biggest audience reactions of the night. So often it seems that bands struggle to garner much of a reaction when playing brand new material, but that did not seem to be a problem for Tremonti. It was clear that many of those in attendance had already memorised the entirety of A Dying Machine, and the songs from it were greeted as fondly as some of the old favourites. This was especially the case for the ballad As the Silence Becomes Me, which has one of the best choruses on the new album for me. This followed an older ballad, The Things I've Seen, which featured some excellent guitar work from Friedman. While Tremonti obviously takes the lion's share of the solos, there were a few moments that Friedman soloed and showed that he is more than a capable player in his own right. Despite this however, Tremonti throughout showcased why he is seen as one of the best modern rock guitarists. I was disappointed that at the last Alter Bridge show I attended in 2016 he was almost a spectator for the whole night and Myles Kennedy soloed in the vast majority of the songs played, so it was great to see him taking nearly all of the credit this time around! By this point however the show was winding to a close, but the dynamic title track from the new album and the slower groove metal of Flying Monkeys ensured there was no late set slump. Dust was another highlight, and proved to be a real 'lighters in the air' moment, before Tremonti announced that the band do not do arbitrary encore breaks and would play two more songs before finishing up. These final two numbers were fast ones, with Radical Change and the slightly punky Wish You Well bringing a powerful set to a close. The setlist was:

Throw Them to the Lions
Another Heart
Cauterize
You Waste Your Time
Traipse
My Last Mistake
Take You With Me
Betray Me
The Things I've Seen
As the Silence Becomes Me
So You're Afraid
Flying Monkeys
Bringer of War
A Dying Machine
Dust
Radical Change
Wish You Well

It had been over five years since I last saw Tremonti, and they were certainly worth the wait. Despite battling a mushy sound mix during the first part of the set, the band's power shone through and it was great to see a modern rock legend in a relatively small venue and playing a good, old-fashioned metal show without big screens and all of the other stadium trappings that come with Alter Bridge shows these days. As an aside; given the early doors and show times, it meant that I left the venue to find it was still light outside - which was a bit of a strange experience! More venues should consider doing this, as it would certainly help those fans who have to catch trains etc. afterwards. I am in the middle of the real glut of gigs at the moment, and I will in fact be returning to Birmingham next weekend to catch the great Roger Waters, something which I am looking forward to immensely.