Alice in Chains' 'Rainier Fog' - Album Review

While I would not consider myself much of a grunge fan at all, I will always make time for Alice in Chains. The Seattle-based four-piece were at the forefront of the grunge movement during the early 1990s, but for my money they have always had much more a classic rock and metal influence than their peers. The vast majority of gunge is quite one-paced, downbeat, and dreary but, while Alice in Chains could certainly be described as downbeat, their music consistently excites me in a way that no other grunge band can. In my opinion, this is purely down to the band's founding member, guitarist, and co-lead vocalist Jerry Cantrell. Cantrell formed the band back in 1987, and has been the driving force ever since. While the late Layne Staley was the frontman and face of the band, it was Cantrell's songs that he was singing, it was Cantrell's voice mixing with his to create the haunting harmonies the band are known for, and it was Cantrell's guitar providing the riffs and melodies for him to sing over. That is not to put a downer on Staley's considerable contributions to the band, and his tragic death continues to be mourned by fans the world over, but the fact that Alice in Chains are still going strong despite this crippling loss is down to Cantrell's vision and leadership. Since the band's mid-2000s resurrection, Alice in Chains has been fronted by the venerable William DuVall - a singer who by now really seems to have won the fanbase around. He clearly respects Staley's legacy, but has managed to inject enough of his own character and style into the vocals to stop himself being labelled as a copycat. It is never easy to replace a much-loved deceased singer, but DuVall has shown how this can be done and comes across as a very humble character - which is probably why he has won the hearts of so many of the bands fans. It is crazy to think that, with the recent release of the band's sixth album Rainier Fog which is the subject of this piece, Alice in Chains have now released as many full-length studio albums with DuVall at the helm as they did with Staley. The DuVall-era is more than underway now, and Rainier Fog, like 2009's Black Gives Way to Blue and 2013's The Devil Put Dinosaurs Here before it, really adds to the band's legacy. While I am not sure that anything the band will ever put out will rival the masterpiece that is 1992's Dirt, Rainier Fog shows that Cantrell and co. still have plenty to say. The classic Alice in Chains sound is intact here, with DuVall and Cantrell often teaming up to deliver the mournful vocals, which really evoke the sound of the early 1990s, while founding drummer Sean Kinney and long-time bassist Mike Inez lay down heavy and soulful grooves. While this album does little to push the band's sound into new directions, it certainly seems heavier and denser than the band's previous effort, and is sure to be a new favourite for metalheads everywhere.

The album opens with the pummelling staccato riffing of The One You Know, a driving mid-paced hard rock track that contains all of the band's trademark sounds from the off. The guitar tone is raw, but still packs a punch, and Kinney's hollow drumming provides an earthy backing. The two vocalists intertwine perfectly, with Cantrell taking the lead and DuVall providing the harmonies and the crushing rhythm guitar stabs. This is a song that screams 'Seattle' from the outset, and really sets the tone for what is to come over the next hour or so. I would argue that Alice in Chains are the prime architects and keepers of this sound, and this album (and song in particular) is a beacon of this attitude and vibe in the modern day. The album's title track is up next, and it ups the pace a little with a tough guitar riff and a cutting lead that really leaps out of the speakers. Cantrell is a wonderful guitarist, and fills this album with so many tasteful fills and solos - with his guitar constantly adding something interesting to this song. Inez also makes his presence known with a pounding bassline, that has just enough distortion on it to make it growl and stand out form the wall of guitars. Alice in Chains always manage to create a very dense sound, and I feel that Inez's bass playing is a big part of this. He always seems to manage to find the perfect sound to compliment the guitars, and this song is a great example of his contributions to the band. While Alice in Chains songs are not always known for their soaring melodies, the chorus here is very memorable and packed with refrains that are begging to be sung. The two vocalists harmonise throughout to bring these melodies, and the haunting sound they create is extremely appealing, despite the darkness. Red Giant has a murkier sound throughout, with vocals and guitars mixing together in the intro to create an unsettling sound, and a slow-paced verse that places more emphasis on DuVall's drawling voice than Cantrell's more controlled baritone. Despite some heavy moments, it is a song that manages to create a powerful atmosphere throughout that really establishes a strong mood. Synths or keyboards are often used to enhance atmosphere, but I do not think that this is the case here - with the layers of guitars and use of the harmony vocals coming together to do the job. Credit has to also go to producer Nick Raskulinecz here, who has really brought a lot out of the band's sound without diluting it in anyway. The production throughout the album walks the thin line between sounding primal and raw, and sounding polished and powerful - without ever become too much of either.

Fly lightens the tone a little, with a fairly jaunty clean guitar line forming the basis of the song. This provides a great backing for the vocals, which again sees Cantrell mostly taking the lead. If Alice in Chains wrote a country song, it would probably sound something like this. There are lead guitar breaks that sound like they could have come from a lost Lynyrd Skynyrd song, and the constant addition of acoustic guitars just adds a certain organic quality. This is no hick piece however, and still retains enough of the band's trademark sounds to be instantly recognisable. My favourite part of the song is the guitar solo, which sees Cantrell really letting go with a feast of slow, bluesy playing that has a certain slow-burning power. The way the first big bend almost distorts shows the feeling that he put into the piece, and the fact this slight 'imperfection' was not edited out of the final product is a great! Drone also has a strong acoustic presence, and in fact features some additional guitar work from Chris DeGarmo (Queensrÿche) who contributes the acoustic parts. DeGarmo and Cantrell have worked together before, and Cantrell has gone on record many times professing his love for Queensrÿche. The pair clearly work well together, and DeGarmo's small additions really help to push this song to new heights. It is another song with a pretty big chorus, with the harmonies really helping the melodies to sink in. Much of the song is quite heavy, with driving staccato riffing, but as soon as DeGarmo's acoustic guitar comes in the song opens up with a certain lightness that then leads into another lengthy guitar solo. While there are certainly many more proficient players out there than Cantrell, the feel he gets out of his solos makes him a joy to listen to. His demented take on the typical rock and blues formula is endlessly enjoyable, and is a big reason why I enjoy Alice in Chains so much. Deaf Ears Blind Eyes is the first track on the album that does not really grab me. While I really like the vocal performance throughout, especially DuVall's contributions, it lacks the hooks of the other songs. Most of the other songs on the album have something which really hits home - be it a powerful riff, a cutting solo, or a melodic chorus - but this song feels like a bit of a trudge. Alice in Chain's material on the whole is fairly downbeat and, sometimes, depressing, but this one seems to revel in that without providing any light. It is not an awful song by any means, but it certainly fails to excite. Maybe is a bit of a ballad, so again has quite a strong acoustic guitar presence. Unsurprisingly the song seems to hark back to the acoustic EPs, 1992's Sap and 1994's Jar of Flies, while still feeling like a vital park of this album. There seems to have been a big emphasis placed on vocal melodies here, with both DuVall and Cantrell singing the song throughout to create that big vocal sound the band are known for. The choruses are surprisingly catchy, and the guitar solo is another real winner. As a result, this is one of my favourite pieces on the album, as the mix of light and shade is perfect and really helps to create a fantastic atmosphere.

So Far Under is one of the few songs in the Alice in Chains discography to not be co-written by Cantrell, with DuVall offering up his first solo composition since joining the band. It is clear that he has really embraced the band's signature sound however, and the song is based on a dirty riff that really grabs hold, and is the perfect backing for his howling vocals. I sometimes feel that Cantrell can dominate a little too much on the vocal front, but this is clearly DuVall's chance to really shine. As well as him taking the lion's share of the vocal dominance, he also contributes the song's lead guitar parts. While not as inventive as Cantrell, his screeching leads really fit the mood of the piece, and as a result it is probably the rawest-sounding song on the album. The solo is great too, and shows that DuVall is more than capable of holding his own when it comes to guitar playing in Alice in Chains! The gritty feeling of the song really appeals to me, and as a result it is one of the album's highlights for me. Never Fade is another DuVall effort, although in tandem with Cantrell this time, so unsurprisingly it shares similarities with the previous song but with less grit and more mournful melodies. The chorus is a winner, and sees Cantrell taking the lead vocally, while DuVall's drawl makes the verses shine. So often the vocalists of Alice in Chains seem to be one entity, with the harmonies working so seamlessly, but this song shows their diverse styles with the spotlight shined on both individually - although with plenty of those trademark harmonies also to found! The album's closing number, the seven-minute-plus All I Am, is another pseudo-ballad. It really slows the pace down, and mixes big acoustic guitar chords with a sluggish drum beat and a really expressive vocal display. I am a big fan in general of the band's approach to vocals, and the talents of both DuVall and Cantrell, but I think that this song is one of the best vocal performances in the band's catalogue. The amount of emotion that both put into the song is incredible, and the varying styles throughout really showcases their talents. There are extremely gentle sections, which see some higher notes that you usually expect from either, and then heavier sections crash in and the power is raised considerably. The song is a real slow-burner, and in my opinion this really helps it to gain power. It is a song that benefits from repeated listens, but ends up being the perfect closing number - and certainly one of my favourite pieces on the album and in the band's catalogue. Overall, Rainier Fog is another excellent effort from Alice in Chains. Fans of the band will love hearing more of the band's signature style, and there are a few genuine future classics here that will find regular homes on setlists for years to come.

The album was released on 24th August 2018 via BMG Rights Management GmbH. Below is the band's promotional video for The One You Know.

Europe - Cardiff Review

Over recent years, Sweden's Europe have become a real go-to band for me when it comes to booking concerts. The band are one of the most consistent live acts that I have seen, which makes going to see them a real no-brainer. Unlike many of Europe's peers, who seem content to treat the same old ground again and again and continuously play the same old greatest hits set when touring, Europe have always placed a big emphasis on their newer material when playing live. This is something that I greatly respect them for, as I feel that bands really should remain as a creative as they can for as long as possible, and Europe have been keeping up an impressive release schedule of late. The band's latest album Walk the Earth was released last year and, while I feel that is not as strong as some of their other more-recent works, it shows that Europe still have plenty to say. While the keyboard-drenched 1980s melodic rock sound has now largely gone from their modern sound, to be replaced by a tougher 1970s hard rock sound, the band's newer material sits well alongside their classics when they are played live. Luckily for the fans too, Europe have always made an effort to include lengthy UK tours on their European treks - something which is always appreciated. This is what has allowed me to see the band quite a few times of late, with this most-recent show at Cardiff's St. David's Hall (a new venue for me) being my sixth. I last the saw the band in Birmingham last when they they supported Deep Purple at the Arena Birmingham. The band put on a good show that night, but failed to really excite a crowd that seemed nothing (even the vast majority of Deep Purple's set) could rouse them. It was a shame that so few seemed to want to give Europe a proper chance that night, but I knew this would not be the case at the next show of theirs that I went to. I always enjoy visiting Cardiff as it a nice city, and the St. David's Hall proved to be a great venue with a powerful sound system and comfy seats. I had worried that the seated nature of the show would kill the atmosphere, much like last year's Deep Purple show, but that was not the case this time as the almost-sold out venue produced a really strong atmosphere all night, with songs old and new alike receiving strong receptions.

Before Europe's set however, the growing crowd was treated a set from the Scottish blues rock act King King. King King really seem to be the flavour of the month at the moment, and are making real waves in the British rock scene. I had recently seen the band put on a well-received set at Steelhouse Festival, and the thought of seeing them again was not an unpleasant one. Those who know me will know that blues is not my favourite genre of music, but I do quite like King King's melodic take on the genre. Alan Nimmo (vocals/guitar) has quite a soulful voice that is not unlike Paul Rodgers', and his guitar playing is often excellent. Many of the songs, including A Long History of Love which was again the highlight of the set for me, have lengthy guitar solos for him to show off his skills with. He also has a great understanding with new keyboardist Jonny Dyke, with the two often playing in tandem. Incidentally, it was great to see Dyke playing a real Hammond Organ through a Leslie speaker. While I understand that convenience of using synths and patches to recreate the sound of a Hammond without having to cart one around, there is nothing quite like hearing a real Hammond growling live. Dyke put the instrument through its paces throughout the set, and his playing produced some of my favourite moments of King King's time on stage. While I do not think that I will ever become a true King King fan, I cannot deny that Nimmo and co. are a talented bunch. Some of their songs do resonate with me, and they deserve the success that seemed to be coming their way. I would not be surprised to see the band promoted to bigger venues in their own right in the near future.

While many had enjoyed King King's set, it was Europe that everyone was hear to see and at 9:20pm the lights went down a symphonic intro soon gave way to the epic Walk the Earth, a song which shook the venue down to its foundations and got the band's set off to a great start. Mic Michaeli's (keyboards/vocals) keyboards drove the piece, and a huge cheer erupted when frontman Joey Tempest took to the stage. As with most of the band's shows, the set was a good mix of old and new (focusing mainly on the new) and The Siege (also from the new album) kept the energy levels high before the classic track Rock the Night got everyone to their feet. John Norum (guitar/vocals) was beaming as he launched into the song's anthemic riff, and it proved to be the first big sing-along moment of the night with Tempest guiding the crowd through it with his usual charm. The set was a lengthy one, with lots of highlights, but some early ones were the symphonic Last Look at Eden, which is always a treat to hear with its stadium-worthy chorus, and a live debut of the acoustic-based ballad Pictures from the latest album. This has never been a favourite cut of mine, but live the song really came alive with Tempest's acoustic guitar playing and Michaeli's piano mixing together well, before Norum soloed at the end. Those who preferred the band's earlier works will have been thrilled with the inclusion of the fast-paced Ready or Not, which saw Tempest throwing all sorts of shapes with his guitar as he added some additional weight to the piece, and the sing-along worthy Sign of the Times. While the older material still receives the biggest cheers, there is still plenty of love shown to the newer stuff too. Norum's showcase instrumental piece Vasastan allowed him to really show off his melodic soloing, and it was clear to see the Ritchie Blackmore influence in his playing here. This segued into the heavy GTO which whipped up a storm, before the classic power ballad Carrie had everyone singing along. It was a real lighters in the air moment, and Tempest and the band encouraged the crowd to sing the second chorus which, of course, they did. Not wanting to let the energy fall too much, Tempest asked the crowd if they wanted something heavy and the band launched into the thick blues of Nothin' to Ya, with more excellent soloing from Norum and a closing drum solo from Ian Haugland. By this time the main set was coming to a close, but there were still a few more excellent tunes to be heard. One of the highlights to me was the Hammond-driven War of Kings, which also saw bassist John Levén strutting around the stage driving everything with his powerful playing. The main set came to an end with Superstitious, which went down a storm, and the crowd called for more as the band left the stage. After a short break in the wings, the band came back and raced through a couple more classics before finally bringing the curtain down. Cherokee and the bona fide legendary The Final Countdown brought the evening to a close, with the crowd singing right to the very end. The setlist was:

Walk the Earth
The Siege
Rock the Night
Hole in my Pocket 
Prelude
Last Look at Eden
Pictures
Firebox
Ready or Not
Turn to Dust
Sign of the Times
Vasastan
GTO
Carrie
Nothin' to Ya
Drum solo
Scream of Anger
War of Kings
Superstitious
-
Cherokee
The Final Countdown

Overall, this was another powerful live show from one of the most consistent bands out there still regularly touring. Europe really know how to deliver, and that is the reason that I keep coming back. I am already looking forward to seeing the band again, and I hope it will not be too long before they come back to the UK.

Airrace's 'Untold Stories' - Album Review

With the exception of Foreigner, who have always featured plenty of Americans in their ranks anyway, AOR is not something that the UK is known for. While there are plenty of great melodic rock bands from these shores, FM spring to mind as being a particular stand out, America has always had the monopoly on that type of music with bands like Journey and Survivor filling the radio waves throughout the 1980s. Every so often however there was a British act who attempted to compete with the American heavyweights, and Airrace were one such band. The band were formed in 1982 by guitarist Laurie Mansworth, who had been a part of the NWOBHM act More, and released their debut album Shaft of Light two years later. While the album was never going to have the pulling power to shift peoples' focus away from albums like Journey's Frontiers or Survivor's Vital Signs that were big at the time, Shaft of Light remains a minor AOR classic. Those who love melodic rock will find plenty to enjoy throughout the album's short runtime, and should be sought out by those who want to look beyond the genre's big names. Sadly the original Airrace line-up was short-lived, and split up in 1986 without ever releasing another album. Whenever Airrace's name is mentioned these days, it is usually in conjunction with pointing out that they were drummer Jason Bonham's first ever proper band, but that does not really do the band justice as Bonham was never part of the creative brains. That has always been Mansworth, and the fact that the current line-up of the band features no other original members other than him certainly proves that. Mansworth resurrected the Airrace name in 2009 with original frontman Keith Murrell, and the two put out the band's second album Back to the Start in 2011 with new musicians. Back to the Start was similar to the debut album, and again could be seen as a really underrated melodic rock gem. The band has been sporadically active ever since, although activity has ramped up over the past couple of years as the band worked on what would become their third album. That album, titled Untold Stories, was released last month and again features the band's now-familiar AOR sound - although with a tougher edge throughout. With Murrell leaving the fold sometime between Back to the Start's release and now, Mansworth has recruited a whole new line-up. Filling the vacated vocalist slot is Welsh singer Adam Payne, and he has been joined by the veteran bassist Rocky Newton (Lionheart; McAuley Schenker Group), keyboardist Linda Kelsey-Foster, and Mansworth son Dhani (The Treatment) on drums. Despite this excellent supporting cast, Untold Stories really is the Laurie Mansworth show. He has single-handedly written the entire album, as well as produced it - ensuring that it stays as close to his Airrace vision as possible.

Being an AOR album the opening track Running Out of Time opens with a piano motif, which is soon joined by some somewhat mournful guitar leads, before the piece explodes into a pomp-filled mid-paced rocker with crunchy guitar rhythms and sparkling synth pulses. While long-time fans may lament over Murrell's departure from the band, Payne immediately displays why he was chosen as the replacement with his performance here - including a delightfully playful verse melody. While the chorus is not as big as I would like it to be considering this is the song that is likely to make one of the biggest impressions on the listener, there is still enough to hit home. If anything, it is the song's groove that really stands out for me here. The rhythm section and the guitars are locked together perfectly for a somewhat bluesy strut, while Kelsey-Foster's keyboards provide a melodic counterpoint. This ensures the song makes an impression, and this style is something that is continued throughout the album. Innocent ups the pace somewhat, and features more of a 'proper' guitar riff which catches the ear with it's choppy style. The keyboards take a bit more of a backseat here, which allows Mansworth's guitar playing to dictate the play. A bridge section towards the end is built on subtle harmony guitar leads, and this is the part of the song that stands out to me - as well as a Thin Lizzy-inspired instrumental/solo section which allows Mansworth's tasteful, melodic playing to shine through. The lack of a really soaring chorus again holds the song back somewhat, but the more driving nature of the piece helps it also to leave a positive impression. Eyes Like Ice is a much more powerful piece, and opens with some dramatic strings, which is a vibe that is contained throughout with the keyboards, as well as Mansworth's cutting guitar leads. Despite the slightly heavier feel overall, the chorus here is packed full of AOR goodness. Payne lays down layers of harmony vocals, and the main chorus hook really implants itself in the brain after only a couple of listens. As a result, this is one of the strongest songs on the album for me - and a biting guitar solo only enhances this view. This tougher, pacier feel continues on in Different But the Same, which is backed full of bluesy trappings - but still has that AOR sheen. The music is not too dissimilar to something The Quireboys might come up with, with loose bluesy guitar riffs and a strong percussive feel. The keyboards are often more organic here, with organ sounds replacing the synths that dominate elsewhere. It is Payne's smooth vocals that make this an Airrace song however, and it is his performance that really makes the chorus as strong as it is - while Kelsey-Foster's organ grinds away in the background.

New Skin is going to really turn those on who are big fan of 1970s hard rock, and there is a big Whitesnake feel here, with a sleazy, bluesy strut throughout. Newton's bass playing really drives the song, with his bassline really setting the groove, while the organ once again grinds away behind everything. There is another powerful chorus here, with Payne once again delivering the goods. While a song like this might have benefited from a voice that was a bit rougher around the edges, Payne still pulls the style off convincingly. His polish is contradicted somewhat by the rawer hard rock sound of the rest of the song , but not enough to create a jarring effect. Another excellent guitar solo is the icing on the cake, and this is another piece that really makes an impression. Lost is a ballad, and features vocals from Mansworth who has a decent voice in his own right. While not as expressive as Payne, Mansworth's tones suit the more stripped-back feel of the piece. Acoustic guitars and piano dominate the song, but a shuffling drum beat helps to keep things moving and provide a bit of a groove despite the overall lower-key nature. Payne also takes the lead at certain points, and adds lots of backing vocals throughout. His high-pitched backing vocals at times remind me of some of the early Toto albums, and the style works in the band's favour. Up to this point the album has mostly been quite an upbeat and hard rocking album, so to take this little break at the mid-point and chill out with a soothing ballad helps the album's pace, and adds a welcome change of style. Love is Love is back to the album's more usual sound, with a choppy guitar riff - backed up by the keyboards - and Dhani Mansworth's staccato drumming. The verses here are fairly upbeat, but the chorus takes on more of a cinematic style which sounds more like U2 than your average AOR band. The soundscape-esque keyboards help to create a wide sound, and Payne's more emotional vocal delivery create a powerful, if somewhat soothing effect. Men from the Boys revisits that Whitesnake-esque feel from earlier, with a massive bluesy guitar riff/organ combo exploding from the speakers which soon gives way into a sultry verse with loose guitar chords and punchy drumming. Again Payne's vocals sound a little too clean at times, but he still carries the song well - especially in the simple chorus which seems to suit his style a little more. There are Led Zeppelin-esque moments here too, with wordless vocals atop Eastern-tinged keyboards, which add another dynamic to enjoy - but this is a song that is all about the riffs and the groove, something which it excels at.

Summer Rain is more of a typical AOR piece, and has one of my favourite choruses on the album. While it is packed full of poppy hooks, it is something that is so easy to enjoy. The verses have a little more bite to them, with some guitar boogie and the occasional synth break, but it is the chorus where the song truly shines. It is songs like this that show Payne in his true element. He does the bluesier songs well, but you feel that he is a little out of his comfort zone while singing them, but here he really excels. The melodies here were made for a voice like his, and the subtle harmonies he throws in really enhance the song in a positive way. This is not a piece that is in your face, but one that is packed full of sweet melodies that slowly permeate into the subconscious. Come With Us is a tougher hard rock piece, with a main riff that is not too dissimilar to AC/DC's signature style, but it is part of a song that has more of a melodic feel. Newton's bass once again feels really important, with his melodic playing create the groove for everything else to rest on. This is especially the case during the verses, which are probably the best parts of the song for me, although Mansworth's dirty blues guitar solo also stands out. The album's closing piece Here It Comes is another upbeat AOR piece, but one that features less of the bluesy sounds that often dominate here. The verses are packed with subtle energy, and Payne again turns in an excellent performance with some strong vocals. The chorus here showcases his strengths, and again features the harmonies that have featured throughout. I like it that the band have not over-egged the AOR elements here, and have reigned in the overt keyboards and layers of chorus vocals. While I do love bands that use those tropes, Airrace feel like a slightly tougher band overall so the inclusion of sounds like that would probably seem jarring when viewed in the context of the album. Subtly sometimes is key and I feel that is where Here It Comes shines and it proves to be a powerful closing piece. Overall, Untold Stories is a really enjoyable album from this new-look Airrace and one that does not really feature any truly weak tracks. While at times it does sound like Mansworth has not quite decided how he wants Airrace to sound in 2018, with AOR songs mixed in with tough bluesy rockers, the mix does not feel that jarring and does provide a wealth of styles for the listener to enjoy.

The album was released on 10th August 2018 via Frontiers Records. Below is the band's promotional lyric video for Summer Rain.

The Quireboys - London Review

Despite seeing The Quireboys live many times over the past few years, going to one of their concerts is still an exciting prospect. After Mostly Autumn, they are now my second most-seen act and announcements of Quireboys tours are often followed by frantic investigations to see which show I can make! It is perhaps unsurprising then that, when the band announced a special one-off show at London's O2 Forum in Kentish Town to celebrate the ten year anniversary of the Homewreckers & Heartbreakers album, I almost-instantly bought a ticket. The promise of the whole of Homewreckers & Heartbreakers, which is one of the band's best albums, being played live in full was enough of a draw in itself, but add in the fact that the Swedish AOR act H.E.A.T and former Heaven's Basement frontman Aaron Buchanan were also part of the evening made the ticket a must-buy. The O2 Forum is larger than the venues The Quireboys tend to play these days, so filling it was always going to be a challenge, but in the end the show was sold out! While there were not an insignificant amount of tickets given away as part of competitions and as a package when buying the new re-issued Homewreckers & Heartbreakers on CD, a band like The Quireboys filling a venue of the O2 Forum's size is an achievement. The Quireboys are still a popular live act, but their draw these days is mostly on the club circuit. Over 2000 people can fit into the O2 Forum, so this must have taken frontman Spike and co. back to their early 1990s heyday when they regularly played and filled venues of this size. The was, in fact, a VHS tape sold in the past of The Quireboys playing at the same venue, when it was called the Town and Country Club, which was around the time of the release of their second album. Sometimes things come full circle, and the capacity crowd certainly seemed to enjoy seeing The Quireboys on a big stage once more. There was an option to buy VIP tickets that garnered early entry to the venue and an opportunity to meet the band, but I opted for standard tickets. Those of us who went for this option were let into the venue at 6pm, and I fully expected there to already be a lot of people down at the front. This was not the case however, with most of the VIPs electing to sit in the balcony, so I immediately headed down to the front - almost on the barrier - where the remained for the entire night. Often being so close the front can mean a sacrifice in sound quality, and that was somewhat the case here with all four bands sounding a little muddy at times. It was not the worst I have heard however, and did nothing to dampen the energy or power of anything that was going on on the stage.

As well as the three acts already mentioned, there was a fourth who opened the evening. Those Damn Crows, a rock band from Wales, had half an hour on stage and proceeded to entertain the crowd with their modern hard rock sound. While the band put on an energetic set, for me their material lacked the big melodies that this kind of music needs. There were a couple of strong choruses in their set, but none of their riffs really grabbed me and I never really felt that spark of excitement that you feel when you discover a great new band. The muddy sound did not help however, so I always feel uncomfortable judging a band fully when you feel that their sound could be somewhat being hampered. Despite my feelings, it seemed I was in the minority as there were quite a few people around me at the front that were sporting Those Damn Crows t-shirts and clearly knew all of the songs that the band were performing. As a result, the band certainly went down pretty well with the crowd, and certainly helped to warm everyone up for what was to come.

Aaron Buchanan and his Cult Classics were up next, and this was when the evening really got started for me. I had seen the band twice already this year, with the most recent outing being an extremely wet, curtailed set at the Steelhouse Festival a couple of months ago. Much dryer this time, Buchanan seemed really up for the show, and he and the band launched into a eight-song set that featured the best from their debut album The Man With Stars on his Knees as well as some choice cuts from Buchanan's time with Heaven's Basement. Left Me for Dead seems to be the perennial set-opener for the band, and the mid-paced heaviness seems to be a great way for Buchanan to warm up his voice, before Tom McCarthy (guitar/vocals) launches into the riff of Heaven's Basement's Fire, Fire and everything moves up another gear. The sound is still a little muddy, which occasionally buries the vocals, but this does little to constrain Buchanan who really seemed up for the gig. He ventured into the crowd in more than one occasion, once to crowd-surf and the other time to crowd-handstand, which certainly provided a visual spectacle. This would be worthless however if the band's material was not up to much, but that is certainly not the case, with future anthems like Dancin' Down Below and a barnstorming version of Heartbreaking Son of a Bitch, with some excellent guitar work from Buchanan's sister Laurie, really tearing the place up. The band ended their 40 minute set with Morals?, the closing number from their debut album, and with the news that the band are about to sign a record deal being announced on stage one can only hope that this means we will not have to wait too long to hear some new material. The setlist was:

Left Me for Dead
Fire, Fire [Heaven's Basement material]
The Devil That Needs You
Fire in the Fields of Mayhem
I Am Electric [Heaven's Basement material]
Dancin' Down Below
Heartbreaking Son of a Bitch [Heaven's Basement material]
Morals?

The excitement was not to end there however, as Sweden's H.E.A.T were out to steal show, and they almost did with a 50 minute set packed with melodic tracks from all five of their studio albums. I have been a fan of H.E.A.T for quite a few years, but had never had the opportunity to see them live. This set was long-overdue for me and, despite more muddy sound, I was impressed with what I saw. There are not many AOR bands that can put on a set packed with quite this much energy, and this was established early with the tough mid-paced rock of Bastard of Society and a trip back to their debut album with the bluesy strut of Late Night Lady. Despite Buchanan's earlier antics, frontman Erik Grönwall was probably the most active singer of the night, often getting down to the front to interact with the crowd and whip up excitement. The set was packed full of highlights, but one of the best moments for me was an extended version of Beg Beg Beg that saw Grönwall also crowd-surfing (maybe trying to out do Buchanan?), and plenty of soloing from Dave Dalone (guitar/vocals). Despite being a support band, there were still clearly lots of H.E.A.T fans in attendance, and that meant that the big sing-a-long erupted during the chorus of Tearing Down the Walls, which saw Grönwall - acoustic guitar in hand - leading the crowd through their paces. Everything that followed felt like a bit of a victory lap, with the riff-heavy Emergency really standing out. It has one of the best choruses in the band's catalogue for me, and despite sometimes getting buried in the mix Grönwall was able to rise above the band to belt out the sweet melodies. Sadly the band ran out of time, so were not able to play all of the songs they had planned to, but a great version of Living on the Run, with a great keyboard intro from Jona Tee, rounded out a triumphant set. I had wanted to see H.E.A.T for a while, and they did not disappoint. They have now been added to the ever-growing list of bands who I will make every effort to try and see each time they tour in the UK! The setlist was:

Bastard of Society
Late Night Lady
Mannequin Show
Redefined
Beg Beg Beg/Whole Lotta Rosie [AC/CD cover]/Piece of My Heart [Erma Franklin cover]
The Wreckoning
Tearing Down the Walls
Emergency
Inferno
Living on the Run

It is always the sign of a great show when you have had a lot of fun before the main band even steps on the stage, but with the full Quireboys set to come the evening was destined to get even better. Appearing on stage like the elder statesmen of rock, the band immediately got things underway with I Love This Dirty Town, and proceeded to play the whole of Homewreckers & Heartbreakers. I had wondered how the show would be structured, but playing the album in full first, and following it up with classics, worked really well. Each re-issue of Homewreckers & Heartbreakers has seen the tracklisting altered, so the order the songs were played was different than on my original CD, but the flow worked well - packing many of the album's best early on. While Homewreckers & Heartbreakers is a bit of a fan favourite, only a couple of songs are real setlist staples, so that meant this show was packed full of rarely-played tracks. Mona Lisa Smiled is one of the ever-present songs however, but it felt as powerful as ever, with Spike nailing the vocal and Paul Guerin (guitar/vocals) peeling off one of his many bluesy solos of the night. Sadly The Quireboys did not escape the muddy sound, with Spike's vocals sometimes becoming lost in the mix, but the capacity crowd often helped out and the atmosphere was electric throughout. Some of the real highlight for me were some of the lesser-played songs. The tough bluesy barrage of Blackwater was one, with Keith Weir's (keyboards/vocals) organ driving the song, and the somewhat-chanted chorus really grabbing hold. The murky ballad Fear Within the Lie was another personal highlight. It has been one of my favourite Quireboys songs for quite some time, so it was great to finally hear it live. Spike has always had a great voice for ballads, with his gravely tones really bringing out the emotional weight of the piece. Even some of the lesser tracks on the album, such as Take a Look at Yourself and the somewhat-throwaway closing piece Josephine really came across well in the live setting, meaning that the piece as a whole worked well together. Whole album sets can sometimes fall a bit flat, with some of the songs not really standing up well live, but this was not the case with Homewreckers & Heartbreakers as it is a fairly diverse set of songs that meant for an hour or so of music that really flew by. The half an hour or so that followed, including the encore, was packed with Quireboys classics, with all but one of the songs played coming from the band's 1990 debut album A Bit of What You Fancy. While for me it was the lesser-played songs earlier that stood out the most, it was great to hear songs like There She Goes Again and Hey You sung by a sold out O2 Forum crowd. Hey You in particular was a great moment, with Guy Griffin's (guitar/vocals) slide guitar really cutting through the mix to power the piece forward, and once Spike shouted his customary 'What's the time?' at the sold out crowd you knew just what was coming! Despite the curfew fast approaching there was time for a couple more with This is Rock 'n' Roll and an extended version of I Don't Love You Anymore rounding out a spectacular evening. Unsurprisingly the band seemed to relish the large cheers that erupted as they took their bows, and with the announcement of a new album due next year, there is plenty to look forward to in the world of The Quireboys. The setlist was:

I Love This Dirty Town
Louder
Mona Lisa Smiled
Hello
Blackwater
Fear Within the Lie
One for the Road
Late Nite Saturday Call
Hall of Shame
Take a Look at Yourself
Josephine
Misled
There She Goes Again
Hey You
Sweet Mary Ann
7 O'Clock
-
This is Rock 'n' Roll
I Don't Love You Anymore

Overall this will probably go down as one of the gigs of the year. The Quireboys put on a great show showcasing some lesser-played tracks, and two of the support bands really brought their A-game to ensure that a great evening was had by all. I already have plans to see The Quireboys twice more this year, so there are plenty of great times still to be had with the band in 2018.

Primal Fear's 'Apocalypse' - Album Review

Given how much heavy metal music I consume, it may surprise some to learn that Germany's Primal Fear have never been a band that I have given much attention to. I remember buying one of the band's albums (2009's 16.6 (Before the Devil Knows You're Dead)) not too long after it's release, and remember enjoying it, but I was never persuaded to invest more time and money into the band's extensive back catalogue. The band was formed in 1997 by frontman Ralf Scheepers and bassist Mat Sinner, and have release an album almost every two years since. As much as I love getting into new bands, sometimes when the said band has an extremely large catalogue of music it can be a daunting and mammoth task - especially when the band tends to rely heavily on one formula which leaves little to choose from or distinguish between albums. That being said, Primal Fear are a great band. With metal such a diverse genre in the 21st Century, featuring more subgenres that can probably be counted, it is good to hear a band sticking so rigidly to the genre's roots. While traditional heavy metal might not be as cool as it used to be, Primal Fear do not seem to care and seem content to churn out tough riffs, anthemic choruses, and shredded solos for eternity. The Judas Priest comparison has been made a lot in reviews etc. of Primal Fear's work, but it is an apt description. While Primal Fear are probably slightly heavier than Judas Priest because of the more modern production values the band employ, the classic heavy metal sound pioneered by Judas Priest definitely forms the basis for Primal Fear's music. In fact, I believe Scheepers formed Primal Fear after he left the power metal act Gamma Ray and unsuccessfully auditioned for the then-vacant frontman spot in Judas Priest! Primal Fear has been his main creative outlet ever since, and last month the band put out their twelfth studio album Apocalypse. Fans of the band will know exactly what to expect with Apocalypse, but this is the first Primal Fear album that I have really made the effort to consume. It is exactly how I expect it to be however, and it has been enjoying regular spins in my house over the past month. Apocalypse is the second album with the band's current six-piece line-up, with Scheepers and Sinner joined by no less than three guitarists and a drummer. Founding guitarist Tom Naumann is now fully re-entrenched in the band since his 2015 return, and he joins Magnus Karlsson and Alex Beyrodt to form a formidable guitar attack. Drummer Francesco Jovino completes the line-up. Karlsson, who is usually absent from the band's shows due to his numerous other commitments (one of which is having the dubious honour of being one of Frontiers Records in-house songwriters/producers), has written the majority of the album with Scheepers and Sinner - with the three having formed a strong songwriting partnership over the past decade or so. With Primal Fear's recent announcement that have returned to the Nuclear Blast label for their next albums, it will be interesting to see if Karlsson will choose to remain a part of the Primal Feat set-up given his long-standing involvement with Frontiers.

A heartbeat and a tolling bell heralds the album's beginning, and the instrumental title track sets the scene for what is to come with a checklist of dramatic, gothic tropes. While it may not be the most original of pieces, the menacing twin-guitar riff that forms the bulk of the piece certainly has some weight to it, and this gradually builds into the song New Rise - the first proper piece here. New Rise opens with a fairly fast-paced riff, with Scheepers' high-pitched scream showing that he has lost none of his vocal chops over the years. The song is a fast piece of power metal, with Jovino's fast footwork driving the piece, with the three guitarists lock in to a melodic pattern that mixes soaring double guitar leads and tough rhythms together nicely. Being an opener, the pace never really lets up, with the energy remaining high. A tough pre-chorus sees Scheepers employ a slightly rougher vocal style which injects a little thrash attitude to the song, before the chorus explodes in a flurry of guitar notes and vocal harmonies. Songs like this are a staple of the Primal Fear catalogue, but New Rise still hits hard and opens the album nicely. The Ritual slows things down a little, introducing a tougher, mid-paced sound to the mix that allows Sinner's bass to shine through and Scheepers uses more of his slightly rougher vocal style. The main guitar riff here is plucked straight from the Judas Priest songbook, and has that simple molten metal style that is instantly enjoyable. I feel it is songs like this where Primal Fear really excel, and that is evident here during the chorus which is packed full of raw energy thank to Scheepers' shrieking vocals. A melodic dual-guitar solo is another highlight, which explodes with playful melodies from what is an otherwise tough piece. King of Madness opens more subtly, with a moody clean guitar intro and some wordless vocal chants. This soon gives way to another mid-paced riff however, but this one seems more sombre in tone which sets it apart from the heavier previous song. In fact this song overall feels less heavier, with Scheepers' vocals sounding cleaner and a more liberal use of atmospheric keyboards being employed throughout. This different vibe does not harm the song however, and allows it to stand out from the crowd. There is still plenty of metal here to go around, but it is presented a little more thoughtfully to allow a more emotive vocal performance to shine through.

Blood, Sweat & Fear ups the tempo again, with a stuttering guitar riff to drive the verses and Jovino's tight drumming pulling everything together. The Judas Priest comparisons are once again apt here, with the song building from a very simple foundation to provide a powerful and memorable tune. The chorus is probably one of the album's best, with the cleaner vocal style once again employed with subtle harmonies to help bulk out the sound. Songs like this just have such a muscular power behind them that it is hard not to become wrapped up in what is going on. A shredding guitar solo raises the tempo further, and shows that Primal Fear can boast skills in that department also. Supernova slows things down somewhat and has more of an emphasis on keyboards than much of the band's material. Karlsson also performs the album's keyboards, so is responsible for the piano-based intro, as well as the synths that form a big part of this song's sound. Scheepers' voice sounds different here too, and there seems to be a bit of an effect placed on his vocals to give them an even cleaner sound. That might not be the case, but that is certainly what it sounds like and it gives the vocals a somewhat processed and unnatural sound. I am not sure that I like it, but it does not really detract from what is another solid effort. It is the closest thing on the album to a ballad, so it does provide a welcome change of pace and allows the band to use some different sounds. Hail to the Fear is a more typical Primal Fear song with an upbeat power metal-esque guitar riff and a big driving bassline from Sinner that cuts through the mix. It boasts another powerful chorus, with Scheepers sounding more like his usual self with some soaring harmonies. While the initial riff is quite fast, the song itself is a powerful mid-paced effort that really shows the band at their best. There are some pretty impressive high vocal screams from Scheepers at times too (especially towards the end) which show why he was given a chance to audition for Judas Priest all those years ago. Hounds of Justice is another stand-out track for me, and boasts a really catchy opening riff and probably my favourite chorus on the album. The chorus has a cleaner feel than much of the album, but it is packed so full of big melodies that this slightly change of tone does not feel jarring. It has a bit more of a modern feel than much of the band's material, but the riffs hit just as hard and the melodies really sink into your brain.

The Beast is another powerful piece, with a gang-vocal chorus that feels like the heaviest moment on the album. Gang vocals are not something used that much throughout the album, which makes their use here have a big impact. There is certainly a big chunk of fellow Germans Accept throughout the song, with the tough mid-paced riffing that that band built a long career on. The simplicity of this song makes it really stand out, and it is one of my favourite pieces on the album as a result. I can imagine the chorus working really well live, and I hope the band choose to play it live when they next go on tour. Eye of the Storm is the album's penultimate song, and it is the album's longest at around eight minutes long. Despite the song's length, it never feels over long and is certainly more involved than any of the other songs found here. Parts of the song have a more blatant symphonic feel, with Karlsson's dancing synths adding an orchestral backing to many of the song's sections, with more typical tough metal riffing forming the rest of the song. While I would not call it a progressive piece, there is certainly more going on here than during your average Primal Fear track. Delicate acoustic passages add depth, while sombre twin-guitar solos add some emotional weight. Lengthier songs have to keep things interesting with varying content, and this song does well to avoid falling into the trap of repeating itself. The album's closing number Cannonball is more of the band's typical fare, and ups the pace again to create a powerful closing statement. The double bass drumming keeps rolling throughout the piece, and the staccato chorus is packed full of angst and attitude. Scheepers always sounds at his best for me when he has the slightly rough edge to his voice, and this song makes good use of that - especially during the chorus which seems him at his raspy best. There are catchier songs here, but the heaviness of the piece makes it a perfect closing number, and the album ends on a punchy high. Overall, Apocalypse is another solid entry into the Primal Fear catalogue that continues the band's impressive legacy and re-establishes their reputation as one of the the premier traditional metal acts in the world. While the album adds nothing new to the band's sound, it is full of powerful anthems that are sure to please long-time fans.

The album was released on 10th August 2018 via Frontiers Records. Below is the band's promotional video for King of Madness.

Halcyon Way's 'Bloody but Unbowed' - Album Review

It is a shame that despite lots of hard graft over the years, Atlanta's Halcyon Way are still relatively unknown. That is not to say that they have not made an impact or do not have a fanbase, because they do, but their status has not really risen since I saw the band supporting Delain in Birmingham way back in 2012. The band's heavy, yet technical sound, impressed me that night and I have closely followed the band's progress since without ever having the opportunity to see them live again. They seem to be the perennial support bands on European metal tours that I would love to see but sadly only make one stop in the UK which is in London on a Tuesday night - which is always disappointing! I hope one day to catch the band live again, but until then I will settle with listening to their studio albums - of which there are now four after their latest effort Bloody but Unbowed was released last month. This follows four years on from the impressive Conquer (which I reviewed here), which incidentally followed four years on from Building the Towers which is considered by many to the band's best work. To me though it is Conquer that holds that accolade, as it is probably the most unique-sounding album in the band's catalogue. I had high hopes for the follow-up, but sadly Bloody but Unbowed does not quite reach my expectations. That is not to say that it is a bad album, because it is not, but it does just not grab me in the same way that the previous one did. The band's tough Queensrÿche-meets-Nevermore sound is still present, but it seems that the band have made a concerted effort to step back from the more progressive elements of their sound in favour of a more hard-hitting straight-ahead sound. To me, it was the heaviness mixed with the progressive elements that made Halcyon Way such an interesting band and without that mix Bloody but Unbowed suffers when compared to its predecessors. It feels as if there was as much an influence taken from bands like Disturbed here than, say, Fates Warning - which is probably why the album sounds the way it does. Three of the four who made Conquer return with singer Steve Braun, and guitarists Jon Bodan and Max Eve (who has swapped from playing the bass to the guitar in the interim period since Conquer was released) making up the bulk of the band. These three are joined by bassis Skyler Moore and drummer Aaron Baumoel (Crown of Sorrow), bringing the band back up to their usual five-piece line-up. There are quite a few distinguished guests forming part of the 'Nailhead Choir', who contribute backing vocals throughout, including Todd La Torre (Crimson Glory; Queensrÿche), Matt Barlow (Iced Earth; Pyramaze; Ashes of Ares; We are Sentinels), Sean Peck (Cage; Denner/Shermann), and former frontman Sean Shields. There is also some keyboard work from Jonah Weingarten (Pyramaze; Echoterra; We are Sentinels), and all of these guests help to bulk out the sound of the album in places and give Halcyon Way a strong, powerful sound.

The album starts with the extended intro piece Devolutionize, which starts with subtle strings before exploding into a sombre twin guitar lead that forms a backing for some chanted vocals. The piece slowly builds up, and eventually transitions into the album's title track - the first proper song. A fast, thrashy riff forms the basis of the song, and Baumoel immediately gets a chance to impress behind the drum kit with some extremely fast footwork. One thing that is noticeable about this album is the increased use of harsh vocals throughout. Halcyon Way have always used harsh vocals for effect as and when required, but they seem to be much more prevalent here. Bodan, and now also Moore, perform these sections - and the extended heavy pre-chorus adds some weight to the song before Braun takes over again for an anthemic chorus. Braun is the band's lead singer, and still takes the lion's share of the vocals so has not been undermined by this slight tweak in sound. Braun's high-pitched, but slightly raw, vocals sound as good as ever and he really elevates the song's chorus to new heights. Blame, the album's single, has a great Nevermore-esque riff driving it and really harks back to some the best moments on the previous album. The verses grind along at a mid pace, with Braun's eerie vocals creating an unsettling atmosphere along with the snaking riffs. The chorus picks up the pace somewhat, with some more powerful drumming and a call-and-response vocal arrangement with the clean and harsh vocals battling it out for prominence. A catchy wordless vocal section that is sure to go down well live is the cherry on the cake, and ensures that the song is one of the most instantly-memorable efforts on the album. The following number Slaves to Silicon is one of my songs on the album, and coincidentally it is probably the song here that is closest to the band's older, more progressive sound. An off-kilter riff drives the song initially, before a bass-heavy verse allows Moore's rich bass tones to shine and Braun has a chance to deliver a slightly softer vocal melody due to the fact is not having to compete with the rest of the band! Other moments of the song are heavier though, with the chorus really sounding like something Queensrÿche could have come up with during the Rage for Order era. It is a melodic feast, and really shows Halcyon Way at their best. Another melodic feast comes in the form of the song's guitar solo, which is extremely memorable. This song brings a run of three excellent tracks to a close, with the album taking a bit of a downturn in quality with Superpredator.

Superpredator ups the heaviness, and opens with a pretty memorable riff that has a certain nasty grind to it that appeals, but the staccato verses sound a bit too close to late 1990s nu metal to really appeal. Nu metal was a metal subgenre that I never cared for, and hearing Halcyon Way attempting something similar does not convince me of its merits! The chorus is not that memorable either sadly, leaving this song with little to truly stick in the mind. Primal Scream is better however. There is still a hint of nu metal here, but there are also melodic moments within the riffing and a solid, enjoyable chorus. The little pre-chorus instrumental section definitely has that 1980s progressive metal feel, and the gang vocals in the chorus help it to stick. Ten Thousand Ways is similar and is another enjoyable song with one of the best guitar solos on the album. Bodan is traditionally the band's lead guitarist, but this song features both him and Eve trading solos off throughout. There are guitar breaks between nearly every verse and chorus, and this allows both the band's guitarists to show off their skills. The melodic shredding sticks in the mind, and another decent chorus gives the song vocal hooks. While the vocals are memorable here, it is the guitar playing that really makes this one stand out and again showcases a little of the progressive elements that Halcyon Way have included in the past. The Church of Me, while not quite as strong as the last couple of tracks, is still a decent offering. There are good ideas throughout this song, but I am not quite sure that it all came together in quite the way the band hoped it would however. The chorus is promising, and I like the inclusion of the pseudo-gospel backing vocals, but it does not quite take off in the way I would expect it to. The whole song has a slightly industrial feel throughout too, with a bit of an odd vibe that never seems to truly come together. I like what the band was attempting with this one, but it just feels a little unfinished! Cast Another Stone is a strong effort however that ramps up the heaviness again with a tasty main riff and a tough verse that bludgeons the listener with thick basslines and brick wall guitars, before the relentless chorus takes the song for another level with Braun's impressive vocal performance and some excellent drumming. I like the way that the song's chorus really picks up the pace. Often bands like this slow down for the choruses to allow the melodies to shine, but here the speed really works. It gives the song an urgency that really sounds great!

Crowned in Violence is similar in the heaviness steaks, but this features a more traditional slower chorus that is packed full of soaring vocal harmonies from the impressive cast of backing vocalists. There are some truly excellent riffs packed into this song too, which again contain some of that progressive feeling the band have become known for. I am glad that, despite being reduced here, that feeling is still prominent in a few songs. It is no surprise that these songs become some of my favourites on the album, with the more straight ahead efforts falling somewhat flat. Burning the Summit is a heavier piece, but one that comes with tonnes of attitude. The verses have a very traditional heavy metal feel with chugging riffs, before the choruses explode with Braun's excellent vocals and Bodon's harsh vocals adding weight. Braun even unleashes a high-pitched power metal-esque scream at the end of one of the choruses, which is not something he is really known for but it works well. This leads into another memorable guitar solo from Bodan. Desolate seems to have visions of being a really epic piece, but again I am not sure everything quite comes together. I like the fact that the little more of a dynamic song structure is attempted, with lots of prominent bass playing, but it does not seem to grab hold quite as much as it should. The chorus mostly feels to be one word repeated, even though this is not quite the case, which is something I would liked to have been fleshed out to make the most of the melodies. I feel with a little more work this song could have become one of the best on the album as it has all the ingredients to make a real impact. Insufferable is a song for Moore to shine during, as the bass guitar here is very prominent. The verses really feel his weight the best, with his big riff driving everything with the guitars snaking in and out. Apart from this however, the song does little to really stick in the brain. The fast chorus lacks any real stand out melodies, and the extended portions that contain harsh vocals again feel too close to mindless nu metal to excite. It is one of those songs that just comes and goes, without ever really sticking at all. The album's final number Stand for Something is better however and, despite not being as good as some of the other offerings here, ensures the album ends on something of a high. It is a pacy track with a strong chorus, and another memorable guitar solo that sees Bodan going on an extended workout. It is a pretty simple song, but it makes it's point in a concise and powerful way, and has some melodies that will stick in your head after the album has finished - which is the job of a closing number. Overall, Bloody but Unbowed is strong effort from Halcyon Way, but one I feel that lacks something when compared to the band's previous work. Fans of the band are sure to still find things to enjoy here however, with a core of excellent songs that are sure to excite. I would like to see more of the band's progressive side again going forward, as it is that that produces the best results in my opinion.

The album was released on 3rd August 2018 via Agonia Records. Below is the band's promotional video for Blame.