Pythia's 'The Solace of Ancient Earth' - Album Review

There are not too many symphonic metal bands from the UK, and there are fewer that have made a bit of a name for themselves outside of their local scenes. One such band that has seen some success is Pythia - a London-based six-piece band that have been around since 2007. Part of me wants to call the band 'up and coming', but it seems wrong to call a band that have been around for twelve years now up and coming! They were one of those bands that I thought might have broken through into the wider metal world at one point, but sadly that has just not been the case for Pythia. Many smaller bands seem to suffer with momentum issues, probably due to trying to fit the music around their day jobs, but Pythia seem to have suffered more than most - with long gaps often occurring between releases and a fluctuating line-up. Despite this, the band has managed to maintain a pretty consistent quality between albums. 2009's debut Beyond the Veiled Embrace was a strong offering at a time when symphonic metal really was the flavour of the month. Since then the genre's star has somewhat faded, save for some of the big-name acts still maintaining strong profiles, but that has not stopped Pythia from releasing enjoyable albums. 2012's The Serpent's Curse and 2014's Shadows of a Broken Past were also extremely enjoyable releases - but sadly the band somewhat fell apart not too long after the release of the latter due to the departure of frontwoman Emily Alice Ovenden. Considering that this departure left guitarist Ross White and drummer Marc Dyos the only original members of the band left, many wondered whether or not the band would carry on. They ultimately chose to continue, and announced the addition of vocalist Sophie Dormer in 2015. Since then the band has been making sporadic live appearances, and working on their fourth album - which was finally released last month under the name The Solace of Ancient Earth. The Solace of Ancient Earth marks the debut in the studio with Pythia of Dormer, as well as guitarist Jamie Hunt (Biomechanical; One Machine) and bassist Ash Porter who have both joined the band in recent years - making the 2019 iteration of Pythia quite different from the one which wrote and recorded Shadows of a Broken Past. Despite this line-up overhaul, the band's sound is still very much intact. The band are a symphonic metal act, which means that Marcus Matusiak's keyboards are a big part of their sound adding gothic drama and sweeping orchestral arrangements, but Pythia are often more guitar-focused than many of their peers. All too often in symphonic metal the guitars are purely there to grind out heavy rhythms, but that is not always the case with Pythia. White and Hunt trade plenty of memorable riffs and leads throughout the album, with plenty of shredded solos thrown in for good measure when the song demands it!

An Earthen Lament opens the album in fine fashion, with a chugging guitar rhythm and a slow, mournful keyboard melody creating a slow-burning build up. Porter's beefy bass then takes over, and briefly dominates, before a chugging verse introduces Dormer to the band's fanbase. Symphonic metal albums often get underway with an orchestral intro, but this album goes for a high-energy approach - with the pace barely letting up once the song gets going properly. The guitars have a satisfying crunch throughout, and are the perfect backing for Dormer's vocals. Her more natural voice is a little lower than your average symphonic metal female vocalist, which is clear from her verse delivery, but she pushes herself to go higher during the choruses - which are clearly influenced by early Nightwish with Dyos' fast double bass drumming keeping everything ticking along nicely. There is a fantastic instrumental section part way through the piece too, with Matusiak showing off with a lengthy keyboard solo, before the guitarists take over with some shredded soloing of their own. Spirits of the Trees, which the band shot a music video for, has more of a mid-paced crunch throughout - with the two guitarists and bassist laying down a strong groove for the verse, with Dyos adding to the slower feel with a more percussive approach to his drum kit. The verses are extremely simple, which help the vocal melodies to shine, and also helps to create a nice contrast with the slightly more bombastic choruses that see the pace upped somewhat, and Dormer reaching some higher notes. I particularly like the bridge section that occurs just before the song's guitar and keyboard dual, as it includes a few little guitar licks that stand out and help the song to have an identity of its own. As I said earlier, Pythia certainly make better use of their guitarists' skills than many other symphonic metal acts, and these little flourishes are a good example of this. Ancient Soul is more of an explosive piece, with some fast drumming from Dyos from the off and some excellent twin guitar leads that add a lot of melody early on. I like it that the band are not afraid to play at fast tempos a lot of the time. Many of the less-interesting symphonic metal acts often are extremely one-paced and happy to chug along at a mid-pace most of the time, but Pythia certainly like to emphasise the 'metal' element of their sound. This song is one of the heaviest here, with lots of pseudo-thrashy riffing, pinch harmonics, and double bass drumming - and it makes a slower section that is dominated by a synth lead all the more powerful as a result. There is even the occasional nod to extreme metal here and there too, with some short bursts of tremolo picking that come out nowhere to add an edge to the piece.

Black Wings is more of a mid-paced piece - but it has a real weight to it thanks to White and Hunt teaming up for some muscular guitar riffs, as Dormer adds some wordless, Siren-esque vocals early on. The verses maintain this feel, with the keyboards taking a backseat to allow the heaviness to really shine through. The lower end of Dormer's voice is used to great effect here, and her delivery really fits in well with the methodical crunch of the guitars. The riffing throughout the song is extremely memorable, and really helps to establish a powerful groove throughout - which is nicely rounded out by Porter's bass, which is nice and present in the mix. The choruses see things speed up somewhat, and also feature some of the highest notes hit by Dormer on the entire album. She has quite a range, and is the perfect fit for the band following the departure of their former frontwoman. The song is a catchy one, and Dormer's melodies are a big part of what makes it so. Your Dark Reign has strong gothic overtones, with Matusiak's keyboards providing an eerie murkiness early on, and a tortured guitar lead only adds to the vibe. Things lighten up somewhat when Dormer starts singing, but you feel that the darkness is never too far away - despite a tinkling melody that sits just under her voice. The darkness does return, and it is a big part of the choruses here. The keyboards add some real drama, with symphonic stabs that recall the gothic nature of the song's intro section. This, coupled with some fast stop-start drumming from Dyos, make the chorus really stand out from the crowd - giving it a vibe quite unlike anything else present on the album. Dawn Will Come is one of the slower songs on the album, and opens with a soaring, but mournful guitar lead that sets the tone perfectly for the rest of the song. The slower nature of the piece allows Dormer to open up a little more vocally, with her lower vocals fitting into the more 'gothic ballad' vibes being created. There are faster moments, but these tend to be short-lived and a much more powerful as a result. They are short bursts of energy within a more mournful setting - but for me it is the slower portions that are more interesting, simply as there are not too many examples present on the album. I like the slower side to Pythia, and it is a nice contrast to their usual 'in your face' metal style that helps them to stand out from much of the symphonic metal crowd. Hold of Winter ups the pace once again, and opens with some of the fastest beats found on the album! The opening section features some blast beats, and some nasty guitar riffs to match, giving the illusion of extreme metal - but this soon gives way to allow the band's usual sound to take over. Despite this, the song has a sense of urgency quite unlike anything else on the album, with the blast beats resurfacing during the choruses for Dormer to effortlessly warble over. These sections, coupled with the overall speed of the piece, ensure that this is one of the heaviest songs on the album - and a furious, shredded guitar solo that surfaces towards the end only reinforces this.

Ghost in the Woods has a strong, mid-paced crunch feel to it, with White and Hunt teaming up to lay down a tough rhythm with the occasional flurry of notes to keep things interesting. Early on the guitars often drop out to leave Dormer singing with just the keyboards to back her up, only to come crashing back in at the end of each vocal line for added power. I like this stop-start nature, as it helps the faster chorus to hit much harder with its relentless double bass drumming and high-pitched vocals. The contrast works well - but I think my favourite part of the song is the lengthy guitar solo. It is not as fast as some of the efforts here, instead focusing a little more on melodic phrasing, with the occasional burst of speed when necessary. Crumble to Dust opens with some gentle piano melodies and a melancholic guitar leads. You would be forgiven for thinking that the song was going to be a ballad, especially when Dormer starts singing - but this feeling is short-lived and Dyos' drums soon come crashing in and some of the most explosive guitar leads on the album take over. This is almost DragonForce level of extreme fretboard pyrotechnics, and they really come out nowhere and impress. After this show of excess, which also resurfaces occasionally throughout, the song mostly moves along at a fast pace - with the odd break to allow for a more mid-paced groove to take over. The energy that the song creates throughout is excellent, and it really helps to add a real burst of juice at a point where some albums start to flag. The longest has been left to last, and the near-eight minute closing piece Soul to the Sea has a somewhat more progressive feel throughout. It opens with a bass riff from Porter, before a keyboard melody joins the fray and the song slowly builds up around them. This is a song that is going for something 'epic' than most of the other cuts here, and as a result the speed is mostly reigned in to allow a more dramatic mid-pace vibe to be created. The guitars and bass chug away throughout the song, with the keyboards adding to the big overall atmosphere. It is the choruses where the song really comes alive however, and they feature some of the most operatic vocals from Dormer on the album. Operatic vocals are less-common in symphonic metal than they used to be, so it is nice to see them used sparingly here. They can grate after a while, so it was a wise choice by the band to only deploy them when it was necessary. Due to the song's length, there are plenty of opportunities for everyone involved to show off a little too. There are a couple of strong guitar solos here, and towards the end Matusiak gets to show off a little of piano skills with a nice classically-inspired section. The song is a great way to close out the album, and it one of the most ambitious pieces the band has attempted yet. Overall, The Solace of Ancient Earth is a strong comeback album from Pythia after a major line-up overhaul and a five year break from releasing anything new. It showcases the band's new members perfectly, and hones their trademark sound further than previously - showing touches of extreme metal and prog melded well within the band's core sound.

The album was released on 17th May 2019 via Golden Axe Records. Below is the band's promotional video for Spirits of the Trees.

Whitesnake's 'Flesh & Blood' - Album Review

Whitesnake truly are one of my very favourite bands. I like such a huge range of music, so it is hard to narrow things like 'favourite bands' down in any kind of meaningful way - as enjoyment of a lot of music is very mood-dependant. There are some bands that I can only listen to under certain circumstances, but there are a strong contingent of 'go-to' bands whom I can listen at any time of day and under any circumstances. The British hard rock act Whitesnake is one such band, and I feel that if I was to do some kind of list of my favourite bands - Whitesnake could comfortably find themselves in the top 5. They are my third most-scrobbled act on Last.fm which, although certainly not an exact science, is a good indicator of where the band fall in my overall musical landscape. They were not one of the very first got into, but I remember really heavily falling for the band when I was around 16. I remember listening to their classic 1987 album and a greatest hits set that I had extremely often around that time, and over the years I have amassed the band's entire back catalogue, as well as good portion of their live albums - covering multiple eras and line-ups of the band. Unlike many bands who remain a relatively consistent line-up throughout their career, Whitesnake is a band that has had a number of distinct eras, all held together by the charismatic frontman and songwriter David Coverdale, who formed the band in 1978 following a short solo career after leaving Deep Purple two years earlier. Whitesnake's early years, which features a relatively stable line-up, saw the band plough a bluesy hard rock furrow. Quintessentially British, the band's up-tempo, boogie-style hard rock really caught on here in the UK; and the band had a number of top-selling albums and singles as a result. A big shift came in 1984 however with the US-reissue of the band's sixth album Slide It In seeing the band starting to make waves in America. The multi-platinum selling 1987 followed three years later and made the band global stars. By this point only Coverdale was left from the band's early line-ups and, in many ways, this has remained the way since - with lots of different versions of the band being put together over the years. The current incarnation of Whitesnake has been together for around four years, although some of the individual musicians have been around much longer than that. They are also the six behind the band's new, thirteenth album Flesh & Blood - the band's first album of original material since 2011's excellent Forevermore. Guitarists Reb Beach and Joel Hoekstra, bassist Michael Devin, and drummer Tommy Aldridge all return after turning in strong performances on 2015's The Purple Album, an album that saw Whitesnake re-record and re-arrange some of the classic songs that Coverdale wrote during his time with Deep Purple, and are joined here by keyboardist Michele Luppi (Vision Divine; Secret Sphere). Luppi is more well-known in the power metal world as a great singer, but his addition to Whitesnake has seen him expand his horizons. He is a great fit for the modern Whitesnake line-up, and has made his mark on the band's new album, along with the others who have been around a bit longer.

The album gets underway with the weighty Good to See You Again, a tough bluesy stomp that at times recalls the early days of the band. Beach's slide guitar melodies sit perfectly atop Hoekstra's riff - and the song really oozes power and class from the off. While Coverdale's voice certainly is not what it used to be, he turns in a strong performance throughout this album. His voice is gruffer these days, but it suits the heavier sound that modern Whitesnake have adopted. The verses here are a perfect showcase for his current style, with jaunty percussion thrown into the mix to compliment Aldridge's drum groove, and the anthemic chorus is the first of many earworm moments to be found throughout the album. This also is also notable in the fact that it is the first time Coverdale has co-written songs with both Beach and Hoekstra. All three contributed to this song, and the latter in particularly shines with a stunning solo part way through. This new songwriting triumvirate has produced some cracking material throughout this album, and Coverdale seems to have relished working with both of his guitarists here. Gonna Be Alright is a little darker in tone, with prominent acoustic guitars mixed into the background to create a real depth, and slower, moody guitar leads forming the basis of the verses. The song does not come with a true chorus, so lacks the stadium feel of the previous number, but is packed full of atmosphere which helps to keep the song interesting. Luppi's keyboards add to the overall feel of the piece, but never dominate. As with the rest of the album, this is a song for both guitarists and Coverdale to play with. Beach and Hoekstra team up for a lengthy, multi-part guitar solo towards the end, and the slower groove of the piece allows to Coverdale to really ooze his smokey charm. The acoustic prominence and the darker tone harks back to his 1993 collaboration with Jimmy Page, so fans of that underrated album are sure to find plenty to enjoy in this song. Shut Up & Kiss Me is different again, and was released as the first single from the album. I can see why, as the simple song is extremely catchy, and it stylistically similar to the big tunes that characterised the multi-platinum selling 1987 album. Slide melodies add some blues to the piece here and there, but mostly this is a piece that screams 80s! The big gang vocal chorus is sure to go down well live, and smooth bridge section before Beach's shredded solo is something that only Coverdale could write - despite recycling some lyrics from other Whitesnake songs (something he has done quite a lot over his career). There are better songs to be found here, but as a three-minute long slab of fun, there are few better offerings to be released this year! Hey You (You Make Me Rock), another single, is a heavy, bluesy tune that really characterises the modern Whitesnake sound. The strident opening riff grabs hold from the off, and the song never lets up throughout - despite the verses taking a more groove-based approach, with the song really exploding into the stadium-filling chorus. Luppi pays tribute to the early days of the band with a strong Hammond organ presence throughout, and some of the dramatic stabs and riffs recall the might of Still of the Night. It is a song that continues to grow on me, and I feel that it is a piece that could really end up defining this era of the band - as Fool For Your Loving did for the original line-ups.

Always & Forever is less heavy, but still maintains a strong classic rock vibe with some excellent Thin Lizzy-esque lead guitar harmonies that also recall the band's 1983 single Guilty of Love. Luppi again makes his presence felt with some retro-sounding keyboards, but it is the guitars that really steal the show here. Twin guitar leads are not something commonly heard in Whitesnake's sound, but it works really well and helps to enhance the laid back rock feel of the piece, with Devin's bass laying down a strong groove. This laid back feel also allows for Coverdale's vocals to really shine, and his bluesy croon is on full display here. He sounds great, and the song perfectly suits his trademark romantic lyrics. When I Think of You (Color Me Blue) is the first of the true slower songs on the album, but it still has a strong enough rock feel to stop it from being a true ballad. Both of the band's recent original studio albums were packed full of ballads, but that is not something that is the case here. This song taps into that vein somewhat though, with lots of emotional guitar playing from Hoekstra - who takes all the leads and solos here - and more of Coverdate's lovey-dovey patter. His lyrics may be getting a little samey at this point, but these aching love songs are what he has built his career on and I cannot see him changing his style any time soon! In fairness his songs are made for that type of lyric, and this song proves to be a strong mid-album change of pace. The heaviness is back for Trouble is Your Middle Name - a weighty bluesy hard rocker with a shout-along chorus, some dirty guitar playing, and Aldridge's punchy drums. While perhaps not as vital as Hey You (You Make Me Rock), this is certainly a song cut from the same cloth and one that is made to be heard live. I can just imagine a crowd getting behind it - replacing the gang vocals from the recorded version. I am glad that Whitesnake have really focused on creating strong rock songs on this album, and have largely left the ballads at the door. 2008's Good to be Bad and Forevermore are great albums that I still listen to regularly, but there are definitely a few too many ballads between the two releases. Hearing Coverdale belt out the chorus to Trouble is Your Middle Name is somewhat life-affirming, and it is great to hear the band sounding this powerful in 2019. The album's title track is next and it is a strong mid-paced rock track with a powerful Hammond presence and a groovy chorus with some sultry, low vocals from Coverdale. To me, the song recalls the title tracks of 1978's Trouble and 1979's Lovehunter - with a little bit of the modern version of the band's heaviness. Old school Whitesnake fans should love this song, and the excellent slide guitar playing from both Beach and Hoekstra throughout should help to reinforce that sound. There is a lot of slide guitar throughout this album, and, for me, it is a big part of what makes it such a joy to listen to. Well I Never is more of a groove-based piece that has a real earworm of a chorus and an excellent opening riff. Those who are familiar with anything the band has put over the last decade or so will immediately recognise the style, and if the song was not openly credited to Coverdale/Hoekstra in the CD's booklet, I would have assumed that the song was one left over from a previous writing session with Doug Aldrich. It has a bit of his style here, but still fits perfectly on this album with Luppi's Hammond once again giving everything a strong bluesy halo.

While many modern albums start to run out of steam as the final third approaches, Flesh & Blood keeps going strong with the epic Heart of Stone. A solo Coverdale composition, the song mixes heavy, riff-based sections with a melancholy, atmospheric acoustic sections that again recall that Coverdale/Page album from the early 1990s. The verses are mostly atmospheric, with the keyboards and acoustic guitars forming a dense backing - while Aldridge's drums keep the beat with a punchy rhythm - before the song explodes into a heavier chorus which features some downer guitar leads and Coverdale's manly wails. Hoekstra takes the main guitar solo here, and the slow effort really fits into the mood of the song. Many of the guitar solos throughout the album are fast, shredded affairs - but this is one that really focuses on strong bluesy melodies before speeding up somewhat at the end as Aldridge speeds up and works his way around the kit. Get Up ups the pace again, and sees Aldridge introducing a bit of a shuffle-feel with his drumming that helps to create a certain kinetic energy throughout the song. This is follows on from a fairly sombre intro that lulls the listener into a false sense of security, which only makes the groove of the song all that more effective. It is a song that sounds unlike anything else on the album - and seems like a real showcase for Aldridge and his drumming. That said, this is still a catchy piece. The choruses are extremely simple, with the whole band holding onto drawn out vocal lines while the music really crashes around them. Given the pace of the song it is unsurprising that there are lots of lead guitar moments also to be found - with both Beach and Hoekstra taking a turn to shred throughout the song, including a killer outro trade of licks. After All is the album's only true ballad. When I Think Of You (Color Me Blue) has plenty of hallmarks of one, but After All is really the only song that drops the rock element of the band's sound entirely and focuses on delicate acoustic guitar melodies from Hoekstra and some gorgeous bluesy vocals from Coverdale. While I prefer Coverdale as a proper rock singer, he has always written strong acoustic songs. There have been lots of good examples throughout the years, and this is another example of his softer side. Luppi's keyboards help to flesh the sound out too, and is really the only other dominant instrument to be found here. It is a lovely moment of simplicity on what really is a weighty album, and it acts as the calm before the storm of the album's closing piece. Sands of Time is that storm, and the lengthy song throws everything at the listener. The Eastern-tinged melodies recall Led Zeppelin's Kashmir a little, but the song is 100% Coverdale, and is his latest epic composition. Luppi's dramatic keyboards help to add to the overall feel of the piece, but in truth this is Coverdale's piece! His vocals dominate throughout, and his current lower register really helps to bring the heavier piece to life. Both Beach and Hoekstra solo throughout, but for me Coverdale steals the show. Despite what many like to claim, he is still a great singer and that is clear from this tune. It ends the album on a real high, and showcases everyone at their best. Overall, Flesh & Blood is another excellent album from Whitesnake and will be a strong contender for my Album of the Year come December. There are not really any weak songs here, and the hour while the album is playing simply flies by!

The album was released on 10th May 2019 via Frontiers Records. Below is the band's promotional video for Shut Up & Kiss Me.

Bon Jovi - London Review

Stadium shows are quite a rarity for me. Here in the UK there are not too many hard rock and heavy metal bands that could easily fill a large stadium, so going to one of the country's big football/rugby grounds to take in live music is a bit of a novelty for me. I have been to a handful over the years, with the most recent being Elton John at Twickenham Stoop in 2017, but most of the bigger bands that I go and see choose to play in the indoor arenas instead. I have also been lucky in the sense that I have managed to see most of the big rock and metal bands that I genuinely like live. There are still a few on the list which I hope to cross off at some point, but over the years I have managed to see most of my favourites at least once. One band that I had not had the chance to see previously was Bon Jovi - but that changed a couple of days ago when I headed up to Wembley Stadium in London to see the American rock legends for the first time. Bon Jovi are not one of my most-favourite bands, but I have always enjoyed them. They are legends for a reason and, despite a rather weak string of recent albums in comparison to many of their peers, I had always wanted to see them live. They visit the UK every few years, but I have never really been able to make a plan work to see them previously. When a handful of UK stadium shows were announced last year however I knew that I had to make the effort. I had feared that the ticket prices might be eye-watering, but this thankfully was not the case. Of course there were expensive tickets for those who wanted to be close to the stage, but for those of us like me who were just happy to be there, there were plenty of cheaper options available. I had been to Wembley Stadium once previously for a concert, and that was for Bruce Springsteen in 2016. At that show I could not have been further back from the stage - as I was in the very last and highest row of seats in the stadium! Anything closer than that for Bon Jovi would be a bonus, and I found myself a little closer this time. I was still extremely high up, but had a much better view of the stage and big screens this time. The stadium's gates opened at 5pm to allow the large crowd plenty of time to assemble before the show started. I got to Wembley at around 5:30pm and found my seat in time to see the venue gradually filling up. While there were a few pockets of empty seats around, the place was extremely full by the time Bon Jovi took to the stage at 8pm - which more than justified the choice of venue.

Before Bon Jovi's show however, the growing crowd was treated to 45 minutes of music from the Welsh rockers Manic Street Preachers. A big name band in their own right, the Manic Street Preachers did not really have to break through the usual barriers that support bands need to, and instead just let their music do the talking. Despite the fact that the band have been around for a number of years now, they are not a group that I have ever really listened to. I did not really know what to expect from them, but I found myself quite enjoying their music. Their songs were more intricate than I had expected them to be, with main man James Dean Bradfield (vocals/guitar) particularly impressing throughout with lots of excellent fluid lead guitar work. I had assumed that the band were more of an indie act, but there was a decent classic rock influence to be found in their songs. While not exactly driving hard rock, the band's sound still had a strong energy about it - usually thanks to Bradfield's lead guitar playing or sideman Nick Nasmyth's keyboards. During the set I felt that a couple of the band's songs sounded familiar, so I must have heard some of their songs previously without ever realising who they were by. They also included a pretty faithful cover of Guns N' Roses Sweet Child O' Mine, which unsurprisingly drew a positive reaction from the crowd towards the end of their set. It was an enjoyable version, and really showcased what a good guitarist Bradfield is as he nailed the famous riff and solo. Despite this song probably garnering the biggest reaction of their set, there were clearly quite a few Manic Street Preachers fans in attendance. Many of their songs were met with audible cheers, and there were certainly quite a few people up around me in the Gods that were singing along. I quite enjoyed my time with the Welsh band and, while I am not exactly in a rush to go out and buy all their albums, I am glad that I finally got an opportunity to check them out and I now have a good understanding of what they are about.

There was about a 40 minute break between the Manic Street Preachers' set coming to a close and Bon Jovi starting - so there was enough time to make a trip to the loo and get a drink from the free water machines. By the time that Bon Jovi took to the stage at 8pm, the stadium was full and was packed with revellers ready to have a great time. The band's current European tour is still part of the cycle to support 2016's This House Is Not for Sale - and the band took the stage to the album's hard-rocking title track. It is one of the band's best modern albums in my opinion, so it was a bit surprising that the title track was the only song played throughout the evening, but the band instead took the opportunity to play songs from as many of their albums as they could. Jon Bon Jovi's (vocals/guitar/percussion) voice is often the topic of debate among fans these days, as he has certainly lost some of his power over the years - but at Wembley he was in fine voice throughout. A little lower and grittier than in the 1980s, the Bon Jovi of today is more of an elder statesman. He knows when to hold back, and the six other musicians on stage were often there to cover him during the big choruses - and of course the large crowd did their bit too! Getting back to the show, This House Is Not for Sale was a great opening number - and live it was drawn out to include a lengthy guitar solo from Phil X (guitar/vocals) at the end. This transitioned perfectly into the 1980s stadium rock duo of Raise Your Hands and You Give Love a Bad Name which saw everyone on their feet and singing along. The latter of the two was one of the show's early highlights, and just showed how tight this current version of Bon Jovi is. Phil X and the band's long-time producer John Shanks (guitar/vocals) teamed up for the song's shredded guitar solo perfectly - as they often did throughout the night. Shanks in particular impressed. Considering he has co-written some of the blandest Bon Jovi songs over the years, I was not expecting him to be such a good guitarist. He took many of the guitar solos throughout the night, which was a certainly a surprise. Everyone up there on the stage really pulled their weight, although I am not sure that Everett Bradley's percussion added that much to the overall sound. He did seem to be really putting in a shift on the backing vocal front however which justified his inclusion and in fairness was probably the main reason he was up there. As the setlist was culled from throughout the band's career, it did have a bit of a 'greatest hits' feel to it at times. None of the songs played were particularly out of the ordinary, which suited me as this was my first time seeing the band. I imagine fans who had seen the band a number of times over the years would have appreciate a few deeper cuts however, but it is hard for bands like Bon Jovi to please everyone! Early highlights for me was a stunning rendition of the country-tinged Lost Highway, before the band went right back to the beginning for the keyboard-driven Runaway. David Bryan (keyboards/vocals) was high in the mix all night, which was great to hear, and Springsteen-esque driving keyboard riff of the song allowed him a moment in the spotlight.

In the band's efforts to hit as many albums as they could, most of the modern songs featured were they leading singles. We Weren't Born to Follow represented 2009's The Circle while Have a Nice Day was the only cut from its 2005 namesake. The latter in particular was a highlight, although a barnstorming version of Keep the Faith that followed rather stole its thunder. Bradley's percussion actually added a lot here, and the song was extended to feature solos from Phil X, Bryan, and Shanks in a moment of 1980s hard rock excess. Bryan's Hammond organ solo was the best of the bunch, and it was great to see him really letting rip in an almost Jon Lord-esque fashion. The only deep cut played was the acoustic-based Amen from 2013's weak What About Now. It was probably the weakest moment of the set for me however, and is a song that really represents the blander side of the modern Bon Jovi sound. This dip in quality only lasted for a moment however, as the soaring power ballad Bed of Roses and the band's song of brotherhood Blood on Blood really got the show back on track. From this point on, the last third of the evening was mostly made up of some of the band's best-known tunes. The single that catapulted the band into the new millennium, It's My Life, certainly got everyone out of their seats (although I have always found the song to be one of the band's blandest singles in my opinion), before a final 'rarer' song in the form of We Don't Run was the final modern offering. I would not call the song a deep cut however as it has been featured a lot live since it's 2015 release, but it certainly stood out among the big hits. Wanted Dead or Alive was of course a winner, with Bon Jovi and Phil X teaming up for the song's acoustic melodies, before the latter swapped to his electric for the bluesy, emotional solo. After that moment of relative calm, the last four songs that brought the main set to a close were packed with pure energy. Lay Your Hands on Me prompted one of the biggest sing-along sections of the night, but it was the closing duo of I'll Sleep When I'm Dead and Bad Medicine that really got everyone moving. The latter in particular was excellent, with Bryan's keyboards once again leading the charge, and a great representation of why Bon Jovi are still one of the biggest and best stadium rock bands round. It was a great way to end a set that was already over the two hour mark by this point, and it left the crowd baying for more. After a few minutes off stage, the band came back out for a couple more - and a big drum fill from drummer Tico Torres heralded Always. Always was a huge hit over here, but the vocally-challenging song is only wheeled out occasionally these days. Unsurprisingly it went down a storm, and at times the crowd were actually drowning out the band - especially during the drawn out, heart-wrenching choruses. It was left to Livin' on a Prayer to close the evening out, with Phil X's last guitar solo living long in the memory. The band took their bows to huge cheers, and it was clear from the crowd's reaction that the evening had been a real triumph! The setlist was:

This House Is Not for Sale
Raise Your Hands
You Give Love a Bad Name
Born to be My Baby
Whole Lot of Leavin'
Lost Highway
Runaway
We Weren't Born to Follow
Have a Nice Day
Keep the Faith
Amen
Bed of Roses
Blood on Blood
It's My Life
We Don't Run
Wanted Dead or Alive
Lay Your Hands on Me
Captain Crash & the Beauty Queen from Mars
I'll Sleep When I'm Dead
Bad Medicine
-
Always
Livin' on a Prayer

I had tempered my expectation for this show prior to going, as I had feared that Bon Jovi might be a little tame these days and that the setlist would be packed with ballads - but I have to say that all my expectation were exceeded and then some. The current incarnation of Bon Jovi is an excellent hard rock act, and its leader and namesake is still a fantastic frontman who still possesses a powerful voice. The band really were on top form, and this will certainly live long in the memory and will probably be one of the gigs of the year.

Little Steven and the Disciples of Soul's 'Summer of Sorcery' - Album Review

I was going to open this review by saying something along the lines of: There are few people who have done more to develop and popularise the Jersey Shore sound than Steve Van Zandt; but a quick glance at my review for 2017's Soulfire (which I reviewed here) shows that I already said something extremely similar two years ago! The sentiment still stands however, and there really are not many more individuals who exemplify the genre than Van Zandt - or 'Little Steven' as he is often known. Whether it be as a long-standing member of Bruce Springsteen's E Street Band, as a songwriter and producer for acts like Southside Johnny and Asbury Jukes, or for his lengthy - if somewhat sporadic - solo career; Van Zandt oozes the Jersey Shore sound. Horn sections, soulful vocals, and poppy melodies are in his blood - and it is unsurprising that much of the material he has been involved with over the years represents that sound. It is perhaps surprising then that 2019 sees the first new album of original material from Van Zandt for twenty years! Born Again Savage, which was released back in 1999, was the last full-length album of new songs to be released from Van Zandt - that was until the release of the seventh Little Steven album Summer of Sorcery last month! While Van Zandt often toured with Springsteen throughout the early 2000s, much of his time outside of E Street was spent in front of the camera. Key acting roles in both The Sopranos and Lilyhammer introduced Van Zandt to a new audience, although it did mean that his own musical career had to take a back seat for a while. It was a shame for Jersey Shore fans, but as a fan of both The Sopranos and Lilyhammer it seems that the sacrifice was worth it. A couple of years ago however, at the end of the most-recent E Street tour, Van Zandt decided to resurrect his own solo career. With no more acting on the horizon, it was time to take his old songs on the road - and to celebrate this fact he released Soulfire. While not a collection of new songs, it was an album that finally saw many of Van Zandt's best compositions find a home. Over the years Van Zandt has written for many acts, most notably Southside Johnny and Gary U.S. Bonds, and Soulfire saw him recording his own versions of many of these classic songs. The tour, which saw Van Zandt form a new version of his old backing band The Disciples of Soul, was a big success - so the natural next step was new material. The result is Summer of Sorcery, which contains twelve songs that are all packed with the hallmarks of Van Zandt's songwriting. The band assembled for the tour joined Van Zandt in the studio (with many of the musicians featured on Soulfire also present here), which helps give the album a certain road-worn feel. The current Disciples of Soul is a large unit, which ensures the album sounds huge! Van Zandt is certainly the star of the show, but the band back him up admirably throughout and really help to bring his creations to life.

A drum roll and a tinkling keyboard melody herald the opening of Communion, the first song here. It is a melodic start, but when the Jersey Shore signature horns take over - the party has truly began. Everything about this song just screams 'Van Zandt' - and his driving guitar rhythms and nasally vocals soon join the fray. He might not be the best vocalist in the world, but this voice is perfect for this sort of music. Ably backed throughout by a trio of backing vocalists (Jessie Wagner, Sara Devine, and Tania Jones), Van Zandt's melodic snarls give the smooth music a real edge. The verses are a perfectly example of this, with Andy Burton's driving Hammond organ washes mixing well with the large horn section to create a lush, layered sound. The chorus is catchy, with the backing singers adding a slight gospel edge and Anthony Almonte adding some real groove with his barrage of percussion - locking in perfectly with drummer Rich Mercurio. It is a cracking start to the album, and one that shows that Van Zandt has not lost his touch. Unfortunately the quality dips a little with the second song, the Latino-inspired Party Mambo!. The sounds sounds like something from an old 1970s blaxploitation film soundtrack, crossed with Santana at their cheesiest. Almonte whips up a storm throughout with his percussion, and the backing singers add a little class, but Van Zandt sounds somewhat out of his comfort zone. He even seems to be trying to put on a bit of an accent at times which just sounds strange, and overall he just does not seem his usual self. There are some catchy moments here, such as some excellent stabs of melody from the horn section throughout, and a decent guitar solo, but overall this is a song that feels a little forced. Luckily however it is the only true misstep on the album, and the quality rises again afterwards. Love Again gets back to Van Zandt's more classic sound, with a gorgeous horn opening, that moves into a fantastically smooth verse with subtle piano backing, and a great snaking bassline from Jack Daley. It is not the catchiest song here from a vocal perspective, but from a musical standpoint it really shines. I love the way the horn section are truly woven into the meat of the song, adding true depth and melody throughout. All too often, horn sections feel tacked on - but the Jersey Shore sound places a bit emphasis on their presence. This is shown here with a lengthy saxophone solo part way through that really explodes out of the speakers. The following song, Vortex, is quite possibly my favourite cut here. A strong percussion opening, and a synth line from Burton, leads into a laid-back verse that sees Van Zandt's vocals mixing well with the backing singers' efforts, atop a horn and keyboard backing. The guitars provide chiming melodies, but the main melodic hooks come once again from the horns. The chorus here is one of the best on the album too, with the drums and percussion locking in perfectly as the backing singers lay down a real tapestry of sounds - while Van Zandt belts out the lyrics. A real highlight however is a lengthy flute solo from Stan Harrison. Flute is not the most common of sounds in Van Zandt's songwriting, but it works really well here - and helps to up the tempo and inject some energy into the piece.

A World of our Own opens up grandly, and at first it sounds like something you might here on a Tony Christie album! It has that majestic, big-band feel - but as soon as Van Zandt starts singing it is clear who wrote the piece. The pace is slowed down somewhat here, with layers of keyboards and a swing-beat from Mercurio really holding everything together. There is a clearly a big influence from the crooners of the 1950s here though, as the song has all the hallmarks of some of those old classic songs. The wordless backing vocals throughout are very reminiscent of that sound, and the reliance on the horn section to provide an atmospheric accompaniment to the keyboards, rather than as lead instruments, only cements that feeling. I prefer Van Zandt's more driving rock pieces, but this is an extremely soulful song that is easy on the ear - and one that allows him to stretch himself a little vocally. Gravity is a fun, upbeat, funky number that features some excellent bass playing throughout from Daley, plenty of excellent organ playing from Burton, and lots of muscular guitar work from Van Zandt and Marc Ribler. Occasionally Van Zandt's songwriting places emphasis on the guitar, and some big chords and intricate melodies form a big part of this piece. The star here throughout however is Daley, who really gives a masterclass in funky bass playing. High in the mix, he uses his instrument to create this rolling grooves that the whole song really hangs from. Even while the drums lay down a simple beat, Daley's bass playing weaves around it to create something special. All of this culminates in a simple, but very fun chorus, that is sure to be a winner when played live. The vocal interplay between Van Zandt and the backing singers is excellent too, and all of these elements contribute to one of the strongest tunes here. Soul Power Twist gets back to Van Zandt's more traditional Jersey Shore sound, with jaunty horn melodies, excellent gospel-inspired backing vocals, and dancey rhythms thanks to some choppy guitar lines. It is clear from songs like this just how big an influence soul music, as well as the crooners of the 1950s, were on the Jersey Shore scene of the 1970s. That sound, fused with more of a rock attitude, really helped to create the genre - and this is another song that sounds like it could have come out of the 1950s if it was not for the snarling vocals and the prominent guitar sounds. This is certainly one of the simpler songs on the album too, and relies on repeated melodies throughout which help to make it an earworm. There are better songs here, but this is still a fun number that conjures up times gone. Despite opening with one of the worst opening lyrics of all time (seriously, just listen to it...), Superfly Terraplane is still a strong song. There is more of a rock 'n' roll feeling throughout here, with the guitars taking on more of a prominent position, and boogie piano melodies from Lowell Levinger backing everything up. The horn section is less dominant here, although they still provide a strong background role adding the odd burst of melody. The rawer rock sound is only increased by a very primitive guitar solo part way through from Van Zandt, which is less a show of melody and more an outburst of attitude. The songs throughout this album are mostly very carefully considered, so this moment of pure attitude sticks out. It works well however, and helps to make the song a fun teen anthem.

Education is a bit of a strange one, and another song that features a bit of a Latin influence. Unlike Party Mambo! however, the Latin influences here seem to fit in better with the overall song and help to give it an unique identity. That being said, much of the song is extremely low key. The song's opening is quite bombastic, with the Latin-inspired horns really cutting throughout the mix, but the song's verses see much of the instrumentation drop out the leave Van Zandt singing atop a fairly simple backing of drums, bass, organ, and the occasional horn burst. It is quite different from Van Zandt's usual layered style, and as a result things feel somewhat naked. Van Zandt's voice also sounds a bit strange, at at times he sounds like he's mumbling away to himself rather than singing properly. It is not my favourite offering here, but the unique sound does make it stand out quite a bit. Suddenly You is a bit of a ballad, and is built around a percussion groove from Almonte, subtle bass playing, and layers of keyboard. Mournful trumpet melodies also occasionally join the fray - which recall late-period Steely Dan at times - but on the whole this is a piece that seems to revel in its low key nature. Van Zandt's vocals are almost whispered at times, which works well in the song's context and fit in with the overall feeling. It is a pretty short song, so is over fairly quickly, but it provides a nice change to pace towards the album's end. I Visit the Blues is, unsurprisingly, a blues number - and an excellent one at that. I have a bit of a love/hate relationship with the blues - as I find so much of it extremely formulaic - but Van Zandt has certainly mastered the art. The guitar playing throughout is suitably emotional, while the boogie piano and organ add a real depth. This is blues done in the Jersey Shore way however, and the horn section is a prominent here as ever - with saxophones, trumpets, and trombones teaming up to create lush melodies and stabs of pompous goodness. Guitar solos are rare on this album, but there is a fairly lengthy effort here. Blues is all about the guitar, so it is fitting that Van Zandt pays tribute to the blues greats of the past with an emotionally charged solo - that is still packed with his signature attitude. The album's lengthy title track is the last cut here, and is filled with everything that you would expect from a Van Zandt composition. That being said however, the song is quite a slow burner - with lots of reliance on acoustic guitars early on as the song builds up, while the backing singers add some gorgeous melodies with their voices. Despite the song's length, it never really becomes the bombastic effort that you might expect. Everything feels a little more laid back, but it is no less classic for it. The horns add some real class with their strong presence, and the use of acoustic guitars to create the main backing really allows everything to shine. Unsurprisingly, Van Zandt's voice is given a lot of prominence. This is his album after all, and despite all the great work throughout from The Disciples of Soul - this is an album that showcases Van Zandt's talents as a songwriter, arranger, and as a musician. Overall, Summer of Sorcery is a great return to prominence for Van Zandt. It is great to hear a new album from him after so many years and, a couple of duds aside, it is one that rivals some of his best work. Fans of the Jersey Shore sound should definitely pick this up.

The album was released on 3rd May 2019 via Wicked Cool Records/Universal Music Enterprises. Below is the band's promotional sound clip for Love Again.

John Coghlan's Quo - Tavistock Review

The Wharf, in the Devon town of Tavistock, has been an unlikely hotbed of live rock music for a number of years now. Growing up in Saltash meant that concerts at The Wharf were a fairly regular occurrence, and it was the scene of my first live music experience back in 2006. It often fares better than venues of a similar size in the nearby Plymouth and Exeter so, even now that I live in Plymouth, trips up to Tavistock are still a semi-regular experience. A regular visitor to the venue in recent years has been former Status Quo drummer John Coghlan, who has been touring as part of his relatively-new project John Coghlan's Quo for a few years now. His first trip down to Tavistock was in 2017, and has returned each year since - meaning that yesterday's concert of his at The Wharf was his third appearance there in as many years. Clearly getting the touring bug again after Status Quo's Frantic Four reunion shows in 2013 and 2014, Coghlan formed his own band in order to continue to play the songs that he helped to make famous. While on the surface John Coghlan's Quo feels a bit like an extremely authentic Status Quo tribute band, the three other musicians that Coghlan has picked to help present his legacy live are all clearly big Status Quo fans and really help to bring the feel of the band to life - especially the band's mid-1970s heyday. Guitarists Pete Mace and Mick Hughes, and bassist Rick Chase manage to accurately re-create the sound of those classic 1970s Status Quo shows, with Coghlan himself holding everything together with his boogie beats. With the vocals shared by Mace and Chase the multi-lead vocal approach that Status Quo took is replicated also, with Mace handling the vocals originally sung by Francis Rossi, and Chase taking on Rick Parfitt and Alan Lancaster's parts. The authenticity of the shows make them a popular draw, with large crowds often packed into The Wharf to sing along to many of Status Quo's best songs. Yesterday's Saturday night show was no different, with a large crowd assembled by the time the band hit the stage at 8:30pm prompt.

I had seen John Coghlan's Quo a couple of times previously, and both concerts had featured almost-identical setlists, so it was nice to hear a few different tunes this time around. The show started off in the same way however, with the old Steamhammer song Junior's Wailing, a song which Status Quo used to cover a lot in the 1970s, getting the show underway. The blues rock of the piece is the perfect way to get a John Coghlan's Quo show underway - and proved that the large crowd were in fine voice from the off. The first set was largely made up of songs that Status Quo used to play a lot live back in the 1970s, but are not too often a part of the 'proper' band's set these days. The fast-paced rhythms of Rockers Rollin' and the down and dirty blues of In My Chair proved to be early highlights, before the old Richard Supa cover Something 'bout You Baby I Like proved to be another moment that showed how much the crowd were into what was happening on stage. Status Quo have never been the greatest writers of ballads, but one of their better offerings is A Year, from 1972's Piledriver. Chase sung the song perfectly before Hughes, who often stuck to the songs' rhythm parts, took the chance to deliver a lengthy, bluesy solo. It provided a slight change of pace, but the first set of the evening came to a barnstorming close with a powerful version of the shuffling Don't Waste My Time which took the evening up to a fifteen minute bar and toilet break. The second set was, largely, made up of more well-known Status Quo concert staples, and got off to a great start with the boogie blues of Caroline. With the exception of the ballad All the Reasons, which actually prompted quite a spirited sing along section between Chase and the crowd, all of the songs played during the second set were the songs you would expect to hear during a Status Quo concert. Roll Over Lay Down upped the heaviness somewhat, before Paper Plane saw Mace encouraging the crowd to help him out during the big choruses. Mace is a relatively new face in the band, but has fit in nicely already. His voice is quite similar to Rossi's, so sings the material very well, and his tough approach to the lead guitar and bluesy riffing helped to give the songs an added edge. Songs like Paper Plane really showed this, and hopefully he sticks around in the band for a while. Coghlan came out from behind his drum kit to give his customary speech towards the end of the evening, and talking about Status Quo's formation and early days to amuse the crowd. He introduced the band, and dedicated the set's next song, Rain, to the late Parfitt - its creator. It was a great version of the song, before the main set came to a close with an extended version of the old Doors song Roadhouse Blues which was a fixture of Status Quo concerts for years. Chase sung the song perfectly, and both Mace and Hughes had a chance to show off with some solid, bluesy soloing. There was of course time for one more however, and the band obliged by playing Status Quo's Number 1 hit Down Down, which often saw the crowd drowning out the band vocally. A small snippet of Chuck Berry's Bye Bye Johnny was included too, and everything came to a close with Coghlan's short drum solo. The band took their bows to large cheers, and I am sure it will not be too long before they return to Tavistock. The setlist was: (N.B. all of the songs below, unless otherwise stated, are Status Quo songs):

Junior's Wailing [Steamhammer cover]
Rockers Rollin'
In My Chair
Something 'bout You Baby I Like [Richard Supa cover]
(April) Spring, Summer and Wednesdays
Gerdundula
A Year
Don't Waste My Time
-
Caroline
Roll Over Lay Down
Pictures of Matchstick Men
Paper Plane
All the Reasons
Rain
Roadhouse Blues [The Doors cover]
-
Down Down/Bye Bye Johnny [Chuck Berry cover]

While John Coghlan's Quo have clearly found their niche and intend to stay there, without ever shaking up the setlist too much, they are always a fun and lively night out. Status Quo's music is made to be experienced live, and Coghlan's current act are as good as delivering the band's classic sound as anyone else.

Amon Amarth's 'Berserker' - Album Review

Despite spending most of their career touring around the modest metal circuit that many European metal acts of all genres find themselves slogging around year after year, Sweden's Amon Amarth have found their stock rising quite a lot in recent years. It was not that long ago that the band would play at clubs that held around 200 people here in the UK, but recent years have seen them gravitate to much larger halls - and they even headlined the prestigious Bloodstock Open Air Festival in 2017. For a band formed back in 1992, this sudden spurt of popularity must have come as a bit of a shock. Bands often grow their popularity organically but, for a reason I cannot quite fathom, the past four or five years has seen the band's popularity increase in previously unseen ways. I would understand this rise if the band had drastically changed their sound in an attempt to attract a wider audience, but that certainly has not been the case. Amon Amarth are one of those ever-reliable bands where you always know what you are going to get when you listen to one of their albums. Much like AC/DC and Status Quo, Amon Amarth's sound has barely changed since their 1998 debut album Once Sent from the Golden Hall. Amon Amarth's tight, heavy sound has been present since the very beginning - so slick riffing, the occasional burst of NWOBHM-esque twin lead guitar, and the throaty growls of frontman Johan Hegg have filled each of the band's ten previous albums; with very little deviation from this established formula. The band's sound has become a little less raw over the years, with bigger budgets for production probably available now in comparison to their early days, but this is really the only obvious change in the band's sound - and not one that I would think would lead to a drastic rise in popularity. Whatever the reasoning for the band's current status however, I doubt there is anyone out there that really begrudges Amon Amarth their popularity. The band have certainly earned their dues over the years, and their no-nonsense approach to melodic death metal is as good an example of the genre as any. As a result, Berserker, the band's eleventh studio album, which was released last month, is likely to be viewed as one of the biggest metal releases of the year. 2016's concept album Jomsviking (which I reviewed here) was a very well-received work which felt a little grander than usual due to the story it told. Berserker has done away with the concept theme however and returned to a more song-focused structure - although the themes of Norse mythology and Viking tales are as ever-present as they have been throughout the band's career. Amon Amarth have always focused heavily on melody, but Berserker seems to be even more melodic than usual. The choruses throughout the album are some of the biggest the band have written, and as a result the album is very easy to listen to. It is also the band's first album with drummer Jocke Wallgren (Valkyrja; October Tide), and the first to be produced by Jay Ruston who has worked with many metal acts in the past including Anthrax.

The album's opening number, Fafner's Gold, opens slowly with a gentle acoustic guitar intro before exploding in a heavier version of the same melody - which then in turns leads into a fast-paced riff with Wallgren's pacey drumming driving everything forward. Those familiar with the classic Amon Amarth sound will immediately feel at home here, with lead guitarist Olavi Mikkonen laying down a tight, melodic verse riff which Hegg takes great pleasure in barking atop. I have always found Hegg's harsh vocals some of the easiest to understand, with his deep-throated growls perfect for telling the Norse-themed stories that the band concoct. Most of the songs here have big choruses, and Fafner's Gold sets this trend with a fast-paced, anthemic offering that sees Wallgren leading the charge with some fast double bass pedal work and some tremolo lead guitars. It is a powerful way to kick off the album, but arguably Crack the Sky, which follows, packs more of a punch. The pace is slowed to a more mid-paced crunch here, with melodic guitar leads filling out the verses while Ted Lundström's booming bass gives the song a meaty depth to it. In my opinion, it is songs like this where Amon Amarth really shine. They do the faster, thrashier metal well too - but it is in this powerful mid-paced mode where the band's stories and harmony guitar leads really do the most damage. It also allows for true fist-pumping choruses, and the one presented here is excellent. Hegg really barks out the vocals, and I can see the song being a real winner when played live. Mjölner, Hammer of Thor is another strong effort, despite plundering lots of the previous song's subject matter! The pace is upped a little here, but it still remains broadly within the 'mid-paced' category - although this time taking influence from the NWOBHM with a riff that could have come out of the early 1980s. It is interesting to see the influence that bands like Saxon have clearly had on Amon Amarth over the years, despite the Swedish band's much heavier pedigree. Many of the melodic tropes are taken from those famous 1980s metal bands, and this song really shows that with lots of excellent lead guitar work throughout from Mikkonen. A powerful chorus caps things off, and ensures the album opens up with a triple-assault as good as anything the genre has to offer. Shield Wall is less-impressive, but is still a fun song with some excellent tremolo lead guitars that borrow more from extreme metal than the classic bands referenced earlier. As a result the song feels much heavier, with Hegg's vocals taking on a deeper tone - especially during the busy verses. The choruses are a little more straight ahead however, which allows the anthemic vocal melodies to shine, but this is a song that seems to focus a little more on a denser musical arrangement overall. Murkier sections with clean guitars help to add some dynamics to the piece, which helps to contrast well with the tougher verses.

Valkyria focuses a lot more on the band's guitarists, with both Mikkonen and Johan Söderberg laying down tough riffs and melodic leads throughout, which helps to give the song an overall more progressive feeling. Wallgren's drumming also plays into this feeling too, with some beats that are a little different to the norm. His performance throughout the album is solid but he rarely pulls off anything out of the ordinary. This is one of the songs here that shows him letting his hair down a little and showcasing his talents a little more openly. The anthemic sound the band goes for leaves little room for showboating, and it is perhaps telling the vocals here take a little more of a backseat to the instrumental tricks and performance. Raven's Flight, the album's lead single, is a catchy number that helped the fans prepare for the overall sound of the album. While not the most spectacular song here, it certainly does a good job of establishing the core sound of the band. The chorus here is a pretty memorable and lengthy one - and it is a moment that is sure to stick in the mind after only a couple of listens. The twin lead guitars that have often been such a big part of the band's sound of the years are showcased a lot here too. The chunky riffing that makes up the bulk of the album mostly takes a bit of a backseat here while allows the two guitarists to peel off lick after lick throughout. It is that that perhaps is the true hallmark of the song - and is probably why it was chosen as a single. Ironside is heavier, and opens with a flurry of double bass drumming a tremolo guitar leads that showcase the more 'extreme' side of the band. While being extremely melodic, especially throughout this album, Amon Amarth do fall into the world of extreme metal. Their success is almost-unprecedented for a band of that ilk, and it is songs like this that remind the listener of their more 'underground' pedigree. That being said, the song still comes packaged with a killer chorus that is another that is sure to stay long in the memory. There is even a short section which sees Hegg singing clean, which is certainly very rare indeed! It has a slightly folky feel to it and fits well within the structure of the song and helps to provide a little respite from the heaviness around it. Hegg is not a great clean singer, but he gets away with it for this extremely short but interesting segment. The Berserker at Stamford Bridge (something I cannot wait to see on Match of the Day!) slows the pace down a lot, and introduces a slightly doomy feel to the album. While not slow enough to be true doom, the mid-paced crunch that tends to dominate the album drops away somewhat here and is replaced by something slower and more menacing. Hegg adapts his singing style accordingly, and during the the song's slower sections he adopts a much rougher growl that adds to the doomy feeling. The band certainly excel at something a bit pacier, with a more anthemic feel, but this heavier style also works well for them.

When Once Again We Can Set Our Sails opens with some Iron Maiden-esque twin lead guitar harmonies, before settling into a strong mid-paced groove that echoes many of the album's best moments. Despite the overall attitude of the piece, in my opinion the song lacks the powerful melodies found elsewhere. Amon Amarth songs of this nature need a powerful chorus to hang from, and this song lacks an anthemic rallying cry. There are however lots of strong guitar melodies, but these do not quite make up for the lack of the big chorus. It is an enjoyable song, especially from a guitarist's view point, but not one of the album's overall standouts. Skoll and Hati is a pacier number, and showcases the influence that thrash has had on the band's sound. The riffing here is much faster, and Wallgren's drumming keeps up with the pace with a punchy rhythm. The faster pace allows the two guitarists to sink their teeth into some impressive guitar riffs, with some extremely tight rhythm playing from Söderberg in particular setting the tone for the song. A lot of focus is often given to the lead guitar work in the band's songs, but the tight and consistent rhythms are a big part of what makes the band easy to listen to. Söderberg lays the foundation for the more melodic elements of the Amon Amarth sound, and this song showcases his contributions to the band perfectly. Wings of Eagles ups the pace with some excellent riffing from the off, and soon moves into a powerful verse which builds on the riffing from the intro and displays some of Hegg's trademark barks. The band's faster songs are usually less anthemic than their mid-paced offerings, but this one manages to still excel from a melodic perspective as well as a heaviness one. The chorus here is a memorable one, and is still pretty catchy despite the faster pace. The tremolo picking adds to the overall feel of the choruses, and helps the vocal melodies to stand out against the fast drumming and tight rhythms. Into the Dark, the album's closing number, opens with a piano line - but this soon moves into a fairly slow-paced song that contains some of the doomy elements experimented with earlier. While it is not slow throughout, as the choruses pick up the pace somewhat to add some power where needed, it is clear that the band were going for something a little more epic with this piece. I think this works well and the band have managed to come up with something that fits into their established sound while upping the cinematic elements needed for a fitting closing number. At times it seems as if there is a little bit of a black metal influence here, especially during the choruses which see Hegg's vocals taking on more of a black metal-esque tone. This fits within the slower pace of the piece, and helps the song to stand out against the anthemic feeling that many of the rest of the songs here pursue. Overall, Berserker is another strong entry into Amon Amarth's already-vast discography. It does not really offer anything new that we have not heard before, but it is a great representation of their craft and sees the band, more than even, focusing on melody.

The album was released on 3rd May 2019 via Metal Blade Records. Below is the band's promotional video for Crack the Sky.

Myrath's 'Shehili' - Album Review

There are not many metal bands from Africa that have made a name for themselves beyond the underground scenes of the world. Metal music is not as culturally-embedded in African societies as it perhaps is in the Western world, and it is not a continent that much focus is given to by the metal press and fanbase on the whole. That being said, there have been a few African metal bands over the years who have risen up the ranks somewhat and one of those is Tunisia's Myrath. The five piece have been around for the best part of two decades, having formed as a Symphony X tribute band back in 2001, but Myrath as we know them today was born in 2007 with their release of their debut album Hope. A fairly primitive album compared to what would come later, Hope nevertheless laid the groundwork for the band's progressive-tinged power metal sound. 2010's Desert Call increased the progressive influences in the band's songwriting- but since the release of 2011's Tales of the Sands Myrath have been focusing on a more straight ahead melodic metal sound that includes a myriad of influences - including progressive elements still as well as the folk music of the North African region. 2016's Legacy (which I reviewed here) was the first album of the band's which I purchased when it was released. I had been a casual fan of the band for a couple of years before Legacy's release, but it was the band's fourth album that really cemented my love for them. The soaring, Arabic take on Kamelot-esque power metal really impressed me and I often wonder whether I should have included the album in my Albums of the Year list for 2016. In truth, 2016 was a particularly strong year for new albums so it would have been hard to dislodge one of the ten albums that I chose - but I think it is fair to say that Myrath deserved to be represented with Legacy. As a result however I have been looking forward to their follow-up album for some time, and it was finally released last month under the name Shehili. I tried to find a translation for the name, as I assume Shehili is an Arabic word, but I have sadly been able to find one! Not that it matters however as Myrath's fifth studio album, whatever it means, is another really strong effort from the Tunisian band. While I do not think that it quite reaches the epic heights that Legacy hit in 2016, Shehili sees the band firing on all cylinders - while perhaps adding a little hint of darkness to their overall sound. The album sounds very similar to the band's last two releases, but does feel a little heavier in places with a slight gothic tinge sometimes added from Elyes Bouchoucha's keyboards and producer Kévin Codfert's (Adagio) string arrangements. The band's knack for writing a catchy tune is on display in spades however, with their unique blend of Western melodic metal and North African folk music still sounding as fresh and vital as ever.

The album opens with the instrumental Asl, which helps set the North African feel of the album with the Arabic chanting and rhythmic percussion that is such a big part of that musical culture. It is a fairly understated intro compared to the sweeping orchestral pieces that often open melodic metal albums, but it works perfectly to establish the album's overall sound. It transitions perfectly into the strident mid-paced riff of Born to Survive too, which is the album's first true song. Rather than rushing out of the gate with a burst of speed and excess, Born to Survive establishes a strong groove from the off with guitarist Malek Ben Arbia and bassist Anis Jouini joining forces for a pulsing riff that drives the whole song, while Bouchoucha's keyboards add swirling atmospherics. Myrath are a true band unit, with everyone pulling their weight, but it is perhaps frontman Zaher Zorgati that stands out the most. His slightly-accented voice really helps drive the album's tone forward, and his soaring delivery here during the simple choruses provide the first earworm section on the album. After the groove and precision of the previous number, You've Lost Yourself opens with a heavier, faster riff that certainly shows the influence that bands like Symphony X have had on Myrath over the years. Ben Arbia is a great guitarist, and throughout this album he has conjured up a host of excellent riffs which recall the best acts of the progressive and power metal genres. He dominates this song too, with crunchy rhythms backing the verses and the occasional burst of uninhibited shredding. Many of the songs here rely on the atmospherics to set the tone, but this song is very much one of the heavier offerings here, and makes the best use of Ben Arbia's strengths. It helps that it comes with a very memorable chorus too, which sees the pace slowed somewhat to better focus on Zorgati's smooth vocal melodies. Dance was the album's lead single, and opens with some Arabic strings before a crunchy riff kicks in and the song takes off. The guitars take a bit more of a back seat here however, with Bouchoucha's keyboards dominating along with the strings from the intro. It is clear why the song was chosen as a single, as it is packed full of tight melodies that stick in the brain after only a single listen. The chorus is extremely catchy, and the melodic hook played by the keyboards and string section is one to rival the best examples of the genre. While the guitars are a little less prominent here, that does not stop Ben Arbia launching into a fast-paced solo part way through the piece. Most of his solos here are more deliberately phrased, but I like the pure burst of speed approach taken here. It is a moment of excess in a song that otherwise focuses on melody, and the contrast is a fun one.

Wicked Dice is more of a mid-paced piece, and the North African feeling is much less present here which gives the song more of a traditional Western progressive metal sound. The strings and percussion that dominate elsewhere are much less prevalent here, with Bouchoucha's keyboards using more traditional sounds, including that of a piano at times, to create something a little more gothic. This fits in with the much weightier guitar riffing that is employed here, and Ben Arbia really is the star of the show with some driving, technical rhythms and two excellent guitar solos. While this song sounds less like traditional Myrath, the foray into a more Western sound works well. I think it lacks a little of their unique identity, but as an attempt to sound a little like modern Dream Theater it succeeds. Monster in My Closet gets back to the band's core sound however with tribal percussion and cutting string melodies dominating from the off - but the way the song drops out during the verses also showcases another side of the band. The guitars are mostly absent from the verses, which allows the excellent bass playing of Jouini to shine. He is a great player but sadly, as is often the case with this type of music, his bass is often somewhat buried in the mix. The verses here show what a busy and complex player he is, and I am glad that he got a chance to show off a little here. He has forged a great relationship with drummer Morgan Berthet over the years, and the two team up to provide the perfect verse backing for Zorgati's smooth crooning. In fact, smooth is a good word to describe the song as a whole - as even when things ramp up somewhat during the choruses the song still has a soaring, relaxing quality. Lili Twil is a cover of a song by Moroccan singer Younes Migri, and is partially sung in Arabic. The band have used bits of Arabic in their songs previously, but from memory this is the first time that large portions of a song have been sung in their native language. The verses here are sung in Arabic, with acoustic guitars and sweeping atmospherics forming the backing, before transitioning to English for the slightly heavier choruses. I am not familiar with the original song, but I understand it is quite famous in the North African region so I imagine the fans in the band's homeland will immediately latch on to this version. Considering the song is a cover, it does not sound too much different from the band's core sound - meaning they have done a great job of arranging it to fit well within the context of the album. No Holding Back opens with dramatic strings and a pulsing rhythm, but soon drops back into a more sparse arrangement - something which seems to be common throughout the album. Many of the songs here have quite low-key verses, which then allow the song to explode into a melodic chorus. The verses here have a bit more of a progressive feel however, with off-kilter drumming from Berthet and the occasional burst of jagged heavy guitar. The mix works well however, but it is the song's chorus that is the real winning moment. The strings from the intro resurface, and this allows Zorgati to really let rip with some soaring vocal melodies.

Stardust opens with rolling piano lines from Bouchoucha which sounds unlike anything else on the album. It is not common for piano sounds to dominate the band's sound, but it works well and allows the song to open on a sombre note. Zorgati sings atop this piano backing in a mournful way, but really opens up when the song transitions into a more explosive chorus that feels quite different from the sparse opening section. Overall however the song has a very progressive feel, with lots of moods coming together to create something quite different from the rest of the album. The chorus feels like classic Myrath, but the rest of the song has an overall more experimental feel. While I feel that the song is a little disjointed, I like the fact that the band have clearly tried something new here. The approach does work well despite the disjointed feeling, and I would like to see the band perfect this sort of experimentation going forward. Mersal features more Arabic lyrics, and a guest vocal spot from Lofti Bouchnak - a famous tenor singer from Tunisia. He sings the Arabic sections, giving these sections a certain richness that helps to permeate the rest of the song. It is a dramatic piece that features the band really firing on all cylinders, with a big chorus that dominates melodically, and a grand overall feeling that comes from the mid-paced groove established early on and Bouchoucha's keyboards. Lots of Myrath's songs have a certain majesty, but this one seems to go further than usual, and I think the guest vocals from Bouchnak help to set this grand tone right from the off. Darkness Arise ups the heaviness somewhat, with Ben Arbia leading from the off with a driving guitar riff. Despite the heavier feeling, the song is still packed with excellent melodies and shows the band at their most potent. Ben Arbia's riffing is a big part of this toughness, but the band still ensure to fill the piece with soaring melodies by once again including a powerful chorus. The band are becoming quite the masters at strong choruses now, and there are plenty on this album that really showcase their ear for melody. Zorgati's voice is perfect for that kind of soaring excess too, and it is unsurprising that the band make use of his talents so often. I also love the progressive instrumental section part way through the piece that even includes a lengthy keyboard solo from Bouchoucha. I cannot remember a keyboard solo appearing in a Myrath song previously, so it certainly helps the piece to stand out. The album's title track is the last number here, and after the riffing of the previous number the band really emphasis the North African elements here, with instrumental sections that showcase traditional instruments, jaunty acoustics, and wordless vocals - all wrapped up in the band's soaring, atmospheric sound. It is certainly not the most interesting song from a melody perspective, but from an atmospheric one it works very well. It really helps to reaffirm the band's core sound one last time before the album comes to a close, and leaves the lasting impression as things fade to a close. Overall, Shehili is another very strong album from Myrath and one that sees them continuing on the good work established on other recent albums. The band's core sound sounds as good as ever, and the little moments of experimentation thrown in here and there help to reinforce the band's progressive tendencies and show a willingness to expand their sound.

The album was released on 3rd May 2019 via earMusic. Below is the band's promotional video for Dance.

The Fallen State's 'A Deadset Endeavour' - Album Review

Devon has never really been a hot bed of great rock bands, but the county's The Fallen State - who formed back in 2013 - have been making a bit of name for themselves over the past few years. With plenty of high-profile support slots with the likes of Tremonti and Black Stone Cherry under their belts, as well as a handful of their own successful headlining tours, the band are starting to establish themselves on the scene. Plentiful touring has certainly helped the band to raise their profile, but I also feel that a pretty regular stream of new music being released over the years has helped. This review is for their debut album, A Deadset Endeavour - which was released in April, but this release is their sixth overall collection of songs. Three short self-titled, numbered EPs were released in fairly quick succession throughout 2014 and 2015 which featured a strong old-school hard rock sound with modern elements. The first couple of EPs in particular made The Fallen State out to be something of the successor to bands like Heaven's Basement - although the more recent releases have seen the band move towards a more modern sound that features a good chunk of the post-grunge sound that is popular on American rock radio. There is a Heaven's Basement connection to The Fallen State however, and that is producer David Jones (aka Jonny Rocker) who - I believe - has produced everything that The Fallen State has released so far. He really is the go-to modern hard rock producer in the country now, and his fat style has helped countless bands to sound great. His guidance has probably helped to shape The Fallen State too, with their most recent EPs: 2016's Crown Your Shadows and 2017's A View from Ruin (which I reviewed here); moving away from their more classic rock-inspired beginnings to something more slick and modern. It is that sound that has fuelled and influenced A Deadset Endeavour too, and the band's first full-length release certainly carries on the good work established on the two recent EPs while diversifying things somwhat. It is also the shift towards this more modern sound that has certainly opened the floodgates for the band in terms of fanbase growth, with many young fans who grew up on bands like Breaking Benjamin flocking to see The Fallen State. I have to admit though that I have a bit of a love/hate relationship with post-grunge as a genre. I love some of the more 'experimental' acts in the scene such as Alter Bridge, and I like bands like Black Stone Cherry who fuse the sound with other influences (southern rock in their case) but pure post-grunge is something I struggle with. It is probably this that will mean that The Fallen State will never be a true favourite of mine, but it is great to see a band from Devon making a name for themselves and writing strong material, even if that material is not 100% my thing. That being said, I have been enjoying A Deadset Endeavour quite a bit since its April release, and I can see myself spinning it a fair bit going forward.

Statements kicks off the ten-song album with some swirling atmospherics and a chiming guitar intro, before the band crashes in with a heavy riff - a 'statement' of intent if you will (pun intended). Despite the heavy riff, the song's verses are quite calm, with Greg Butler's bass playing dominating while frontman Ben Stenning delivers a moody vocal performance. The contrast between these verses, which help to really create a strong atmosphere, and the heavy choruses is a big part of what makes the song strong - and it is great to see the band really cranking through the gears as the song moves on. The chorus uses the intro riff for its backbone, with guitarists Jon Price and Dan Oke mixing distant leads and heavy rhythms to great effect. It may seem strange to lead with a song that focuses a lot on the band's more atmospheric side, but I think it works well and the album gets off to a strong start. For My Sorrow goes for the throat a little more early on with a fast-paced stuttering guitar riff, with drummer Rich Walker setting the pace with his driving beats. Again though the first verse is a little paired-back, but this time it is the tortured guitar melodies of Price that dominate and create the atmosphere. Later verses are tougher however, with some strong guitar rhythms that help the song to whip up some real power throughout. Despite their post-grunge pedigree, The Fallen State are not shy about showing off, and Price regularly gets a chance to with some impressive solos. The one in this song is quite short, but is packed full of fast note flurries that fits in nicely with the overall pace and tone of the piece. American Made is one of the album's singles, and seems to deal with the struggle the band has faced being heard against the backdrop of American acts that also play this sort of music. Devon-made is certainly more interesting than American-made to me however, and from the gentle piano intro to the stadium-sized chorus this is a song that contains more interesting songwriting quirks and memorable melodies than most of the American bands they are 'up against'. The verses have a great groove, with both the bass and guitars locking in for a somewhat funky melody, before the chorus showcases the type of melodies that most bands of this ilk would kill for. Price's solo is also excellent too, and is packed with classic rock phrasing that recalls the band's early EPs. Paradox is another strong song which opens slowly, but as soon as Price's big guitar lead kicks in things really get going. The theme of the album however seems to be the contrast between light and shade, with verses often slowing things down to allow the song to really explode into the chorus. This song is another example of this songwriting trope, but with more of a classic rock flavour overall. The use of guitars to create strong atmospherics during the verses is great, and the chorus is another that really feels built for playing live. Stenning sounds huge here, and the subtle vocal harmonies employed really help to drive the song forward.

Torn is another single, and was the first taste of the new album that many would have had before the album's April release. It is not my favourite song here, but it certainly hits hard from the off with a muscular guitar riff and a strong synth backing which fills all the gaps and makes the song have a certain depth to it. For me though, this song is just too close to pure post-grunge for me to really love it. Many of the other songs here see The Fallen State mixing different influences into their core sound, which is great to see, whereas this song reminds me more of the band's more-recent EPs. It is an enjoyable song, but one that I feel lacks the dynamics of what has come before it. I can see why it was chosen as the album's lead single however, as it flows on nicely from the A View from Ruin material released two years ago. That being said, the riffing here is some of the most-potent on the album - I just find it less melodically interesting than many of the other offerings here. Can't Fight The Feeling on the other hand is one of my favourite cuts on the album, and gets back to the album's theme of light and shade, with a gentle verse that transitions gradually into an explosive, stadium-sized chorus. When I first listened to the album back in April, this was the song that initially stood out to me on my first listen and repeated listens have only cemented my love for the tune. The chorus is one of the album's strongest, with Stenning almost spitting out the emotional lyrics at times, but at all times maintaining a strong sense of melody. It is this overall style that I feel suits The Fallen State the best, and the mix of heavy riffing, dynamic songwriting, and melodic vocal lines really show the five-piece at their strongest. There is enough of a classic rock vibe to please the older fans, but with a strong modern element that plays into the post-grunge crowd. Open Wound opens with a discordant guitar passage that dominates much of the song, and forms the basis of a schizophrenic verse that features some off-kilter drumming from Walker and a sound unlike anything else on the album. I like the change of approach, and it certainly helps the song to stand out from the crowd. The chorus is more typical however, and explodes with a big vocal display from Stenning and some soaring Price guitar leads. The more traditional chorus is a big contrast to the slightly strange verses, but in my opinion the mix works well. It allows a somewhat more prominent synth placement too, which helps to add to that strange sound. Keyboards are not a big part of the band's sound, but their inclusion in certain songs here helps to bulk things out a little and adds to the overall atmosphere created without ever dominating or feeling overbearing.

Attitude is, perhaps unsurprisingly, a heavier piece with a strident hard rock riff that drives everything and a wall of cold-sounding synths to add depth. Like Torn this is a song that maintains a strong pace throughout, and feels a little more like the band's recent EPs. The chorus is quite a catchy one, but again I feel the song lacks the dynamic songwriting that is present elsewhere. I think that I prefer this song to Torn however, as the main riff is a great one that ensures the song hits a great pace from the off - and I imagine that it would be a fun song to hear live despite feeling that it is not one of the strongest offerings here. There are some riffs towards the end of the song that are bordering on metal at times, showing another side to the band - and one that I would not mind to see them expand on going forward. Lovers & Psychos is another tough track, that opens with a high-energy riff before the fast-paced verses takes over with some excellent Butler bass work keeping everything on tracks. Of all the songs that maintain a steady faster pace throughout, I feel that this one is by far the strongest. The verses here have a strong kinetic energy about them that sees all five band members shining. I have already highlighted the bass playing, but the drumming is also excellent, and Walker makes excellent use of fills throughout to keep the song moving. The pace barely lets up for the chorus either, which is an anthemic moment. There are catchier choruses here, but in the context of the rest of the song it hits the spot. The riffing throughout is very strong, and overall the song just feels exciting despite lacking some of the depth found elsewhere. Fragments is the album's final offering, and starts slowly with some emotionally-charged vocals from Stenning and chiming guitar playing from Price and Oke. This song is closest thing on the album to a true ballad, and it helps to bring the album to an atmospheric close after nine songs that, on the whole, have rocked hard. I have never found that The Fallen State write convincing ballads in the past, but this is one of their better offerings in that vein. The song does get somewhat heavier as it moves along, with later renditions of the chorus feeling quite a bit tougher, but this is a song that is overall characterised by more gentle atmospherics. Stenning is the star of the show here. He has never been a favourite singer of mine, but his performance throughout this album is very good. He seems to have really found his voice here, and his delivery of the murky, atmospheric sections of this song are particularly impressive. He is able to inject a lot of emotion into the song, and his howls as the album fades to a close leave a lasting impression. Overall, A Deadset Endeavour is a strong first album from a Devon band who deserve to make more of a name for themselves in the UK rock scene. They have worked hard to get to this point, and I feel that this is a strong enough album to catapult them onto the next stage of their journey.

The self-released album was released on 19th April 2019. Below is the band's promotional video for American Made.