Black Star Riders' 'Another State of Grace' - Album Review

If there is band that truly defines the state of classic-inspired rock in the 21st Century, then Black Star Riders are surely it. Despite only being in their seventh year as a band, Black Star Riders have already become part of a furniture on the British rock scene (despite most of the band actually being American) and they are a well-loved and popular live act. In fairness the band did have something of a head start, with frontman Ricky Warwick and guitarist Scott Gorham forming the band following a successful couple of years touring as part of a re-activated Thin Lizzy - but Black Star Riders have long stepped out of that band's shadow. While a heavy touring schedule and a penchant for dropping a new album every couple of years has certainly helped the band to maintain a steady momentum and organically build a fanbase; what makes the band truly tick is their ability to craft memorable, hard rocking, and soulful songs. From their 2013 debut album All Hell Breaks Loose (which I reviewed here), which is probably still my favourite from the band, Black Star Riders have been writing great songs. I did not find 2015's The Killer Instinct (which I reviewed here) or 2017's Heavy Fire (which I reviewed here) to be quite as strong as the band's debut album, but both albums contain plenty of excellent songs and are still regular features on my iPod. Three strong albums in five years had really set the band up, but 2019 has seen Black Star Riders take things a step further by releasing their fourth effort - and making it four strong albums in seven years! The lead up to their fourth album, which was released earlier this month under the name of Another State of Grace, however was a fairly rocky one by the band's standards. Since forming in 2012 the had had a relatively stable line-up, with only Robbie Crane replacing original bassist Marco Mendoza in 2014, but Another State of Grace features a new-look Black Star Riders following a couple of line-up changes that have occurred since Heavy Fire's release. The first departure was drummer Jimmy DeGrasso in 2017, not too long after the third album's release, who was quickly replaced by Chad Szeliga (Breaking Benjamin; Black Label Society); but the big blow was the departure of guitarist Damon Johnson towards the end of last year. Along with Warwick, Johnson had always been the band's main songwriter. Other band members had chipped in along the way, but the Warwick/Johnson partnership was what Black Star Riders was built on. His songwriting and his guitar playing abilities, was going to be hard to replace, so I had wondered what the band would sound like without him. Christian Martucci (Stone Sour) was brought in to replace him, and thankfully he seems to have fit into the band like a glove. He has picked up some of the songwriting slack on Another State of Grace, which is great to see, as well as adding his heavier guitar playing to it - meaning that the band's fourth album is their weightiest and toughest-sounding effort yet.

Opening the album is Tonight the Moonlight Let Me Down, a catchy up-tempo rocker typical of the band's sound; with a few sly looks cast in Thin Lizzy's direction for good measure. A choppy riff opens the piece up with hints of a twin-guitar harmony, but in truth the song is a weighty rocker from the songwriting minds of both Gorham and Martucci. One of the things that has carried over from Thin Lizzy into Black Star Riders is the storytelling lyrics that recall classic folk songs at times. Ricky Warwick was clearly a big Phil Lynott fan before joining up with Gorham and co., and it shows throughout this album. His voice, which is certainly mellower and more storyteller-esque than it was during his days with The Almighty, is what holds the whole band together; and the laid back verses here really showcase him at this best - before he launches into a somewhat tougher chorus with some catchy vocal melodies. A saxophone solo courtesy of Michael Monroe (Hanoi Rocks; Demolition 23.) tips the hat to that other Thin Lizzy song with 'moonlight' in the title, but it is the first time the instrument has been heard in a Black Star Riders context. It is the icing on the cake, and adds a quirky burst of melody when needed. The album's title track is a real winner and, in my opinion, is one of the best tracks the band have written so far. A knotty twin-guitar riff keeps the piece together, while session man Paul D'Arcy adds some folky additions with whistles and uilleann pipes to mirror it. While the album's opening piece was fairly laid back, Another State of Grace is much heavier, and really shows the influence of Martucci. The riffing here is meatier than previously, but the folky, beefed-up guitar leads are still very Thin Lizzy at their core. There are certainly shades of Emerald to be found here, but with a chorus that sounds like something The Pogues might have come up with - showing off Warwick's love of Irish punk. Ain't the End of the World is similar, with the punk influence again showing up during the driving chorus and a guitar riff that is the most blantant Thin Lizzy homage of the whole album. In some ways the song feels like a throwback to the band's first album. The Thin Lizzy-isms have slowly decreased over the band's previous three-album trajectory, but they seem to have re-embraced here. This could be down to the introduction of Martucci as a key songwriter - bringing some fresh ideas to that classic sound. I am certainly not complaining, and the opening three songs on this album are for me the best opening three songs on a Black Star Riders album since All Hell Breaks Loose.

The quality comes with the Gorham-penned Underneath the Afterglow, a heavier piece with a strong Hammond organ presence from famed session man Fred Mandel. In fact, Mandel's playing is fairly prominent throughout the album as a whole. Keyboards have never been a big part of the Black Star Riders sound, but their usage has certainly increased here which adds an extra dimension to the band's sound. The song is heavier than most here, and the dirty Hammond really helps to exemplify this. The harmony guitars are largely gone here, instead they are replaced with a weighty riff that rumbles the speakers with its simplicity. The chorus part also sounds heavier, and has similarities to Warwick's previous band The Almighty. Mandel's keyboards also dominate Soldier in the Ghetto, as the piece opens up with a funky organ riff that is soon joined by some laid back guitar chords which are reminiscent of Charlie I Gotta Go from the band's second album. The song is much more in-your-face than that older piece however, with the keyboards keeping everything moving at a faster pace and a chorus that again injects a little of the punk spirit back into Black Star Riders. What is clear at this point is how much energy is contained within this album. The entire first half of the album is packed full of up-tempo rockers, that are all built on a strong riff and contain a catchy, melodic chorus. This is clearly the type of song that the band excel at at this point, and the album shines as a result. However, as if to deliberately play havoc with my analysis, the album's sixth track is a ballad! Why Do You Love Your Guns? however is an extremely poignant piece, especially with a handful of high-profile mass shooting taking place across America over the past few months, with lots of delicate acoustic guitar playing from Warwick and thought-provoking lyrics. This is not purely an acoustic piece however, although the song never strays far from those roots. The band slowly build up around Warwick, with effects-heavy guitar leads that sound more like something from a Marillion album than your average Black Star Riders song and a sombre beat from Szeliga. A highlight however is a lengthy and emotionally-charged guitar solo part way through the song. Sadly the CD's booklet does not attribute the guitar solos, so I cannot credit Gorham or Martucci here, but it is the perfect accompaniment to the song's theme and it really brings the piece to life. Standing in the Line of Fire, the only song here co-written by Crane, gets back to the up-tempo feeling established throughout the album's first half. This is a song that has grown on me over repeated listens, and it sounds a bit more like the sound the band established on Heavy Fire - with the Thin Lizzy-isms reduced and replaced with a more riff-heavy sound. It works well however, with a simple chorus that is backed by a fun, snaking riff and a shredded guitar solo to round things off. Crane is becoming a useful additional songwriter for the band, and I hope he continues to chip in on future albums.

The simple What Will It Take? features the vocals of Pearl Aday, who also guested on Heavy Fire, and opens out as a strident acoustic rocker before the band joins in to give the song a bit of a heavy country vibe. It is a solo Warwick composition and it shows, and is somewhat more akin to the songs found on his recent solo albums than any previous Black Star Riders album. While not a bad song, it is certainly one of the least-interesting pieces here for me. Aday and Warwick share vocals lines to good effect, but the song is not as compelling as many of the others here. The lyrics are very repetitive, and for me it lacks that true Black Star Riders spark. The album's final couple of tracks overcome the slight dip of What Will It Take? however, and certainly get things back on track. Both tracks showcase the punk spirit referenced earlier, with In the Shadow of the War Machine up first. It is the lesser of the two in my opinion, with repetitive lyrics again present, but the energy of the piece makes it a more interesting prospect. It is a real chug, something quite rare for the band, but the simplicity allows Warwick to spit the lyrics out with some real venom. In the past Warwick has toured as a guitarist for Stiff Little Fingers, and he is certainly bringing some of that experience along for the ride here with a little bit of a late-album rock out! Poisoned Heart, the album's final track, is a subtly rocky piece that includes a strong call-and-response chorus that has a punky vibe once more, before the song becomes more laid back for the smooth verses - with some twisty harmony guitar leads thrown in throughout for good measure. The song is unlike anything in the band's catalogue so far, but in my opinion it really works. As much as I loved Johnson's contributions to the band, it does feel that the band have explored a few different avenues here. Experimentation is key for a band and it allows them to develop and stay fresh - and it is great to hear the band experimenting a bit here, especially considering the album is a fairly traditional 40-odd minutes in length. I would quite like to hear more songs like Poisoned Heart from the band going forward, and I hope this experimental is brought forward into album number five! Overall, Another State of Grace is a really strong album from the band - and for me it is their best release since their debut. As much as I enjoy The Killer Instinct and Heavy Fire, Another State of Grace just contains more of the type of songs that I want to see from the band - and it is great to see the Thin Lizzy nods back bigger and better than before. The band are showing no signs of slowing down yet, and I hope that Another State of Grace is the start of a successful new era for them.

The album was released on 6th September 2019 via Nuclear Blast Records. Below is the band's promotional video for Another State of Grace.

Visions of Atlantis' 'Wanderers' - Album Review

Austria's Visions of Atlantis, despite having been around for nineteen years at this point, have never really broken through into the big time. The symphonic metal band have released a few strong albums over the years, but for whatever reason they have always remained a division or two below the genre's elite. On the whole, Visions of Atlantis are a band that I am not overly familiar with. I have been aware of them for years but, despite enjoying the odd song that I heard here and there, I only started listening to the band with any earnest towards the end of last year. The band were booked to open for a Kamelot at a show I attended back in March in Birmingham, so I picked up the band's then-latest album The Deep & the Dark in preparation for the show. I found myself enjoying the album a lot, but 2011's Delta which I bought not too long afterwards did not impress at all. I stopped buying the band's albums and waited for the show, where the band impressed. Despite relying on a backing track for the keyboards, which I always find disappointing for bands with prominent keyboard arrangements, the band's short set was a strong one. The set was largely culled from The Deep & the Dark, and the band went down well with the good-sized crowd. I made a mental note to make more of an effort with Visions of Atlantis going forward, and part of that involved picking up a copy of the band's latest album Wanderers, their seventh studio album, which was released last month. Considering the five year gap between 2013's Ethera and 2018's The Deep & the Dark, I was surprised to see the band back with a new album so soon after their last. I do not know everything about the band's history, but it does seem somewhat like they are making up for lost time. A lot of different members have come and gone from the band over the years with drummer Thomas Caser, who is also the CEO of Napalm Records, the only original member left. I get the impression that the creative process for The Deep & the Dark was a strange one too, and was almost put together by committee. It came off the back of a failed reunion of many of the band's original line-up, and it is not all that clear exactly which musicians actually featured on the finished product. With the band's 2019 line-up seemingly stable, at least for now, I suppose the band wanted to get back into the studio as quickly as possible and lay down something that was 'theirs'. The only current member of Visions of Atlantis that definitely featured on The Deep & the Dark, as even drummers were 'name checked' in the liner notes, is vocalist Clémentine Delauney, who has become the real focus of the band. She has become the band's main songwriter - along with producer Frank Pitters - and she is the real star of Wanderers. Fellow vocalist Michele Guaitoli (Overtures; Kaledon; Temperance), who makes his debut with the band here, supports her well - while the rest of the band, and Pitters who handles most of the keyboards, create symphonic, poppy backdrops for their melodies.

The album kicks off with its longest song, the seven-minute plus Release My Symphony. While the length of the track may lead some to believe that the song is more progressive in nature, which it is somewhat, but in my opinion the song really just further displays the band's core sound in a more expansive way. The song's intro is a lengthy one in the context of the band's usual sound however, with a mournful piano setting the scene nicely before Christian Douscha comes in with a weighty guitar riff that is backed by some dancing synths and orchestrations from Pitters. Visions of Atlantis have always taken their cues from the power metal end of symphonic metal, with the first handful of Nightwish albums a clear touchstone (which I know is a lazy comparison but it is apt in this occasion), and the dancing keyboard melodies and chunky guitar rhythms here certainly recall them. The vocals have a much poppier approach however, with Delauney generally dominating throughout. Visions of Atlantis' male singers often seem to be relegated to being a glorified backing singer, but in fairness Guaitoli also makes his presence felt throughout this album. He shares the vocals fairly evenly throughout the lengthy opening song, with the two singers harmonising well during the simple, but effective, chorus. A highlight for me however is Douscha's guitar solo, which takes on a certain Eastern flavour while still fitting nicely inside the grand symphonic arrangements that pin everything together. Heroes of the Dawn has a bit of a folky vibe, something that was explored on a couple of tracks on The Deep & the Dark, with uilleann pipes setting the tone early on before a crunchy guitar rhythm again kicks. Sadly the piper is not credited in the CD's booklet so they cannot be name-checked here, but their addition certainly adds to the overall feel of the piece. They do not change the band's core sound however, and only feature sporadically to add the occasional jaunty melody before giving way to Douscha's tough guitar chords once again. This is a very vocally-dominant song however, with the main melodies coming from the vocal lines. Delauney and Guaitoli share lines again, with the latter kicking things off in fine style, with another fun chorus standing out. Nothing Lasts Forever is something of a ballad, and is a collaboration between Delauney and some of the members of the German band Kissin' Dynamite. It opens with some simple piano lines and her sweet vocals, while the song gradually builds up around her - with layers of strings thickening the sound. By the time the chorus rolls around, Caser adds a little weight with his drums which helps to inject a little power. The song continues at a slow chug, with Guaitoli taking the second verse, and continues in this manner until it finishes. Douscha impresses again with another strong guitar solo, which starts out by emulating the chorus vocal melodies before going off at a musical tangent to great effect.

A Journey to Remember is a bit of a heavier piece, and is built around a dramatic string and keyboard arrangement, while Douscha does the heavy lifting with his guitar - throwing in the odd pinch-harmonic here and there. The opening three songs are all strong efforts, but mostly move along at a mid-pace. A Journey to Remember is the first song to really speed things up somewhat, with Caser providing a kinetic energy to the song with this tight drumming - and Douscha's riffing keeping everything going. It is also a song that really showcases the vocal interplay between the band's two singers. They each get the chance to sing alone, but much of the song is sung in harmony. Their two voices mix really well together, and the song's soaring chorus is a perfect example of their chemistry. Guaitoli only started working with the band last year throughout The Deep & the Dark touring cycle, so it is nice to see that he has already struck up a great relationship with Delauney. A Life of Our Own continues the faster pace established in the previous song, and is notable for being one of two songs here written by Guaitoli. Delauney and Pitters have written the vast majority of the of the album's music, but two songs were brought in by Guaitoli - with Delauney then adding her lyrics to them. They do not divert from the band's core sound however, and it is clear that Guaitoli has honed his songwriting to fit in with the band's style. He also plays the keyboards throughout the song, with his orchestrations creating a grand backing for the piece, while Douscha again adds the rhythm. Completing a hat-trick of faster tunes, To the Universe opens out with driving double bass drums from Caser and dancing, catchy synths right out of the old-school symphonic power metal songbook. Old-school power metal is a bit of a dying art in my opinion, but Visions of Atlantis have whipped up a strong slab of it here - with Delauney even singing in a pseudo-operatic style at times to really nail that old sound. Despite Delauney's strong vocal showing, for me it is Guaitoli that shines the most here. He might not have the biggest range when it comes to power metal singers, but his smooth voice fits perfectly into the song - with his controlled delivery standing out. A shredded Douscha solo also stands out, aiding the pacey feel of the song. Into the Light breaks the run of faster songs, and instead serves itself up as a delicate piano ballad with some excellent smokey vocals from Delauney. The song never really expands beyond its basic beginnings, but that allows it to act as a beautiful mid-album respite. Pitters' piano playing is simple, but full of emotion, and Delauney's vocal display is excellent. It is a true ballad, and even though Casers's drums eventually kick in to back a controlled, emotional guitar solo, the song constantly feels gentle and mournful - which is fitting.

The Silent Scream is heavier, with a spooky, twinkling keyboard intro that is soon joined by one of Douscha's toughest guitar riffs on the album. The early Nightwish comparisons are very apt here, and it is one of the few songs where the bass of Herbert Glos (Dragony) is clearly audible. Glos also makes his debut with the band in the studio on Wanderers, despite being credited on The Deep & the Dark, so it is nice to hear him more clearly on this track - as opposed to being simply a part of the mix! The heavier vibes of the piece allow for a more overall 'metal' performance here. Guaitoli certainly seems to let rip a little more here, with some excellent extended vocal notes that have more grit to them than usual, and Douscha's now-customary solo is full of tortured bent notes and other tricks. The Siren & The Sailor, which of course features some occasional enchanting wordless female vocals, also plays with folky melodies - but this time they are played on the synths and mixed into the band's core sound rather than added on as an extra. Delauney's operatic vocal style is put to good use here too, playing the part of the siren, with the song again really showcasing a strong old-school symphonic power metal sound. Guaitoli largely dominates the verses, before Delauney takes over for a pre-chorus and then dominates the chorus harmonies with her gorgeous symphonic vocals. Douscha's snaking guitar leads and riffs throughout echo the folky synths in the song's intro, but add some real bite to them. The song overall has quite a sinister feel despite some big melodies, and is possibly one of the most emotive and striking tracks on the album. The album's title track, which is a solo Delauney composition, is another piano ballad. Delauney plays the piano throughout the track too, along with taking the lead vocals, which makes the song totally revolve around her and her talents. She really has become a key player in Visions of Atlantis, and the band's rebirth over the past couple of years is largely down to her songwriting abilities and her vocal presence. On Wanderers, with her voice and piano only joined by some subtle strings, she showcases why she is now the face of the band. It is a short, but beautiful ballad featuring lots of gorgeous melodies and delicately simple piano motifs - which is the calm before the storm of the album's closing number. That number is At the End of the World, a powerful, upbeat, and catchy piece is the second song here to be written by Guaitoli. Douscha's choppy riffing drives the piece, while spacey synths and keyboard textures bulk out the song - but in truth it is the song's chorus that is the best moment here. It is easily my favourite chorus on the album, as it is packed full of soaring melodies that just grab you from the first listen and never let go. In my opinion, the song is a perfect album closer, with the fast-pace and huge melodies really ensuring a memorable end to what is a strong collection of poppy symphonic metal pieces. Overall, Wanderers is another strong album from Visions of Atlantis that continues the good work established last year on The Deep & the Dark and builds further on that album - allowing the band's core songwriters and players to really shine. This new era for Visions of Atlantis is proving to be a fruitful one, and I am looking forward to seeing where they go from here.

The album was released on 30th August 2019 via Napalm Records. Below is the band's promotional video for A Journey to Remember.

The Cruel Knives' 'Side Two' - EP Review

While I still mourn the loss of Heaven's Basement, a band I grew up with and saw them move from humble beginnings to the cusp of bigger things, I have - sadly - accepted that they are no more. The band effectively died in 2015 when frontman Aaron Buchanan left the fold, but in 2017 guitarist Sid Glover and bassist Rob Ellershaw officially laid the band to rest and launched their current project The Cruel Knives. Before the band's official launch, the pair - along with frontman Tom Harris and Heaven's Basement drummer Chris Rivers - played a couple of low-key support shows to road-test some new material. Many assumed that Harris was to be the new frontman of Heaven's Basement, but a short while later the Heaven's Basement name was dropped and the band were re-born as The Cruel Knives. Rivers chose to step away from the band, which may have been one of the reasons for the re-brand, leaving Glover and Ellershaw to start again from scratch. Harris was welcomed permanently into the fold, along with drummer Al Junior, and The Cruel Knives released their debut five-track EP in July 2017. Side One (which I reviewed here) was initially a hard listen for a die-hard Heaven's Basement fan such as myself. While Heaven's Basement had evolved throughout their short career, moving from 1980s-inspired hard rock on their debut EP to a more modern sound on 2013's Filthy Empire - their only album, I found Side One to be quite a big departure from Glover and Ellershaw's previous band. There were, of course, traces of Heaven's Basement's hard rock sound, but there were also a lot more modern pop rock elements included. Harris does not possess the grit and power that the various Heaven's Basement singers had, which helps to contribute to the overall more poppy and, at times, atmospheric sound. Over the past couple of years however, Side One has grown on me a lot. The Cruel Knives are certainly a more experimental band than Heaven's Basement ever were, which certainly helps them to stand out from the crowd and ensures that their material rewards repeated listens. Side One felt like a band's debut release, with a lot of throwing of ideas at the wall and seeing what stuck-type moments, but two years on the band feel more focused. Side Two, which the band's second EP is predictably called, was released last month and sees the band sounding fired up and lean. The experimentation of the first EP is still present, but the overall package feels a little more streamlined and rockier - which is probably why this effort has hit me a lot quicker than their first one ever did. Throw a couple of really strong stand-out moments into the mix, and it is clear to see that The Cruel Knives have developed a lot over the past couple of years and mean business.

The seven-track EP kicks off with Black Eye Friday, a strident rocker that opens with Junior's rolling snare drum beat while a collage of guitar layers and basslines build up around it - before exploding into a juddering guitar riff. The experimental sound of Side One can be heard here, but there is a certain darkness that creeps into the song - particularly during the verses. The verses see the song stripped back to the basics, with mournful clean guitar lines forming the basis of the piece, while Harris' emotional lyrical delivery showcases his talents. This is a great contrast to the heavier choruses, which are much tougher overall with bluesy hard rock riffing and a much more energetic feel. It is a short song, but it does the job to open the EP up in style. Hollow People is fuzzy rocker, which opens up with a subtle, industrial-esque guitar pattern that is buried in layers of fuzz, while Junior casually pumps his bass drum. It is less in-your-face than the opening track, with more of an atmospheric approach on show, but Glover's weighty guitar tones and riffs really help to keep everything on track. His riffs here might not be as potent as those he wrote for Heaven's Basement, but he is certainly expanding his style and approach here. There a few stand-out guitar moments throughout this song, with the focus largely here being on atmosphere and overall sound rather than hard rock. The chorus is a surprisingly catchy one too, showing off the band's poppier side. If This is the End (I've Been a Fool from the Start) is a much more bass-heavy song, with Ellershaw's weighty bassline keeping everything together and a greater emphasis overall being placed on the band's 'rock' elements. This is not a heavy piece, but it has a great kinetic energy to it throughout. Parts of the song remind me a little of Mechanical Animals-era Marilyn Manson, with the distorted bluesy guitar tones, but with a stronger emphasis on poppy melodies and a much more accessible vocal approach. I think that this is the EP where Harris really comes into his own. I was, unfairly, comparing him to Richie Hevanz and Aaron Buchanan in my head before, but on Side Two Harris really showcases his immense talents. He has a much more emotionally-charged delivery than either of Heaven's Basement's main singers, and the way he attacks the chorus here proves that. He turns in another great performance throughout Maybe I Should Know, a riff-based rocker that certainly showcases Glover's old-school riffing style somewhat - with traces of Heaven's Basement evident. Big guitar riffs are not always the order of the day for The Cruel Knives, but this is a song that seems to revel in being something of a hard rock throw-back - despite the band's modern production style and penchant for more modern melodic tropes still evident. It is one of the heavier pieces here, and never really lets up its pace throughout. This is a song that is sure to go down well live and, considering that it contains one of Glover's few true guitar solos on the EP, it could well become a bit of a setlist centrepiece.

Blood in the Water is another meaty piece, with a big slab of a guitar riff laid down early and a strong groove established from the off. In the same way that Led Zeppelin's Black Dog is based around a simple bluesy riff, with the vocal lines fitting in around it, Blood in the Water somewhat echoes this structure - with Glover's riff trading spots with Harris' vocal lines effortlessly throughout. It is this approach, and subsequent groove, that really makes the song's verses tick and makes them some of the EP's catchiest moments. The chorus is more typical of the band's usual style however, with layers of guitars and vocals making for more of an atmospheric and unusual approach. The melodies here are not as compelling as the verses' ones however, but the song still remains enjoyable due to the groove and hard riffing. On a Leash (or On a Fucking Leash as it has been called on old setlists) is, in my opinion, the best song here and the best song the band have put out so far. It is a perfect mix of Glover and Ellershaw's old band and their new, more modern influences. The opening strident guitar riff hits hard from the off, and the bass-heavy verses bring the best out of Harris' vocals. He almost croons over the verses and, while the chorus never really explodes into a true hard rocker, he ramps his delivery up perfectly throughout to climax on the chorus' last, emphatic line. You can feel the venom in his voice, and it really helps that the song's arrangement seems much more simple in comparison to many of the band's others efforts. Many of the band's songs feature lots of layers of guitars which sometimes makes it hard for Harris to compete vocally, but On a Leash seems to strike the right balance. As a result it really shines, and I would like to hear more songs like this from the band going forward. Crawl, the EP's last song, is another riffier piece that opens up somewhat calmly - before exploding into a heavy blues rock riff that is one of the album's best musical moments. This is another song that pairs back on the arrangement somewhat, again allowing Harris to shine. The verses are quite bass-heavy, with Ellershaw's snaking bassline dominating - before a heavy chorus kicks in with more of Glover's riffing and Harris can be heard really pushing himself vocally. This is another stand-out cut for me, and showcases the best of the rockier side of The Cruel Knives' sound. Overall, Side Two is strong sophomore release from The Cruel Knives and one that, in my opinion, is a big improvement over their debut EP. Between Crawl and On a Leash, I believe The Cruel Knives have really set out their stall. If the band develop more along those lines then I think they could become a really special band, and I am looking forward to tracking their progression going forward.

The self-released EP was released on 30th August 2019. Below is the band's promotional video for Hollow People.

Freedom Call's 'M.E.T.A.L.' - Album Review

The German power metal band Freedom Call are a band that I have been a casual fan of for many years now, but they have never really established themselves as one of my favourite examples of the genre. I originally took a punt on one of their albums (2002's Eternity) at a local second-hand CD stall in Plymouth Market as I recognised the name of then-drummer Dan Zimmermann from the couple of Gamma Ray albums that I owned at the time. I enjoyed Eternity quite a bit, but was never driven to rush out and pick up the rest of the band's albums. Over the years however I have accumulated a few of the band's albums, but I would never call myself anything more than a casual fan. Last year however though I made the effort to see the band live, so travelled up to London to catch them at the Camden Underworld. While not blowing me away, the show the band put on a lot of fun. Freedom Call are clearly a band who do not take themselves too seriously, and their live show showcased their larger-than-life upbeat power metal in the best light. Since then I have picked up a couple more of their albums, and vowed that I would make the effort to pick up - and review - their next new release. I kept my mental promise to myself, and last month I picked up a copy of M.E.T.A.L., the band's new album and first effort since 2016's strong Master of Light. M.E.T.A.L. is the band's tenth studio album, and unsurprisingly it follows the template that they have been sticking to ever since their 1999 debut Stairway to Fairyland. Power metal is not exactly the most progressive or forward-thinking genre, but its purpose is to create fun, uptempo songs. When it comes to 'fun', I think that Freedom Call may be one of the best exponents of that feeling. Their sound has often been described as 'happy metal', a term the band has occasionally adopted for themselves, so it is unsurprising that listening to M.E.T.A.L. puts a big smile on my face! The songwriting is tight, the production is nice and clean, and bandleader Chris Bay is in fine voice. Bay is the only original member left in Freedom Call, but in truth it has always been his band. He has single-handedly written the vast majority of the songs on M.E.T.A.L., with a few efforts from long-time guitarist Lars Rettkowitz also making the cut, making this album more his vision than possibly any other in the band's canon. This is probably due to the line-up changes that have happened in the band recently, with both bassist Francesco Ferraro (Vexillum) and drummer Tim Breideband (Bonfire) joining the band earlier this year. Breideband, it seems, did not join the band in time for the album's recording sessions however, as the majority of the drum tracks here are handled by Kevin Kott (At Vance; Masterplan; Almanac) on a session basis. Original drummer Zimmermann also helped his former band out by laying down the drums for a couple of tracks, creating a nice little mini-reunion within M.E.T.A.L.'s walls.

The album is a fairly succinct one, so dives right into the action with the anthemic 111 - The Number of the Angels. Without so much as a guitar chord or a blast of pompy keyboards, Bay's voice fills the speakers with the song's chorus refrain. A soaring guitar lead soon kicks in, and the song launches proper with Kott's driving double bass drumming keeping everything ticking. The song is a true Freedom Call classic, with a dynamic verse getting the best out of Bay's voice. The instrumentation often drops out during the verses, leaving the sparkly keyboards to fill the void with an electronic percussion loop; before the song explodes into a fast-paced, stadium-worthy chorus. Some of the band's best choruses for a few years are contained within this album, and the opening number contains one of them. It is an epic AOR-infused moment that is sure to go down well live, and it makes for the first of many stand-out moments here. Spirit of Deadalus, one of the three Rettkowitz compositions here, is a bit heavier and opens with a synth lead before Kott once again comes crashing in with his double bass pedals and Rettkowitz launches into a shredded portion. Keyboards are always a bit part of Freedom Call's sound but, aside from the opening riff, they mostly take a backseat here. They provide depth and warmth, but this is very much a guitarist's piece. Freedom Call could never considered a 'heavy' metal band, but this song is as close as they come to feeling truly weighty. The guitar rhythms have a nice crunch to them throughout, and the drumming never really lets up. Freedom Call are great as they are, but it is nice to hear them toughening up a bit here and laying down something with real grit. The album's title track follows and it is a stomping mid-paced anthem with both Kott and Zimmermann teaming up for a muscular percussive backing that forms the backbone of the song. After two faster songs the mid-paced feel here is welcome, and it is a tune that is clearly built around being played live and being sung by a large crowd. Portions of the verse only really feature the percussive drumming and Bay's voice - which is sure to see lots of fist pumping when played live - with the chorus feeling very similar with the addition of the rest of the band. It is not the most dynamic of pieces, and it is mostly built around a simple idea, but I can see it becoming popular with the fanbase. The Ace of the Unicorn is probably my favourite song on the album, and it features the best chorus here. It is another fairly mid-paced piece, but Bay's rhythm guitar drives everything - while a catchy little guitar/keyboard melody surfaces every so often to add a little magic. The best part of the song however is the chorus, which is a really heroic slab of true power metal. Bay has a knack for writing great choruses, and in my opinion this is one of his best for some time. The hooks are just so catchy, and the subtle use of harmony vocals makes it sound huge. I also love the heavier riff that kicks in before the guitar solo, making this one of the most interesting and varied pieces here too.

Sail Away is the other song to feature Zimmermann on drums, but this time he plays alone. It is nice to hear him playing with the band again, as his last album with the band was 2010's Legend of the Shadowking, and his weighty approach to the piece gives it a heavier feel. It is one of the heavier pieces here, with a gritty mid-paced drive and keyboard textures that at times replicate a gothic choir to some extent, and add a halo of melancholic depth elsewhere. Freedom Call rarely write moody pieces, and compared to a doom band for example this feels positively upbeat, but in the context of a Freedom Call album it feels moody. There is still a heroic chorus however which is extremely catchy, while the slightly darker overall feel makes the song standout from a stylistic point of view. Fly With Us gets back to the 'happy metal' sound the band are more well-known for, as well as upping the pace again with more driving double bass drumming. The guitar leads throughout have something of a folky feel, which helps to add to the overall jaunty vibe of the piece, and the choruses have a shredded guitar lead mixed into the background which really creates some kinetic energy. There are shades of the heavier side of the band too, with the occasional riff veering into tougher territories, but these moments are short-lived. Instead this is a piece that focus on the band's core sound, with lots of the sparkly melodies and speed that has made up much of the band's material throughout the years. One Step into Wonderland is another highlight for me, with a big keyboard riff driving the song and a bouncy chorus once again showcasing the band's modus operandi perfectly. While not as fast as many of the band's classics, it is another anthemic mid-paced track that is packed full of hooks - more than some bands manage to fit into a whole album! The opening keyboard riff is extremely catchy, and it resurfaces during the chorus - which is also a real winner. This is a chorus that begs to be sang, and I think it will be stuck in most people's heads after only a couple of listens. A tasteful guitar solo is the icing on the cake, and helps to rise the track up to one of the best offerings here. Days of Glory, another Rettkowitz composition, is a little heavier again - and unsurprisingly is again very guitar-focused. The twin lead guitars that blaze during the song's intro (after some moody keyboards) are packed with tricky little phrases and melodies, and the tough rhythms during the fast-paced verses are sure to encourage a lot of headbanging if the song is ever played live. I like the song, but it does not stand up as well as many of the other pieces here in my opinion. The chorus, while memorable, is not as catchy as many of the other offerings here.

Wheel of Time is another somewhat heavier tune, with crashing double bass drumming early on backed by a muscular riff, before a heavy verse kicks in with lots of gang vocals and a strong bass presence from Ferraro. This is another song, like Days of Glory, that just lags a little behind many of the other cuts here in my opinion. In truth there are no bad tunes here, but there are a few that just lack the hooks that others have. The chorus here is not as catchy as many of the others, and the heavier feel just does not quite feel natural for Freedom Call. The other heavier songs here work well, but it seems the band was attempting something a bit more progressive and weighty here and it did not quite work. Ironically, given the song's title, parts of the song remind me a little of Blind Guardian. The way the band have attempted to layer choirs in with the main vocals and the slightly more technical overall feel give the song that sort of vibe, but I do not think it quite works. I like the fact that the band have experimented here, but for me it is not one of the album's best cuts. Ronin is the last of Rettkowitz's three offerings, and again it is a fast-paced guitar-centric piece that really whips up some energy throughout its run-time. In fact the song never really lets up at all, with Kott laying into his double bass drums for nearly the entire song, while Bay lays down a strong and heroic vocal performance. The winning chorus formula is back here after a couple of less-interesting efforts, and it shows that Rettkowitz is just as capable of writing a soaring, stadium-filling chorus as Bay is. I like the fact that Rettkowitz's additions to the band's canon showcase a slightly heavier, guitar-focused side to the band, while Bay's hone the core sound. Rettkowitz is the second-longest serving member of the band too, so he has really become Bay's sidekick over the years, and is a big part of why Freedom Call sound as good as they do. The album's final track Sole Survivor is another mid-paced bouncy track with jaunty keyboard melodies throughout and a few really tasty guitar leads which maintain and add to that upbeat feeling. There are better songs here, but it has a really memorable chorus that helps to the song to stick in your head as the album comes to a close. I would not say that the song is as complete as many of the offerings here, as the verses do not hit as hard for example, but the chorus is another winner and the jaunty feelings ensure that the album ends on a high. It a classic Freedom Call-sounding piece, and signs of the band's tenth album in style. Overall, M.E.T.A.L. is another strong album from the band and is probably their best and most-consistent offering for a while. I enjoy all of the songs here on some level, and some of them are up there with the best the band has ever written. I am sure it will be a popular offering with the fanbase, and I expect many of these songs will make it into the band's setlists going forward.

The album was released on 23rd August 2019 via Steamhammer/SPV GmbH. Below is the band's promotional video for M.E.T.A.L..

The Quireboys - London Review

Being my second most-seen band, it should surprise no-one that The Quireboys are one of my favourites. Regular readers of this blog will have no doubt seen me gushing over the band's albums and shows for the past few years now, but there is plenty of room here for a lot more Quireboys content yet! I have seen the band a few times a year since 2013, which is in part down to their regular touring schedule and affordable tickets, but the main reason is just how dependable the band are live. While they might not be the most adventurous band when it comes to their setlists, their shows are always enjoyable. The band's feel-good rock and roll sound is made to be heard live, and it is on stage where the band truly shine. Last year, to celebrate the tenth anniversary of their Homewreckers & Heartbreakers album, the band booked a show at the O2 Forum in London's Kentish Town to feature the album in full - along with a host of other Quireboys classics. Backed by a really strong bill, the show was a sell-out. While it should not really be a surprise that a band of The Quireboys' stature and reputation can sell out the Kentish Town Forum, it is a much larger venue than the band usually play. The band can usually be found up and down the UK's club circuit, playing venues that hold a few hundred people - so to see over two thousand punters packed into the Forum to see one of my favourite bands was a special experience. The show was clearly a success, as exactly a year later the band were back at the Forum - this time to celebrate their 35th anniversary since getting together. The band formed in London back in 1984, and released their first single Mayfair in 1987. A couple more singles followed, but it was their 1990 debut album A Bit of What You Fancy that really pushed the band into the big time. The album was a big hit, reaching number 2 in the charts, as were some of the associated singles. Hey You reached number 14 in the charts, with three other cuts from the album also reaching the Top 40, and with Hey You the band were first in the 1990s to appear on Top of the Pops! Sadly however, this success could not be translated into a push to being the next big thing. Not long after the release of 1993's Bitter Sweet & Twisted the band broke up, and it was not until 2001 that the band reunited with any permanency. They have never reached those early 1990s heights again, but The Quireboys of today are a much-loved British rock institution. It was perhaps unsurprising then that the band's 35th anniversary show was built around A Bit of What You Fancy, with all of the album's twelve songs featuring in the band's set. This prospect was clearly a big draw as, once again, the Forum was packed. The show was another long evening, with three support acts warming up the crowd before the main event, but with a strong atmosphere throughout the night it was clear that everyone in attendance was there to have fun.

The bill at last year's Forum show was excellent, with Sweden's H.E.A.T and former Heaven's Basement frontman Aaron Buchanan both putting on great sets, but sadly the standard of support acts this year was nowhere near as good. The best of the three was up first however, with the Australian rockers Tequila Mockingbyrd taking the stage at around 6:45pm after a healthy crowd had gathered. In truth, the only Tequila Mockingbyrd member on the stage was drummer Josie O'Toole as recently the left over members of both Tequila Mockingbyrd and The Amorettes have joined forces after multiple departures in both bands to complete their respective touring commitments. I would not be surprised if both bands were laid to rest soon, with a new band rising from the ashes, but the band's set in London was a strong one. I have seen The Amorettes a couple of times in the past, so was familiar with frontwoman Gill Montgomery (vocals/guitar) and her strong voice. She led the make-shift band, which seems to be ever-evolving at the moment with Wayward Sons' Sam Wood (guitar/vocals) included in the line-up for one night only, through half an hour of melodic hard rock that featured a few strong choruses and decent riffs. I was not familiar with any of the band's original songs, but I recognised The Amorettes' Everything I Learned I Learned from Rock and Roll which actually led to a bit of a sing-a-long with the growing crowd. It is a shame that both bands will probably come to an end soon, but with a new project surely in the offing then I am sure that something good will come of the pairing. I shall be keeping an eye out in any case.

Up next were Massive, another Australian band who played a rather raw take on rock and roll. It is possible that a rather muddy sound mix hindered their power, but the band did not grab me at all and actually started to grate on me towards the end of their set. Without wishing to generalise or stereotype, there are a lot of Australian bands who seem to think that AC/DC are the be all and end all of hard rock. To an extent I can understand why, as the band are clearly the biggest musical export from the country, but the world does not need a host of poor clones churning out rough three-chord riffs. There are some good examples, such as Airbourne and a band called Black Aces who I saw also supporting The Quireboys last year, but on the whole this sort of music should be left to AC/DC. They caught lightning in a bottle with their sound and perfected and tightened it over their long career, but Massive just sounded a bit messy. In fairness, I thought that Brad Marr (vocals/guitar) had a strong voice, and he managed to pull off some impressive and lengthy screams during the band's set, but the songs did nothing to grab me. This sort of music needs big dumb sing-a-long choruses, but I did not hear a single one during the set. I think it is fair to say that the band are not for me, but I have read quite a few positive reviews of them recently so it seems they are making themselves a bit of a fanbase - which is good to see.

The final support act of the night was Pig Irön, a four-piece heavy blues band in the vein of Clutch. While Clutch are not my thing, I can appreciate why they have become so popular so was interested to check Pig Irön out. I had thought that they would at least have a bit of a punch to their sound, but instead they just sounded a bit flat and lifeless. I imagine that the sound mix was partially to blame for this, but everything just felt a little limp. The drums did not crash through the speakers as they should, and the bass was almost non-existent throughout. In bands such as this, it is a the driving basslines that really makes the songs tick. With the bass somewhat AWOL, everything just felt flat. It did not help that there was almost no variation at all in the band's songwriting, with each song lumbering along at a mid-pace with a bluesy riff and bursts of harmonica to keep everything moving. I have to say that the band's set was one of the more tedious affairs I have sat through for a while. It is shame though as this sort of music can at least be entertaining and powerful when heard live, but Pig Irön were sadly neither at the Forum. There was no energy at all during their set, and I was glad when they left the stage - largely as it meant that the 'support act' portion of night was over. I always make an effort to check out the support acts at gigs, but there is nothing more tedious than standing through acts that do nothing for you. Having two in a row made for a lengthy wait between Tequila Mockingbyrd's strong set and The Quireboys - which was not much fun!

Thankfully the changeover time after Pig Irön's set and The Quireboys hitting the stage was fairly short, and the evening's headliners soon washed away the memories of the poor support acts with their trademark brand of British rock and roll. Unusually for a Quireboys show, there was a formal intro with a clip from the aforementioned Top of the Tops programme acting as the band's introduction to the stage - whereby the opened with a powerful version of Hey You. The song is usually kept for the ending portion of the show, but it made for a great opening number, and ensured that everyone was on board from the off. One thing that was immediately clear was how great the band's live sound mix, which was a relief after the muddy mix the support bands were dealt. The Quireboys sometimes suffer from rushed sound mixes which leave either the vocals or keyboards buried in the mix - but everything was crystal clear at the Forum. This meant that frontman Spike really powered over the band throughout the evening, with his raw vocals sounding as good as they ever have. It was clear the band was really up for the night, and they proceeded to put on one of the best Quireboys shows that I ever seen. The A Bit of What You Fancy material (with the exception of one song) was played first, although not in the album's original running order. The album is one of those albums with no weak tracks however, so every song hit just as hard as the next. Set regulars There She Goes Again and Misled continued the party atmosphere instigated by Hey You, with Keith Weir (keyboards/percussion/vocals) particularly shining during the latter with a lengthy piano solo. The highlights of this portion of the night however were the songs from the album that are not featured in the band's setlists regularly. Man on the Loose has long been one of my favourite Quireboys songs, so it was great to finally hear it live. It is one of the band's toughest rockers, and it went down a storm. Guy Griffin (guitar/vocals) and Paul Guerin (guitar/vocals) teamed up perfectly for the heavy riff, with the former laying down a mean guitar solo.

Take Me Home was another highlight, with more excellent piano work from Weir and Spike delivered the stadium-worthy chorus perfectly. I cannot stress enough how on-point Spike was throughout the evening, with his vocals and stage patter really carrying the evening. The band harmonised with him perfectly, and by this point in the set the band were already on top of the world. The power ballad I Don't Love You Anymore is always a highlight of a Quireboys show, with the band's customary lengthy live version really taking the piece to the next level. Both guitarists got a chance to solo, and the crowd was clearly audible vocally above the band at times. Another big single in the form of 7 O'Clock, moved from its customary position as the set-closer, closed out the A Bit of What You Fancy portion of the evening, but there was more to come. The rest of the main set was made up of four other cuts from the band's catalogue, with Mona Lisa Smiled hitting the spot as always. Guerin's solo here was as good as always, and Spike sung the song with the emotion that the piece needs. A couple of numbers from this year's Amazing Disgrace were then featured, with the boogie of Original Black Eyed Son standing out the most. It is one of the band's best recent numbers in my opinion, and I can see it becoming a real setlist staple going forward. The raunchy blues of This is Rock 'n' Roll finished everything off, and the band left the stage to a huge London roar. There was only about ten minutes left until the curfew, but the band managed still managed to squeeze in a couple more. The A Bit of What You Fancy track not played earlier was Sex Party, which whipped up its usual encore storm, but the real highlight for me was a huge rendition of Mayfair - that first single. The band rarely play the song live these days, and I had never seen the band do a full version  of it before - although I had seen them run through an acoustic version of it once previously. Everyone got involved unsurprisingly, and the song's raw boogie and big chorus made it the perfect send-off piece. It is a song that the band should play more often, and following the reaction it got in London they just think twice before dropping it for so long again! It was a great end to a fantastic set, and the band seemed really happy with the crowd's reaction. The setlist was:

Hey You
There She Goes Again
Misled
Roses & Rings
Man on the Loose
Take Me Home
Sweet Mary Ann
Whippin' Boy
I Don't Love You Anymore
Long Time Comin'
7 O'Clock
Mona Lisa Smiled
Seven Deadly Sins
Original Black Eyed Son
This is Rock 'n' Roll
-
Sex Party
Mayfair

This was my eighteenth Quireboys show, and it really was one of the best. The setlist was so good, and the band's live sound mix was so powerful that every song really stood out. The show was being filmed and recorded too, so hopefully the band are planning release a new live album using the footage at some point in the future. It would certainly be a great product given how strong the show was. With next year being the thirtieth anniversary of A Bit of What You Fancy too, it would be a perfect anniversary release, as well as something to accompany the almost-inevitable tour that will be booked to celebrate that milestone.

Killswitch Engage's 'Atonement' - Album Review

When I was getting into metal in the mid-2000s, a great entry point to the heavier side of things was the American metalcore genre. A fusion of melodic metal riffing and the energy and attitude of hardcore, metalcore was a great way for a young metal fan like me to experience something a little more raucous. My interest in the genre was fairly short-lived however, as I soon progressed onto more exciting and expansive sounds, but the metalcore sound still takes me back to simpler times. The genre still exists, with endless copy-and-paste bands occupying the minds of younger fans, but in my opinion it has become extremely watered down over the years and probably now has more in common with pop-punk than metal. The big three metalcore bands that I was listening to 12/13 years ago were Trivium, Bullet for My Valentine, and Killswitch Engage. Of the three, only really Killswitch Engage could still be honestly be classified as 'metalcore'. Trivium soon left the genre behind and have evolved into modern metal titans, whereas Bullet for My Valentine chased trends and lost their identity as a result. Only Killswitch Engage have stuck true to their roots, and listening to one of their albums is always a comforting and familiar experience. Much akin to sticking on a Status Quo or an AC/DC album, Killswitch Engage have an instantly-recognisable sound that has seen very little variation throughout their career. The band have tweaked and refined their sound over the years sure, but the fundamental Killswitch Engage sound has remained since their 1999 genesis. Those like me who have a little nostalgia for the early days of metalcore, or who just love soaring melodic metal, will therefore be very happy that the band has recently released their eighth album Atonement - their first effort in three years. Atonement is the band's third effort with their current line-up, and sees them sounding tight and full of pent-up energy. According to various reports, the album took a while to come together. Frontman Jesse Leach, now on his fifth album with the group over his two stints, had to seek treatment for throat problems a couple of years ago which halted the band's progress, and periods of writers' block also stalled work on the album. It may be these issues which ensure that Atonement sees the band at possibly their heaviest yet. While the band's melodic side is still very much intact, there is a lot of heaviness here. 2016's Incarnate (which I reviewed here) seemed heavier than the albums that came before, but Atonement takes things a step further. The metalcore scene has certainly always been influenced by the melodic death metal movement that emanated from Sweden in the early 1990s, and there are a few songs here that really are not all that far away from that sound. Leach's harsh vocals are used a lot throughout the album, and he sounds extremely fired up. This, coupled with some of the heaviest riffing the band have committed to tape, makes for an album full of energy and vim.

The gets underway with Unleashed, which builds up slowly from a melancholic clear guitar melody before a chugging riff kicks in with some melodic clean vocals from Leach accompanying it. Despite the album on a whole being on the heavier side of the spectrum, this opening number feels a little softer by contrast with Leach mostly singing clean and the song mostly moving along at a mid-paced chug. Many might have expected the album to open with more of a bang, but I think Unleashed works well as an opener. With much of the album operating at a faster pace, this opening chug and portions of moody clean guitar atmospherics acts as the calm before the storm. The riffs of guitarists Adam Dutkiewicz and Joel Stroetzel really lock together nicely, with the two teaming up constantly for fat rhythms while Leach croons atop with his rich tones. The Signal Fire which follows the opener however is a much different beast, with fast-paced riffing dominating the piece - and thrashy verses with Leach and the band's former frontman Howard Jones (Blood Has Been Shed; Killswitch Engage; Light the Torch) trading screamed sections with ease. I think many Killswitch Engage fans have wanted to hear Leach and Jones sing together for a while now, and The Signal Fire sees them both really going at it! The verses are really heavy, with lots of powerful screams - as well as some tight drumming from Justin Foley - while the chorus is packed full of soaring melodies, with the two singers harmonising really well. Killswitch Engage have always had a knack for writing strong choruses, and this is another great effort. The song is one of the album's highlights in my opinion, and I can see it becoming a live staple going forward. Us Against the World is more overtly melodic, with Dutkiewicz and Stroetzel teaming up throughout for some harmony guitar leads - right out of the Gothenberg scene sound - that really recall some of the band's earlier works. In many ways, the song is a classic metalcore number, with an aggressive verse paired up with a more melodic, accessible chorus. One thing I have noticed about this album is just how great Leach sounds throughout. He has always been a strong singer, but throughout this album he seems to sound better than ever. His clean vocals especially really shine, with the bursts of pure melody often a counterpoint to the heaviness around him. It is another potent track that stands out early on, but in truth most of the songs here do that. The Crownless King features another guest in the form of Chuck Billy (Testament; Dublin Death Patrol) who's barking thrash delivery works well with Leach's screams - with the two often teaming up to deliver a powerful, enhanced sound. Despite Billy's presence, this does not feel like a Testament song. It does however feel a little different than your average Killswitch Engage tune, although many of the hallmarks are still there. It is a heavy number, with no real clean vocals to speak of, but there is still plenty to latch onto - with a pulsing groove throughout and a strong chorus with a snaking, hypnotic guitar lead that dominates.

I am Broken Too is much more melodic, and is one of the most instantly-accessible songs here, with heavy weighting in the favour of clean vocals and a more laid back overall vibe. Laid back is of course relative, as there are still crunching guitar rhythms and punchy drums to be found, but they are balanced out with plenty of atmosphere. Killswitch Engage have always been great at creating light and shade in their songs, and this is a great example of a piece that delivers strong melodies while still having a murkiness to it. The chorus is one of the most instantly-memorable passages on the album, and Leach really pours a lot of emotion into his performance. The song seems to be a bit of rallying cry when it comes to mental health, something clearly close to Leach's heart, and that can really be felt through his vocal performance here. As Sure as the Sun Will Rise takes a heavier turn again, and is built around a fast-paced aggressive verse with some great old-school metalcore riffing and some of Leach's heaviest growls yet. There are moments in his delivery that almost veer into true death metal territory, and Foley's occasional blast beats only enhance that extreme metal feeling. If the song did not have such a soaring chorus, the song would not sound out of place on your average At the Gates album, but the moment Leach shifts to his clean delivery the song really opens out melodically. This is a great example of the light and shade described earlier, with the band really fitting a lot into a relatively short song. Know Your Enemy opens with marching drums and distant vocal shouts, before it explodes into another strong mid-paced piece with some Pantera-esque riffing at times which helps to create a strong groove - which is the perfect backing for Leach's screams. This is another piece that does not feature a lot of clean vocals, with Leach instead growling his way through the piece to great effect. While the piece is one of the more consistently heavy pieces here, there is still a plenty of melody to be found - although it is more subtle. There are lots of little guitar licks and leads that reveal themselves over repeated listens, although the twin guitar harmonies that suddenly roar out of the speakers towards the end are a more in-your-face moment of melody that are sure to connect with those who prefer the more-melodic end of the band's sound. Take Control once again slows down to more of a mid-pace, with chugging power chords and Leach's clean vocals dominating. Harsh vocals are mostly mixed into the background here, with the aggressiveness mostly coming from a semi-spoken word delivery that rears its head every so often, as well as the consistent and metronomic chug that is present throughout. It is not one of the album's best songs in my opinion however, as it lacks a big stand-out chorus. Songs of this nature in my opinion need a big anthemic moment, but Take Control does not have one sadly. It does have one of the few proper guitar solos on the album however, which is a nice surprise.

Ravenous gets the album back on track however, with melodic death metal vibes being channelled from the off and an overall heaviness that really suits the band. There is real weight to the song and I think one of the main reasons for this is the powerful bass presence of Mike D'Antonio. His playing throughout the album is usually just a part of the mix, and he rarely gets to shine, but some of the heavier riffs here really benefit from his additions. He makes an already heavy song much weightier, and it sounds great as a result. Despite the heaviness throughout, there is still room for a really anthemic chorus. It is one of the album's best in my opinion, and it shows off Leach's ability to craft really hooky vocal lines. For someone who relies heavily on harsh vocals, his ability to construct a chorus melody that really takes hold is impressive. It has always been one of the band's trademarks, and it is great to see that continued throughout this album. I Can't be the Only One is a heavy tune, but with less reliance on harsh vocals, which ensures the piece ends up sounding like a good old-school bit of metalcore. Harsh vocals are often mixed into the background to give certain sections of the song a bit of a boost, while the driving twisting riffs keep the energy levels high. There are faster, heavier songs here but there is still a certain energy that emanates here. It just goes to show that endless double bass drumming and screaming vocals are not the only thing the band need to be energetic, with this song have something else about it. There is another strong guitar solo here too, which shows the band can cut loose with the best of them when they want to, although it is something they rarely choose to do. Bite the Hand That Feeds is the album's closing number, and as a result it is the last chance for the band to hit the listener with their power. It is unsurprising then that the song is a fast, heavy number with lots of thrashy riffing, harsh vocals, and even examples of tremolo picking during the choruses which again creates a bit of an extreme metal vibe at times. I am not sure the Killswitch Engage of ten or so years ago could create a song this heavy, so it is great to see how the band has developed while still staying true to their core sound. Songs like this make it clear how much influence the melodic death metal scene has influenced the band's music, and justifies the opinion I have often have that sometimes Killswitch Engage and Soilwork share quite a few similarities in their sound. It ends the album on a really weighty note, and is a tune that is sure to please anyone who likes the heavier end of the band's output. Overall, Atonement is another strong album from Killswitch Engage that sees the band operating in a much tougher sphere than previously. There are still plenty of anthemic choruses here though and the band's core sound is intact, ensuring that the album fits nicely alongside their other releases while having a certain freshness to it that helps it to stand out.

The album was released on 16th August 2019 via Metal Blade Records. Below is the band's promotional video for The Signal Fire.

Twilight Force's 'Dawn of the Dragonstar' - Album Review

I made the point during my review of Gloryhammer's latest opus Legends from Beyond the Galactic Terrorvortex (which I reviewed here) back in July that there are two bands who seem poised to take the symphonic power metal throne vacated by Rhapsody of Fire following their splintering and line-up switcheroos - Gloryhammer and Twilight Force. Luca Turilli and Fabio Lione have since arguably reclaimed that throne with the crushing progressive metal masterwork Zero Gravity (Evolution and Rebirth) (which I reviewed here), which came out July, but that should not stop others vying for their title. Gloryhammer's ridiculously cheesy and self-aware Legends from Beyond the Galactic Terrorvortex is one of the most fun albums to be released so far this year, but those who are craving the mysticism, fantasy sagas, and neo-classical stylings of early those Rhapsody albums should look no further than Dawn of the Dragonstar - the newly-released third album from the Swedish six-piece Twilight Force. The band's roots can be traced back to 2007, but it was not until 2014 when the band was truly launched - with the band's debut album Tales of Ancient Prophecies appearing out of nowhere on a small record label. The album is full of promise, and is a fun listen, but lacks the big budget production that symphonic power metal needs. The album has something of a high quality demo sound and this, combined with some of the absolute worst spoken word passages I have ever heard, makes listening to the album a rare experience for me. Three years the later, and now on Nuclear Blast Records, the band hit their fanbase with the expansive and ambitious Heroes of Mighty Magic (which I reviewed here) - an album that did so much right but just felt too big for its boots. The album sounds a hundred times better than the band's debut, but a thin production that left the guitars and drums at times feeling very feeble - as well as an over-long and bloated ending section made up of a lengthy spoken word part - again means the album does not get too many plays on my iPod. The promise has always been there however, so I have kept an eye on the band over the years (as well as seeing them live as a support act a couple of times) and have recently picked up a copy of their newly-released third album Dawn of the Dragonstar. From the off, it seems that it has been third time lucky for Twilight Force. The production sounds much better here than on either of the band's other two albums, and the theatrics have been reigned in somewhat (although there are a few short spoken word sections as well as maps and story exposition in the CD's booklet!). Overall, the album is a much tighter experience, and feels like the album the band have been trying to make all along. Five of the six who were responsible for Heroes of Mighty Magic have returned here, with Alessandro Conti (Trick or Treat; Luca Turilli's Rhapsody) - or Allyon as he is known within the band to fit in with the fantasy-esque stage names the rest of the band have - replacing Christian Eriksson.

Foregoing the usual orchestral intro that symphonic power metal albums often open with, Dawn of the Dragonstar opens with the fast-paced title track with only a short spoken word intro to ease the listener in before drummer De'Azsh launches into a fast double bass drum pattern and lead guitarist Lynd lays down a soaring, melodic lead. The change of vocalist has not harmed Twilight Force at all in my opinion. Eriksson was a great fit, but Allyon has already made the position his own. His Italian accent now gives the band more of an authentic symphonic power metal feel (many of the bands of the genre are Italian), and he has the range to appropriately deliver the material. The album's opening song is quite a simple one, with bombastic riffing and a soaring chorus the order of the day. Things become more complex as the album progresses, but the opening number perfectly lays out the band's stall. Thundersword is similar, but opens with a dramatic keyboard riff from Blackwald, before a fast-pace verse takes over with more twinkling keyboard melodies and tight guitar rhythms. It is songs like this that really show how far the band has come in terms of production. On previous albums this song would feel cluttered, but there seems to be much more space in the mix here. The rhythm guitars have a bit of bite this time around, and De'Azsh's drums are suitably punchy without ever overpowering the dynamic melodies. Lynd and Blackwald have once again written and produced the album, and their improvements can clearly be seen from album to album. It is perhaps fitting then that one of the best moments of the song is a lengthy instrumental section that sees Lynd laying down some neo-classical lead runs before Blackwald takes over for a synth solo - with licks being traded back and forth. Long Live the King is less of a speed-fest than the opening two songs, but still maintains a strong pace while introducing some folkier elements. The opening riff has something of a folk feel to it, while the verses seem a little stripped-back compared to the album's earlier moments - although this is probably due to the vocals being pushed more into the fore than anything else. The folky feelings do not come from a use of traditional instruments, but more from the choice of melodies used. The song on the whole is extremely jaunty, although the chorus takes things in a much grander direction with a prominent use of choirs and a dramatic vocal performance from Allyon. He has an impressive range, and hits some big high notes during the song's chorus - all while competing with the pompous and fabulously overblown choir.

With the Light of a Thousand Suns is one of the album's longer pieces at just under seven minutes in length, and it opens up with a gothic string and choral section that really sets the tone for the grandness to come. The opening three songs are characterised by more joyous feelings, but this one has darker overtones - despite still showing a very melodic front. Symphonic power metal by its nature is bouncy and jaunty, but there is something about this song that feels heavier and deeper. The choirs that are used throughout certainly add to this feeling, with booming gothic voices sitting nicely alongside Allyon's soaring efforts, and Aerendir's guitar rhythms certainly have a toughness about them which is more obvious. That being said there is still plenty of raucous fun to be had, with the song's chorus oozing big melodies. The biggest twist however is an Eastern-inspired instrumental section, that features some atmospheric keyboards and snaking acoustic guitar melodies; before the piece is brought back down to earth when Lynd launches into a shredded solo. Any concerns that the album was about to take a full-on gothic turn however are dispelled by Winds of Wisdom, a song that immediately returns to the band's core sound with a sparkly keyboard intro and a feel-good vocal performance from Allyon that sees him exclusively singing in his higher register. One of the things that stands out to me about this album in comparison to the band's previous efforts is just how instantly-memorable most of the songs are from a vocal perspective. While some of the instrumental passages and styles start to sound the same after a while, the vocal melodies nearly all stand out. It helps that pretty much every song here has a great chorus, and this one is no different. Allyon's vocal lines here are extremely catchy, while still retaining a dramatic flair, which really helps the piece to stand out from the crowd. Queen of Eternity feels heavier, with a tough opening guitar riff that is somewhat out of character for the album. While the guitars play an important part in Twilight Force's sound, with crunchy rhythms holding everything together and fluid solos providing plenty of excitement, they are always part of a larger tapestry of sounds rather than something that stands out. This song is different in that respect, with the opening riff setting the tone for the rest of the song as the guitars dominate a little more while the keyboards and orchestrations are dialled back somewhat. Despite this, the song still sticks fairly firmly to the band's established formula, but does benefit from a heavier vibe. Allyon once again delivers a masterful chorus, and a dramatic choral-led section part way through recalls bands like Epica. Valley of the Vale seems to be a reaction to the heavier riffing of the previous number, with an even more sparkly vibe thanks to Blackwald's keyboards and more folky melodies. This is the sort of song that makes a certain type of person really hate symphonic power metal, but on the flip side is also the sort of song that draws others in. It is over the top, somewhat saccharine, and almost devoid of any real metal grit - but yet it is still extremely satisfying. It is a short song, and not one of the stand-out cuts here, but it still manages to tick all the right boxes.

Hydra is a pacey number, with plenty of double bass drumming early on and lots of lightning-fast shredding. Despite this however, the piece does end up taking a few twists and turns as it goes along, with a few heavier sections that see the strings and keyboards drop out somewhat to allow Allyon to sing in his lower register to great effect. These moments are only short, but when coupled with the rest of the song which is fast and cheesy, they do help to inject a little power. The chorus might be my favourite on the album too, with the pace slowing down a little and some marching drums whipping up a dramatic sound. The choirs do their bit too, all while Allyon lays down a thespian-esque vocal hook that recalls his days working with Luca Turilli. This is one of the most overtly Rhapsody-esque pieces here in my opinion, and those who love the Italian band should give this song a listen. In truth the whole album is cut from the same cloth, but this one feels more akin to those early Rhapsody albums than most. Night of Winterlight is another very catchy song, with the opening string melodies previewing the chorus to come while the first guitar solo that soon kicks in is a feast for all shredding fans. It is a song that really feels like it is built around its chorus, with everything written to build up to it. I often find that really fast paced songs can lack something when it comes to being catchy, simply because the melodies and lyrics whizz past so much that it can be hard to fully grab hold. That is not the case with this song however, and the chorus is one that really sticks with me. Allyon's vocal performance certainly helps, but in truth the song is very well constructed with Lynd and Blackwald's arrangements really bringing the best out of the melodies despite the speed. The album's closing track is the lengthy Blade of Immortal Steel which, at over twelve minutes in length, is the most ambitious and progressive number here. A gentle opening piano motif sets the tone, but it is short-lived as the song soon explodes into another fast-paced romp with double bass drums flying everywhere and an even-grander orchestral arrangement filling in all of the gaps. While the song sticks largely to the band's core formula, there are moments that change up the pattern somewhat. There are a couple more moments that explore Eastern-tinged ideas, and overall there seems to be more of a willingness to experiment with tempo. Much of this album moves along at a fast pace, with few moments that would generally be considered to be 'mid-paced'. There are plenty of moments like that here though, which really helps to keep the song feeling interesting. Long songs need to have lots of twists and turns to justify their length, and the tempo changes here help to do this. There is also an abundance of impressive instrumental breaks - largely thanks to Lynd and his guitar - with a melodic solo or lead never too far away. The complex, multi-part song helps the album to end on a high, and is probably one of the most epic songs the band have put together yet. Overall, Dawn of the Dragonstar is a strong album that sees Twilight Force moving up into the next division of modern metal bands. It is an album that should start to turn heads and, for me anyway, it is head and shoulders above their previous efforts. If the band continue to develop in this way, they could become a big name a few years down the line.

The album was released on 16th August 2019 via Nuclear Blast Records. Below is the band's promotional video for Dawn of the Dragonstar.

Skinny Molly - Tavistock Review

It is funny how sometimes bands can elude you. Despite seeing the band a number of times between 2007 and 2010, Tennessee's Skinny Molly have always been somewhat out of reach ever since. Formed in 2004 by former Lynyrd Skynyrd guitarist Mike Estes (vocals/guitar/mandolin/percussion) and the late Molly Hatchet founder Dave Hlubeck, the band has become a fixture of the modern southern rock scene. Initially the band largely payed tribute to the members' past ventures, but over the years Skinny Molly has become a fully-fledged band in their own right with three studio albums of original material and numerous world treks to their name. Hlubeck returned to Molly Hatchet not long after the formation of Skinny Molly, so the band has pretty much always been a vehicle for Estes' talents. He is the band's focal point, lead singer, and has written all of the band's original material. Despite this, he is always backed by a strong band who help to bring his visions to life. I have seen a few incarnations of Skinny Molly of the years, as a few members have come and gone, but each has been a slick and powerful southern rock unit that has presented a tougher, bluesier take on the genre with less of the country influence that many southern rock bands displayed. I had been wanting to see the band again for a number of years but, despite UK tours happening pretty much every year, I could never make a plan work. I always used to see the band at The Wharf in Tavistock, but for whatever reason Skinny Molly have been keeping away from Devon in recent years. That was however until yesterday, when the band made their first return to Tavistock in a good few years. Tickets were immediately snapped up, and it was a show I was really looking forward to. Southern rock is always great to experience live, and Skinny Molly had released two strong albums of original material since I had last seen them. My memories of Skinny Molly shows of the past were a fairly even mix of original material and Lynyrd Skynyrd classics (only 2008's No Good Deed... was out when I was seeing them fairly regularly), but I fully expected a 2019 Skinny Molly show to focus much more on their own original material. I was right but there was still time for a few Lynyrd Skynyrd classics and other treats as well.

Skinny Molly's return to The Wharf attracted a decent-sized crowd, although not as big as they have drawn there previously, which helped to create a strong atmosphere throughout the evening. Southern rock is a fun genre of music, and it was not long after the band took to the stage that people were dancing and having a great time. There was no support, so Skinny Molly took to the stage at around 8:45pm and crashed through a 90 minute set with ease - with boogie blues filling the Devon venue the whole time. As their shows from a few years ago, the band got underway with their take on Lynyrd Skynyrd's Workin' for MCA, a personal favourite, which ensured the evening got off to a great start. As a four piece, with only two guitarists and no keyboard player, Skinny Molly's versions of old Lynyrd Skynyrd songs are much tougher and bluesier than the originals, but that suits Estes' drawling vocals. The band's two guitarists more than do the old songs justice, with Estes and Pavel Marcel (guitar/vocals) - who was filling in for regular guitarist Jay Johnson who had to stay at home for family reasons - trading riffs and solos all throughout the night. The next handful of songs were all Skinny Molly originals. While it was the Lynyrd Skynyrd classics that perhaps received the biggest reactions from the crowd, the originals were also welcomed warmly. The rolling riff of Here for a Good Time made the song an early highlight, while the twin-guitar riffing of Too Much made for a melodic and punchy moment. Skinny Molly's three albums are all very strong, and all were represented in the set with a decent number of songs. Another highlight of the early portion of the night was the upbeat When the Goin' Gets Tough the Tough Go Fishin', before Estes donned a mandolin and took the band back to their first album for the atmospheric Me and the Devil Himself. A few covers followed, with Estes sticking with his mandolin for a version of Steve Earle's Copperhead Road before he returned to his guitar for a great rendition of the old J.J. Cale classic Call Me the Breeze which has long been a part of Lynyrd Skynyrd setlists. It was a true country rock workout, with both Estes and Marcel getting plenty of opportunities to solo while the ever-present Luke Bradshaw (bass guitar/vocals) and relative new boy Kyle Law (drums/vocals) kept up the song's shuffling beat. A couple more Lynyrd Skynyrd tracks followed, with one of Estes' compositions for the band Devil in the Bottle and the mega-classic Sweet Home Alabama wowing the crowd - who by this point were really into the show. The last portion of the set saw increased energy, with feel-good rockers in the form of Two Good Wheels and the riffy Better Than I Should hitting the spot - before the main set came to a close with a stunning rendition of Free Bird. It is always great to hear the song live, and Skinny Molly's version is excellent. Estes sung the song perfectly, before launching into the trademark lengthy solo with ease. It was a great display of southern rock prowess, and as the band left the stage they unsurprisingly received a big cheer. There was time for one more however, and the band came back for a rendition of the more laid-back Dodgin' Bullets, which felt like the calm after the storm of Free Bird. It was a fitting end to a strong evening of music, and one that the Devon crowd lapped up. The setlist was:

Workin' for MCA [Lynyrd Skynyrd cover]
Here for a Good Time
Snakebit
Too Much
If You Don't Care
Glad I Ain't You
When the Goin' Gets Tough the Tough Go Fishin'
Me and the Devil Himself
Copperhead Road [Steve Earle cover]
Call Me the Breeze [J.J. Cale cover]
Devil in the Bottle [Lynyrd Skynyrd cover]
Sweet Home Alabama [Lynyrd Skynyrd cover]
Two Good Wheels
Better Than I Should
For Y'all
Free Bird [Lynyrd Skynyrd cover]
-
Dodgin' Bullets

This show was a really welcome return to Devon to Skinny Molly who had stayed away for a number of years. I hope the band do not leave it so long again, and that they return soon as part of their next UK tour. It has been a few years since the last Skinny Molly album too, so hopefully we do not need wait too long until album number four either!

HammerFall's 'Dominion' - Album Review

When it comes to reliable consistency, there are few bands that spring to mind faster than Sweden's HammerFall. The power metal five-piece have been churning out enjoyable and hearty albums packed full of anthems since 1997's Glory to the Brave, with few genuine missteps in their canon. While the band has never released a true out-and-out classic in my opinion, although they came close with 2002's Crimson Thunder, I always look forward to a new HammerFall album in the same way that I look forward to a new Accept or AC/DC album - I know what I am going to get! With their new album however, HammerFall had something to prove - at least to me. The band's tenth album, 2016's Built to Last (which I reviewed here), was probably the only true misstep and in the band's career. While a few strong songs were to be found on the album, on the whole I found it to be an extremely bland and uninspired collection of tracks that failed to conjure up and excitement. In fact I do not think I have listened to the album since writing my review of it in 2016, which says it all really! It clearly was not an album 'built to last' at all, and I cannot see myself reaching for it again any time soon. The album followed the heroic (r)Evolution (which I reviewed here) from 2014 and the darker Infected from 2011 - both of which are strong entries in the band's catalogue in my opinion - did not help, but it did make me wonder if the band had just run out of ideas. Three years later however, HammerFall are back once again with a new album. Their eleventh opus, Dominion, which was released last month thankfully sees the band back on the right track. Dominion is not a power metal classic, but then I never expected it to be. I hoped however that it would be an enjoyable collection of fist-in-the-air melodic metal anthems - and that is exactly what it is. It picks up exactly where (r)Evolution left off five years ago, and features all of the driving riffs and soaring choruses that any power metal fan could want - there are certainly magnitudes more of both than there were on Built to Last in any case! Nothing has really changed between the two albums, as HammerFall's line-up and the production team remain the same as last time, but clearly the band were just feeling a bit more inspired this time around! As usual it has been down to frontman Joacim Cans and guitarist Oscar Dronjak to write the lion's share of the material here; but contributions from guitarist Pontus Norgren and producer James Michael (Sixx:A.M.) - who has been working with the band since Infected - have helped to keep things fresh. The result is a collection of largely powerful songs (plus a short interlude) that mostly represent HammerFall's core sound and ethos perfectly.

Despite the majority of the songs here hitting the spot, the album does underway in a slightly weak fashion in my opinion with Never Forgive, Never Forget which, while decent enough, lacks the power of the tracks that follow. The gentle, melodic guitar intro is a nice touch; and the first proper riff is quite powerful - but I just feel that the hooks here are not strong enough to open an album with. There is no proper chorus to be found, just the song's title repeated a couple of times, and the verses are fairly standard; lacking the appropriate drama that album openers should come with. Despite this however, drummer David Wallin really puts in a shift. It is a shame that his debut with the band was on Built to Last - but the meatier production here really helps him to shine. His double bass drumming really helps keep the song moving, and is a powerful presence throughout the album. It is his energy that elevates Never Forgive, Never Forget somewhat, and gives it a bit of attitude. It is a song that probably should have been placed later in the running order of the album, as in my opinion it is not a strong opener and would have probably benefited from sitting around the middle somewhere. Luckily however the album's opener is one of the few weak moments to be found here, and the album's title track that follows really ups the quality substantially and is a song that could have easily found itself on one of the album's earlier albums. It is a mid-paced track, but the strong groove created throughout and the headbanging pace make it an instant winner. It is songs like this that show what an influence Manowar are on HammerFall - with the heads-down riffing and Cans' melodramatic high-pitched vocals shining through. The verses are extremely catchy, with traditional vocal lines punctuated with barked gang vocal shouts and drawn out guitar chords with a simple bass drum backing. This stop-start nature helps the more-traditional parts of the song hit harder by comparison, and the mid-paced riffing leads to a strong groove that is extremely memorable. The chorus is perhaps not as explosive as it could have been, but it does the job - and in any case it is the numerous uses of gang vocals that are the true hooks here. Testify is similar, with gang vocals again being employed from the off, but the pace is upped somewhat here to inject a bit more energy into the proceedings. HammerFall operate best somewhere between true mid-paced speeds and more traditional power metal gallops - and this song is perhaps a perfect example of their optimum speed! Really fast power metal can sometimes lose some of its power due to the endless flurry of notes and bass drums, but at the speed used throughout Testify HammerFall are still able to whip up some energy while still hitting home with the heaviness. The song is full of the crunch that the band have become known for, but still leaves room for plenty of melody with a powerful chorus a couple of really tasteful guitar solos.

One Against the World returns to the mid-paced feel explored during the album's title track with a rolling drum opening and a chugging riff that keeps the pace while still delivering a decent amount of grit. The verses are typical of the band, although Cans uses the lower end of his vocal range at times which helps to add to the heaviness. Wallin impresses again with some interesting drumming throughout the verses, often deviating from the established beat to lay down some double bass trickery or a tasteful fill. The choruses actually slows things down somewhat, and goes for a theatrical approach that makes great use of a large choir to back Cans up. Wallin's beat here is playful despite the slower pace, and Cans conducts the choir perfectly as the harmonise with his anthemic vocal lines. An instrumental changes things up however, and sees Dronjak and Norgren launch into some twin-guitar riffing that sounds a little too close to Iron Maiden's Fear of the Dark for comfort at times, but the melodies are the sort that are sure to put a smile on the face of any power metal fan! Up next is (We Make) Sweden Rock, one of my favourite pieces here, and one of my favourite HammerFall songs for some time. Wallin opens the piece with a crashing drum roll, before Cans starts up his ode to all the bands that influenced him and helped to put Sweden on the musical map. The pace hits that sweet spot that described earlier, and the guitar riffs have a real Accept-like quality which keeps the song buzzing along. It is the chorus that is the best moment here however. More gang vocals are utilised, but in a somewhat more subtle way this time, and the vocal melodies are some of the album's catchiest. It is a true feel-good chorus, and I can see the song being one that finds a home in the band's setlists for a number of years to come. Second to One is the album's ballad, and is quite a stark change of pace compared to what has come before. Cans and Dronjak wrote the song with Michael, and he is featured throughout here on the piano. His piano playing dominates the early portion of the song, which sees Cans crooning atop the sombre melodies in a surprisingly effective way. HammerFall have written plenty of ballads in the past, but I cannot immediately recall one that sounds quite like this one. Piano is rarely used in the band's sound, but in my opinion it works really well. Michael never hams it up here, instead using fairly simple melodies and runs to set the song's tone perfectly, while Cans sings beautifully. There are heavier moments here, and the rest of the band do kick in occasionally to ramp things up - but in my opinion the song is at its best when it is at its most basic. Scars of a Generation ups the pace again, and opens with probably the most urgent riff on the album and a decent high-pitched scream from Cans. As a piece of fast-paced power metal the song is an enjoyable one, but it lacks some of the defining HammerFall characteristics in my opinion. It is faster than average for the band, so the potency of the riffs are a little lost in the speed which is a shame. That being said however, the chorus is great and is packed full of strong melodies. The rest of the song is a little throwaway for me though, and it is a shame that such a strong chorus is not backed up a song that is up to the same standard.

Dead by Dawn was put together by Cans and Norgren and is another barnstorming mid-paced piece that is another of the album's highlights for me. The riffs are suitable weighty, and Wallin's booming drumming really keeps things moving. It is also one of the few songs where bassist Fredrik Larsson can be heard easily, with his rumbling notes locking in perfectly with Wallin's beats to anchor the headbanging rhythms. Bass is often lost in the mix when it comes to power metal albums, and sadly Dominion is no different. Larsson makes his presence felt here however, and he helps to contribute to the overall power of the piece. The chorus is one of a handful of absolute winners here, with gang vocals once again employed to great effect and some simple vocal melodies to allow Cans to shine with some smooth high notes. He might not hit the highest notes when compared to many other power metal singers, but Cans still has a great voice. His control and tone is great, and his smooth high notes throughout this song are a perfect example of his talents. After the short instrumental piece Battleworn the album moves into Bloodline - a rhythmic piece built on a bed of consistent double bass drum beats and simple chugging guitar riffs. It is a song however that does not do a whole lot for me really, and I think it is one of the weaker offerings here. The melodies do not stand out as much as they perhaps should, and the chorus on the whole does not sound as strong as many of the others here. I do quite like the short section part-way through the piece however that sees the choir and Cans performing a call-and-response-style vocal duet, but on the whole this is a piece that for me is on the weaker side. Chain of Command however is another strong effort that also sees Larsson up in the mix a bit, again contributing to the meaty riffing, and a chorus that hits home the first time you hear it. The Accept-isms are back in full force here, with crunching mid-paced driving everything and a hollow, weighty drum beat from Wallin keeping everything moving without ever moving into fancy territories. The song is incredibly simple, but sometimes that is exactly what is required. HammerFall have built their career off of songs like this, and the gang-vocal led chorus is sure to make the song popular with the fans. It is a true foot-stomper and headbanger of a piece, and it injects some real energy and grit into the album's final moments. The album comes to a close with And Yet I Smile, a slower-paced piece that is a bit of a ballad but also too beefy and full of guitar leads at times to truly be one. It is a song that never really grabbed me at first, but has grown on me over my multiple listens to the album. It is probably the most diverse piece here, with chiming clean guitar-led sections sitting side by side muscular metal riffing perfectly - all while Cans delivers the lyrics in a varied way to suit the song's ever-changing vibe. It is a song that definitely deserves to be stuck with, and I think it is actually a pretty strong closing piece despite initially not warming to it. Overall, Dominion - despite a slightly weak start - is a strong album from HammerFall that sees them back on track after a career low-point. The album does not re-write the rule book, but the songwriting here is on point and showcases the band doing what they do best.

The album was released on 16th August 2019 via Napalm Records. Below is the band's promotional video for Dominion.