DragonForce's 'Extreme Power Metal' - Album Review

If modern metal has a band that is the closest thing to being a meme that can be, the multi-national power metal five-piece DragonForce must surely be in the running for that title. Power metal, even back in the 1980s, has always been an over-the-top and cheesy genre; but DragonForce managed to take all of the genre's tropes and up the ante on them - creating a sound that was crazier, faster, and heavier than any power metal band before or since. In many respects, DragonForce are their own genre. Mixing blast beats and tempos often found in thrash, AOR-esque keyboard arrangements, and soaring anthemic vocal melodies; DragonForce are almost the ultimate mix of extreme metal and melodic metal - with the trademark guitar pyrotechnics of founding members Herman Li and Sam Totman becoming their USP. The band's initial run of albums, from 2003's Valley of the Damned to 2008's Ultra Beatdown, saw the band constantly attempting to beat themselves at their own game. Those original four albums, which co-incidentally were the four to feature original frontman ZP Theart, are probably considered by many fans to be the band's golden age - with many of their most-famous songs coming from these records. Since 2011 however, with the hiring of current frontman Marc Hudson, DragonForce have matured somewhat. Starting with 2012's The Power Within, the band seemed to want to branch out sound wise and push their formula further. While the Hudson era and the Theart era are not exactly night and day - I think it is fair to say that the band have been experimenting with more progressive influences recently. This is down to, in part and in my opinion, the increased songwriting presence of bassist Frédéric Leclercq who, on 2014's Maximum Overload (which I reviewed here) and 2017's Reaching into Infinity (which I reviewed here) in particular, has really dominated proceedings. Totman had always traditionally been the band's main songwriter, but the past few years has really seen Leclercq take the reigns - and DragonForce's albums have diversified as a result. I was quite shocked then to read earlier this year, not long before the release of the band's eighth album Extreme Power Metal, that Leclercq had left the band to join the German thrash legends Kreator. I wondered what this meant for Extreme Power Metal, and when I got the CD I was interested to see that Totman had written the vast majority of the album - with a few Leclercq efforts. In my opinion, this is no bad thing. As much as I have enjoyed the diversifying of the band's sound recently, it is comforting to listen to a DragonForce album that returns to their old-school sound - which Extreme Power Metal largely does. Leclercq's few contributions help to keep things fresh, and he is featured in full throughout the album despite his departure, but it is also great to hear Totman's riffs and lyrics once again. Totman, Li, Leclercq, Hudson and drummer Gee Anzalone all seem to be having a blast here playing this over-the-top material. It is also the band's first album not to feature keyboardist Vadim Pruzhanov, who left the band in 2018 after sitting out the entire Reaching into Infinity touring cycle. The album's keyboards are instead handled by Coen Janssen (Epica) who, as you would expect, does a great job throughout.

Despite feeling more like an old-school DragonForce album, the songs here largely stick to the more concise arrangements found on the band's more recent efforts. Lead single Highway to Oblivion kicks things off in a relatively low-key fashion, with pulsing keyboards and Hudson's voice gently spilling out of the speakers. The band's albums usually kick off with a bang, so this slow start comes a bit out left field - but it is not long before the song ramps up with a heroic twin guitar harmony and then a riff that sounds like something Iron Maiden might have come up with before increasing the speed tenfold. This is the DragonForce of old, and it is great to hear so many songs here that fall back on the band's old speed trope. It did get a bit tiresome when that is all the band seemed to be focused on, but it helps the album stand out among the band's recent discography. Anzalone, now on his second album with the band, showcases his talents throughout with plenty of ludicrous double bass footwork, and Hudson shows perfect control to deliver the wordy lyrics at the speed that he does. Anyone who loved 2004's Sonic Firestorm album is sure to love Highway to Oblivion, with the endless guitar leads and a soaring, epic chorus. All of the songs here feature back-and-forth soloing between Li and Totman - and this track is no different, with the two trading licks and shredded patterns with ease. Cosmic Power of the Infinite Shred Machine follows, and opens with a great old-school synth soundscape from Janssen before Anzalone takes off with more double bass drumming. Despite the song's title, it is not as fast and furious as you might expect. The steams along at a decent pace, but compared to many of the songs here it feels a little restrained. Strange, whammy bar guitar riffing joins the synths in the intro, and the rest of the song is largely characterised by a slightly heavier sound with a strong focus on tight rhythm guitars and the occasional burst of jagged synth. The stand-out performer here however is Hudson, who showcases every side of his voice throughout the track. The verses see him delivering the lyrics in a somewhat richer tone, before exploding into the chorus with a barrage of high notes and harmonies. The latter portion of the chorus is largely sung in falsetto, which adds to the song's somewhat heavier edge. The soloing is not as in-your-face here either, with a lengthy keyboard-led section being the song's main instrumental moment. Janssen's work in Epica is much more classically-inspired, and it sounds like he had a great time playing with these synths throughout the recording process. Solos do come later, but it is the keyboard playing that stands out the most for me. The Last Dragonborn is actually a Totman/Janssen co-write, and it is one of my favourite songs here. It is a mid-paced, groove-based track with some excellent Oriental-inspired keyboard melodies and a tight, succinct rhythm throughout with the guitars and bass teaming up for the strong grooves. Despite how fun it is to hear the band going back to their old sound, this recalls the best moments of their more recent albums. When I first listened to the album it was one that instantly stood out to me, with Hudson again really impressing with his rallying cry-esque vocals - particularly during the heroic chorus. Due to the pace, the soloing is also a little more paired back too - with Li and Totman teaming up for some well-chosen phrases that really compliment the song's steady chug.

Heart Demolition is one of three Leclercq efforts on his last album with the band so, unsurprisingly, it is also a track that recalls the band's more recent work. There is a strong AOR tinge to the track, but with the classic DragonForce sound still present. The opening guitar leads again recall Iron Maiden, but the verse actually strips everything back and leaves Hudson singing against a simple, sombre guitar melody. Leclercq is certainly more of a progressive songwriter than Totman, so the song jumps around a lot with quite a lot of stylistic changes. The stripped back sound does not stick around for long, as everything soon ramps up with some of those old video game guitar sounds that were all over the band's early albums - and culminates in a soaring chorus which is where the AOR influence can be heard the most. The use of gang vocals, which is something not commonly used by the band, also reinforces a 1980s sound - and in fact actually makes me thing of the sadly now-defunct band The Morning After who I followed during my teenage years. Troopers of the Stars gets back to the band's old school sound, although also at times seems to introduce a slight punk tinge - something new for the band. Gang vocals are also used here, this time in a greater capacity, with some sections almost-entirely sung by the whole band - in a way that recalls classic 1970s punk. The rest of the song sounds like old-school DragonForce however, with Anzalone laying into his double bass drums and Hudson delivering a soaring chorus with plenty of melodic oos and ahhs in the background. It is also old-school in the way that Li and Totman are never far away from breaking into a lead or a solo, with plenty of guitar heroics to be found. While never exactly restrained, this song certainly feels like one where they have really allowed themselves to let it all go - and the results are sure to put a big grin on any guitar lover's face. Razorblade Meltdown is another highlight for me, and it is a song that has grown on me a lot over my repeated listens to the album. It opens slowly, with Janssen teasing some of the song's main melodies on his piano, before it explodes with another fast-paced guitar pattern with Anzalone doing a marathon behind his kit. The pace never really lets up at all throughout the song, and as a result it really sounds like a song that could have been on Sonic Firestorm, with even the vocal melodies similar to something that Theart might have come up with. It is just a pure burst of epic power metal, with Jassen, Li, and Totman all taking the chance to solo and shred their instruments to piece; and one of the album's best choruses. It is just a real winner of a song that old-school fans will totally love. Strangers is another Leclercq tune, and reminds me a little of Seasons from The Power Within. It is a bit more of a mid-paced, anthemic piece with less of an emphasis on heaviness and more of a focus on overt-melodies. I assume that Leclercq must be a big AOR fan, as his songs on this album really contain a big chunk of that sound - perhaps more so than his previous efforts. Pompy keyboards are all over this song, with the chorus being driving by some big Survivor-esque keyboard melodies, while the tight harmony guitar leads elsewhere ooze class. It is another excellent song here, and one that shows that the band will miss Leclercq's songwriting going forward.

Fans of Leclercq's however have one more song here of his to enjoy with In a Skyforged Dream which, perhaps ironically, is actually more of an old-school sounding track. The pace throughout is nice and fast, with some somewhat thrashy guitar riffs (which perhaps bodes well for his new employers) thrown in for good measure occasionally to up the heaviness. Despite these tougher moments, the song more than anything just sounds like DragonForce with Anzalone barely letting up the pace and the keyboards creating a really melodic backdrop for everything to sit on top of. This is another song that has grown on me over my many listens to the album, with the chorus again impressing. The band have always had a knack for crafting really catchy choruses, with very few of their songs not containing one that is at least up to scratch. This song contains another soaring effort with some excellent melodies from Hudson - with the whole band again harmonising well with him to create a big sound. It is another excellent song on an album that rarely misses, and showcases again Leclercq's songwriting talents. Speaking of misses however, Remembrance Day is probably the album's only truly weak song as it just never really seems to get going. After Hudson took on a lot more of the lyrical responsibility on Reaching into Infinity, I was surprised to see that he had only co-written one song here - and Remembrance Day is it. I like the bagpipes during the intro, as that is something new for the band's sound, but apart from that the song sadly sounds like filler. It is a mid-paced song, but lacks the driving grooves and epic melodies of The Last Dragonborn to make that sound really work. The lyrics are also a lot more serious and heartfelt than the band's usual offerings, which clashes a bit with the over-the-top nature of their sound. For me the song just does not quite work, but to only have one weak track on the album overall is certainly nothing to be ashamed of from the band's perspective. The album's final song is a DragonForced-up cover of Céline Dion's My Heart Will Go On, which works just about as well as you might expect. I got a bit tired of their cover of Johnny Cash's Ring of Fire on Maximum Overload, but My Heart Will Go On is much better - and their version does the song justice in my opinion. The original song is quite epic and overwrought, with DragonForce taking this and speeding everything up. The song's chorus is an extremely powerful moment, and it loses none of its power in the band's hands - despite the huge hike in tempo and the layers of soaring backing vocals that harmonise with Hudson. Good covers are always very enjoyable, and this is probably the best of the few that the band have done yet. It fits in with the band's style nicely, and their take on it retains the song's original spirit but forces it into a power metal guise. Overall, Extreme Power Metal is another strong album from the band and one that shows that an old-school DragonForce album is still something that there is an appetite for. I definitely already prefer this album to Reaching into Infinity, and it is definitely up there with both The Power Within and Maximum Overload in the band's recent canon. Hudson has now performed on as many albums with the band as Theart did, and his performance throughout is perhaps his best yet.

The album was released on 27th September 2019 via earMusic. Below is the band's promotional video for Highway to Oblivion.

Chasing the Monsoon's 'No Ordinary World' - Album Review

While I am not exactly sure when the progressive rock project Chasing the Monsoon was first announced, I can say with certainty that I have been aware of it since at least 2010. I, like many others I am sure, came across Chasing the Monsoon via the Welsh progressive rock act Karnataka - a band which I finally took the plunge with by pre-ordering their fourth album The Gathering Light in 2010. I had been aware of the band for a while, and had intended to check them out at the 2009 iteration of the Cambridge Rock Festival but, for reasons I cannot quite remember, their set was cancelled at the last minute despite the band being on site. It was the following year with The Gathering Light then that I finally was bitten by the Karnataka bug - and they are a band that I have been a big fan of ever since. Around the time that I was just getting acquainted with The Gathering Light, I remember reading updates from Karnataka's founding member and main songwriter Ian Jones about another project of his called Chasing the Monsoon - and these updates have continued sporadically over the past decade or so, often with lengthy gaps in between them. It is clear from this bit of background that Chasing the Monsoon has been a labour of love for Jones, and others, for a good number of years - and I could not quite believe it earlier this year when the project's debut album No Ordinary World was made available to pre-order. Until the CD dropped through my letterbox however I was not quite prepared to believe that No Ordinary World actually existed, but lo and behold one day it appeared! Despite the album's long gestation, I was still not really sure what to expect from it. I was not expecting it to sound like Karnataka, despite Jones being one of the project's main constituent parts, but what the album is is a real mix of different sounds and styles. The main musical core of the band is made up of three multi-instrumentalists, with Jones being joined by Steve Evans and Ian Simmons. While Jones largely handles the bass, Evans the keyboards, and Simmons the guitars - in truth all three seem to be responsible for a bit of everything. As a result the album is a real collective effort, with Evans even programming all of the drum and percussion parts, that showcases the three musicians perfectly. The vocals throughout are largely handled by former Karnataka frontwoman Lisa Fury, who also sung on The Gathering Light but left the band soon after its release, although Evans also adds his vocals to a few of the songs. Fury's distinct vocal style does make a couple of the songs sound like long-lost The Gathering Light outtakes, but on the whole the album is truly its own beast. Guests like the folk instrument master Troy Donockley (Iona; Nightwish) and another Karnataka alumnus in guitarist Enrico Pinna really add some sparkle to a few of the songs, and help contribute to an experience that is quite unlike anything I have experienced previously.

The ten-track album opens with the band's self-titled piece, a relatively short, mostly instrumental song that opens with swirling weather effects and Simmons' eerie guitar swells. Many of the songs here are fairly lengthy, so this opening piece is relatively concise by comparison but it does a good job of introducing the listener to many of the album's key sounds. Simmons' guitar is all over the track, while Jones adds a busy bassline and Evans contributes a dense layer of keyboards. Despite the eerie start, the guitar playing is largely fairly up-beat with some excellent phrasing - that at times recalls David Gilmour's famous control. Evans add some distant lead vocals during brief moments, but on the whole the piece is all about the band laying out their musical pallet. Circles of Stone then is the first 'proper' song on the album - with Fury's soft voice kicking things off before a laid back percussion loop adds a grove. Evans' piano carries the piece on its shoulders, while Jones strums away on an acoustic guitar and Donockley adds some folky magic. Fury largely plies her trade in a Fleetwood Mac tribute band these days, so it is great to hear her singing this kind of music once again. Her voice really dominates the song, with her relatively low delivery of the song's meat contrasting well with some higher-pitched wordless sections that add to the song's Celtic vibe. As is the case with many of the songs on this album, the piece gradually grows as it progresses. The piano and acoustic guitar remain throughout, but both Simmons and Pinna add some soaring guitar leads later on - just as Fury's vocal performance starts to get a little more dramatic. It fades out on a mournful burst of flute from Donockley, which leads perfectly into the ethnic tinges of Dancing in the Afterglow. As with many great albums, this is one that flows perfectly - with one song seamlessly transitioning into the next while each still retains their own identity. Jones has always stated that the project contains some world music influences, and Dancing in the Afterglow is probably the track that showcases them the strongest with some African chanting early on, strong percussion loops, and a powerful Jones bassline. The opening portion of the song is largely instrumental, save for the chanting, with Simmons really laying into his guitar for some cutting leads. His playing soars, and fits in nicely with the dark, tribal vibes of the piece. The second part of the song is much more laid back, with rich keyboard textures and more of a focus on vocals. The strong beats remain, but Evans' slightly strange voice becomes the focus - with Fury adding harmonies. It works well to introduce Evans as a singer, and again transitions nicely into Dreams - probably my favourite song here. Dreams is easily the most Karnataka-esque piece here, and could have easily sat on The Gathering Light. Fury takes the lead vocally, and her delicate melodies, especially during the chorus, are very reminiscent of her work with Jones' band. While not exactly a hard rocking track, there is certainly more of Karnataka's muscle here with Simmons and Pinna adding a weightier guitar presence alongside a punchy drum pattern. Many of the songs here, to me at least, are more meandering and play with structure to create interesting arrangements. Dreams however feels a bit more conventional, with a memorable chorus and a greater focus generally on the vocals. There is also a lengthy, stunning guitar solo that is packed full of emotional note choices and phrases - all of which contribute to the over punch of the song.

Into the Light is the album's only song to feature Evans singing alone, and he really demonstrates his worth as a vocalist here. While I came to this album via Jones, I have a feeling that Evans may be the main driving force behind the project. He acted as the album's producer, and also was the main arranger of the music - with Jones helping out in this aspect on a few of the songs. His voice took me a little while to get used to, but it has grown on me over repeated listens to the album. He actually sounds a bit like Jon Anderson sometimes, and on this song in particular he demonstrates that ability perfectly. Despite a dense, keyboard-heavy opening, the song is actually fairly jaunty with upbeat acoustic guitar passages, retro-sounding proggy synths, and the odd burst of soaring lead guitar. Evans' vocals are actually extremely uplifting here, and combined with everything else the song ends up sounding a bit like the musical embodiment of the season of spring - with the sun peeking out again after a long winter. It is easily the most overtly upbeat and whimsical song here, and acts as a nice break from the dense soundscapes and complex arrangements that are present elsewhere. Innocent Child opens with a big rumbling keyboard note, the soon opens out to reveal a cold-sounding soundscape that pulses and shimmers with a mixture of keyboard textures and programmed beats. The Gilmour comparisons soon return again, with a burst of soaring spacey lead guitar, before Fury takes over singing over a simple keyboard backing. This is another song that could have been on The Gathering Light, with Fury's voice pushed to the fore throughout and a slight focus on more conventional arrangements. There is still a lot going on here though, and Simmons and Pinna take every opportunity that they can here to solo. The stand-out moment occurs part way through the song, when one of the two launches into one of the album's best solos - while Evans lays down a hypnotising keyboard melody in the background to perfectly compliment the soaring notes. Fury does a fantastic job with her moments in the spotlight, but for me this is a song that is owned by the guitarists - with the solos here being some seriously jaw-dropping moments. December Sky opens with Donockley's folky additions, with flute and whistles making a cacophony of noise, before a dark-sounding beat kicks off with Jones' strong bass presence adding weight. None of this album is heavy, but this song has a certain darkness that is not as present elsewhere. The album as a whole is a roller coaster of emotions and textures, and for me this is one of the darkest pieces present. The keyboards have such a dense feeling to them, but the vocal melodies - largely from Fury - are little lights in the darkness. There are other bursts of melody, such as sparkly piano motifs and electronics, but on the whole this is a piece that is content to build itself around a simple groove and a dark emotion that just envelopes everything. There are shades of some of Anathema's recent work in the song, which is a comparison that is also apt elsewhere throughout the album.

Lament acts as a bit of a calm before the storm. It is fairly short instrumental, save for some wordless vocals from Fury, piece that has a very organic sound - and helps the listener to rest up a little before the album's final two lengthy songs. It is a very simple song, with Jones and Simmons both teaming up to lay down the folky acoustic guitar lines, while Donockley joins the fray with his uilleann pipes - an instrument that always sound so at home in the modern organic prog world. It is his playing and Fury's wordless vocals that provide the bulk of the melodies here, while the project's main three musicians create the backing tapestry with their acoustic guitars and keyboards. It is a nice intro to Love Will Find You, which takes over when the acoustic instruments drop out to be replaced by a simple keyboard texture and a few spacey guitar lines. When the drum pattern kicks in, the keyboards remind me a little of some of the sound effects used throughout Jeff Wayne's The War of the Worlds album, which gives the song a strange, futuristic vibe at times, although this is soon dispelled as soon as Fury starts singing to a melodic acoustic guitar and keyboard backing. Despite its length, the song is still fairly vocally-focused, with Fury taking a lot of the spotlight here. It is another song with more of a traditional chorus, and it is one that surfaces throughout the piece - with Fury repeating the song's title in her floaty style while the keyboards shimmer around her. There is another very lengthy guitar solo here too, which echoes the melodies from the song's intro. Simmons proves throughout this album that he is an excellent guitarist, and the long solo is one of his best. It takes up much of the album's second half, and is split into two parts straddling the final reprise of the chorus. It is again packed full of gorgeous melodies, that skip and soar above the laid back percussion loop in a sombre, yet also uplifting, way. If Love Will Find You was the album's floaty epic, then the album's title track is the more in-your-face one. It opens slowly however, with some wordless vocals and gentle guitar tones, but gradually builds up as a dense song that is the most involved on the album. Pinna and Gethin Woolcock add some additional guitars to the track, making for a three-guitar attack at times, while Fury's vocal delivery takes on a slightly moodier feeling - especially during the verses. Despite the dense feeling, there are some upbeat moments throughout. The drum patterns are certainly more kinetic than throughout the rest of the album, and Jones' bass really pumps out of the speakers, with his playing creating melodic countermelodies to Fury's sultry vocals. Evans' sparkling, electronic-sounding synths also help to add additional melodies, with a sound that is more modern and industrial than anything else on the album. They are mixed into the background, so do not dominate the overall-organic sound, but their presence certainly adds an edge to the piece. Guitar melodies slide in and out, cutting through the mix with precision, and the song's chorus which Fury delivers in her own unique style feels like the album's rallying cry. It is certainly the thing that instantly remains in the brain as the album fades to a close, and is a great advert for the overall sound and style of the album as a whole - providing the perfect close. Overall, No Ordinary World is an album that challenges the listener but is one that over time really opens up to become something special. The songs here are all strong, well crafted moments from all involved - and I am pleased that after a good number of years the album has finally seen the light of day so that we can all enjoy it.

The album was released on 20th September 2019 via Immrama Records.

Michael Schenker Fest's 'Revelation' - Album Review

Any self-respecting list of the greatest guitarists of all time should only be taken seriously if Michael Schenker is included somewhere - and preferably fairly high up. While there are certainly guitarists, from both before and after Schenker's heyday, that have innovated and pushed the instrument further than he ever did - there are few who can boast a career as lauded or have a style so distinct. Schenker burst into the scene as a teenage member of the German heavy metal pioneers Scorpions, and appeared on their 1972 debut album Lonesome Crow, before jumping ship to join the rising British hard rock act UFO in 1973. Throughout the rest of the 1970s, Schenker helped UFO to become one of the most interesting and distinctive rock acts of the decade, and co-wrote many songs that have since before true classics of the genre. He left the band in 1978 after five successful studio albums and the defining live album Strangers in the Night - which was released in 1979 after he had already left the band. A brief but fairly unfruitful Scorpions reunion followed, although he stuck around long enough to contribute to a handful of tracks on their 1979 album Lovedrive, before Schenker struck out on his own and formed the Michael Schenker Group (MSG) which - despite a few other projects including a reunion with UFO in the 1990s - has been the main vehicle for his songwriting ever since. Despite often being presented as a band, in truth MSG has always been Schenker's solo project - with many members coming and going over the years. Lots of well-known musicians from the rock and metal worlds have been a part of MSG over the years, but it is the band's original run of classic studio albums in the 1980s that are the most lauded. It is perhaps this reason then that in 2016, Schenker decided to get together with many of the musicians and singers that had helped make those albums such a success and booked a few shows in Japan in the name 'Michael Schenker Fest'. Joining him were previous MSG singers Gary Barden, Graham Bonnet, and Robin McAuley; as well as bassist Chris Glen, drummer Ted McKenna, and multi-instrumentalist Steve Mann - all who had been a part of MSG at various points throughout the band's history. The shows were a success, and Michael Schenker Fest has since become a permanent entity. The band has toured around the world, playing shows that often push the three hour mark, and released their debut album Resurrection (which I reviewed here) last year. Resurrection was a strong album, but less than eighteen months later the band have released their second effort Revelation which carries on where the first one left off. Michael Schenker's Temple of Rock singer Doogie White also returns for the second effort, but sadly there is an enforced change in the band's line-up due to the untimely death of McKenna earlier this year. The drum stool throughout Revelation is occupied by two former MSG drummers, Simon Phillips and Bodo Schopf, both of whom have played with Schenker on numerous occasions throughout his career.

As with Resurrection, the band's four singers feature throughout the album. Sometimes singing alone and other times sharing the vocals. The album's opening track Rock Steady features all four, and is a strident, mid-paced hard rocker that kicks the album off in style. Some trademark Schenker slow-burning guitar leads open the piece up, with Barden's croaky vocals recalling those very early MSG albums, before Bonnet's foghorn of a voice takes over as Schenker leans into a tough verse rhythm. The song is one of only three to feature Schopf's drumming, and his leaden, Vinny Appice-esque beat really makes the piece feel nice and heavy. Schenker's songwriting is usually much pacier, which is demonstrated throughout the rest of the album, but this track is a great example of his heavier style. The song's chorus is simple but catchy, with Mann's prominent Hammond organ stabs adding a melodic counterpoint to the tough rhythms. While the album rarely sounds this weighty again, the song acts as a strong opening statement - and introduces the whole band perfectly. Under a Blood Red Sky is more typical of Schenker's modern songwriting style with a neo-classical opening guitar patter, Phillips' relentless double bass drumming, and White's dramatic vocals. Temple of Rock was a great time for Schenker's career, which saw him release two excellent studio albums and undertake numerous lengthy tours, which certainly set him up for this current venture. White was a big part of Temple of Rock, so it is great to see their collaborations carrying on via the Fest - and this is another strong track that is up their with the Schenker/White collaborations of the past. Phillips' drumming really keeps the piece moving at all times, while White's Dio-esque delivery of the chorus adds a slight hint of power metal to the album. Not to be outdone, Schenker launches into a fast-paced solo part way through the song, reminding us all just who steers this particular ship - despite an impressive supporting crew. Silent Again initially sounds like is going to be an instrumental piece, as the opening riff and melodies are similar to previous Schenker instrumentals, but then McAuley starts singing and the song morphs into another pacey rocker. McAuley's era of MSG was characterised by a more AOR-esque sound, and that has been somewhat carried forward here. While the verses are more modern sounding, with Schenker's choppy riff and Schopf's driving beats, the chorus is a more overtly-melodic affair with subtle vocal harmonies and Mann's big keyboard arrangement. It might not be as smooth as those late 1980s MSG albums, but is certainly feels more commercial than many of the material here and adds a slight American influence to the album. Sleeping With the Lights On is the second of three songs to feature all four singers, and it is one of the album's highlights for me. Barden again kicks things off over a gentle intro, with Bonnet and White sharing the verses with their powerful voices mixing together perfectly. The real winner here however is the chorus, which McAuley leads, with everyone harmonising together nicely to deliver the snappy melodies with aplomb. It is one of the most instantly-memorable pieces here, and unsurprisingly was chosen to be one of the album's lead singles.

The Beast in the Shadows is the first song to feature Bonnet in full, and it is also one of the first songs that Bonnet and Schenker have written together since 1982's Assault Attack album - as his songs on Resurrection were co-written with producer Michael Voss. Unsurprisingly the song sounds a bit like a lost track from the Assault Attack sessions, with the darker, heavier feel of that album present throughout. While Bonnet is not as strong vocally as he was, he still possesses a big, loud voice. His bellowing style is perfect for the song, and he really drives everything forward - especially during the soaring epic chorus which recalls songs such as Samurai and Desert Song. Schenker's lengthy solo is a special one too, and seems to build on the power of Bonnet's vocal performance and push the song to new heights. The melodies throughout the solo twist the vocal melodies around perfectly and the two parts compliment each other perfectly. It is another album highlight for me, and shows what a singer and songwriter Bonnet still is. Behind the Smile is another White co-write, and it opens with a somewhat Medieval-sounding folky intro before launching into another weighty Schenker riff - with Mann's gothic keyboards adding atmosphere. Keyboards are a much greater part of this album than they were on Resurrection, and their presence certainly helps to really add depth to many of the songs. Mann's playing is all over this piece; with driving piano riffs sitting behind the guitar during some parts to help anchor Glen's bass and Phillip's simple beat, and gothic atmospherics setting the tone elsewhere. This is another instantly-memorable piece for me, and it is another that really brings out the best of all involved. Another lengthy Schenker solo showcases his distinct style, while White plunders his days as a member of Rainbow for the melodic, yet dynamic chorus. Crazy Daze is Barden's first full outing on the album, and the track is a bit of up-beat boogie with Mann's piano once again driving the piece - recalling Armed and Ready at times. Out of the four vocalists that make up the Fest, Barden's voice is the least-preserved. In truth he was never the greatest of singers, but he was a big part of making those early MSG albums such a success so it is great to see him still writing songs with Schenker after all these years. He is easily the best frontman of the four though, and you can real her his charasma dripping out of the song despite his vocal shortcomings - which makes his performance enjoyable to listen to. It is a great example of Schenker's more-basic writing style, with a brash AC/DC-esque riff that surfaces throughout the piece, and a simple chorus that allows Barden to belt out some tasty hooks. There are better songs here, but as a throwback to those early MSG albums it works nicely. Lead You Astray is McAuley's territory and it throws off the AOR shackles that characterised his era of MSG and instead goes for a more straight ahead hard rock sound, with Phillips' double bass drums keeping everything ticking and Glen's bass rumbling away constantly. McAuley's voice is not as smooth as it once was, so the heavier vibe is probably more suited to his modern style - although Mann does spice up the chorus a little with some subtle synths which does act as a bit of a look back to albums like 1989's Save Yourself.

We are the Voice features a fifth singer in the form of Ronnie Romero (Lords of Black; Rainbow; The Ferrymen), so unsurprisingly the song is somewhat heavier to allow for Romero's tougher voice to feel more at home. Unfortunately the song is not a Schenker/Romero collaboration, as Voss wrote the song's lyrics, but the two seem to work well together. While being initially impressed with Romero when he joined up with Rainbow in 2015, I have gone off him a bit over the last couple of years. His tone is a bit nasally at times, which grates on me a bit when listening to studio recordings of him. Live he is a different story, and packed full of power, but the nasally sound unfortunately dominates this song. It is a fairly catchy piece, but overall it is one of the album's weaker moments for me and Schenker should stick to his established vocalists in future. Headed for the Sun is another Barden offering, and is it certainly more involved and epic-sounding than Crazy Daze. Schenker's riff during the verse is excellent, with a real bouncing rhythm, and Mann's short bursts of classically-inspired piano really add some class. I had feared that Barden would sound a bit out of his depth if the band attempted anything more grand-sounding with him, but he holds his own here. The chorus sees him straining a bit, but overall he sounds good and the vocal melodies throughout are strong - with some subtle harmonies employed here and there to help him out a bit. Old Man is the last of the three tracks to feature all four singers, and it opens with a strange modern-sounding riff that is quite different from Schenker's usual style. Considering Schenker is one of those musicians that claims he has not listened to any new music since about the mid-1970s, which I always think just sounds utterly ridiculous and I cringe when I hear/read those interviews, this left field riff comes somewhat out of the blue. The rest of the song is largely in Schenker's usual style however, with plenty of strong vocal performances from all involved and plenty of dramatic keyboards. My favourite part of the piece is actually the slow-paced mid-section that features Barden crooning atop some delicate clean guitar melodies - which acts as a bit of a respite before the lumbering modern riff comes crashing back in. Still in the Fight is the last of the vocally-driven songs, with Bonnet signing things off in his inimitable style. As with The Beast in the Shadows, everything is turned up to eleven, with Bonnet's loud voice roaring out of the speakers while Phillips' gives no quarter behind his double bass drums. It is not as heavy or dramatic as the former Bonnet piece however, but Assault Attack is still recalled thanks to Mann's keyboard textures and Bonnet's distinctive tones. There are stronger songs here, but it is still an enjoyable moment and lacks none of the passion found elsewhere. The album's true final piece however is Ascension, an instrumental that recalls Schenker's guitar-focused pieces of the past. His instrumentals are usually similar in kind, with distinct repeating melodies and occasional neo-classical runs that really sum him his playing. It ends the album on distinctly Schenker note, and gives the listener one final reminder why he is such a revered player. Overall, Revelation is another strong album from Schenker that shows that he is still a great songwriter and guitarist. In truth though, the album is a real team effort with everyone really putting in a shift. The commitment to this mammoth band project from all is commendable, and I cannot see that Michael Schenker Fest will be over any time soon.

The album was released on 20th September 2019 via Nuclear Blast Records. Below is the band's promotional video for Sleeping With the Lights On.

Gloryhammer - Bristol Review

I had not undertaken a two-gig weekend for a few months, so it was with glee that this weekend gone I set off to London, and then on to Bristol, to take in some shows. The trip to London was extremely successful, with Devon's The Fallen State absolutely tearing the 229 a new one, but Bristol's offering was always set to be a very different proposition. While The Fallen State play a tough, modern take on hard rock, Sunday's show in Bristol promised to be an evening of over-the-top, bombastic power metal from three of the genre's current (relatively) big names. Headlining the bill was Gloryhammer, a British-based band who set out being to power metal what Steel Panther are to hair metal, but have since become part of the genre's furniture and accepted as a strong original band in their own right. They are an extremely silly band, but that is all part of their charm and appeal. At the end of the day, power metal itself is a very silly genre of music, and those bands who take it very seriously often end up coming over as pretentious. No-one could accuse Gloryhammer of being that, and the band have become popular here in the UK since their debut album's release in 2013. I do not think I realised just how popular the band had become however, as when I saw the announcement of their 2019 UK headline tour earlier this year I was surprised at the amount and size of venues booked. I had wondered if the band had overstretched themselves somewhat, but I was proved wrong - with most of the shows selling out long before the tour actually took place. The Bristol show, at the SWX, was actually one of the few shows to not officially sell out - but you would not have known that from the size of the crowd. The place was absolutely rammed during the whole night, with even the first band on playing to a near-capacity crowd which really is a rarity. I had only been to the SWX once previously, which was back in April when In Flames toured their I, the Mask album, and had found myself rather crushed by the side of the sound desk. This time I decided to stand on a raised section to the right of the stage which proved to be an excellent vantage point. There was a barrier to lean on and, while the area was busy, it was not as crushed as it would have been on the floor. The venue seems to be being booked by rock and metal bands more and more these days, so I think I will attempt to make that spot mine each time I visit from now on if I can! It was also a great spot to watch the venue fill up, and it was extremely pleasing to see a power metal show attract such a large crowd outside of London.

The first band on were Italy's Wind Rose, a folk metal band who draw their lyrical inspiration from J. R. R. Tolkien's works - particularly his Dwarven lore. I was not that familiar with the band prior to their set, but on the whole they really impressed. Folk metal can sometimes be a bit twee, but Wind Rose's sound was pretty weighty, with frontman Francesco Cavalieri's low, rumbling voice driving the band forward while Claudio Falconcini (guitar/vocals) churned out a number of strong riffs. Despite the band's relatively heavy sound, their songs were still pretty melodic. Big keyboard melodies filled the set, which acted as a nice counterpoint to the guitars, and the vocal melodies were still pretty memorable despite Cavalieri's deep tones. The band were not as anthemic as some, instead letting the atmosphere of their pieces and their heaviness do the talking. There were some strong anthemic moments however, such as the strident opening number Wintersaga and their cover of the Internet meme song Diggy Diggy Hole which unsurprisingly got the whole crowd going. Despite only having half an hour on stage, Wind Rose were the perfect warm-up act for the evening, and probably gained themselves a few fans in the process. I will make an effort to check out their stuff in the near future.

The special guests were Finland's Beast in Black, a band who are starting to make a real name for themselves in the metal world and are riding high off the release of their second album From Hell with Love earlier in the year. I had seen the five-piece twice previously, and was looking forward to seeing them again as I have listened to their new album a fair bit this year, so was pleased to hear a good chunk of it on Sunday night. Two new songs got the set underway, with Cry Out for a Hero and Unlimited Sin really kicking things off nicely. The band seemed to be battling a slightly muddy sound mix throughout, which meant that band leader Anton Kabanen (guitar/vocals) screeching counterpoint vocals during the choruses were often drowned out, but on the whole the band shone. The band's newer material is probably more accessible than their debut album, with both Kabanen and fellow guitarist Kasperi Heikkinen peeling off soaring lead after soaring lead. The latter started things off perfectly with one at the start of Cry Out for a Hero, but in truth both players swapped lead and rhythm duties throughout. Frontman Yannis Papadopoulos was as impressive vocally as always, and really nailed the band's challenging material. Heavier tracks like the old Beast in Black and Born Again really showed what an aggressively melodic voice he possesses, whereas big singles like Sweet True Lies allowed him to enter into more AOR-esque territories for similarly impressive results. The only downside of the band's set, and this is something I have thought previously but not committed to word, is the fact that all the band does not have a keyboard player. Beast in Black's sound is very keyboard-heavy, especially in the songs from the new album, and relying on a backing track for all of the keyboard parts is something that always makes me feel a bit uncomfortable. I think the band would be greatly enhanced by the addition of a live keyboard player, as it would allow the band to be less rigid in their performances and include some flashy power metal keyboard runs. This issue aside, which is certainly not exclusive to Beast in Black, the band were excellent. There were clearly a lot of the band's fans in attendance too, as the more well-known songs certainly received big cheers. The old single Blind and Frozen certainly went down well, and the heavy, fast-paced End of the World brought the band's nine-song set to a powerful end. Beast in Black are a band that certainly deserve the chance to headline here in the UK now, and hopefully they can make the jump up to top billing in the near future. The setlist was:

Cry Out for a Hero
Unlimited Sin
Beast in Black
Born Again
Die By the Blade
Sweet True Lies
From Hell with Love
Blind and Frozen
End of the World

Despite two strong showings from the support acts, it was clearly Gloryhammer that the majority were there to see. As soon as the lights went down the place erupted, and the band took to the stage as their intro music filled the venue - and launched into The Siege of Dunkeld (In Hoots We Trust), an epic track from their latest album. Fourteen songs were featured by band throughout the evening, with the bulk of the songs coming from their most recent two albums. This was a good move, as overall these albums are stronger than their debut, but it was one of those early songs Angus McFife that received one of the biggest reactions early on in the set. While frontman Thomas Winkler held everything together nicely with his stage patter, in truth the whole band do their part when it comes to interacting with the crowd. Each band member takes the part of a character from their multi-album space sagas, with each (with the exception of drummer Ben Turk) addressing the crowd or 'playing a part' at some point during the show. This did lead to some silly moments, such as when touring keyboardist Michael Barber was clearly miming his character's spoken word sections during a few of the songs, but in truth it was all part of the hammed-up atmosphere. I had seen the band twice previously, once as a support act and once at a festival, and wondered if their stage patter and antics would get tiresome over the course of a full length set, but in fairness it all hung together pretty well. It helps that the band's songs are mostly all epic, with anthemic battle hymns like Legend of the Astral Hammer and fist-pumping power metal stompers like The Hollywood Hootsman all drawing strong reactions. At times the show felt more like a pantomime than a heavy metal concert, with the crowd cheering/booing certain parts of the show on cue, with a moment where a member of stage crew invaded the stage dressed as a goblin only to be battered away by Winkler's big hammer being probably the most farcical moment. It was all good fun however, but for me it was all about the music. The band are extremely talented musicians and songwriters, with Paul Templing (guitar/vocals) in particular impressing with lots and lots of excellent shredded soloing. He really kept everything going, although Barber did his bit - especially during keyboard-heavy numbers such as Hootsforce and replicating the great Jens Johansson during Battle for Eternity. It is always the sign of a great gig when time flies by, and soon the main set was coming to an end with Masters of the Galaxy, one of my favourite songs from the new album. There was more to come however, and a three-song encore followed. The up-beat disco-tinged Universe on Fire was a strong moment, but it was the closing track The Unicorn Invasion of Dundee that really sent everyone into party mode. It was a great end to a fun-packed set, and it was one that showed that Gloryhammer are a genuine headline act now - which is great to see. The setlist was:

Into the Terrorvortex of Kor-Virliath
The Siege of Dunkeld (In Hoots We Trust)
Gloryhammer
Angus McFife
Legend of the Astral Hammer
The Land of Unicorns
Questlords of Inverness, Ride to the Galactic Fortress!
The Hollywood Hootsman
Goblin King of the Darkstorm Galaxy
Hootsforce
Battle for Eternity
Masters of the Galaxy
-
Infernus Ad Astra
Rise of the Chaos Wizards
Universe on Fire
The Unicorn Invasion of Dundee

After the show Beast in Black did a meet and greet session at the back of the venue, so I had taken my copy of From Hell with Love along to get signed, but sadly it seemed that a few 'fans' wanted to ruin this experience for everyone else. The band had positioned themselves in a strange corner, which was not really wise, but the fans at the front just did not want to move once they had got their autographs/pictures to allow others a chance to meet the band. I stood in the same spot for about ten minutes not moving, and in the end I just gave up and left as it was clear that a few were intent on spoiling the whole session. During this time a woman in front of me left the 'queue' to go the merch desk, and literally forced her way back to where she had been before without even saying please or thank you and instead seemed annoyed that people had moved down to take her spot making sarcastic comments about how myself and others should position ourselves to allow her to return. Her behaviour summed up the signing session for me, and it was not long after her rudeness that I left. I was looking forward to meeting the band, but unfortunately I was not able to so this did put a bit of a downer on the end of the night. A more formal session might have been better with a proper queue where people are moved down the line to meet the band and then moved on - which would have been much fairer. That aside though, the gig was an excellent one, and it was great to see such a well-attended power metal show in Bristol. Hopefully the success of this tour will persuade more bands to branch out a bit when it comes to UK tours and Bristol sees more events like this.

The Fallen State - London Review

While in general I have been pretty lucky when it comes to gig trips I have planned actually going ahead, 2019 has been particularly bad in comparison to normal. Ozzy Osbourne, Crashdïet, Glenn Hughes, Dimmu Borgir (who cancelled their appearance at Bloodstock Open Air), and The Reasoning have all cancelled on me for a myriad of reasons this year; and last month Saxon were unfortunately added to list when they had to cancel the rest of their 2019 shows due to frontman Biff Byford needing emergency surgery. That left me with a Saturday in London with no plans but, with transport etc. already arranged to take me down to Bristol the next day for another gig, I had made the decision to still make the trip up and find something else to do. It only took me a couple of days after Saxon's cancellation to find an alternative night's entertainment however, as I noticed a London show on a tour poster I had looked at previously and sadly dismissed. The poster belonged to The Fallen State, a local Devon-based band who I have been a casual fan of for a number of years now. They are a band I will go and see if they are playing locally, but sadly their Plymouth gig clashed with the aforementioned trip to Bristol so I put their tour to the back of my mind. When I saw that the band were playing in London on the same day that Saxon were due to play however, I immediately bought a ticket. The Fallen State are not a band I would usually travel as far as London to see, but as I was going to be there anyway it seemed like a no-brainer. It seems as if I was in luck too, as I bought a ticket not long after the band were upgraded to a larger venue. The show was at the 229 in Great Portland Street - a new venue for me - but the band had initially been booked to play in the venue's smaller room. They sold this room out, and with interest still remaining they decided to move up to the larger room - which meant I could buy a ticket! Another draw for me was the fact that The Cruel Knives, another band I have been following for a while, were one of the evening's two support acts - meaning that the overall evening promised to be strong. It appears that the same thought tempted a lot of others too as, although not exactly packed out, the larger room at the 229 was pretty busy throughout the evening. I am sure there was a fair amount of space towards the back of the venue, but there was a still a good-sized crowd in attendance - and was probably the biggest headline crowd the band have ever pulled outside of their home town.

Before The Fallen State and The Cruel Knives' sets however, the growing crowd was treated to thirty minutes or so from the Nottingham-based rock band Fahran. I had seen the five-piece once previously supporting COP UK in Sheffield, but I had not followed that appearance up with a concerted effort to check out the band's material. I remember somewhat enjoying the band at the time, and that was the same case here in London - with the band's modern hard rock impressing. The band's sound is a bit of a strange mix of influences, with some songs being quite classic rock influenced with soaring guitar leads and catchy choruses; whereas others feel heavier and more modern with riffing that sounds a little like Lamb of God (although nowhere near as heavy) and strong grooves. The mix is a bit of an odd one, but it seems to hang together well in the moment and the band seemed to receive a strong reaction from the growing crowd - with a few down the front singing along to their songs. On the whole I enjoyed the band's set, in particular the strong closing number State of Mind, and I will need to make more effort this time to check out the band's albums.

After a short changeover, The Cruel Knives hit the stage with the modern riffing of Black Eye Friday and proceeded to storm through an eight-song set with ease. I have been following the four-piece since their literal inception, as I was a huge fan of Sid Glover (guitar/vocals) and Rob Ellershaw's (bass guitar/vocals) previous band Heaven's Basement, but this was the first opportunity I had had to see the band live - and the first time seeing Glover and Ellershaw since a Heaven's Basement gig in Birmingham in 2015. I have been enjoying the band's two EPs recently, but live the band really came into their own and the songs played seemed so much energetic than their studio counterparts. While in my mind The Cruel Knives are still not as good a band overall as Heaven's Basement were, they impressed throughout. A good mix of songs from both of their EPs were featured, with the heavier Kill the Messenger proving to be an early highlight, before the punky Itch saw Glover launch into one of his trademark muscular riffs. While not the flashiest of guitarists, he has always been one of my favourite newer players. His dirty blues style has always impressed, and there were plenty of riffs and off-kilter leads for him to get his teeth stuck into during the band's set. It was also a set that really improved as it went along, with the band's better songs appearing towards the end. The strong groove of Blood in the Water impressed with frontman Tom Harris effortlessly belting out the lyrics; before the dirty On a Leash whipped up some energy in the crowd. The song sounds great on the EP, but live it sounded heavier and rawer. The modern production and sound the band has forged on their EPs was largely replaced by a dirtier rock sound live, and - for me - that really helped the material to shine. On a Leash almost reached Heaven's Basement-levels of goodness, and the strutting Crawl finished things off nicely. It was a strong set from a band who are starting to come out of the shadow of their members' former band, and I am glad that I finally had a chance to see them live after W.A.S.P. cancelled their Bristol show in 2017 which the band were also due to appear at. The setlist was:

Black Eye Friday
Maybe I Should Know
Kill the Messenger
Hollow People
Itch
Blood in the Water
On a Leash
Crawl

By the time The Fallen State took to the stage at just before 9:30pm, the venue looked pretty full and the band showed that they meant business from the off. I saw the band headline in Plymouth in 2017 and again supporting Tremonti last year in Birmingham, and had enjoyed both shows, but I was not prepared for just how powerful the band's London set was going to be. I had also expected the band to play for around an hour, which seems to be the norm for smaller new bands these days, but the crowd was treated to a real tour-de-force setlist which featured sixteen of the band's songs, including much of the newly-released album A Deadset Endeavour. An older track Lost Cause opened up the show however, as the band came roaring out of the blocks, before Attitude and Sinner kept the energy going. It made for a hard-hitting start to the show, as the energy did not let up at all throughout these three tracks - with Sinner in particular hitting the spot with the crowd helping frontman Ben Stenning out during the big chorus. A personal favourite in the form of Sons of Avarice was deployed early on for a slight respite, but on the whole the set was a hard-hitting and heavy affair. Sons of Avarice impressed as always though, with Stenning pouring a lot of emotion into the chorus - before Jon Price (guitar/vocals) peeled off one of many guitar solos of the night. The Fallen State might not be the flashiest band when it comes to soloing etc., but Price made each of his moments in the spotlight count. It speaks a lot for the band's catalogue, made up of five EPs and one album, that there were no songs featured that felt like they were filling up space. Newer headbangers like Lovers & Psychos felt just at home in the set as older tracks like Four Letter Word, and the new single American Made also prompted a bit of a sing-a-long during the more low-key pre-choruses. A real highlight for me during the middle portion of the set however was the meaty For My Sorrow which really came into its own live. The band sound good on record, but they are another act that really come into their own on stage. I also think that Stenning has really improved as a vocalist over the past year or so too, as he really impressed me here. His voice seemed so much more powerful than previously, and it shows that the band are still growing and improving as time goes on - which is great to see. By the ending portion of the night, the crowd was in full-on party mood. Even Greg Butler's bass giving up during Can't Fight the Feeling could not dampen things, and the power ballad Nova was the perfect number to capitalise on this feeling - with the big chorus attracting a lot of attention. By this point the end was nigh, and a short drum solo from Rich Walker lead into then anthemic You Want It which closed the set out with power. No encore was planned, but the crowd demanded more from the band who came back out and stood around discussing what they should play. In the end they decided to dust off the oldie Hope in Revival unrehearsed which was the perfect high-energy coda to a powerful set, and I do not think anyone in the 229 went home unhappy with their night out. The setlist was:

Lost Cause
Attitude
Sinner
Sons of Avarice
Send Up the World
Lovers & Psychos
American Made
Four Letter Word
For My Sorrow
Fragments
Burn It to the Ground
Can't Fight the Feeling
Nova
Torn
Drum solo
You Want It
-
Hope in Revival

I think in the past I may been guilty of damning The Fallen State with faint praise, but I have to say that this show at the 229 turned me from a casual fan into a full-blown one. It was also great to see Dan Oke (guitar) back on stage following his nasty health issues earlier in the year. This is a band who's star is truly on the rise, and I hope that they can really capitalise on the momentum caused by releasing their debut album earlier this year and from what so far seems to be a successful UK tour.

The 69 Eyes' 'West End' - Album Review

When it comes to poppy, accessible gothic rock music; Finland's The 69 Eyes pretty much have the genre perfected and sewn up. With the exception of the now-defunct HIM, another Finnish act, there are few bands who have found more success marrying the darkness and atmosphere of gothic music with the poppy accessibility of catchy hard rock. While the band's early work showcased a bit more of a glam/sleaze influence, it was not long before The 69 Eyes morphed into the shimmering gothic icons that we know today. It is also hard to believe that the band have been around since 1989, which makes this year their thirtieth anniversary! I always consider the band a more recent act, but that is probably because their biggest albums have been released since the turn of the millennium. 2000's Blessed Be is quite possibly the true beginning of The 69 Eyes that we know today, despite previous albums flirting with the sound that album really established. It probably also does not help that some of the band's early albums are difficult to acquire these days, so there is certainly a bit of a gap in my 69 Eyes discography which will one day hopefully be filled. That being said it is always extremely impressive when a band reaches the big 30, and even more impressive when the said band has not undergone a single line-up change in that time! Usually the bands I follow seem to regularly change out band members, which has its pros and cons, but The 69 Eyes has been made up of the same five guys since day one. Frontman Jyrki 69, guitarists Bazie and Timo-Timo, bassist Archzie, and drummer Jussi 69 (shame about the stage names) are a well-oiled machine by this point, and know exactly what their fans want from them. You always know what you are going to get when you pick up a new 69 Eyes album - but that is not necessarily a band thing. That is not to say however that there have not been a few tweaks to the band's established sound over the years, with the albums released during the late 2000s and early 2010s in particular focusing more on big rock guitar riffs and choruses than the dense gothic soundscapes that came before. This certainly expanded the band's fanbase further, but with 2016's Universal Monsters (which I reviewed here) the band made a conscious decision to up the gothic melodrama once more. The band went back to working with producer Johnny Lee Michaels again after a few years' break, and the result was a darker album that sounded more like 2002's Paris Kills than 2009's Back in Blood. The band were clearly happy with the results as, last month, the band released their twelfth studio album West End which once again sees them collaborating with Michaels. The resulting album feels like the natural successor to Universal Monsters. The keyboards and orchestrations are high in the mix, and the addition of a few guest vocalists throughout the album's eleven tracks certainly helps to spice things up a bit.

One of the guest vocalists is actually served up during the first track, as the opening Two Horns Up features the occasional guttural rasps of Dani Filth (Cradle of Filth; Devilment) who adds a bit of menace to Jyrki's Jim Morrison-esque croons. The track is a fairly heavy moment in the wider context of the band's sound, but it helps to kick things off with a pulsing bass and keyboard intro and a tough opening guitar riff. The guitar tones here are a bit more snarling than usual, which helps the riff to really cut through the dense keyboard arrangement - something that is actually a bit of a throwback to the Back in Blood sound. Despite having been in the business for thirty years now, time has not touched Jyrki's voice at all and his deep Elvis-isms still sound as good as ever. The second verse however is turned over to Filth, which I think was a bit of mistake as his voice is extremely divisive. I like how his growls really add depth to the simple chorus, but I did not need to hear him screeching his way through a whole verse in the place of the excellent Jyrki. It makes for a mixed start to the album, but one the whole the song impresses with its heavy tone and strong atmosphere. 27 & Done is more typical of the sound found on the rest of the album, with the sparkling piano melodies and subtle guitar chugs that the band have become known for - and it recalls those early Sisters of Mercy albums at the same time. It was the first song released from the album a few months ago, but despite loving the overall sound and feel of the piece I was really turned off by the lyrics. The 69 Eyes' lyrics have never exactly been top quality pieces of writing, but the chorus here is particularly poor in my opinion and just sounds crass. It is a shame, as musically the song is excellent and it really sets the tone for the poppy gothic melodrama that follows over the next nine songs. A great guitar solo from Bazie adds some aching melody to the piece, and if you can look past the silly lyrics then the song is a strong one. Black Orchid is better, with Archzie's snaking bassline opening the piece slowly before a distant keyboard riff takes over. 2004's Devils is probably my most-listened to 69 Eyes album, and this track sounds like it could have come straight from it, with a perfect mix of up-tempo hard rock and deep gothic atmosphere. Keyboard melodies have always been a big part of the band's sound, and the ringing piano lines throughout the track really help to set the scene - while the two guitarists lay the foundations with some tight rhythms. The chorus is not as anthemic as some of the band's efforts, but Jyrki's vocal melodies are still very accessible. His voice always has a way of sounding appealing, and that really helps the dark chorus here stick out - while the keyboards swirl around in the background adding depth and melody. Change is more of a ballad with a gentle piano opening and delicate strings, before Jussi crashes in with his drums and changes the song into a slow-paced chug. I have always loved the band's slower songs, and this is because they often push the vocals right to the fore. Jyrki has such a distinctive voice, and the emotional qualities that he has makes him perfect for the slower material. The strings form a strong soaring backing for his emotional delivery, while the steady chug is maintained by the rest of the band. This is certainly more of a goth piece than a rock piece, so those who like their music a little darker will enjoy it.

Burn Witch Burn ups the tempo again, and kicks off with a strutting guitar riff and a kinetic drum pattern - which helps to give the album a bit of a shot of energy after a couple of darker, more atmospheric pieces. The keyboards are still present, but they are certainly less prominent here than usual - with Bazie and Timo-Timo instead shining with some tight rhythms and catchy riffing. Overall the song just feels a little more simple and organic too, with the guitars giving the song more of a hard rock edge, while Jyrki's catchy chorus delivery has a bit of a punky energy despite his deep, melancholic voice. A short, sharp guitar solo helps to add some more energy to the song, and the song is almost over in the blink of an eye. The band have always done these more potent rockers well, and including a couple on each album helps to up the overall pace and add some respite from the gothic atmospherics elsewhere. Cheyenna is one of my favourite songs on the album, and it is another track that marries a hard rock sound perfectly with a gothic atmosphere. The keyboards are prominent again here, joining forces with Bazie's soaring intro guitar lead for a catchy focal point, before the guitars and bass lay down a rock solid foundation for a crunchy, mid-paced verse. When I first heard the song I thought the chorus was extremely repetitive, but on repeated listens I think it really works. Jyrki's delivery of the song's title is filled with such emotional and tone that not much else is really needed - but the soaring intro guitar lead also joins the fray to add a hypnotic melody. The song is a future classic in my opinion, and I imagine it will be a part of the band's setlists for a number of years to come. The Last House on the Left features three guests vocalists, with Filth once again joining in along with horror punk icon Wednesday 13 and Calico Cooper (Beasto Blanco). It is another real standout track here, with the heaviness of the opening track returning with the band's two guitarists laying down sharp riffs throughout and the keyboards providing some really dark soundscapes. Filth mostly just adds his snarls to the choruses this time, while 13 sings the second verse in his distinct style. He contrasts with Jyrki well, while still sounding like he fits in the song. I did not think Filth's contributions on Two Horns Up really fit in with band's sound (apart from bulking out the choruses), but both 13 and Cooper sound at home in band's signature gothic sound. Having so many vocalists does make for a bit of a strange listen at first, but each brings something different to the piece - with Jyrki holding it all together during the up-beat, punky choruses. Death & Desire slows things down again, with a melodic guitar lead opening the song up before a downbeat verse takes over with chiming clean guitar passages and a gentle string backing. It is not a bad song, but the band have certainly written better ballads in the past. The main weakness here for me is the chorus, which does not grab hold in the manner that I would expect it to. The verses are pretty strong, and I particularly like the way Jyrki's voice is pushed to the fore during them, but for me the chorus is a bit of a plodder that does not include enough big melodic hooks.

Outsiders serves to give the album another shot of adrenaline after the ballad, with a big guitar riff kicking everything off before a tight punky arrangement sets in with a chugging verse backed by an AC/DC-esque riff. The atmospherics are largely in the background throughout most of the song, although they are pushed to the fore again during the chorus which is a subtly catchy moment that has really grown on me over repeated listens to the album. The heavy riffing never really lets up, but the additional keyboards and clean guitar layers added during the chorus help to change up the tone a little while never needing the song to divert too far from its core. The final reprise of the chorus even adds some upbeat hammered piano notes too, which further deepens the song's sound. The song is a good lesson in how to shake things up without radically diverting from a formula - and the track sounds fresh as a result. Be Here Now opens with some Eastern-inspired sounds, but they are short lived as the track soon becomes another mid-paced gothic crooner. Archzie's bass playing is quite prominent throughout, which is certainly a change from the norm. The guitars lay down snaking riffs here and there, but the verses are largely Archzie's territory as he lays down a muscular riff throughout while the guitars add colour. It is the only song on the album that he is credited with co-writing too, so you have to imagine that much of the music for this one - as well as the arrangements - came from him. It helps to provide a bit of a late-album diversion, although in truth the band's signature sound is still more than intact - it is just more bass-focused than usual. Hell Has No Mercy is the album's final track, and it is the longest piece here at over six minutes in length. It opens slowly with a simple drum beat which the bass and guitars gradually build up around. The opening moments of the songs are extremely simple, with little of the extra production quality the band are known for - instead letting the rawness of the simple instrumentation and Jyrki's booming vocals really shine. For a big album-closing piece, the song has little of the fanfare you might expect. It is not a heavy, bombastic piece that throws the kitchen sink into the mix - but instead the piece revels in its simplicity and allows the band's core songwriting to shine. As the song moves into the chorus the production is ramped up somewhat with some subtle keyboard textures, but the focus is still on Jyrki's vocal tones. It is clear from this track how bands like Fields of the Nephilim have influenced The 69 Eyes over the years; and Bazie's aching guitar solo is an example of pure gothic emotion. It does end the album on a slow, downer note - but in my opinion the choice works well and the band shine as a result. Overall, West End is another strong album from The 69 Eyes - and it is one that celebrates the band's thirtieth anniversary in style. There are a couple of weak tracks here, but on the whole the band are sounding as strong as ever on West End, and here's to a lot more successful years for the Helsinki Vampires!

The album was released on 13th September 2019 via Nuclear Blast Records. Below is the band's promotional video for Cheyenna.

Crashdïet's 'Rust' - Album Review

During the Scandinavian sleaze revival that took place towards the end of the 2000s and the beginning of the 2010s, there were few bands more important than Sweden's Crashdïet. During this time there were a lot of bands, mostly from Sweden but there were also some from Finland, who sought to bring back the sights and sounds of Hollywood's Sunset Strip during the 1980s. The glam metal movement that emanated from America, which lasted throughout the entire 1980s and spilled over into the early 1990s, was - for some - a case of style over substance. It was a time where a band's image became all the more important, and some bands became more well-known for their off-stage debauchery than their music. That being said, the scene did manage to spawn a lot of memorable bands - some of which I still listen to regularly. The glam metal genre is not known for its innovators or its virtuosos, with some bands being made up of average-at-best musicians, but there were still plenty of glam bands that had a knack for writing great songs. I used to be a big fan of glam metal, and I still enjoy the genre, but I certainly do not listen to it anywhere near as much as I once did. Crashdïet are one of the bands that I reach for the most however, often over many of the original 1980s big-hitters, but the last few years have been extremely quiet for the band. The core of Crashdïet has been around since 2003, with guitarist Martin Sweet, bassist Peter London, and drummer Eric Young sticking together through thick and thin, but the band have always had trouble finding a vocalist to truly commit to the band following the tragic suicide of original frontman Dave Lepard in 2006, not too long after the release of their debut album Rest in Sleaze the previous year. H. Olliver Twisted (now better known as Olli Herman) was in the band for a year or so and contributed to 2007's The Unattractive Revolution, but he soon left to concentrate on Reckless Love - a band with which he has since found success. Replacing Twisted was Simon Cruz, who stuck around for six or so years and performed on both 2010's Generation Wild and 2013's The Savage Playground (which was one of the first albums be reviewed on this blog, and can be found here), but he left the band part-way through a Japanese tour in 2015. The band seemed to finally find some stability with Cruz, but after he left all went quiet for a good couple of years. I assumed that Crashdïet were over, but then in December 2017 the band announced that they had recruited singer Gabriel Keyes and had started working on new material. Sporadic live appearances and a couple of singles followed, but the big news was the announcement of the band's fifth album Rust, which was finally released last month. The sleaze revival has largely ground to a halt in the five years that passed between The Savage Playground and Rust, so I wondered what the Crashdïet of 2019 would sound like. It turns out the answer is 'the same' however, as Rust is made up of eleven hard-hitting sleaze anthems that would have filled clubs earlier in the decade - which will certainly please those who have been waiting a number of years for the band to become active again.

The album kicks off with the hard-hitting title track, which anyone who has ever enjoyed a Crashdïet album in the past will immediately be able to latch onto. There has not been a big shake-up of the band's sound between The Savage Playground and Rust, with teased hair and make-up still being the order of the day. There is very little fanfare to be found here either, as London kicks things off with a rumbling, precise bassline before Sweet joins in with tough bluesy riff that drives the song from the off. This is certainly a song that could have easily sit on Generation Wild nine years ago, from the poppy anthemic chorus right down to the big power chords from Sweet that have always been a big part of his writing style. Keyes introduces himself well here too and, while I do not think he has as much attitude or grit as Cruz, he has seamlessly integrated himself into the band. The verses here are somewhat tough, with the aforementioned big chords punctuating the vocal lines, but the chorus takes on a much poppier feel with the addition of melodic synths and big vocal harmonies. It is a song that screams the return of the band, and really sets the tone for the rest of the album to come. Into the Wild segues perfectly from the previous track, with an a cappella vocal intro that screams 1980s hair metal and a tough riff that sees Young shaking the ground with his booming double bass drums. Despite their poppy, accessible sound Crashdïet have always been deceivingly heavy - especially from Generation Wild onward. The Savage Playground experimented with tougher bluesier arrangements that had only previously been flirted with at times, as Rust also does, but this album also really emphasises soaring vocal melodies and choruses again in a big way - with Into the Wild sporting a sugary chorus despite the heavy riffing found elsewhere. It is another strong track, and helps to contribute to a powerful one-two punch to open the album with. Idiots is more of a hard rocking piece, with a snaking opening guitar riff and a solid, mid-tempo drum beat. The flashier elements of the band's sound have been stripped back somewhat here, and the song echoes the tougher sound forged on The Savage Playground. Subtle synths and vocal harmonies can be found during the song's simple chorus, but this is a song that is mostly characterised by heavy riffing and a simpler arrangement. It allows Keyes to show a tougher side to his voice as a result, and a lengthy Sweet guitar solo is also included. In the Maze opens up slower, with some effects-heavy clean guitar melodies, but soon builds up around a slower drum beat and a drone of chords. While not exactly a true ballad, this is certainly a slower, more emotionally-charged piece than the three opening songs. The verses see the clean guitar intro return in a slightly beefed-up form, while the choruses ramp up somewhat with Keyes laying down some impressive lengthy vocal notes with subtle harmonies to boost his talents. In my opinion Keyes is better-suited to singing the band's poppier material, and his voice really shines here. He does fine on tracks like Idiots, but on this track and the opening Rust he displays his impressive vocal skills in a more natural way.

We Are The Legion was the first song that the band released with Keyes back in 2017, so unsurprisingly it is a classic-sounding Crashdïet track and was a song that ushered in the band's new era with excitement a couple of years ago. It is quite similar to the album's title track in that it mixes Sweet's heavy riffing style with the sugary melodies and aesthetic that the band have really become known for. It is this mix that has helped Crashdïet to become one of the best modern glam bands in my opinion, and the formula is on display perfectly throughout We Are The Legion. The chorus is a really anthemic one, and is is one that really sticks after only a couple of listens. It is clearly a song that the band wrote to be played live, and I can see it becoming a real setlist staple going forward, with its anthemic message and soaring chorus - as well as a couple of chances for Sweet to really shine with some excellent solo spots. Glam metal has always had an injection of punk in its sound, and Crazy shows that Crashdïet love to also up the energy, while still maintaining a pop streak. Much of the song is faster than the vast majority of the album, with Sweet's riffing and Young's drumming really driving everything forward, but by the time the chorus is reached the band's taste for a strong melody really shines through again. Many of the vocal harmonies used throughout the album have a certain Del Leppard-esque quality to them, and the chorus here is one of the most Def Leppard-esque moments here for me. The Sheffield band have certainly been an influence on Crashdïet, and hearing some really sugary melodies in a tough, punky rocker always makes for a fun listen. Parasite is heavier, and is another track that sounds like it could have come from the The Savage Playground sessions. Much of the song is backed by some buzzsaw guitar riffing from Sweet, and the strutting Cocaine Cowboys could certainly be seen as a touchstone here. There are still strong melodies to be found throughout however, although the harmonies and synths have been toned down a fair bit to fit in with the tougher overall feel. Instead of sugary harmonies, the backing vocals have more of a melodic gang vocal style which is a bit different, but it really helps the song's power to hit home. This is another chorus that is built to be heard live, and the guitar solo here is one of Sweet's best in my opinion - it really soars with tasteful phrasing. Waiting for Your Love slows things down, and acts as the album's sole true ballad with some piano courtesy of Eric Bazilian (The Hooters) - who co-wrote the song as well as a few others on the album. The band have done ballads in the past, but this is quite different to what has come previously. It is one of the most 'down' sounding tracks in the band's catalogue, and has a sound different to the band's usual style. The addition of the piano throughout adds some depth, and the staccato rhythms that are utilised during the verses - with London and Young locking in for some punchy stabs - creates a strange energy despite the song's overall tempo and mood. A screaming, yet calm solo from Sweet is the icing on the cake; and helps to complete what is a strange yet interesting song.

Reptile was another early single that was released back in January of this year, and it was the song that really made me sit up and take notice of the band again. It is a song that really comes roaring out of the blocks with a fast-paced heavy riff from Sweet, and a chorus that is packed full of energy and high notes from Keyes. There are a few times throughout the album where Keyes unleashes some high-pitched screams, but the chorus of Reptile might contain his best vocals in that regard. He really lets rip here and the subtle harmonies only help him to sound more powerful and strident. I loved the song from first listen back in January, and it is still one of the album's best songs in my opinion - despite some tough competition. To me it says that Crashdïet are always at their best when they toughen things up a little bit, and the balance between heaviness and poppy melodies is perfectly struck. Stop Weirding Me Out, which was co-written by Conny Bloom (Electric Boys; Hanoi Rocks), is an odd tune that is probably my least favourite cut on the album. It is not exactly a bad song, and still contains some good punky energy - especially during the verses - but the chorus is a bit weak in my opinion and lacks the cutting edge found elsewhere. It just sounds a bit tame compared to what has come before, and the silly lyrics do not really help either. Few albums are perfect however, and for Rust to only have one real misstep is certainly nothing to be ashamed of. The album's final track, Filth & Flowers, opens with some acoustic guitar lines; but this lulls the listener into a false sense of security before another meaty riff kicks in which then drives the rest of the piece. The punky attitude is back here in a big way, and the chorus is another moment that is instantly-memorable. Gang vocals are fairly rare throughout this album, with soaring vocal harmonies often the preferred chorus accompaniment, but the shouts here certainly make the listener sit up and take notice. Some bands go for a big closing statement on their albums, but Crashdïet have opted to put one of the simplest and in-your-face tracks at the end of Rust. They tried going big at the end of The Savage Playground, which worked to an extent, but I think the approach taken here is a more effective one. Crashdïet are not a band to write lengthy, complex pieces, so ending the album on a punky shot of energy certainly makes more sense, and Filth & Flowers is sure to ring a few heads before the album finishes playing. Overall, Rust is a great comeback album from Crashdïet and one that proves there is still plenty of space in the world for some good quality Scandinavian sleaze. I feared that the band were over after the departure of Cruz and the long radio silence, but it seems that they are back once again and mean business. I hope that Crashdïet can finally settle down with a line-up for the long-term, and that stability and success is theirs once more.

The album was released on 13th September 2019 via Frontiers Records. Below is the band's promotional video for Rust.

Black Star Riders - Bristol Review

As stalwarts of modern classic rock, it is hard to get more authentic than Black Star Riders. While the majority of the band are American, they are a big part of the British rock scene and have been ever since releasing their debut album All Hell Breaks Loose in 2013. The band were formed out of a desire of Scott Gorham's (guitar/vocals) to write new material for Thin Lizzy, who at the time were regularly touring with frontman Ricky Warwick (vocals/guitar) handling the lead vocal duties, but it was ultimately decided that any new material should be released under a new name out of respect of the late Phil Lynott and his legacy. As much as the prospect of a new Thin Lizzy album at the time was an exciting one, I think the decision to morph into Black Star Riders was wise. As a result, the band's material has always been judged on its own merits and the new identity has allowed Black Star Riders to become a successful band in their own right. While the band's setlists usually contained a handful of Thin Lizzy songs, the main focus was always on the band's original material - something that would just not have been possible had All Hell Breaks Loose and the albums that followed it been released as Thin Lizzy records. Black Star Riders have, however, long stepped out of Thin Lizzy's shadow and are already creating a strong legacy for themselves - particularly here in the UK. Thin Lizzy was one of the great British rock bands, so Black Star Riders as Lizzy's spiritual successor has unsurprisingly been accepted with open arms here. It helps that the band have never skimped when it comes to their UK tours. In an era when many bands will just book shows in London, Manchester, and Birmingham; Black Star Riders regularly attempt to cover as much of the UK as they can. I have managed to see the band each time they have toured a new album, with gigs in Bristol, Exeter, and Birmingham coming in 2013, 2015, and 2017 respectively - with a bonus extra show in 2015 when the band opened for Def Leppard and Whitesnake. In order to keep up with their bi-annual tradition of new releases and touring, 2019 saw the release of the band's fourth album Another State of Grace and, true to form, they announced a lengthy UK tour to support it. The Bristol show made the most sense, as it was the closest, and it was also the first night of the tour. First nights of tours are always interesting as they can sometimes feature different setlists from the shows that follow as bands experiment with song choices and arrangements. It would also mean that I would be among a relative handful of people to hear the new Another State of Grace material live - something which was an exciting prospect.

The show was at the ever-reliable O2 Academy in Bristol, and before Black Star Riders took to the stage at 9:30pm the crowd were treated to two strong support slots. The first was from Wayward Sons, fronted by Toby Jepson (vocals/guitars) of Little Angels fame, who are still a relatively new act on the scene. The band's debut album Ghosts of Yet to Come was released back in 2017, and the band have been playing shows (both headline and various support slots) ever since. I saw the band last year opening for Saxon, but only recently started listening to them properly. As such I was looking forward to seeing the band again, and their seven-song set did not disappoint. With the band's second album The Truth Ain't What It Used To Be being released today actually, the band played a 30 minute set that pulled a handful of tracks from each of their albums, which the growing crowed seemed to enjoy. The mid-paced melodic rock of the new tune Any Other Way got the show underway, and included a strong chorus, before some oldies in Don't Wanna Go and Ghost received strong reactions from the crowd - there were clearly more than a few fans in attendance. The band's first album is a raw slab of old-fashioned hard rock, but the newer songs seemed a bit more varied in tone and style. Any Other Way felt a bit more modern, despite the big chorus, whereas Little White Lies felt a little more stripped back and poppy. Jepson's vocals carried everything well however, and Sam Wood (guitar/vocals) did much of the heavy lifting guitar-wise, often launching into bluesy solos to the delight of the crowd. The new single Joke's On You was probably the highlight of the newer numbers, and was the only song in the set to really highlight the keyboard playing of Dave Kemp who impressed with some strong piano playing throughout the piece. His playing was often buried in the mix elsewhere sadly (as indeed is also the case on the band's first album), which was a shame. Following this there was time for one more and Until the End, which is the standout cut on the band's first album for me, rounded everything of nicely. Jepson and Wood teamed up for the song's big riff, and the band even managed to encourage something of a sing-a-long during the chorus. The set was a strong one, and it helped to really set the tone for the rest of the evening. I am looking forward to hearing more from the band, and I will be playing The Truth Ain't What It Used To Be over the coming days. The setlist was:

Any Other Way
Don't Wanna Go
Ghost
Little White Lies
Small Talk
Joke's On You
Until the End

The second of the two support acts was Stone Broken, a band who's star is really on the rise. I first saw the band in the smaller upstairs room at The Asylum in Birmingham back in 2016 opening for The Treatment, and they have come on in leaps and bounds since then. Last year I saw the band headline the opening day of the Steelhouse Festival in Wales, and since then I have become something of a fan. While the band have too much of an American post-grunge influence for me personally, Stone Broken are no doubt a great band and deserve all of the success and plaudits that they are currently getting. The band's nine-song set here was a perfect showcase of their modern hard rock sound, with many of the tracks coming from 2018's strong Ain't Always Easy. The set opened with Stay All Night however, from the recently re-released All in Time, and the hard rocking piece set the tone for the next 40 or so minutes. Rich Moss (vocals/guitar) has a strong voice, and he led the four-piece through a powerful set that showcased most of their best tunes. Heartbeat Away was an early highlight, with a driving riff from Moss and fellow guitarist Chris Davis, while the big emotional chorus of I Believe certainly showcased the influence that bands like Shinedown have had on Stone Broken's music. It was bassist Kieron Conroy's birthday, so Moss led the crowd through a mid-set celebration of this fact - but on the whole there was little room for chat and the band let their music do the talking. The slightly sleazy Let Me See It All was another strong offering, with Robyn Haycock (drums/vocals) setting the strip club groove perfectly, but perhaps the highlight of the latter portion of the set was Wait for You. It is one of the band's signature pieces, and much of it saw Moss alone on the stage armed only with an acoustic guitar. As was the case with Wayward Sons, there were clearly a lot of Stone Broken fans in attendance, as the crowd really helped Moss out with the song's choruses - and even sung one alone which was great to see a support act managing to make happen. The band joined Moss again for the last chorus, and by this point the band had truly won everyone over. There were two songs left, Worth Fighting For and Not Your Enemy, and both were hard-hitting riffy pieces that whipped up some late set energy that helped carry Stone Broken to the finish line. It was a great set from a band who are really going places, and with a bit more of a push and hopefully a stellar third album I would not be surprised to see Stone Broken headlining Academy-type venues in the future. The setlist was:

Stay All Night
Doesn't Matter
Heartbeat Away
I Believe
Let Me See It All
The Only Thing I Need
Wait for You
Worth Fighting For
Not Your Enemy

It is always good when you have had a great night before the headline act even starts their set, but Black Star Riders were about to take things to the next level. Entering the stage with relatively little fanfare, the five-piece instantly roared into the title track of their latest album, and from this point on the energy never let up. Christian Martucci (guitar/vocals), playing his first show with the band, teamed up perfectly with Gorham for the song's twin-guitar harmonies; with Warwick belting out the folk/punk of the chorus perfectly. The band played straight through, without an encore break, and steamed through eighteen songs with ease. Even Gorham having quite a lot of trouble with his guitars and gear did not seem to phase the band, as the energy of the songs and Warwick sometimes turning up his guitar to compensate kept everything going. All four of the band's albums were featured heavily throughout the set, with a good mix of songs being played. The Killer Instinct and All Hell Breaks Loose were impressive early looks back at the band's past; but an early highlight was the strutting Tonight the Moonlight Let Me Down from the new album, with Gorham ripping into a great solo in place of the saxophone offering on the album version. I have enjoyed all of the previous Black Star Riders shows that I have been to, but this was the best of the bunch. The band's current line-up just oozes energy, with relatively-new drummer Chad Szeliga laying down groove after groove and Martucci really attacking his guitar throughout and harmonising well with Warwick vocally. The older songs seemed to be given a new lease of life, with Hey Judas sounding weightier than usual, and Soldierstown racing past like The Pogues/Thin Lizzy mash-up that it is - with Warwick even commenting afterwards on the pace of the piece. There were quieter moments however, with the delicate Why Do You Love Your Guns? from the new album that saw Warwick armed with his acoustic guitar and some excellent soloing from both Gorham and Martucci, which was then followed up by the gorgeous Blindsided. Blindsided is probably my favourite Black Star Riders ballad, and it was great to hear the song live again. It really showcases Warwick as a singer and lyricist, and Martucci's soaring solo was the perfect compliment to his talents. These two songs made for a nice mid-set change of pace, but the hard rocking energy was soon back in force with the tough riffing of Gorham's Bloodshot and the newer Ain't the End of the World kicking things up to the next gear. The end of the set was approaching at this point, so it was time for the real favourites to be wheeled out. Dancing With the Wrong Girl, one of the best efforts from 2017's Heavy Fire, impressed again with its laid-back grooves, before then anthemic Finest Hour drew a big cheer from the crowd. It was left to two songs from the first album to finish things off however, with the hard rocking folk of Kingdom of the Lost and the band's debut single Bound for Glory really ending thing on a high. These two songs felt like something of a victory lap after the powerful set that had preceded them, and the band took their bows to huge cheers at the end. It was a stunning set, and hopefully the band will take this energy with them throughout the rest of the tour. The setlist was:

Another State of Grace
The Killer Instinct
All Hell Breaks Loose
Testify or Say Goodbye
Tonight the Moonlight Let Me Down
Ticket to Rise
Hey Judas
In the Shadow of the War Machine
Soldierstown
Why Do You Love Your Guns?
Blindsided
Bloodshot
Ain't the End of the World
When the Night Comes In
Dancing With the Wrong Girl
Finest Hour
Kingdom of the Lost
Bound for Glory

After the show the guys from Stone Broken did a signing at the merch desk, so I got my copy of Ain't Always Easy signed which was nice. I also broke and decided to buy a Black Star Riders shirt. I had not planned to, as I have bought a few new shirts recently, but the show was so good that I decided I needed the shirt to go with it! It was a stunning set from the band, and one that made up for missing them last year when I bailed early on the Steelhouse Festival due to the horrendous weather. Interestingly, there was not a Thin Lizzy track in sight during the band's set and, now four albums in, that is how things should be.