Snake Oil & Harmony's 'Hurricane Riders' - Album Review

As anyone who has ever read an article on this blog can probably attest to, I am a hard rock and metal guy. Most of the music I listen to is loud, full of big guitars and drums, and often quite energetic. There are exceptions of course but, on the whole, it is rock and metal music that is often pouring out of my stereo system or my iPod headphones. Therefore, acoustic-based music does not too often cross over into my sphere of understanding - and when it does it is often because rock or metal musicians are somehow involved. I find the 'singer-songwriter' genre, if that is indeed even an appropriate description for the type of music that I am referring to (simple, lyrically-driven songs that are often delivered by earnest solo artists with messages to share), quite dull - but, of course, there are exceptions. I admire a lot of Bruce Springsteen's more acoustic-based work for example, despite preferring hearing the E Street Band at full tilt, and there are lot of acoustic sessions that I have heard over the years from rock bands that I have enjoyed. It is in this mindset that I have approached Hurricane Riders, the debut album from Snake Oil & Harmony. Snake Oil & Harmony is a duo that has been a touring-only entity for a few years now, and is made up of Danny Vaughn (Tyketto) and Dan Reed (Dan Reed Network) - both of whom I am big fans of. While I have been aware of the pair's tours over the past few years, unfortunately I have never been able to make one of their shows. The reviews that I have read have always been excellent however, with the pair performing acoustic versions of Tyketto and Dan Reed Network tracks as well as songs from their respective solo albums and various covers. The shows always sound like relaxing, fun evenings out; but it seems that the pair wanted to take their relationship further and started to write together. Both Vaughn and Reed are busy guys, who are both active with their respective bands alongside their solo commitments, but the chemistry between the two, they thought, seemed too good to go to waste. Despite being big fans of both, Hurricane Riders is my first real exposure to Snake Oil & Harmony. As I mentioned previously I have not had the opportunity to see the pair live yet, and I do not remember ever seeing any footage of the shows online. I approached the album a little apprehensively due to my general aversion to solely acoustic-based music - but I have been enjoying Hurricane Riders a lot over the past month or so. While the songs are largely acoustic-based, the pair have 'bigged up' the production for the album. Keyboards from Reed, bass from Bengt Jonasson, and drums from Robert Ikiz join the pair's guitars and vocals, which help to add depth to the songs, but in truth it is the basic elements of the tracks that shine the strongest. Both Vaughn and Reed are excellent singers, and their voices often meld together perfectly throughout the album's ten songs to really bring their stories to life - and to present something that is often very different from both Tyketto and the Dan Reed Network.

Hurricane Riders covers quite a few different moods throughout its ten songs, but the opening track, The Lines are Open, is a fairly upbeat number that has shades of Tyketto's gentler numbers. A simple drum beat and a jaunty acoustic guitar riff drive the song - while Vaughn takes the lead vocally. While both Vaughn and Reed share the vocals throughout the album, most songs are somewhat dominated by one or the other. This opening track is largely Vaughn's territory, although Reed's smokey harmonies really help to add depth. Both Vaughn and Reed are no strangers to acoustic-based music, with their respective solo careers often being dominated by it, so it is unsurprising that this album feels so natural for both men. Vaughn's voice and use of melody are instantly recognisable, and the way he tackles the song's chorus is really reminiscent of the work he has done throughout his career - with the melodies sounding like a modern Tyketto ballad wrapped up in a slightly jaunty blues shroud. This vibe is cemented towards the end of the piece when Vaughn adds some harmonica lines that fit perfectly and provide a contrast to the catchy vocals. Last Man Standing is a bit more sombre, although Ikiz's drum patterns still keep the song moving. Vaughn takes the lead vocally again, but Reed's gorgeous harmonies should not be understated. Reed has an extremely distinct voice, with a slightly strange tone that is all his own, and he mixes well with Vaughn's country-esque delivery throughout. Big acoustic guitar patterns, with the subtlest of piano beneath, form the basis of the song. This vibe never really changes throughout at all, with both the verses and choruses sticking to largely the same template - with the main difference being the vocal delivery, which gets fuller throughout the catchy choruses. A short, piano-driven instrumental section comes towards the end of the song before the final chorus which allows Reed to shine somewhat as a musician. I think it is easy to forget that he is a genuine multi-instrumentalist who can turn his hand to a great many things - but this album allows him to demonstrate that talent throughout. Aberfan is a Reed-led track, and it is great to hear him in the spotlight after the opening songs focused largely on Vaughn. This is much more of an atmospheric track than the opening two numbers, with swirling keyboard arrangements and some mournful violin lines, courtesy of Elizabeth Prendergast, adding emotion depth. The guitars are still present, but they instead provide more of a rhythmic chug underneath the atmospherics which really helps the song to stand out. Jonasson's bass is also quite prominent, with the occasional low melody cutting through the mix to compliment the violin and stark piano chimes. Vocally, the song is quite downbeat too with Reed's hushed vocals sitting just atop everything else - his smokey delivery perfectly carrying the overall vibe of the song, which is fitting given the sombre subject matter.

Dance in the Heart of the Sun is a bit more upbeat, with a catchy acoustic guitar melody driving much of the track while Vaughn's country-esque vocal delivery fits in with the overall feel-good vibe. Vaughn spent a number of years singing with an Eagles tribute band, and the type of vocal style that he used during those gigs is put to good use here - with Reed's occasional subtle harmonies also contributing to that Eagles-esque sound. While not exactly a high-energy song, there is a real upbeat and hopeful nature found throughout. It is music made to be listened to while relaxing on a warm summer day - with Vaughn's gorgeous vocal melodies and Reed's piano coming together for that sun-drenched country rock feeling. Another Reason sees Reed dominate again. It is interesting that the songs that are more dominated by Reed are much more atmospheric and low key than those which Vaughn takes the lead on. It helps the album to feel dynamic and varied despite the fairly low-key nature of all of the songs here, and allows each man to shine appropriately in their chosen style. Jonasson's bass is once again quite prominent, with his playing providing much more melody than your average rock bass performance. His playing is actually what the song hangs off, with the guitars once again taking on more of a supporting role to atmospherics, Reed's piano, and the bass. It is a relatively dark-sounding song in the context of the album, but it works well and allows a different side of the pair's songwriting to shine. Damned If You Do is filled with subtle lap steel swells from Stephen Barlow, which form an atmospheric backing to what is otherwise an upbeat bit of country rock. Ikiz's drumming keeps the song moving along at a fairly brisk pace, while Vaughn takes the lead vocally alongside his jaunty acoustic guitar chords. Many of the songs on the album are memorable, but on the whole this is an album that takes a few listens to really get the hang of. Damned If You Do was one of the songs that stood out to me on first listen however, with the catchy chorus being one of the album's most instantly-memorable moments. Vaughn and Reed sing it in a call-and-response style that works well; and is a style that is surprisingly not used too often throughout the album. Where the Water Goes is a rare song from the pair that actually sees the vocals more evenly shared out. Most of the songs here seem to largely feature either Vaughn or Reed dominating vocally with the other providing harmonies - but this song sees them sing around half of the song each. Vaughn takes the early parts of the song, while Reed takes over later on - with the pair stepping up to handle the atmospheric murk of the piece perfectly. Dark, bluesy guitar melodies are used throughout to add to the overall atmosphere, while Reed's big piano chords are mixed into the background to provide almost a percussive drive that sits nicely alongside a programmed drum loop.

Cannonball opens with some distant harmonica from Vaughn before Barlow's lap steel comes in and Vaughn starts singing along with his acoustic guitar. The Eagles vibes are extremely strong throughout this song, and I almost feel that I am listening to a long-lost Glenn Frey composition that the pair somehow unearthed. I saw Vaughn with his Eagles tribute band a couple of times live at festivals and he was a great fit, and he has clearly brought some of those musical motifs with him into his songwriting. This song is filled with country rock goodness, with the lap steel swells constantly adding to that vibe - before Vaughn's harmonica solo towards the end adds some mournful notes into what is largely otherwise a fairly upbeat and whimsical number. Save the Day is the last original song on the album, and is another showcase for Reed and his unique way of singing. I am not that familiar with Reed's solo work despite being a big Network fan, so I feel that I need to expand my knowledge of his back catalogue after hearing this album. His more acoustic-based material is extremely relaxing while at the same time being quite deep musically. There always seems to be a fair amount going on within his songs. Even this song, which is more upbeat that many of his efforts on this album, has a lot of depth to it. Bluesy guitar melodies are used throughout to add to the mood, while synths and old-school sounding organs fill every gap with their big, shimming sounds. Despite being more upbeat, with a strong acoustic guitar presence, the song is still filled with Reed's atmospheric trademarks - and it makes for another strong number. The album comes to a close with a rendition of Craig Carothers' Little Hercules which the duo do a fantastic rendition of. It is one of the only true duets on the album, with Vaughn and Reed trading lines during the verses before coming together for the melodic, yet dense, chorus. Much of the album is fairly upbeat, but this track has more in common with the Reed-led songs than Vaughn's. It might seem strange for the album to end on a bit of a low-key note, but I actually think it works really well. I was not familiar with the song before hearing this version, but it has become one of my favourites on the album already. There are no truly weak songs here however, but there is just something about the haunting nature of the melodies that really sticks with me. Being able to make haunting and dense melodies extremely catchy is a hard thing to achieve, so Vaughn and Reed must be congratulated for their arrangement of the track to make it fit well within the style of the overall album and for making it such a strong closing moment. Overall, Hurricane Riders is a really strong collection of songs from two songwriters who I have a lot of respect for. Whether Snake Oil & Harmony is to be a long-term project for the pair remains to be seen, but the two have clearly already struck up a good songwriting partnership and understanding, so I would love to hear more from this duo going forward.

The album was released on 28th February 2020 via Zero One Entertainment. Below is the pair's promotional video for Last Man Standing.

Biff Byford's 'School of Hard Knocks' - Album Review

In my recent piece about Demons & Wizards' latest album III (which I reviewed here), I discussed the purpose of side projects for musicians who are part of long-standing and established bands. Side projects allow musicians to write and record music that is different from that which they would usually be a part of within the confines of their day job, and they also them to collaborate with different people. Solo albums provide a similar function, with many musicians' solo albums sounding quite different from their established sounds as they exercise other influences or moods. I always find it a bit strange when an artist's solo album sounds very similar to their main band. It always seems like a bit of a wasted opportunity in my opinion, and some ways that is how I am approaching this piece about Biff Byford's debut solo album School of Hard Knocks. Byford is, of course, one of the most recognisable British heavy metal frontmen. He has fronted the legendary NWOBHM act Saxon since the band formed in 1977, and is one of the two founding members left in the band's ranks. He has been one of the band's main driving forces throughout their career, acts as one of their main songwriters, and has even produced some of their albums. It could arguably be argued that Byford is Saxon, notwithstanding the huge contributions of the other Saxon members past and present, and his gruff voice and presence is synonymous with their sound and continued success. Saxon are currently 22 studio albums to the good, and have started working on number 23. Their last album, 2018's Thunderbolt (which I reviewed here), is easily one of their best recent releases - which is saying a lot considering the overall quality of their recent work - so I am sure that the band's fanbase are eagerly awaiting album number 23. Those doing that waiting could do a lot worse than to pick up School of Hard Knocks as, largely, it sounds just like Saxon. This is not necessarily a bad thing, as the album contains some strong material, but it does make me wonder what the purpose of the album is. Some of the songs sound so much like Saxon that I often forget that I am not listening to Saxon, and some of the songs are co-written by other members of the band - which makes me wonder if they were written for the band and then never used. There are a few moments that deviate from the Saxon formula, such as during a couple of covers and a couple of other less full-on tracks, but on the whole School of Hard Knocks is business as usual for Byford. Joining Byford here is a core band of guitarist Fredrik Åkesson (Talisman; Krux; Opeth), bassist Gus Macricostas (Battleroar), and drummer Christian Lundqvist - although there are others who occasionally add their talents to the album such as Saxon bassist Nibbs Carter.

The album opens with a couple of songs that are distinctly Byford-penned, although perhaps with a little more a of a classic hard rock sound than the NWOBHM style that has characterised Saxon's output since the late 1970s. Welcome to the Show kicks things off with a slow-burning chiming guitar melody that Lundqvist adds to with his percussive playing - before Byford unleashes a powerful scream and the song gets underway proper. Åkesson's verse playing is very simple, with a Malcolm Young-esque approach to the rhythms, which allows Byford's strong vocal melodies to really stand out. Despite this hard rock approach, the song would still fit nicely on any of Saxon's recent albums. While the Saxon of the 21st Century is a heavier beast, they still occasionally include more old-school sounding tracks on their newer albums. Welcome to the Show is firmly in that vein, with an anthemic classic rock chorus for Byford to really belt out and a lengthy, playful guitar solo from Åkesson. It is a strong opening cut and showcases some of the vibes that are repeated and referenced throughout the rest of the album. The album's title track is similar, although the AC/DC-esque riffing is replaced with something could easily have been found on Saxon's Wheels of Steel or Strong Arm of the Law. Modern production techniques allow Saxon to sound heavier and tougher these days, but it seems as if the intention here was to make some of the songs sound like those old albums - with more of a classic rock sound and less driving heavy metal. Lundqvist's drums still pack a punch however, but Åkesson's guitar tones here have a certain warmth to them, which helps to give the opening couple of a numbers more of an organic sound. Phil Campbell (Persian Risk; Motörhead) contributes the first of the song's two guitar solos, with a screaming, fluid run of notes that segues nicely into an effort from Åkesson that continues with the same, old-school vibe. Three tracks co-written by Åkesson follow, and these songs take the album in a much heavier direction. The first, Inquisition, is a slow-burning spoken-word piece that is filled with gothic atmospherics while Byford recites part of Edgar Allan Poe's The Pit and the Pendulum, which is also the name of the album's next song. Carter and drummer Nicholas Barker (Cradle of Filth; Lock Up; Dimmu Borgir) play on The Pit and the Pendulum and the following track, which makes me think that they were probably recorded separately from the rest of the album. Anyone familiar with Saxon's most recent handful of albums will instantly recognise the style used here, and similarities can be drawn to Nosferatu (The Vampire's Waltz) from Thunderbolt - gothic trappings and all. Barker is much more of an extreme metal drummer than Lundqvist, so the drumming on the tracks he plays on is much more overtly metal than on much of the rest of the album. His driving double bass patterns keep the track moving at a strident pace, while Åkesson's sharp riffs conjure up those modern Saxon vibes perfectly. There is perhaps a bit more light and shade here than is found during an average Saxon song however, with a low-key acoustic section placed part-way through the song to bring the mood down - before the song ramps back up into a lengthy and searing Åkesson guitar solo.

Worlds Collide, the third of this 'Åkesson trilogy', is possibly the heaviest track on the album yet. It has a weighty mid-paced crunch throughout thanks to Åkesson's guitar heft - while Barker lays down a precise and heavy drum pattern. Byford as a vocalist has never really lost any of power. If anything, I think that he continues to sound better as the years roll by, with some additional grit now present in his voice that was not a part of his early performances. This allows him to be a really powerful presence in the songs that he is singing, and he really brings these heavier songs to life with his strident and rallying cry-esque delivery. He is more than capable of competing with the tough-sounding and tight band behind him, and it is perhaps the heavier, mid-paced tracks such as this that really bring the best out of him as a singer. The song does not contain a particularly memorable chorus or any big hooks of that nature, but Byford's attitude and delivery helps to keep the song moving forward and sounding big. There are a couple of covers featured on the album, and the first is a take on Scarborough Fair - tackled by many, although perhaps most famously by Simon & Garfunkel. While not exactly a disaster, it is certainly the album's low point in my opinion. I am not convinced that the world needed another take on the song, but if it did I am not sure that Byford was the man to deliver it. I have just praised Byford's vocal performances, and I will continue to do so generally, but this sort of song is just not made for his voice. Byford's arrangement sticks closely to the traditional folky arrangement of the song, although with a few rockier bits occasionally thrown in, and he is just not a natural folk singer. Songs like this need more of a refined approach, and I think it is fair to say that Byford is more of a rugged and powerful vocalist than one that is particularly melodic or indeed refined. For me the song just does not really work, or fit within the natural flow of the album, and it would have probably been better left on the cutting room floor. Luckily two songs co-written by Carter follow, although strangely he does not actually play on them. I really think that both Pedal to the Metal and Hearts of Steel were intended for a Saxon album at some point but for whatever reason just did not make the cut. Both sound exactly like modern Saxon, and it makes you realise just how important Carter is to the modern Saxon sound. He is clearly a big songwriting influence in the band these days, and the former song in particular is excellent and maybe should have been saved for Saxon. Alex Holzwarth (Sieges Even; Rhapsody of Fire; Serious Black) plays drums on the song, which helps to give it some speed and additional heft, while Åkesson lays down riff after riff to keep the track rolling on. Saxon's music often sounds like a runaway train, and this description can certainly be used to describe Pedal to the Metal. It is an instantly-memorable song with a great shout-along chorus and a meaty energy that comes from both Byford's fantastic vocals and the weight from the riffs.

Hearts of Steel is similar, but it opens with a Judas Priest-esque guitar melody before exploding into another meaty mid-paced riff. Like Pedal to the Metal, the song probably should have been saved for a future Saxon album as it has all the hallmarks of the band present, and is the sort of the song that the fans will be expecting to hear. There is another simple, but powerful, chorus present here; but this track also gives Åkesson a bit more time to shine with a lengthy guitar solo that allows him to show off the neo-classical side of his playing a little. It is another strong track, and one that will hit you on the first listen with its power and attitude. The album's second cover is much more successful than the first, with a strong take on Wishbone Ash's classic track Throw Down the Sword hitting the spot. While the arrangement here sounds almost identical to the original found on 1972's Argus, it comes off as an honest tribute to a band that were probably a big influence on the young Byford. As I have never been the biggest Wishbone Ash fan, I probably all too often belittle their overall influence on rock and metal music. They were one of the first rock bands to employ a twin lead guitar approach however, and their melodic songwriting style that was fused with progressive tendencies make them a band with feet in many camps. Lots of rock and metal bands owe a debt to Wishbone Ash, and it is nice to hear Byford paying tribute to that influence here - with Åkesson seemingly also enjoying the chance to tackle so many tasty and melodic guitar lines throughout. Me and You, co-written by Saxon's Paul Quinn, ironically does not actually sound much like a Saxon song at all - and was maybe written during one of the recent album sessions but discarded for not fitting the band's overall vibe. Dave Kemp (Wayward Sons) contributes keyboards and saxophone throughout the song, which is a fairly jaunty acoustic-based piece that is probably the only true departure from Byford's usual style on the album (apart from maybe Scarborough Fair). It is interesting to hear him sing a song of this nature, but he tackles it well. While his voice was not really suited for Scarborough Fair, he sounds much more natural on this track - with the upbeat nature fitting in with his usual way of singing. Kemp's keyboards add a bit of atmosphere and depth, which stops the track becoming a basic acoustic number, with his jazzy saxophone melodies adding greatly to the closing portion of the song - and hearing Byford duelling with a saxophone is certainly not something that you hear regularly! Black and White brings the album to a close, and it returns to the more classic rock-esque sound of the opening couple of tracks. Åkesson's soaring guitar lead kicks things off, before a low-key verse sees Byford singing atop some simple arpeggios. The contrast when the powerful chorus kicks in is a stark one, with the power ramping up and Byford's gritty voice raising hell one last time. It is not the album's best track, but the dynamic approach works well as a closing number - and Åkesson relishes in taking one more opportunity to shred with a flowing, melodic guitar solo towards the end. Overall, School of Hard Knocks is a strong debut solo album from Byford but it is also one that does not take many risks and ends up sounding a bit like 'more of the same' from him. So many of the songs here could have easily sat on a Saxon album, which makes the album merely a fun listen rather than an essential purchase. Saxon fans will enjoy it for sure, but anyone expecting anything different will be largely disappointed.

The album was released on 21st February 2020 via Silver Lining Music. Below is Byford's promotional video for School of Hard Knocks.

Ozzy Osbourne's 'Ordinary Man' - Album Review

While there are lots of great classic bands that are still regularly putting out new albums, there are plenty of older bands for whom the creative well seems to have run dry. For someone like me who loves many of the classic rock and metal bands still touring, but who also actively seeks out and consumes as much new music as possible, it is a shame that some bands seem content to join the nostalgia circuit - playing the same fifteen songs night after night for crowds largely made up of people who probably could not care less whether that band ever releases anything new. For me, this issue seems to be fuelled from both sides. Some bands seem to be unable to adapt to the ever-changing music industry, with the days of huge advances from record labels and all the pampering that came with that long gone; while large chunks of many fanbases are stuck in the past, content to endlessly relive their youth and the handful of hits that were big during 'their day'. It frustrates me to see a band like Foreigner play almost the exact same setlist for around a decade, despite releasing the fabulous Can't Slow Down in 2009 - which has largely been ignored since it came out. On the one hand I can understand it, but on the other I think it shows a real lack of creativity and gives the impression that some bands really are still touring just for the paycheck. The reason for this lengthy preamble is that, until very recently, Ozzy Osbourne fell into this category. While he released an album with Black Sabbath in 2013 (which I reviewed here), Osbourne's creative streak has certainly been very low over the past couple of decades. Prior to last month, his most-recent solo album came ten years ago. Scream, as the album was eventually released as, was a pretty forgettable album and in truth really summed up Osbourne's solo career since probably 1991's No More Tears. I am not sure that anyone was really expecting a follow-up to Scream given the album's fairly muted reception and the fact that Osbourne's solo setlists are extremely predictable - but last year he announced that he was working on new material with producer and guitarist Andrew Watt (California Breed). A couple of singles dropped in November of last year and it is fair to say that both surpassed my expectations. Given Scream, Black Rain, and some of the other albums that came before, my expectations for Osbourne's new material were low. The singles, however, saw Osbourne sounding energised with the music from Watt and a host of other musicians recalling both his solo career and his time with Black Sabbath. They sounded fresh, so I looked forward to Ordinary Man's February release with something resembling excitement. I have lived with Ordinary Man for around a month now, and I have to say that I think it is, on the whole, a strong album and easily Osbourne's best solo album for a number of years. Vocally, he sounds pretty good throughout and Watt's fuzzy guitar tone and riffs are perfectly-suited to his style. The album's core band of Watt, bassist Duff McKagan (Guns N' Roses; Loaded; Velvet Revolver; Walking Papers), and drummer Chad Smith (Red Hot Chili Peppers; Chickenfoot) have co-written the album's material and have helped Osbourne craft a strong set of songs that, I think it is fair to say, no-one was really expecting.

The album kicks off with one of the early singles, the up-tempo and riffy Straight to Hell. Ordinary Man is a surprisingly diverse album that packs quite a lot into its ten tracks, but Straight to Hell is a back-to-basics slab of old-school sounding metal that recalls Osbourne's tenure with Black Sabbath. I never listened to California Breed's only album, Watt's short-lived band with Glenn Hughes, so I was unfamiliar with his guitar playing prior to hearing these songs. While certainly no Randy Rhoads or Jake E. Lee, Watt's playing throughout Ordinary Man helps to bring the best out of Osbourne's ageing voice. Before Watt's riff kicks in however, a gothic choir sets the tone; but the song really gets going with Watt's bluesy riff and Smith's tight drum groove. Mid-period Black Sabbath vibes are present throughout the track; with Osbourne's voice acting out a call-and-response pattern during the verses with the rest of the band - with a simple chorus containing some strong melodies. Osbourne, of course, does not sound as good as he did in the 1970s or 1980s, but his recognisable howl is still intact. Some awful lyrics aside (I'll make you scream, I'll make you defecate being the absolute nadir), he holds up his end of the bargain throughout the song as the band strut around him. An emotive, yet speedy, guitar solo courtesy of Slash (Guns N' Roses; Slash's Snakepit; Velvet Revolver) helps to add some additional class to the song, and brings Osbourne's first solo track in a decade to a strong close. All My Life is a bit more low-key. McKagan's bass shines throughout the verses, providing some deep, chiming melodies along with Watt's guitars and some shimmering keyboards. The ballad-esque verses allow Osbourne to approach the vocals in a more emotional way, but the sparser instrumentation also starts to reveal the cracks in his ageing voice. The flaws only add to the charm however, and the heavier choruses act as something of a contrast as Smith's drums crash in to beef everything up. Osbourne's howl is still well-suited to heavier numbers, with the dynamic nature of the piece both showing his current strengths and weaknesses. Goodbye, a murky piece, seems to pay tribute to Black Sabbath's Iron Man a little during the intro with a lumbering drum pulse and an effects-heavy spoken word piece. The Sabbath vibes are present throughout the whole song in fact, with Watt's guitars creating an atmospheric backing during the sparse verses; before he launches into a lumbering riff that backs up the hard-hitting chorus. Much of the song is quite slow, using the atmospherics or riffs to create a heavy, brooding vibe; but there are parts of the song that speed up with Smith really laying into his drum kit to drive everything forward while McKagan's punky basslines fatten up the sound. A couple of strange, tortured guitar solos from Watt add further to this strange vibe too, and help to keep the listener on their toes.

The album's title track is a heartfelt ballad, and sees Osbourne duetting with another British music legend. Elton John, who sings some of the song with Osbourne as well as playing the piano, has certainly aged better than Osbourne but his voice is also showing a few cracks these days. The two singers play off each other nicely however, and John's mournful piano lines are the perfect backing for the somewhat autobiographical lyrics. The fact that neither Osbourne or John could ever be described as 'ordinary men' is an irony that the song seems to be somewhat aware of; but it helps the further the poignancy - especially during the sing along chorus. Another guitar solo from Slash only helps the emotional impact of the piece. His playing is full of his trademark bluesy runs and patented searing tone, which cuts through the piano and strings perfectly to further the song's overall cause. Under the Graveyard was the first song released from the album back in November last year and it instantly piqued my interest. I still think it is one of the best things here, and could easily be Osbourne's best individual song for a good number of years. It opens quite slowly, with Watt's furtive clean guitar licks and some simple keyboard tones - which is vibe that continues throughout the verses. There are a few songs on the album that have low-key verses that then explode into a powerful chorus, but in my view this is the best example of that style. The song also features possibly Osbourne's best vocal performance on the album, with a confidence and control that certainly defies his age and past life choices. This is especially evident during the anthemic chorus, based around a powerful Watt riff and some fantastic drumming, which sees the Osbourne from the mid-1970s resurface briefly for some powerful and emotionally-charged vocal lines. Eat Me opens with Osbourne's mournful harmonica, something that I am not sure has been seen since The Wizard on Sabbath's debut album, before an appropriately Sabbath-esque guitar riff kicks off which keeps the song moving at a mid-paced strut from that point on. This is a song that leaves the dynamic arrangements of many of the other tracks behind, and instead adopts a simpler approach that really takes the listener back to the early days of Osbourne's career. An anthemic chorus, complete with some subtle gang vocals, provides a strong hook, while Watt's guitar playing cements itself firmly in the 'heavy blues' territory. Watt's choice to keep the guitar playing throughout the album fairly simple was a wise choice. The simple, but powerful riffs, really allow Osbourne to shine vocally; and he is unlikely to ever be able to competed with Rhoads, Lee, etc. from a technical standpoint. That being said however, his solos are still very enjoyable, with a squealing run of notes here adding to the song's overall bite. Today is the End is a bit more hypnotic overall, but with pop hooks that shine through - particularly during the choruses. This is a track that seems to take Osbourne's love of The Beatles and run with it. The choruses sound like something that they might have written during their more experimental phase, with shimmering melodies and a strong beat that keeps the song moving despite the overall murk of the piece. It does not really sound like anything that Osbourne has done before, showing that his new partnership with Watt has taken his songwriting and mindset in a few new directions.

Scary Little Green Men, in many ways, is classic Osbourne. The vibe here is similar to much of Osbourne's solo work throughout the years, but with a bit of a modern twist thanks to Watt's production. Osbourne's songs have often been filled with humour, and this track is no different with his tale of aliens delivered with a certain amount of wit. The dynamic sound present in many of the album's songs also returns here, with spooky verses mixing well with fast-paced, heavier choruses - featuring some powerful, hard-hitting riffing. Tom Morello (Rage Against the Machine; Audioslave; Prophets of Rage) is also featured throughout the song, contributing some of the song's more strange-sounding guitar parts. He is known for being able to make his guitar make a lot of otherworldly noises and that talent has been put to good use throughout this track - with a strange effects-heavy instrumental break replacing the traditional solo. It is another standout track on the album, and one that shows Osbourne's humour is well and truly still intact. Holy for Tonight is more of a ballad, and features some excellent emotion vocals from Osbourne, with the pop duo Lucius (who have recently been touring with Roger Waters) adding their gorgeous backing and harmony vocals to the mournful track. Musically, the song is quite grand. There is quite a prominent string presence throughout, which helps to add a lot of depth, but it is actually McKagan's bass that adds the most to the track in my opinion. While he does not play on every song here, with Watt covering the bass duties on a few tracks, his muscular playing really bulks out the songs that he does appear on. His 'lead bass' approach here however really drives the entire track, with his low melodies keeping everything moving - as well as working nicely in tandem with the strings. The album comes to an end with It's a Raid, a fast-paced, somewhat punky track that features rapper Post Malone - with Malone clearly returning the favour after Osbourne appeared on his hit Take What You Want (which is also included here as a bonus track). Malone's vocals here take on something of a pop-punk style, which works surprisingly well in the frantic context of the song. There is very little respite here, with the riffing and speedy drums really keeping everything moving while Osbourne spits the lyrics out in a powerful manner. It is a surprisingly strong song, but it does feel quite different to the rest of the album. Much of the album sounds quite retro, despite some modern production techniques present, with It's a Raid certainly sounding more current. The contrast is a bit stark, but it still manages to work - especially as the albums to a chaotic, crashing end with industrial beats and fuzzy guitars building up to an abrupt climax. Overall, Ordinary Man is a surprisingly strong album from Osbourne that sees him sounding refreshed and vital again after a glut of fairly mediocre albums over the past couple of decades. I think this was intended to be his final album, and if that does turn out to be the case then he will have ended on a high, but recent reports suggest he and Watt have already started work on a follow-up piece - so it seems there is more to come from his duo yet.

The album was released on 21st February 2020 via Epic Records. Below is Osbourne's promotional video for Under the Graveyard.

Collateral's 'Collateral' - Album Review

As much as I love following all of the classic rock and heavy metal bands, many of whom are still releasing vital new albums and putting on high-energy live shows, I also like to make the effort to keep up with as many of the newly-formed rock and metal acts as I can. It always amuses me when people, usually the older generation, make sweeping statements along the lines of: 'There is no good music anymore!'; as those of us in the know know just how untrue that statement is. The sad truth is that so many are just unwilling to make the effort to discover new bands. In truth, many of those making the kind of statement quoted probably have not actively listened to a new album since around 1978 - which is a shame as there are plenty of new bands, young and old, who are out there paying tribute to the classic bands while putting their own spin on the sound. Such is the glut of new bands, that certain portions of the rock press are referring to the current scene as the 'New Wave of Classic Rock' (NWOCR) - a name that pays tribute to the old NWOBHM movement and acknowledges that old-school rock music is making something of a comeback. While, in my view, the semi-official NWOCR movement often promotes and gets excited about some of the more average new rock bands that are cropping up over the country; one of the bands that is starting to receive some traction is a four-piece from Kent called Collateral. Collateral formed around five years ago as the Angelo Tristan Band (after the band's frontman) but have since morphed into Collateral with guitarist Todd Winger, bassist Jack Bentley-Smith, and drummer Ben Atkinson joining Tristan in the band's ranks. The band have been touring around under both names for a while now, but made their recording debut in 2018 with the release of their EP 4 Shots!. A strong collection of melodic, pop rock songs, 4 Shots! certainly helped to introduce Collateral to the world. Two years later however, and the band have arguably launched themselves proper - as their self-titled debut album was released last month. In my opinion, Collateral is a big step up from the material found on 4 Shots!. The songs are much catchier, the melodies are stronger, and the production is much more lush. It is clear that Collateral is a band that are still learning their trade, but Collateral is a great statement of intent from this young group. Soundwise, Collateral's style is a bit of a cross between early Bon Jovi, Richard Marx, and the Eagles. The overriding influence here is 1980s pop rock, but there is certainly a chunk of both AOR and country rock to be found throughout the album's nine songs.

One thing that is instantly clear during a listen to this album is just how lean it is. So many newer albums are bloated to the point of harm, with bands seeming to want to fill up a CD just because they can. Collateral seem to know the value of fat-trimming however, as none of the album's nine songs overstay their welcome - which really helps the overall flow. Nearly any of the songs here could have been released as a single, but the album opens with one of them - the hard-rocking Mr Big Shot. While Collateral are a hard rock act, they are rarely particularly heavy. Mr Big Shot is one of the album's somewhat tougher offerings, but the melodies are still particularly strong with an anthemic chorus providing something of a highlight. Winger's muscular, yet simple, guitar riff drives the opening portion of the track; but the verses on the whole are bass-led with some slightly funky playing from Bentley-Smith. At first this stripped back approach seems strange, especially early on in the album, but it actually works well - and it really helps the big choruses to stand out. Unsurprisingly for a band so clearly influenced by 1980s rock, the choruses are pretty poppy and filled with big harmony vocals. Mr Big Shot's is no different, with Tristan showcasing his knack for a catchy vocal melody while Winger occasionally lays down a bluesy lead guitar run. Promiseland is a little darker in tone, although this darkness is only really a relative concept. There are still plenty of big melodies to be found here, but there is a bit of a murk to the verses which feature some more atmospheric guitar patterns. Tristan tackles the song with a bit more grit in comparison to his usual delivery, which helps to give the track a somewhat heavier overall feel. Despite these points, the song is still very much faithful to the sound the album permeates. There are lots of catchy vocal melodies to sing along to, particularly during the Slang-era Def Leppard-esque chorus, and Winger lays down a melodic, shredded solo part of the way through. Merry Go Round is based around a slightly beefy bluesy guitar riff from Winger, but Tristan adds depth throughout with his acoustic guitar chords. Quite a few of the songs on the album are enhanced by Tristan's acoustic antics, with his playing helping to give those songs something of an edge. The production style chosen for the album is quite simple, which means the acoustic additions really stand out. The album is not layered with keyboards or effects for example, while allows the band's core sound to shine - with the only more 'over the top' elements being the period-appropriate harmony vocals. These harmonies are put to good use throughout this track, with the melodic chorus really benefiting from their enhancement - pushing Tristan's catchy melodies right to the fore.

In It For Love is one of my favourite tracks on the album, and is also one of the few to feature a bit of a larger production - with some 1980s-style synths used throughout to deepen the sound. From Tristan's high-pitched scream at the beginning of the song, the track just oozes classic 1980s AOR - and the melodies throughout only reinforce this feeling. The verses are quite low key, with another strong Bentley-Smith bass presence, but the choruses really explode with lush harmony vocals and more sultry melodies from Tristan. It is probably the catchiest chorus on the album, and the big sound aided by the keyboards really help it to stand out among the many other catchy moments on the album. Winger's melodic guitar solo helps to pin everything together, and also helps to become one of the best melodic rock tracks of 2020 yet! Lullaby is a bit heavier, with Atkinson even employing some double bass drumming on occasion - but this toughness works really well, and provides a bit of a contrast to the sugary previous song. I get the impression that Collateral have not yet quite worked out which style is best-suited to them, with their debut album trying out a few different vibes. They all work well, but I imagine that over time the band will hone their sound and settle on the type of rock that they want to provide. Lullaby is a bit of an outlier in that regard as it certainly the toughest thing here - although there are still plenty of strong melodies, and another decent chorus with some catchy wordless vocals. Midnight Queen, re-purposed from the 4 Shots! EP, showcases a bit of a country rock sound with an acoustic-heavy chorus and an overall more laid back vibe. The band's love of Bon Jovi certainly shines through here, and it represents the sort of care-free laid back rocker that seems to have been eluding Jon Bon Jovi for the past decade or so. The prominent acoustic guitars may put off some of the more 'serious' rockers, but the melodies here are certainly irresistible. It is hard to hear the song and not instantly want to sing it, as the chorus in particular is very strong. Winger helps to reinforce the song's rock credentials too with plenty of strong bursts of lead guitar. The bluesy explosions during the verses add colour, and there is another strong solo part of the way through that is a flurry of notes to break up the somewhat laid back vibe created elsewhere.

Get Back to You is the album's longest song and the only song here to breach the five minutes mark. All good melodic rock albums need a power ballad, and Get Back to You is Collateral's offering in that regard. Tristan drives the song with his acoustic guitar and husky vocals, while some subtle keyboards and strings add depth. As with many ballads, the verses are very gentle with everything really ramping up towards a big chorus. Atkinson's drums really crash through the mix to drive the big choruses - his hard-hitting style providing a contrast to the more acoustic-based verses - while Tristan belts the slightly cliché lyrics out with real earnest. It would not be a true power ballad without a little earnestness, so I think we can forgive Collateral if the song is a little trope-heavy. A slow-burning Winger guitar solo is the icing on the cake too - with his bluesy style fitting perfectly into the overall feeling of the song. Won't Stop Me Dreaming is similar to In It For Love, with a strong up-beat 1980s AOR vibe and a catchy chorus that even makes use of some subtle gang vocals throughout. It is not quite as successful as the earlier song however in my opinion, but still does enough to stand out on its own terms. The length of the album really gives each song a chance to shine. The focus on big melodies also helps, as it means that each chorus really jumps out of the speakers and into the brain. While elements of this song might not be as strong as some of the other offerings here, the chorus is still catchy - and the upbeat energy really helps the track to hold its own on the album. About This Boy, the album's closing track, is another country-based track that has something of an Eagles vibe with lots of acoustic guitars, occasional bursts of bluesy slide and piano, and a great storytelling lyric - that again is a little cliché but it works well. Sometimes things are cliché because they work well, and Collateral have the look and overall sound to make these kind of wistful songs work nicely. I imagine that Tristan cut his teeth doing loads of solo acoustic shows up and down the country and this is the sort of song that I imagine came out of those treks. It is based around his voice and acoustic guitar, with the rest of the band really supporting his vision here - with the slide guitar melodies in particular being a great touch. It is a good way to close out the album too, with a bit of storytelling and a whimsical attitude that acts in contrast to the tougher riffing and more anthemic choruses that filled the album's earlier songs. Overall, Collateral is a really strong debut album from this Kent-based four-piece that shows that they have the talent to go a long way. I think that over time the band will hone their sound further and decide exactly what sort of rock band that they want to be - and they are a band that I will be following closely over the years to come.

The album was released on 21st February 2020 via Roulette Media Records. Below is the band's promotional video for Mr Big Shot.

Demons & Wizards' 'III' - Album Review

Side projects are often interesting concepts as they allow musicians to collaborate with other musicians who they may not often work with, as well as try out some different musical paths and ideas. Often side projects end up being very different from a musician's main band, as they can offer some additional creative freedom that might not be available within the confines of the day job. Sometimes however, side projects end up being something of a 'meeting of minds' and become almost the perfect meshing of two or more band's distinct styles. Demons & Wizards is one of those projects, with the music on the band's three studio albums being a perfect mix of the galloping, hard-hitting melodic thrash of Iced Earth and the grand, progressive symphonies of Blind Guardian. Demons & Wizards was formed in the late 1990s by guitarist Jon Schaffer and singer Hansi Kürsch, who had struck up a friendship after Iced Earth and Blind Guardian toured together a handful of times throughout the decade. The result of this friendship was the pair's self-titled debut Demons & Wizards in 1999 that perfectly melded Iced Earth and Blind Guardian's distinct styles together - creating a sound that was fast-paced and heavy, as well as full of epic scope and soaring melodies. Perhaps on paper that collaboration should not have been as successful as it was, but Demons & Wizards certainly caught lightning in a bottle. Schaffer and Kürsch have remained friends throughout the years but, due to the demands of their main bands, Demons & Wizards has often been dormant. 2005 saw the release of the pair's second album Touched by the Crimson King, as well as a handful of live shows to support it, but since that album's release the band has essentially been on ice. Both Schaffer and Kürsch have said numerous times over the years that they would like to return to Demons & Wizards, but the demanding touring schedules of Iced Earth and Blind Guardian have been keeping both extremely busy. Last year however, the pair decided to finally place Demons & Wizards back in the spotlight and put together a fairly lengthy tour that took in many festivals as well as European and American headline shows. This was the first proper tour of the band's history, and as a result it was a big draw in the metal world. With excitement once again surrounding the band, it seemed wise to capitalise on this with a new album - and this is just what Schaffer and Kürsch did by releasing the appropriately-titled III last month. III is the pair's first album together in fifteen years, but it picks up where Touched by the Crimson King left off. While I am not sure that the pair will ever top their masterful debut album, III is another strong entry into both of their respective canons and is an album that needs a good number of listens to fully appreciate. As with the band's previous albums, Schaffer has handled most of the album's guitar and bass parts, as well as the keyboards, with Kürsch providing the lyrics and melodies. A few guests appear throughout the album, most notably Brent Smedley (Iced Earth) behind the drum kit, who all help to expand on and bring Schaffer and Kürsch's creations to life.

The album opens up with the lengthy lead single Diabolic, a brooding, gothic track that takes the theatrical element of Blind Guardian and melds it with Schaffer's patented razor blade riffing. The song is very atmospheric, with keyboards and gothic choirs creating a dense backdrop, and the opening sombre guitar line is extremely effective at setting the scene. This is a song that is somewhat of a slow burner, opening in a deliberate manner with Smedley's drums slowly joining the fray - before Schaffer launches into a heavy, lumbering Black Sabbath-esque riff. The song really gets going when it speeds up however, with another strong riff heralding this change, as a fast-paced verse introduces Kürsch. Kürsch's voice sounds as good as ever throughout this album, and he attacks the verses here with an aggressive bent to his voice - before introducing his more traditional melodic approach to the song's chorus, which incidentally pays tribute to Heaven Denies from the first album. There are quite a few progressive flourishes throughout the track, with Schaffer never too far away from launching into a new off-kilter riff and the overall oppressive atmosphere. The song's slow-paced outro really doubles down on this atmosphere too. Kürsch delivers some haunting vocal lines, while Schaffer's regular collaborater Ruben Drake adds some doomy fretless bass melodies to bring the epic track to a close. Invincible is more of a typical length track, although it does rein in the heaviness somewhat - instead relying on a floaty groove and a majestic vocal performance. The song sounds more like a deep Blind Guardian album cut than a true Demons & Wizards track. Schaffer's distinctive riffing style is largely absent here, with the guitarist instead laying down big chords to create something of a wall of sound for Kürsch to sing over. This is definitely a song that is intended to showcase Kürsch's vocal talents, with his grand vocal melodies and the choir that backs him up all sounding huge cutting through the relatively simple musical backing. Those missing Schaffer's chug during the previous number will love Wolves in Winter, a heavier track with some of Iced Earth's thrashier tendencies present. While the riffs here are not particularly interesting, the ever-present chug is infectious. The song never really moves beyond a mid-paced speed, but the perfectly interlocked guitars and drums - something which Schaffer and Smedley have perfected over many years of working together - create a heavy, syncopated feeling. It is one of the more instant tracks on the album, so it is unsurprising that it was also released as a single. There are plenty of hooks to latch onto here, with Kürsch delivering another big, memorable chorus, and there is a speedy guitar solo courtesy of Jake Dreyer (White Wizzard; Witherfall; Iced Earth). With many of the tracks here being quite lengthy, Final Warning is quite a snappy little number at under four minutes in length. It is quite similar to Invincible in that it seems to be much more of a vocally-focused song. One thing that is apparent when listening to this album is that it seems as if Schaffer wanted to try something a bit different in regards to his approach to the album's riffs. There are not as many big guitar riffs as you might expect, with many of the songs being based around relatively simple guitar patterns - with the epic atmospherics and layers of vocal harmonies providing many of the main musical hooks. Final Warning seems to come and go without ever really making an impact - although the chorus melodies, as one would expect from Kürsch, are still pretty memorable.

Timeless Spirit, another lengthy track, opens with gentle acoustic guitar chords that Kürsch sings over in his usual dramatic fashion. There are few singers who can create such drama with their voice, and the layers of vocal harmonies, even over the song's acoustic portions, help to create a massive sound - which makes the song sound so much more grand than your average acoustic number. The song is not acoustic-based for its entire nine-plus minute run time however, with heavier moments occasionally breaking through the mix to help shake things up. Bluesy guitar leads often add some additional melody, especially during the latter portions of the song. Both Dreyer and producer Jim Morris add some additional lead guitar parts throughout the song, but in truth this is a song that relies on contrast and drama to make its impact. The fact that the much of the song is largely acoustic-based helps the heavier sections, which act as the song's choruses, to hit much harder. These heavier sections are quite slow, with Smedley's very deliberate beats leading the way, but they allow Kürsch to try out a number of different vocal styles - including some rasping screams that border on harsh vocals at times. Dark Side of Her Majesty reminds me of an old-school Demons & Wizards track, and recalls the more mid-paced, majestic (pun intended) tracks found on the band's debut album. Schaffer's distinctive galloping rhythms drive the song throughout, while gothic choirs add plenty of depth and contrast well with Kürsch's slightly more aggressive vocal approach. The verses here are packed with a lot of crunch, with Schaffer and Smedley locking together perfectly again, while the choruses are full of Blind Guardian-esque folky melodies that are turned up to eleven to fit in with the song's overall grandness. This is another track that hits pretty instantly. Many of the songs on the album need a few listens to properly appreciate, but there are a handful - including Dark Side of Her Majesty - which reveal all early on and impress with their simpler arrangements and hooks. Arguably the simplest arrangement here however is Midas Disease. Schaffer has dedicated the song to the late Malcolm Young, but in truth the song sounds more like W.A.S.P. than AC/DC with Kürsch sounding a little like Blackie Lawless at times throughout. Either way, the song certainly has a strong old-school hard rock vibe and, as a result, many of the power metal elements of the band's sound are pushed into the background somewhat. The big vocal harmonies and hooks remain however, but instead sit atop some guitar parts which sound very uncharacteristically organic for Schaffer. Even Morris' guitar solo is much more blues-based than usual, which further reinforces the strong old-school vibe that the track has going for it. New Dawn returns to the album's more typical sound, although with a slight twist. The gothic atmospherics are back, but there are quite a few little twists and turns here that make the song stand out. The guitar patterns, especially during the quieter sections, are quite jazzy which encourages Kürsch to take a different approach vocally. It means that some of the melodies here are quite different to the norm - but they are still delivered in a way that fits in with the album's overall tone. Kürsch has always been a theatrical singer, and this is a song that is perfectly suited for that approach - with his inner Freddie Mercury coming out every so often as he flexes his vocal chords in a number of impressive ways.

While III does not really have a true ballad, Universal Truth probably the closest thing to one here. There are still plenty of  energetic, mid-paced moments to be found, but there are also much more melancholic portions that feature Schaffer's classic clean arpeggios ringing out of the speakers. His clean playing is always so instantly recognisable, with his style having been so well defined over the years. In my eyes, he is easily one of the best rhythm guitarists in all of metal - and part of what makes him so good is his ability to create atmospheric and emotionally-charged clean melodies. This song opens out with a lengthy clean section; but even the heavier sections never stray into full-on metal territory. The atmospherics are ever present here, while Kürsch adopts a much fresher-sounding vocal approach that fits in nicely with the relatively light tone. Split features a great Schaffer riff that drives everything, and instantly ramps the heaviness back up again after the somewhat lighter touch of Universal Truth. It is a bit of shame that there are not as many big riffs on the album as you might expect, but when one does kick it in ensures the song is instantly memorable. This song is packed full of riffs, with a new one never too far away - which gives the song a dynamic feel and it is one that really takes the listener on a journey. The song also acts as a bit of a showcase for Smedley, who puts in a real shift behind the drum kit. He has perhaps been the unsung hero of Iced Earth for a good number of years now, and some of his playing on this album is an exemplary display of modern metal drumming. His understanding with Schaffer makes the two such a great pairing, and there are plenty of riffs here that sound all that much better because of Smedley's precise double bass drumming matching up perfectly with the note changes. Given the faster pace of the song, Dreyer's skills are once again employed and he lays down a couple of shredded solos throughout the track that only add to the frantic nature of the piece. The album's closing number, the ten-minute plus Children of Cain, is a song that seemingly brings together many of the ideas and vibes showcased throughout the previous ten songs. Given the song's length, it is unsurprising that it builds up gradually over time - with the opening sections being fairly low key with acoustic guitars and some more of Schaffer's patented clean guitar melodies. These opening moments are still quite theatrical however, with Kürsch putting on a great vocal display, but it is my opinion that the song improves as it moves along and the heavier sections kick in. It is never a really heavy song however, and in fact at times it reminds me quite a lot of Iced Earth's A Question of Heaven - with a similar approach in terms of atmosphere and structure. Even the heavier sections have something of an emotion pull, and are a bit more low key - especially in comparison to a track like Split. This helps the song to sound much more 'epic' however, which is fitting considering that it closes out the album. It ensures that the album ends on a melodic high, and is a song that showcases both the progressive tendencies of Schaffer and Kürsch. Overall, III is a strong release from Demons & Wizards that continues the good work established on their first two releases. While the album is perhaps not as heavy as some may have hoped for, I like that it shows Schaffer and Kürsch trying out a few new ideas and taking their collaboration in new directions - while still staying true to their respective core styles and what has made Demons & Wizards a successful band in the past.

The album was released on 21st February 2020 via Century Media Records. Below is the band's promotional video for Wolves in Winter.

Anathema - London Review

2010's We're Here Because We're Here, Anathema's eighth studio album, was arguably the moment when the current era of the band began. It was the band's first album in seven years, and marked the end of a period of internal strife and fallings-out with a collection of songs that certainly made their mark and put the band back on the map. It was also the start of a period of more commercial success for the Liverpool-based musical chameleons, and one that saw the band finally shed all semblance of their early metal influences - which in truth the band had been slowly moving away from since the mid-1990s. We're Here Because We're Here firmly entrenched Anathema as one of the modern go-to British progressive rock acts, a position that they still hold today and have only further secured with their most-recent three studio albums - some of which surpass the glory of We're Here Because We're Here in my opinion. Regardless of the superior quality of some of the band's more recent albums, there is no denying that We're Here Because We're Here is an extremely important album for Anathema - both creatively and in terms of cementing their current sound. The band's renaissance grew from We're Here Because We're Here's success, and it is held in high regard by critics and fans alike for a reason. It is, therefore, unsurprising that this year, the album's tenth anniversary, saw the band looking back at one of their most defining works and celebrating its legacy. 'Classic album' tours are popular at the moment in the rock and metal world, so a tenth anniversary celebration of We're Here Because We're Here seemed right on trend - and a chance for the band to look back and reflect, something that they do not often allow themselves to do. With a new album in the works, and presumably a lengthy touring cycle to follow its release, the We're Here Because We're Here anniversary tour was not the longest in the band's history but it made sure to cover their main European fanbases - and, in the UK's case, take in some special venues. The show I opted to attend was in London, at the world-famous Palladium - a new venue for me. The Palladium is not a regular stop-off for rock and metal acts, so it was great to finally get the opportunity to visit the legendary venue; a place that has seen so many of the world's greatest entertainers grace its stage. Unsurprisingly, this was also Anathema's first visit to the venue as performers and it was great to see the band in a venue fitting the scale of their music. All too often the band find themselves crammed onto tiny club stages, so seeing them in a theatre with excellent acoustics and a large stage was certainly a treat. This was clearly a thought shared by many, as the venue looked to be almost sold out. There were a few empty seats dotted around, but the place was packed - which helped to create a strong atmosphere throughout the evening.

There were two support acts scheduled to play for the crowd before Anathema took to the stage, with the first being a largely-acoustic set from Paul Masvidal. Masvidal, who is known to metal fans as a member of both Death and Cynic, is a musician who has tackled many different styles of music throughout his career - with his recent solo work seemingly among the most laid back and 'straightforward' of his canon. Far removed from the technical death metal of Death or the jazz-fusion of Cynic, Masvidal's set was very atmospheric. He was armed with only his acoustic guitar, with the exception of the opening moments where he coaxed some spacey sounds out of an electric guitar, with some gentle keyboards and sound effects being played through the PA to back him up. While I have a great amount of respect for Masvidal as a musician, as some of the Death and Cynic material that I have heard previously is hugely impressive, his solo work is actually quite dull - and very far removed from his usual jazzy style. The songs were pleasant enough, but after a while they really all started to roll into one. The style employed throughout was very similar from song to song, and it would have been nice if there had been a bit more variety in the set. All in all, Masvidal's set was, for me at least, a bit of a lacklustre showing that did little to showcase the impressive musician that he is. I felt that the crowd's reaction throughout was somewhat muted too, so I would not be surprised if more than a few of those in attendance shared my view.

The Norwegian five-piece Rendezvous Point fared better however, with the progressive metal act impressing throughout their fairly short set. Not the heaviest of metal bands, Rendezvous Point also employed plenty of atmospheric elements - but with the added dry riffing of Petter Hallaråker (guitar/vocals) and the kinetic drumming of Baard Kolstad. There were elements of djent and tech metal in the band's sound, which is not a genre of music that I have ever really liked, but there were plenty of big melodies to be found within their songs to keep things interesting. While the band ground away and whipped up an angular, atmospheric storm, frontman Geirmund Hansen displayed his really impressive voice - with plenty of soaring melodies coming from him throughout the band's set. I listen to quite a lot of prog metal, but I often skip over the more 'modern' sounding bands. While I appreciate what bands like Haken, Riverside, and Leprous (who also, incidentally, feature Kolstad) bring to the table, I often find their dry production style and angular riffing hard to get into. While Rendezvous Point certainly had elements of those styles, and at times that influence was extremely prevalent, the melodies throughout were excellent. I think that this was, in part, due to Hansen's vocal presence as he employed a much more 'old school' approach to metal vocals as opposed to the approaches taken by some of the band's name-checked above. His voice helped to bridge the gap between the old and new in terms of prog metal, with the occasional burst of shredding lead guitar from Hallaråker also having the same effect. There was a lot to like about Rendezvous Point, and I think that they are a band that I will be checking out in more detail going forward despite my general dislike for the angular end of the prog metal spectrum.

Once the stage had been cleared of the support acts' gear, the lights went down once more and some atmospheric music filled the venue. The modern Anathema sound is characterised by atmospherics, so the choice was appropriate, but this floaty vibe was dispelled not long into the opening number Thin Air. The band made the decision to play We're Here Because We're Here first, respecting the album's original running order, with a selection of other material filling the evening's second portion. As Daniel Cavanagh's (guitar/keyboards/vocals) chiming guitar melody filled the venue, the Palladium erupted, and the atmosphere only improved as the song ramped up couple of minutes in as the song took on a more muscular tone with Vincent Cavanagh's (vocals/guitar/keyboards/percussion) tougher guitar rhythms. It was the perfect opening track, and it really set the tone for what was to follow. While Thin Air, and a couple of the album's other numbers, are set list regulars many of the songs from We're Here Because We're Here have not been played live by the band regularly for a while. The more rocking Summernight Horizon was one such song, with current touring bassist Charlie Cawood creating the song's strong groove, as was a beautiful rendition of Angels Walk Among Us - which has always been a favourite of mine. The latter was one of the highlights of the early portion of the night, with Vincent and Lee Douglas (vocals) teaming up perfectly for the ethereal vocal harmonies while the atmospherics swirled around the venue. It flowed into its companion piece Presence with ease too, with the album's spoken word section washing over the audience while Douglas sang the simple vocal refrains. More well-known tracks such as Dreaming Light and A Simple Mistake also hit the spot however, with the former in particular being a highlight with the bleak, yet melodic, vocal approach really tugging at the emotions - with Vincent proving why he is one of the most underrated British rock vocalists of all time. Another highlight, surprisingly, was the industrial-tinged Get Off, Get Out. It was during his introduction of the song that Daniel finally acknowledged the band's founding drummer, who's role seems to have largely been relegated to percussion in recent years, John Douglas' absence and explained that he was unable to participate in this tour (which I had been musing over the beginning of the show when only five people took to the stage). It was a shame that he could not have been present to participate in a rare live outing of one his compositions, but the track went down well with its strong grooves and cold synths - courtesy of Vincent behind his stack of keyboards. An epic take on Universal, with a soaring guitar solo from Daniel, and a rare outing for the post-rock instrumental Hindsight brought We're Here Because We're Here to a close, and the band rightly received a standing ovation from the large Palladium crowd as the final song's last notes chimed away.

I had thought that the band might take a short intermission after the album portion of the night, but they decided just to play straight through - with the second half of the evening filled with songs from their other recent albums. With the first half of the night filled with some lesser-played numbers, the rest of the show was largely packed full of setlist staples and fan favourites, with each song receiving a strong reaction from the crowd. The upbeat Can't Let Go, driven by a simple beat from Daniel Cardoso (drums), kicked off the second half; but it was perhaps the more epic Springfield and Closer than really got everyone going. Springfield, as always, was extremely atmospheric with its sparse vocal arrangement and rolling piano melodies; while Closer was the set's heaviest and most experimental moment with Vincent's sprawling keyboards and effects-drenched vocals, while Daniel laid into his guitar for some of the most metal riffs of the night. The song was a lengthy number, and received another standing ovation, but there was still more to come and the bar was arguably raised further by the closing four numbers. Distant Satellites has really become a favourite of mine over the past couple of years, and it contains one of Vincent's best vocal performances in my opinion. He sung the song from behind his keyboards with his usual fragile approach, with Douglas adding delicate harmonies as the electronics and synths swirled around. The percussive ending, with Vincent banging on a floor tom while Cardoso gave his drum kit a work out, is always a pleasure to hear live and the beats really reverberated around the Palladium perfectly - with the venue's crystal clear sound really helping to bring the band's songs to life. A Natural Disaster has always been a showcase for Douglas as a vocalist, and the soaring ballad was yet another highlight. She is certainly the band's secret weapon, and it is her understated vocal harmonies and presence that helps to elevate the band to the next level in my opinion. Incidentally, We're Here Because We're Here was the first Anathema album to feature her as an official member of the band, so it was fitting that she got plenty of opportunities to celebrate her decade in the band throughout the evening - with A Natural Disaster being her crowning glory. It was only bested in my opinion by the Untouchable pair of songs, which have long been my favourite Anathema material, which brought the set to a close. Everyone in attendance was on their feet by this point, with the crowd's singing drowning out the band at times. They are a pair of songs that I will never tire of hearing, with Vincent and Douglas once again teaming up perfectly for the duet-style vocals and gorgeous harmonies. The band left the stage briefly after the songs' conclusion, but returned for one more - a version of Hans Zimmer's Day One from the Interstellar soundtrack which may be included on their upcoming album. The spacey instrumental was a great way to end the show, as there was no way Vincent and Douglas were going to top their Untouchable vocal performances, and it brought the evening to a gentle close as some poignant space images flashed up on the screen behind the band as the piano notes filled the venue. The setlist was:

Thin Air
Summernight Horizon
Dreaming Light
Everything
Angels Walk Among Us
Presence
A Simple Mistake
Get Off, Get Out
Universal
Hindsight
Can't Let Go
The Lost Song - Part 3
Springfield
Closer
Distant Satellites
A Natural Disaster
Untouchable - Part 1
Untouchable - Part 2
-
Day One [Hans Zimmer cover]

The band took their bows to huge cheers, and they seemed a little overawed by the occasion. They clearly enjoyed their debut at the Palladium, something that they mentioned regularly throughout the evening, and I think they really appreciated that their fans came out in such numbers to make it possible. It was a great way to celebrate the tenth anniversary of We're Here Because We're Here, and I am looking forward to their next album which, in theory, will be released later in the year.

Grand Magus - Bristol Review

When it comes to good old-fashioned heavy metal, there are few stronger modern exponents of the genre than Sweden's Grand Magus. While the three-piece's early work is somewhat doomy, much of their material is a throwback to the 1970s and 1980s - a time when traditional heavy metal was king and the impact of the NWOBHM was still being felt. This sound, intertwined with stories of their homeland and mythology, is what makes Grand Magus an enjoyable band to listen to, and is why they have a loyal legion of fans - particularly here in Europe. Grand Magus have also always made a considerable effort here in the UK. Many of the band's influences are from the UK, and therefore they have always seemed determined to 'make it' over here. With many of their peers happy to include a one-off London show as part of a wider European tour, and leave it at that, Grand Magus have always included a proper UK tour in their schedule - something which is certainly appreciated by their UK fans. The band are not huge over here, but have enough pulling power to schedule dates in a number of small UK venues in one go - and this perseverance with the UK market has clearly reaped rewards. The band are always welcomed with open arms when they return to the UK, and each recent album touring cycle has seen the band successfully trek around the UK entertaining their fans. The band's current European tour, which kicked off in Bristol last night, is in support of their ninth studio album Wolf God which was released last year. Wolf God is a strong album, and one that saw the band incorporate some of their doomy influences into their sound once again. It is probably the band's heaviest album since 2008's Iron Will, with the band regaining some of their early heft after focusing on a more melodic and 'epic' sound in recent years. Grand Magus excel at either style, and Wolf God is likely already a firm favourite among the band's fans. While I have been a Grand Magus fan for a good number of years now, they are not a band that I listen to all that often. I caught the band on the Triumph and Power tour in 2014, but did not see them on the tour that followed 2016's Sword Songs. I listened to Wolf God quite a bit last year however, and meant to catch the band at Bloodstock Open Air but was too tired following a full-on day that culminated in an excellent set from Sabaton to properly appreciate their late-night second stage closing slot. Not long after Bloodstock however, their UK tour was announced and a kick off date in Bristol was too good an opportunity to miss. I always enjoy going to a gig in Bristol as it makes a change from long trips up to London or Birmingham - and the city is home to some excellent venues. Grand Magus' venue of choice was The Fleece, a venue I have been to a handful of times over the years and one that is somewhat familiar to the band.

Joining Grand Magus on this trek were the fellow Swedish metal act Wolf - and band who I briefly saw at Bloodstock in 2015 but was not sufficiently enchanted by their set to stick around for long. I was keen to check them out properly this time however, as I have always thought that Wolf are a band that I would probably quite like if I gave them a proper chance. The four-piece hit the stage about half an hour after the venue opened, and played for around 45 minutes to a good-sized and fairly vocal crowd - some of whom were clearly Wolf fans already. Niklas Stålvind (vocals/guitar) is the only original member of the band left, but he led the current incarnation of Wolf through a strong selection of fast-paced old-school metal numbers that featured a lot of excellent twin guitar work from him and Simon Johansson (guitar/vocals), as well as a few anthemic choruses. With a new album Feeding the Machine due out in a couple of weeks, the band took the opportunity to debut some of the new material - with the single Midnight Hour and the slower, more epic The Raven standing out. Wolf are another band who tour the UK fairly regularly, so there were many in the crowd who probably were more than familiar with the band and their back catalogue. This certainly helped a strong atmosphere to be created from the off and towards the end, when some older numbers where wheeled out, there was a bit of crowd interaction which helped everyone get warmed up for Grand Magus' set. For me however, it was actually the newer material that impressed the most. Shark Attack, from the band's last album, was the only track that I really knew - but the four brand new songs that were played all impressed. I will make an effort to check out the new album when it is released later this month, and I will keep an eye out for Wolf's future dates - as I quite enjoyed their 45 minutes on stage in Bristol.

Despite Wolf's strong showing, it was Grand Magus who the majority were there to see. After a fairly quick changeover - Wolf had had to use some of Grand Magus' gear after some of theirs had not arrived in time - the intro track Gold and Glory filled the venue and the band's three members trooped onto the stage in the dark and immediately lunched into the lumbering and powerful riff of Wolf God. The title track of the new album was a great way to kick off the show, and it was clear that the band were really up for the gig. It was their first show of the year, and the first showcasing this new headline-length setlist, so they were clearly keen to see how the crowd reacted. Clearly proud of Wolf God, two numbers from that album - the aforementioned title track and Untamed - got the set underway; but from then on the setlist mostly took choice cuts from a selection of their previous albums. One thing that I have noticed about Grand Magus setlists over the years is that there seems to be little deviation from tour to tour. Many of the songs the band showcased in Bristol were the same ones that I saw them play in London six years ago - which seemed a bit strange considering that the band now has nine albums to their name. The songs played were all fan-favourites however, with each one being received strongly like an old friend, but it would be nice to see the band mix it up a bit more. It was only the three new songs and a rare outing for the older Wolf's Return that were different to my previous live Grand Magus experience - but thanks to a strong performance and the anthemic nature of many of the songs played this repetition did not hamper my enjoyment of the night. In fact, I would say that this show was better than the one I saw them play in 2014. A powerful live sound mix gave presence to Janne 'JB' Christoffersson's (vocals/guitar) without diminishing the impact of Mats 'Fox' Skinner's (bass guitar/vocals) bass. In fact it was Fox that probably impressed me the most throughout the evening, with his rumbling and complex playing helping to give the band their big sound. Grand Magus make a lot of noise for a three-piece, and it is partly down to his inventive and full bass lines. The only negative was that JB's voice was sometimes a little buried in the mix, although this is a problem that came and went so thankfully did not impact the show too much. The crowd often helped him out in any case, with the choruses of Iron Will and Steel Verses Steel both being sung back at the band loudly by the large crowd. Each song received a big cheer, which in fairness justified the band's conservative setlist, with the cheers only increasing as the evening moved on. Towards the main set's end the atmosphere was electric, with Valhalla Rising prompting a big a sing along and the fast-paced Like the Oar Strikes the Water kicking the set into final crescendo that left everyone wanting more. A three-song encore followed, with the perennial favourite I, The Jury kicking things off before one more new track in Dawn of Fire impressed with its sledgehammer riff and infectious chorus. Hammer of the North has long been the band's signature track however, so it was fitting that it was left to that song to close the evening out. The mid-section was sung passionately by the crowd, and the song's main melody continued to be sung while the band took their bows. The setlist was:

Gold and Glory
Wolf God
Untamed
Kingslayer
Sword of the Ocean
Iron Will
Steel Verses Steel
Ravens Guide Our Way
On Hooves of Gold
The Shadow Knows
Wolf's Return
Valhalla Rising
Like the Oar Strikes the Water
-
I, The Jury
Dawn of Fire
Hammer of the North

Grand Magus' music is uncomplicated by they are a band that knows how to impress a crowd with the power and delivery of their songs. Their set at The Fleece reminded me of this, and it was great to catch up with the band live again after six years. They are one of those ever-reliable bands where you know what you are going to get when you purchase a ticket, and it is that that presumably keeps the fans coming out year after year. I really enjoyed my time with the band in Bristol, and I hope to catch them again when they next tour the UK.

H.E.A.T's 'H.E.A.T II' - Album Review

As I have discussed many times throughout the years on this blog, Scandinavia has really become a hotbed of great rock and metal acts over the past couple of decades. I am not quite sure why this is the case, as there are very few relatively classic acts from the 1970s and 1980s representing that part of the world, but in recent years the Swedes and the Finns in particular have picked up some of the slack - with newer rock and metal acts of the traditional persuasion coming from the UK and America somewhat on the wane. This, of course, is not a hard and fast rule, but there are certainly a large amount of Scandinavian bands in my music collection - many of which are excellent and firm favourites. One such band is H.E.A.T, an AOR act that has been going since 2007, who I became aware of around 2011 and picked up their third album Address the Nation when it was released in 2012. I listened to Address the Nation a lot around the time of its release - but for whatever reason the band dropped off my radar somewhat not too long after. I picked up 2014's Tearing Down the Walls and a double pack containing the band's first two albums in slow time over the next few years, but I never really made the effort to digest those albums properly. I am not sure why I essentially ignored the band for so long, especially as I had listened to Address the Nation a lot, but I think my initial reaction to Tearing Down the Walls might have had something to do with it. Tearing Down the Walls, an album I like a lot not, just did not do all that much for me upon its release - so H.E.A.T basically lay dormant as part of my listening habits for a few years. This was until 2018, when the band were announced as one of the support acts for a Quireboys concert that I was attending in London. In the lead up to the show I went back and re-appraised the band's catalogue, including picking up 2017's Into the Great Unknown, and kicked myself for not paying them more attention over the years. I found much to like on all five of the band's albums, and this re-discovery of the band culminated in their excellent showing at The Quireboys' London gig. Since then, the band have been a big part of my musical landscape once more. I was not about to let them go again, so I pre-ordered the band's sixth album, the curiously titled H.E.A.T II, as soon as it was announced. I have been living with the album for a couple of weeks now have already found a lot within it to love - especially as there seems to have been a conscious effort from the band to go back to the more overblown and keyboard-driven AOR sound of their early work; rather than continuing the somewhat more cinematic sound that they have been toying with recently. Interviews with the band reveal that they challenged themselves to write songs as if they were re-writing their debut album, hence the title H.E.A.T II, and there are certainly plenty of shades of the Kenny Leckremo-era here - along with a confidence and power that has been built up over the 13 years the band have been together.

As guitarist Dave Dalone and keyboardist Jona Tee were the band's main songwriters during the Leckremo years, it is therefore fitting that they have, either on their own or together, written almost the entire album - as well as produced it. A composition of Tee's is up first, the percussive hard rocking Rock Your Body, which gets the album off to an anthemic start. After a sparkling synth riff, the song settles down on a solid mid-paced groove based around a bluesy guitar riff - which allows frontman Erik Grönwall space to really shine vocally. The song's verses are pretty simple, letting the grooves and Grönwall's big vocal melodies shine; with the choruses seeing a big increase in kinetic energy with some powerful, stomping drums. Despite this percussive shift, the chorus maintains the song's overall simplicity with a repetitive but addictive vocal refrain that is sure to go down well live. H.E.A.T have always had a certain toughness to their sound, even during their early years, and this track is a perfect meeting of the band's old and new sounds. Not wanting to be outshone by Tee early on, Dalone's first contribution Dangerous Ground is a fast-paced riff-driven rocker with possibly one of the album's best choruses. H.E.A.T have not written a chorus this infectious and filled with retro synths since probably the Address the Nation album, despite some tough competition, and as a result the song has stood out to me since my very first listen to the album. Despite the huge melodies, which Grönwall perfectly executes, there is still the band's patented hard rocking edge present throughout. Dalone's guitars are packed with crunch, and drummer Crash's beats really punch through the mix. A fast-paced shredded Dalone solo only adds to the song's power and appeal, and this is a song that has already made it onto the list of my favourite H.E.A.T songs. Come Clean, the album's sole composition from bassist Jimmy Jay, recalls the more cinematic sound of Into the Great Unknown - with that album's scope on full display. The song is based around a symphonic keyboard melody, with the crunch of the opening two numbers toned down a little to allow the atmospherics to shine a little more. That is not to say that there is no heft here, as the song still packs a strong punch, but the weight is just presented in a slightly different way - with Jay's basslines unsurprisingly creating a strong pulse throughout. Another winning chorus is contained within, with the band harmonising well with Grönwall as he holds some impressive long notes. Victory returns from the slight deviation of Come Clean a powerful beast - with Dalone driving everything forward with a sharp riff while Tee backs him up with some growling organ. There is certainly a bit of a heavier vibe throughout this track, and it reminds me a little of Edguy - or at least the more recent Edguy albums where Tobias Sammet started writing more straight ahead hard rock tracks as opposed to power metal. The song is packed full of great vocal melodies, with Grönwall hitting some pretty high notes at times, and an anthemic chorus that is sure to go down well live, complete with some double bass drumming from Crash.

We Are Gods goes for more of a bluesy hard rock vibe, with a strident Dalone riff pinning everything together while Grönwall does his best Paul Rodgers impression during the song's opening moments. Tee's keyboards take a bit of a backseat here, with the guitars and bass pushed right to the fore. Jay's bass has a real rumble to it here, and there are moments where he really dominates sound - which helps to add to the weighty, bluesy sound that the song is gunning for. While the song is actually quite different to the overall vibe that the album portrays, the song still manages to not sound out of place. H.E.A.T have often thrown these more muscular tracks onto their albums to change up the pace somewhat, and the affect here is to create a bit of a headbanger and a little bit of a break from the synths. Adrenaline instantly returns to the 1980s songbook however, with anthemic wordless vocal melodies backing a soaring synth lead during the song's intro - while a pacy verse sees a big backing vocal presence acting in a call-and-response fashion with Grönwall. This is one of those songs that just grabs you from the off, with the intro vocal refrain really sinking into the brain, with each new portion of the track containing a hook or melody that just takes hold. A more-percussive pre-chorus adds a bit of groove that keeps things interesting, while the pomp chorus - which is packed with great keyboard stabs from Tee - is energetic and catchy. One By One, another anthemic rocker in the vein of Rock Your Body, is the only track on the album co-written by Grönwall. I would say that his influence has lead to more of a vocal dominance throughout the song, but in truth the whole album is constructed around his soaring vocal melodies. This track is no different, with another chorus that could rank up there amongst the band's best yet and a generally engaging vocal performance from Grönwall that shows why he is probably one of the best melodic rock singers in the business at the moment. In truth, this is just one of those songs that perfectly sums up everything that H.E.A.T are about. A melodic solo from Dalone showcases the band's musical prowess, while the tight arrangement and the enormous hooks are packed with the H.E.A.T stamp of quality. Nothing to Say slows things down and acts as a bit of a ballad, with Tee's sparkly keyboards opening the song up while Grönwall croons atop them. Grönwall is a very expressive vocalist, and as a result tends to go 'big' during every song. Sometimes, during the slower songs especially, it may be wise of him to rein it in a little to allow the gentler songs to act more of a contrast with the bulk of the band's material. He is a singer that likes to be turned up to eleven at all times, which is not a criticism as he sounds great, but a little more restraint during the ballads would go a long way in my opinion. He somewhat dominates the early portions of this track, although when the rest of the band come in for a sombre mid-paced chug the balance does even out somewhat. In my view, H.E.A.T are a band that excel when really going for broke in any case - with their rockers easily eclipsing their ballads in terms of quality.

Heaven Must Have Won an Angel is another somewhat slower track, but in more of a mid-paced Survivor-esque way than a ballad-esque way. This is a song that has really grown on me over repeated listens of the album, and has become one of my favourite cuts here. It opens in a fairly low key manner with some simple keyboard melodies, but soon opens up into a bass-led verse with some bluesy guitar leads mixed into the background and a wall of atmospheric keyboards which Grönwall sings atop. It is not an all-out rock track, but more of a smooth piece of AOR (with a little of the H.E.A.T crunch) that recalls tracks such as Mannequin Show or the Into the Great Unknown title track. There is certainly a little of the latter's cinematic approach here, with plenty of atmospheric keyboards and spacey harmony vocals - but with more overtly-prominent hooks that just really shine through. Under the Gun picks up the pace again after a couple of more restrained tracks with a machine gun opening riff and a classic rock strut present throughout due to some off-kilter drumming from Crash. The track does very little different than most of the other songs on the album, but due to its position in the tracklist following the two slower tunes it feels like a real shot of energy. The hooks here certainly are not as strong as the ones present in many of the album's songs, but the energy throughout seems to carry it perfectly without the need to go all out and make each line a hook of its own. This is a track that revels more in classic rock excess in any case, with a shredded Dalone solo perfectly encapsulating this mood and ethos. The album's final track, Rise, is similar in style to Heaven Must Have Won an Angel with a mid-paced approach - although there is certainly more of a toughness here with Dalone's bluesy riffing ever-present throughout. Jay's bass drives everything forward, while Tee turns the clock back to the 1980s with lots of excellent stabs of retro-sounding synths that often cut through the mix with their sparkle. It is the chorus that really brings everything together however, and again the cinematic approach of Into the Great Unknown's title track (which, in my opinion, is a very underrated song in the band's canon) is employed here. Occasional gang vocals throughout the chorus add weight, while Grönwall brings his big personality and soaring melodies to the lyrics - often competing with Tee's keyboards for prominence as the band go at full-tilt. It is great way to round the album out, and is likely to be another song that becomes a setlist staple for the band going forward. Overall, H.E.A.T II is a great sixth album from the Swedish five-piece that recaptures some of their early sound without losing the progress and slight stylistic shifts that they have made over their career. The album has already become one of my favourite H.E.A.T releases, and there is certainly a chance that it could find itself in my Albums of the Year list come December as there are just so many great and memorable hooks to be found within.

The album was released on 21st February 2020 via earMusic. Below is the band's promotional video for One By One.