Conception's 'State of Deception' - Album Review

2018's reunion of the Norwegian progressive metal act Conception, and their comeback EP My Dark Symphony (which I reviewed here), was easily the year's biggest musical surprise. Save for a handful of festival shows in 2005, Conception had been dormant since 1998 - when the band's frontman Roy Khan left to join up with the American act Kamelot, a band which he would lead for twelve years to great success. Khan left Kamelot in 2010 citing health reasons, and essentially retreated completely from the public eye lead a more normal life. When Khan left Kamelot, I was sad. He had taken the band from being essentially a Fates Warning/Crimson Glory pastiche to one of the world's premier symphonic/power metal acts - and his apparent retirement was a shock to the metal world. Very few singers sound like Khan, with his moody, yet melodic, voice a big part of his success as a frontman. Despite the disappointment, I understood Khan's decision. It can be hard to toil away at something if your heart is no longer in it - and he left Kamelot at the top of his game, with their 2010 album Poetry for the Poisoned still fresh on people's minds. I cannot remember exactly when I started listening to Conception, but I think it was probably around 2009 - as they seemed the logical next step after devouring Kamelot's catalogue. I still do not have the band's entire discography, as a copy of 1997's Flow is proving hard to track down, but I really enjoy all of the albums that I have heard. Kamelot fans who are discovering Conception with their recent reunion, who may not be aware of the band's history, should not expect the band to sound like a continuation of Khan's time in Kamelot. Conception were always much more of a progressive-focused band than Kamelot have ever been, despite Kamelot having their prog moments, with less gothic melodrama and more emphasis on guitar-centric arrangements thanks to the fabulous Tore Østby - another musician who spent far too long out of the spotlight. It is strange to think that both of Conception's main driving forces, Khan and Østby, were essentially 'retired' for so long. Østby had some success with Ark after Conception's demise, but that band was fairly short-lived. Drummer Arve Heimdal was also fairly quiet outside of Conception, which means that the band's 2018 reunion essentially brought three guys back into the metal spotlight once again - which was great to see. Clearly buoyed by the success of My Dark Symphony, the band started writing more songs - and the result is State of Deception, the band's first full-length album for 23 years. Conception's newer material is certainly darker and more gothic than the band's earlier works, and that trend continues on State of Deception - which continues the blend of the band's 1995 album In Your Multitude with the darkness of Poetry for the Poisoned that was established on the 2018 EP to great effect. State of Deception is heavier than the EP however, and it could be the most abrasive and varied piece of work the band has put together yet.

With so many progressive metal albums being packed to the limit, with run times of 70-plus minutes being the norm, it is refreshing to listen to one that is over and done after around 40 minutes. Not every album needs to fill up a CD, and with State of Deception Conception have produced an album that is technical and complex, but also extremely easy to digest. Unsurprisingly, the album opens up with an instrumental scene-setter. In: Deception is a swirling, gothic set-piece filled with dense keyboards and orchestrations - which Østby follows with his guitar while Heimdal builds things up with some distant snare drum work. It is a short, theatrical piece that ends with a bang - and perfectly transitions into Of Raven and Pigs. Of Raven and Pigs is the first true song here, and it is easily one of the strangest things the band have written yet - throwing an early curve ball. The song is based around a stark, mechanical-sounding Østby riff, which is backed by Lars Christian Narum's organ, while Khan's snarling, angry vocals burst out of the speakers. Parts of the song see him singing in his usual style, but the most memorable parts here are his frantic spoken word sections that have him spitting out the words in a style unlike anything he has ever really done before. Heimdal and bassist Ingar Amlien maintain a pseudo-industrial beat throughout the track, which backs Østby's ever-present riff perfectly, and it is this ever-presence that gives the song a really menacing vibe. Even when Østby launches into a tortured, strange-sounding guitar solo the beat remains, and it remains still through Khan's final tirade - ending on a resounding 'Let them burn!' as the song draws to a close. After that unsettling opening, it is left to Waywardly Broken to bring the album back to a more familiar territory for the band. The creepy intro aside, the song is a melodic feast that is a throwback to the band's classic sound - with Khan's smooth vocals given centre stage while Østby lays down a melodic, trippy guitar lead. This was the first song released from the album, and it certainly gives the listener a good idea of Conception's overall style. The band's progressive tendencies are shown throughout, with plenty of light and shade present, while big melodies are still given a lot of emphasis. One of the criticisms that some had with My Dark Symphony was how relatively restrained Østby was throughout; and that has been rectified here. His guitar playing is all over all of the songs here, and he lays down a fantastic, fluid solo in this track that really showcases his approach to melody. It is quite a simple-sounding solo, but it perfectly cuts through the murk of the song and presents a moment of light amongst the shade. These opening two numbers really show how diverse the modern Conception sound is, and act as a great primer to the band's modern headspace and love for diversity.

No Rewind is more of a straight-ahead metal track, led by a driving Østby riff that ensures a swift pace is maintained throughout - while Khan sounds like his old self with a dramatic, melodic vocal display. The great thing about Conception is that they rarely go for a straight-ahead metal sound, but when they do it sounds brisk and powerful; and the song is quite different from many of the others here. It lacks the dynamics that many of the other tracks have, but it makes up for it with a driving energy and something of a classic rock strut. There are deviations from this however, such as the few percussive-based atmospheric sections that see Khan singing atop Heimdal's distant percussion and some dense keyboards - but these moments are short-lived and act only as a breath-catcher before Østby's riff comes crashing back in. The Mansion is the album's ballad, with piano from Lars Andre Kvistum present throughout - which forms the perfect backing for Khan's gorgeous vocals. For Kamelot fans coming to Conception for the first time, this song might actually be the best starting point as it certainly shares some similarities with the ballads that Kamelot put out towards the end of Khan's tenure with the band. He really showcases his vocal power throughout here, while Michael 'Miro' Rodenberg's orchestration makes the song sound huge. Guest vocals are provided by Elize Ryd (Amaranthe), who adds a breathy, delicate vocal coda towards the end of the piece that sounds so different from her usual work. I would not have guessed that it was her if I did not know that she was featured on the track - and her shimmering contribution only elevates the song higher. The song is one of the album's highlights for me, as it is packed full of emotion throughout - and features great vocal interplay between two excellent singers in modern metal. Another highlight is the riffy By the Blues, which was another song that was released online before the album was released. On my first listen to the album it was probably the song that stood out the most to me, and it remains a favourite of mine. While Conception are a very melodic band, they are not a band to put too much stock in a big chorus - often choosing to weave their melodies throughout their songs in different ways. By the Blues has a more traditional structure however, and features a massive chorus. It is easily the catchiest chorus here, and features Khan giving it his all vocally while Østby lays down an anthemic hard rock riff that again has something of a strut to it. This is the sort of song that is definitely made to be played live, and I imagine that when the band get to tour after the COVID-19 pandemic comes to an end it will become a highlight of their shows - it is just a shame that, so far, the band have left the UK out of their touring plans.

Anybody Out There is also something of a ballad, but it is much doomier than The Mansion - with a creepy opening riff that helps to set an ominous tone. It is something of a surprise then when the song really drops out during the verses to leave Khan singing alone against a very subtle string backdrop. He has the sort of voice that is made be heard against a string backing (I believe he sung lots of classical music in his youth), as he has plenty of drama and grit to convey all of the emotions necessary without the need for a big metal arrangement. It also helps the choruses to feel much heavier when the rest of the band kick in - with Østby's doomy guitars contrasting well with the preceding dense strings. While this is song that is largely focused around Khan and his emotion vocal delivery, a short Østby guitar solo also proves to be a highlight. It has a thin, tortured sound that fits nicely into the doom of the rest of the song - and provides additional, lighter melodies which go further to highlight the darkness in Khan's voice. She Dragoon sounds like it is going to be another slower-paced song at first, but after a subtle opening the song really kicks off with a big Østby riff and a driving Heimdal drum pattern. While not exactly a fast-paced metal track, there is a lot of weight here, with a tough mid-paced verse and some of the most-technical guitar riffing on the album. The riffing here is quite varied, and repeated listens to the song reveal lots of the little tricks that Østby throws into it. It also features another soaring chorus, with some melodramatic vocals from Khan that recall some of his work with Kamelot at times, while Narum's organ grinds away in the background. This song is another real highlight for me, and over my multiple listens to the album it has really grown in stature - and it is now probably my second-favourite song here behind By the Blues. Aurora Amalie Heimdal, who also contributes backing vocals on some of the other songs, adds her vocals to the ending portion of the song - providing an ethereal counterpoint to Khan and the heaviness around her. The album comes to a close with Feather Moves, a track that was used as a b-side for the single released from My Dark Symphony. I am glad it has been repurposed here, as it is too strong to be left languishing in b-side purgatory, and it helps to close out the album out in a strong way. It is a slow-paced, atmospheric track that is quite different from the rest of the album. My Dark Symphony certainly went for a more atmospheric sound, and the band has clearly made an effort to toughen things up again here - but it does mean that Feather Moves sounds like a bit of an outlier. It works well however, and its floaty feeling acts as the perfect coda to the riffy and dynamic album that preceded it. Østby actually handles the bass here, and his busy playing often forms the main musical hook - while his keyboards and Khan's whimsical vocals provide relaxing and enveloping melodies to bring the album to a smooth conclusion. Overall, State of Deception is a really enjoyable listen that packs an awful lot into its relatively short run time. It is an album that I can listen to over and over again and still hear something new, and I would not be surprised if it ended up as one of the albums of the year come December - as there are no weak moments at all here, with every song hitting the spot and helping to establish the album's overall disparate vibe.

The album was released on 2nd April 2020 via Conception Sound Factory. Below is the band's promotional lyric video for Waywardly Broken.

Three Colours Dark's 'The Science of Goodbye' - Album Review

Despite the latest iteration of the band's relaunch being indefinitely delayed due to COVID-19, fans of the Welsh progressive/symphonic rock act Karnataka have been kept sated of late by some studio releases from the band's wider family. Last year saw the long-awaited debut album from Chase the Monsoon, No Ordinary World (which I reviewed here), which saw Ian Jones, Karnataka's only consistent member, reunite with former vocalist Lisa Fury and former guitarist Enrico Pinna. With Jones' Illuminae project promising an album soon, along with the new material being written by the current Karnataka incarnation, Karnataka fans have a lot to look forward to - and that was before the surprise announcement of Three Colours Dark last month, which sees the reunion of two of Karnataka's founding members. Three Colours Dark marks the first time that vocalist Rachel Cohen and keyboardist Jonathan Edwards have worked together since the break-up of the original Karnataka line-up in 2004. Personal circumstances brought the original iteration of Karnataka to a grinding halt only a year or so after they released the excellent Delicate Flame of Desire in 2003 (which is probably still my favourite Karnataka album despite some strong competition), with the band's members all going on to other projects. Many of the band went on to form Panic Room, a band which Edwards still spearheads along with fellow Karnataka alumnus Anne-Marie Helder, while Cohen joined The Reasoning - a heavier prog act who have also since split up. Cohen returned to academia after The Reasoning's end, and Edwards has been busy with both Panic Room and their acoustic-based 'sister' project Luna Rossa - so I think it is safe to say that Three Colours Dark is not a reunion that anyone was really expecting. It is a reunion that is greatly welcomed however, at least by me. Cohen and Edwards were two-thirds of the original Karnataka line-up's songwriting trio, with their contributions leading to those first three Karnataka albums sounding they way that they do. The mix of atmospheric progressive rock with Celtic melodies that adorned those early Karnataka albums has never really been achieved by any of the main protagonists since Delicate Flame of Desire, but Three Colours Dark's debut album, The Science of Goodbye, is easily the closest thing yet to that sound. The sweeping soundscapes of the early Karnataka albums return here which, when coupled with Cohen's delicately-controlled vocals (I am not sure anyone can hold a note quite like her), certainly turns the clock back to the early days of Three Colours Dark's former band. The Science of Goodbye is not merely a retread of Delicate Flame of Desire et al. however, with this new project taking a bit more of a starker and introspective approach. This new album is not as grand as those old Karnataka releases, but there is a smouldering power that reveals itself over repeated listens - while still containing some hallmarks of that old sound. Cohen, Edwards, and producer Tim Hamill perform all of the album's ten songs; while a handful of special guests including Steve Balsamo (The Storys), Dave Gregory (XTC; Big Big Train; Tin Spirits), and Chantel McGregor also add their magic to some of the songs.

While The Science of Goodbye is, broadly speaking, a rock album, it is an album that never really deals in loud riffing or driving rhythms. It is a slow-burner, and an album that sometimes teeters on the edge of a heavier vibe - but it always reels itself back in, content with its lush soundscapes and subtle harmonies. Such an atmosphere is present from the off, with the opening number Enter, Soubrette showcasing the album's core sound. Edwards' shimmering keyboards open the track, while sparse violin lines from Kate Ronconi (who adds her talents to a few of the album's tracks) provide an early focal point. The song sums up the album's slow-burning nature perfectly. Hamill's slow-paced programmed drum pattern lets the song move along at a serene pace, while effects-heavy guitar lines and dense keyboards provide a perfect backing for Cohen's first recorded vocal performance since her work on The Reasoning's 2012 album Adventures in Neverland. This is a far cry from The Reasoning's work however, and instead the song follows the sparser end of Karnataka's early output - with Cohen's unique voice perfectly delivering her lyrics in a crystal clear fashion. Many of the songs here are built of distinct layers that come and go as the track moves forward, and the opener is no different. Occasional acoustic guitar chords add depth when needed, while Ronconi's violin acts as an alternative leading force when Cohen is silent. Wonderland (How Can This Be Love?) opens with a dense keyboard line, before Hamill establishes a strong groove with his bass playing and drum pattern. The verses have a darkness to them, with the bass providing the main melody lines, while heavier electric guitars occasionally stab into the track - recalling the gothic overtones of The Reasoning at times. Balsamo adds his voice to the song too, with his folk-influenced style mixing in well with Cohen's subtle power. This duetting vocal style and the way the two harmonise together also recalls The Reasoning at times, as the band's early albums were built around big multi-part vocal harmonies. Not to be outdone, Edwards also has some time to shine with plenty of warm synth playing throughout. He takes something of a solo part way through the piece, while Hamill steps up at the end for a short, controlled guitar solo. Know You Now starts off with some very distant, echoed vocals, before Edwards lays down a rolling piano backing which forms the basis of the track. Cohen name drops Heart of Stone and Dark Angel, two songs from her past, here - which provide nice Easter Eggs for long-time fans of her work - while curve balls are thrown in the form of stark horn lines from Nathan Bray, which give the song an occasional, unexpected jazzy twist. Much of the song is very basic, with the piano and occasional horns providing the only real backing for Cohen - until the end that is when a basic percussion loop and an acoustic guitar quietly sidle into view, before the song comes to a close with Bray's horns.

Ghosts in the Wind is a cover of the Richard Thompson song from his 1985 release Across a Crowded Room. I was unfamiliar with the song prior to hearing this album, but Cohen and Edwards' arrangement of the track certainly makes it feel at home here - and I would not have known the track was a cover if I had not read the CD's booklet. Thompson is a folk artist, and there has always been a touch of folk to Cohen's delivery, which makes the song perfect fodder for her emotional vocals - while Edwards lays down some sombre and dramatic piano. Gregory makes his only appearance on the album here too, and he makes his presence felt with some spacey and controlled guitar lines which really cut through the dense backing with ease. It is not a flashy display by any means, but it fits the song perfectly - and his playing really adds an edge to the track that would be missing otherwise. The guitar performance has a slightly abrasive feel, but this contrasts nicely with Cohen's smooth vocals to really bring the piece together. The album's self-titled track has something of a grander overall sound. Cohen's voice is often layered together to make something of a choir, and some of the vocal melodies that she uses throughout really take me back to those early Karnataka albums - something that is refined by the more prominent use of electric guitar lines, played by Edwards, while the keyboards take a bit more of a backseat. The drum programming here is much punchier than elsewhere on the album, which helps to establish a strong groove, while the many Cohen's and Ronconi's violin often merge together to create a huge musical tapestry of grand, folky melodies. There are also a few more references to songs from Cohen's past here, see if you can spot them! Tasted Like Kryptonite is based around another subtle, but driving, groove. A drum beat with plenty of pocket forms the basis of the track, while synth bass and piano fill in all the gaps. Despite the song's excellent grooves, it is actually Cohen's lyrics that really stand out. She has always been a unique lyricist, especially since becoming the dominate lyricist for The Reasoning, with her academic work fuelling her often-dark tales. The CD's booklet even includes a fully-referenced page of 'further reading', with articles that relate to some of the themes etc. discussed throughout the lyrics here. This song has easily the most captivating lyrics on the album for me, and it makes me pleased that Cohen is back and adding to her excellent lyrical canon. Rainbow's End is more of a subtle piano-based track with some dense melodies from Edwards while Cohen's vocals sound at times like cries of desperation - which fits perfectly into the song's raw aesthetic. The lush sound that characterises much of the album is largely absent here, with Edwards' keyboards essentially forming the whole song - although Ronconi makes her presence felt again with some stark, cutting violin melodies which again contrasting well with the vocals. Cohen's voice goes so well with a violin that it makes me wonder why she has never worked with a violinist previously.

Blood Moon Rising gets back to the bigger sound found throughout much of the album, with blues guitarist McGregor putting her mark on the track with some spacey ebow playing and occasional guitar leads. This not really a guitar-heavy album, but when the instrument is brought to the fore it really helps to define the song. McGregor's playing throughout Blood Moon Rising helps to give it its unique feeling, with Edwards' rare use of an organ helping to reinforce a bit of retro rock vibe. As a result the song sounds quite different to everything else on the album, while still retaining the band's core sound. There is certainly a stronger influence from old-school progressive rock on display here, with the organ and guitar dominance showcasing this, while Balsamo is once again employed to add vocal harmonies alongside Cohen to boost the sound. The song also contains the lengthiest guitar solo on the album, with McGregor cutting loose towards the end of the track as she mixes some of her usual bluesy style alongside some old-school prog phrasing. Monster doubles down on the lush soundscapes found elsewhere, with a big string arrangement opening the song up; before a trippy beat that sounds like nothing else on the album introduces itself along with some dark guitar chords from Hamill. This is a very strange song in the context of the album, and it is easily the most unique-sounding piece here. The drum beats have a pseudo-industrial feel to them at times which, along with the guitars, lead to a dense and somewhat heavy sound. A sparkly keyboard riff always keeps some light in the track however, while Cohen and Balsamo again join forces for a big vocal presence that fits the creepy and desolate vibe created elsewhere. A strong rock drum beat kicks in towards the end of the piece, and this is easily the closest thing on the album to all-out hard rock. It is certainly the heaviest thing on the album, with tough-sounding guitars and cutting synths providing a change of pace from the more whimsical arrangements found elsewhere. The album's title track is also the album's closing number, and the heaviness of the previous song is stripped away to be replaced by a prominent acoustic guitar chord pattern and Cohen's lyrical vocal delivery. Being the album's title track, as well as its final statement, lots of the themes and styles utilised throughout are reprised here. The violins and horns from previous songs are used again, subtly, with layers of melodies slowly piling on top of each other to make a grand song packed full of secrets that reveal themselves over multiple listens. There is a certain strident confidence to the song too, especially towards the end when a punchy drum beat kicks in and Bray's trumpet plays a pompous refrain while Cohen and Balsamo sing the song's closing lyrics together in a defiant and hopeful manner. After the darkness of the previous song, The Science of Goodbye ensures that the album ends with a light at the end of the tunnel - while showcasing the core sound of the band once again. Overall, The Science of Goodbye is an excellent debut release from this new project that sees old friends reconvene again to great success. While it is unclear at this point whether Three Colours Dark is intended to be a one-off collaboration or not, I certainly would like to hear more from the pair going forward. Cohen has been absent in the music world for far too long, and it is great to hear her again doing what she does best.

The album was released on 28th March 2020 via Firefly Music. Below is the band's promotional video for the album, that includes clips of many of the songs featured throughout.

Dakesis' 'Fractures' - Album Review

I have commented on this blog previously, and discussed the topic somewhat during my review of Pythia's The Solace of Ancient Earth album (which you can read here) that came out last year, that European-style melodic metal has always been very under-represented here in the UK. While there are plenty of new bands from Europe popping up all of the time in the power, symphonic, and progressive metal genres; there are relatively few from the UK. Those genres are certainly less popular here in the UK than in the rest of Europe, with the exception of a few 'big hitters', but there is still a lot of love here for all things grand and melodic. It does mean however that new bands playing European-style melodic metal from the UK are fairly few and far between, or at least never really gain any traction beyond their local scenes, so it is always good to support and follow the few that there are. One such band is Dakesis, a four-piece band from Birmingham, who I first became aware of in 2012 when I saw them open for Edguy and Voodoo Six in their hometown - which was a great night as all three bands really gave it their all for a good-sized and appreciative crowd. The band at the time were a five-piece, fronted by the charismatic Wayne Dorman, and I picked up a copy of their debut album Trial by Fire at the gig which had been released the year before. Unfortunately, Trial by Fire just never really lived up to the excellent live show I witnessed. As a result I shelved the album and never really returned to it - and the next year Dorman was gone so I almost forgot about the band. Dakesis, now fronted by keyboardist Gemma Lawler (who had always provided some lead vocals for the band), soldiered on however and released their second album The New Dawn in 2016. I pre-ordered the album but for whatever reason I did not actually listen to it until a couple of months ago. I am not sure why I did that, as I seemingly ordered the album out of a strange sense of loyalty or to support a rare UK power metal act, but when I finally did give The New Dawn a spin I found it to be a hugely enjoyable, and ambitious, piece of work. It is a lengthy album with a lot going on inside its thirteen songs, but is one that I am going to enjoy spending some more time with. While Trial by Fire had more of a straightforward power metal sound, The New Dawn is more of a progressive metal album with lots of lengthy songs and big orchestral arrangements - which all sound very impressive for a self-produced work. I found myself finally discovering The New Dawn in the run up to the release of Fractures, the band's latest and third album. I decided to pre-order Fractures too, but I decided not to wait so long this time to play it! I have been enjoying the new album a fair amount over the past few weeks, and it seems like a natural successor to The New Dawn while cutting some of fat. The New Dawn, despite its strong points, was probably a little over-ambitious - there is just so much of it! Fractures maintains a similar style and approach, but tightens up the songwriting a little - meaning that this new disc is a bit more digestible while still containing lots of progressive and symphonic tropes.

As with most power metal albums, Fractures opens with an instrumental scene-setter. Eos is a bit lengthier than the average opening overture, with folky melodies dominating early as the piece slowly builds up around dense strings and enchanting melodies. All of the album's keyboards are played by session player Jacob Underwood, who also plays live with the band sometimes, letting Lawler solely focus on the frontwoman role. When Matt Jones' big guitar riff crashes in the album transitions into the two-part Ends of Time - this first of which is snappy, memorable power metal anthem packed full of technical, heavy riffing. The band flex their progressive chops elsewhere on the album, but the first Ends of Time song is somewhat reminiscent of the sound Dakesis were going for on Trial of Fire - with big melodies at the fore of everything. The verses here are fast-paced, with Adam Harris' drumming really driving everything, while the choruses slow everything down as the strings take on a more prominent role - which form a great backing for Lawler's powerful vocals. She has a great voice, and she is able to take on a number of different shades as and when required. The chorus of the song's first part sees her reaching some impressive high notes, while elsewhere she takes on a slightly deeper tone to fit in nicely with the heavier riffing. As the song moves into the second part, with a knotty, Michael Romeo-esque riff, the band showcase their heavier side somewhat and their progressive influences rear their head. The Symphony X comparisons do not stop at the opening riff of the second part, but continue on throughout the song as both Jones and Underwood play off each other perfectly in the style of Romeo and Michael Pinnella from the great US prog band. It is an extremely impressive couple of minutes of music, with both men showcasing their talents for their instruments in a big way. It is also great to listen to a power metal band that are not afraid to show off. All too often in power metal the guitars just chug away in the background - but in Dakesis Jones constantly leads the charge, and an expressive solo or an explosive riff is never too far away. In truth, Dakesis are more of a prog metal act than a true power metal band these days, but they retain enough power metal trappings to make the comparison apt. The two-part Ends of Time shows off all that is great about the band, with strong melodic vocal hooks sitting nicely side-by-side with impressive instrumental showboating that all ties together in just under eleven minutes of music. Overthrown sheds the darker tones that were introduced in the second part of Ends of Time, and goes for a more overblown, overtly power metal approach with pompous, driving keyboards and a greater emphasis on vocal melodies. Lawler is placed at the front and centre of the song, and her vocal lines provide the main hooks - with the riffing throughout is largely relegated to providing tough rhythms. Underwood provides a dramatic, gothic backing with his keyboards, but the melodrama he creates never upstages the vocals. This is a song written to be catchy, and it does its job perfectly by providing memorable hooks and a grand atmosphere.

Kairos ups the gothic melodrama in a big way with a huge string-based opening; which perfectly sets the tone for the heavier vibe the song goes for. Parts of this song are much tougher than the previous tracks, and at times the second part of Ends of Time is recalled as Jones' guitar work is pushed to the fore. The verses are really his domain, and he locks in nicely with the fast feet of Harris to create a heavy and fast-paced atmosphere. The verses here are some of the album's heaviest moments, but the choruses act as something of a contrast with a bit more of an emphasis on soaring vocal melodies and keyboards. In some ways, the song contains a bit of everything that makes up the Dakesis sound. They are a band that is never scared to push the heaviness of their sound (unlike some power metal acts), but they also know when to strip everything back and provide soaring, accessible melodies. There is also an impressive instrumental section that sees some furious neo-classical shredding from Jones - while Underwood provides occasional counter-melodies on his keyboard. Surrender Your Fears, for which the band recorded a video, is less tough than the previous number and presents a more vocal-heavy approach with Lawler once again the star of the show. Her vocal melodies are really what hold the song together, but that is not to say that the rest of the band are left in her shadow. Dakesis often manage to squeeze technical moments into otherwise-accessible numbers - with the occasional technical riffing and short guitar leads here proving this. I also like the rhythms in the verses, which have something of a gallop too them, but slowed down somewhat to produce a strong groove. Jones, bassist Amie Chatterley, and Harris all lock in perfectly for this verse groove, and the power of all three playing together makes it work. Despite the catchy melodies found throughout the track, there is still also time to showcase some progressive flair. A percussive breakdown that comes part way through the song allows Harris to showcase some tribal-esque playing, which soon becomes a showcase for Eastern-tinged melodies before Jones takes a solo. Hold Forever takes the tribal-style drumming from the ending portion of the previous song and builds this nicely into the intro here - with the addition of dramatic, symphonic strings. The band's symphonic side is on show again here, and there is a dynamic approach taken that includes plenty of light and shade. Much of the song is quite heavy, with the dense strings and guitar riffing continually adding to a gothic and dramatic tone - while Lawler lays down one of her most expressive and urgent vocal performances yet. Despite this however, there are brief moments of calm where the heavy instrumentation drops out and more delicate vibes take over - but these are usually short-lived and act as short breathers before the toughness once again returns.

Legacy in Memory is the album's ballad, and it opens slowly with Underwood's rolling piano melodies and subtle strings - which Lawler sings over. It does seem a bit strange that Underwood has not been made a full member of the band, as he is an extremely important part of this album. His keyboards are all over the songs here, and it always seems strange when bands that rely so heavily on keyboards do not have a full-time keyboard player. That aside, the song is a decent effort - but it is probably my least favourite track here. Something about Lawler's voice does not sound quite right throughout the track, and there are plenty of better piano-based power ballads around. Lawler is a great singer, but I think she sounds better when she is really going all out during the album's heavier moments - with her 'calmer' approach not having the same impact. Dakesis generally sound better in tougher environments, and it probably telling that this song is the only true moment of quiet on the album. The album's fifteen minute-plus title track is the final song here and, given the song's length, it is also the album's most progressive effort. It opens slowly, with synths and atmospherics building up the mood, before Jones launches into another Romeo-esque riff. It is clear from listening to this album just how much of an influence Symphony X are on Dakesis. There are lots of little moments here that recall Symphony X, but the band more than have the talents to pull of this dark, prog metal sound. After faltering somewhat on the ballad, Lawler is back to her best here, with an expressive vocal that fits in perfectly with the busy riffing - while subtle harmonies during the dense chorus elevate her voice further while creating a creepy sound. Being a lengthy song, there are unsurprisingly lots of parts to it. There are a few more-sombre piano-based moments, which fare better than Legacy in Memory due to the song's darker overall atmosphere, and plenty of moments for the band to shine instrumentally. There are a few solos from Jones here, all of which allow him to showcase different sides of his playing. While Dakesis are a very talented band in general, I feel that Jones is their real secret weapon. There does not seem to be much on the guitar that he cannot do, and throughout this album's nine songs he really showcases every side of his playing. There is a slow-paced guitar solo on this song that shows off his more emotional playing style perfectly - while other moments showcase unrestrained shredding and an ability to make heavy riffing accessible and melodic. It is Jones that elevates Dakesis above many 'bog standard' power metal bands, but I say that without want to belittle the efforts of everyone else involved in Fractures. Overall however, the album is a really strong collection of prog/power metal songs that showcases Dakesis as one of the best British bands of their kind. There are very few weak moments here, and this is an album which I can see myself enjoying a fair amount over the coming months.

The album was released on 28th March 2020 via CapsaArx Records. Below is the band's promotional video for Surrender Your Fears.

Wolf's 'Feeding the Machine' - Album Review

There are plenty of bands out there playing traditional, old-school heavy metal; so much so that it can be hard to see the wood for the trees at times. The past decade or so has seen an increase in newer bands playing traditional heavy metal again, and some even choose to recognise this rise in the style's popularity by calling the scene the New Wave of Traditional Heavy Metal (or NWOTHM - a play on words in relation to the NWOBHM movement of the early 1980s, a scene which many of these newer bands draw inspiration from). There are so many bands out there paying tribute to the Saxons, Judas Priests, and Manowars of the world that it can be hard to keep track - which is possibly why I have only really properly discovered the Swedish act Wolf recently. While Wolf are not exactly part of the NWOTHM scene, as they were formed back in 1995 and were playing old-fashioned heavy metal long before it became popular again, they are certainly similar to many of those newer bands out there currently making names for themselves. I first came across Wolf properly at the 2015 iteration of Bloodstock Open Air. I watched a couple of songs of the band's midday set that year, but for whatever reason they just did not really grab me. I moved on after a couple of their songs and did not really give the band much more thought, despite noticing their name around every so often. The band has always had a fanbase here in the UK, so UK tours seem to be a regular occurrence for Wolf. Wolf's latest UK trek was last month, one of the last UK tours to successfully happen before the COVID-19 lockdowns essentially shut live music down across Europe, where they acted as the direct support to fellow Swedes Grand Magus - a pairing that could not have been more perfect. I went to the show fully prepared to give Wolf a second chance, and I was really impressed with their 45 minutes or so on stage. There was so much more energy in the band's performance this time, and a good-sized, appreciative crowd helped to make a strong atmosphere throughout their set. I believe that the show I attended in Bristol was also the first show of the band's current line-up, and it was also their first show promoting Feeding the Machine - the band's eighth album that was released a couple of weeks later. Founding vocalist and guitarist Niklas Stålvind has been the only original member of Wolf for a long time now, and on Feeding the Machine he is joined by long-time guitarist Simon Johansson, bassist Pontus Egberg (Dark Illusion; Lion's Share; The Poodles; King Diamond; Treat), and drummer Johan Kullberg (Lion's Share; Therion; HammerFall) - with Egberg and Kullberg making their Wolf debuts on the album. Soundwise, Feeding the Machine - as far as I can tell - sounds to be business as usual for the Swedish four-piece, with old-school heavy metal weight colliding nicely with occasional power metal trappings to make for a crunchy, yet melodic, listen.

Outside of this new album, I am largely unfamiliar with Wolf's work. I have listened to 2014's Devil Seed a couple of times, and I feel that overall this new album is quite a bit stronger than its predecessor. Like Devil Seed however, Feeding the Machine kicks off with a fast-paced track that really sets the tone for the rest of the album - and showcases the band's love of traditional heavy metal. Shoot to Kill is a frantic, pacy metal anthem, with driving riffs from Stålvind and Johansson from the off - while Kullberg also instantly makes his mark with a tight, powerful beat. While Stålvind's voice can be a bit thin at times, he still has plenty of grit in his delivery which makes his voice a good fit for the sort of music that he writes. The verses here are delivered with a convincing snarl, while Johansson offsets the vocals with some occasional knotty riffing, whereas the choruses are much simpler - with a slightly anthemic feel and a driving rhythm. It is a song that is a great introduction to the band's sound, and one that kicks the album off nicely. Guillotine is similar, although the pace here is slightly slower and the emphasis is placed on a crunchy, Judas Priest-esque riff from the off which essentially holds the whole song together. The guitar work here is less flamboyant than during the previous song, but this helps to create a heavier, denser vibe - with Kullberg providing occasional bursts of double bass drumming to add colour. The song has a darker vibe than the opening track, thanks to some spooky backing vocals present during the snappy choruses and more of a focus on big power chord riffs. There are still moments of excess however, with a flashy solo proving to be a highlight. Dead Man's Hand doubles down on the tougher sound established during the previous song by further slowing the tempo and adding occasional cold synths into the mix. There is something of a Mercyful Fate influence that can be heard here occasionally, particularly during the shrieking chorus that makes great use of backing vocals to really enhance Stålvind's snarling delivery. The occasional synths help this darker atmosphere to permeate too, adding an unsettling layer of murk to the song that meshes well with the deliberate riffs and booming drums. Midnight Hour is a lighter-sounding track, with more of an emphasis on 1980s melodic metal. A simple, repetitive riff drives the song, with the heaviness of the previous handful of tracks largely absent. This is still a metal song, but there seems to be more of a strong hard rock influence here, with plenty of emphasis on both melody and groove. Egberg's bass plays an important role in keeping the song moving at such a steady and infectious pace - while Stålvind allows himself to let rip a little during the choruses, making them into rallying cries which are a stark contrast to the precise verses. It is an instantly-memorable song, and therefore it is unsurprising that the song was chosen as the album's lead single.

Mass Confusion is similar to Guillotine with a strong, mid-paced heaviness - but the emphasis on guitar leads throughout the track makes it all the more memorable and melodic. The song opens with some soaring guitar lines that instantly will pull the listener in, and this approach rarely lets up at all throughout the song. Johansson lays down lick after lick throughout the track, with the verses full of little lead patterns to keep things interesting - while the choruses go for a more groove-based approach with a tough riff and more big backing vocals. Thanks to the song's focus on lead guitar moments, the guitar solo here is a lengthy one. Most Wolf songs have shredded solos, which is something of course typical of traditional heavy metal in general, but the offering here seems to be particularly lengthy and it really allows the player - presumably Johansson - a chance to shine. The Cold Emptiness opens with a memorable neo-classical style guitar riff that builds as the song opens up. Wolf are generally fans of using weightier riffing in their songs, so the use of more of a melodic approach here is welcome. The meat of the song here sounds like a bit of a mix of the heavier end of Yngwie Malmsteen's output and Iron Maiden, all wrapped up in the band's typical crunchy and snarling style. The slight shift towards a more melodic approach here does not drastically alter the sound of the song however, with Stålvind's voice keeping the song firmly in line with the rest of the album - although the stylistic change does present a different flavour. The album's title track follows, and ups the pace again to similar speeds seen throughout the opening number here - although this is only after a spooky, Black Sabbath-esque atmospheric intro is out of the way. The main riff here is very memorable, and again recalls Mercyful Fate somewhat, before a galloping verse takes over that really showcases Stålvind's snarling voice and the band's penchant for simple arrangements. Despite the speedier approach taken here, the song is still very memorable. The chorus goes for something resembling a gang vocal approach, with lots of powerful backing vocals that are likely to be replicated by a crowd when the song is played live. It is probably one of the album's most memorable choruses, and it sticks in the brain for a long time due to its simplicity and power. Devil in the Flesh ups the pace again, and goes for driving metal rhythms led by Kullberg over memorable guitar riffing. This is a song that revels in the energy that it creates, and is more concerned with maintain a pace and vibe than presenting a more dynamic front. The choice works well however, as the riffing utilised is razor sharp and really helps to carry the song - while Stålvind unleashes a particularly potent vocal performance throughout, showing the harsher side of his voice. Many of the songs on the album are mid-paced tracks, or songs that are perhaps only slightly faster than this, so it is refreshing to see the pace increased here to such a degree.

Spoon Bender returns to the album's more usual mid-paced territory, but it does so with one of the more memorable riffs here that also includes some strong Egbeg bass playing - which acts as a strong counter the main guitar lines. This is another pretty simple song, but the grooves throughout are very strong which helps to give it something of an infectious quality. The grooves really help the melodies to stand out, which is perhaps why the chorus here seems particularly catchy despite its extreme simplicity. The Raven returns to the somewhat spooky atmospheres conjured up elsewhere, with a dynamic approach that mixes fast-paced sections (that are perhaps the fastest on the album) with more low-key sections that see much of the instrumentation drop out to leave Stålvind's voice alone with a haunting groove-based backing. Wolf's songwriting style is usually very simple, but this is perhaps the most 'progressive' arrangement featured on the album. It is not a song that sticks with one idea for too long, and I like the way different riffs and moods are used here. Some of the song's opening sections border on thrash pace and heaviness, while other portions are much more groove-orientated with a darker feel - and there is even a catchy wordless vocal refrain that surfaces occasionally to further shake things up. It is easily the most creative and varied piece here, and as a result it is one of the album's standout cuts. Black Widow opens with some screaming guitar leads, but soon things settle down into more of a mid-paced chug that continues throughout the whole song. There is more emphasis on strong grooves here, and there are even a few riffs included that sound like less-heavy versions of patterns Pantera or Lamb of God might have come up with - but they still fit nicely into the Wolf's established sound. Wolf do strong grooves well, and Egberg certainly plays his part on the album to create them. His bass is often quite prominent in the mix, which is good. All too often the bass is buried on metal albums, so it is great to hear Egberg's playing highlighted throughout this album quite often. The album comes to a close with A Thief Inside which opens with a stand-alone guitar riff that Stålvind soon starts to sing over. Most Wolf songs do not take long to get going, and often open with a big riff, but this song takes its time a bit more - with an effective slow build around the opening guitar riff that the rest of the song gradually envelops. The song often returns to this more simple arrangement, with the stark riffing resurfacing sometimes to act as a contrast to the more full, melodic sections filled with Alice Cooper-esque vocals and haunting guitar lines. It is a bit of a different-sounding song for the album, but it works well and Stålvind's presence ensures that it still sounds like Wolf. It is a strong end to the album, with a few more twists and turn than some may expect. Overall, Feeding the Machine is a very enjoyable slab of traditional metal from Wolf that has provided something of a proper introduction for me to the band. I find the album to be largely a safe, but very solid, listen that occasionally takes the odd turn to keep things sounding fresh - and I look forward to hearing more of the band's work in the future.

The album was released on 20th March 2020 via Century Media Records. Below is the band's promotional video for Midnight Hour.

Almanac's 'Rush of Death' - Album Review

It did not take long for the Belorussian guitar wizard Victor Smolski to recover from what appeared to be a rather acrimonious departure from the German metal act Rage in 2015. Smolski joined Rage in 1999 and contributed to seven of the band's studio albums, pushing Peavy Wagner's band into a more progressive and, at times, symphonic direction during his tenure. Interviews with Wagner after the fact revealed that he felt that Smolski's influence in the band was becoming too great, and that he was starting to loose control of the band that he had formed back in 1983. His solution was to split with Smolski, and Rage's recent albums have reverted somewhat back to their classic 1980s and 1990s sound - with a much happier Wagner again leading the charge. Seemingly not too perturbed by this split, Smolski set about forming a new band to continue on with the progressive, symphonic-tinged power metal that he had written for Rage. He formed Almanac the same year as his departure from Rage, and the band's debut album Tsar was released the following year. I am yet to hear Tsar, but I picked up a copy of 2017's Kingslayer last year which I have listened to a few times. Those familiar with the Smolski era of Rage will instantly see many of the same tropes and sounds used throughout Kingslayer, although there is a slightly more theatrical feel thanks the vocal styles utilised by the three lead vocalists featured on the album. Wagner's gruff vocals always gives Rage a certain sound, but in Almanac Smolski has been able to experiment with different vocal styles by utilising different singers. While Almanac is presented as a band, in truth I think it is essentially just Smolski's solo project. Some of the other band members have stuck around for a while, but Smolski is the band's main driving force. He writes the band's music, and plays a vast number of instruments on the albums. He is primarily a guitarist, but he is also responsible for all of the keyboards and orchestrations - as well occasional bursts of other instruments, including a sitar. That is certainly the case on the band's new, third album Rush of Death which was released last month. Both Tsar and Kingslayer were concerned with more historical subject matters, with a retro grandness to go with them, but Rush of Death is a more modern-sounding, straight ahead metal album that takes some inspiration from Smolski's other job as a professional rally driver. Returning from Kingslayer with Smolski are bassist Tim Rashid and vocalist Jeannette Marchewka; with vocalist Patrick Sühl (Pantaleon; Gun Barrel) and drummer Kevin Kott (At Vance; Masterplan) joining the ranks. Rush of Death is certainly heavier than Kingslayer, and sees Smolski dialling everything up to eleven throughout the album's ten songs.

The new full throttle (pun intended) Almanac sound is apparent right from the off, with the furious Predator kicking the album off in a high-octane fashion - with some suitably-cheesy narration to go with it. Smolski's opening riff is a technical one, but he soon settles into a more straight-forward groove as the verse takes over and Kott's weighty drumming locks in. Unlike many of the songs here, Sühl and Marchewka trade vocal lines throughout. Sühl is a fairly typcial power metal singer, with a gritty overtones and a strong sense of melody, while Marchewka has a somewhat lower voice than is usual for a woman - but her powerful vocals really fit in perfectly with Smolski's style. As the album is probably the heaviest effort from the band yet, it is fitting that the opening song is a steamroller right from the off. The energy never really lets up at all throughout, but there is still plenty of melodies courtesy of a grand chorus and a strange, almost-industrial guitar solo. It is a memorable opening moment that sets the tone for the rest of the album, and introduces the band's new members nicely. The album's title track opens with a fluid, progressive bassline from Rashid that Smolski soon mirrors - before a somewhat more atmospheric build up shows Smolski's love of a big arrangement. While this album is heavier than its predecessors, there are still grand arrangements to be found. This is not purely a flat out thrash album, and there is still plenty of light and shade to be found. This song showcases more of this style than the opening number as it alternates between sledgehammer mid-paced riffing and more sweeping sections featuring subtle string backings and floatier guitar lines. Sühl dominates this track vocally, while Marchewka takes more of a backseat as she concentrates on harmonies (which is her more usual role in the band). Frank Beck (Gamma Ray) and Marcel Junker (Mortal Remains) are also credited with vocals on the album, but I am not sure if their contributions are simply additional backing vocals or whether they also add some lead vocal lines throughout. I am not really familiar with any of the three male vocalists featured here, so it is hard for me to say either way - so I apologise if the wrong vocalist is name-checked for a certain performance. I assume that Sühl is the star here however, and he really showcases his talents throughout the song - with a controlled grit and just enough melody to really bring the soaring chorus to life. Songs three to seven on the album make up the Suite L.M. Part 2, so the orchestral arrangements are much larger here. Let the Show Begin acts as a slow-burning intro with more cheesy narration, before the heavier Soiled Existence kicks off with a crushing mid-paced guitar pattern and distant harsh vocals. Parts of the song almost stray into symphonic black metal territory, but when the main verses kick in the band's usual power metal trappings return with expressive male vocals and a knotty Smolski riff. I think Junker may be responsible for the occasional harsh vocals here, given his apparent thrash-based CV, and he mixes his growls in well with Sühl's soaring lead vocals. The harsh vocals are used sparingly to add weight, and their inclusion really works. It adds another side to the band's sound, without ever pushing Almanac truly into extreme metal territory.

Bought and Sold has a more old-school Almanac sound, with a driving power metal riff and plenty of tight double bass drumming from Kott. The grandness that characterised the band's earlier work is present again here, with a big string backing throughout thanks to Smolski's keyboards, but they never take anything away from his riffing which continually drives the song - while Sühl showcases his strong vocals again. Guitars in power metal bands are often reduced to a mere rhythmic instrument, providing a backing chug for the songs while the vocals and keyboards provide the main musical focal points - but in Almanac Smolski always ensures that the guitar is placed at the front and centre of every song. All of the songs are packed full of memorable riffs, and even the grander, more symphonic songs still have a strong guitar presence. The strings etc. are always there to support the guitar, and Smolski's playing is never overshadowed by the orchestral arrangements - which helps to cement Almanac's heavier sound. He always finds time for a shredding guitar solo too, and the one here is particularly speedy with some fast-paced neo-classical runs that fit in nicely with the song's overall pace. The Human Essence is another interlude-esque piece complete with dramatic narration and dancing symphonic arrangements. Smolski uses these shorter pieces to indulge in his love for a big symphonic arrangement, with his strings providing a dark, gothic backing for the hammed-up spoken word pieces. These pieces are somewhat overwrought, but they still work well in the context of the album. It gives the album an epic, film score-esque sound that works well - and helps to break up the relentless metal with lighter moments. Satisfied, the final piece of the suite, opens with Smolski's Eastern-sounding sitar melodies, but soon launches into the band's trademark heaviness with a speedy riff and plenty of relentless drumming. Despite the main riff's heaviness, there is actually a fair amount of light and shade to be found throughout the piece. Parts of the verses are more low-key, with choppy guitar rhythms and prominent vocal lines; while the chorus sees the song slowed down somewhat and a much grander orchestral backing used. This is probably the biggest-sounding song on the album, with Smolski's love of orchestral music really pushed to the fore here. The chorus almost boarders on true symphonic metal, while the rest of the song doubles down on the heaviness and speed with some of the most crushing riffs here and a lengthy, shredded guitar solo. The suite is clearly intended to be a follow-up to the LMO album that Rage did in conjunction with the Lingua Mortis Orchestra in 2013 - which was the culmination of Wagner and Smolski's push towards a grander Rage sound and their final collaboration. I am not familiar with the album, but I am familiar with some of the Smolski-era Rage albums and this new suite seems to be a natural continuation of that sound.

The album's final three songs, like the opening couple of numbers, focus more on straight-ahead heaviness and a driving metal sound - with the opening riff of Blink of an Eye taking influence from the djent movement somewhat due to its angular nature. Those fearing that the band have suddenly morphed into TesseracT should fear not however, as this influence is only really apparent in the main riff - with the rest of the song showcasing all the hallmarks of Smolski's songwriting. The verse is a pacy affair with weighty guitar rhythms and some gritty Sühl vocals; while the chorus is much more explosive with Sühl and Marchewka harmonising well together while subtle strings add depth. My favourite part of the song however has to be the instrumental section, which includes another lengthy Smolski solo. However, bassist Rashid also gets a chance to show off. The song is largely stripped back to just the guitar, bass, and drums at this point - with Rashid's varied and melodic playing perfectly underpinning Smolski's solo. Rashid also features during the dancing opening of Can't Hold Me Back, which features his meaty bass playing prominently - while Smolski adds a trademark knotty riff above his playing. The overt heaviness from some of the album's earlier tracks returns here, with the occasional harsh vocals once again making an appearance to really bulk the song up. It would be interesting to see Almanac expand on this style going forward. Smolski's guitar style is naturally quite heavy, so it would be good to see him push this side of his songwriting and collaborate with more harsh vocalists - expanding further into more thrash and extreme metal territories. While I would not want to lose the power metal and symphonic metal trappings he is known for, it would be interesting to see how Almanac would sound with a greater emphasis on extreme metal elements, with the trademark big choruses and solos acting as the light in comparison to the shade found elsewhere. The album's closing number Like a Machine is a good mix of all of the sounds found throughout the album, and it opens slowly with an acoustic guitar melody and some sombre vocals from Sühl and Marchewka - before these gothic overtones are shelved for an explosive power metal riff and plenty of double bass drumming. Smolski's progressive overtones are on display here, as the song's arrangement is a little more dynamic than many of the track here - with a few different vibes present. The song's low-key opening is re-purposed, in a heavier fashion, as a chorus; while there are plenty of chances for Smolski to show off his guitar playing. The instrumental breaks here are among the album's most furious, and there is even a sitar solo squeezed in that morphs into a shredding guitar workout. It is technically-challenging song brings the album to an impressive close, while still containing enough big melodies to be memorable. Overall, Rush of Death is another strong album from Smolski and Almanac that sees the guitarist pushing himself into heavier territories without ever sacrificing any of his knack for a strong melody. Fans of great metal guitar playing should check this album out, but casual fans of the heavier end of the power metal spectrum will also find plenty to enjoy here.

The album was released on 6th March 2020 via Nuclear Blast Records. Below is the band's promotional lyric video for Predator.

Harem Scarem's 'Change the World' - Album Review

Considering how prolific the Canadian rock act Harem Scarem have been over the years, it is surprising that this is actually their first appearance on this blog. I certainly would not call myself an expert on the band's music, but over the years I have picked up a few of their albums - which I have enjoyed on a casual basis. The album of theirs that I am most familiar with is their 1991 self-titled debut album, which is considered to be a bit of an underrated classic in the melodic rock world. Harem Scarem are one of those bands who launched themselves too late to make a real impact. If their first album had been released a few years earlier then it probably would have been a much bigger deal, but as it stands the band are seen as something of 'also-rans' in the melodic rock and AOR genres - despite being pretty well-respected by a good number of rock fans. I think the reason why I have never really fully taken the plunge with Harem Scarem is just the sheer size of their back catalogue. The band seem to put out a new album every two or three years without fail (and sometimes even more frequently), and sometimes it can be difficult to get into bands with such huge catalogues - especially when most of those albums are pretty indistinguishable from one another. Harem Scarem have not really changed their sound at all throughout their career. Their tougher take on melodic rock has been honed consistently throughout their fifteen previous albums - which brings us to their latest release, Change the World. I remember meaning to pick up the band's last couple of albums on release, but they always seemed to be released at busy times when a lot of other albums I wanted were coming out. There are only so many new albums that one can purchase, but as I really enjoyed hearing the band's latest single The Death of Me a month or so ago I made the effort to actually pick up Change the World on release and review it here. In many ways, Change the World is exactly what I expected it to be. The album is packed full of tough and hard rocking melodic rock tracks, many of which are very enjoyable. The band's core is made up of Harry Hess and Pete Lesperance; with the former handling the vocals and keyboards, and the latter playing all of the guitar and bass parts. Hess and Lesperance have been the core of Harem Scarem since the beginning, with the pair writing the band's songs and essentially single-handedly performing most of their albums - especially the more recent ones. The drums here are handled by Creighton Doane, who has played one a few of the band's newer albums, while original drummer Darren Smith (who still often plays live with the band) adds some additional backing vocals throughout.

The album kicks off with the smooth, melodic title track; a song that is designed to draw the listener in and it does just that with a hypnotic opening guitar line and a hooky verse that is packed with subtle vocal harmonies. While the band often rock a little harder than they do here, this is a track that allows Harem Scarem to showcase their grander, more melodic side - with subtle keyboards bulking out the sound, and a Queen-esque chorus that is more than a little theatrical without ever going overboard. This big riffs that can be found throughout many of the album's other songs are mostly absent here, with Lesperance's guitar largely providing colour and melody - although a fast-paced shredded solo further enhances the Queen comparisons with some thin, majestic lead runs. It is a melodic feast of a song that ensures the album opens on a high point - and showcases the bigger end of the band's sound. Aftershock is tougher, with a big Lesperance riff driving the song from the off - with bluesy overtones that aid, but do not detract from, the overall melodic nature of the piece. Hess' voice sounds as good now as it did in the early 1990s, and this song really showcases his talents. He has clearly looked after himself well over the years, and a soaring chorus sees him sounding at home belting out some strong melodies - while some subtle melodies support him. Harem Scarem have always been a bit too tough to truly be considered an AOR band, but songs like this showcase their AOR leanings and should appeal to fans of bands like Foreigner and Journey. The keyboards are used more atmospherically, but the melodies are still there - and the chorus here is one that is likely to get stuck in the brain. Searching for Meaning recalls the hypnotic guitar lines from the title track, but applies that style to a tougher, riff-based song and it works surprisingly well. The mix of melodic leads and crunchier riffing suits the band's sound, and showcases how Harem Scarem are often caught between different camps. They are a band that does not neatly sit in either the hard rock or the AOR camps, and this song perfectly encapsulates that quandary. Despite this, the song is another enjoyable one - with a chorus that evokes the lighter end of 1980s stadium rock, with melodies that recall early U2 with a bit of a kick up the backside. Lead single The Death of Me was the song that persuaded me to purchase this album, and I still think that it is the best thing here. Sadly the band do not quite reach this quality too often, but when they do it showcases what a powerful band they can be. The song comes from the heavier end of their sound so it really packs a punch, but a soaring chorus ensures that there are still plenty of melodies to be found - with Hess shining here vocally, while also laying down some subtle organ to bulk up the riffs. Lesperance also dials everything up here too, contributing a muscular riff that the whole song hangs from while also laying down some choppy, atmospheric guitar lines during the verses. His guitar solo is excellent too, and is packed full of melodic, shredded lines that recall the guitar heroes of the 1980s while still also contributing melodically to the song as a whole.

Mother of Invention is a slower track and a solo Hess composition, so it is unsurprisingly much more atmospheric - with Lesperance's guitars often taking more of a backseat. Hess' piano drives the piece, with his melodies forming the basis of the verses which he croons over with his smooth vocal style. The chorus sees things ramp up somewhat, with the rest of the band joining in. Doane plays a slow-paced, sombre beat while Lesperance adds some depth with his guitar. While this is a song that largely focuses on Hess, Lesperance still gets a chance to show off with a beautifully controlled guitar solo after the second chorus that adds to the emotional depth of the piece nicely. It is not a fast-paced solo like many of his efforts, but is instead much simpler - which fits in well with the sparser, piano-based track. No Man's Land gets the band back on more hard rocking ground, with a bluesy riff kicking everything off that has a bit of a modern-sounding Led Zeppelin vibe. This feeling resurfaces occasionally throughout the song, but once the verses kick in the band's more atmospheric melodic rock sound takes over - with Hess' smooth vocals and occasional ringing piano notes. Lesperance actually focuses on the bass during the verses, with a dancing bassline creating a strong groove throughout - before bulking the choruses out with layers of guitar and occasional bursts of bluesy riffing. In the Unknown is much more melodic overall, with a catchy guitar lead kicking things off before an AOR-esque verse takes over with layers of atmospheric keyboards and a floaty vocal line. The ability to be able to constantly shift between harder rocking songs and these more melodic, catchy tracks is one of Harem Scarem's strong points - and the really do the latter well. There are better hard rock acts than Harem Scarem, but when they do this sort of smooth, melodic rock they really shine. The U2-esque melodies from Searching for Meaning return here too, with another stadium-worthy chorus filling the speakers - which is sure to draw lots of listeners in. Lesperance shines with another fun guitar solo too. He has a bit of a different approach to the guitar, and his flashy leads here showcase his style nicely. Riot in My Head is a faster-pace driving rocker, which actually reminds me a little of Joe Lynn Turner-era Rainbow with its barrelling riff and weighty organ backing. Hess and Turner are actually quite similar vocalists (smooth, but still with some grit to their delivery) so the comparison is apt, and it would not surprise me to hear that Lesperance is a Ritchie Blackmore fan - as there is certainly something of the Man in Black's riffing style to be found here. The chorus is more overtly stadium rock than Rainbow ever were however (even at their commercial peak) which means the song still fits nicely on the album without standing out unduly or sounding like a pastiche.

No Me Without You is another solo Hess composition, so it is unsurprisingly another ballad. His keyboards drive the early portion of the song, with a jaunty melody providing something of a contrast to his more emotional vocals - but overall this song is a bit more full-sounding than Mother of Invention, with a stronger drum presence throughout and a few stabs of weighty guitar from Lesperance. The chorus is also much bigger, with layers of harmony vocals to really boost the melodies sung by Hess. The band have always done slower songs well, and they still manage to squeeze a lot of drama into them. This is the album's best ballad in my opinion, and another strong moment on an album that is is full of memorable songs. Fire & Gasoline toughens things up again, with a darker-sounding driving riff kicking things off, while a murky verse further sets the tone with an organ growling in the background to offset Hess' lower vocals. He has a lot more grit in his delivery throughout this song, which really helps to further the heavier mood that the song is going for. Harem Scarem are rarely a heavy band, but this song is probably the closest thing on the album to being so. The riffing throughout is tough, but there is still plenty of melody to be found during the fast-paced chorus - as well as Lesperance's screaming, shredded solo. The album comes to a close with Swallowed by the Machine, a melodic piece that dials back the previous song's heaviness to reinforce the band's usual smoothness - with another hypnotic guitar opening and atmospheric keyboard backing. There are catchier songs here, but the melodies throughout the track are still strong and overall the piece is memorable - although there is still a little bit of murk that can be found throughout which helps to provide a contrast to the usual bright melodies. The high point of the song however is probably Lesperance's guitar solo which opens with a fast-paced melody, before launching into an expressive, bluesy run of notes that perfectly sums his approach to his instrument. It fits in with the murkier piece perfectly, but it is left to another reprise of the song's decent chorus to bring the album to a close. Overall, Change the World is a strong album from Harem Scarem that fits in nicely with their other more recent releases and continues the run of enjoyable, solid albums. They are not a band to drastically change things up between each release, but they are a reliable act who continue to deliver enjoyable melodic rock albums for their fans. I feel I need to dip back further into the band's catalogue, as they are a band that I would like to become more familiar with in the future.

The album was released on 6th March 2020 via Frontiers Records. Below is the band's promotional video for The Death of Me.

Outlaws' 'Dixie Highway' - Album Review

There are not too many classic southern rock bands that are still putting out new material on even a semi-regular basis. Earlier this week Lynyrd Skynyrd released a new song called Last of the Street Survivors, but it has been eight years since their last studio album. A questionable new version of Blackfoot released the decent-but-unremarkable Southern Native (which I reviewed here) in 2016, and Gregg Allman's 2017 passing has ensured that 2003's Hittin' the Note is the final studio offering from The Allman Brothers Band. One southern rock act that perhaps do not get talked about enough these days however is the Outlaws, a Tampa-based act that were formed in 1967 but that did not truly get going until 1975 when they released their self-titled debut album. The band had a decent run throughout the 1970s and early 1980s, but then somewhat splintered apart. Southern rock bands often seem to go through a huge amount of line-up changes, but the Outlaws have possibly had more than most. There is no one defining, ever-present member of the band; with different eras of being led by one of the Outlaws' classic-era members while others come and go (and sometimes come again). The late Hughie Thomasson, who passed away in 2007, was probably the main driving force in the band throughout their most successful period; but since his death the band has been led by Henry Paul. Paul is another of the classic Outlaws members, and was a big songwriting and vocal force during the band's heyday. While Thomasson, along with the late Billy Jones, brought the rock to the band's sound, Paul's songs were characterised by more of a laid back country sound. The Outlaws have always had a much stronger country influence in their sound than many of their contemporaries, and that largely came from Paul. While Thomasson and Jones were busy writing riffy, boogie rockers with lengthy guitar solos, Paul was writing more acoustic-based pieces that acted as a great contrast to the rest of the band's material. I was therefore surprised to find that Dixie Highway, the band's latest and eleventh studio album, was, at times, quite a raucous affair. The band's first album since 2012's It's About Pride does have Paul's love of country on display, but there are also plenty of down and dirty southern rock anthems that are sure to please anyone who loves the genre. There is nothing original about the material on Dixie Highway, but the songs are packed full of memorable riffs and melodies - and there are a number of lengthy guitar solos for fans of old-school southern rock workouts. The band's current line-up features Paul, drummer Monte Yoho (who is another original member), and a cast of newer faces. Guitarist Steve Grisham, who was a member of the band during the 1980s, returns here for the first time since 1986's Soldiers of Fortune, while fellow guitarist Dale Oliver and co-drummer Jaran Sorenson make their debut in the studio with the band here. Former guitarist Billy Crain, who left the band after the release of It's About Pride, also contributes to the album in a session capacity by laying down some additional guitar parts and helping out with the songwriting.

The album kicks off with one of its rockier cuts. The emotionally-charged Southern Rock Will Never Die is a tribute to many of the genre's late legends, with Ronnie Van Zant, Steve Gaines, and Duane Allman among those name-checked during the song's chorus - along with the band's fallen Outlaws brothers. The album's booklet is a little sparse on information, but it seems that Paul handles most of the band's lead vocal duties on the album - with the lead guitar work handled by Grisham, Oliver, and Crain (Paul was always more of a rhythm player). The opening harmony guitar leads are full of pure southern rock goodness, before a slightly choppy verse introduces Paul's somewhat gruff voice - a voice that is perfect for this type of music. The song's lyrics tell the stories of some of those old southern rock acts - with the melodic chorus pulling it all together with lots of subtle vocal harmonies and some lead guitar lines which are just peeking out from behind the lyrics. Randy Threet's bass playing also really helps to enhance the melodic nature of the chorus, while a two-part screaming guitar solo recalls those Outlaws workouts of the past. Heavenly Blues is a re-recording of a song that was originally featured on the band's third album, 1977's Hurry Sundown. As I mentioned in my recent review of Rage's Wings of Rage, I am never really sure why bands re-record old songs and put them in the main tracklist of a new album. Whitesnake had success with this in the late 1980s but, apart from that example, it always seems a little bit pointless. It is a good song, so it is nice to hear a new version with modern production techniques etc., but if I wanted to hear it I could easily just dig out my old LP copy of Hurry Sundown. I would have rather heard another new song as the quality of the material here is very strong without the need to look to the past. The album's title track is one of my favourite cuts here. It is a moody, semi-ballad with a great Paul vocal that is enhanced by country-tinged harmonies from the rest of the band throughout. Despite the more downbeat nature of the track, there is still some heft here that stems from an opening bluesy guitar riff and a lengthy lead guitar-based intro. While the melodies here are excellent, with a smooth chorus that really evokes images of cruising down one of those long, American roads, this is a song that really showcases the guitar prowess in the modern incarnation of the band. Paul strums his acoustic guitar and sings the heartfelt lyrics with ease, but the lead guitarists really steal the thunder here. The opening guitar leads are nothing compared to the song's lengthy closing solo, which features all of the band's guitarists rocking out and trading flashy, blues-based licks. Southern rock as a genre is characterised by lengthy closing guitar solos, and this one is up there with the classic examples of the past. Anyone who loves lengthy guitar solos and great guitar-based rock should give this song a spin.

Overnight from Athens is a much more country-influenced song with prominent acoustic guitar chords throughout and an atmospheric backing from keyboardist Dave Robbins. The verses here are much more acoustic-based than much of the album, with occasional bursts of lead guitar adding further melody - all while a shuffling drum pattern keeps everything moving. Country music is often characterised by strong vocal harmonies, and the song's chorus here is packed full of them. Nearly the whole band is credited with providing the harmonies throughout the album, with the large band creating a really full vocal sound - which is only rivalled by some of the guitar melodies that shine throughout, particularly during the choruses. Endless Ride is similar, with a big acoustic presence throughout, but the pace is much slower - turning the track into another brooding ballad-esque piece. This song is less about big lead guitar passages however, and really pushes Paul into the spotlight vocally. While his voice is certainly showing its age a bit, he still sounds great throughout the album and he is the perfect singer for singing this type material. He has a knack for injecting a fair amount of emotion into the songs he sings, and that is no different here - with the song's big chorus being a vehicle for his talents, while the gentle harmonies add depth. There is still some strong guitar playing here, with some moody slide lines and a short solo taking the spotlight away from Paul, but on the whole this is a song that is more about country-tinged vocal melodies and atmosphere than guitar workouts - until the end that is when another lengthy guitar solo kicks in to bring the track to a scintillating close. Dark Horse Run continues the country-tinged vibe created by the previous two songs, but gives the lead guitars much more prominence again with slow-burning leads featuring early on. While the song is still based around big acoustic guitar patterns, there is bluesy riffing throughout and quite a few tasty little leads that add colour. It is also one of the few songs here that is not sung by Paul. It is not clear who sings the song, but looking at the songwriting credits it might be Grisham, but their somewhat smoother vocal style works well within the somewhat bluesier shuffle of the piece - while still retaining enough of a country twang to suit the overall album. Another lengthy closing instrumental section impresses from a musical standpoint, with multiple guitar solos shining - and it even includes an a growling organ solo from Robbins. Rattlesnake Road, one of the album's singles, is a hard-hitting piece of country rock with a strong organ backing and a rugged Paul vocal. Paul co-wrote the song with the late Van Stephenson, who was a member of Paul's country act Blackhawk, so it is unsurprising that the song has a strong country vibe - although it has been rocked up to fit in with the Outlaws' southern rock sound. There is lots of strong riffing to be found throughout the song, and plenty of time is also dedicated to lead guitar trade-offs with all of the band's guitarists once again showing off their skills. It is one of the album's most upbeat tracks, and therefore the perfect choice for a single.

Lonesome Boy from Dixie is a cover of an old Charlie Daniels Band song, which featured on their 1980 album Full Moon. The Charlie Daniels Band also feature a strong country/southern rock sound, so the song fits perfectly into the overall sound that this album is going for. The acoustic-based vibe returns, with Paul leading the charge vocally while the rest of the band lock into a shuffling groove and provide lush harmonies for the simple chorus. Despite this however, there is still something of a toughness to the song - with strong guitar rhythms underpinning everything, while Threet plays some extremely melodic basslines to really tie everything together. An instrumental track called Showdown follows on nicely from the previous song, and is unsurprisingly a guitar workout for all of the band's lead players. Robbins lays down a strong organ backing for the band to solo over the top of, and the whole song is just packed full of catchy, fluid lead playing from Grisham, Oliver, and Crain. It is typical of many of the songs' closing sections, and is another great workout on an album full of them. Windy City's Blue is a recording of an old song written by the band's original bassist Frank O'Keefe who is also sadly no longer with us. I do not think that the song has been recorded properly before, with this version being worked up from an old demo. Again, it does not sound like Paul sings the song (it could be Grisham again) - but the vocals fit nicely into the bluesy groove of the piece. This song rocks a little harder than most of the tracks here, with tough bluesy riffing and driving organ utilised throughout the keep the song moving. Some of the riffs have a real Lynyrd Skynyrd feel to them, which is appropriate considering that O'Keefe was a member of the Outlaws when they were contemporaries to Lynyrd Skynyrd, but the country tinges that the Outlaws are known for are also present here thanks to some full vocal harmonies. Unsurprisingly there is some more excellent lead guitar moments throughout the track, with it coming to a close on yet another extended guitar workout. Macon Memories brings the album to a close in a similar fashion to how it opened - with southern rock tales. The song is much more low-key than the opening cut however, with Paul and his acoustic guitar driving everything - while he sings the story of The Allman Brothers Band. The strong country vibes of many of the album's earlier songs return here in a big way, with Eagles-esque vocal harmonies appearing during the choruses - while the thin guitar leads pack an emotional punch. It is certainly not the album's most explosive moment, but it is a great moment of reflection that shows the gentler side of Paul's songwriting. He is certainly the main man in the Outlaws these days, and it is apt the album comes to a close on a song that really showcases his talents, as well as his love of country. Overall, Dixie Highway is a strong album from the Outlaws that shows that the band still have a lot in the tank. I am only familiar with the band's first three albums, so I feel I now need to invest in the rest of the band's back catalogue as I am sure that there is still a lot for me to discover about the Outlaws.

The album was released on 28th February 2020 via Steamhammer/SPV GmbH. Below is the band's promotional lyric video for Rattlesnake Road.

The Night Flight Orchestra's 'Aeromantic' - Album Review

In the past on this blog I have called Tobias Sammet the most prolific and consistent songwriter in modern metal. For a while it seemed that the guy was putting out an album a year with either Edguy or Avantasia, but he seems to have slowed down somewhat recently thanks to Edguy's hiatus - and last year's Avantasia opus Moonglow (which I reviewed here) was, in my view, below his usual high standards. I think, therefore, that the 'most prolific and consistent songwriter in metal' crown must be passed over to David Andersson, the guitarist in both the melodic death metal act Soilwork and the melodic rock/AOR act The Night Flight Orchestra. While Andersson does not act alone, with frontman Björn 'Speed' Strid's songwriting contributions to both bands also being key, he has become the dominant songwriting force for both bands over the past few years - with Soilwork undergoing something of a resurgence since he joined the band's ranks in 2012 and The Night Flight Orchestra launching as one of the premier retro rock acts of the modern day. Since 2015 Andersson, along with Strid, has put out six albums (two with Soilwork and four with The Night Flight Orchestra) - the latest of which, The Night Flight Orchestra's fifth album Aeromantic, is the subject of this piece. I am a relative newcomer to The Night Flight Orchestra. I have been a Soilwork fan for a number of years, but for some reason this did not also transfer over to The Night Flight Orchestra. I remember checking out a song of theirs around the time that 2018's Sometimes the World Ain't Enough came out, an album that I still have not yet heard, but it did not grab me. Last year however I took a punt on 2017's Amber Galactic and loved it. The Night Flight Orchestra's sound is a great mix of old school melodic rock influences. There are big AOR melodies, but there are also progressive and jazz-fusion influences to be found. The band sound like a modern mix of Toto, the Michael McDonald era of The Doobie Brothers, and the accessible end of Steely Dan - all enclosed in a toughness that comes from many of the band members' careers in successful and established metal bands. The great thing about The Night Flight Orchestra however is now natural their albums sound. It would be easy for the band to sound overly cheesy or earnest in their songwriting, but it is clear from interviews that both Strid and Andersson have genuine love and respect for AOR and melodic rock of all guises (one interview revealed that one of Strid's favourite AOR albums is FM's 1986 debut Indiscreet for example). Amber Galactic was the only album of the band's that I had heard before picking up Aeromantic, but in my opinion the band's latest album is just as good as that 2017 release - with a couple of absolutely fantastic songs that rank up there among the best melodic rock songs of recent years.

The album's first three songs are all outstanding. They are all packed full of vocal hooks, melodic keyboard lines, and smooth guitar interplay from Andersson and Sebastian Forslund. Aeromantic is a bit of a top-heavy album, in that most of the real standout tracks come during the album's first half - but it is perhaps the opening three that are the real cream of the crop. The atmospheric, driving rocker Servants of the Air kicks things off in style with some fuzzy radio transmissions and pulsing synths before drummer Jonas Källsbäck introduces a marching drum beat which soon gives way to a fast-paced guitar rhythm. Keyboard duties on the album are shared between regular keyboardist Richard Larsson and guest player John Lönnmyr - and it is the latter who's flashy synth runs and pompus keyboard stabs really hold this track together. The Night Flight Orchestra are not truly a hard rock act, but there is something of a toughness to their material, with this song being at the heavier end of their sound - with double bass drum patterns keeping the verses moving along, while an epic, cinematic chorus brings the best out of Strid as a singer. In many ways, and despite its heavier overtones, the song is a good introduction to the band's overall sound. It has all of the band's hallmarks present, including a great old-school keyboard solo, while still containing a bit of heft to draw those in who are approaching the band from the Soilwork fanbase. Divinyls, a solo Strid composition, is lighter - but as a result the hooks are much poppier and extremely catchy. Larsson's simple keyboard riff provides the main musical motif early on, but the verses are quite sparse with a simple pulsing rhythm which really pushes Strid's voice to the fore. Soilwork fans have long known of Strid's vocal talents, but his clean vocals have really improved in recent years. He never uses his harsh vocals with The Night Flight Orchestra, and he shows that he is a great rock frontman as well as a metal one. The song's chorus is one of the album's most immediate earworms, and it makes great use of the main keyboard riff which Strid doubles with his vocal melodies - while Anna Brygård and Anna-Mia Bonde contribute sugary harmonies. If Tonight is Our Only Chance is much more pompous, with an Asia-esque opening keyboard melody giving way to another low-key verse that is based around some simple bass playing from Sharlee D'Angelo. When AOR songs have low-key verses however, you just know that they are going to explode into a massive chorus and that is just what this song does! It recalls Toto at their most bombastic (think Goodbye Eleanor), with driving keyboard stabs and tough guitar rhythms. There is nothing particularly complicated about the song, but the melodies and overall atmosphere just nail the style and era the band are evoking perfectly. This Boy's Last Summer sees a little bit of a drop in quality compared to the opening songs, but it is still a strong track that ups the pace and is focused more around rhythms than melodies. The keyboards take a bit more of a backseat here, with the drums and guitars bulking out the verses somewhat while Strid lays down a husky vocal. The chorus is still strong, and is likely to remain stuck somewhere in the brain, but it does not quite match up to the opening three efforts - with more of standard Survivor-esque AOR approach rather than the more refined sound the band usually go for. It still works well however, and the song remains a fun listen.

Curves is song that is up there with the quality of the opening handful, and is based around a jazzy piano riff from Lönnmyr that sounds like it was gifted to the band from Toto's David Paich. It has Paich's knack for both rhythm and melody - with the whole song hanging off the groove that it creates. This is a pure yacht rock anthem, and possess all the qualities of those great melodic Steely Dan tracks from their early handful of albums. Great yacht rock needs groove, and this song has it in spades. It is mainly derived from the piano, but both Källsbäck and D'Angelo contribute to it with contrasting melodies and patterns that further enhance what the piano is creating. This groove mixed with an anthemic and stadium-worthy chorus is a winning combination, with Strid once again delivering the perfect vocal to fit the mood of the song - this time taking a bit of a harder rock approach which contrasts well with the jazzy grooves and thin-sounding guitar solo that comes towards the end. Transmissions has a bit of a disco feel to it, with a pulsing 1970s floor-filling beat and a great cinematic keyboard backing. This is a song that has grown on me a lot over repeated listens, as at first the hooks just did not really jump out at me. Now, however, I really love the song as the subtle grooves and Strid's commanding vocals make it an irresistible listen. The chorus is another winner, with lots of powerful vocal harmonies, while Larsson's keyboards swirl around and create a halo around the whole band - before some violin from Rachel Hall ensures the song takes a surprising turn towards the end. The disco vibes of the piece help it to stand out too, and it is another strong offering on an album that contains lots of enjoyable songs. The album's title track is more overtly rock, with a driving drum pattern and a pompous keyboard-led riff that is packed full of energy. While the track is firmly in the 'mid-paced' category, there is a certainly kinetic energy about it that is different from many of the other songs here. There is a certain classic rock strut to be found here, but with all the classic Night Flight Orchestra tropes still on display. Strid's vocal display is a bit grittier here, with the backing singers providing soft harmonies and additional vocal lines, although he returns to his smoother delivery for the high-octane and soaring chorus - which, again, is filled with excellent keyboard melodies. Golden Swansdown is a smoother, slower piece with pulsing synths setting the tone early on while the backing singers add wordless vocal melodies in time with the keyboards. While not exactly a true ballad, the song has many of the hallmarks of one - with a more downbeat overall delivery and an earnest-sounding chorus with walls of harmony vocals and keyboards. Given the song's more downbeat nature, it acts as a real vocal showcase for Strid. Those who were listening to Soilwork's Bastard Chain and Like the Average Stalker nearly twenty years ago probably never imagined that they would ever hear Strid sing a song like this, but I am glad that he has managed to showcase his love of AOR to the world while still keeping Soilwork a vital and exciting band - it is the perfect 'best of both worlds' situation.

Taurus, with songwriting contributions from Forslund, is a bit pacier with a high-energy drum beat and some excellent bass playing from D'Angelo. It is a really fun song to listen to, but it lacks some of the really strong melodies that are found elsewhere. The chorus does not quite hit the spot in the way that many of the others do, but the energy that the song creates makes up for this. It is a little bit of a shame that the chorus is just missing that spark, otherwise I think this song could have been up there with the album's opening trilogy. All the rest of the ingredients are here, with the added relative frantic feeling caused by the song's pace. It segues nicely into Carmencita Seven however, which is quite similar with the energetic pace maintained and the additions of driving keyboard riffs from Lönnmyr. While I still like Taurus, I think that this song has the spark that the former is missing. The chorus here is another winner, with the pace slowing down somewhat during it - which allows Strid's vocals to really take centre stage while he belts out the melodies. There is also a fairly rare guitar solo, presumably from Andersson, during the song. The Night Flight Orchestra's songs do not contain solos too often, instead preferring to focus more on big hooks and melodies, but the more overt 'rock' feeling of this song merits having a guitar solo included. It is a nice change of pace, and allows for an outburst of virtuosity rather than being constrained by the melodies and grooves. Sister Mercurial gets back to the band's core sound however, with Larsson driving things with a massive keyboard riff while Källsbäck adds a staccato drum pattern. The low-key verses of many of the other songs return here, with some light, jazzy guitar playing backing up Strid's vocals; before a grander chorus kicks in with more smooth vocals and dancing keyboards. I am not sure if Larsson has left the band, which may be why he is only credited as a guest performer on the album, but his playing really elevates this track. The song is essentially built around his melodies, which are irresistible and catchy, but a screaming guitar solo comes in towards the end of the piece to add some harder rock vibes in amongst all of the AOR pomp. The album's final song, Dead of Winter, is another Forslund co-write so it is somewhat similar to Taurus - but this time with a big chorus to match. It is a song very much from the pomp end of AOR, with grand keyboards filling pretty much every gap in the song - while the guitars add a satisfying crunch when required. There is another strong groove to be found during the verses, again courtesy of D'Angelo's playing, but it is the chorus that is the best moment here with suitably-big melodies pouring out of the speakers thanks to Strid and the walls of keyboards. It is a very catchy song that brings many of the band's core sounds together as one, and therefore acts as a perfect album closer - with a bit of energy present also to stop the album fizzling out. Overall, Aeromantic is another really enjoyable album from The Night Flight Orchestra that further hones their brand of melodic rock and enshrines them as one of the premier modern exponents of the style. I will now need to go back and pick up all of the band's previous albums that I do not own, as I imagine there are plenty of other songs for me to discover within those no doubt excellent records.

The album was released on 28th February 2020 via Nuclear Blast Records. Below is the band's promotional video for Divinyls.