FM's 'Synchronized' - Album Review

While English-based AOR has always been something of a rarity, London's FM have been flying the flag for the genre since forming back in 1984. It is a real shame that the band never really achieved the success that they deserved, as albums like 1986's Indiscreet and 1989's Tough It Out really ought to be seen as some of the true cream of the AOR crop, but that has not stopped FM from continuing to do what they do best throughout the years. In a similar way to how Magnum came back from a hiatus arguably stronger than ever with an insatiable need to pump out new albums, FM's 2007 resurrection has been nothing short of magical. What was initially supposed to be a one-off reunion for the now-defunct Firefest has sprawled into a thirteen-year-and-counting adventure; with the band's current line-up present for twelve of those thirteen years - making the current five-piece the most-stable line-up of the band's history. These five guys are also now seven albums deep into this reunion (including 2016's re-recorded version of Indiscreet) with the recent release of Synchronized, and that is not taking into account the numerous EPs and live albums that have also been put out since 2007. This all just goes to show that FM are not going to be going away any time soon, and for those of us who love the band's melodic sound this is great news. A new FM album every couple of years has become the norm, and Synchronized is another excellent addition in the band's canon. It is the band's twelfth album overall, and it follows on perfectly from where Atomic Generation (which I reviewed here) left off two years ago. While it is fair to say that the band's sound has matured over the years, the FM of 2020 still contain all of the hallmarks that made them a great band in the 1980s. Soaring choruses, washings of keyboard, and the occasional blues-based rocker have been a big part of the FM sound since the beginning - and all of those things are very much present and correct on Synchronized. The band's sound has certainly got a little tougher over the years, with the bluesy riffing becoming somewhat more prevalent, but they are still an AOR band at heart. All of the band's recent albums have been a mix of what has made the band great over the years, and in that respect Synchronized is no different. To me, however, this new album is the smoothest and most melodic that the band have sounded since the 1980s. There certainly seems to be more focus on the AOR than the bluesy melodic rock this time around, which could have been influenced by the band performing Tough It Out in its entirety on tour last year with the Dan Reed Network and Gun. Even if this tour was not somewhat of an influence on the band's latest album, something has pushed the band further back to their AOR-focused sound in comparison to what is present on many of their other post-reunion albums - which you certainly will not find me complaining about.

The twelve track album kicks off with its two leading singles, both of which are soaring throwbacks to the band's 1980s past and, as a result, are two of my favourite pieces on the album. The title track gets things underway with a short spoken word piece, before a huge guitar chord crashes in and Jem Davis lays down a catchy, old-school synth riff. While the keyboards have become slightly less dominant in FM's sound over the years, Davis gets plenty of opportunities to shine throughout this album - which is great to see. Synchronized is a melodic feast, with a shimmering keyboard sheen present throughout that sits perfectly alongside Merv Goldsworthy's busy verse bassline and Jim Kirkpatrick's bluesy chorus riff. Davis' keyboards mirror a brass section during the choruses for extra punch, all while the evergreen Steve Overland showcases his vocal chops. I have talked a lot recently about singers who have lost none of their vocal power, but Overland is possibly the best example of this. He sounds exactly the same as he did in the 1980s, and he handles the song's punchy, catchy chorus with ease. Superstar is similar, but goes for a somewhat smoother AOR approach throughout with a constant keyboard halo and chiming guitar arpeggios - which together create something of a West Coast sound. This is one of those songs that, right from the off, just grabs hold and never lets go. The melodies are irresistible, with Overland's voice really making every vocal line stand out and the big vocal harmonies used throughout create a real depth - while still somehow managing to maintain a laid back, smooth AOR vibe. FM have not sounded this whimsical for a good number of years, and for that reason the summery track is one of my favourites here. Kirkpatrick's laid back, yet technical, guitar solo really is the icing on the cake - and he proves yet again why he might be the best lead guitarist the band have had to date. Best of Times is a little more organic sounding, with Davis opting for a Hammond organ throughout. While FM have never really been a true 'hard rock' band, their more recent albums have certainly been a little riffier - with less of a focus on big AOR hooks. Best of Times is something of a hybrid between the sound of the opening two tracks and the band's more modern approach; with the Hammond really adding some 1970s depth, while Overland's vocal hooks sit firmly within the melodic rock side of things. As a result however, the sound has a touch of the blues about it, with Overland sounding similar to Paul Rodgers at times as the Hammond rumbles away behind what is still a smooth slab of melodic rock. Ghost of You and I is the album's first true ballad, and it opens in a gentle fashion with some simple piano melodies - before Overland's soulful vocals and a strange percussion loop kicks in. FM have always written strong ballads, and this is another excellent addition to their canon. Overland's voice is made for singing songs such as this, while the rest of the band add delicate harmonies at opportune moments. Despite the simple-sounding approach, there is still a fair amount of depth here. Aside from the harmony vocals, there are subtle acoustic guitar moments throughout - as well as some short, bluesy leads from Kirkpatrick to counter the main vocal melodies. It is another great example of FM doing what they do best, and it is one of my favourite modern ballads of theirs.

Broken ups the pace and power somewhat but, like the opening couple of numbers, it really embraces the band's past. The opening keyboard and electronic drum intro is pure 1980s nostalgia, with the keyboard stabs reminding me a little of Duran Duran's A View to a Kill, and the rest of the song recalls that smooth West Coast-esque sound again but with a little of the modern FM's blues rock punch. Kirkpatrick's guitars throughout the song are weighty, which help to bulk out the piece nicely, but it is Davis' keyboards that provide the main melodic hooks throughout - with the warm synth stabs and sequenced melodies really holding everything together. It is a powerful, yet melodic, song that really fuses together everything that has made FM great over the years - and one that looks to the past and the present for inspiration. Change for the Better opens slowly, with some clean guitar melodies, before the pace ups somewhat and Kirkpatrick launches into a classic-sounding choppy AOR riff that is backed by the keyboards and a kinetic drum pattern from Pete Jupp. Lots of the songs on this album have strong choruses, but the effort here is particularly memorable. There seems to be a bit more of a focus on strong vocal harmonies on this album in comparison to some of the band's other more recent releases - and it is this focus that really helps this album's choruses to shine. There is a bit of a Toto vibe to this song's chorus, with a slightly funky approach to the melodies that really benefit from the big vocal arrangement. As a result, the song is another extremely memorable moment on an album that is packed full of them - with a melodic, shredded solo from Kirkpatrick pushing the song up to the next level - and it is another personal favourite. End of Days takes a bit more of a harder rock approach, with a slow bluesy build up allowing the tension to build before a pulsing verse takes over that is built around Goldsworthy's bass playing. While not exactly a heavy track, as there is still a smoothness and plenty of AOR-esque melodies to be found throughout, the song certainly feels a bit denser and darker than much of the rest of the album. Overland's sings the verses in a slightly lower register than usual, before exploding into a powerful chorus that is sung in his more typical style. This subtle change works well, and it helps the verses to have a bit of a darkness to them before the chorus showers the listener with strong melodies and yet more soaring harmonies. Elsewhere, Davis' majestic keyboard stabs have a bit of a modern Magnum feel; which help to give the song a powerful, yet grand, sound that enables it to stand out from the crowd. Pray sticks with this slightly harder rocking approach. Jupp's drumming really dominates the song, with his big-sounding 1980s-style snare really cutting through the mix, while Davis lays into his Hammond organ throughout for a rumbling, bluesy backing. In many ways, this song is typical of the sound that FM have been chasing for the past decade or so. The band's trademark melodies are still present, but there is a toughness to the arrangement that was not really present on the band's first couple of albums. Kirkpatrick's weighty guitar riffing helps to really drive the tougher verses, but he also knows when to pull back a little to allow the vocals to shine - such as during what is another strong chorus.

Walk Through the Fire is another personal favourite of mine, as it shows the band's knack for writing what is essentially a ballad while still managing to fuse it with a pulsing, AOR backdrop. Goldsworthy's bass really dominates the early portion of the track. His bassline essentially acts as the percussion and driving force of the song until the chorus kicks in - while the guitars and keyboards provide an atmospheric backdrop to compliment Overland's singing. The song opens up more when it reaches the chorus however. Jupp joins in with another weighty drum pattern, while Davis' synths and atmospherics add a perfect halo around everything. It is another chorus that really stood out to me on my first listen to the album - and it is one that has only improved for me over multiple plays. It has all of the classic AOR smoothness, but there is a haunting quality to it that is not often heard in the band's music and that is what really makes the song stand out for me. Hell or High Water is one of the harder rocking tracks on the album, with Davis' keyboards taking a bit more of a backseat to allow Kirkpatrick's bluesy riffing to come the fore. The band's classic melodic sensibilities are still present throughout however, although Overland can once again be heard doing his Rodgers-esque thing during the verses - which fits in with the bluesier vibe that the song goes for. That being said, the song is not as tough as some of the songs that can be found on some of the band's other more recent efforts. There is definitely a smoothness that permeates through this whole album, which helps is to stand out from the band's other recent releases, with even these bluesier tracks having a strong atmosphere and a focus on AOR-esque melodies. As much as I have enjoyed FM's previous few albums, I really like the approach taken here as it harks back to the band's heyday without really sacrificing any of the development that they have made over the years. The mix of toughness and melody is a great one, and it really makes this album sound as great as it does. This sound is really on display throughout the ballad Angels Cried too, which is packed full of modern bluesy sensibilities and 1980s-esque atmospherics. Slide guitar lines, which are not commonly heard in FM's music, add aching bluesy touches here and there; while Davis' mix of piano and organ gives the track real depth. The real star of the show however is Overland. I have waxed lyrical over the years about the guy's vocal power, but this song might just contain his best individual performance to date. He is smooth and emotional on the whole, but when needed he really lets rip with all the power and soul of the great blues singers of the past. It is his performance that really helps the song to stand out - and as a result it is another standout moment for me. The album comes to a close with Ready For Me which, after the soulful ballad that preceded it, is a bit of a 'letting your hair down' moment. The harder rocking track allows the album to close out in an up-tempo and memorable fashion, and it is another track the really recalls the band's past with pulsing keyboard rhythms and plentiful vocal harmonies - with the strident chorus recalling FM classics of the past such as Don't Stop. The song has a great classic rock strut throughout, and this mixes well with the band's patented harmonies to create a powerful and soaring closing number. It is an uncomplicated song compared to some of the deeper-sounding tracks that came before it, but in that respect it feels like a victory lap which perfectly helps to close out the album in style. Overall, Synchronized is another really strong album from FM that might well be my favourite thing that the band have done since their reunion in 2007. As much as I have enjoyed the band's other recent albums, this one has a smoothness and a sense of melody that just elevates is slightly above the recent competition, and I can see some of these songs becoming live favourites in the years to come.

The album was released on 22nd May 2020 via Frontiers Records. Below is the band's promotional video for Superstar.