Saturday 26 September 2020

Stryper's 'Even the Devil Believes' - Album Review

Something that I have learnt over the past decade and a half, particularly as my music taste really started to branch out beyond the initial handful of bands that I heavily got into, is that just as much time and effort should be put into checking out the newer albums of older bands as should be put into seeking out brand new acts. Older bands, particularly those with plenty of hit albums and singles, often struggle to reach an audience with their new music. All too often the fans of older bands are content with listening to the albums that they grew up with over and over again, but those who are of that mindset are often missing out on some of the best new music being released. It is a mindset that I have never understood, as why would anyone not want to hear more from a band that they claim to love, but sadly it is all too common. This is largely the reason why some older bands have not put out any new music for years at this point, and why their setlists can really stagnate. Some fans just want to hear the same old songs over and over again, and sadly there are a good handful of bands who pander to these casual listeners night after night on tour. Stryper, however, are not one of those bands. With the exception of a ten year hiatus that lasted from 1993 to 2003, with a brief reunion in the late 1990s, Stryper have always been creating. Since 2005 the band have released six studio albums of all-new material; along with a live album, a covers album, and a collection of re-recorded classics; the latest of which, Even the Devil Believes, was released earlier this month. I am not familiar with 2005's Reborn or 2009's Murder by Pride, but since the band signed to Frontiers Records and released No More Hell to Pay (which I reviewed here) in 2013 they have really been on a roll. Even the Devil Believes is their fourth album of original material since joining Frontiers, and it keeps up the quality established on the previous releases. For me, No More Hell to Pay is still the best of the more recent Stryper albums, but both 2015's Fallen (which I also reviewed here) and 2018's God Damn Evil (which, you guessed it, I also reviewed here) are very enjoyable slabs of heavy melodic metal. While Stryper were often lumped in with the glam metal scene in the 1980s, and some of their songs (particularly some of the very sugary ballads) certainly fit in with that crowd, but in truth the band were always a bit more than your average glam act. The modern Stryper are certainly not sugary in any way, and Even the Devil Believes continues on the toughening up of the band's sound that made God Damn Evil such a success. I am not sure the songs are quite as memorable this time around, but Even the Devil Believes is still a strong album - with frontman Michael Sweet really on form once again vocally. This is the band's first album to feature bassist Perry Richardson (FireHouse), who had joined the band around the time of God Damn Evil's recording but did not actually feature on the final product due to time constraints.

While the heavier moments of Even the Devil Believes do not reach the furiousness of tracks likes Take it to the Cross, which even featured some harsh vocals at the chagrin of some of the band's more closed-minded fans, there is still a sense here that Stryper are really enjoying being a true heavy metal band at this point. There are still plenty of soaring, melodic moments to be found, but there is also a bit of a relentlessness. This was introduced throughout God Damn Evil, and it is great to see the band continuing an all-out metal approach. This is apparent from the off, as Blood From Above is one of the album's most furious anthems - with a pseudo-thrash guitar riff from Michael Sweet and fellow guitarist Oz Fox kicking things off. A high-pitched scream is not far behind either, which showcases Michael Sweet's enduring vocal power, but overall this is just a great slab of heavy melodic metal that contains plenty of energy and hooks. A simple chorus, with some over the top vocal harmonies, displays the band's 1980s roots; while Robert Sweet's heavy-handed drumming style helps gives the song a further kick. I have likened Robert Sweet's drumming style to Vinny Appice's before, and that comparison remains apt here. He might not be the most technical of drummers, but his hard-hitting style really boosts the band's power. As a result, Blood From Above really showcases the modern Stryper at their best - and it is sure to become a great live number in the future. Make Love Great Again tones down the heaviness a little and goes for a snaking mid-paced groove that really pushes Richardson's bass to the fore. The bass has never really been a big part of Stryper's sound, so much so that the band's former bassist Timothy Gaines was essentially banned from taking part in the recording of many of the band's classic albums, so it is interesting to hear Richardson's contributions really spotlighted here. His bassline really lays down the groove for everything else to build on, and the band make great use of this foundation with some haunting twin guitar leads and a somewhat more atmospheric approach. The verses follow a different pattern than what is usual for the band, with the aforementioned atmospherics dominating, but the chorus is very typical with soaring vocal harmonies and a chunky power chord backing. The only criticism I have of the track is that, at nearly six minutes, it is a tad too long. It could have been cut down a bit without really loosing much in my opinion for a tighter experience. Let Him In is a great throwback to the Stryper sound of the 1980s, and it is a great example of how the band would have sounded back in the day if their classic albums were not dripping in 1980s production qualities. There is plenty of crunch here, with chugging riffing keeping the verses ticking along, but the hooks are what really draws the listener in. As the song moves towards the chorus, the hooks start to get more memorable and when the chorus hits with its simple gang vocal chants it will certainly make people sit up and take notice. The arrangement here is very simple, but it is the sort of song that made Stryper popular back in the 1980s and it is great to hear them still churning out these sort of anthemic pop metal songs decades later.

Do Unto Others, the album's main single, is similar but perfectly fuses the band's classic 1980s sound with the heavier approach that they have been taking more recently. It does not feel quite as hooky as some of the other songs here, but the riffing and overall weight makes up for it - meaning the balance between melody and heaviness is well struck. The guitar tones used here, and throughout the rest of the album, are huge - and they really make the songs sound beefy. This, when mixed in with Robert Sweet's heavy drumming, makes the album sound massive; so much so that even the singles really hit home. Even the chorus, which is certainly going for a slightly sugary approach with layers of harmony vocals and anthemic melodies, still sounds tough with this backing. It is the perfect mix of old and new - and this is likely why it was chosen as a single. The chorus throws the listener back to the band's 1980s albums, while the crunchy verses show how the band have aged gracefully. The title track is again similar, with a mid-paced anthemic approach taken that revolves around a very Dokken-esque riff. In some ways I see Stryper and Dokken as part of the same strange genre that I can never quite name (not glam enough to be glam, not truly heavy enough to be pure metal, etc.), so this comparison is apt. The two bands were peers in the 1980s, so it is nice to hear some similarities between the two in this song. Michael Sweet and Fox team up constantly throughout for subtle harmony riffs and chord sequences, which again recalls that Dokken approach to layering, and the two play off each other later on too for a shredded solo section. A catchy chorus is the icing on the cake, and provides a hook that will not let the listener go. Not every song on the album is a winner however, and in my view the quality takes a little bit of a dip during How to Fly. The song is one of those crawling mid-paced rockers that never really seems to get going. I think that bands sometimes think that these sort of songs are epic-sounding and anthemic; but in truth they just end up sounding like a bit of a dirge. The pace never really picks up, which really limits the power of what could have been a handful of good hooks. The best part for me however is the guitar solo, which is still quite slow but it is phrased very nicely to make it probably the most melodically-pleasing moment in the song. Divider is better, and ups the pace somewhat to a crunchy mid-pace with some pleasingly heavy guitar riffing and Richardson's booming bass. This is another song that really emphasises the band's heavier side, with gang vocals emphasised throughout to give it a real 'fists in the air' feel. The call-and-response vocal style used throughout is sure to make the song a hit if played live, and it also allows Michael Sweet to really showcase his range. The verses see him taking something of a gritty approach, with the choruses allowing for some high-pitched power metal-esque vocals to fit in with the chanting of the rest of the band. It is a catchy and headbang-worthy song that really gets the album back on track after the weaker and plodding How to Fly.

This I Pray is a bit of a ballad, but also sees the band tackling something of a southern rock-esque sound. There is a big acoustic guitar presence throughout, but the bluesy guitar leads really recall the 1970s southern rock scene and evoke memories of the slower Blackfoot and Molly Hatchet tunes. Despite this change of tack, the song still fits in nicely within the context of the album. Michael Sweet does not go for a faux-country vocal approach, thankfully, so his voice really grounds the song in the classic Stryper canon; while occasional non-bluesy guitar leads remind the listener that Stryper are indeed rooted in the 1980s metal scene. I can see the song being a bit divisive within the band's fanbase, but for me it works. This style of ballad certainly suits the modern Stryper much better than trying to recreate their sugary moments of the 1980s would, with the organic sound providing a nice contrast to the heavier sound that the band have been chasing of late. Invitation Only is a pacey, energetic little number that places hooks at the front and centre of the song. Harmony guitar leads and prominent keyboard lines are constantly cutting through the mix to add to the overall experience of the song - with the standout moment being the floaty AOR keyboard lead in the chorus. Paul McNamara, who has handled the keyboards on all of the band's recent albums, really makes his presence felt throughout the song. He seems to almost be the unofficial fifth member of the band of late, and this catchy little track really shows what he can bring to Stryper - with his leads perfectly complimenting Michael Sweet's hooky chorus melodies. The album's final two songs push the religious side of the band to the fore. This has always been a turn off for some fans, but Stryper have always worn their faith on their sleeves; and so they should if that is what they are passionate about. Most of their songs probably have religious undertones, but some songs are certainly more blatant than others. For God & Rock 'n' Roll is another bit of a throwback to the 1980s, with Robert Sweet kicking things off with a precise drum intro before a catchy mid-paced verse takes over. The song reminds me, musically at least, of some of the hollower, mid-paced songs on those early Dio albums. It is not a song that grabbed me from the off, in the same way to the similar Dio tracks that I am talking about, but over multiple listens to the album the song has opened itself up. The chorus is perhaps not as catchy as it could be, but the song is still enjoyable in an organic and foot-stomping kind of way. The album comes to a close with the fast-paced Middle Finger Messiah (which could be one of the silliest song titles from a religious band ever), which is similar in style to Blood From Above - ensuring the album finishes as it started. Some of the riffs have a similar thrashy feel, and the chorus is a snarling effort that features some surprisingly gritty vocals from Michael Sweet. He certainly has one of the best-preserved voices of his peers in my opinion, and he showcases his grit and range throughout the album. This song sees less of his upper register however, with the snarling approach taken here showcasing his power. The lyrics are silly, but the song is still powerful and memorable - and it certainly ensures that the album ends on a hard-rocking and powerful note. Overall, Even the Devil Believes is another strong album from a band who have really found a new lease of life over the past decade or so. Michael Sweet and co. certainly know what their fans want, but are also not scared in upping the power and really pushing their serious metal credentials to the fore. This is an album that will certainly gets heads moving, and it is another solid entry into the band's impressive canon of releases.

The album was released on 4th September 2020 via Frontiers Records. Below is the band's promotional video for Do Unto Others.

Saturday 19 September 2020

The Allman Betts Band's 'Bless Your Heart' - Album Review

While the saying 'the apple never falls far from the tree' is a cliché that has sometimes been overused over the years, when describing The Allman Betts Band it is a more-than-apt tag for the seven-piece blues/southern rock act. While both Devon Allman (son of the late Gregg Allman) and Duane Betts (son of Dickey Betts) have been playing with various bands and as solo artists over the years, in 2018 the two joined forces to form The Allman Betts Band - seen by many to be the legitimate heirs to the throne vacated by The Allman Brothers Band when they retired in 2014. Beings the sons of two of The Allman Brothers Band's founding and most significant members does not necessarily mean that either Allman or Betts are instantly worthy of recognition; but a handful of listens to their new band's 2019 debut release Down to the River earlier this year proved that both Allman and Betts are certainly the real deal. While some offspring replace their parent - Deacon Frey's involvement with the Eagles springs to mind - Allman and Betts have tried to forge their own path, which I respect. Both seem to be established and respected names in the blues and country scenes - but I have to say that the formation of The Allman Betts Band, and Down to the River, was my first exposure to either musician. Those who have ever enjoyed The Allman Brothers Band, or any of the many similar blues/country/southern/jam rock acts out there, will instantly latch onto what Allman and Betts are doing with their new band. Heartfelt, emotional songwriting is mixed throughout with soulful guitar playing and roaring Hammond organ to create a sound that is timeless yet somehow still fresh. The Allman Betts Band are not just copying the work done by The Allman Brothers Band over the years, and the material featured on Down to the River shows that the band are more than capable of standing on their own. They are clearly a band that is hungry and hardworking too as, just over a year after releasing their debut album, they have already released their second album Bless Your Heart into the world. As much as I liked Down to the River, I think that the band sound much more assured on their second release. While the album is perhaps a touch on the long side, and it may have been wise to hold a couple of songs back for album number three, it is packed with strong bluesy southern rock tracks that are sure to delight any fan of the genre. The six members of the band that made Down to the River all return on Bless Your Heart, with the addition of keyboardist John Ginty bolstering the band up to a seven-piece - as the keyboards on the previous album were handled by a session player. Having a full-time keyboard player possibly contributes to the more assured sound this time around, and Ginty's playing really compliments the three-way guitar attack of Allman, Betts, and slide specialist Johnny Stachela. Much of the album appears to have been recorded live in the studio on 2-inch tape too, with the vocals added later, which really helps to add to the old-school 1970s jam rock aesthetic that permeates through the thirteen songs here.

Allman and Betts share the lead vocals throughout the album, with the exception of one number that features the vocal talents of bassist Berry Oakley Jr. (son of the late Raymond Berry Oakley III, another Allman Brothers founder), but it is the former who gets the album underway by singing the first couple of numbers. Allman's voice is deep and soulful, something which is perfectly demonstrated throughout Pale Horse Rider - the album's opening song. The hiss of the 2-inch tape rolls the clock back to the early 1970s, while the song opens slowly with Allman's heartfelt vocals and some simple guitar chords. While The Allman Betts Band are certainly part of the wider southern rock canon, this is not a rip-roaring, hard rocking album - and Pale Horse Rider is a great example of the mournful sound that the band often exhibit. Allman and Betts trade bluesy guitar leads throughout, while Ginty's Hammond gives the song a huge sound. A simple chorus melody is made all the more powerful by the duelling guitar lines; with Stachela's slide occasionally adding extra depth. The song is a perfect introduction to what The Allman Betts Band are all about, with Allman's soulful vocals and the three-way guitar attack perfectly coming together to form a strong bond. Carolina Song is a little tougher, showcasing an occasional old-school Lynyrd Skynyrd vibe, but the song still fits perfectly within the core sound that the band established on their debut and have continued to polish here. Allman's vocals are full of swagger this time around to fit in with the slightly riffier surroundings; while Susan Marshall and Reba Russell harmonise nicely with him on the powerful chorus. Lashings of Hammond boost the chorus even further, while Stachela's slide accents parts of the verse and the song's intro perfectly. The Allman Betts Band have a big sound, and that is something that is demonstrated by these opening two numbers. Everything still comes together nicely however, and the songs never feel cluttered despite having three guitarists and a keyboard player all layering on top of each other. Perhaps the best moment of the song however is the guitar solo section that sees lots of interplay between Betts and Stachela - with the latter's slide section taking over nicely from Betts' bluesy runs. The spotlight remains on Betts throughout the next couple of numbers, as he takes over the microphone to showcase his country-tinged voice and songwriting style. He is very different vocally to Allman, but the mix of styles works really well throughout the album. King Crawler is the most upbeat of the album's opening trio, with Ginty often switching over to a piano for some boogie rhythms and session playing Art Edmaiston joining in occasionally on his saxophone. The track is a great feel-good piece of southern/country rock, based around strong grooves and party rhythms. The band's two drummers are put to good use here, the pair locking in perfectly with Oakley and Ginty to form the boogie base for the three guitarists to solo over. Ashes of My Lovers is almost the exact opposite, with the song returning to the haunting nature of Pale Horse Rider - but with Betts adding a certain country twang with his vocals and strong acoustic guitar presence. Some of the guitar melodies here, provided by Stachela, sound like something from a Ennio Morricone score, while famed singer-songwriter Jimmy Hall adds some mournful harmonica throughout. Allman's subtle lead guitar lines also help to add to the overall layered and atmospheric nature of the piece, but in truth this is the sort of song where nothing really stands out - as everything works perfectly together to form a deep and mature sound.

The longest track on the album, Savannah's Dream, is up next. Written by Betts, the song is an instrumental in the style of many of the great jams that characterised those early Allman Brothers albums. At over twelve minutes long, there is a lot going on here. It is not the most explosive of instrumental pieces from a technical standpoint, but it really helps to create a strong mood that fits perfectly within the context of the album. Oakley's bass constantly drives the piece, while Ginty's Hammond creates many of the riffs and melodies that the soloing and harmonies interact with. Allman, Betts, Stachela, and Ginty all get a moment in the spotlight here - their individual soloing styles all contributing to the laid-back, bluesy nature of the piece, which is rooted in R. Scott Bryan and John Lum's shuffling drum grooves. Airboats & Cocaine sees Allman and Betts sharing the lead vocals; with the song itself being a raw slab of bluesy southern rock. The slide guitar and the boogie piano really dominate the track, with Allman and Betts teaming up for tough guitar rhythms as well as vocally. There are not many songs on the album that see the pair singing together, and their voices work well together despite being quite different. I would be interested to see more of this going forward as, while I like them singing individually, this dual-vocal approach leads to a great, harmonised sound that could certainly be expanded upon. Southern Rain shifts all the spotlight onto Allman once again, with his deep, husky voice taking the lead over what is quite a laid-back bluesy track. Oakley's prominent bass playing gives the song a great bluesy basis, while chiming guitar lines help to create an atmospheric sound. The songs that Allman takes the lead on vocally tend to be much more soulful and mournful than the ones which Betts sings, but I like the variety that this allows the album to have. I think I prefer Allman as a vocalist, but I still like Betts' style and the country influence that he brings. Betts, however, is probably the better of the two from a guitar standpoint, and the lengthy solo that he lays down part way through the song showcases his talents. The Allman Betts Band is truly a band that is greater the sum of its parts, and everyone involved knows when to step up and show off; and when the hang back. Rivers Run is more of an acoustic-based song that is less focussed on creating a big seven-piece rock sound than most of the other tracks here - but it allows Betts to showcase his country influence. Ginty prefers a Mellotron to his usual Hammond to help create a whimsical, old-school feel; while subtle electric guitar harmonies from Stachela counter the main gentle acoustic guitar and walking bass backing. While I prefer the band's bigger sounding tunes, this little trip into gentler territory is very enjoyable, and it provides a nice mid-album change of pace. Magnolia Road sees Allman and Betts singing the song as a duet, with the latter taking the first verse and the former taking over later on. It is one of the few harder rocking tracks here, with strong southern rock grooves and copious, dirty slide guitar lines. The Allman Betts Band are not a true southern rock band in the way that that term is usually understood, but this song comes pretty close to that traditional sound. There is plenty of boogie to be found here, and Betts' lengthy solo is filled with playful bluesy licks. A catchy chorus is the icing on the cake, and it is probably the album's most instantly-memorable hook.

Should We Ever Part is somewhat similar, although the blues side of the band's sound is really pushed to the fore. Allman sings the song, but the stars of the show here really are Betts and Stachela. The amount of excellent lead and slide guitar moments during the song's intro really sets the tone, and there are many more similar moments like this to be found throughout. While parts of the verses are quite low key, a slide lick or a soaring lead are never too far away; and the bright sound of the guitars contrast nicely with Allman's soulful vocal delivery. The song really showcases the best of The Allman Betts Band's core sound for me; as what is on display here is very representative of the band overall. Everything that is great about the band can be found within this track, with old-school bluesy leads and soulful vocals perfectly melding together to make a rocking, yet mournful, track. The Doctor's Daughter is the one song here that is sung by Oakley, and he has swapped his bass for a piano to take centre stage throughout a number that he co-wrote. In many ways, this is Oakley's showcase piece. Vocally, he has a strong and very musical voice that is quite different to both Allman and Betts' voices - but he really suits the piano-based ballad that he has helped create. Stachela's slide guitar melodies provide the main counter to the vocals and the piano; with Allman and Betts both taking a bit of a backseat this time around - focusing on the bass and acoustic guitar respectively. This is the first Allman Betts Band song that Oakley has sung and co-written, and after this effort I hope to hear more from him going forward. Much Obliged is subtly dark and bluesy, and features possibly my favourite Allman vocal of the album. His voice is quite deep anyway, but he sings even deeper than usual here - which gives off Jim Morrison vibes. It is quite a light-sounding song, but the vocal performance and the weighty drum pattern gives the song its somewhat dark vibe. It sounds like nothing else on the album, so it stands out for that reason, but I still think it fits in with the overall sound. Stachela's slide guitar is the glue that holds the whole song together, his melodies almost ever-present throughout, but the star is Allman and his very emotional vocal performance. All of his vocal performances on the album are great, but there is something special about this one - as the vibe just perfectly fits the stomping beats and raw slide. The album comes to a close with the piano-based ballad Congratulations. Allman again takes the lead vocally, while Ginty's stark piano lines form a sombre backing. Acoustic guitars and percussion help to make the song sound nice and big, and in fact it is amazing just how much is going on here for what, on the surface, sounds like a pretty simple piano ballad. It works well a closing piece, and the reflective nature of the song helps the album end on a poignant note. Overall, Bless Your Heart is an excellent album that is packed full of varied and strong songs. In my opinion it is much better album than Down to the River, and it is amazing how much more assured and confident the band sound this time around. I liked the first album a lot, but Bless Your Heart is a real classy slab of bluesy/southern rock that I can see finding a big audience if it is marketed correctly.

The album was released on 28th August 2020 via BMG Rights Management (US) LLC. Below is the band's promotional video for Pale Horse Rider.

Wednesday 16 September 2020

The Georgia Thunderbolts' 'The Georgia Thunderbolts' - EP Review

While there might not be many home-grown UK bands out there that are playing genuine southern rock, with the exception of Sons of Liberty who have started to make some waves over the past couple of years, it is a genre that has always been popular over here. The blues-based boogie rock genre, with hints of bluegrass and country, has always chimed with UK audiences in the same way that homegrown boogie-based acts like Status Quo do - and some of the genre's pioneers have always enjoyed large followings in the UK. Lynyrd Skynyrd, even as recently as 2019, still can fill large venues over here, while bands like Blackfoot almost made the UK their home during their 1980s heyday. The UK rock fans love all things southern, and that extends to the genre's modern exponents too. Black Stone Cherry and Blackberry Smoke both do very well over here, with the former even reaching arena status a few years ago - despite having slipped back down the rankings again a little more recently. All of this makes me think that we are soon going to start hearing quite a lot about The Georgia Thunderbolts in the UK rock press - a new, southern rock act from Rome, Georgia who have recently released their debut EP. I say that we will soon be hearing 'quite a lot' about this band in the press, because some of the UK-based rock news sites are already starting to feature them - which is how I discovered them a month or so ago. This may be because the band have already been picked up by Mascot Records and have seemingly been mentored by Black Stone Cherry, but The Georgia Thunderbolts seem to have the music to back all of this steam-gathering up. The band's debut self-titled five-track EP, which was produced by Richard Young (The Kentucky Headhunters), shows The Georgia Thunderbolts to be a mature and confident young band. The Georgia Thunderbolts is certainly not the most raucous and hard-rocking collection of southern rock songs that I have ever heard (it is certainly not a Molly Hatchet album) but each of the five songs here is extremely enjoyable, filled with emotion, and packed with memorable guitar playing. Frontman TJ Lyle has something of a young Ronnie Van Zant about his laid-back, almost solemn vocal delivery (I think people sometimes forget that Van Zant was never really a hell-raiser, despite the genre's reputation); while guitarists Riley Couzzourt and Logan Tolbert trade bluesy riffs and slide passages throughout. There are moments here that rock pretty hard, but this is actually a fairly atmospheric EP. It weaves the more low-key elements of southern rock with blues-based harder rock perfectly; and the result is a very strong debut release that certainly leaves you wanting more.

While it might have been wiser to open the EP with one of the heavier tracks, in truth Looking for an Old Friend perfectly encapsulates what The Georgia Thunderbolts are all about. If you are looking for a collection of songs to knock you off your feet and to party to then this EP might not be for you, but those appreciate the breadth of southern rock will certainly grow to love it. A short acoustic-based intro opens the song, before the rest of the band join in around drummer Bristol Perry's laid-back groove. Aside from Lyle's excellent vocals throughout the EP, the other real standout feature of the band's sound is the slide guitar work. I do not know if Couzzourt or Tolbert (or, perhaps, both) is responsible for this excellent addition to the EP but, for me, the sheer amount of slide work really helps the band to stand out. Slide guitar has always been a feature of southern rock, but The Georgia Thunderbolts have made it a core of their sound - with Looking for an Old Friend essentially packed full of wall-to-wall slide lines that constantly harmonise with Lyle's soulful vocal delivery. There is a lot of blues to be found here, but those classic southern rock melodies are still present - and the whimsical chorus will certainly become stuck in your head after only a couple of listens. A faster, blue-based guitar solo sees the energy raised a little, but on the whole the introduction to The Georgia Thunderbolts is a laid-back sunny afternoon of good company and good beer. So You Wanna Change the World is similar, and in fact sounds like the natural continuation of the EP's opening song. While the rhythms here are a little tougher, and the slide melodies a little less prominent, the vibe is extremely similar. The slide is mostly left to roll out some of the songs main melodies, in a way very reminiscent of Lynyrd Skynyrd's The Ballad of Curtis Loew. In fact, that song is a very apt comparison for the core sound that The Georgia Thunderbolts have settled for. There is an aching, storytelling vibe that permeates through many of the band's songs; from the simple grooves all the way to the grounded lyrics. Again, a solo section sees the energy reaching more of a traditional harder rock level - but on the whole the song is another laid-back track that oozes class and maturity. Lend a Hand changes things up, and is easily the hardest rocking track here. The Black Stone Cherry influence is certainly evident here, as the song's main riff sounds like something that would have featured on one of their early albums, but The Georgia Thunderbolts still manage to make their own sound feel at home within the confines of the slightly heavier riffing. The verses are quite stripped back, with Perry's punchy drumming and Zach Everett's snaking bassline really dominating, before the guitars crash back in for a somewhat anthemic chorus that features subtle vocal harmonies and the occasional slide guitar lick. It is another very memorable moment that sticks in the brain after only a couple of listens; while a screaming guitar solo fills the latter part of the song with plenty of classic rock swagger and energy.

Spirit of a Workin' Man is also slightly more riffy, but the heaviness of Lend a Hand is mostly stripped away to leave a heavy blues groove that perfectly melds Free-esque riffing with the laid-back southern sounds of the EP's opening two numbers. Bands like Free were probably something of an influence on the early southern rock acts, and it is great to see The Georgia Thunderbolts continuing this blues-based trend with strutting riffs weaving in and around the genre's natural country bent. While The Georgia Thunderbolts are not a country band in the way that Blackberry Smoke are for example, being a southern rock band there is a certain country vibe present in many of their songs. The hypnotic guitar line that dominates this song's verse has a bit of a country flavour to it, but rocked up somewhat to fit within the slightly tougher blues-based structure. Subtle Hammnd organ helps to fill the song out even further, giving the track a big sound that shows the ambition of this young band. The EP comes to a close with the seven-minute long Set Me Free which, while certainly not a Free Bird, certainly allows the band a bit more of a chance to cut loose. While Couzzourt and Tolbert have filled all of the EP's songs with plenty of strong leads and slide parts, Set Me Free puts a bit more of an emphasis on their playing - with the closing portion in particular showcasing some excellent soloing. It seems to be an unwritten rule that every southern rock band needs to have an anthemic song with a lengthy guitar workout at the end, and Set Me Free seems to be that song for The Georgia Thunderbolts - especially at this early stage in their career. While, for me, the song is not as memorable vocally as many of the other cuts here, it is the guitar work that makes it stand out. The main guitar line that backs the verses is very hypnotic, but also packed full of bite thanks to the raw production, and there are plenty of little leads here and there that cut through the mix to showcase the talents of the band's two guitarists. It is the aforementioned closing section that really brings the best out of the two players however. Lyle's emotional vocal howls add to the lengthy instrumental section too, his voice almost an instrument in its own right, but the bluesy leads are what make the song what it is. Tellingly however, the band never go over the top at all here. They are clearly going for a natural, laid-back sound and the guitar playing here really showcases that. There is no need for them to go all-out as their talent can be heard from the choice notes that they play - and this certainly helps what is already a very strong EP to end on a high. Overall, The Georgia Thunderbolts is a really good debut release from this new, young band who certainly have the potential to have a big future ahead of them. While some may prefer their southern rock a bit ballsier, I really like the approach that the band have taken and I am already looking forward to hearing where they will go from here.

The EP was released on 21st August 2020 via Mascot Records. Below is the band's promotional video for Looking for an Old Friend.

Sunday 13 September 2020

Awake by Design's 'Awake by Design' - Album Review

England's Awake by Design are one of those bands that I seem destined to bump into every so often. I believe I caught one of the band's very first live shows back in 2008 when they supported Touchstone at The Marlborough Club in Ilfracombe; and I have seen the band live twice since, supporting both Sonata Arctica and Stream of Passion. While that first show back in 2008 featured a very rough and ready version of Awake by Design, which saw frontman Adrian Powell continually running around the whole venue for some unknown reason, I enjoyed the band's melodic take on gothic rock. I started to follow the their progress after the show, but I did not pick up the band's 2009 debut album Sentiment on release. I think it was after seeing the band again in 2011 with Sonata Arctica that I took the plunge, so to speak, and purchased the album. The Awake by Design featured on Sentiment is quite different in line-up and in sound to the Awake by Design of today - with the heavy, oppressive nature of the band's older material a contrast to the more streamlined sound that they have evolved into possessing. Sentiment is a true gothic metal release; complete with slow tempos, a doomy atmosphere, and occasional harsh vocals; but, while Awake by Design have remained a gothic act, they have never been as heavy again. It would take six years and many line-up changes for the band to follow up Sentiment however, but 2015's Carve the Sun saw the band putting on a much more accessible front. The gothic trappings were still present, but the songs were less lengthy and doomy; instead going for more of an accessible European melodic metal approach. There are hints of the darker end of Kamelot in the post-Sentiment Awake by Design sound, as well as strains of classic goth acts like Saviour Machine - with Powell sounding somewhat similar to the latter's Eric Clayton at times. It has been five years now since Carve the Sun, a time period which included yet more line-up changes, but the band are now back with their third album - and this time they opted to go for a self-titled release. Joining Powell on the band's latest thirteen track opus are guitarist Luke Smith and bassist Dave Favill, who both contributed to Carve the Sun, along with returning guitarist Toby Stewart and new drummer Chris Threlfall. Stewart was one of the band's original members and appeared on Sentiment, so it is unsurprising that Awake by Design returns to some of the more progressive trappings of the band's debut. In some ways, Awake by Design is almost the perfect mix of Sentiment and Carve the Sun, with the progressive gothic metal sounds from their debut mixing well with the more concise, melodic approach taken on the latter to create a hybrid that presents the band in a strong light. Powell also returns to his original 'other' role as the band's keyboard player here, although former member Janson Sissons also contributes keyboards and strings to a handful of tracks.

One thing to note before diving into Awake by Design however is that it is a long album. At over 75 minutes in length, the album is a real commitment. While the quality of the songwriting is pretty consistent throughout, it might have been wise to hold two or three of the songs back for a future release to allow the album to be a bit more digestible. The length will certainly put some people off, but those who stick with Awake by Design will be rewarded with a strong collection of dark, melodic songs. The Coming Tide is a perfect representation of the modern Awake by Design sound, with a melodic harmony guitar lead opening the song up - before Threlfall lays down a crunchy double bass drum pattern behind it to inject some energy into the album's opening moments. In classic gothic/power metal fashion, Powell's vocals are full of melodrama and act as a contrast with the heavier and energetic metal backing. Awake by Design rarely reach high speeds, but most of their songs are still full of energy - largely thanks to Threlfall's drumming style - and the battle between this energy and Powell's mournful crooning is what gives the band their distinct style. There is plenty of melody to be found in this opening number too, with a soaring chorus forming the album's first earworm - while Stewart and Smith trade harmony leads and solos throughout. Devoid of Illusion is similar, but the opening riff sounds like something a Gothenburg-based melodic death metal act might come up with - and then forced through a gothic metal filter. It works well, and the slightly dirtier guitar tone used here helps the song to stand out from the opening track. It also ensures that the song is somewhat heavier than average for the album, with Powell's vocals sounding more urgent here - especially during the call-to-arms-esque chorus that is a stark contrast to the thespian strains of the opening number. This song recalls the heaviness of Sentiment somewhat, while upping the tempo to create something catchier and more energetic. This Avalanche has a similar tone, but the pace is slowed down slightly to create more of a gothic atmosphere overall. Stewart and Smith often lock together throughout the song to provide melodic harmonies, but it is actually the suffocating verse riff that stands out the most for me. There are lots of great standout leads throughout the album, but the heavier riffing moments are also impressive - and recall the sound the band forged on Sentiment. Having Stewart back in the band makes those moments somewhat more common, and his influence is felt here - with the doomy riffing providing a great backing for Powell's dramatic vocal performance. Powell's keyboards also make their presence felt here, their shimmering halo contrasting nicely with the heavier riffing. Tears for the Fall continues on the somewhat slower, heavier vibe established on the previous song. A lone guitar lead slowly opens the song up, before a crunching, groove-based verse takes over that gives Favill's bass a prominent role. His grooves really keep the song ticking; and even the heavier moments that see Threlfall's double bass drumming dominate still feature a strong bass presence. In many ways however, the song is a real mix of styles. The bass-heavy grooves allow parts of the song to sound modern; while the lengthy harmony guitar lead and solo section sounds like a real throwback the 1980s. The combination works well however, and the song is another strong offering.

Nothing Hurts takes a much more symphonic approach, and it is during songs like this that the Kamelot comparison is most apt. The are fewer guitar leads and standout riffs here, with Stewart, Smith, and Favill locking together perfectly throughout for crunching and energetic rhythms while Powell's keyboards and strings dominate melodically. Much of Awake by Design's sound is very guitar-based, which means that the more keyboard-dominated songs stand out due to their different approach. Songs like this also really bring out the best in Powell as a vocalist too. The crunching riffs and haunting stings really allow him to shine as the general arrangement is less busy - and his emotion-filled performance here is easily the song's standout ingredient. Calling You Home is more of a ballad, and it is one of the most instantly-memorable songs here. Awake by Design is an album that needs a good few listens to fully appreciate, but Calling You Home was one of the few songs the stood out on first listen. It is much simpler than many of the other songs here, with a strong vocal presence throughout that is helped by a memorable chorus hook and plenty of atmospheric clean guitar lines. While many of the album's other songs have surpassed this one now as their melodies and riffs have taken hold, I still really like its simplistic, melancholic sing-a-long nature. It does provide a bit of a respite near to the album's midway point, which is welcome after the darker opening five numbers. Fall to Victory returns to the crunch of the album's earlier numbers, with more Gothenburg-esque riffing and guitar tones. The keyboards are much more prominent this time around however, which does bury the riffing a little, but the mix of sounds works well in my opinion. Parts of the song are very keyboard-heavy, with the guitars providing little more than a rhythmic backing to allow Powell's voice to really shine, while others push the guitars to the fore a little more to emphasise the band's guitar talent. Stewart and Smith have already formed a strong guitar double act, and the two play off each other nicely throughout the album. Both are big part of Awake by Design's history, but this is the first album that they have appeared on together - and I hope that Powell can keep them both on board going forward. Echoes for Eternity ups the pace and recalls the album's opening couple of numbers - with a busy guitar riff dominating throughout while Threlfall lays down some more strong double bass drum patterns. The keyboards take more of a backseat here, letting the guitars lead the charge, but the star of the show again is Powell - who's vocal performance is one of the album's best. He has a surprising amount of range despite his usual fairly deep delivery, and that range is on show here - particularly during the slower, more emotional choruses. The Unspoken Truth is another ballad, but this time the arrangement is stripped back in a much more dramatic way - leaving Powell mostly alone with his piano. While I knew that Powell was a great singer, I do not think that I really appreciated before just what a great pianist his is too. His piano playing here is almost classical in style, and the subtle strings that back the whole song add a little extra depth. While Awake by Design is Powell's band, he always ensures that his songwriting brings out the best in his band as a whole - so it is nice to have this song that really showcases him and him alone, despite the band joining towards the very end of the piece. His vocal performance is full of emotion and depth here, while his virtuoso piano playing showcases that he is much more than 'just' a singer.

As Strangers Divide, which is co-written by and features former keyboard player Sissons, is unsurprisingly very keyboard driven. A hypnotic keyboard riff opens up the song in a very classic power metal-esque way; before Threlfall launches into some of the fastest drumming of the album while the guitarists provide machine gun rhythms to contrast the sparkling melodies. The mix of sounds work well together, and is something quite different for Awake by Design. I would never call them a power metal band, but this song comes close at times. The lead keyboard approach taken is very reminiscent of many of the big power metal bands out there, but the overall heaviness of the track stops it from becoming too sugary. As a result, the song still fits nicely within the context of the album and does not stand out too much. The keyboard melodies provide a nice change of pace, but many other parts of the song still sound like classic Awake by Design. A melodramatic chorus is full of the band's usual gothic trappings, while the occasional guitar lead and solo helps the album's core sound to rise to the surface when needed. Saviours opens in a similar way to The Unspoken Truth, with dark piano and gothic strings, but the stripped back arrangement is only utilised during the intro this time around - as the rest of the band crash in after a minute or so with heavy mid-paced riffs and more Gothenburg melodies. Despite the crunch, there is still a strong string presence throughout to allow that contrast between gothic textures and metal riffing to once again shine. It is something that works really well for the band, and this is the album of theirs that perhaps showcases it the best. Hand of a Thousand Fates is similar, but with more of the symphonic approach taken on Nothing Hurts. The band's guitarists here largely provide tough rhythms and dark riffs; while Powell's strings and keyboards provide dramatic and theatrical stabs of melody over the top of the tough metal backing. The chorus is not as strong here as on many of the album's other songs, but the strong symphonic nature still makes it an enjoyable listen. The best part of the song for me however is the slower bridge section that leads into a lengthy and shredded guitar solo that is one of the best pure guitar moments of the album. The album comes to a close with the lengthy and progressive Empire - and in my opinion it is one of the best cuts here and one of the best songs the band have put together yet. Stewart, who co-wrote all of the material on Sentiment, co-wrote the song which could explain the more progressive leanings on display here - but the song is more of a perfect mix of all of the influences on display throughout the album. A lengthy string and piano intro kicks the song off with Powell eventually joining in vocally; but for me the best part of the song is when it gets going proper. The lengthy intro really helps to set the scene and build up to the main meat of the track, but the high energy riffing of the verse and the album's most soaring chorus are what makes Empire a real winner for me. I feel like this is the sort of song that Awake by Design have been building up towards since getting together a decade or so ago, and it is great to hear them fulfil their potential. There is so much going on here, but it is the sort of song where everything really hangs together perfectly. Every melody hits the way it was intended to, every guitar lead is packed with emotion, and Powell brings it all together with his thespian-esque vocal display. It is the perfect way to end the lengthy and dramatic album, and it is easily the band's defining moment at this point in their career. Overall, despite its length, Awake by Design is a very strong third effort from a British metal band who certainly deserve to be heard by a larger audience. The material here is the sort that could certainly turn a few heads if it reaches the right publications etc., so I really hope that the band are able to capitalise on all of the hard work that has clearly gone into making this album. It is certainly one that I will be listening to a lot more going forward, and I hope to be able to catch the band live again soon.

The self-released album was released on 14th August 2020. Below is the band's promotional video for The Coming Tide.

Sunday 6 September 2020

Dukes of the Orient's 'Freakshow' - Abum Review

Two years ago, after a fairly long gestation period, the self-titled debut album (which I reviewed here) from the progressive rock/AOR duo Dukes of the Orient was released. Made up of songwriting duo John Payne and Erik Norlander, Dukes of the Orient was what essentially became of the studio arm of Asia featuring John Payne - the band formed by Payne in 2007 when the original Asia line-up reunited and left him without a job. Prior to this, Payne had fronted Asia since 1991 and had become a big part of the band's creative arm. As a member of Asia, Payne released five studio albums and, along with Geoff Downes, helped keep the popular band on the road and creating new material despite a changing musical landscape and a fluctuating line-up. Due to his long history with the band, Payne was allowed to use the moniker Asia featuring John Payne going forward following the original band's reunion. New material was always teased, but essentially the band became a touring-only act - playing Asia's greatest hits up and down America with a handful of different members. It is my understanding however that Dukes of the Orient was supposed to be Asia featuring John Payne's debut release but, following the death of Asia founder John Wetton, Payne decided to rebrand out of respect for Wetton's legacy. Asia featuring John Payne still plays live, but it seems that Dukes of the Orient is the vehicle for which Payne, and Norlander (who was a part of Payne's Asia for a while), will use to continue to showcase their new material. Dukes of the Orient had more of a project feel than that of an actual band however, with Payne and Norlander writing all of the songs while being backed by a large cast of characters (many of whom were also Payne's Asia alumni) - something which is different on the duo's follow-up album Freakshow, which was released last month. With Payne and Norlander still on songwriting duty (although each has written five tunes apiece here rather than collaborating together on them all), the duo are backed this time by guitarist Alex Garcia, drummer Frank Klepacki, and saxophonist Eric Tewalt. Payne still handles the vocals, bass, and additional guitars, while Norlander once again takes on keyboard duties - but the choice to go with a smaller pool of talent this time around leads to a tighter, 'band' feel throughout the album. Style wise, Freakshow is similar to the previous album - but somewhat more theatrical. Melodic soundscapes dominated the band's debut album, which do return here, but there is something spiker and grander about the sound this time around. The addition of Tewalt's saxophone, which is utilised liberally throughout the album, helps to add a different edge to the songs here - while the overall songwriting respects the band's previous effort, and Payne's time with Asia, despite a few new tricks being thrown into the mix.

The ten-track album contains a fair bit of variety, but it chooses to open in a way that will be familiar to any Asia fan with the melodic pomp-rock of The Dukes Return. The song channels the spirit of the original Asia line-up nicely, with Norlander's keyboards dominating with majestic lead lines, ringing piano chords, and pomp-tastic stabs forming the basis of the track. In truth, this description could be used to describe many of the songs here, as Norlander's keyboards are a constant touchstone throughout - much as Downes' were in Asia. Garcia's guitar is often used as more of a supporting instrument, either providing crunching rhythms during the somewhat heavier tracks or adding colour and depth. The latter approach is taken here, with chiming melodies during the poppy chorus backing up Norlander's dominant keyboards nicely, although a short, bluesy guitar solo allows him a chance to show off. Despite Payne's era of Asia often going for a more atmospheric approach, this song has a very similar style to those first two John Wetton releases. Progressive touches can be found in Tewalt's saxophone solo and Norlander's synth patches - but in truth this is a very memorable, poppy rock track that features a strong Payne vocal. Payne has always been huskier than Wetton, but he can still deliver finely-crafted pop nicely, and the song is a perfect way to open the album. The Ice is Thin is more atmospheric and progressive, instantly harking back to the first Dukes of the Orient album with some doomy piano and a short guitar solo from Payne himself. While Payne sung the first song well, it is songs like this that really showcase him at his best. He can be a very theatrical singer at times, and darker songs like this allow him to showcase his dramatic side. Fans of Asia albums like 1994's Aria and 1996's Arena will instantly feel at home here, as The Ice is Thin really taps into the spirit and style of those album. While the hooks are very prominent, which helps to make the song memorable, there is a real depth here. Payne's bass often rises to the top of the mix to give the song a real rumble which, when doubled up with Norlander's keyboards, creates something of an oppressive feel. Short lead breaks from Garcia add a little melodic flair, but on the whole this is a song that revels in its darker atmosphere - with Payne's husky voice perfectly suiting the overall mood created. The album's title track follows and it is certainly the heaviest moment on the album - with Garcia's weighty guitar riff mixing in perfectly with Norlander's organ and Payne's bass to create a strong, Deep Purple-esque groove. Payne really hams it up throughout the song, delivering a very Alice Cooper/Jon Oliva-esque vocal performance throughout that really plays into the song's playful, yet creepy, atmosphere. It is a song which also really benefits from Tewalt's presence. The song's groovy nature really allows his saxophone leads to add a breathy darkness to the piece, their squawking melodies fitting perfectly into the gloom. The song is a strange one overall, and nothing else on the album really sounds like it - but as a result it allows Payne to really showcase a different side to his voice, and Norlander to flex his songwriting muscles in a heavier direction.

The Monitors returns to more of a classic Asia sound, with Norlander's jaunty keyboard motif dominating early on before Payne takes over for an atmospheric verse that features a strong beat from Klepacki throughout. Songs like this recall Asia's 1992 transition album Aqua, Payne's first with the band, which still featured some of the upbeat nature of the Wetton era before the band transitioned into more of a soundscape-heavy act. It is a song that shows that Payne can do it all however, but he often has his spotlight stolen here by Norlander who plays out of his skin throughout. There are so many great keyboard sounds on display, be it pompy riffs or synth leads, with the highlight being a busy synth solo that actually transitions from a Payne guitar solo. It is a great pop-prog moment that features some of Norlander's flashiest playing on the album, while staying melodic and accessible for those who love Asia for their pop melodies. Man of Machine is similar, but transitions back to the Arena-era of Asia for a groove-based soundscape and a real focus on Payne's vocal melodies. Musically, the song is quite atmospheric, but it still has an urgency and a rock flair to it. Klepacki's drums throughout really keep things moving along with a great shuffling groove, while atmospheric keyboards and pulsing bass form the perfect backing for Payne's tight vocal melodies. It is also another great showcase piece for Tewalt, who has fit perfectly into the Dukes of the Orient sound. Asia never really featured saxophone in a big way, but his addition to the album really adds another dimension to the sound. The classy sound of the saxophone fits nicely with Norlander's dramatic and grand keyboard patches, and his virtuoso playing often takes the place of a traditional guitar or keyboard solo to help keep the listener guessing - adding to the overall progressive feel of the album as a result. The Last Time Traveller carries on the progressive nature of the previous song, but doubles down on it and also injects a little more of the theatrical vibe from earlier. As a result, the song is one of my favourite cuts here as it showcases the best of Payne vocally and Norlander as a songwriter and musician. It starts out in quite a low-key fashion, with simple piano lines for Payne to deliver a varied and emotional vocal performance over the top of. The chorus section of this early portion is easily one of the most memorable parts of the song due to Payne's soaring melodies, but there are still plenty of great moments to come. A lengthy instrumental section follows the vocal-dominated section, which brings out the best of both Norlander and Tewalt. This part of the song is very Pink Floyd-esque, with spacey keyboard lines and Dick Parry-esque saxophone parts. It is a busy instrumental section, which is perfectly bookended by the two piano-based vocal sections - creating a great journey within the song as it transitions from section to section. A Quest for Knowledge is a bit more energetic. A pulsing bassline leads the song throughout, while Klepacki goes for a busier approach behind his kit with occasional bursts of double bass drumming. That being said, the band's classic atmospheric approach is still present. The choruses slip back into this soaring mode to allow a big Payne vocal to dominate, but the rest of the track is harder rocking and more energetic. Genuinely energetic moments are somewhat rare on the album, so the change of pace is always appreciated. While the core atmospheric approach of the band is very good, and it certainly suits Payne's voice the best, changing things up every so often help the album to flow and stay varied.

The Great Brass Steam Engine is the album's only instrumental piece. Written by Norlander, it is unsurprisingly very keyboard heavy. In fact, the song features only keyboards, along with Payne's bass and Klepacki's drums, meaning that all of the main melodies come from Norlander - while the other two create rhythms and a basis for his creations. Given the album's progressive side, a busy instrumental fits nicely here. While many of the songs on the album feature keyboard solos and leads, it is nice to have a whole track here to showcase them. It is a very melodic instrumental piece too, with lots of memorable melodies throughout and repeating riffs that really draw the listener in. There is unsurprisingly something of a 1970s feel throughout the track, which is reinforced by some of the keyboard patches used, but it still fits really well within the context of the album - and allows Norlander to expand on some of the keyboard techniques used during the other songs. When Ravens Cry, the album's penultimate song, returns to the pomp feel of some of the other songs here. Dramatic keyboards dominate the early moments, before Norlander settles on some rumbling piano lines to form the basis of the verse. These parts are quite stripped back, and again allow Payne's voice to dominate, but other sections build up the atmospheric layers to create that pomp sound. The choruses are certainly much bigger, with Garcia's subtle but melodic guitars cutting through the mix while Norlander's many keyboard layers creating a rich, atmospheric tapestry. It might not be the driving pomp of some of the album's early tracks, but it is certainly pomp in the sense of the song's depth and grand arrangement. There is a lot going on here, despite Payne's accessible vocal melodies, and it is one of those songs that needs a few listens to fully appreciate. Until Then is similar, and its grand approach is a great way to close out the album. Big piano-led sections are once again prominent here, but this another song that alternates between stripped-back moments and grander, more progressive ones. Payne seems to favour this sort of arrangement for the songs that he writes. The piano backing certainly allows his vocals to really shine, but I also like the contrasts that occur in these songs. The simplicity of the piano-led sections and the progressive depth of the other sections help to create varied and atmospheric songs that bring the best out of everyone involved. Even Garcia, who is often something of a supporting player throughout this album, showcases some great atmospheric guitar playing here. Lots of guitar leads are featured here, with his playing taking on a very old-school progressive rock feel which perfectly melds with the overall atmospheric and gentle approach the song takes. It helps the album to end on a high, as Norlander's synth solo and some spacey vocals bring things to a close. Overall, Freakshow is a strong second album from Payne and Norlander that builds on what they achieved on their first collaboration a couple of years ago. Freakshow is more varied than the first album, and the songwriting here feels more confident and grand this time around - with the pomp and the progressive sitting perfectly side by side.

The album was released on 7th August 2020 via Frontiers Records. Below is the band's promotional video for The Monitors.

Thursday 3 September 2020

Deep Purple's 'Whoosh!' - Album Review

When it comes to legendary hard rock acts there are few more legendary than Deep Purple. The five-piece who formed in 1968 are one of the most important bands in the history of the development of the hard rock and metal that we know today; something which has certainly contributed to their enduring appeal. Despite a hiatus between the end of the Come Taste the Band touring cycle in 1976 and 1984, Deep Purple, under various guises, have continued to be a busy and active force in the hard rock world. It is now over 50 years since the band first burst onto the scene with Shades of Deep Purple, but they are showing no signs of slowing down. Despite rumours that 2017's Infinite (which I reviewed here) was going to be the band's final album, a feeling that was only enhanced by the band calling the tour in support of it The Long Goodbye Tour, Deep Purple are clearly not ready to retire just yet as, last month, the band released their twenty-first studio album Whoosh!. Whoosh! builds on the good work established on Infinite and on Now What?! (which I also reviewed here) four years before it to create something of a modern hard rock trilogy that really showcases the power and songwriting prowess of the MK VIII line-up of the band. If 1970's In Rock to 1972's Machine Head trilogy showed the band's classic MK II line-up at the height of their powers, and 1974's Burn to 1975's Come Taste the Band created a second classic trilogy demonstrating what David Coverdale and Glenn Hughes brought to the table, then 2013's Now What?! to Whoosh! can be seen as the band's third classic trilogy. While the band have released many great albums outside of these three 'trilogies', and many would probably include the original three Rod Evans-fronted albums as another classic trilogy, these groupings arguably show the band's most distinct 'eras' at their best. I am not sure that anyone who was listening to Machine Head during the week it came out back in 1972 would have ever imagined that the band would still be releasing great albums 48 years later - but that is exactly what has happened. Only really Uriah Heep can compete with Deep Purple when it comes to releasing such strong material so late in their career; and this is something that Deep Purple can be really proud of, especially considering that so many bands with far less pedigree than them have long since essentially become their own tribute band. Deep Purple have long rejected this notion however, and Whoosh! shows just have vibrant the band are in 2020. Having once again teamed up with producer Bob Ezrin, the Deep Purple on show throughout Whoosh! sounds as grand and proud as they did on Now What?! and Infinite - with this new album acting as the perfect sequel to those two releases. It is the MK VIII line-up's fifth album together, and in my view it is one of the best. Now What?!, in my opinion, showcases the best of the current Deep Purple line-up but Whoosh! is not far behind - with some standout tracks and performances that bring the best out of everyone involved.

As with Now What?! and Infinite before it, Whoosh! sees Deep Purple taking on something of an elder statesmen-esque role. The Deep Purple of 2020 is not as urgent or as heavy as the Deep Purple of the 1970s, but the sound that the band has been cultivating recently showcases the modern line-up in a strong light. More emphasis than ever is placed on atmosphere, with progressive flourishes taking the place of the screaming hard rock of decades past. Deep Purple can still rock out when they want to, and that side of the band is still on display here, but on the whole Whoosh! is in keeping with the more laid back style of their other recent albums. The opening track, Throw My Bones, is a perfect example of this as it opens with a simple, bluesy guitar riff from Steve Morse that essentially creates the groove for the whole song to sit on. Groove is also a big part of the modern Deep Purple sound, and many of the songs here showcase this. Despite Morse's riff driving the whole song, the guitars never roar out of the speakers as they would have done in the 1970s, with Don Airey's keyboards often taking the lead when a more powerful moment is needed. His Hammond organ dominates the simple choruses, although Morse takes a casual, bluesy solo part way through the track to showcase his talents. It is a track that perfectly continues the sound established by the band on the recent albums, and it sounds as vital and proud as ever. Drop the Weapon is a bit punchier, with Morse's guitar playing dominating the song in a bigger way this time around - while Airey doubles his riffing on the Hammond for that great old-school Deep Purple sound. Frontman Ian Gillan, who's voice has certainly deteriorated over the years and can be a bit hit and miss live, sounds great throughout the album - the modern songs written for his older voice. The snaking groove of the track allows him to lay down a catchy, bluesy vocal line throughout - with the punchy chorus bringing the best out of him, while founding member Ian Paice hits his drums with a staccato venom. Drop the Weapon is one of the songs that really stood out to me when first listening to the album, and it remains a favourite. The powerful groove really hits home, and the catchy chorus is made to be played live. We're all the Same in the Dark is similar, but the pace is slowed down a little to a solid mid-paced strut with Roger Glover's bass pushed to the fore to really emphasise the groove. While the song is not as memorable as the opening two cuts, there is still a lot to like here. Airey's keyboards really dominate, with flashes of retro Hammond often cutting through the mix, while the chorus features a lot of strange backing vocals to create a bit of a haunting vibe. The highlight here for me though is Morse's lengthy guitar solo, which is something of a hybrid of classic blues phrasing and early 1970s progressive rock players. It showcases his talents perfectly, while adding something slightly different to the piece. Nothing At All, which is one of the album's singles, emphasises the more atmospheric side of the modern Deep Purple with a big keyboard soundscape and a haunting chorus that doubles down on the one found in the previous song - while adding something of an epic edge at the same time. There is no main riff here, but instead Morse and Airey trade busy, pseudo-folky licks back and forth which really add to the overall atmospheric nature of the track - with this approach also allowing the choruses to hit harder, with the power chords used there really bulking out the song in comparison to the more whimsical approach taken elsewhere. Songs like this bring out the best of the modern Deep Purple, and I can see this one becoming a live favourite over the years.

No Need to Shout opens with a Hammond roar that will instantly take the listener back to the early 1970s, before Morse takes the song forward with a potent riff that gives it something of a heavier edge. Despite not being as heavy as they were in the past, Deep Purple still like to rock out and songs like this show that they can still produce the sort of classy hard rock that helped them make their name. Morse's guitar riffing drives everything throughout, while Gillan's powerful chorus recalls some of the shout-along moments from the early part of his solo career. Airey switches between his Hammond and some barroom piano throughout the song, which creates a different vibe at times, with his lengthy piano solo reinforcing the bluesy feel that the band have embraced in recent years. Step by Step opens with some of the most dramatic and gothic-tinged organ work on the album, which really helps to set the tone for what is to come. The song itself is another fairly atmospheric one, with Airey's horror-themed keyboards constantly at the centre of everything. It is similar in style to Vincent Price from Now What?! actually, with a slow-burning groove and a strong, oppressive atmosphere being the order of the day. While I prefer the band's more catchy efforts, I really appreciate these darker pieces too. Airey, for my money, is the most creative member of the current Deep Purple line-up and his playing and soundscapes really makes songs like this tick. What the What is similar to No Need to Shout, but with Gillan's vocals and lyrics really placed at the fore of the track. Airey favours his piano throughout, which gives the song a boogie rock feel that the band have flirted with a few times in the past. Some may prefer it if he stuck to his Hammond, but I think the piano adds a lot to the song, which is a clearly supposed to be a whimsical laid back slab of old-fashioned boogie. It smashes through the tension created by Step by Step, and it allows the band to let their hair down and have a little fun. Both Airey and Morse revel in the more open nature of the track - with plenty of licks and solos coming from both of them. The Long Way Round goes for a slightly heavier approach, but Paice's shuffling groove helps keep the song from feeling too heavy in the album's wider context. Airey's suffocating Hammond really dominates the song, while Morse and Glover lock in together with Paice to help the tough shuffle really hit home. Despite this tougher approach taken, there is still plenty of melody to be found. Airey is the star of the show here with a lengthy synth solo featuring a plethora of catchy refrains, while Gillan once again conjures up a powerful chorus melody that takes hold and never truly lets go. The Power of the Moon showcases the band's slightly progressive side, as well as the atmospheric nature of the modern Deep Purple. Airey's Hammond once again dominates, but Gillan's vocal melodies throughout the track are a little more varied than usual - with a handful of semi-wordless sections that see him using his voice more as an instrument than anything else. A few of the melodies here also have something of an Eastern flavour which helps to the song to stand out, with Morse's slow-burning guitar solo seemingly taking influence from that part of the world - while Airey's organ counter melodies only reinforce the desert-esque feeling of the track.

A short instrumental in the form of Remission Possible kicks off the album's home stretch. It builds on the progressive tendencies featured in the previous song, and essentially features Morse and Airey trading shredded and busy lead lines. Morse is often slightly restrained in Deep Purple compared to what we all know he is capable off, but in Remission Possible he really lets his hair down for a brief moment with some furious shredding that Airey backs up with some mean and growling Hammond. It is only a short piece, but it really allows the band's two most expressive (and newest) members to showcase what they bring to the legendary band. It leads nicely into the slow-burning Man Alive too, which is similar to The Power of the Moon with its progressive flourishes and atmospheric backing - but here those sounds are merged with harder rock riffing for the perfect hybrid. In many ways, the song is almost the perfect representation of the modern Deep Purple sound. Airey's soundscapes merge perfectly with Morse's riffing; while Glover and Paice lock together for a tight and snaking rhythm. Gillan, ever the elder statesman, weaves his magic atop the cacophony - and his vocal performance here takes on a certain progressive flavour. He favours a spoken word delivery during a short, spacey breakdown, which then morphs into an explosive Morse solo, while elsewhere he showcases a smouldering power that belies his advanced years. While there are catchier songs here, it is a piece that really showcases the creativity of a band 52 years into their career. It certainly recalls moments from the last two albums, as well as older progressive numbers like Fools and The Mule, but more than anything it just showcases the band as they are now - still creative and powerful. The album comes to a close with new rendition of And the Address, the instrumental piece that opened their debut album Shades of Deep Purple back in 1968. It is a bombastic piece that brings the best out of both Morse and Airey, with its classical flair and experimentation pre-dating Emerson, Lake & Palmer, who would later perfect this sort of sound, by a couple of years. It does make me wonder if Whoosh! is to be the band's last album, and this is a way of finishing the way that they started, but either way it is a fun way to end the album. Its explosive instrumentation is somewhat at odds with the more laid back material that the band write now, but it allows them to let their hair down one more time - and it brings a little pomp to help close out what is, overall, a fantastic album. Most versions of the album, however, feature an excellent bonus track in the form of Dancing in My Sleep which certainly should not be missed. I am assuming that it is classed as a bonus track as it has quite a different vibe to the rest of the album, with its spacey synths and funky bassline, but it has a great energy and groove throughout - and Gillan sounds fantastic throughout. Morse's guitar playing is also pretty busy throughout, with plenty of little lead lines popping up here and there to punch through the synths and occasional Hammond stabs. While it might not be considered a key part of the album, it is another strong song that is certainly worth any rocker's time. Overall, Whoosh! is another fantastic album from Deep Purple that shows that the band's current purple patch is not yet over. It is amazing to hear such a powerful record from a band that has been around as long as Deep Purple have, and the creativity that is on display here makes this album a must-have of 2020.

The album was released on 7th August 2020 via earMusic. Below is the band's promotional video for Throw My Bones.