Turbyne's 'Arc' - Album Review

I have occasionally lamented on this blog over the relative lack of young melodic metal bands springing up across the UK. Those of us who love the progressive, symphonic, and power metal genres are constantly being treated with great albums, from new and old bands alike, from mainland Europe - but hearing a similar album from a UK-based band is a relative rarity. This is shame, but those genres have never been as popular here as they are over in Europe - so it stands to reason that few here heed the call. It is always a treat, therefore, when a UK-based melodic metal band is discovered; which is exactly how it felt back in 2018 when I saw the Scottish six-piece Turbyne put on a fantastic half an hour set at that year's iteration of Bloodstock Open Air. The band played relatively early in the day on the Friday; on the New Blood Stage - which is a stage that is specifically designed to showcase young and unsigned talent. In a sea of fairly generic death, groove, and thrash metal, which often dominate the New Blood Stage sadly, Turbyne really stood out. Their set was one of those that really came out of nowhere - largely because I knew nothing about the band prior to the weekend, but also because of how 'up my street' Turbyne were. Turbyne are, unashamedly, a melodic progressive metal band. It is always lazy journalism to compare a progressive metal band to Dream Theater (it is, in my view, akin to describing every bluesy hard rock band to Led Zeppelin), but in Turnbye's case the comparison is apt. Turbyne clearly worship at the alter of Dream Theater, and that is not a bad thing as far as I am concerned; largely as the band have the chops and songwriting talent to pull that sound off. While it is clear that Dream Theater are the band's biggest influence however, that is not to say that Turbyne's sound is a pure rip-off of the American legends. Turbyne are, on the whole, heavier than Dream Theater - with harsh vocals being a big part of the band's sound. There are big hints of bands like Soilwork and Scar Symmetry to be found alongside the Dream Theater worship; with the Scar Symmetry comparison feeling particularly apt due to the band's two frontmen - one who largely focuses on clean vocals (Gary Gillespie) and one who largely focuses on harsh vocals (Keith Fleming). Gillespie and Fleming help to set the band apart from the Dream Theater clones out there, as their vocal interplay throughout really defines Turbyne's sound. The two harmonise and play off each other wonderfully throughout the band's songs; and it is what helps the band's newly-released second album Arc to really stand out. Released five years after the band's debut album Origins & Endings, Arc is a step up in quality in just about every respect. The addition of keyboardist Jamie Hoyle in the interim has really bolstered the band's sound, and the band's leader and guitarist Calum Walker (who also wrote the whole album) has also really upped his game here. Origins & Endings is one of those albums that never really lived up to hearing the band live, so it was something of a disappointment, but Arc really delivers. It might not be a perfect album, and the music here is perhaps a bit ambitious for the production budget and skills available at times, but it is an album that sees a great young UK-based progressive metal band really making a statement.

Arc is an eight track album, but being a progressive metal release there unsurprisingly some lengthy pieces here. The shortest piece, Luna, opens things up however - but the four minute long instrumental track goes in a different direction from what you might expect. Rather than the album opening up in a chaotic flurry of notes to showcase the band's talents overtly, Luna is a very atmospheric piece. It instantly shows what Hoyle brings to the band with his soundscapes; while Walker swaps back and forth between gentle clean guitar melodies and spacey solos. There is even some smoky saxophone courtesy of Ewan McCall which adds surprising depth, but on the whole Luna is a slow-burn - which really works in the album's favour in my opinion. There is one 'proper' riff towards the end, which sees the band's metal side awoken for the first time, but by this time the piece is about to segue into the heavy and fast-paced Enter the Labyrinth - which really showcases the core Turbyne sound in a big way. After being disappointed with Origins & Endings, Enter the Labyrinth is the Turbyne that I remember from Bloodstock, with furious riffing and keyboard interplay throughout - and the fantastic vocals of both Gillespie and Fleming. The two go back and forth during the verses; but much of the piece is sung in harmony which helps to really bulk the song out. My only real criticism of this album however is also noticeable here, and that is how sometimes the vocals (particularly the clean vocals) get buried in the mix. It is real shame, because Gillespie's melodies do not hit as hard as they could do as a result, but given than Arc is a self-released album I can forgive Turbyne a less-than-perfect production. Arc sounds great in most respects, but I cannot help but feel how great Into the Labyrinth's soaring chorus would have sounded with a slightly better mix. The song is still great however, and is one of the most instantly-memorable pieces here thanks to its focus on vocals and riffing rather than lengthy instrumental sections. Cursebreaker is similar, but the song goes for a much heavier overall feel - with blast beat-led sections and much more of a focus placed on Fleming's screams. This is not a pure death metal track however, and perhaps the standout player throughout the song is Hoyle - who's keyboard melodies add some real light to the heavier song. While Walker is the band's main man, Hoyle is more than capable of keeping up with him - and having prominent keyboards on Arc helps to elevate it in comparison to the band's debut. In many ways, Cursebreaker is the song here that perhaps best showcases everything that makes Turbyne great in one six minute package. Soaring melodies sit perfectly alongside fast-paced metal riffing - with the balance of light and shade perfectly struck throughout. It was a wise choice for the band to choose to film a video for this song; as it is both progressive and accessible - with a lengthy instrumental section harking back to those early Dream Theater albums with its playfulness.

Inferno harks back to Luna somewhat, with a slow-burning opening that features some twinkly keyboard melodies and gentle guitar lines. While this vibe does not last throughout, it helps to ground the song early on - and, due to the way that the song builds up, it perfectly showcases the band's knack for tight, progressive arrangements. Hoyle's keyboards again really bulk the song out, with some great 1980s-esque patches used to add some pomp drive early on - but their setting against a fairly low-key drum and bass groove helps to give the song a spacey sound. Inferno, despite its title, is far less heavy than the two songs that preceded it. There is little of the band's metal riffing to be found throughout, with the song taking on a much more organic sound - with Walker's guitars instead largely  providing backing rhythms while the keyboards and vocals take centre stage. There is certainly a big AOR vibe that can be heard throughout the song - with melodies always given the focus over instrumental showboating. Despite this, the song still feels complex and interesting throughout - the tight arrangement mentioned earlier keeping things firmly in the 'progressive' camp despite the relative lack of soloing or complex instrumental sections. Mythos/Dark Aeons however is almost the exact opposite. It is the longest song here, and one of two songs to breach the 10 minute mark, so there is unsurprisingly a lot going on throughout. The heaviness absent from Inferno is back here in a big way, with the verses featuring both clean and harsh vocals - while some of Walker's riffing has a bit of a Lamb of God-esque groove to it. The choruses are heavy too, but Hoyle's prominent keyboard melodies offset Fleming's harsh vocals nicely - meaning that, despite the heaviness, there is always something more melodic to latch onto. That is a big part of the Turbyne sound in my opinion, and Mythos/Dark Aeons could be the band's most complete song yet as a result. It is another song that really showcases everything that makes the band great - but due to its length each facet is really expanded upon and the spotlight is shone on the whole band. Bassist Ryan Todd gets some time in the spotlight with a few sections that showcase his busy playing - while drummer Kyle Mitchell, who is excellent throughout the album, shows his diversity. The lengthy instrumental section (Dark Aeons) that makes up the song's second half is one of the album's overall highlights for me, with Hoyle switching back and forth between grinding organ and synths - while Walker conjures up many more great riffs and solos. There is even some more saxophone, this time from Justin Kent, which adds a different vibe to the piece. The whole song is a triumph however, and it is one of the best progressive metal tracks from a young, unsigned band that I have heard.

Light Pillars opens slowly, which is wise following the lengthy instrumental excess of the previous number, with Gillespie singing gently over Hoyle's piano and keyboard work. The song takes a little while to get going, but this allows the album to catch its breath before getting going once again. It is another lengthy piece, at just under 9 minutes, but there is still a big focus on melody throughout. Gillespie shows why his clean vocals are a big asset to the band during the song's opening sections, while some lengthy, flowing guitar solos allow Walker to demonstrate that he is not purely a shredder - but a complete, all-round guitar player. All of this comes together to ensure that Light Pillars is less chaotic and heavy than the previous song - but it allows the band's melodic side to be showcased in a big way. Every melody here really hits home - with the guitar and keyboard solos building on the vocal hooks to really elevate the piece. Teraflare is a much more concise and heavy piece, with more blast beats from Mitchell and a greater focus again placed on Fleming's harsh vocals. It is a real credit to Turbyne that they know when to reign it in and play in a much more melodic way - and then also when a heavier approach is necessary. It makes the album overall a very dynamic and varied listen - but it also helps the heavier songs to hit home in a more powerful way. A lesser band would push their heavier side at all times, but Turbyne know the value of light and shade. This song is very much shade however, Walker's riffing throughout this song pushing things up a notch and Hoyle's keyboards taking a relative backseat. There are less of his leads featured here, with the song largely being a full-on metal onslaught with Fleming's vocals and Walker's dense riffing leading the way. It is left to the 10 minute-plus Atlas Road to close out the album; the relatively jaunty piece being a great slab of Dream Theater worship that has the real feel of an album closer - a sense of coming out of the darkness and into the light. I am not sure if Arc is a concept album or not - but Atlas Road certainly has the feel of a concluding piece. After the heavy Teraflare, the song is a real melodic feast with plenty of big pompous keyboard stabs - and soaring melodies from both Fleming and Gillespie who team up for some big harmonies. There are heavier moments to be found here, but this is largely a joyous piece that focuses on the band's more melodic side - with everything sounding nice and heroic which is an appropriate vibe for an album closer. It has the feel of a victory lap too in places, which is appropriate considering how strong the material found throughout Arc is. Despite some of the issues with the production/mix that I mentioned earlier, sometimes it is easy forget that you are listening to a self-released album. Some sections here really rival many of the big-budget progressive metal bands out there - and fittingly Atlas Road has a few of them, which really helps the album to end of a high. It is a joyous and highly-infectious piece despite its length, with all of the band's six members really pulling together to make it so. I have been really enjoying Arc over the past month, and I am sure that I will continue to do so over the coming months. While some may find parts of the album too close to bands like Dream Theater, I am just impressed by the band's talent to be able to pull off such passages. There is a lot to like about Arc, despite it not being a perfect album from a sonic standpoint, and anyone who loves progressive metal should give this homegrown band a try.

The self-released album was released on 5th March 2021. Below is the band's promotional video for Cursebreaker.

Mason Hill's 'Against the Wall' - Album Review

Despite being a big hard rock and metal fan, and the fact that I have always made an effort to check out the genres' up-and-coming new bands, there are always a few newer acts that manage to elude me. Some slip through the net simply because it is never possible to listen to every single rock and metal band that exists, but there are some that I avoid or I am turned off by because of my general aversion to what I call American-style 'radio rock'. Born out of the post-grunge sound pioneered by bands like Nickelback and Creed, American radio rock has never been as big or as mainstream here in the UK as it is in the US; but it still has its fans. Kerrang! TV was packed with it when I used to occasionally watch it over a decade ago, so it stands to reason that there is now a slew of young British rock bands that are releasing albums influenced by the post-grunge movement. I have personally never really been a big fan of the genre, despite being something of a casual Creed fan, and this was something that often extended to many of the new UK-based bands playing similar music. I always preferred the new bands that were channelling the 1970s and 1980s rock and metal sounds, or doing something new, but I have to admit that over the past couple of years my tastes have widened somewhat and I have begun to appreciate some of these new UK-based bands that are channelling a 1990s and early 2000s sound. Seeing Stone Broken headline the Friday night of the 2018 iteration of Steelhouse Festival was probably something of a turning point; but seeing the same band again supporting Black Star Riders, and the Devon-based The Fallen State play a fantastic headline show in London a few weeks from each other in 2019 was what really opened my eyes to this sort of music. I now have much more of an appreciation for it. As a result, over the past couple of weeks I have been enjoying the debut album of the Scottish five-piece Mason Hill, Against the Wall, which was released at the beginning of the month. That might have seemed like a poor segue into bringing up the subject of this piece, and something akin to damning Mason Hill with faint praise, but my enjoyment of their album has really surprised me - and in a good way. I saw the band live in 2018 supporting the Dan Reed Network, and they really did nothing for me at all on the night. I could see some talent there, but I just could not get past their post-grunge sound. My new-found appreciation for the style has allowed me to reappraise Mason Hill's however, but Against the Wall also demonstrates more typical hard rock influences than what I remember from that night in Bristol with the Dan Reed Network. It is possible that over the past couple of years the band have changed their overall direction slightly and adopted more of a streamlined hard rock sound, but either way Against the Wall is a strong modern rock album that has already reached the UK Top 20 and is no doubt going to continue to impress.

The album is bookended by Reborn and its reprise, two fairly short atmospheric pieces that help to give the overall album a complete feel. Many modern hard rock albums eschew this sort of build up, so Reborn's presence helps Against the Wall to stand out. Gentle acoustic guitars. pulsing synths, and frontman Scott Taylor's distant vocals come together to create something akin to part of a modern metalcore ballad - but the smooth sound works well as an introduction to the album as a whole. It also provides a strong contrast with the opening song proper No Regret, which really ups the album's power when its first big riff kicks in. When I heard this track, I knew that I had made the right decision in picking up Against the Wall - as its mix of heavy riffing and soaring vocal melodies hit me from the off. Despite being a rocker, the song is also extremely dynamic - which works well to show off the many different sides of Mason Hill in one song. Parts of the verses are bass-led, with some excellent playing from Matthew Ward holding everything together, while other moments are much more reflective in tone with chiming clean guitar melodies and some gentler vocals from Taylor. The song also introduces James Bird as a lead guitarist with a great solo towards the end of the piece. The guitar solo is perhaps less important to some modern hard rock bands than it was to most older bands, but Mason Hill seem to value a strong solo - and the melodic impact one can have. The album's title track follows, and again it goes for a reasonably diverse sound - although there is quite a big post-grunge influence throughout with an overall more murky sound. The song's chorus is extremely catchy however, and is one of the hookiest moments on the album, but the song around it is much more downbeat with layers of haunting vocal harmonies and different guitar tones - which only make the ramp up towards the hard-hitting chorus feel more powerful as a result. This is the sort of song that is sure to go down well live, purely because the chorus has such anthemic feel to it. A short, gang vocal-led bridge section also helps, but it is the chorus that will really get the crowd going. Broken Son is a much riffier song overall, but it still follows a similar pattern to the previous two tracks. In my view however, the song hits a little harder as it dwells far less on the more downbeat side of the band's sound to instead push their love of a driving riff. The opening riff is one of my favourites on the album, and even the slower verses have busier guitar work than has been heard so far on the album. An energetic pre-chorus section also helps to add some great rock flavour to the piece, as does a great, lengthy Bird solo that really showcases him as a player.

D.N.A. ups the energy levels again, with a busy intro featuring some knotty guitar lines and some strong drum grooves from Craig McFetridge - before another big riff kicks in and the song really takes off. D.N.A. showcases the band at their most hard rocking, so it is one of my favourite cuts here as a result. The track really reminds me of The Fallen State in places, but with a bit of a different overall approach due to Taylor's more acrobatic vocals. There is very little pausing for breath to be found here. Even the parts of the verses which are slightly more downbeat have some abrasive bass notes to inject some energy - while more gang vocals and a stadium-worthy chorus provide irresistible hooks to draw everyone in. It is another song that is sure to go down well live - and I hope to hear it performed one day. Following four pretty hard rocking tracks, Who We Are provides a bit of a change of pace, with a ballad-esque approach and a more organic sound that features a lot of acoustic guitar layers. The verses are quite gentle, with Taylor's voice mostly pushed to the fore and the instrumentation kept fairly low-key; but the choruses are much weightier with heavier guitar rhythms and some choice harmonies. It is the sort of track that is typical of modern hard rock ballads, but it still works well as it suits the band's overall sound nicely. The highlight of the piece however for me is the lead guitar work of Bird. This is largely found during his emotionally-charged solo, but the closing moments of the piece also feature a number of strong leads that duel with Taylor's vocals as the song fades out. Find My Way gets the album back on harder rocking ground following the ballad, and it takes an approach similar to D.N.A. in the way that it goes for an all-out hard rock sound that is rarely broken up by quieter or slower moments. The main riff is another winner, its pace setting the tone for the rest of the song, while even the verses this time around maintain a quicker pace with some great drum grooves and subtle guitar leads. The track is modern hard rock at its best, and there is little of the band's typical more post-grunge sound here. There is a more modern sheen to be found here, but the song is one that really hits hard from the off and never lets go. Another strong chorus also provides the hooks, while some shredding throughout from Bird almost tips the album into metal territory occasionally. Hold On opens a little more slowly, with some atmospheric clean guitar melodies, but the song is still a hard rocker. There is certainly more of a murkier approach taken here however, with the sound of songs like Broken Son utilised here. Fans of those classic Creed albums of the late 1990s and early 2000s will certainly find plenty to enjoy here - with Taylor's more emotion vocal approach contrasting nicely with the hard hitting riffing of Bird and fellow guitarist Marc Montgomery. There are occasional changes of pace throughout to allow the murk to shine throughout, but on the whole the song is another strong rocker.

Out of Reach again has a bit of Creed feel (the opening guitar melodies are very similar to something Mark Tremonti might have come up with around the time), but some of the overt heaviness is reigned in here to allow a more organic sound to come through. The song is still a rocker, but there is less of the band's usual modern, biting guitar tones - with more of a warmth used throughout, along with acoustic guitars included within the mix. The verses are slow, and based around that Tremonti-esque melody, but the choruses are much tougher - despite the warmer sound used. While this does date the song somewhat in my opinion, it works well within the context of the piece - with the acoustic and electric guitars mixing well together to make a big sound that perfectly backs Taylor's powerful vocal presence. I prefer the band's heavier tracks, but this is still a strong song that certainly achieves what it sets out to do. We Pray again opens slowly, with something of an atmospheric sound, but this feeling is short-lived as it is not long before another big riff kicks in - its choppy rhythm whipping up plenty of energy. This song harks back to the sound that the band forged on the album's title track, with murky post-grunge sections sitting side-by-side with hard-driving rock sections. The verses contain the murk, while the choruses bring the energy - with another gang vocal-led pre-chorus perfectly bridging the two. There are plenty more hooks to be found here too, with the chorus being another winner that is sure to stick in the brain - and sound fantastic live. Where I Belong is the final proper song on the album, and it is another slower song in the vein of Who We Are. While it seems strange to end what is largely a hard-hitting album on such a slow and low-key note, the decision pays off. In truth there are a number of classic rock albums that end on slower notes, and Where I Belong shows off a different side to the band - at least initially. The opening moments of the track feature Taylor's voice backed by a very sparse musical arrangement, with the vocal harmonies in particular standing out. In fact, even though the song does get fleshed out as it moves along, these harmony-led sections are often revisited - with much of the instrumentation dropping out to really focus on them. Perhaps the best moment of the song however is Bird's guitar solo, which could well be my favourite of his of the album. It has a real 1980s ballad feel to it, with plenty of bends and melodic phrases that enhance the emotional tug of the piece perfectly. As much as the whole band pulls together on this album, I think that it is Bird that elevates Mason Hill above many of the other British post-grunge influenced bands - as his playing is packed full of true quality. It is left to the reprise of Reborn to truly close out the album however - with the synths etc. making a return as the album fades to black. As I said earlier, I like the bookending approach taken here - as it gives Against the Wall a complete and uniform sound despite the diversity found within. It is an album that I was not expecting to like as much as I do, and I can see myself listening to it a lot more over the coming months. I am glad that I revisited Mason Hill after not particularly enjoying them live a few years ago. I am always happy to be proved wrong, and Against the Wall has certainly done that.

The album was released on 5th March 2021 via 7Hz Productions Ltd. Below is the band's promotional video for D.N.A.

Evergrey's 'Escape of the Phoenix' - Album Review

When the Swedish progressive metal band Evergrey wound up a loose trilogy of albums in 2019 with the release of the excellent The Atlantic (which I reviewed here) in the January of that year, many wondered where the band would go next. Despite the band's catalogue largely being consistent in terms of quality, there is certainly a sense within the band's fanbase that Evergrey have really upped their game over the past few years. The band's frontman, and sole-remaining founding member, Tom Englund has made no secret of the fact that the band nearly broke up during the early part of the 2010s; but such thoughts were cast aside back in 2014 when two long-time members returned to the fold after a few years away. Guitarist Henrik Danhage and drummer Jonas Ekdahl's return helped to revitalise Englund - with 2011's Glorious Collision, the only album the band put out between Danhage and Ekdahl's hiatus, being perhaps less inspired than usual - and the album that followed, 2014's Hymns for the Broken (which I reviewed here), showed that Evergrey were back - and back with a vengeance. I had been a casual Evergrey fan for a while before Hymns for the Broken released, but I became a fully-fledged fan after hearing it. Evergrey's sound is like no other bands', and there is a melancholic darkness constantly interwoven within their soaring melodies. Part progressive, part power, and part gothic metal; Evergrey really can do it all. In many ways, the band eschew the tropes of all of those genres just as much as they embrace them - and that is what makes Evergrey so interesting. I had sometimes found the band's albums to be difficult listens, but Hymns for the Broken made everything fall into place. I am now a huge convert to the band's dense sound, and it is my view that the band have been in the form of their life since Hymns for the Broken's release. Both 2016's The Storm Within (which I reviewed here) and The Atlantic built on the excellence of Hymns for the Broken to form a loose trilogy - and the positive reviews kept rolling in. As mentioned earlier, there were many fans wondering where the band would go following The Atlantic, but it seems that the band were quite happy just to keep the train rolling - and last month they unleashed their twelfth studio album Escape of the Phoenix onto their excited fanbase. Sound wise, Escape of the Phoenix perfectly continues on the vibes that the band have been cultivating over the past few albums. It is not too dissimilar to The Atlantic, but perhaps with a little more of a look to the past than the band have often allowed themselves of late. The band's recent albums have certainly upped the heaviness in comparison to the rest of their catalogue, something which remains throughout much of Escape of the Phoenix, but there is also more of a warmth to be found this time around - with albums like 2001's In Search of Truth channelled too with plenty of extremely melodic keyboard work courtesy of Rikard Zander. This leads to an album that is perhaps a touch more old-school sounding than the band's other recent releases, but there is still enough of the modern, angular riffing that Evergrey have been employing of late to ensure that it fits nicely into their modern canon. This mix of crushingly heavy and more warmer moments helps Escape of the Phoenix to stand out, and become another stellar entry into the band's catalogue.

Despite the more old-school sound that is present throughout, Escape of the Phoenix is an album that comes roaring out of the blocks. Pushing any kind of atmospheric intro or build-up out of the way, it kicks off with the heavy single Forever Outsider, a song that perfectly continues the sound established two years ago on The Atlantic. Ekdahl's short drum barrage opens the song up, before the first of many big guitar riffs kicks in - Englund and Danhage teaming up for the barrelling, mid-paced pattern - which perfectly sets the tone for what is to come. This is possibly the heaviest opening to an Evergrey album to date - and it certainly hits like a tonne of bricks. It is really effective however, and it makes the statement early on that this is an album that is not going to take any prisoners. There are classic Evergrey melodies to be found, especially during the chorus which features some trademark soulful Englund vocals, but this is mostly a dense progressive metal track with some inventive drumming from Ekdahl and a busy, shredded Danhage guitar solo. Despite the fact that the track might be too abrasive for some, in my opinion it is the perfect opening number for this diverse album - and it is great to see the band really embracing their heavier side. Where August Mourn reigns in the heaviness somewhat, and goes for a more dynamic approach - with a sound that includes a little bit of everything that has made the band great over the years. There are big riffs here, but it is perhaps the synth work of Zander that stands out the most - his playful melodies during the song's intro and the chorus providing a digital hook that is easy to latch onto - while the sparse verses allow Johan Niemann's thick bassline to shine and drive everything forward. Zander is the star of the track for me however, and everyone who appreciates his understated, yet all-enveloping, style will find a lot to enjoy here. His soundscapes are a big part of the band's sound, and the lengthy instrumental section part-way through that culminates in another great Danhage guitar solo is dominated by his textures and subtle synth melodies. Stories is also a great showcase for Zander's playing, especially early on, as the track opens with some dark piano melodies which Englund proceeds to sing over in his inimitable and heart-breaking style. While he may not have the biggest range out of his peers, Englund has become one of my favourite metal singers over the years. You can never fail to be moved by his voice, and this track is another one that really shines the spotlight on his talents. Stories is a track that moves back and forth between gentle piano-led sections, and slow-burning doomy sections with crushing riffs and an extremely dense atmosphere. Evergrey sometimes have the power to be somewhat unsettling in their approach, and this a track that revels in such a sound - but it really works. It is the sort of song that only Evergrey could ever really make work; the constant changes in pace and denseness building that mysticism that the band are known for - while still including plenty of hooks.

A Dandelion Cipher opens with a riff that is somewhat reminiscent of the opening to Forever Outsider but, while the song does certainly channel this heaviness in a big way, there is a bit more light and shade to be found this time. The dry, modern riffing that the band started to use in a big way on The Atlantic is present here, with the heavier sections really creating a strong energy due to Ekdahl's double bass drumming and the driving riffs, but there are also sections that slow things down and allow Englund's more contemplative vocals to fill the void. In many ways, this is a song that is a real mix of old and new. The modern riffing style that the band has been experimenting with is given plenty of time to shine here, but the atmospheric style that Evergrey have pioneered over the years is still present - and the constant back and forth allows both sides to shine equally. The Beholder, which features some guest vocals from James LaBrie (Winter Rose; Dream Theater; Mullmuzzler), certainly has a bit more an old-school feel throughout - with plenty of space for Zander's synth soundscapes to shine. It is more of a mid-paced groove-based track, and the riffing has been paired back somewhat to allow for a dense, more atmospheric, sound to develop. LaBrie does not get a lot of time at the mic, but his subtle harmonies enhance Englund's sorrowful cries at points - and his breathy style is put to good use during a synth-heavy bridge, his vocal style perfectly contrasting with Englund's deep baritone. This is a track that old-school Evergrey fans will instantly lap up, as it is packed with a gothic darkness that has been perhaps less prevalent on the band's other recent albums due to their heavier forays. In the Absence of Sun continues on with an old-school approach, with the song being something of a twisted ballad - with Zander's warm piano melodies setting the tone early on. These melodies are never too far away from the fore, but the song does develop as it moves along - with occasional heavier sections adding both depth and emotion when needed. Those who enjoy the more gothic side of Evergrey will love this piece, as there is a real mournful quality to much of the track. There is so much emotion in Englund's voice throughout, and he even adds a melancholic guitar solo that is almost laid back in its approach - which contrasts nicely with the somewhat overwrought atmosphere present throughout. It also contrasts well with Danhage's more traditional guitar solo that follows later - which sits atop one of the song's heaviest riffs. Those looking for Evergrey at their most anthemic and melodies should look no further than Eternal Nocturnal - a driving single that is similar to singles of the band's past such as Weightless. The riffs here are heavy, yet catchy, and there is a big emphasis placed on Englund's voice throughout - with his melodies being much more accessible and hooky than usual. This allows the song's chorus to really hit home, which is helped by some 1980s-esque keyboard melodies from Zander which are uncharacteristically jaunty for Evergrey. They work within the context of the song however, and they help the track to be one of the catchiest Evergrey songs in recent years. As much as I like the band's dense sound, I also like their more unabashed melodic metal tunes - and this is a great example of the style. The lengthy guitar solo, which is started by Englund and finished by Danhage, is also great - and the track is a melodic feast as a result.

The album's title track follows, and it ups the heaviness again with some of the Gojira-esque riffing that the band have been toying with of late dominating the song's intro and verses. This is a track that really takes the sound that the band were crafting on The Atlantic and running with it - with occasional melancholic and melodic moments cutting through the dense riffing to add changes of pace. I love this heavier side of the band however, but this song possibly sees the best integration of it within the band's more classic sound. Many of the riffs that are featured throughout this song would have never been attempted by the band throughout the 1990s and the 2000s, but here they have been interwoven perfectly with warm keyboard melodies to create something heavy, yet instantly recognisable as Evergrey. The best part of the song for me however is the guitar solo section, which is easily the heaviest thing ever recorded by the band. The riffing that backs the solo is almost death metal-esque, and the energy that it creates is second to none. You From You returns to the band's more typical sound however, with heavier sections sitting side-by-side with more atmospheric sections to create a dense, mid-paced crooning track that is instantly Evergrey. There is lots of great keyboard playing from Zander throughout the song, which helps to boost its atmospheric qualities, but it is perhaps Englund's guitar solo that best exemplifies this. While Danhage takes the lion's share of the solos throughout Evergrey's music, Englund's occasional offerings allow for a different sound - and his Pink Floyd-esque addition to the song really helps to elevate it. His spacy melodies fit perfectly within the keyboard-heavy track - meaning that You From You is a showcase for all things Englund. Leaden Saints ups the heaviness again, but like the album's title track is another great mix of old and new. The opening riff is crushingly heavy, and recalls the opening moments of Forever Outsider again, but the song is another that goes back and forth between heavy and atmospheric. The emphasis however is certainly more on the former, and the pace never really lets up despite the fact that the riffing sometimes takes a bit of a back seat. These moments see more of Zander's keyboards, but on the whole this is a heavier piece that allows its pace and energy to dictate play - although Englund's vocals throughout are still as mournful as ever. As a result, this is a track that sees Ekdahl dominate, his driving drum grooves perfectly encapsulating everything that is great about the song. The album comes to a close with Run, another dynamic song that harks back to the older Evergrey sound a little more - with lots of great keyboard textures and a somewhat more gothic approach. Despite a few big riffs, this is a song that is less heavy than much of the rest of the album. Instead, it wraps the album up in a warm blanket of atmosphere and keyboard soundscapes - all while Englund delivers yet more emotionally charged vocal lines. As much of the album that preceded Run is more in-your-face, this relatively more gentle conclusion works really well. There is still weight to be found here, but it also feels somewhat more reflective - which allows the album to come to a more subtle close, with a Zander keyboard solo being the last action. It is a great end to a great album; with Escape of the Phoenix being another excellent addition to Evergrey's impressive discography. I like the fact that the band have allowed themselves to look to the past a little more here. With the last three albums modernising the band's sound somewhat, and solidifying the current line-up, Escape of the Phoenix is the perfect mix of old and new - and is an album that should please all sides of their fanbase equally.

The album was released on 26th February 2021 via AFM Records. Below is the band's promotional video for Eternal Nocturnal.

Epica's 'Ωmega' - Album Review

For those of us who love symphonic metal, the Netherlands' Epica are one of the most exciting bands. While other bands in the genre have, almost, crossed over into the mainstream here in the UK and can now fill arenas; Epica have continued to diversify their sound and push themselves into heavier and more progressive territories. This is certainly not meant to be a slight against bands like Within Temptation and Nightwish who have gained success beyond which is usually enjoyed by symphonic metal bands, as I really love both (especially Nightwish, who remain an extremely creative force), but there is really something special about Epica - and their reluctance to water down their sound (something which Within Temptation could certainly be accused of) to appeal to the masses. Not that Epica need to do so, as they are a still very popular band despite their dense and progressive sound. It has been great following them here in the UK over the past decade or so and seeing them somewhat rise through the ranks. They are now able to pull in healthy crowds on multiple UK shows, and their tours are always much-anticipated events in the UK metal scene. I have seen the band live a handful of times over the years, and they always put on a great show. They are the sort of band that makes their complex music come across so effortlessly live; and this is partly because they always look like they are having a tonne of fun. This sense of fun often finds its way onto their albums, despite the heavy lyrical themes that are often touched upon, but perhaps it is best observed in their most recent release. Ωmega, the band's eighth studio album, was released last month following quite a lengthy gap between releases. Recorded during the early parts of 2020, the album's release was delayed due to the COVID-19 pandemic - and this delay contributed to Ωmega following five years after the band's last full-length effort. The long gestation period, however, was worth it in my opinion as Ωmega is a really fantastic album. Despite loving everything the band have put out, Epica are a band that, for me, have only gotten better over time. Both 2014's The Quantum Enigma (which I reviewed here) and 2016's The Holographic Principle (which I also reviewed here) saw the band tightening up their sound while losing none of their progressive flair. For me, Ωmega is the natural continued evolution of Epica's sound - further tightening things up and placing an even greater emphasis this time around on hooks. Epica's songs are always very memorable, despite their complexity, but the majority of the songs on Ωmega really hit home for me after only a couple of listens - which harks back to the accessibility of the band's early work. This is why I feel that the sense of fun that the band exhibit on stage has really been captured here - as there are a lot of huge hooks to be found in and amongst the heaviness, progressive arrangements, and dense orchestral sound. In my view this can be put down to both the gelling of the band's current line-up, who have been together nine years at this point, and another excellent production job courtesy of Joost van den Broek.

As with all of the band's albums, Ωmega opens up with an instrumental orchestral piece. Alpha - Anteludium is typical of the band's usual scene-setters, although possibly less bombastic overall. Coen Janssen's piano melodies and some flute courtesy of regular collaborator Jeroen Goossens open the album up in a gentle fashion - but it is not long before the orchestra and choir join in, slowly ratcheting up the tension until the album segues into Abyss of Time - Countdown to Singularity. Being the album's first single, Abyss of Time is an extremely melodic track - and it is a song that really establishes the core sound of the rest of the album to follow. The sense of fun described earlier can be heard throughout, with many of the hookier moments of 2005's extremely accessible being Consign to Oblivion being channelled here. Frontwoman Simone Simons makes use of her pseudo-operatic vocals during the verses, a style that she has used less and less on the band's recent albums, her trade-offs with Mark Jansen again sounding like a throwback to the band's early work as a result. Much of the song is upbeat, with a soaring chorus that is one of the band's best, but grinding heavy sections are also included. One such section sees Jansen and fellow guitarist Isaac Delahaye slowing things down with something of a doomy bridge passage - their riffing the antithesis of the symphonic and melodic meat of the song. The Skeleton Key follows, and it ups both the overall heaviness and creativeness. While Abyss of Time essentially represents Epica's core sound, The Skeleton Key does something a little different - while still maintaining a familiarity. The song's chorus is very typical for Epica, with lush orchestrations and Simons' powerful vocals, but the verses sound very different for the band with twinkling piano melodies, a rumbling bassline from Rob van der Loo, and poppy, enigmatic vocals from Simons. She sounds very different throughout the song's verses, her almost-whispered approach working well against the playful bass and piano backdrop. Jansen's heavier sections provide a contrast, with more slow-paced riffing to back his growls, but these moment are fairly short-lived - with the focus instead on Simons and her diverse vocal approach. The song only improves as it moves on too, with a children's choir joining in, before Delahaye launches into a brief guitar solo that leads into a final reprise of the hooky chorus. Seal of Solomon opens with some Eastern-tinged melodies, something which will be expanded upon in a later track, but the song as a whole is a perfect representation of where Epica are in 2021. Anyone who has been enjoying the band's recent albums will instantly recognise the sound that they are going for here. The heavier side of the band dominates, with a lot of focus placed on Jansen's growls throughout. He takes the lead throughout the grinding verses, with Ariën van Weesenbeek laying down a creative and groove-based drum pattern behind him. While Simons will always be the star of the band, Jansen's growls have always played an important part in Epica's diversity. While many symphonic metal bands use growls for occasional effect, Jansen has always been a big part of what makes Epica special. He always has a significant role to play, and Seal of Solomon is one of the tracks here that really showcases this - his growled verses contrasting nicely with the choir-led choruses.

Gaia ups the pace after the grinding Seal of Solomon, van Weesenbeek's drums setting the pace, with the guitarists settling in for a good old-fashioned chug throughout. This is another song that seems to hark back to the band's earlier work, with its unabashed symphonic flair and slightly more synth-based orchestrations. There is much less of the band's progressive nature on display here, as this is a song that goes for the throat more with hooks and pace. The song never really slows down at all, and even though Simons dominates the song vocally she adds a bit of grit to her delivery to allow her to compete with the heavier backing. She has been one of the best singers in metal for a long time, but she proves time and time again throughout this album why. In many ways this simpler song feels like a real showcase piece for her, with the melodies again instantly lodging in the brain. Code of Life puts the band's progressive side back on full display however, with the Eastern melodies teased earlier now utilised in a big way. Zaher Zorgati (Myrath) adds some occasional Arabic vocals throughout, his subtle contributions adding to the overall sound of the piece, and the orchestra goes all-out throughout - adding Middle Eastern themes to every part of the diverse and heavy track. Epica have done a number of songs based around Eastern melodies in the past, but this one might be my favourite yet - at least from a melodic perspective. There is a real simplicity to some of the hooks, despite the overall heaviness and dense arrangement, with the chorus here being another winning moment - with some of Simons' best vocals on the album. Those looking for more easy melodies will instantly latch onto single Freedom - The Wolves Within, which has another huge chorus and a punchy riffing style throughout that brings the singles of the band's last couple of albums to mind. Despite the hooks here, this is not as much of a throwback as some of the other songs here. In many ways, the song is another perfect representation of the modern Epica sound - or at least the more accessible side of it. The riffing style throughout is modern and chunky, while the choirs and orchestrations are dense and powerful. There are also moments of true death metal here too, with Jansen growling over some evil-sounding riffs that shake the song up briefly - usually just before Simons launches into another rendition of the hooky chorus. This is another song that is sure to go down well live due to its stadium-ready sound, with a vibe overall that is very similar to previous favourites like The Essence of Silence.

The real progressive centrepiece of the album however is Kingdom of Heaven - Part III: The Antediluvian Universe, which is the longest track here by some distance. Despite the length and diversity found throughout the album, most of the songs here are much shorter than is average for Epica. Only three songs here breach the six minute mark, and this is the only one to exceed 10 minutes. In similar fashion to Epica epics of the past, there is a lot going on throughout the track - but it is one of the highlights here as a result. This is because each part of the song is memorable, and there is nothing here that is added for the sake of length. The full range of Epica's diverse sound is featured here too, with some of the heaviest Jansen-led sections on the album sitting perfectly side by side with Simons' delicate vocals and soaring choruses. The band have done a lot of lengthy tracks in the past, but this is song has already become one of my favourites - and I would not be surprised if the song becomes a live favourite going forward due to the amount of hooks found throughout, perhaps replacing one of their other lengthier pieces. Despite the whole band really pulling together here, the star of the show for me however is Janssen - who's keyboard playing throughout really makes the song what it is. His piano playing throughout is busy and full of virtuosity, while his old-school 1980s-esque synth solo towards the end really comes out of nowhere - but it perfectly fits in with the song's progressive nature. The song is the album's centrepiece as a reason, and it is a track that I am likely to never tire of hearing. After the big 13 minute-plus blow out, it is only fitting that the album should head into calmer waters for a bit of a break - and the gentle Rivers provides such respite. It is the only real ballad of the album, and it strips back the band's core bombast to focus on Janssen's delicate piano work, subtle strings, and Simons' vocals. The song is similar to some of the piano ballads of Epica's past, but due to its position in the tracklist it seems to hit a little harder than usual. I prefer Epica going at full tilt, but there is a real beauty to Rivers - which hits harder following the all-out bombast of the third part of Kingdom of Heaven. The song does get a little more 'full' as it moves on, with drums and guitars joining in to thicken the sound, but it never really deviates from its core identity - with the additional instruments coming in towards the end to boost what was already there, rather than transforming the piece into something more complex.

Synergize - Manic Manifest is a much more groove-based piece. Following the little break provided by Rivers, the band are now ready to rock again - but this is not a particularly fast-paced song. While there are some faster riffs and drum patterns, here, on the whole is much more mid-paced with modern-sounding riffing and a strident, hard rock-esque vocal approach. The song is not as 'manic' as it could have been, but there is still a lot going on here. Moments of drama thanks to the choir, Jansen's harsh vocal-led sections, and the occasional blast beat do add some mania - with a great, technical guitar solo from Delahaye also adding to the overall diversity. It is a track with a lot going on, and as one of the few 'longer' tracks here that is to be expected - but it is a perfect representation of modern Epica as a result. Twilight Reverie - The Hypnagogic State segues straight from the previous song, as it explodes from a quiet moment that Synergize ends on. While the songs are somewhat different in style, they feel like they were written to be together - with one contrasting with the other. There is a lot more pace and drama in this track compared to its predecessor, with the song coming across as much more dynamic as a result. Simons unleashes some of her pseudo-operatic vocals during the pre-choruses, to great effect, while the band's old-school use of spoken work sections is revisited here with Vicky Psarakis (The Agonist) delivering a short, but dramatic, monologue that heralds the arrival of a heavy harsh vocal section and a technical guitar solo. The album comes to a close with Omega - Sovereign of the Sun Spheres, another longer-form track that once again puts progressive songwriting at its core - with plenty of the modern Epica tropes on display throughout. While not as diverse as the third part of Kingdom of Heaven, it is probably the second-most progressive and adventurous piece here - but everything really hangs together well despite the variety. Jansen delivers some of the best harsh vocals of his career during a lengthy death metal section that includes some nasty riffing from him and Delahaye, while the latter launches into a long and technical guitar solo later in the song that might be his best on an Epica album. There are probably more guitar solos Ωmega than on any previous Epica album, which is a real treat as Delahaye is a very underrated lead player in my opinion. Not wanting to be left out either, Simons also lays down some of the album's best vocals during some operatic sections. She focuses less on hooks here, which gives the song more of a denseness than many of the other tracks on the album, but the grandiose approach works to bring everything together perfectly, and it is the perfect way to end the album as a result. Overall, Ωmega is another fantastic album from Epica. Despite only having it for a few weeks, it has already become one of my favourite albums by the band - as the mix of melody and progressive arrangements is possibly the most well-balanced it has been yet. The album is a perfect balance of the hooky, old-school Consign to Oblivion and the modern, progressive The Quantum Enigma - and the result is an album that is both accessible and melodic, as well as challenging and progressive.

The album was released on 26th February 2021 via Nuclear Blast Records. Below is the band's promotional video for Abyss of Time - Countdown to Singularity.

Ricky Warwick's 'When Life Was Hard and Fast' - Album Review

Despite having been on the scene now for over three decades, I think it is fair to say that Ricky Warwick's stock has never been higher than it is now. I first became aware of Warwick when he was invited by Scott Gorham to join Thin Lizzy. I had seen the John Sykes-led Thin Lizzy put on a very enjoyable show in 2007, but when I saw Warwick fronting the band in Leicester in 2011 I was blown away. Those of us who were born in the 1990s missed out on Thin Lizzy the first time around, but seeing Warwick lead the six-piece Thin Lizzy, which at the time included three classic-era members of the band, was a special experience. That show made me a Warwick fan, and since then I have been slowly amassing his back catalogue - as well as following his current exploits carefully. I was really pleased when Thin Lizzy morphed into Black Star Riders in 2012, and I have followed the band ever since. I have seen them on every album touring cycle - most recently in 2019 in Bristol, when the band kicked off their tour supporting fourth album Another State of Grace (which I reviewed here). With The Almighty, the band with which Warwick first rose to fame back in the early 1990s, now seemingly well and truly in the past, Black Star Riders is clearly Warwick's focus - and you will certainly not hear any complaints from me about this. It is my understanding that the band are currently working on their fifth album, something which I am certainly looking forward to, but, being the prolific songwriter that he is, it seemed that Warwick did not want to wait to put out some new music. Alongside Black Star Riders, and The Almighty before it, Warwick has undertaken a solo career. His solo acoustic shows have become much-anticipated from within his fanbase, but his solo albums are also very popular. His early solo albums were much more folk/acoustic based than any of his main bands, but over the years, with the exception of 2014's Hearts on Trees, they have become much rockier. When Life Was Hard and Fast, which was released last month, is Warwick's sixth solo album of original material - and his first solo release since the 2014 double bill of When Patsy Cline Was Crazy (and Guy Mitchell Sang the Blues) and the aforementioned Hearts of Trees. Being more of a hard rock album, When Life Was Hard and Fast picks up where When Patsy Cline Was Crazy left off seven years ago. Built around a core band of Warwick, guitarist Keith Nelson (Buckcherry); bassist Robbie Crane (Ratt; Lynch Mob; Black Star Riders), and drummer Xavier Muriel (Buckcherry), When Life Was Hard and Fast's 11 songs are largely hard-hitting affairs. A couple of ballads help to offer a change of pace, but this is largely an album for the rockers. In fact, those who enjoyed Another State of Grace will love this, as there are lots of songs here that could have easily found a home on Black Star Riders' fourth album. It goes to show how much of Black Star Riders comes from Warwick these days, especially following the departure of Damon Johnson, and Warwick's new album is the perfect companion piece to his day job's fourth release.

In fairness, any album that is largely co-written by Warwick and Nelson is likely to be a hard rocking affair, and When Life Was Hard and Fast shows its hand early in this regard. The opening title track, with backing vocals courtesy of Warwick's good friend Joe Elliott (Def Leppard; Down 'n' Outz), is one of the tracks here that could have easily been written for Black Star Riders. Subtle twin lead guitar harmonies, a hard driving rhythm, and a folky lyricisms all come together to create a sound that Warwick is very familiar with these days - but the familiarity does not in any way hinder the quality. Warwick has really found his place in the scene in recent years. Part Phil Lynott, part Joe Strummer, and part Bruce Springsteen, Warwick can rock out with the best while also telling a great story. When Life Was Hard and Fast's title track is a perfect representation of this sound - with a rousing chorus and plenty of tasty guitar playing from Nelson, including a playful harmonised solo section. It is a great way to open the album, and the song is sure to become a highlight of Warwick's upcoming full band solo tour. You Don't Love Me is similar, but with a somewhat more mournful vibe throughout. The harmony guitar leads are still present during the song's opening moments, but the verses take on a bit more of a laid back feel with a subtle chugging guitar rhythm and the occasional spacey lead. There is less of Warwick's pent-up punk energy this time around, but there is still plenty of weight to be found. The chorus has something of a modern Springsteen feel, with a dense wall of sound approach, and there is a great guitar solo provided by Luke Morley (Terraplane; Thunder; The Union) which adds some spice. I'd Rather Be Hit continues the slightly more mournful approach of the previous song, but builds on it with more of an overall hard rock sheen - which is helped by a strong Crane bass presence. The song is a lot more energetic than the previous number, with lots of lead guitar utilised throughout - and a punchy chorus that is backed by Muriel's staccato drum pattern. Another guest guitar soloist in the form of Andy Taylor (Duran Duran; The Power Station) furthers the song's cause. It is quite short, but it is a powerful flurry of notes that really cuts through the mix nicely. A cover of Mink DeVille's punky Gunslinger injects a bit of pace and urgency back into the album after a couple of more mournful pieces, and Warwick spits out the furious track with ease - while his manager Adam Parsons bashes away on the drums. The song is very simple, with a big gang vocal chorus and fairly rudimentary riffing, but it is the sort of track that really revels in its energy rather than anything technical. As a result the song is over in a blink of an eye, but it provides a great kick up the backside.

Not wanting to be outdone by a cover, and to show off his own punk credentials, Never Corner a Rat shows Warwick really upping the energy and attitude of the album. The song is a fast-paced old-school punk anthem with a driving Muriel drum groove and some thrashy guitar chords from both Warwick and Nelson. This is another song that is extremely uncomplicated, but it is certain to go down well live because of the energy that it is sure to create. Nelson's fast guitar solo builds on the atmosphere created throughout the track; and things only get more chaotic as the song progresses - with a loud crescendo at the end that is built around repeating the simple chorus with more and more emphasis on Muriel crashing around his kit. Time Don't Seem to Matter is a real about-face, and is essentially an acoustic ballad with a dense string backing - and some haunting backing vocals from Warwick's daughter Pepper. Much of Warwick's solo work has taken a more acoustic guise, but this song has a much lusher production than most of his old solo albums possess. The strings give the song real depth, and they transform the song from what would otherwise be a very basic acoustic number into a heartfelt and atmospheric piece packed full of emotion. The very occasional, simple guitar leads and Pepper's vocals add to this emotional depth - but the star here of course is Warwick, his lyrics and raw vocal performance shining as always. Fighting Heart, named after Warwick's solo backing band, is another about-face, and returns to the Black Star Riders-esque sound of the album's title track. Harmony guitar leads are featured throughout, and the song's chorus is one of the catchiest moments here - showcasing Warwick's love of an accessible, folk-based melody. Songs like this really sum up where Warwick is in 2021. He still loves to rock out hard with songs like Never Corner a Rat, but Fighting Heart and songs like it are really what his fans have come to expect from him over the past decade or so. It is is another song that could have easily sat on the last Black Star Riders album, its anthemic hard rock sound perfect for the stage. I Don't Feel at Home is a slower, more Springsteen-esque piece with an organic sound - which is helped by a subtle keyboard presence added by Dizzy Reed (Guns N' Roses; The Dead Daisies). In fact the song reminds me of some of the slower-paced, more deliberate tracks on Springsteen's most recent album Letter To You (which I reviewed here), but with a bit more of a folk tinge due to Warwick's vocal approach. While it is not my favourite song here, it is the sort of track that really grows on you after a few listens. The slower pace and dense production means that the song's melodies to not hit as hard as those found elsewhere, but when appreciated in more of a singer-songwriter context it really shines.

Reed's keyboards are also a big part of the harder rocking Still Alive, his grinding organ forming some of the main hooks early on as the song builds throughout the verse - before a heavy chorus and some simple slide guitar licks steal his thunder. It is another song that showcases Warwick's punk strain, but this time in more of an old-school hard rock context. There is a lot of energy and groove found throughout the track, but the organ and slide guitar stop the punky attitude really taking over. As a result, the song is real mix of sounds that manages to really hang together in the moment - despite the fact that some of the ingredients are not necessarily natural bedfellows. Clown of Misery is the album's final ballad, and it is a very low-fi recording that, according to one interview, was recorded on Warwick's phone. It has a demo quality to it, but it works well and helps to provide a little light relief towards the end of what is otherwise a fairly hard rocking album. I imagine the song was meant to be a demo, but Warwick liked how the song came out so much that he included it on the album how it was. It has the feel of a one-take recording without any post-production to it - with Warwick singing warts and all for his fans. After that short respite, it is left to You're My Rock 'n' Roll to bring the album to close. Opening with a Muriel drum groove and a simple guitar riff, the song is a powerful hard rocker from the AC/DC school of simplicity. This is no bad thing however, and it is another high energy number that is certain to go down well live. As a result, the song works perfectly as an album closer. The driving riff is present throughout, which keeps the energy up, while a catchy chorus incorporates some subtle gang vocals and tight hooks. There is a bit more of Warwick's love of punk to be found during parts of the song too, particularly a rather raunchy-sounding bridge section with some raw-sounding vocals. It ends the album on a bang following the delicate Clown of Misery, and anyone who is familiar with the paths that Warwick followed with The Almighty will automatically be drawn to it. Overall, while When Life Was Hard and Fast finds Warwick on familiar territory, there is a lot to enjoy here, and fans of Warwick's will instantly latch onto many of the tracks here. While the line between Black Star Riders and Warwick's solo work may be blurring a little too much for some, I am just happy to have more quality music to enjoy from a songwriter who has been churning out strong material since the late 1980s. When Life Was Hard and Fast is the latest in a long line of excellent Warwick-related releases, and I can see it getting quite a few spins here over the coming months.

The album was released on 19th February 2021 via Nuclear Blast Records. Below is Warwick's promotional video for Fighting Heart.

  

Todd La Torre's 'Rejoice in the Suffering' - Album Review

When it comes to traditional heavy metal vocalists, one of the very best to emerge over the past decade or so is Todd La Torre. Being a big Queensrÿche fan, I was first exposed to La Torre when he joined the Washington-based progressive metal act in what turned out to be a pivotal moment in the band's career. Following something of a lengthy critical and commercial slump, and a messy split with their iconic vocalist Geoff Tate, La Torre's entrance instantly gave Queensrÿche the shot in the arm that they had been sorely needing. Queensrÿche are now nine years and three fantastic albums into the La Torre revolution, and the band is as creative and as vital as they have been since their heyday. With news that album number four is currently being written, 2021 is a good time to be a Queensrÿche fan - but also a La Torre fan. Not wanting to be tied to the day job, and after speaking many times over the years about his wish to release a solo album, La Torre has finally found the time to deliver on this wish - and last month the singer's debut solo album Rejoice in the Suffering was released. Based on interviews that I have read from La Torre over the years, it seems that some of these songs have been floating around for a while. With Queensrÿche's touring activities halted throughout 2020 due to the COVID-19 pandemic, La Torre used this downtime to finally put pen to paper in relation to his long dreamed-of solo album. While Rejoice in the Suffering has La Torre's name on the album cover, credit here must also go to the multi-instrumentalist Craig Blackwell - who really has been La Torre's partner-in-crime throughout the Rejoice in the Suffering project. Nearly everything that can be heard on the album is thanks to La Torre and Blackwell - who also co-wrote all of the songs and co-produced the album. With the exception of a guest guitar solo, and a mixing job courtesy of recent Queensrÿche collaborator Zeuss, Rejoice in the Suffering is purely the La Torre and Blackwell show. As with Queensrÿche's most recent album, 2019's The Verdict (which I reviewed here), La Torre handles all of the vocals as well as the drums; while Blackwell turns his hand to everything else. The result of this close collaboration is a 10 track album that is brimming with quality - and a tight sound that is easily the heaviest thing that La Torre has been a part of yet. There are certainly hints of his Queensrÿche songwriting to be found here, but on the whole Rejoice in the Suffering is much heavier, much more groove-based, and much more varied from a vocal perspective. This album contains some of La Torre's best vocal performances yet; with Blackwell's heavy riffing style the perfect backing for his huge range. Sound-wise, Rejoice in the Suffering sounds like a mix of Rob Halford's Fight, the melodic end of Nevermore, and modern Overkill - with a smattering of Queensrÿche and Crimson Glory (who La Torre also briefly fronted) to top it all off. Those expecting a pure extension to La Torre's work with Queensrÿche will be shocked, as this is a much more overtly metal-centric album - which is certainly not a bad thing as far as I am concerned.

Those still expecting a shiny progressive metal album at this point will have their expectations shattered as soon as the opening number Dogmata kicks in. In many ways, the first song here is a real extension of the album as a whole - and it is a track that really clues the listener in on the sound that La Torre and Blackwell were going for here. The opening riff has a post-Pantera groove/thrash stuttering rhythm, but with a pace that helps a bit of an old-school 1980s metal vibe to be present too. The verses continue in this mould, with La Torre's driving drum beat keeping everything moving - while his vocal performance will sound familiar to Queensrÿche fans. In some ways however, despite the heavier riffing, this verse is lulling the listener into a false sense of security. This is because the chorus showcases a big diversion from La Torre's familiar tropes, with harsh backing vocals and a Lamb of God-esque groove-based riff that slows everything down to a bit of a crawl. There is still a lot of melody to be found however, and the song is as catchy as it is heavy. Pretenders is similar, but with a bit more of a traditional metal sound - with Painkiller-era Judas Priest certainly being channelled here. Subtle synths give the song a cold, industrial depth, while Blackwell's simple riff instantly sticks in the brain - and it is the perfect backing for La Torre's strident, arena-ready vocal performance. Some of the vocal lines here remind me of his work with Queensrÿche, but some also really channel the Halford sound of the 1990s. His sustained high-pitched verse vocals really bring the best out of the backing riff, and the more straight forward anthemic choruses benefit from their fist-pumping grooves and Accept-esque gang vocals. If La Torre ever gets the chance to play these songs live, Pretenders is one that is certain to go down well with a crowd. It is very easy to latch on to, and the grooves throughout are certain to get any metal festival crowd moving. Hellbound and Down has a bit of a different sound, with a harmony guitar riff that recalls In Flames and Arch Enemy a little. Despite these melodic death metal moments that repeat throughout the song, there is also quite a lot of La Torre's songwriting with Queensrÿche to be found here. If any of these songs could have been played with La Torre's main band, then Hellbound and Down is one. The chorus certainly sounds like some of the recent Queensrÿche choruses, with some great 1980s-esque high-pitched vocals, but the heavier grooves found elsewhere (as well as Warrel Dane-esque bridge section) help to set the song apart from the Queensrÿche canon. I appreciate the crossover of worlds featured in the song however, and for that reason the track is another favourite.

Darkened Majesty, the first of the songs here that was released online prior to the album's release, again has a lot of Halford worship to be found throughout - but this time it is the post-Pantera sound of Fight that is being channelled. La Torre's high-pitched verse vocals are some of the most potent that he has ever recorded, and the contrast between them and the murky chorus crooning makes for a winning combination. The chorus here reminds me of something like Selfish Lives from the Queensrÿche catalogue, as it has that Seattle-esque sound that Queensrÿche do so well, and I really like how the darkness and atmosphere of this chorus really turns the otherwise furious metal track on its head. In many ways, this song was a wise first track to release, as there is something familiar about parts of the song for Queensrÿche fans - while also introducing the core sound of the album as a whole. Crossroads to Insanity builds on the murk of Darkened Majesty, and shows that Rejoice in the Suffering is not purely a relentless metal album. There is still some light and shade to be found here, despite many of the songs being built around relentless riffing, but Crossroads to Insanity is one of the tracks that sticks out from the 'norm' the most. The focus here is on murky, grungy guitar melodies and an aching vocal performance that is packed full of tortured emotion. I have loved La Torre's voice since first hearing him with Queensrÿche, but hearing this album has given me a much greater appreciation of his vocal talents. Crossroads to Insanity contains one of his most emotionally-charged vocal performances yet, and it really informs everything about the song - with Blackwell's excellent guitar solo building on the vocal melodies and only adding to the song's emotional weight. Critical Cynic appears to get back to the album's core sound however with a choppy, Nevermore-esque opening riff - but the song soon descends into chaos, with a hollow sound based around some busy drumming and distant guitars. The song sounds like nothing else on the album, and ironically it takes the experimentation that Queensrÿche were doing on Rage for Order back in 1986 and transposes it to the modern day. There are lots of synths and effects here to give the song a strange overall sound, but everything pulls together nicely. There is certainly more of a progressive feel here, but the classic La Torre melodies are still present throughout - particularly during the groove-based choruses. The album's title track is a true return to the album's core sound however, with the song being a hard-hitting mid-paced groove-based track that has some great Blackwell riffing throughout - and guest guitar solo from Jordan Ziff (Age of Evil; Ratt). On my first listen to the album, this song was the one stood out the most from the off. It is easily one of the catchiest songs here, with a chorus that is instantly-memorable and some melodies throughout that hit hard. It is a song that was clearly written to be played live, and I hope that La Torre gets the chance to showcase it so one day. It is the sort of song that metalheads of numerous persuasions will be able to get behind, its strident chorus one that will draw everyone together.

Vexed sounds like another song that could have fit on one of Queensrÿche recent albums thanks to its old-school, warmer sound. While I like the fact that much of this album is heavy and in-your-face, it is good that a few moments here still have that Queensrÿche feel. It helps link La Torre's solo work to his day job - while also then possibly introducing Queensrÿche fans to new sounds and styles. I wonder if this song was possibly written with Queensrÿche in mind, and then ultimately not used by the band. Either way however, the song is another winner on an album that is full of them. The snaking guitar riffing throughout has a very melodic feel to it, with the guitar tones used having a bit more of a 1980s sound than those used throughout the album as a whole. There is a lot to like here, and those wishing to dip their toe into La Torre's solo work may wish to sample this track before some of the weightier pieces here. It is certainly more of an accessible track for Queensrÿche fans than something like Vanguards of the Dawn Wall - which is furious, heavy, and pummelling. It is one of my favourite tracks here however, and I love hearing La Torre going full tilt throughout. It is a track that never lets up, and there is certainly something of Overkill's recent run of albums to be found here - particularly during the thrashy verses. The choruses are more groove-based however, with infectious melodies that will instantly stick in the brain - as well as some great harsh backing vocals that up the heaviness even further. The song was chosen as a single, and I can see why as it perfectly sums up the overall vibe that La Torre and Blackwell were going for throughout the album. It does not pull any punches, and that is why it is one of my favourite cuts here. The album comes to a close with Apology, a somewhat lengthy piece that has a similar murk to Crossroads to Insanity - but fused with the heaviness of the bulk of the album. It is probably the most dynamic and varied piece here, which makes it a perfect album closer - with slow, sledgehammer doom riffs sitting side-by-side with a ballad-esque gloom to create a cacophony of sounds that really draws everything the album has been trying to achieve together. While much of the album is fast and furious, this is a song that takes things more slowly. There is a real deliberateness to everything heard here, but that only makes the song more powerful - and there are still moments here that are crushingly heavy, just in a different way to the norm. It is such a fitting way to close out the album, the snake consuming its tail of the album's cover somewhat personified, and a great way to round out one of the best releases of 2021 so far. Rejoice in the Suffering is likely to end up as one of the best metal albums of the year, and I have a feeling it will end up in my Albums of the Year list come December. It is the sort of album that I can put on at any time and enjoy it, despite the heaviness, and I will certainly be doing so a lot over the coming months.

The album was released on 12th February 2021 via Rat Pak Records. Below is La Torre's promotional video for Vanguards of the Dawn Wall.