Silver Lake by Esa Holopainen's 'Silver Lake by Esa Holopainen' - Album Review

One of the few upsides of the COVID-19 pandemic is the fact that the downtime enforced on touring musicians has, in many cases, driven them to be more creative than ever when it comes to songwriting. I imagine that music fans will be enjoying the fruits of these lockdown songwriting sessions for a couple of years to come at least, which certainly helps to ease some of the pain of all of those postponed and cancelled concerts. One such musician that took advantage of this time at home was Esa Holopainen - one of the founding members and guitarists of the Finnish progressive/melodic death/folk metal chameleons Amorphis. Clearly not content with being one of Amorphis' main songwriters, and putting together material for their upcoming fourteenth studio album (which is currently in the works), the lockdown has also encouraged him to strike out on his own. Released last month, Silver Lake by Esa Holopainen is essentially Holopainen's first solo album. Why he chose the mouthful title of Silver Lake by Esa Holopainen as both the name for his solo album and his solo project I am not sure, as it does not exactly roll off the tongue as an album name, but thankfully what is contained within is excellent - the lengthy album/project title is easily this release's only weak point! According to Holopainen, despite the fact that this album was put together over the past year or so, some of the songs featured he has had knocking around for a while. Some of the songs were written with Amorphis in mind, but Holopainen felt that they were not right for the band, while other songs were put together and finished off specifically for this new project. Those familiar with Amorphis' smooth, melodic, and progressive style will instantly recognise Holopainen's writing style throughout the album. There are a few songs here that have strong Amorphis vibes, which is strange considering that Holopainen considered that some of them were not suitable for his main band, but there are others that take a different path. Overall, this album is much less heavy than Amorphis, with only occasional uses of harsh vocals featured throughout. Speaking of the vocals, this is an album that utilises a variety of vocal talent. Throughout the album's nine songs seven different vocalists are featured; with diverse talent such as Jonas Renkse (Katatonia; October Tide; Bloodbath), Einar Solberg (Leprous), and Björn 'Speed' Strid (Soilwork; Terror 2000; Coldseed; The Night Flight Orchestra) helping to bring Holopainen's creations to life. Some of the songs here were writing collaborations with the singers, but much of the material here was created by Holopainen alone. Despite the vast vocal talent featured, the band used by Holopainen throughout the album is largely consistent. Joining Holopainen on guitar are bassist Pasi Heikkilä (Hevisaurus) and keyboardist Vili Itäpelto (Seraphiel; Tracedawn); with drum duties split between Sampo Haapaniemi and Gas Lipstick (Dementia; Kyyria; HIM; We Sell the Dead; Hallatar).

Despite the multiple vocalist approach, Silver Lake by Esa Holopainen hangs together very well throughout its 40-odd minute runtime. Some albums of this nature end up feeling somewhat disjointed, but Silver Lake by Esa Holopainen manages to make the multiple vocal styles work well together. It helps that Holopainen's songwriting style is so tight and melodic, which really helps to give the album a floating, shimmering vibe throughout. This vibe is established early on with the opening instrumental piece Silver Lake. Holopainen's guitar style has always been very fluid. Despite being known for being a member of a metal band, he has rarely been a shredder. His guitar style has always been influenced by players like David Gilmour, and Silver Lake is full of those sorts of melodies - while also taking a somewhat folky direction. The early portion of the song is more acoustic based, which emphasises the folkier side of his playing nicely, but when the mournful electric guitar leads come in the Gilmour influence is on full display. Silver Lake is not at all heavy, and the swirling melodies perfectly set the scene for what it is to come. It transitions nicely into the gothic Sentiment, the first of two songs to feature the smoky voice of Renkse, which is more Anathema than Amorphis. The acoustic guitars from the opening number are carried over into Sentiment, their presence adding real depth to the verses, while Itäpelto's dense and all-enveloping keyboards help to create the song's overall gothic vibe. Sentiment also really showcases something that I love about the album, and that is how much Holopainen clearly values songwriting over his own ego. While there are plenty of tasteful guitar moments throughout the album, Holopainen knows when to take a step back. Much of Sentiment is focused on Renkse's vocal delivery, and it is all the better for it, but when Holopainen does launch into a solo towards the end his cutting notes elevate things further. Storm is a bit more upbeat, and features the fantastic vocals of Håkan Hemlin (Nordman), who's voice has a slightly raw edge that perfectly contrasts with the percussive drumming and swirling synths. Again, there is a bit of an Anathema vibe to be found here - but there is a little of Holopainen's more typical songwriting style too, with the inclusion of a number of little lead breaks and an anthemic chorus. The song is much more atmospheric and floaty than Amorphis however, but there are certainly strands of the Finnish band's sound to be found here - which is certainly no bad thing. This was the song that Holopainen released as a single to preview the album, and I think that it was a good choice due to its fantastic chorus and aching guitar melodies.

Ray of Light is a bit of a curveball, and is probably the song here that diverts from Holopainen's core songwriting style the most. Featuring Solberg on vocals, who's voice is something of an acquired taste in my opinion, was always going to lead to something out of the ordinary - but I think that it works. Solberg mostly sings in a very high-pitched way throughout, with something of a Freddie Mercury vibe featured in parts of the song, and the chorus actually sounds like something from a Kate Bush album thanks to his vocal theatrics. It is a song that needs a few listens to fully appreciate, but there are still plenty of melodic moments that stick in the brain, The chorus hooks are catchy, and the shimmering synths really help to bring the strange piece of alt/art rock to life. Alkusointu is a spoken word piece, with actor Vesa-Matti Loiri reciting Tarina Suuresta Tammesta by the Finnish poet Eino Leino - with moments of heavy riffing and sparkling keyboards interspersed throughout. The riffing here is some of the heaviest found throughout the album; but these moments are fairly short lived. The music here is more about creating a rich backdrop for the spoken word sections, but there are still standout musical moments too. There is an excellent saxophone solo courtesy of Janne Huttunen, which comes out of leftfield, which then morphs into an excellent Holopainen solo. Unsurprisingly, Holopainen's solo is full of all the controlled, emotional playing that he is known for - and he takes some of the melodies played by Huttunen and runs with them. Itäpelto's keyboard solo follows, and the three work together to create one of the album's most explosive instrumental sections - with each adding plenty of soaring, emotional melodies to the dark piece which is all brought together by Loiri's deep, rich voice. In Her Solitude follows, and it is easily the album's heaviest piece. It is the only song here to feature harsh vocals, and it is the song here that sounds the most like Amorphis - partly thanks to a fantastic vocal from Amorphis' Tomi Joutsen. Joutsen is one of the best vocalists in metal at the moment in my opinion, and he once again shows why throughout this heavy, yet melodic, track. The verses are heavy, with his harsh vocals dominating, while the choruses see him switch to his soaring clean delivery - which Amorphis fans will be very familiar with by now. The song is excellent, and I do not think that any Amorphis fan would have been disappointed if it had appeared on the next Amorphis album instead of this one. It does sound a little lighter to keep it in the style of this album however, with the keyboards taking a more floaty approach overall and the rhythm section not being as in-your-face as would usually be expected.

Promising Sun, with its melodic piano intro, is another somewhat heavy track. It is not as heavy as the song that preceded it, but the rhythms throughout are a little more crunchy - with Holopainen laying down some weighty riffs throughout. Strid takes the lead here vocally, and his melodic voice is the perfect contrast to the tough rhythms. He sticks to his clean vocals throughout, which I think was the right move. The song is greatly benefitted by his slightly playful delivery - with the chorus in particularly showcasing his love of AOR with some really infectious melodies. This is not as AOR as his work with The Night Flight Orchestra, but the chorus certainly has similarities with that band - while being fused nicely with Holopainen's love of a crunchy riff. This is one of the few songs that Holopainen shared the writing with - and it is clear that Strid brought a lot to the table creatively here, which helps to make the song stand out. Fading Moon continues the crunch from the previous song, but also lightens things up again a little with the angelic voice of Anneke van Giersbergen (The Gathering; The Gentle Storm; Vuur) leading the charge. Funnily enough, despite the vastly different vocal approach, there is a lot of Amorphis to be found throughout the song. The chorus is packed full of melodies that would easily feel at home on an Amorphis album, while the overall guitar presence also brings the band to mind. There is a much greater emphasis on up-front riffing here - with a few riff-led sections that transition perfectly into soaring melodic leads to showcase Holopainen's trademark guitar style perfectly. Following a few heavier tracks, the album transitions back to the smooth, gothic tones that it opened with for its closing number Apprentice. Once again featuring Renkse, the only singer to be utilised twice, the song feels very similar to Sentiment - which means that the album somewhat comes full circle. There is a lot of acoustic guitar again featured here for depth, while Heikkilä's bass playing drives everything with its subtle prominence. Renkse's voice is again full of his usual emotion, and again Holopainen really builds on this with a lengthy guitar solo. One minor criticism that could be levelled at the album is the relative lack of really soaring guitar solos, but the one in Apprentice is fantastic. As much as I love that the songwriting is clearly Holopainen's main focus, a couple more really big solos on the album would have certainly been welcomed. Anyone who appreciates Holopainen's style will instantly love the mood that he sets in Apprentice however, and it helps to draw the album to a melodic, yet, mournful close. I really like how the album finished as it started, especially as it goes through a few different moods throughout. It is a very varied album, but it all still manages to hang together despite this. It feels like a complete work despite the diversity, which Holopainen should see as a triumph. With a new Amoprhis album due in the not too distant future it will not be long before we get the chance to hear more from Holopainen, but Silver Lake by Esa Holopainen has allowed his fans to see a different side to his playing, and it is an album that I will certainly be enjoying a lot over the coming months.

The album was released on 28th May 2021 via Nuclear Blast Records. Below is Holopainen's promotional video for Storm.

Blackberry Smoke's 'You Hear Georgia' - Album Review

Atlanta's Blackberry Smoke are a band that I have been into since around 2014. The band's third studio album The Whippoorwill, which was originally released in 2012, was the first of their albums to be officially released in the UK in 2013 - and I am sure that I am not the only person here that was turned onto the band as a result of the press that The Whippoorwill belatedly received as a result. Since then however, Blackberry Smoke have always enjoyed a cosy relationship with UK rock fans. The band's live shows are always well attended, and many of their albums have sold well over here - with some even charting. This is somewhat surprising, considering that country music has never been particularly popular over here. American country acts that regularly fill stadiums throughout the US are relatively unknown in the UK, but Blackberry Smoke have somewhat bucked that trend. In truth, the five-piece are not exactly a pure country act - but they have always had a big dose of country in their sound, and it is something that they seem to have focused on more and more over the years. The band's early work was much more southern rock-orientated, but with a country vibe, but more recently the band have had more of a country sound with a southern rock vibe. This has meant that some of the band's more recent work has not really connected with me. In my view, the band's peak is The Whippoorwill, which is a fantastic album, but the albums that followed have all been weaker - with 2016's Like An Arrow (which I reviewed here) being the low point for me. 2018's Find a Light (which I also reviewed here) was a step in the right direction, but in truth it is not an album that I have revisited that much of late - despite enjoying it quite a lot around its release. When I reach for Blackberry Smoke it is usually either The Whippoorwill or 2009's Little Piece of Dixie, with the band's more country-focused work getting much less of a look in. I was hoping that the band's seventh album would be a bit more up my street, so I was pleasantly surprised when You Hear Georgia dropped through my letterbox last month. Produced by Dave Cobb, who has done excellent work with both Europe and Rival Sons in recent years, You Hear Georgia is easily the most southern rock that the band have sounded since The Whippoorwill. There is still plenty of country to be found, but the balance between harder-hitting tracks and the country sound is tipped more in the favour of the former this time around. Frontman and songwriter Charlie Starr has really upped his game here, and I am sure that Cobb's rock pedigree helped bring the best out of the band too. The band have also been joined in the studio by a couple of choice special guests - as well as members of their now-expanded live entourage. Guitarist Benji Shanks (who specialises in slide) and percussionist Preston Holcomb are featured throughout; while sisters Sherie and Sherita Murphy add their voices to a handful of songs.

Those who, like me, have wanted Blackberry Smoke to properly return to their rock roots will be very pleased with how this album opens up. The first couple of tracks here are proper southern rockers, with just enough blues and country to recall the band's early albums. These first two songs were co-written by Dave Lizmi (The Four Horsemen), and showcase the band doing what they do best. Live It Down opens with a brash guitar riff, and it really sets the tone perfectly for the opening portion of the album. Blackberry Smoke have rarely sounded this raw in recent years, and the track is a real showcase for the whole band. Richard Turner's prominent bassline helps to drive the song, especially during the bluesy verses, while Brandon Still's roaring Hammond organ provides the perfect segue into a catchy chorus that makes great use of the Murphy sisters' soulful voices as they harmonise with Starr. The song's guitar solo is very country influenced, but the dirty guitar tone used helps it fit in perfectly with the song's raw overall aesthetic. The album's title track follows, and it continues on the raw rock vibes of Live It Down. You Hear Georgia is more of a mid-paced song however, so it feels a little tougher as a result - despite the country vibes still being present. There is a big Lynyrd Skynyrd feel throughout the whole song however, thanks to a combination of Shanks' tasteful slide guitar leads and some subtle boogie piano melodies from Still. Still, in my opinion, has always been underused in Blackberry Smoke - so it is great to hear his playing given much more space in the mix throughout this album. You Hear Georgia is one of those songs where everything just seems to pull together perfectly - and as a result it is a great overall representation of the band's core sound. The balance between hard-hitting southern rock and country is perfectly balanced, and the prominence of Shanks' slide playing in particular is what make the song a real treat. Hey Delilah is similar, but with less of an overall toughness and more of a laid back country groove. It works well however, with Starr's playful, infectious vocal melodies sticking in the brain while Brit Turner and Holcomb lay down a shuffling drum/percussion groove. Slide and rumbling piano add colour throughout, but it is the song's overall groove that makes it stand out. This is the sort of country that I like, as it still has enough southern rock to make it tick. There is a bite to the song despite its somewhat more laid back vibes, and it is sure to go down well live as a result due to its infectious rhythms and dirty slide lines.

Ain't the Same, which was co-written by Keith Nelson (Buckcherry), is a much smoother song that recalls some of the ballads on the band's more recent albums - but the song seems much more well-rounded as a result. Cobb's production gives the band much more space to breathe, with both Still's piano and Richard Turner's bass adding a lot to the flow of the country ballad. I think it helps that the vocal hooks are much stronger this time around too. The song's chorus is a great one, and Starr's mournful voice is perfect to deliver the low key melodies. It is a very memorable chorus as a result, with some more occasional slide lines helping to really add depth overall - and helping to turn the song into one of the band's best ballads for a while. Lonesome for a Livin', which is sung as a duet between Starr and country star Jamey Johnson, is the album's first real moment of pure country. It actually recalls Yesterday's Wine from Little Piece of Dixie a little, which also featured Johnson, with its downbeat vibe and raw overall sound. Johnson's deep voice is very different from Starr's more southern rock twang, and the two play off each other very nicely throughout - while acoustic guitars and laid back slide lines create a strong atmosphere. This side of Blackberry Smoke might not be my favourite, but I can enjoy their pure country moments on occasion - and there are far fewer moments like this throughout You Hear Georgia, which makes them far more enjoyable for me. All Rise Again returns to more rockier pastures, with Warren Haynes (The Allman Brothers Band; Gov't Mule) adding his voice and guitar talents to a song that he co-wrote with Starr. Haynes is always a good addition to any southern/blues rock album - and his bluesy voice fits perfectly within the raw, mid-paced rock of the track. There is some great guitar playing throughout the song, but the overall highlight for me is the vocal interplay between Starr and Haynes. Having two duets in a row is an interesting concept, but the songs show the vocal diversity of Starr - as well as his ability to team up well with other singers. There are lots of great harmonies between him and Haynes throughout All Rise Again, and it is another memorable cut as a result. Old Enough to Know is another pure country track, with lots of acoustic guitar melodies and the occasional aching slide line. Again however, the song just seems much more well-rounded than some of the similar songs that have appeared on the band's other recent albums. I do feel that Cobb's influence on this album has really improved the Blackberry Smoke sound in nearly every way however, as there is just so much more going on in even the most basic of acoustic songs. As mentioned earlier, Still's keyboards are much more prominent throughout this album - and his contributions give these country moments much more depth than they would have had previously.

Morningside is another rocker, but it has an atmospheric depth that recalls songs like Crimson Moon from the band's past. Morningside is much slower in pace however, but the riffing throughout is very strong - with Starr and Paul Jackson teaming up throughout for some weighty moments. The Turner brothers' rhythms and grooves perfectly compliment this more hard-hitting approach too, while the atmospherics provided by Still's keyboards creates the song's swirling depth. As a result, the song is one that really brings the best out of everyone involved, and is the sort of showcase piece that the band have not really done for a few years at this point. There are a few songs like this on their older albums, but with their pursuit of a much more country-based sound of late this depth has been lost. It is great to have it back, and the song is likely to be a great addition to the band's live shows as a result. All Over the Road picks up the pace, and is a great slab of boogie blues rock that features brash riffing borrowed from the album's opening moments and plenty more of Shanks' excellent slide work. There is nothing complicated about this track, but it is a perfect mix of southern rock, country, and blues that all comes together nicely to make a song that allows everyone involved to really let their hair down. This is, again, something that has largely been missing from the band's more recent albums - and the carefree attitude throughout the song is refreshing, as it just packed full of great southern rhythms and boogie. The album comes to a close with the dynamic Old Scarecrow which was co-written by Rickey Medlocke (Lynyrd Skynyrd; Blackfoot). Sadly Medlocke is not featured here, but his songwriting style is apparent throughout. It opens slowly, with some country-infused guitar picking and Starr's vocals, but it soon explodes into a hard-hitting mid-paced rocker with some great blues inflections and plenty of screaming slide guitar leads. The album opened in tough fashion, and Old Scarecrow allows it to end in a similar way - although the album's closer is much more dynamic in style, shifting between acoustic-based sections and tougher, bluesier sections with ease. It is one of the few songs here that does that too, with most of the other numbers here largely sticking to one style throughout. It helps to make Old Scarecrow a great closing number as result however, as it contains a lot of the band's core tropes in one song - which will help to remind listeners one final time what a great band Blackberry Smoke can be. In truth however, I think that the whole album acts as that reminder - at least it has for me. I have been somewhat disappointed with a good chunk of the band's more recent albums, but You Hear Georgia is consistently great and has really renewed my faith in the band. There is a lot of great southern rock throughout the album, and even the pure country moments are much more enjoyable this time around. It is easily their best album since The Whippoorwill, and it one that I will be listening to a lot over the coming months I am sure.

The album was released on 28th May 2021 via 3 Legged Records. Below is the band's promotional video for You Hear Georgia.

Gary Numan's 'Intruder' - Album Review

I am not quite sure that Gary Numan ever quite gets the credit he deserves. He is certainly very popular, and has sold a lot of albums over the years - but his ability to turn his hand to a number of different musical styles, and his huge contributions to electronic/synth-based music often seem to get forgotten. Someone like David Bowie often, rightly, receives a lot of credit for his chameleon-like nature, and his ability to constantly shift his style, but Gary Numan rarely seems to get credited in the same way. While his discography might not be as diverse as someone like Bowie's, Numan has covered a lot of ground. From his early new wave sound with Tubeway Army, through his pioneering synth-based early solo albums, to his darker modern sound - Numan has continually updated his sound and overall look. With some of his recent work moving towards more traditional rock and industrial sounds, he certainly cannot be accused of making versions of 1979's genre defining The Pleasure Principle over and over again. While I am not particularly familiar with Numan's work, and there is certainly a lot of it, I have always admired and respected him for his idiosyncratic approach to music and his willingness to try new things to keep his output fresh. I saw him join Nine Inch Nails on stage in 2009 at the O2 Arena in London, and it was that moment that made me take notice of him properly. Nine Inch Nail's Trent Reznor has always been open about how big an influence Numan is on his and Nine Inch Nail's music, but I think it is also fair to say that some of Reznor's magic has rubbed off on Numan in recent years. Numan's last few albums have been much darker and more industrial than much of his more well-known work; and he has adopted a grittier image to match. I have always been meaning to expand my knowledge of his work, and with a new album recently being released it seemed like the perfect time to do so. Released last month, Intruder is Numan's 19th solo album - and 21st studio album overall if the two Tubeway Army albums are included. A concept album about Numan's views on climate change, and the potential future of the planet, Intruder is a dark listen. It might not be as industrial as some of his other more recent albums, but the subject matter ensures that the album is not always an easy listen despite it perhaps not being as in-your-face as some of his other albums. The album is another collaboration with producer and keyboardist Ade Fenton, and there are regular faces contributing throughout such as guitarist Steve Harris (Archive) and bassist Tim Slade (Mohair). This is very much an atmospheric album at heart however - with the synths and programming of Numan and Fenton dominating throughout, creating rich tapestries and dense soundscapes for Numan's ageless voice.

Being something of a concept album, Intruder has a largely consistent sound that flows from one song to the next. Sometimes it is easy to forget that one song has ended and another has begun, with the overall vibe being one of a journey - which makes the album come alive when consumed in a single sitting. One thing that is striking from the off is how many Eastern vibes are present throughout parts of the album - which creates something of a swirling desert-esque theme at times, despite the plethora of synths present. Opener Betrayed really nails this feeling perfectly, with yaybahar courtesy of Gorkem Sen adding some organic Eastern tinges to the song - while a slow-paced drum loop and the ethereal backing vocals of two of Numan's daughters create an oppressive soundscape. Betrayed really sets the tone for the rest of the album too. It is not really an upbeat album for the most part, and there is relatively little of the energetic synth rock/pop that helped to make Numan famous. The album might not be for everyone as a result, but as a piece of art it succeeds perfectly. The Gift is a bit more of a pulsing number, with a prominent synth bass line that propels the song in a percussive manner - which allows Numan to attack the song vocally, contrasting nicely with the howling croons of the album's opening cut. Sen's yaybahar again adds depth (he is featured a fair amount throughout the album), but there is a lot more of that Nine Inch Nails influence to be found here. There are dirtier drum grooves throughout the song, and there is also a memorable chorus that harks back to some of Numan's classic albums somewhat - but with Eastern strings replacing the cold synths. I Am Screaming is much more synth-focused however, with a catchy, yet dreamy, opening synth melody that later resurfaces later in the song as a hard-hitting chorus. The verses however are quite low key, with subtle keyboard textures providing the perfect backing for Numan's robotic vocal lines. I really like the way that the song moves back and forth between these more gentle moments and much more aggressive sections however. The choruses are certainly more in-your-face, but there are heavier sections that feature more traditional guitar and bass riffs to add some abrasiveness to the track. This vibe is continued on throughout the album's title track, and the Nine Inch Nails influence is very prominent here. The drum patterns are much heavier and groovier, with Slade's fat bass presence locking in perfectly with the programmed beat to drive the song. The track is quite similar to some of Numan's other recent albums, with a strong industrial rock feel that relies less on soundscapes than the album's opening numbers. I really like the mix of programming and more traditional rock instrumentation here - as it creates a great energy that is maintained throughout the whole song.

Is This World Not Enough is similar too, with the heavier beats carrying over from the album's title track, but the pace is slowed down somewhat to allow a more atmospheric sound overall. It is still quite a heavy-sounding piece however, with Harris' doomy guitar riff driving the song in a monotonous and metronomic way - but the synths are much spacier this time around, fusing all of the sounds that have been present on the album so far together nicely. There are moments that slow things down a lot, and focus on wordless female vocals and sparse synths, while other moments up the pace a bit and place a lot of emphasis on Harris' doomy playing. A Black Sun slows things down further, with much of the heaviness of the last few songs stripped away, and for the first time the album focuses on piano melodies in a much more typical ballad-esque approach. Subtle strings back the rolling piano lines, while Numan croons atop them in his usual strange, but captivating, way. There are slightly more heavier sections throughout, with the choruses being backed by a tougher drum groove, but the piano never really goes away. Even as the song slowly builds occasionally around a more expansive sound, the core melodies and feel never get overshadowed - which helps to give the song a different vibe from many of the other songs here. The Chosen is much groovier, with the Nine Inch Nails influences once again on show in a big way. The song is another heavier track, with Harris' guitars taking on a much more prominent role - with them creating something of a wall-of-sound while Fenton's grimy programmed beats and synth bass create chaotic rhythms and melodies beneath. The track is one of the album's most industrial and abrasive as a result, and calls for a strong vocal which Numan delivers perfectly - his anthemic howls bringing the choruses to life perfectly. The song segues smoothly into And it Breaks Me Again, but the latter is much different to The Chosen with its return to the more soundscape approach that characterised the album's opening moments. The programmed beats are much less in-your-face this time, and the swirling desert vibes are back with layers of synth textures that create a surprisingly warm backing for Numan's anguished vocals. Things pick up a little during the choruses, with Harris' guitar once again adding some depth, but on the whole the song is much more low key, which really allows the synth textures from both Numan and Fenton to shine. It is a song that revels in its more simple arrangement - and provides something of a break between The Chosen and what is to follow.

Saints and Liars follows the sparseness of And it Breaks Me Again with a bit of a left-field turn, as the song roars out of the gate with a spiky guitar riff and a punchy drum groove. It is the most overtly rock piece here, with Harris leading the charge throughout with his tight riffing - while Slade's bass slides provide a great contrast to the shimmering synths that are still present to add depth. Anyone who loves With Teeth-era Nine Inch Nails will instantly recognise the style at play here, with the mix of more organic rock elements and playful synth melodies coming together perfectly to form a catchy song that is certain to go down well live. Many of the tracks here require a number of listens to fully digest, but this is one that hit me from the off on my first listen to the album. It recalls the hooks of Numan's early work, while still being packed full of the atmospheric feel of the rest of the album. This atmospheric feel is pushed back into the spotlight however on the following dense, slower piece Now and Forever that totally forgoes any sort of guitar playing altogether - which allows the album's core soundscapes to really shine. Numan's daughters once again add some subtle vocal harmonies throughout which enhance the song greatly, but the highlight here is the overall dour beat and the coldness of the piece - something which Numan has always excelled at. The End of Dragons returns to the piano-focused approach of A Black Sun, but fuses it with the album's core soundscapes and a more industrial approach to make the song one of them album's most diverse and dynamic pieces. Piano sections sit nicely side by side bigger beats and occasional guitar stabs - but it is a song that requires a few listens to fully appreciate due to its diverse approach that fuses a lot of sounds together. It does not always quite hang together in a coherent way, but I like the approach taken despite this - as it provides a great mix of sounds towards the end of what is actually quite a diverse album despite the conceptual, soundscape-based approach taken throughout. When You Fall brings the album to a close, and unsurprisingly it is that soundscape-based approach that shines here - although Harris' guitar does toughen the song up somewhat, and the dancing synths help to conjure up one final burst of energy. Despite this energy however, the song still has quite a sombre atmosphere - which is fitting given the album's overall themes. As a result, it works well as an album closer due to its focus on the album's overall core sounds as well as providing a summing up of Numan's overall message. I like the way that the song ends in quite a low key way too - which seems fitting given the album's dense and synth-heavy approach. A heavy ending would not have seemed right given the circumstances, and When You Fall hits the spot in that regard. It is also a great way to reflect on what is a very strong album. As I said earlier, I do not have a lot of history with Numan's work but I have been enjoying this album a lot over the past few weeks. There are a lot of memorable moments here, but crucially the album flows perfectly as a whole conceptual piece - and that is how it should be experienced in my opinion. Numan sounds as vital and fresh as ever here, although this is no doubt something that his long-terms fans will not be surprised by at this point.

The album was released on 21st May 2021 via BMG Rights Management (UK) Ltd. Below is Numan's promotional video for Saints and Liars.

Levara's 'Levara' - Album Review

Despite many of the bands that I cover on this blog being veteran acts with established fanbases and lots of albums to their name, I am always on the look out for the next big thing. As much as I love my classic rock and metal, I have always regularly championed up-and-coming bands as well. Music needs new blood to stay fresh, and rock music is no different. While it can be hard getting some of the genre's more entrenched fans to try something new, and the view that there has been nothing worth hearing since 1979 can often be a rather deafening one, there is no shortage of great new music out there. It is always great being able to cover a band's debut album on this blog, and that is exactly what I am able to do today - with the subject being the self-titled debut album of multi-national pop rockers Levara which was released last month. I first came across Levara a couple of years ago when they were called ZFG - and were supporting Toto on tour. I did not see any those shows, but ZFG's reviews from the tour intrigued me. I was further intrigued when I found out that ZFG was partially made up of the sons of some of the Toto band members - with guitarist Trev Lukather and bassist Sam Porcaro making up half of the four-piece. Porcaro left the band following the tour however, and ZFG were renamed Levara - and the band started in earnest getting their debut album properly written and recorded. Following the release of a few singles, Levara was released last month to a host of strong reviews. The album's sound, which is at times more pop than rock, is likely to attract a wide audience - but the songwriting is there to back it up. While Levara do not sound like Toto at all, touring with Toto and having a Lukather in the band has certainly influenced the band's songwriting style. The album's 10 songs are varied and packed full of twists and turns - while remaining catchy, anthemic pop rockers at heart. Porcaro plays all of the album's bass despite having left, with Lukather, frontman Jules Galli and drummer Josh Devine (who has toured with One Direction in the past) making up the rest of the band. Sadly however, the album's release has been marred by band drama - with Lukather revealing shortly after its release that he had been fired by Galli and Devine. This has, rather unsurprisingly, overshadowed the excitement surrounding the album - as all the discussion has focused on the split rather than the excellent music contained within the album. I do wonder if Levara will struggle without both Lukather and Porcaro, especially as Lukather seemed to be the band's main driving force, but this remains to be seen. This should not detract from the band's debut album however, which is excellent and should be judged on its own merits. Thanks to a lush production job courtesy of Ethan Kaufmann, Levara is a captivating listen - and one that is far more than just another pop rock release.

Despite the songwriting tricks used throughout the album, the vast majority of the songs here are still extremely memorable and catchy. If there is one thing that links Levara to Toto it is that - the ability to craft an interesting song that is still very memorable. Heaven Knows, the album's opening track and one of its main singles, is a great example of getting that balance right - and the song is one that really draws the listener in from the off. With its spiky main riff, the song is one of the harder rocking cuts here - and the energy that it whips makes it an ideal opening track. Subtle synths are used to bulk the song out, which is a technique that is used throughout the album, but on the whole the track is guitar dominated - with Lukather's riffing and melodic arpeggios being the centre of attention. Galli instantly showcases what a great singer he is too. He might not have the biggest range out there, but his voice is very easy on the ear and it is clear from the off that he knows how to craft a vocal hook. The song's chorus is as big as it is due to his smooth voice - with occasional bursts of falsetto adding a certain dynamism. Automatic follows and, despite a slightly slow-burning intro, the song largely follows on from the rocking vibes found throughout Heaven Knows. There is much more groove to be found throughout Automatic however, and the band's rhythm section are often pushed to the fore - and lock in perfectly throughout. It is a shame that Porcaro left the band, as his bass playing is fantastic throughout the album, but the grooves that he and Devine strike up throughout Automatic are probably the song's defining feature. They ensure that the chorus is another ear worm - despite its simple vocal approach - but the song in general is elevated due to Porcaro and Devine. The song is also the first of three cuts here to feature backing vocals courtesy of Steve Perry (Journey) - who adds further depth to the tracks that he is featured on. Ever Enough is much more overtly pop than the album's opening two tracks, but the melodies and hooks throughout are so infectious that even this metal fan can really get into the song. Despite the poppy vibes throughout, there is a certain darkness throughout chunks of the song - with the verses being somewhat downbeat before the chorus explodes with walls of Def Leppard-esque vocal harmonies. This is a song that has a lot going on, and it showcases the Toto influence in a big way. Again, the rhythm section is quite active throughout - and the use of synths adds a darkness when appropriate to really help to make the song what it is. A lengthy guitar solo from Lukather is the icing on the cake, with his aching leads really adding to the song's overall melancholic vibes perfectly - before a final reprise of the soaring chorus brings the track to a close.

On for the Night is another groove-fest, with some of Porcaro's best and most prominent playing on the album - which again acts as a basis for some excellent Devine drumming. He is not the busiest of players, but he always seems to know exactly what to play and when to perfectly accent what is going on melodically and rhythmically within the song. The verses here are a perfect example of this, as the spikiness of the track comes from the drumming rather than the guitars - which gives the song a unique overall sound. The guitars are relatively low key here, with clean melodies and arpeggios forming the basis of Lukather's playing, which allows the grooves and Galli's vocal hooks to shine - although a short guitar solo pushes the instrument briefly to the fore. Allow is another track with a slow-burning intro but, rather than building up into a groovy rocker in the style of Automatic, the track is something of a ballad that has shades of the darkness found throughout Ever Enough. The song lacks the big hooks and chorus of Ever Enough, but instead goes for a much more emotional overall approach that pushes Galli's voice to the fore. I think I prefer him operating in more of a harder rock context, but he has the emotional depth to make these ballads tick. His approach to ballads is rather breathy, which is something commonly found in modern pop, but he makes it work well in the context of the song - and throughout the album as a whole it is a technique that he employs on multiple occasions. I prefer Levara when they are groovier and rockier, but there is still a lot to like about Allow - and Lukather's solo is once again very strong. Can't Get Over ups the energy somewhat after the slower Allow, but it is not a return to the band's fully-fledged rock sound. It is certainly a return to a more groove-based approach however, and once again Porcaro's bass playing is excellent - and full of lots of little riffs that are very easy to latch into despite not always being the most prominent element of the mix. The choruses are much rockier than the rest of the song however, and somewhat approach the band's album-opening sound, but it is the contrast between the groovier verses and the pop rock of the song's choruses that makes Can't Get Over another enjoyable listen. Chameleon, another of the album's main singles, is one of my favourite cuts here. It is one of the album's catchiest tracks, and the mid-paced drive of the song makes it stand out when compared to the rest of the album. Lukather's guitars are much more overtly rock this time around, with the chorus being driven by hard-hitting power chords - which gives the song a real kick after the slow-burning yet hooky verses. Despite rhyming the words 'chameleon' and 'million' during the chorus, which sounds a bit silly, the chorus is one of the album's overall best moments for me - and it is one of those hooks that stays in my head for a long time after hearing it. Bulked out by Perry's backing vocals, the chorus is one that will sound fantastic live - if the band ever get the chance to play it on stage.

Ordinary is a bit more of a high-energy piece, with the chorus being one of the album's most frantic moments - although overall the song is not as overtly rock as something like Heaven Knows. I really like the way that song builds up towards the chorus; and when it hits it does so with a real explosion of energy and hooks. Galli's performance throughout the song is excellent, and he manages to showcase a lot of sides to his voice - with the chorus allowing him to rock out somewhat and the verses demanding a smoother, more low-key approach. He helps the song to feel very dynamic as a result, but again the whole band pull together to make the song what it is - with another strong Lukather guitar solo giving parts of the song a real hard rock edge. Just a Man is another groove-based piece, which again sees both Porcaro and Devine getting a great workout throughout with some staccato playing and some great interlocking moments. While the song overall is not all that rocking, with the exception of the chorus, the grooves give the song the impression of being so. I am a big lover of groove in my music, and this is a song that is packed with it - with the verses being really enhanced by it. The chorus is more of an all-out rock moment however, and it is one of the album's most strikingly hard rocking section - with some of Galli's most off-the-leash vocals with some impressive screams that are still crafted into excellent hooks. Lukather's busy, but melodic, guitar solo here shows that he has learnt a thing or two from his Dad over the years. He is a great player in his own right however, and the solo here is probably my favourite from the album. The album leaves one of its most atmospheric cuts for last however, and following two harder rocking pieces it is left to No One Above You to bring things to a close. While not exactly a ballad in the truest sense, the track is packed full of atmosphere - with the synths often dominating the sound while Galli's voice is pushed to the fore to allow his gentle croon to dominate. Despite its ballad-esque sound, No One Above You still grows as it moves through all of its sections - and by the time it comes to a close it has grown into quite an epic-sounding piece. Choral-style backing vocals become a big part of the song, while Lukather's weaving guitar leads help to add occasional depth. It might not be the bang that the album deserves to end on, but the gentle - but still relatively grand - sounding piece sill works well to bring Levara to a close. Despite its short length, Levara is an album that has a lot packed into it. While on the surface it seems like a rather standard pop rock album, there is a lot going on beneath the surface that makes it a really interesting listen - with pretty much every song having at least one hook to die for found within. It is just a shame that the band seem to have imploded just as they were getting started, as this album deserves to be head by a lot of music lovers. I have a feeling that loosing Lukather and Porcaro might be too much for Galli and Devine to overcome, but for now I will continue to enjoy the fruits of their labour - even if this ends up being all we hear from the band.

The album was released on 14th May 2021 via Mascot Records. Below is the band's promotional video for Heaven Knows.

Myles Kennedy's 'The Ides of March' - Album Review

I think that it is fair to say that, over the past decade or so, Myles Kennedy has become one of the best-loved rock singers of recent times. While he got his start as part of The Mayfield Four throughout the late 1990s and early 2000s, it was when he helped to found Alter Bridge with three quarters of Creed in 2004 that he really started to get noticed. Due to their excellent songwriting skills and their accessible, yet hard rocking, sound Alter Bridge rose through the ranks quickly. By the time that their third album AB III was released in 2010, the band were already packing out venues like the Hammersmith Apollo here in the UK - and on the next tour they were filling arenas. Some bands just seem to catch on in a big way, and Alter Bridge are one of those bands - and Kennedy's excellent vocal style is part of the reason for the band's enduring popularity. Despite Alter Bridge's stature however, Kennedy is a well-known musician in his own right - partly down to his constantly growing discography. Another reason, in my opinion anyway, is also because of his general attitude. He has always been very modest about his abilities, and seems to be quite a grounded and low-key person despite his popularity - but this contributes to him being such a likeable artist. With arena rock bands often being full of divas, Kennedy seems to be the exact opposite. He is endearing in that regard, and this is something that translates into his music - whether with Alter Bridge, his work with Slash, or on his solo albums. Perhaps surprisingly, prior to last month Kennedy had only released one solo album. The wish to record a solo album had been something that he had talked about a number of times, but I presume that his busy schedules with both Alter Bridge and Slash made it difficult to dedicate time to the project. In 2018 however, Kennedy's first solo album Year of the Tiger (which I reviewed here) was released - and in some ways it was quite a departure from the norm. While many of Kennedy's songwriting tropes were evident throughout Year of the Tiger, the low-key acoustic approach was very different from the arena/hard rock sounds that his fans were used to. The quieter sounds fit the deeply personal concept that was woven throughout the album however, and it was unsurprisingly a hit among his fans as a result. When time has been dedicated to a solo album once, it can become a habit it seems; and last month Kennedy released his second solo effort The Ides of March. Perhaps the enforced COVID-19 shutdowns helped him to find the time for the album, but either way The Ides of March is another strong solo effort. Despite being much more rock-orientated than Year of the Tiger, the organic sound featured throughout Kennedy's 2018 debut is still present here. There is a raw, bluesy feel to much of the album - with his excellent voice and plenty of slide guitar filling the album's 11 songs.

The difference between Kennedy's two solo albums is apparent from the off, as the album's opening song Get Along is certainly much meatier than anything found on Year of the Tiger. While Kennedy handles all of the guitars and keyboards throughout, as on the last album he is joined by his manager Tim Tournier on bass guitars and Zia Uddin (The Mayfield Four) on drums. The two guests have a lot more of a presence on The Ides of March due to the album's harder rocking tones, and the three make for a capable unit. Get Along has strong Led Zeppelin vibes throughout, and opens with a stop-start riff that makes great use of Uddin's hollow drum sound - while Kennedy lays down some tasteful slide guitar over the top. Led Zeppelin's mix of rock and more acoustic sounds is present too, with the song's verses taking on a more low-key approach more akin to Year of the Tiger - before the chorus sees the song explode into a heavier riff. The chorus is not too different in style from something that could sit nicely on an Alter Bridge album - but it is infused with a more organic sound overall. A chaotic, bluesy guitar solo rounds things off nicely - and the album is off to a powerful start as a result. Despite the album as a whole taking a rockier approach, there is still a fair amount of variety here however. The Ides of March is not just Alter Bridge light, or played through a bluesier filter, and A Thousand Words is a great example of this. The song has shades of country rock throughout, with a strong acoustic guitar presence and an earnest chorus, but there are also spiky riffs and some frenetic drumming to be found. The song builds on the sound forged on Year of the Tiger, so the relative heaviness found throughout sounds natural. The song is also home to lots of excellent guitar work from Kennedy, with a couple of soaring solos showcasing his talents as a guitarist. In Stride sees Kennedy in full on blues mode, but retains the organic heaviness from the previous couple of numbers. There is so much slide guitar to be found throughout the album, but In Stride is possibly the album's real showcase for the instrument. The main slide guitar riff is a fuzzy delight, while Tournier and Uddin lock in perfectly for a heavy groove that keeps the song moving at a tight and energetic pace. The subtle use of Hammond organ throughout the track too, particularly during the choruses, helps to further add depth - as well as doubling down on the song's overall old-school organic hard rock sound.

After opening the album with three hard rocking pieces, the album's lengthy title track sees the approach shift somewhat. Despite its low-key sound, Year of the Tiger was still quite a cinematic album in places. The Ides of March's title track expands on that side of Year of the Tiger somewhat, and goes down more of an atmospheric route than the album's first three songs. Kennedy sings the song largely in a much softer way, although he does let rip a little during the choruses, and the guitars throughout are much more acoustic-based - with layers of electric guitars creating a deep atmosphere rather than playing riffs for the most part. Subtle keyboards and the excellent bass playing of Tournier add further depth, while plenty of space is given over to whimsical and laid back guitar soloing. Despite making more of a hard rock album this time around, it is good to see that Kennedy has not totally abandoned the sound from his 2018 solo debut. There is always a place for more acoustic-based songwriting, and the way that the sound has been expanded upon here makes the song a very interesting listen. Wake Me When It's Over picks up the pace again with a frenetic main riff that is packed full of old-school rock energy - which is only enhanced by Uddin's hollow drum sound. Acoustic guitars once again dominate the verses, despite the fast-paced drumming, but on the whole the track is quite a hard-hitting piece. The chorus once again has shades of Alter Bridge's anthemic style to be found, but without the band's usual epic wall-of-sound approach. There are moments throughout this album that sound like a barroom version of Alter Bridge, which works really well. There is enough in these songs to differentiate them from Kennedy's day job - but there are certainly more similarities this time than there were throughout Year of the Tiger. Love Rain Down is the album's first true ballad, and returns to the lower-key sounds of the album's title track - but with even more focus on acoustic guitars and atmosphere. Tournier and Uddin's presence is much more akin to their subtle contributions to Year of the Tiger this time, and in fact the song sounds like it could have been an outtake from those sessions due to its similar overall arrangement and acoustic-based sound. Subtle slide guitars add some melodic depth however, and on the whole the song is a great change of pace from the album's more hard rocking core. Tell It Like It Is is a great dirty blues piece that is packed with more strong slide guitar playing and infectious grooves. The build-up of the song's intro is very reminiscent of classic blues tracks of the 1930s and 1940s, while the bulk of the main song recalls artists like Johnny Winter with their hard-hitting riff-based take on the classic blues sound. Kennedy has a great voice for this kind of material, with his expressive style perfect for the emotional punch of the blues. The song is a rip-roaring treat as a result, and very catchy.

Moonshot pairs things back a little, and returns to the slightly more cinematic sound of the album's title track. It is perhaps less atmospheric and more blues-orientated however, with more great slide guitar playing adding depth. The chorus again goes for a slightly anthemic approach, with the song's slower pace giving it something of a folky, shanty-esque feel which works well despite how silly that description perhaps sounds. The song is very hooky as a result, as are many of the cuts here, and the campfire blues rock vibe works well in its favour - and helps to set it apart from the rest of the album. Wanderlust Begins continues on the relatively low-key vibe of the previous song, but harks back to the Year of the Tiger sound in a bigger way with some jaunty acoustic guitar lines, simple percussion, and a subtle keyboard backing. Slide guitar is still used occasionally to add depth to the keyboard textures, but on the whole this a very simple guitar and vocal piece. Kennedy's voice really is pushed to the fore here, with his bluesy tones shining as a result. This was the goal of Year of the Tiger, but The Ides of March generally goes for a different approach that also focuses on the songs' hard rock riffing and solos. It is nice, therefore, that Wanderlust Begins allows Kennedy's voice to be the focus again - and the simple song is a moment of calm in what is largely a much groovier album. Sifting Through the Fire picks up the pace again somewhat, and sounds like a bit of a less heavy version of In Stride with its organic rock sound and drum groove. It is not as brash as In Stride, but the overall pace and feel of the song is quite similar - with Kennedy pushing himself a little more vocally and laying down some dirty bluesy guitar leads throughout the song, including a great solo. There are more acoustic-based moments here too, but on the whole the piece is much more rocking - helped by Uddin's punchy drumming. The album comes to a close with Worried Mind, a song that starts out slowly but builds up over time to a powerful crescendo. Slow guitar melodies accompany Kennedy's voice early on, but Tournier and Uddin soon join in to add some depth and rhythm - and as they do the song slowly opens up with more slide guitar melodies. The song's evolution throughout sounds very natural, and I really like how it builds up. There is a lot of space for Kennedy to show off his guitar playing too, with some excellent soloing coming in the song's mid-section. There are few strong solos throughout the album, but this one sees him really letting rip - which fits perfectly as the song transitions into its heavier closing section, complete with a great bluesy rhythmic stomp. Due to the song's structure, and its hard-hitting ending, it acts as a great closing number. In many ways the song includes elements of all of the ground covered on the album - and it ensures that it ends on a high as a result. As much as I enjoyed Year of the Tiger three years ago, I think that I personally prefer The Ides of March thanks to its more hard rocking sound and the great bluesy vibes that are present throughout. It is another great album to add to Kennedy's vast and a diverse discography, and anyone who loves raw, bluesy rock should find plenty to enjoy here.

The album was released on 14th March 2021 via Napalm Records. Below is Kennedy's promotional video for In Stride.