Sons of Liberty's 'Aces & Eights' - Album Review

I often talk on this blog about how the UK has never been a hotbed for various genres of music. This usually relates to European melodic metal (i.e. power, symphonic, and progressive metal), but another genre that the UK has never been a big exporter of is southern rock. Unlike European melodic metal however, which is not significantly popular over here, southern rock has always been loved by UK rock fans. Southern rock is almost exclusively an American export, but the UK has always lapped it up. Lynyrd Skynyrd can still pull big crowds here, and Molly Hatchet regularly tour the UK's club scene. It is also possible that Blackfoot were more popular in the UK than they were in America during the early 1980s - something which goes to show the strong relationship between the UK and southern rock. It could be seen as strange then that not many southern rock bands have been formed in the UK, but I think that the genre is so ubiquitously American that it is hard for non-Americans to truly tap into the southern rock spirit. I see southern rock as America's version of the early 1970s blues and boogie rock boom that was so popular here in the UK - with bands like Lynyrd Skynyrd and The Allman Brothers Band being the American equivalents of UK bands like Free and Status Quo. Blues-based music took on different directions in both countries; meaning that southern rock is just as much a cultural phenomenon as it is a musical one. The UK band that has probably come closest to tapping into the southern rock sound over the years is Foghat. While I would not consider Foghat a southern rock band, there are some similarities in the band's sound to the southern rock genre. I think it is telling too that many people are surprised when they find out that the band from then UK - as they just sound so American. There have been a few other UK-based bands that have attempted to emluate the southern rock sound, and the latest to do so is the Bristol-based five-piece Sons of Liberty. I am not sure when the band were formed, but they released two EPs, ...Shinola and Aged in Oak, in 2018 and their debut album Animism in 2019. They have been making a bit of a name for themselves here in the UK, and their take on southern rock is proving to be popular. I am not sure that the band's southern rock sound is truly that authentic, as is probably true of every southern rock band that is not from America, but there is certainly a lot to enjoy about Sons of Liberty - and their new second album Aces & Eights. I like the band's two EPs a lot, but I never really got into Animism. In truth it was an album that I probably never gave the time it deserved, but for whatever reason it never really grabbed me when I did listen to it. I have been enjoying Aces & Eights a fair bit since its June release however, and for me it is certainly a step up from Animism - with a tough Molly Hatchet-esque grittiness that fuses southern rock with classic British blues.

The album kicks off with the hard-hitting Ruby Starr, a tribute to the late singer who was often a part of Black Oak Arkansas' live entourage. Sons of Liberty certainly know their southern rock trivia, and Ruby Starr is packed full of attitude from the off with its barrelling main riff and strong, blues-based grooves. The band's guitar duo, Fred Hale and Andy 'Moose' Muse, definitely operate at the tougher end of southern rock. There is little of the subtle guitar interplay of bands like Lynyrd Skynyrd, and instead approach the genre with a rawness that is certainly more akin to bands like Blackfoot. There southern-fried grooves are not always quite there, but there is still a lot of groove of a different nature to be found - with the song having a strong blues flavour. The song's wah-drenched guitar solo is more Slash in style than Duane Allman, but it is still captivating, while the gang-vocal led chorus is certainly packed full of attitude - with frontman Rob Cooksley demonstrating his vocal grit. Don't Hide Behind Your Weakness is a bit more firmly southern-fried than the album's opening. Dynamics have always been a big part of southern rock, and the mix of clean guitar melodies and more riffy sections makes Don't Hide Behind Your Weakness feels a bit more authentic. Mark Thomas' walking bassline keeps the verses ticking, while the big guitars of Hale and Moose crash in for the song's chorus which is again packed full of attitude. Sons of Liberty are not a band who trade in soaring melodies, but instead rely on grit and attitude to get their message across - and it works. When all taken together, there is much more authenticity to be found in Don't Hide Behind Your Weakness - and it is a strong cut as a result. Black Blizzard also goes for a more dynamic approach, with lots of acoustic guitars and some subtle Hammond organ courtesy of producer Josiah Manning (Kris Barras Band). There are heavier sections, but on the whole the song is a bit more organic sounding - which provides a nice change of pace. Southern rock bands often feature songs of this nature, but usually they take on a more soulful sound than what is achieved here. As good as Cooksley is at belting out the band's hard rockers, I am not convinced that he has the voice for songs that warrant more of a subtle approach. His gruff voice is sometimes a little jarring throughout Black Blizzard, which is a shame. As if to prove my point however, the hard-hitting Beef Jerky Boogie soon crashes in to really showcase the best of Cooksley. I do not like to talk him down, as I like his voice, but he certainly shines much more when the band are operating at full-tilt - and Beek Jerky Boogie is one of the best cuts here. The pace is blistering, and there are Molly Hatchet vibes aplenty. While some of the songs here flirt with southern rock and end up not quite sounding authentic, Beef Jerky Boogie really does. The grooves are there in spades, and the guitar riffing really captures the sound of the south - all while Cooksley wails atop everything. A stand-out moment for me however is the build-up to the song's guitar solo; which features some excellent twin guitar riffing that captures the spirit of the genre perfectly.

Damaged Reputation is similar. While the song is not as fast, the overall vibe is similar - and it is sledgehammer heavy with some powerful riffing and a strong Thomas bass presence. It is similar in style to Ruby Starr, but it just sounds a lot more authentic. Southern rock needs to have a certain spark which is not easy to describe - but it is usually obvious when a song is missing it. For all the reasons that Ruby Starr did not quite hit the southern rock mark, despite being a decent song, Damaged Reputation corrects all the faults - and is packed with stomping grooves that are sure to get anyone moving. Texas Hill Country returns to the more dynamic approach of songs like Don't Hide Behind Your Weakness - with clean guitar-led sections sitting side-by-side with tougher riffing and the occasional screaming lead. I am not sure what a band from Bristol knows about Texas, especially enough for any song that they write about it to be authentic, but the overall sound is strong. Cooksley manages to sound soulful enough to make the slower moments work well, while the song's chorus is pretty memorable with some big backing vocals and a hypnotic guitar melody. On the other hand Fire & Gasoline sounds much less like a southern rock song, and much more like a modern AC/DC track. There is a bit more of a dynamic approach taken than is found during the average AC/DC song, but the guitar tone, some of the riffs, and Cooksley's chorus vocal certainly recalls the Australian legends. Even Steve Byrne's drumming is very reminiscent of Phil Rudd's style here, with the plodding rhythms and the simple bass line from Thomas grounding the song in that AC/DC vein. A bluesy solo caps everything off perfectly, and the song is one of my favourite cuts here - which is strange as it is a bit different to Sons of Liberty's usual fare. Cooksley in particular shines, with his high-pitched chorus screams being packed full of attitude. Doc's Remedy returns to the band's core sound following the short AC/DC-esque excursion, but it is not a track that particularly stands out for me. Some of the riffing is strong, but the grooves just do not really hit home. A big part of what makes southern rock so good are the grooves, and if they are not strong then the song is not going to shine. There is some great slide guitar playing during parts of the song however; it is just a shame that the boogie cannot really back it up. With a bit more rhythm and bounce the song would have probably felt stronger, but for me the grooves do not pack the required punch here.

I Come in Peace has aspirations to be a big southern rock ballad, and it largely works. Despite my reservations about Cooksley's ability to sound soulful enough for these sorts of songs he does an admirable job, and the overall atmosphere is pretty strong. The subtle keyboards throughout add just the right amount of depth, while the guitar melodies are interesting - with a few little leads that add the flair that southern rock is known for. For me, the best part of the song is its chorus. While Cooksley is perhaps not soulful enough for the verses, he really owns the choruses - where he cranks up the power a little and really goes for it. The emotion he pours into the chorus makes up for his lack of a soulful delivery - and this emotion is also channelled during the song's excellent guitar solo. Dead Man's Hand ups the heaviness again, and returns to the sound that was forged on songs like Damaged Reputation, but with even more of a focus placed on groove. The guitar interplay between Hale and Moose is some of the most true southern rock-sounding interplay on the whole album, and Thomas' bassline plays off their work perfectly to create the grooves that the genre is known for. Southern rock is much more complex musically than most give it credit for I think, and Dead Man's Hand does a good job at capturing that. It also helps that the song's chorus is another earworm, with gang vocals and plenty of attitude from Cooksley helping to bring the song to life. Lights Are On features a lot of prominent slide guitar, something which in my opinion the album could have done with some more of. It is a key component of southern rock, and Lights Are On is the first song here that goes all out and bases a whole song around a slide guitar riff. This is something that I would like to see the band explore further in the future, as it really helps to up the overall authenticity of Sons of Liberty's sound. Slide always sounds great in a southern rock context, and when paired with a strong chorus and a gritty vocal the results are usually excellent. The album comes to a close with the down-and-dirty blues of Whiskey is My Vaccine, a song which has a strong ZZ Top vibe. Cooksley even sounds a little like Billy Gibbons throughout, while Thomas nails the walking bass playing style of the late Dusty Hill. Some call ZZ Top a southern rock band, although I have never seen them as a such personally. Regardless of ZZ Top's genre, they are a great band - and Sons of Liberty can do a pretty good impression of the Texas three-piece when they want to. Whiskey is My Vaccine is memorable as a result as it sounds quite different to the rest of the album - and it brings the album to a close with a real slab of good, old-fashioned blues rock. Looking back across the whole album, it is clear that Sons of Liberty have done well with their second full-length release. While I sometimes feel that the band's take on southern rock is not that authentic, there are enough moments where they get things right that it makes Aces & Eights a worthwhile listen. There is a lot to enjoy throughout the album, and any fan of southern and blues rock should certainly check it out.

The self-released album was released on 18th June 2021. Below is the band's promotional video for Damaged Reputation.

Styx's 'Crash of the Crown' - Album Review

One of the genuine musical surprises of the past few years was Styx's triumphant return to the recording studio that resulted in 2017's absolutely fantastic The Mission (which I reviewed here). It was the band's first album in fourteen years, following on from 2003's seemingly-forgotten Cyclorama, and it was easily the band's best album for a very long time. It ended up in my Album of the Year list in 2017, and it was fully deserving of its place there. I have listened to it countless times over the last few years, and my opinion of it has only grown since. The Mission succeeded as it contained a bit of everything that has made Styx great over the years. At its core, it is a great melodic rock album. The vocal melodies and harmonies from guitarist Tommy Shaw and keyboardist Lawrence Gowan really showcased the band's poppy side; while the somewhat more complex arrangements of some of the songs allowed the band's more progressive side to shine through. Styx's sound has always been a mix of a number of different musical styles, and The Mission managed to recapture many of them. It is not an exaggeration for me to say that The Mission really is up there with the band's best works of the 1970s and 1980s. While I imagine that most Styx fans do not hold the album in quite such high regard - the reception of The Mission generally was, and continues to be, excellent. I imagine that Styx were one of those older bands who saw little value in releasing new music. Cyclorama made little impact, but it seems that the reception of The Mission has shifted Styx's priorities. It also helps that the band really pushed the record themselves too. A generous handful of the album's songs have been played live by the band since its release, and select shows even featured the album being played live in its entirety. Styx backed The Mission in a way that they probably did not back Cyclorama, and the hard work paid off. So much so that, four years on, the band decided to follow up The Mission with their seventeenth studio album. Released last month, Crash of the Crown sees Styx pushing themselves further. While not a concept album in the vein of The Mission, Crash of the Crown is very much an album that explores the band's progressive side in a more significant way than usual. While this does sometimes lead to the band's trademark melodies and harmonies being pushed into the background somewhat, it does allow for their musicianship and arranging skills to come to the fore. There is a great old-school 1970s vibe to the album's overall sound, aided greatly once again by the production of multi-instrumentalist Will Evankovich (who seems to have joined the band as an additional permanent member recently) - which really helps the band's progressive side to shine.

If I was to level a criticism at Crash of the Crown however, it would be that some of the songs here do not seem fully formed. It is a fifteen-track album, but it clocks in at just under three-quarters of an hour. This leads to some of the songs being rather short, and some others not really capitalising on the themes/melodies included. While this was also somewhat the case with The Mission, many of that album's songs segued into each other to help form longer, more conceptual pieces which worked in the context of the album's story. Crash of the Crown does not really work in the same way however, which leaves a few of the songs feeling somewhat under-baked. The opening number, The Fight of Our Lives, suffers from this - which is a shame as the song is a real bombastic track that recalls the sound forged on 1977's The Grand Illusion, but it is over in less than two minutes. While it does act as something of an intro to the next song, I would have loved the hooks of The Fight of Our Lives to be fleshed out. It does not feel like an intro piece; with its busy keyboard word, hard driving James Young guitar riffs, and anthemic vocal harmonies; but sadly that is what it is relegated to essentially being. Queen-esque guitar harmonies and Uriah Heep-esque vocal layers really build as the song progresses - but it is over almost as soon as it starts, and segues with spacy synths into A Monster. A Monster is very typical sound-wise of what was heard on The Mission, but with more of a focus on the band's progressive side. While Shaw will always by Styx's driving force in the 21st Century, the stand-out player throughout the album might well be Gowan. His keyboard playing is much busier here than usual - with rumbling Hammonds and old-school synth leads filling A Monster, while Shaw's strong vocals and layers of acoustic guitar also recall that The Grand Illusion sound somewhat. A Monster is easily one of the best songs here too, and it is instantly memorable with its huge vocal harmonies, Young's vocal cameos, and a frenetic drum break from Todd Sucherman. Reveries sees Gowan taking the lead vocally, with warm synth leads again sitting on a background of acoustic guitars - with Young's heavier riffs occasionally crashing in. I love the organic sound that the band have gone for here, and everything sounds like it could have been recorded in the 1970s. I can just picture Gowan's original Hammond sitting in the studio as he lays into it, while the ripping guitar solo that comes after the song's first chorus has such a retro feel to it. Again however, the piece is quite short - which is a shame - but it does segue nicely into Hold Back the Darkness with its gentle piano melodies and Pink Floyd-esque atmosphere. Gowan and Shaw share the vocals here, with the two trading-off during the verses and then coming together for the chorus which rocks harder than the spacy vibes of much of the rest of the song. The song is another old-school sounding piece, and even the guitar solo has a bit of a David Gilmour-esque feel.

Featuring extracts from Sir Winston Churchill's famous We Shall Fight Them on the Beaches speech, Save Us From Ourselves ups the album's hard rock quota somewhat and goes for a moodier overall approach. Shaw takes the lead vocally, while a cutting guitar motif provides a repeating hook. Gowan's organ and Young's tough guitar riffing help to really bulk out the song, and the screaming guitar solo, which is presumably also from Young, is packed full of attitude. Again however, the song does finish quite quickly. I would have loved the song to have been fleshed out a bit more, as there are some ideas contained within that could have been built on a bit more in my opinion. Following the solo, the song segues into the album's title track - which features Young, Gowan, and Shaw all sharing lead vocals. One thing that I have noted about Crash of the Crown in general is how little of a presence Young seems to have throughout. While I am sure that the heavier riffing and some of the more screaming guitar solos are his, his vocals are featured very infrequently here and he has not been credited with writing or co-writing any of the songs here. This is the first time since 1973's Styx II that he has not written anything for an album, which is a shame has he has always contributed some great hard rockers to the band's canon. Unfortunately too, his voice is not what it was - so his lead vocal contribution to Crash of the Crown sounds a little strange. Perhaps he should stick to the screaming solos these days, but it is a shame that there are no big Young hard rockers here. Our Wonderful Lives follows the strange title track, and it takes on a more acoustic-based sound with Shaw's vocals leading the way over a bed of acoustic guitar layers and mandolin melodies. It is one of only two songs here to feature the bass playing of the band's original bassist Chuck Panozzo, but his presence is mostly relegated to the background - with Shaw's acoustic guitars dominating. A trumpet solo from session player Steve Patrick provides a fun melodic hook however; and as a result the song is a little different from the norm. Common Ground returns to the album's core old-school organic sound, and sounds somewhat similar to A Monster with plenty of soaring synth loads and a focus on big vocal harmonies - at least during the choruses. Shaw again takes the lead, but Gowan's harmonies and the occasional echo add depth. This is a song that, for me anyway, shines instrumentally however. The song's instrumental break in the middle is excellent, with Gowan's keyboards dominating - before Sucherman takes over for another busy drum break. Sound the Alarm takes a much gentler course, with Shaw singing over a backing of gentle acoustic guitars and warm keyboards. Shaw has always excelled as writing these more acoustic-based pieces, but they are often far from being simple ballads. It is a song that gradually builds up as it moves along, with Gowan's keyboards becoming deeper and more complex as things progress - and Sucherman's groove-based drumming helps to give the piece an edge. It is another quite short song, but the growth still manages to sound natural. As mentioned earlier, some of the songs feel a little under-baked here - but Sound the Alarm manages to make its short runtime work. The growth feels natural, and some of the busy keyboard work again allows Gowan a chance to shine despite the song's more gentle vibe.

Long Live the King is a bit of a strange sounding song, as it has a strong atmosphere throughout and Shaw sings with some effects on his voice. Ricky Phillips' bass is quite high in the mix, and his busy playing often dominates the song - which is impressive given some of the Queen-esque guitar leads and some of Sucherman's drum fills. The song sounds very different for Styx, but it works well - and it is one of the few songs here where its short length actually helps it. Lost at Sea, which follows, is very short however and essentially feels like a piano-led interlude that happens to have a few lines of vocals from Gowan. It soon transitions into Coming Out the Other Side, a moody piece that is also sung by Gowan - which features plenty of big Styx harmonies despite the more ponderous pacing. It is the first Styx track to be co-written by Phillips, which is nice to finally see as he has co-written a lot of good songs over the years as part of both The Babys and Bad English. I would like to see him contribute to Styx more going forward, and Coming Out the Other Side is a good first effort for him here. The song is nice and progressive-sounding too, with a slide guitar solo, a dense Gowan-led atmosphere, and some more off-kilter drumming - that somehow all comes together neatly. To Those ups the pace and overall vibe, and once again looks back to The Grand Illusion with its theatrical bombast and dramatic Gowan vocal. Layers of keyboards bulk out the piece, while acoustic guitars once again fill out the song - while Young roars above with his tough guitar rhythms. The song is classic Styx in just about every way; and a great synth-led instrumental section, as well as a lengthy guitars solo, should please all who love Styx at their most instrumentally daring. Following the brief instrumental piece Another Farewell, the album comes to a close with the short but excellent Stream - a song which revisits the Pink Floyd vibes from earlier. The effects-heavy guitar stabs are pure Pink Floyd, as are the slide guitar swells and eventual solo, but the vocal arrangement and harmonies are classic Styx. The mix of sounds works really well, and it is another song that I would have liked to have been fleshed out more - but in truth it works well as an album closer due to its laid back vibe and the excellent closing slide solo. It is quite a reflective piece too, which helps the listener to focus on the diverse songs that preceded it. While Crash of the Crown might not be an album that is as immediate or impressive as The Mission, there is still a lot to love here and it is an album that grows on me the more that I hear it. I really like how ambitious the sound of the album is; but I wish that the band had allowed themselves more space to stretch out some of the songs. Despite this however, Crash of the Crown is an album that I have no doubt that I will only appreciate more going forward - and it is another great addition to the Styx canon.

The album was released on 18th June 2021 via Universal Music Enterprises. Below is the band's promotional lyric video for Reveries.

Helloween's 'Helloween' - Album Review

Many discussions centring around the birth of power metal, at least the soaring European variant rather than the more catch-all American meaning of the term, will inevitably conclude that the genre as we know it today started with Helloween. There are certainly some other bands that can lay claim to being one of the first true power metal acts; but the general consensus is that when Helloween released Keeper of the Seven Keys, Part I in 1987 (as well as its follow-up in 1988) that the genre was born. Before Keeper of the Seven Keys, Helloween had been a fairly typical (for the time) speed metal act. The band's self titled EP and their debut album Walls of Jericho, both released in 1985, are great examples of speed metal of period - but I think that it is fair to say that neither releases particularly set the world on fire at the time. Things changed however when the band's lead singer and guitarist Kai Hansen decided that he wanted to step away from the microphone to focus on his guitar playing and songwriting. In stepped Michael Kiske, aged only 18 at the time, and modern power metal was born around his smooth, high-pitched vocal delivery - as well as the more melodically-focused songwriting of Hansen and fellow guitarist Michael Weikath. This line-up would only put out two albums before Hansen left the band, but the two Keeper of the Seven Keys albums are seen as landmark releases in the metal world. Helloween would then go on to release a couple of less well-received albums before Kiske would too depart in 1993. His replacement Andi Deris, who has arguably become the band's leader and driving creative force since his arrival, could never quite reach the literal vocal highs of Kiske; but his dramatic, gritty voice and diverse songwriting style has helped the band to remain a vital and important band in the metal genre. There are many fans, me included, who consider many of the band's Deris-era albums to be just as good as those classic 1980s albums - 1994's Master of the Rings, 2000's The Dark Ride, and 2010's 7 Sinners are the three that immediately spring to mind - but I think that few would claim that the band's more recent work has been anywhere near as influential as the two Keeper of the Seven Keys albums. As powerful as Helloween have remained, the Keeper of the Seven Keys spectre has always haunted the band somewhat, and some have often called for a reunion of the band's first classic line-up. I do not think that anyone truly expected it to happen, but in 2016 it did! Both Hansen and Kiske returned to the band, bolstering Helloween's ranks to that of a seven-piece, for a lengthy career-encompassing tour entitled Pumpkins United. If there was ever an example of how to do a reunion properly, and set all egos aside in the process, then Pumpkins United was it. Deris and Kiske both embraced the dual-frontman concept - and having three guitarists on stage certainly bolstered the band's powerful sound even further. Rumours soon started circulating regarding a new album involving the expanded line-up, and it was not long before the band confirmed that they were working on new material. This self-titled sixteenth studio album was eventually released last month, following some inevitable COVID-imposed delays - but could the band's first album since 2015's somewhat lacklustre My God-Given Right (which I reviewed here), a relatively rarity for Helloween, live up to the thrill of their recent tours?

Given the overwhelmingly positive reception that Helloween has received since its release last month, I would say that it has indeed delivered on its promise. While those hoping for a true return to the Keeper of the Seven Keys-era sound may be disappointed, as this is very much a modern-sounding Helloween album for the most part, there is still plenty of magic from the band's early days fused with the grittier style that the band have adopted of late. As with the tour, some songs here are Kiske-dominated while others feature Deris more prominently. Some are sung as true duets too, with Hansen even getting a look in vocally at times, and the general vocal mix throughout the album is good - with both Kiske and Deris getting plenty of opportunities to showcase their distinct voices. Perhaps fittingly, given that this is his first Helloween album since 1993's Chameleon, Kiske dominates the opening number. The Weikath-penned Out for the Glory is certainly a track that, deliberately, harks back to the band's 1980s sound; and it is probably the most Keeper of the Seven Keys-esque song here. The cinematic scope of the band's recent sound remains however, with session ace Matthias Ulmer's keyboards helping to provide a dense atmosphere throughout, but the classic Helloween sound also manages to force its way into the spotlight. The opening twin lead guitar harmonies really turn the clock back, with a fittingly thin sound chosen, while the song's overall pace injects plenty of energy into the album's opening moments. Drummer Daniel Löble gets a real workout throughout the song, while Kiske shows that his voice is still as impressive now as it was back in the 1980s - largely unblemished due to his relative lack of touring. Hansen's aggressive vocals add some spice to a heavy post-chorus section; but on the whole the song is a smooth, old-school power metal romp. Kiske soars, and the lengthy guitar solo section is filled with hooks and shredded melodies. Sadly the solos are not credited in the album's booklet, but it would not surprise me if Hansen, Weikath, and long-time guitarist Sascha Gerstner all contribute to it. An over-the-top voiceover from journalist and film editor Xavier Russell injects some of the band's trademark humour into the piece - and the song overall comes together perfectly to open the album in style. Fear of the Fallen follows, and the song is quite a bit heavier - but the overall fast-paced power metal sound is retained. Deris, who did not make much of an impact on the opening number, dominates here, and his gritty voice is perfect for the driving, heavy track. Keyboards double the main guitar riff for a sci-fi vibe, but this is a song that is largely dominated by crunch. It is very much a song in the modern Helloween vibe, which is fitting as it was written by Deris. Deris' songs here, of which there are a few, help to enure that the album is in-keeping with the band's recent work. I am glad that Helloween was not a pure throwback, as there is a lot to love about where the band have moved to since Kiske's original departure. Fear of the Fallen is very typical of that movement, and the chorus is another winner that sees Kiske harmonising well with Deris to really bulk out sound - and it is likely to become a live favourite on the band's upcoming tour due to its energy and hooks.

Best Time, which is a relatively short song and one of only three here that clock in under four minutes in length, is a bit of a quirkier number that features all three singers trading vocal lines throughout. The pace is much less frantic than that of the opening two songs, with a strong mid-paced groove favoured this time. Markus Großkopf's bass features heavily throughout the verses, as it propels everything along nicely while the guitars take something of a backseat, while the catchy chorus features some of the highest-pitched vocals on the album. Kiske and Deris join forces for some excellent screamed notes, while Hansen adds some rhythmic backing vocals - which works well and helps to hammer home the song's quirky nature. Mass Pollution, another Deris-penned song, is another that sounds like a classic modern Helloween track. The riffing throughout is crunchy, while Deris' voice is always pushed to the fore. His gritty voice is perfect for these heavy tracks, and there is little need for Kiske's soaring style here. It is a track that could have easily sat on any number of the band's more recent albums, and as mentioned earlier it is great that this style has not been abandoned on this reunion effort. The modern Helloween crunch is a big part of what has helped the band to remain popular, and songs like Mass Pollution have helped to keep Helloween relevant with their mix of heaviness and snappy hooks. Angels, the sole solo songwriting contribution from Gerstner (although he did also co-write Best Time with Deris), treads a bit of a different path - but still sounds instantly like Helloween. Gerstner has become an important songwriting contributor to the band since joining in 2002, and the somewhat more pop-infused Angels is another strong addition to the band's canon. Like Best Time there is a bit of a quirky vibe found here. The song moves back and forth between typical pop metal hooks and some more keyboard-heavy sections that have something of a theatrical feel - all while Deris and Kiske constantly trade vocal lines. The chorus is another hooky moment, but this is a song where the whole is more than the sum of its parts - with a clever arrangement to make it tick. Rise Without Chains returns to the band's modern sound, with fast-paced crunching riffs and plenty of double bass drumming from Löble. Deris wrote the song, but this time there is a much greater vocal presence from Kiske - with the song sung more as a duet. It is interesting to hear Kiske have more of a presence in a song like this, and in some ways it feels like a look at would could have been had Kiske not left the band originally. Deris' voice fits his own songwriting style the best of course, but Kiske's smooth delivery helps to add a different edge - and the chemistry that the two singers struck up on the tour is apparent here as they bounce off each other perfectly.

Indestructible, the only song here written by Großkopf, is a bit less in-your-face in a pace sense - and instead goes for a more groove-based approach that really allows the hooks to shine. Großkopf has become a great 'extra' songwriter for the band over the past couple of decades, with his occasional contributions to each album often becoming highlights. While there are songs here that I prefer, Indestructible is another memorable song. Großkopf's songwriting style has always had an emphasis on hooks, and that is no different here. The chorus is simple and very catchy; and it allows Kiske to really show off with some great high notes - while Hansen adds his gravelly voice for effect. There is less going on here than throughout some of the other songs, but as a slab of pop metal in the vein of bands like Edguy the song is a success. It is one of the songs that stood out the most to me during my first listen to the album for this reason; and it is another that could become a live favourite due to its simplicity and focus on hooks. Another that song that stood out for me from the off, but for different reasons, is the juggernaut Robot King - a heavy Weikath-penned track that has become one of my favourite numbers on the album. There are similarities to Out for the Glory, with some smooth Kiske-led sections, but the song overall is much heavier and Deris dominates vocally throughout. As a result, the song is a great mix of Helloween's old and new sounds - with Weikath managing to bring the best out of both Kiske and Deris. This fusion of sounds is what makes the song so enjoyable - but this is also helped by the presence of an over-the-top chorus that just sticks in the brain and never leaves. Deris' throat-shredding vocals during the chorus help it to stick; and he shows that he is more than capable of hitting some high notes of his own - which is something that he has not done so much of in recent years. There is a relentlessness about the track too, and there is little pause for breath during its seven-plus minute runtime. There are instrumental sections that slow the pace and inject some neo-classical melodies into the song, but on the whole the track is a furious heavy power metal track that brings the best out of everyone involved. It is perhaps fitting that Cyanide, the shortest 'proper' song on the album, follows as its simplicity allows it to hit hard after the relentless Robot King. It is the final Deris-penned song here, and it is another that is very typical of his style. It, again, could have fitted on any of the band's more recent albums; and there is a nice familiarity to it with its crunchy riffs and catchy chorus that features Deris' distinct voice. It may feel a little tame after the excellent Robot King, but the song is one that over repeated listens sticks in the brain due to its hooks. Sometimes Helloween just needs to be simple and catchy, and that is exactly what Cyanide is.

Down in the Dumps, Weikath's final songwriting contribution, is less simple - but like Out for the Glory it seems to hark back to the band's 1980s sound in a much more overt way than most of the album does. Like Robot King too, there is a good chunk of the band's modern heaviness - which also makes the song another great Helloween retrospective. The song is not quite as catchy as Weikath's other two songs here, but there is still a lot to like about it. Kiske and Deris once again combine nicely for some excellent harmonies, but it is their ability to trade-off vocal lines effortlessly that really brings the song to life. The guitar solo section is great too, with some old-school sounding thin sounds turning back the clock to the 1980s. In truth the solos throughout the album are excellent, but there is something about the solo section here that really stands out for me. It is also great that Weikath has emerged as possibly the strongest songwriter of the album with this three efforts. He has written some of the band's best-known songs, but I think it is fair to say that his contributions in recent years have not often been the band's most memorable songs. He has excelled himself here though, and Down in the Dumps caps off a strong trilogy nicely. Speaking of songwriting, I have a feeling that some will be disappointed that Hansen did not contribute more to this album from a songwriting perspective; and that Kiske did not contribute at all. I am not surprised regarding the latter, as Kiske has never been a prolific songwriter, but I did expect to see some more credits for Hansen - especially as it has been seven years since the last Gamma Ray album. That being said, Hansen has contributed the album's most epic-sounding song - the epic closing number Skyfall. It follows the short Hansen-penned instrumental piece Orbit, which essentially is just an intro to Skyfall, and it is a song that recalls the band's more progressive epics of the past. There are moments here that recall the band's 1980s sound, but there are also more modern sounding Helloween moments which shows that Hansen has tapped into the band's output following his departure. Given the song's length, it is also the most progressive piece here - and there are some prominent keyboard moments courtesy of Jens Johansson (Yngwie Malmsteen's Rising Force; Dio; Stratovarius; Rainbow). It also features the most prominent vocal performance from Hansen, who takes the lead during some low key spacy sections. As such, Skyfall is one of the few songs here where all three of the band's singers are prominently featured in a lead vocal capacity - which helps to make it stand out. That being said however, the song does not need this diversity to stand out - as its progressive nature and plentiful hooks would have been more than enough to make it work. It is also one of those songs that is continually building, as it moves through a number of sections both light and heavy, and the ending section is easily the most epic part of the song - and probably the whole album. Kiske and Deris' voices intertwine perfectly during the cinematic closing section. It is a great way to close out what is a lengthy and powerful album - and it is one of the most epic Helloween songs for a number of years. Speaking of the album as a whole, Helloween can only really be seen as a triumph. While I am sure that some would have wanted it to sound more old-school than it does, I like how the band have managed to incorporate bits of all of their history and styles into one cohesive album. Every song here has something to like about it, and the melodies throughout are so catchy. This is an album that I can see making a lot of Albums of the Year lists come December, and I would not also be surprised if it ends up in mine. Helloween are a band that continue to impress, and this latest album of theirs is one of the most vital metal releases of the year so far.

The album was released on 18th June 2021 via Nuclear Blast Records. Below is the band's promotional video for Skyfall.

NeonFly's 'The Future, Tonight' - Album Review

As I have said a number of times on this blog, which may actually render it untrue, the UK has never been a particular hotbed of progressive, power, and symphonic metal. While bands like Nightwish and Sabaton can fill arenas here, the vast majority of European melodic metal bands struggle to attract enough of a following to put on more than one small UK show as a part of a wider European tour. This is a shame, but sadly the genres quoted have just never been the most popular over here. This has translated into a relatively low number of homegrown acts of a similar nature, but there are a handful of strong exports. I joked about my usual line regarding the popularity of melodic metal here in the UK potentially not being correct and, while I stand by my opinion, there are enough UK-based melodic metal bands to keep us fans ticking over. The UK will never lead the scene, but the recent releases from the UK contingent have been, on the whole, very strong. This pile was added to last month with the release of The Future, Tonight, the third album by the London-based power metal band NeonFly. I first got into NeonFly back in 2012, when they toured with the now-defunct The Morning After, who at the time were one of my favourite young UK-based bands, and I purchased a copy of their 2011 debut album Outshine the Sun in the lead up to the gig. The album, and indeed the band, impressed and I have been a fan ever since. I have seen the band a couple more times live since 2012, both times as a support act, but sadly over the last few years they have been quite quiet. The last major flurry of activity came in 2014, when the band released their excellent second album Strangers in Paradise (which I reviewed here) - with only sporadic live appearances following. I liked Strangers in Paradise so much that I included it in my Albums of the Year list for 2014, and it is an album that I have listened to a lot since its release. I was really looking forward to seeing where the band would go next, but it took NeonFly seven years to follow it up and release their third album. The wait seemed to go on forever, especially as I pre-ordered the album back in 2019, but I am well aware of the work/music balance that members of smaller, part-time bands have to juggle. I am pleased to say, however, that The Future, Tonight is an album that was worth the seven year wait. Everything that I loved about Strangers in Paradise is back here, but taken in a slightly heavier, and possibly more mature, direction. The huge hooks and AOR sensibilities are still here, but The Future, Tonight sounds like a band that is pushing themselves - which is always great to hear. Three of the five guys that played on Strangers in Paradise return here, with frontman Willy Norton, guitarist Frederick Thunder, and bassist Paul Miller joined by new drummer Declan Brown. NeonFly are currently a four-piece, with Thunder handling nearly all of the album's guitar parts - although Andy Midgley (Liquid Sky; Power Quest; I AM I), who has toured with the band previously, contributes a couple of guitar solos.

One of things that I like a lot about NeonFly is their ability to write quite complex songs that are wrapped up in plenty of hooks. There are so many memorable choruses and lush keyboard textures throughout the album, courtesy of a combination of Günter Werno (Vanden Plas; Place Vendome) and session ace Michael 'Miro' Rodenberg, and that The Future, Tonight a very easy listen. Scratch beneath the surface however and there is a complexity to be found that will ensure repeated listens are rewarded. The album opens with This World is Burning, a song that was released online quite a long time ago - and it is a track that sees the band continuing on the sound forged throughout Strangers in Paradise. The song is a great mid-paced rocker, and as the gentle acoustic intro gives way to a strident guitar lead the core NeonFly sound is instantly on display. There are hints of some of the heaviness to come however. The song is perhaps less carefree sounding than is typical for the band, with Thunder's rhythms having a bit more crunch than usual and Miller's bass being very present in the mix. While NeonFly has always been Thunder's band, Norton is, in my opinion, their secret weapon. His voice is instantly likeable, and he is able to effortlessly hit a high note when required - but in a much cleaner way than many of metal's falsetto singers. This technique is on display during the song's soaring, AOR-esque chorus - with some of the melodies then being built upon by Midgley during his technical guitar solo. Last of Our Kind is a bit heavier, and opens with angular, effects-heavy riff that sounds a bit different for the band. Norton's effortless vocal melodies help to ground the band's sound, but there is certainly more bite here than has been present in the band's music previously. Brown's work behind the drum kit is also put to the test here, with the verses in particularly bringing a pretty busy performance out of him. The chorus is classic NeonFly, with a soaring chorus and plenty of Rodenberg's signature strings, but the rest of the song is much more overtly metal than is usual - with Rodenberg even adding a few progressive metal-esque synth leads during some of them. The band have clearly wanted to beef their sound up on this album, and Last of Our Kind is a great example of this newfound weight. Flesh & Blood is a little more laid back than the album's opening two numbers - and it has the feel of an epic, stadium-ready ballad with its soaring orchestral arrangements and emotional chorus. There is still some crunch to be found, but overall Thunder's guitars are less omni-present, instead provide choppy rhythms while Miller's bass fills in the gaps with some snaking leads. As with most of the songs here, the melodies are very memorable - and the song's chorus is another that will stick in the brain. Norton's vocal melodies are infectious as well as epic, while Thunder's wah-drenched solo evokes Slash's style nicely - which is fitting given the song's stadium ambitions.

The album's title track is up next, and it is one of my favourite cuts here - and it has already become one of my favourite NeonFly songs. It is also a great showcase of the band's heavier aspirations, as it features harsh vocals by Björn 'Speed' Strid (Soilwork; Terror 2000; Coldseed; The Night Flight Orchestra) who really adds a lot to the song. The band have experimented with pseudo-harsh vocals previously - but there are a handful of songs here that push them to the fore, and it helps to add a new dimension to the band's sound. The song is also extremely dynamic, and it builds perfectly towards Strid's fantastic pre-chorus - before it explodes into easily the album's best chorus. The hooks are to die for, but the rest of the song is just as strong. Parts of the verses are quite moody, with clean guitar arpeggios and muted drumming - but this just allows the song to feel even more powerful when Strid launches into one of his furious harsh vocal-led sections. It is a triumph overall, and one of the best songs of its kind released so far this year. Beating Hearts opens as another more low key track, which is probably wise after the bombast of the title track. This vibe does not last however, but the opening moments with its dense keyboards and acoustic guitars is certainly a contrast to the hard-hitting previous song. It soon grows in stature however, and it morphs into an anthemic mid-paced rocker with strident classic rock-inspired riffing, a gang-vocal led chorus, and some excellent Rodenberg keyboard work. NeonFly have done more classic rock-inspired pieces before, but there is certainly a bigger blues-based rock vibe here than previously - especially during Thunder's guitar-led breakdown section. More Than a Lifetime again opens slowly, with some chiming Werno piano and floating Norton vocals. Unlike the other songs that have started slowly however, this one largely stays that way. The song seems poised to explode in a big way, but Thunder opts instead for an acoustic guitar rhythm that works wonderfully to turn the song on its head. I like the way that the band have played with expectations here, and have created another pseudo-ballad that sounds a little different for them. There are classic NeonFly moments, such as later renditions of the chorus which are certainly bigger-sounding than the early iteration and Midgely's shredding guitar solo, but there are also moments that see the band doing something different - which is welcome. Another Eden is a heavier track, and is the first of two to feature harsh vocals courtesy of Kaan Tasan (Heart of a Coward) who, like Strid before him, really adds a lot to the song. With three songs here featuring harsh vocals, I have a feeling that this is a sound that the band want to play with more going forward. I like how they managed to toughen up their sound without compromising their core tropes either, as Another Eden is still a ridiculously catchy song with fluid keyboard leads and another soaring chorus. Norton's ability to craft a vocal hook is unrivalled in the UK melodic metal scene, and his chorus here is another winner - his diction perfect despite the fast-paced melodies. Tasan is used sparingly here, but his breakdown section ups the song's overall heaviness - and it makes it another memorable track on the album.

Steal the World, which also features Tasan, ups the pace and heaviness - and the result is possibly the most furious NeonFly song yet. The song's opening is fast, with some excellent Brown drumming, and sees Norton and Tasan singing together to create a big, powerful sound. Even when the heaviness drops out, the song's quieter moments still have an urgency to them - and the song overall just steams along at a great pace as a result. Tasan is utilised liberally here. He plays off Norton throughout, and bulks out the choruses nicely as a result, but also takes the lead on a furious metalcore-inspired section that sounds more like something he would sing as part of his day job with Heart of a Coward. This section may be a bit hard for some melodic metal fans to stomach, but I think that it works really well. It shows off a different side of Thunder's songwriting - and his riffing is on point when it comes to the classic metalcore tropes. It makes the song stand out, and it is another winner. Final Warning is another faster song, but the overt heaviness of the previous couple of songs has been largely stripped away - and instead the song sounds like a cut left over from the Strangers in Paradise sessions. The track is very much a classic melodic power metal track at its core, with some razor-sharp riffing and flashy keyboard textures - but there is a strange breakdown that does hark back to the previous couple of songs that sees Norton attempting more of a 'tough guy' vocal approach. As much as I like Norton, I do not think that he is a singer that can really pull off that style, and the breakdown section sounds a bit clunky and out of place as a result. The rest of the song is great however, and the soaring chorus is another winner - with Norton showcasing what he is best at. The tougher breakdown should probably have been left to Strid or Tasan - but it is the only genuine weak moment of the album for me. The album comes to a close with The Things We Left Behind (and the Things That Slipped Away), another more relatively laid back. NeonFly closed Strangers in Paradise with something of a ballad too, so it seems to be becoming their tradition to do so. There are moments that toughen things up, with some of the choruses being boosted by Thunder's heavy guitar rhythms, but on the whole the song is acoustic-based with plenty of strings and Norton's emotional vocal performance. Even the heavier moments feel more calm in comparison to much of the album, but that seems fitting and I really like the way the album ends on a bit of a more whimsical note. The album overall however is not very laid back, and its overall heaviness is what makes it such a good listen. I like the progression found here in comparison to Strangers in Paradise, with the songs here sounding like NeonFly taking things to the next level. I just hope that the band do not leave it a further seven years to release another album, as this is a progression that I cannot wait to hear more from.

The album was released on 18th June 2021 via Noble Demon/UCM.ONE GmbH. Below is the band's promotional video for The Future, Tonight.

Ethyrfield's 'In Delirium' - Album Review

As I said in my recent review of Levara's self-titled debut album (which can be read here), I always enjoy getting to cover debut albums on this blog. Many of the bands that I talk about here have a wealth of material behind them, but it is always exciting to be there at the beginning of a new band's career. Debut albums, however, are often a strange prospect - as you are never quite sure what you are going to get. Some bands roar out of the gates with a debut album that showcases the band as a finished product; while other bands take two or three releases to truly get going. Usually it is only really possible to tell which camp a debut album falls in many years later - but either way they are always a statement of intent. While bands may have released singles and/or EPs before releasing their debut album, that first album is always a milestone - and it is likely to be how the band is judged going forward. The debut album under the spotlight today is In Delirium, the first full-length release from Newton Abbot's Ethyrfield. As the band are fairly local, with Newton Abbot being not too far from where I live, Ethyrfield are a band that I have heard a fair amount about. They have been praised for their musical maturity at a young age, and also for their ability to meld a number of different styles together to create a sound that is somewhat different from the norm. I also saw the band live a couple of times in 2018, as a support act, and was impressed by the musicianship on display - although at the time I did not get around to checking out any of the band's recordings (which, in 2018, was limited to their self-titled EP). I had meant to check out the band's second EP Taurus, which was released in 2019, but for whatever reason I did not get around to picking up a copy. There is always so much new music coming out that it can be hard to keep up, but with the band releasing their debut album this year I decided to make the effort to check it out. It is always good to support local bands, and the band had impressed me live despite the songs at the time not really sticking. What is clear when hearing In Delirium however is how far the band have come in a short space of time. The songwriting feels a little tighter throughout the album's nine songs, but the variety that makes the band interesting is still very much intact. Ethyrfield play a mix of grunge, alternative rock, and the dry end of progressive metal - a mix of sounds that works better meshed together than it probably should. There are big hints of Alice in Chains and Soundgarden to be found throughout the album, but also sounds that recall Disconnected-era Fates Warning and Jim Matheos' riffy and atmospheric approach to progressive metal. This mix of sounds means that the album needs a few listens to fully appreciate it, but the overall tightness of the songwriting and the quality of the musicianship ensures that everything falls into place.

Despite much of the album being on the heavier side, the opening track River is actually quite gentle - with acoustic guitars and lots of Alice in Chains-esque vocal harmonies helping to create a deep and atmospheric sound. Ethyrfield are a three-piece, with brothers Zach and Ben Cornish; on vocals/bass guitar and guitar respectively; joined by drummer Dan Aston. For a three-piece, Ethyrfield's sound is big. There is a lot going on in the mix, including subtle keyboards provided by producer Josiah Manning (Kris Barras Band), but the band are always led by Ben's impressive guitar riffs. River certainly opens the album in a more laid back manner however, and helps to showcase the band's creativity and diversity early on. Zach's voice is strong, with Ben providing tight harmonies, and the early 1990s Seattle sound is well and truly covered. Subtle keyboards and percussion add depth, and the track ends up sounding like something from Alice in Chains' couple of acoustic-based EPs. Sunstroke is more typical of the band's core sound however, and follows the more acoustic-based River with a mid-paced groovy riff and some heavy Aston drumming. The Alice in Chains vibes are very prevalent again here, with a bass-heavy verse allowing Zach's drawling voice to take centre stage. I like the effects-heavy counter vocals used during the verses a lot, while the choruses go for a much fuller sound utilising a lot of harmonies and some punchy riffs. Unlike River, which is more of an atmospheric piece, Sunstroke is packed full of hooks. The vocal interplay in the verses is very memorable, while the multi-part chorus is very hook-laden - with the melodies really bring the track to life. A screaming Ben guitar solo is the first of many on the album too, and it helps to showcase his talents - which are a big part of what makes Ethyrfield such a great band. The Hunter is similar, but ups the pace and injects a little of that aforementioned Fates Warning-esque sound into the album - although the grungy vocal harmonies are still very prominent. There is also a great keyboard depth here, with Manning's rock organ sounds helping the song to be much more dynamic than it otherwise would - despite being low in the mix. The way that the band have used keyboards throughout to compliment their sound really enhances the overall album for me - but their presence does not overpower the band's core power-trio sound. The Hunter is a great track as a result of this dynamic approach. While it is not as hooky as Sunstroke, the depth and the overall pace of the riffing helps to make the track another strong moment.

Delirium follows and it feels like the result of combining the album's opening three songs together - and is probably my favourite track on the album. It is one of the most progressive cuts here, and there is a dose of the heavier end of Rush injected into the band's usual grungy sound. Acoustic moments sit side-by-side with driving riffs and screaming guitar leads - while Manning's keyboard presence is upped a little with his organ work doubling the guitar riffs sometimes to help give parts of the song a great retro rock feel. It is also a track that really shows the band's creativity off in a big way. I am not a fan of making a dig deal of people's ages, as talent is talent regardless of age, but Ethyrfield are still a very young band. A song like Delirium is packed full of maturity and clever arrangements however, which is certainly impressive for a band at the stage of their career that Ethyrfield are. It is clear that the band are true students of music, and they have clearly listened to, and ingested, a lot of different bands throughout their lives. All of this comes together on Delirium, with the band's progressive side on full show - while a number of hooky riffs ensure that the song is memorable as well as technically impressive. Laying On of Hands is another quite progressive sounding piece, with the opening instrumental section recalling Dream Theater at times with some particularly impressive drum work from Aston. The song is not explosive in Dream Theater's typical fashion however, with the track soon morphing into a great mid-paced grunge track with the occasional progressive flourish. I really like how the band have managed to fuse all of these different sounds together - with technical sections and more dense, atmospheric sections sitting effortlessly together to make something different from the norm. I also love how the band do not feel the need to constantly show off. There are moments of virtuosity, such as this song's intro, but overall the album is very song-based despite the technicality on display at times. This is a real skill, and also demonstrates that aforementioned maturity. The band know the value of a good hook, and how to arrange a song in a dynamic way, and Laying On of Hands showcases all of this. Virtuosity is on display via Ben's soaring guitar solo; while a more gentle mid-section showcases the band's ability to strip everything back to the bare bones for impact. Overgrown returns to the more acoustic-based sounds of River, but the song is even more stripped back with a simple guitar and vocal arrangement - at least at first. There are subtle vocal harmonies throughout the chorus, but apart from that the early part of the song is purely the lead vocals and some acoustic guitars. This does change after the first chorus however, as Aston's drums kick in, but the overall tone of the song is not significantly altered. The song is still acoustic-based, but the drums and bass help to add a little depth and atmosphere. It never really becomes a proper all-out rocker, but there is a great guitar solo towards the end that really cuts through the mix - which is followed by an atmospheric final vocal section that builds on the solo's power.

Serenity ups the heaviness after the relatively low key Overgrown, and is driven by Ben's snaking guitar riff and a precise drum groove. This is probably the album's most overtly grunge piece, as it has little of the heavy progressive metal vibes that seep into much of the rest of the album - with the song instead revelling in its murky atmosphere, slower pace, and dense vocal harmonies. There is still a heaviness to the track, but it comes from a more primal place than that found in many of the other songs here, with Alice in Chains once again clearly a big influence on the track. As much as I like the band's more progressive side, which largely dominates the album, the more straight-ahead tracks are also a lot of fun. That being said however, the song does morph somewhat towards the end and inject a little progressiveness with a low key atmospheric section that is different from the dark, riff-driven bulk of the track. This little songwriting twist shows that the band are always keen to try something a bit different - and the song benefits from this arrangement despite it largely being a more straight-ahead number. Remembering, which the band filmed a video for, is a somewhat more low key piece overall, but it still manages to showcase the band's core sound. There are fewer big riffs here, but the band's main atmospheric side is still showcased. Ben's guitar playing here is very impressive, with tasty leads providing cutting melodies to counter Zach's emotionally-charged vocal performance - which really helps the atmospheric song to grow organically. This means that when it does explode into something heavier the transition sounds natural. The song is certainly not as heavy as many of the others here, but the second part is still packed with some tough riffing and some more excellent lead guitar playing. I can see why the band chose to film a video for the song, as it contains a bit of everything that makes Ethyrfield a great band in a relatively compact package. It is a very tightly arranged piece, which is what enables it to be something of a showcase of the band's talents. The album comes to a close with Bitter Wishbone, a heavy track that opens with what is possibly the album's most potent riff. The riffing throughout the song has a strong Black Sabbath vibe, with the track overall being a mid-paced number that revels in simple riffing that creates a strong, doomy atmosphere. The track is certainly not as progressive as some of the songs here, but the heaviness and muscle found in the arrangement more than make up for this. There are still diversions however, such as a the occasional atmospheric section with strange vocal effects, but overall this is a song that sits on the groove created by its main riff and runs with it. It is just a great old-school heavy metal song as a result, and it works well as an album closer due to its weight and attitude. It also makes you realise, again, how diverse an album In Delirium is. It takes until the closing number to really go all-out in a metal sense - with the rest of the album building towards it somewhat. This benefits the album overall in my opinion, and is part of what makes it such a great listen. I mentioned earlier about debut albums usually being in one of two camps - and I think for me that In Delirium sees Ethyrfield roaring out of the gate. The band seem to already be the complete package, and the album showcases a lot of promise. I am already looking forward to see where the band take their sound going forward, and I hope to catch them live, showcasing this material, soon.

The self-released album was released on 16th June 2021. Below is the band's promotional video for Remembering.

Midnite City's 'Itch You Can't Scratch' - Album Review

Like symphonic, progressive, and power metal; glam metal is certainly not a genre of music that is generally associated with the UK. While there were a few UK-based glam metal bands operating during the genre's heyday, with Wrathchild and Tigertailz in particular springing to mind, it has generally been a genre that belongs to America. The Sunset Strip scene spawned a whole host of bands throughout the 1980s and early 1990s - but no UK-based band ever reached the heights of the genre's heavyweights. Considering how popular glam metal has always been here in the UK, and how popular it remains, it is somewhat strange that the UK has never had a more viable glam metal scene. As good as bands like Wrathchild and Tigertailz were in their heyday, they could never compete with the big hitters. Even the genre's resurgence throughout the late 2000s and early 2010's was largely led by a wave of young, and mostly excellent, Scandinavian bands - with the UK once again falling short. There have been a handful of newer UK-based glam metal bands forming in recent years; but the one that has captured my attention the most of late is Midnite City. While some may be familiar with the band's frontman Rob Wylde due to his recent association with Tigertailz, Midnite City has always been his main creative outlet. He fronts the band and writes the vast majority of the songs himself; and he has the look to go with it - with his long, teased blonde hair and tight trousers making him the quintessential glam metal frontman. I have only been listening to Midnite City for a few months, but so far I have liked what I have heard a lot. Until recently, my knowledge of the band was limited to their 2018 album There Goes the Neighbourhood, but this changed last month with the release of their third album Itch You Can't Scratch - which is also their first release for their new record label Roulette Media Records. I enjoyed There Goes the Neighbourhood, but in my opinion Itch You Can't Scratch sees Midnite City upping their game in a big way. For one thing, Itch You Can't Scratch is a much shorter and punchier album than There Goes the Neighbourhood. For me, glam metal is at its best when it gets in, makes its mark, and gets out again - and Itch You Can't Scratch is one of those albums. There is very little flab to be found here, with the album's 10 tracks all full of classic glam metal tropes, big choruses, and sleazy grooves. Those looking for originality will not find it here, but those looking for a good time will certainly find a lot to enjoy - with drummer Pete Newdeck's punchy production bringing the best out of the five-piece's sun-drenched sounds.

As with most glam metal albums, Itch You Can't Scratch has a good mix of upbeat sleazy rockers, slightly more AOR-tinged moments, and the occasional ballad. This variety, as well as the album's punchy nature, is partly responsible for the its flow - and why a full listen to the album flies by. The album opens with one of its more summery cuts however, with lead single Crawlin' in the Dirt kicking things off in fine fashion. After a simple kick drum pulse, a catchy, somewhat AOR-influenced, riff courtesy of guitarist Miles Meakin takes over which proceeds to drive the song. Despite the song having a strong AOR vibe, there is still a lot of weight to it thanks to the production. Perhaps unsurprisingly, Newdeck's drums are quite prominent in the mix - his punchy drumming driving everything - while Meakin's guitar tone is nice and thick to bring the band's hair metal sounds to life. Unlike most glam metal bands however, Midnite City often have a prominent keyboard presence thanks to Shawn Charvette. His playing is all over Crawlin' in the Dirt, with a flashy pre-chorus lead in particular standing out. The song, despite some standout moments however, is largely one that just allows the band, and their core sound, to shine. The chorus allows Wylde's hooky voice to take centre stage, while a screaming guitar solo brings the best out of Meakin. While Crawlin' in the Dirt may be a little too summery for some, the band's glam metal credentials should well and truly be secured with the sleazy Atomic - a mid-paced song that is grounded by a snaking Meakin riff and a strong bass presence from Josh Williams. Atomic is a classic glam metal stomper, with bands like Ratt and Warrant well and truly brought to mind while listening to it. Charvette's keyboards help to give the song a slightly poppy edge however, but his playing is not as prominent here as it was during the album's opening cut. His playing adds a subtle atmosphere, but this is a song that is all about Meakin's driving riffs and Wylde's raucous chorus - which is one of the album's most infectious moments in my opinion. Fire Inside, which Wylde co-wrote with Newdeck, slows things down a little after two harder-hitting rockers - and goes for a ballad-esque approach with subtle chugging guitar rhythms and plenty of 1980s-style synth layers to provide an atmospheric backing for Wylde's somewhat more crooned vocals. Midnite City certainly have more AOR in their sound than is typical for most glam metal bands - and songs like this bring Danger Danger to mind with their great mix of hard-hitting glam metal and soaring AOR hooks. Danger Danger are probably the best general comparison for Midnite City's sound in actual fact - and Fire Inside is a great example of why with its lush overall sound and smooth, infectious hooks.

Darkest Before the Dawn ups the heaviness again following Fire Inside's ballad stylings, but there is still plenty of AOR to be found throughout. What I like about Midnite City's sound however is how well AOR and glam metal have been fused together. There are rarely songs that sit purely within one style, even if glam metal tends to dominate overall - which gives the album its great sound. While many of the hooks throughout Darkest Before the Dawn are very AOR-esque, the band always manage to roughen them up a little to take the sheen off. I really like how the band do this, and it ensures that each chorus has a bite to it - despite the hooks throughout. Darkest Before the Dawn is a great example of this, and it is another very memorable chorus as a result. I Don't Need Another Heartache is another more upbeat track, and it opens with a catchy 1980s-esque synth lead that resurfaces often throughout the song. While Meakin's guitar is usually the band's instrumental focus, there are moments where Charvette's keyboards dominate. I Don't Need Another Heartache is one such song, and his playing really elevates the track as a result. Meakin's guitar and Williams' bass, which is also high in the mix, drive the song rhythmically; but most of the main melodic hooks here come from Charvette. Even during the chorus his playing stands out, which is impressive considering Wylde's excellent vocal melodies throughout. Blame it on Your Lovin' is heavier, and returns to the sleazier vibes of Atomic with a weighty guitar riff and a tough drum groove throughout. Charvette's keyboards provide horn section-esque stabs of melody, but on the whole it is a heavier track with plenty of groove throughout. There is a much bluesier approach taken here than on many of the other tracks on the album, and it helps the song to stand out. Meakin's regular guitar leads are packed full of blues phrasing, while a gang-vocal led chorus is easy to latch onto - and again proves what a great singer Wylde is. They Only Come Out at Night, despite opening with twinkling keyboards and a children's choir, is another relatively hard-hitting track - at least in an anthemic sense. It is not an overly-heavy song, but there is plenty of weight to be found throughout still. The main riff, with its wordless vocal refrain, is very Bon Jovi-esque; while the chorus is another hook-laden moment with some more excellent Charvette keyboard melodies. While there a lot of really memorable songs here, They Only Come Out at Night is probably the most anthemic and stadium-ready song here. It is a song that throws everything into the mix, and as a result it sounds huge. Newdeck should be congratulated on his excellent production job throughout the album - but this is probably the song that showcases the album's production off the most. It is a great track, and the hooks are sure to get stuck in the brain after only a couple of listens.

Chance of a Lifetime is a bit sleazier, returning once again to the Atomic sound - but this time with a bit more of a summery vibe. The song's opening reminds me quite a lot of Reckless Love, but the song overall is quite a bit tougher - with plenty of Williams' bass to ground everything. The chorus is another great, catchy moment - but for me the guitar leads and the wordless vocals hooks are the most memorable moments of the song. Meakin often gets to show off throughout the album, but some of the leads in this song are extremely catchy - and are likely to turn a few heads. With that in mind, one thing that I really like about this album is how tasteful all the guitar playing is throughout. Glam metal solos can sometimes be a bit chaotic, but Meakin's playing throughout is very melodic and well-phrased. All of the solos have something to say musically, and his leads throughout Chance of a Lifetime showcase this in a more bite-sized way. If It's Over is another ballad, but takes things a step further than Fire Inside did - as it goes all out. The opening guitar chug is backed by layers of old-school synths, while everything apart from Charvette's piano drops out for the first emotional verse. It is the album's most low key moment, but it works really well to help the song build as it moves along. As with a lot of glam metal ballads, the song really does build up as it goes along. There are layers of harmony vocals throughout the track, and the pre-chorus and chorus both sound huge as a result - with Charvette's keyboards continuing to dominate. There are certainly parallels with songs like Warrant's Heaven, but also a lot of Danger Danger's ballads as referenced earlier. It is easily my favourite of the two ballads here, and I love how the song builds towards it powerful chorus. Fall to Pieces, the album's final song, ups the pace one last time - and returns to the more summery sound that the album opened with on Crawlin' in the Dirt. The two songs are quite similar actually, which is quite fitting as it allows the album to end as it started. Williams' bass is again high in the mix, which really drives the verses forward, while the choruses allow Wylde one last chance to show what a master craftsman of vocal hooks he is. The album however shows that it is not just vocal hooks that Wylde is a master at. With the exception of Fire Inside, all of the songs here were written solely by him. He is a great songwriter, and clearly a great musician - while the rest of the band help to bring his creations to life in a big way. Fall to Pieces is a last great example of the band's power - and the chorus is another that will be stuck in the brain after only a couple of listens. While I have not yet heard everything that this band has done, for me Itch You Can't Scratch sees Midnite City arriving in a big way - and it is certainly my favourite album of the two that I have heard. Every song here is memorable, and it is an album that anyone with even a passing interest in glam metal should listen to.

The album was released on 11th June 2021 via Roulette Media Records. Below is the band's promotional video for Crawlin' in the Dirt.

Dennis DeYoung's '26 East - Vol. 2' - Album Review

Dennis DeYoung albums, it seems, are like buses - you wait ages for one and then two arrive very close together! Prior to last year, DeYoung's previous solo album came out in 2007. Since the release of One Hundred Years From Now however, it seems that DeYoung had been content to be a live act. His legacy as one of the main songwriters of Styx during the band's glory years means that he has more than enough material to fall back on; with DeYoung seemingly happy to be something of a heritage act and trot out Styx's greatest hits live up and down America. It was a surprise then when, last year, DeYoung released his first solo album since 2007. 26 East - Vol. 1 (which I reviewed here) was released last May, and was greeted with largely positive reviews from the rock press. Sound-wise, the album did little to diversify DeYoung's style - but those who are fans of his work were pleased to hear that his poppy, dramatic songwriting style still very much worked in the 21st Century. There was a lot of Styx to be found throughout 26 East - Vol. 1, particularly the band's poppy early 1980s output, but that was certainly not a bad thing. Styx have gone in a more progressive direction of late, which is welcome, so it was nice to hear DeYoung still doing his thing. It was clear that the full 26 East experience was to come however - with what was served up last year being the first of two parts. DeYoung has said numerous times that the 26 East albums will be his final studio releases, and it seems that he wants to really go out with a bang by treating his fans with a wealth of new material. In that respect, 26 East seems like the sort of project where no expense has been spared. The first part sounded lush and over the top, and that is exactly how the second part, which was released last month, also sounds. It is clear from the off that both albums were recorded around the same time, and that this is a project that grew organically over time - with more and more songs being written as the album sessions progressed. DeYoung has said that he never intended to produce so much material, but that writing sessions with Jim Peterik (The Ides of March; Survivor; Pride of Lions) led to a wealth of additional songs being written. If the 26 East project is indeed to be DeYoung's final studio output however, then I think that we can forgive him a little self-indulgence. I am glad however that the albums were released separately however, rather than as a traditional double album, as each part of 26 East flows nicely and feels like a complete album - while still coming together one big project. The first part was a little snappier than the new release, with 26 East - Vol. 2 going all-out with a longer tracklist and an even grander overall sound - which is fitting when the two album are played back-to-back.

While much of the album consists of DeYoung doing what he does best, the album actually opens with something of a different vibe. Hello Goodbye is much more summery and less dramatic than DeYoung's usual fare - with strong power pop vibes and a carefree attitude that opens the album a good natured way. There are Cheap Trick vibes found throughout the song, but the most obvious overall influence is The Beatles - and the song contains many lyrical references to the Fab Four. Occasional bursts of horns add to the song's overall joyous atmosphere - while the chiming guitars of August Zadra and Jim Leahey create the layers of whimsical melody that power pop is known for. There are still strains of DeYoung's trademark songwriting style, with the occasional dramatic piano swipe and theatrical vocal hook - but on the whole Hello Goodbye is DeYoung travelling back to the 1960s, and the results are extremely fun. Land of the Living is more typical of DeYoung's style however; and follows the album's whimsical opening with a barrage of tough guitar rhythms and keyboard melodies. DeYoung has always managed to fuse crunchy rock with a theatrical flair, and Land of the Living is filled with this mix of styles. The chorus actually sounds a little more modern however, with the vocal harmonies sounding more like something from a modern pop rock album than his usual grand approach. The song is not as dramatic sounding as usual as a result, but there is still plenty of DeYoung goodness to be found throughout. One thing that is evident however is just how good DeYoung still sounds vocally . He is in his 70s now, and his voice sounds as good now as it did in the 1970s and 1980s. He carries Land of the Living throughout - with the poppy chorus in particular being a standout moment. The Last Guitar Hero, despite the two strong opening numbers, is where 26 East - Vol. 2 really comes to life however for me - at least from a classic DeYoung standpoint. The song ups the crunch again, with the guitar team laying down tough rhythms - which are of course driven by DeYoung's prominent rolling Hammond organ riff. DeYoung's vocal melodies are as cutting as ever, while the chorus sounds like a long-lost Styx moment - with plenty of big harmonies to perfectly counter the strident organ riffing. A guitar solo courtesy of Tom Morello (Rage Against the Machine; Audioslave) adds some frantic virtuosity to the track - with a closing section seeing him and DeYoung going up against each other with some great trade-offs. Your Saving Grace is the album's first ballad, and anyone familiar with DeYoung's style will instantly will recognise his many tropes throughout the song. DeYoung has always been a fan of a big ballad, and this is a strong effort that is filled with emotion - and includes a chorus that again has strong Styx vibes. Some of his ballads can sometimes cross the 'too sugary' line however, and he has a bit of a cheese streak, but in my opinion Your Saving Grace manages to stay the right side of that line. There is more emotion than cheese here, and the big chorus harmonies help to make the song a very memorable cut.

Proof of Heaven is a track that showcases DeYoung's love for a more theatrical moment - with Styx albums like 1981's Paradise Theatre certainly being channelled here. There is even a brief musical motif from Styx's 1977 hit Come Sail Away used in the song too - which is a fun hark back to DeYoung's past. There is unsurprisingly a lot of keyboard throughout the song, with synths and piano playing a big part in making the song what it is, but the guitar duo of Zadra and Leahey still help to bulk the track out with some tough rhythms and some atmospheric acoustic playing to enhance some of the slower, more progressive-sounding sections. The song is enhanced greatly by its melodies however, and the way that it builds perfectly towards its stadium-ready chorus. There are lots of great choruses on this album, but Proof of Heaven's is probably one of the most instantly-memorable moments here. The harmonies are classic DeYoung, and the hooks ensure that it will stick in the brain. Made for Each Other is another ballad, but it is a bit more upbeat than Your Saving Grace - and the song sounds like it is trying to be a sequel to Styx's 1979 single Babe. The chorus even has a similar overall melody, which I imagine was deliberate, and those who love DeYoung's cheesy pop ballads will lap up every moment of Made for Each Other. I have to say that I prefer his more dramatic, organ-led pieces - but there is a time and place for his poppier material and Made for Each Other is a neat little song that is fun and filled with sugary hooks. There's No Turning Back Time opens as another slower number, but this time with a more organic sound - with layers of acoustic guitar and some old-school atmospheric synths dominating the early portions of the song. The song builds as it progresses however, and there are shades of DeYoung's more progressive side here. After the first chorus, the drums kick in and a DeYoung lays down a busy synth solo which is taken straight from his 1970s textbook. The early Styx albums were filled with these solos, and There's No Turning Back Time seems to be a real throwback to the band's early days - with albums like 1975's Equinox being channelled here. The old-school sound and the progressive flair help to make the song of the album's standout cuts in my opinion - and it has the big hooks to back up the overall atmosphere. St. Quarantine, which will probably age poorly due to its focus on the COVID-19 pandemic, returns to a somewhat more sugary sound - but the song's overall pop rock vibes are still catchy. There is less of the toughness usually found throughout DeYoung's rockier tracks, with the guitars often content to provide a subtle chug throughout - while DeYoung's keyboard sparkle and piano back his extremely poppy vocal melodies. The lyrics are not great, unsurprisingly, but the song is still fun - and towards the end it does open up a little with a rockier approach and a lengthy guitar solo. This ending is quite the contrast to the poppy bulk of the song, but it is great to hear the guitar being focused on as the song comes to a close.

Little Did We Know is similar, but with DeYoung's penchant for West End drama thrown in. The song sounds like something from a musical, but with some hard rock weight thanks to a constant guitar presence and some tight drum grooves. DeYoung's voice is extremely expressive however, and it is his turns of phrase and his playful vocal melodies that really bring the song to life. Occasional guitar leads and keyboard flourishes ensure that the song remains interesting, but this is a cut that really is carried by the vocals and the overall hooks. The chorus is packed with some great, dramatic Styx-esque melodies - but the verses are much more West End, which help the song stand out from the pack. Always Time is the album's final ballad, and there is actually a bit of a Pink Floyd vibe throughout with some spacey synths backing DeYoung's chiming vocal melodies. This sets the song firmly in the 1970s, and some of those old Styx ballads are channelled here - but with vocal hooks from the 1980s. This mix of sounds ensures that the song is a little different, and stops it from being too sugary. The song is nowhere near as cheesy as many of DeYoung's ballads, with the busy and organic-sounding synth work helping to ground it. There is a surprising amount going on throughout the song despite its fairly short length, with DeYoung's progressive side once again coming out to help spice up the album. This vibe is continued throughout The Isle of Misanthrope too, which could well be my favourite song on the album. It is probably the most progressive-sounding track here, as well as the most dramatic and hard rocking - so much so that it definitely could have sat on one of those classic late 1970s Styx albums. It opens slowly, with acoustic guitars and atmospheric synths; which DeYoung sings over in a theatrical manner; but it does not take long for the band to crash in and transform the song into a great slab of pomp rock. The guitar duo are busy throughout the track, giving the song weight and purpose, while DeYoung's bank of keyboards is given a good workout with plenty of rollicking organ riffs and synth leads continually shifting the direction of the piece. There is so much going on throughout the song, and there is a true heaviness here that as not often been utilised throughout the album. The guitars are very high in the mix this time, but the keyboards are also quite heavy - with growling organ often doubling the guitars - while screaming guitar leads add depth. It would be a great way to end the album, but the song segues into Grand Finale - which is a re-recorded version of the final track from Styx's 1977 album The Grand Illusion. 26 East - Vol. 1 ended in a similar fashion with A.D. 2020, but Grand Finale is purely the same song from the 1970s re-recorded. Its use here works well however, and it feels like something of a coda to the album - and to DeYoung's career more broadly. He has said that the 26 East project will be his last studio work - so the use of Grand Finale once again seems fitting. It helps the listener to reflect on the album that they have just listened to, and for me 26 East - Vol. 2 is a strong listen. I think that I prefer it overall to the first part, as some of the songs here are real standouts. If DeYoung does indeed leave things here studio-wise, then the 26 East project is a great way to go out - and those who love his style will find plenty to enjoy throughout the two albums.

The album was released on 11th June 2021 via Frontiers Records. Below is DeYoung's promotional video for The Isle of Misanthrope.