Music of 2022 - Part 1

It does not seem that long ago that I was sitting down at the end of 2021 to write my Albums of the Year list, but 12 months have indeed past and a lot has happened in the intervening time. When I was writing my list last year there were threats and rumours circulating of another lockdown due to the COVID-19 pandemic, with many other countries in Europe and even parts of the UK introducing stringent restrictions, but England held firm - and that now seems to have been the right decision. Wisely putting faith in the vaccines, the Christmas of 2021 was a pretty normal affair - and the rest of 2022 that followed, to me at least, was one free of restrictions and serious threat of further lockdowns. All of that rather seems to be a thing of the past, now, and 2022 has been a very busy year for me. I have written the most blog posts that I have ever done in a single year this year, and it is very likely that I have also been to the most gigs in a single year, too. This is largely due to many of 2022's shows being held over from 2020 and 2021, but it has been great getting back out there again in a big way. As always, I will discuss some of my favourite gigs of the year tomorrow, when I publish my Albums of the Year list, but it is safe to say that I have been to many great ones this year - with the first few months of 2023 also looking busy. Sadly, though, with one crisis ending another seems to be beginning - and it is not yet clear how the financial position that most of the world seems to find itself in currently will effect touring bands. I would not be surprised to find 2023 much quieter than 2022 due to this, sadly, but also due to the sheer number of tours that have taken place this year. It will take a while for bands to regain their traditional touring cycles again following all of the delays, but I hope that 2023 will be another successful year for live music - and I will continue to get to as many gigs as I can throughout the year. As it traditional for this blog, though, before getting into what 2023 has in store for us, and even before running through my favourite albums of the 2022, I would like to shine the light on a few releases that I did not have the opportunity, for whatever reason, to write about throughout the year. Blogging is something that often has to take a backseat to work and other commitments, and with the amount of gigs this year I have sometimes not had as much time as I would have liked to review new albums. I have still reviewed a lot of new albums this year, but there were some more that I would have liked to cover - so I have picked out five albums/EPs to briefly discuss here. As always, too, I will detail my favourite live release of the year - as I do not tend to cover them elsewhere on this blog.

Up first is the only new EP that I bought this year. Usually I cover a few EPs throughout each year, but only one band that I follow released one this year - and last month the symphonic metal act Epica released the excellent The Alchemy Project. I would have liked to have covered this in more detail, given the variety of the seven songs here and the sheer amount of guests that appear throughout - but Amazon decided to post my copy out around a month late, which meant that it then got snared up in Royal Mail's strikes. As such, I have only had the EP for just over a week at this point - but I have listened to it a handful of times and am already really enjoying it. As its title suggests, the EP sees Epica teaming up with a number of guests on each of the songs here. Not only have these guests contributed their talents to the songs, but many have also written with the band - which ensures that there is a lot of diversity throughout the EP's seven songs. Epica's trademark symphonic, progressive metal is very much intact - but the guests all bring something different to the song on which they appear, meaning that the EP ranges from jazz-influenced power metal to out-and-out death metal. Standouts for me include the smooth, organic Wake the World, which sees Seventh Wonder/Kamelot frontman Tommy Karevik duetting with Simone Simons throughout - whilst Uriah Heep's Phil Lanzon lays into his Hammond organ - and lead single The Final Lullaby which is jazzed up by Shining mastermind Jørgen Munkeby and his saxophone. Others who appear throughout include former Delain frontwoman Charlotte Wessels, God Dethroned's Henri Sattler, and Powerwolf drummer Roel van Helden - and the variety here will certainly keep Epica fans busy until the band gets to work on their next full length release.

Moving on now to one of 2022's most-hyped young metal bands, at least here in the UK, and Sheffield's Malevolence have been causing quite the stir of late with their third full length album Malicious Intent. It is their first album to be released via a big record label, the band have really entered the wider metal consciousness this year. I was certainly not familiar with them prior to this year, although I understand that they impressed at last year's Bloodstock Open Air - so much so that they were invited back this year to headline Saturday's activities on the Sophie Lancaster Stage. I had intended to watch them, but I decided against doing so following such an excellent set from Mercyful Fate on the Ronnie James Dio Stage - but on the strength of Malicious Intent I am looking forward to catching the five-piece when they open for Trivium next month. In truth, though Malevolence's brand of modern metalcore, mixed with groove metal and hardcore influences, is not generally my thing - but something about Malicious Intent impressed me. The riffing throughout is excellent, with its Pantera and Lamb of God-esque grooves, whilst the vocal interplay between frontman Alex Taylor and guitarist Konan Hall gives the band an edge that many of their peers do not have. Hall's gritty, clean vocals are used sparingly, but they hit the spot when they need to, whilst Taylor's throat-shredding harsh vocals drive everything - sitting atop the band's slightly thrashy grooves perfectly. It helps, too, that Malicious Intent contains a handful of genuine metal anthems - and I can definitely see Malevolence breaking through to the next level if their current trajectory continues.

Many Top 10, etc., lists this year will likely contain the eleventh studio album by the progressive rock act Porcupine Tree Closure/Continuation - which was released back in June. Despite being quite a big fan of prog in its various guises, I have personally never really understood the love for all things Steven Wilson. I enjoy a few of the later Porcupine Tree albums on a casual level, but the band have never really resonated with me - and neither has what I have heard from Wilson's solo catalogue or his many other projects. At this point I have just accepted that this vast body of work is just not for me, but I did not want to miss out what could have been one of the prog releases of the year - so picked up Closure/Continuation in the hope that I could perhaps start afresh with Wilson and his output. Despite the album sounding impressive and complex, though, in many ways it confirmed my view about the band. There are some strong moments throughout, including the pseudo-industrial Harridan and the more melodic Of the New Day - but much of the rest of the album left me cold. I listened to it quite a few times around the time that I came out, but very little of it really stuck with me - and it was not too long before it was removed from my iPod. The couple of Porcupine Tree albums that I do somewhat like are pretty riffy and saw the band shift into more of a metal direction - but that is largely absent from Closure/Continuation, with much of the album instead sounding quite cold and mechanical in my opinion. I do not tend to write overly negative reviews on this blog, especially in this context of covering a few extra releases at the end of the year, but Closure/Continuation has been conspicuous by its absence from my blog this year - so I wanted to give my opinion on it as it was certainly one of the biggest and most anticipated prog releases of 2022.

Turning now to good old-fashioned hard rock, one of the newer bands that has been making a name for themselves recently is Wales' Scarlet Rebels. Despite liking a lot of the newer hard rock bands which are now generally grouped together under the 'New Wave of Classic Rock' (NWOCR) banner, Scarlet Rebels were a band that had generally eluded me until earlier this year. I started to listen to the band when they announced a show local to me, which I ended up going along to. In the build up to the show, I picked up their second album See Through Blue - which caused a bit of a stir when it was released earlier in the year as it reached number 7 in the Official UK Album Chart. Even with the charts as they are these days this is a big achievement for a relatively small band, and I hope that they are able to capitalise on this success going forward. Turning to the album itself, it is a strong addition to the NWOCR scene. There are other bands that I personally prefer from the 'movement', if indeed it is a movement, but See Through Blue contains a lot of memorable songs - and the band's sound is not as rooted in the 1970s or the 1980s as the sound of many of their peers. There is a modern freshness to Scarlet Rebels' sound which helps them to standout somewhat from the crowd, but there is still plenty of classic rock strut to be found within their relatively poppy sound. There is a lot to like about the Welsh band's second album, and I would imagine that we will be hearing more from them going forward.

To close out this suite of mini reviews, I would like to look at the second album from Venom Inc., a band formed back in 2015 by former members of the legendary and influential British metal band Venom. Fronted by bassist Tony 'Demolition Man' Dolan, who was in Venom between 1989 and 1992,  and including Venom founding guitarist Jeffrey 'Mantas' Dunn, Venom Inc. continue on the sound that Venom forged back in the 1980s - with those trademark hints of speed and black metal. Joined on second album There's Only Black by drummer Jeramie 'War Machine' Kling, Venom Inc. very much deliver what is expected of them here. I am certainly no Venom expert, but There's Only Black channels the band's classic sound perfectly - whilst sitting at the heavier end of the band's sound. Venom Inc. certainly seem to favour the tougher side of Venom's sound. With Venom proper channelling something of a black 'n' roll sound these days, which is fun in its own way, Venom Inc. continue to display why Dunn's riffing inspired countless metal bands that followed in Venom's wake - including the thrash legends Slayer. The riffing throughout There's Only Black is excellent, and is enhanced by the raw production, whilst the throaty roars of Dolan add to the album's unsettling and heavy atmosphere. There is certainly no reinventing the wheel here, but with There's Only Black Venom Inc. have staked a claim as the true holders of the original band's torch.

Whilst the above wraps up my coverage of 2022's new music, I would also like to highlight my favourite new album release of the year. There have been a few good ones this year, despite the dearth of live music over the past couple of years, but my favourite is Genesis Revisited Live: Seconds Out & More - the latest live album from former Genesis guitarist Steve Hackett and his excellent band. Over the past few years, Hackett has been touring regularly - highlighting many of Genesis' classic works whilst doing so. Last year, his lengthy UK tour, which I caught in Plymouth, was centred around Genesis' seminal 1977 live album Seconds Out - with the set featuring the album played in full, as well as a short set of some of Hackett's solo material. The live album, over two CDs and a Blu Ray disc, perfectly captures the Manchester stop of the tour - and is complete with crystal clear sound and stunning visuals. The show opens with the Hackett solo material, which is a lot of fun, but the highlight of course is the full performance of Seconds Out. A live album of a live album may seem a strange concept, but having the full show on Blu Ray makes the release very much a must-have for me. Hackett's playing is masterful throughout, whilst the vocals of Nad Sylvan perfectly capture the spirits of both Peter Gabriel and Phil Collins - with everything really come together during a standing ovation-worthy rendition of the epic Supper's Ready.

With the above out of the way, all that is really left for me to do is to run down my albums and gigs of 2022. This will come tomorrow, starting the new year looking back to this year as I always do, but I would also just like to look briefly into the new year. I already have a number of new albums pre-ordered which I am looking forward to - so 2023 is already shaping up to be another strong year for new music. The first new album which will drop for me is the debut solo album from former HIM frontman Ville Valo, Neon Noir, which comes out on 13th January. I am also really looking forward to the next opus from Uriah Heep, Chaos & Colour, which drops at the end of January, as well as the first album in quite a few years from the Irish bluesy rockers The Answer - who will release Sundowners in March. I am sure that a lot more will follow throughout the year, and I am expecting to spend a lot of 2023 writing again - bringing you all the best new rock, metal, and prog releases of the year.

Threshold's 'Dividing Lines' - Album Review

Having released three stunning albums between 2012 and 2017, the wait for a new album from the British progressive metal band Threshold seemed like a long one. Following a five year break between the heaviness of 2007's Dead Reckoning and the variety of 2012's March of Progress, the band sought to capitalise on the attention that the later brought them after a few years away and released For the Journey (which I reviewed here) in 2014. Threshold have had a pretty consistent sound since the beginning, but For the Journey may well be the most concise distillation of their accessible sound - especially following March of Progress which took a few, welcome, left turns. Three years later, and following a couple of line-up changes, the band were back - this time with the sprawling double concept album Legends of the Shires (which I also reviewed here), which became my Album of the Year in 2017. Due to their highly melodic sound and reliance on huge hooks, Threshold albums are always likely to feature high when it comes to my end of year lists. March of Progress was my album of the year in 2012, whilst For the Journey took the second spot in 2014. Legends of the Shires then returned Threshold to the top of the league in 2017, beating out the likes of Mostly Autumn, Styx, and Anathema - and it could be my favourite Threshold album album to date. In truth, there are quite a few albums that could take that crown - but the fact that the band put together a double album that did not sag under its own weight makes Legends of the Shires even more of a success in my eyes. It is a shame, then, that it took the band five years to follow it up. In fairness, the Legends of the Shires touring cycle seemed more extensive than is typical for the band, showing that the fanbase clearly hold a lot of love for the album, and the COVID-19 pandemic likely also played its part in delaying the band getting back into the studio. It was with much rejoicing earlier in the year, then, that the announcement of Threshold's twelfth studio album was met with - which continued on further when Dividing Lines dropped through my letterbox last month. On first listen, the album is very much classic Threshold - but there is certainly more of a heaviness and a darkness throughout that has perhaps been absent from the last handful of albums. There are certainly shades of the riff-heavy Dead Reckoning throughout, but I also hear strains of the murky atmosphere of 1998's Clone, too - with all of the band's usual hooks perhaps feeling a little grittier than usual. This is no bad thing, and this is likely due to the influence of frontman Glynn Morgan. Morgan, who debuted with the band back in 1994 on Psychedelicatessen, returned for Legends of the Shires - but it is my understanding that the album was written and pretty much recorded by the time he came on board. As such, he had little to no impact in the direction of the album - but on Dividing Lines he has made his presence felt by writing three of the songs here. Guitarist Karl Groom and keyboardist Richard West write the rest of the songs between them as is typical, but with Morgan writing nearly a third of the album the slight overall tweak in the classic Threshold sound is not surprising.

Despite the gloomier vibe throughout, as soon as the first riff of album opener Haunted kicks in the classic Threshold sound is very much evident. There can be no confusion as to who is responsible for the album, with the differences being aesthetic rather than fundamental. No-one really sounds like Threshold, though, so this familiarity is a good thing - and there are hooks throughout every song here. Haunted, then, is a typical modern Threshold album-opener. Following a synth-heavy intro, Groom's mid-paced guitar riff sets the tone for what is to come throughout the rest of the song. The track generally sticks to this mid-paced groove throughout, although the riffing changes tack somewhat throughout. Parts of the verses have more of a melodic guitar backing, which Morgan doubles with his vocal melodies, whilst other sections have that classic Threshold crunch. Following the slower manner in which Legends of the Shires opened, Dividing Lines goes for the throat right away - and Haunted is likely to be become a real fan favourite due to its soaring chorus, which is drenched in West's keyboards, and overall attitude. As with many of the band's songs, though, there is a dynamic arrangement here - and a slower-paced bridge section goes for more of an atmospheric approach, complete with acoustic guitars and some lyrical bass playing from Steve Anderson. This leads nicely into Groom's first solo, which is a slow-burning - opening with some David Gilmour-esque tones before speeding up over time to something more typical. It is a great way to open the album, and the song's overall vibe continues on throughout Hall of Echoes - another strong mid-paced rocker. The opening riff is another classic of Groom's style, but the song is more dynamic overall than Haunted. The verses build on the atmospheric bridge section of the previous number, and West's keyboards are generally more prominent here. His soundscapes allow the verses to creep along, whilst the percussive drum backing of Johanne James creates a rhythm which is somewhat atypical. These two sounds fuse perfectly to create the song's murky verses, before Groom's big riff kicks back in for the huge chorus - which is one of the album's biggest ear worms in my opinion. It is a slightly longer chorus than is typical, but its second part really elevates it with a subtle twist in the melodic approach and a great keyboard flourish - taking it to the next level. Speaking of keyboard flourishes, there are a couple of explosive solos from West in the song, too - bookending some aching Groom leads. The song hits the spot for all the right reasons, and it feels like the sort of track that will become a live staple over the years.

Let It Burn is the first of Morgan's compositions, and the song opens slowly with some melancholic guitar playing before a knotty riff kicks in - which then forms the basis for some strident wordless vocal melodies. Morgan is an accomplished guitar player as well as a great singer, but the fact that the riff on this song is probably the most 'prog metal-sounding' moment on the album is a bit of a surprise - and in fact the song is likely the heaviest overall cut here. It is certainly the fastest song of the opening three, with James often laying into his double bass drums - whilst Groom mixes high-octane shredded solos with gentler, more reflective moments. The song also marks the return of the brief experiment with harsh vocals that the band toyed with on Dead Reckoning. They are not used in a big way here, but the choruses have the occasional harsh vocal accent - which I assume are delivered by Morgan. These moments add to the overall heaviness of the piece, but are not significant enough to turn anyone off who does not like harsh vocals. The song's lengthy atmospheric ending then acts as something of a counter to the heaviness of much of the rest of the piece - with some slow-burning Groom guitar melodies meshing well with West's soundscapes to bring the song to a close. Silenced returns to the band's core sound, and is likely the simplest piece here - so was unsurprisingly released as the album's first single. Groom's riffing throughout is hypnotic, perfectly teaming up with Anderson's bass and James' drumming, whilst West's keyboards tend to provide the hooks. There are sparkling synth flourishes here, creating leads to latch into, whilst more organic organ sounds are also used to inject a classic rock edge into the piece - which is backed up by Morgan's strident vocal performance. The chorus soars as only a Threshold chorus can, but it does not feel quite as big as the three that preceded it. There are still plenty of hooks to keep me invested, though, and a great instrumental section sees West and Groom trading leads in classic prog metal fashion. Pushing the album's prog metal credentials further, and as has often been typical for Threshold, Dividing Lines includes a couple of longer-form pieces. The Domino Effect is the first of two songs here that are over 10 minutes long - and the track is a classic Threshold epic in the fact that it does not really change the band's core sound, but rather just expands it and delivers more of it. There is more room here for instrumental prowess to shine, but the focus on tight hooks remains - with the whole thing built around a strong chorus that is as satisfying as ever. Much of the song is pretty riffy, with West's organ returning again to add that organic edge, but things do take a turn around half way through - with the heaviness dropping out to let some atmospheric clean guitars to take over, and the song slowly then builds from this towards what is possibly Groom's best solo here. His solos are always tasteful, but this one is packed full of emotion, and there are again the occasional echoes of Gilmour and even Steve Rothery in his note choices here - and the Marillion comparisons continue as the song moves along thanks to a very Mark Kelly-esque keyboard melody from West which heralds the song transitioning back into heavier territory.

Complex reins in the expansiveness of the previous song to deliver another classic-sounding Threshold anthem. Groom's opening riff here is likely the album's most headbang-worthy moment, and the old-school keyboard melody that soon joins the fray provides that great mix of light and shade that Threshold's sound has been built on over the years. For those who loved the band's singles of recent years like Small Dark Lines, Watchtower on the Moon, and Ashes; Complex is very much a song in that vein - with driving riffing and a soaring chorus providing hooks throughout. There is a little lyrical call-back to fan favourite Mission Profile, too, which is fun, but unlike that older song Complex is very much a snappy rocker that will also likely become a live staple. The chorus is one of the album's catchiest moments, and following his lengthy, more emotional, solo in the previous song Groom allows himself to shred here - whilst West's keyboards add sparkle and rumbling organ growls. Despite West's keyboards always being prominent in Threshold's sound, traditional piano melodies are a relatively rare part of his arsenal - but King of Nothing opens with some chiming piano notes, before another big riff kicks in. The second of Morgan's contributions, King of Nothing is another pretty heavy track akin to Let It Burn, with a riff that mixes modern groove metal pinch harmonics with knotty melodies similar to the referenced earlier song. I am really pleased that Morgan has had such a big hand in the writing of this album, as his contributions have helped to add a freshness to the band's sound - not that one was really needed, but it is welcome none-the-less. Of the band's three singers, he is the only one to have really contributed in a big way as a writer (although Damian Wilson has a couple of writing credits, too) during his two spells in the band - and King of Nothing is a great addition to his list of contributions thanks to its cinematic chorus and the aforementioned different approach to riffing. The chorus takes a slightly different melodic approach, too, which helps to set it apart - but the hooks are still sizeable, contributing to the band's usual approach nicely. Lost Along the Way then slows the pace down somewhat, and goes for something of a more atmospheric approach. The album does not contain a true ballad, but Lost Along the Way somewhat fills that void. It is the least-heavy track here, with occasional piano melodies and a percussive drumming approach - whilst Morgan takes a more laid back approach vocally. Of all of the songs here, it is the one that has had the least impact on me so far. The hooks are not as big as would be expected from the band, although the chorus is a bit weightier than the rest of the song, and overall it feels a bit meandering. Perhaps a more traditional ballad would have worked better, but for me Lost Along the Way is the only thing here that could really be called a misstep.

Morgan's final writing contribution, Run, completes a trilogy of strong efforts from him - with the cinematic sound of King of Nothing transposed into a more murky song that eases up on the heaviness somewhat. West's keyboards are all over the song, despite the occasional techy guitar riff, whilst Morgan's vocals dominate. The chorus is perfectly cinematic, with Morgan delivering something of an AOR-esque smoothness, whilst generally the song continues the slower nature of the previous track whilst also giving the deliberate pace a bit more of a purpose. There are heavier moments, such as a bridge section that sees Groom laying into his guitar a bit more, but generally the song is an atmospheric moment that focuses on strong vocal melodies and the strength of West's ability to create an all-enveloping soundscape. It is probably the song that has grown on me the most over the past month or so, too. At first I was not so keen on it, but now the chorus really sticks with me - and the slightly different approach showcases Morgan at his best. The album then comes to a close with Defence Condition, the second longer piece here. It is a hard-hitting prog metal track that contains all of the classic Threshold hallmarks throughout - with the interplay between Groom and West shining as always. Much like with The Domino Effect, Defence Condition does not do anything significantly different due to its length, but, as is typical for the band, all of the ideas are allowed to be fleshed out a little more - and there is a bit more of a focus on instrumental moments. That being said, though, the song is still packed with hooks. The chorus is classic Threshold, and it resurfaces throughout to inject further melody into the piece, whilst Morgan still shines despite the song's length. His vocal stamp is all over the track, with a slower-burning mid-section backed by a twinkling keyboard melody perhaps standing out the most - which then morphs into a lengthy Groom solo, which starts slowly and builds up to join forces with West to create a true prog metal wig out. The song's ending section is very memorable, too, as it starts by generally being built around the chorus - with parts of it used to create a repetitive hook which some more great guitar playing is slotted in around. This then transitions into a slow-burning, almost doomy, section with crunchy riffing and eerie keyboards that features Morgan seemingly duetting with his harsh vocal self - which is something quite different for the band. He is certainly no death metal singer, but the half-growls work in the context of the song's heavy outro - which then fades to a close following this hard-hitting back-and-forth. It is a great way to bring the darker album to an end, too, and it is clear to me that Threshold have delivered again with Dividing Lines. The band never really disappoint, and this is a great addition to their impressive canon - and it feels like the second Morgan era is very much underway properly now. Legends of the Shires was written for Wilson, but Dividing Lines has Morgan's stamp all over it - but all of the classic Threshold elements are present, and the album is likely to be worming its way into my Albums of the Year list despite it dropping late in the year.

The album was released on 18th November 2022 via Nuclear Blast Records. Below is the band's promotional video for Silenced.

Candlemass' 'Sweet Evil Sun' - Album Review

Doom is a genre that until recently I really was not all that familiar with. I am not sure why I avoided it for so long, but I think part of the reason why was likely the fact that I do not tend to like listening to albums that focus on slow rhythms throughout - and I am also not generally a fan of the fuzzy, stoner-type sounds that permeate certain subgenres within doom. What I have learnt recently, though, is that doom is a broad church. This is often the case with most subgenres of metal, but there might be more variety within doom than there is in any other type of metal - ranging from some of the slowest, heaviest, and most oppressive music ever made to a relatively upbeat sound that channels the classic acts of the 1970s and the 1980s to create something melodic and epic-sounding. Considering that I have been a Paradise Lost fan for a number of years, it turns out that I had actually been listening to at least a type of doom without truly appreciating it - but it was the Finnish gloom-mongers Swallow the Sun that made me take a deeper dive into the genre. I came across the band in 2019, but it was last year's excellent Moonflowers (which I reviewed here) that convinced me that doom was something that I needed to explore further. Naturally in doing so I started to check out many of the genre's landmark acts that I had previously overlooked - and finally started listening to the legendary Swedish band Candlemass. If doom has a posterchild, then Candlemass is probably it - but in truth they are much closer in sound to many 1970s and 1980s hard rock and heavy metal bands than many of the other bands that they share a genre tag with. Black Sabbath is easily the band's biggest influence, and they pull elements from all eras of the genre-defining British band to form an epic-sounding brand of traditional metal that is just doomy enough to create something of an oppressive atmosphere whilst still containing plenty of soaring melodies - from both the vocals and the guitars. Prior to last month, though, the only Candlemass albums that I had heard were their first two: 1986's Epicus Doomicus Metallicus and 1987's Nightfall. Both albums are genuine classics in the doom genre, but there is still so much for me to explore. I often find that the release of a new album can really help me to gel with a band that I am largely unfamiliar with, so it is perhaps fortuitous that last month Candlemass released their thirteenth studio album Sweet Evil Sun - their first in three years. Sweet Evil Sun is the band's second album with the current line-up, although everyone involved in the album has long been associated with Candlemass. The core foursome of guitarists Lars Johansson and Mats Björkman, bassist and principal songwriter Leif Edling, and drummer Jan Lindh have been the engine room on the majority of the band's albums; and they are joined again by vocalist Johan Längqvist, who has been the band's official singer since 2018 - although he also sang on Epicus Doomicus Metallicus on a session basis. It could be argued, then, that the current Candlemass line-up is the definitive representation of the band - and Sweet Evil Sun seems very much in-keeping with their long-established sound.

I am certainly no Candlemass expert, but Sweet Evil Sun is exactly what I expected from the Swedish band. There is a slowness and a heaviness to the material here, but there are plenty of melodies, too - as well as lots of great, old-school heavy metal tropes. Wizard of the Vortex opens things up with some spooky sounds, but the first of the album's many big riffs soon crashes in - with Johansson and Björkman teaming up nicely with the muscular mid-paced pattern whilst Lindh lays down a punchy drum groove. Considering that Längqvist spent many years away from the metal scene following his performance on Epicus Doomicus Metallicus, his voice is still in fine shape. He reintroduced himself to the fans on 2019's The Door to Doom, and here he delivers a suitably gritty performance - full of gravitas and fire. He particularly shines here during the slower-paced choruses, which rumble thanks to Edling's bass and a booming double bass drum pattern - before the pace speeds up again and Johansson lays down a classy guitar solo. Much of the rest of the album follows the pattern that Wizard of the Vortex establishes, which helps to give Sweet Evil Sun a consistency - although the song's short, atmospheric outro provides a brief change of pace. The album's title track follows, and following some screaming feedback another big riff kicks in - which is full of Tony Iommi-esque energy. If the album's opening cut channelled early Black Sabbath, then for me its title track borrows quite a bit from the Tony Martin era of the band. There are some prominent keyboards throughout, courtesy of former band member and regular collaborator Carl Westholm, with Hammond organ rumbling throughout the choruses - which are very catchy and bring the epic, 1980s vibes of that era of Black Sabbath to mind. Despite his gruffer voice, Längqvist can still belt out a hook when he needs to and the chorus here is probably the album's first true ear worm. There is another great Johansson guitar solo included, too, which adds some speed and energy into the mid-paced, epic doom metal track. Those wanting the band to really slow down and embrace true doom sounds will certainly find a lot to love in Angel Battle. The song opens with one of the album's slowest, nastiest riffs - which dominates for the first minute or so, with Längqvist singing over the top of it in a very Ozzy Osbourne-esque manner. Whilst the song does speed up following the intro section, this heaviness is returned to throughout - with the verses generally being sluggish and crawling, whilst the pre-chorus and chorus see the pace raised and a more epic approach taken. The chorus here is another memorable one, with faster double bass drums and a strong vocal hook, whilst there are a handful of shredded guitar solos throughout for added excitement. The song then comes to an end with some narration courtesy of American experimental filmmaker Kenneth Anger - which adds a haunting vibe to its closing moments.

Black Butterfly then returns to the epic nature of the album's title track. A sluggish mid-paced riff dominates throughout, whilst rumbling Hammond organ adds a melodic halo to the track during the chorus - in a similar manner to how the instrument was used previously. In many ways, the structures of the two songs are similar - with Headless Cross-era Black Sabbath certainly being channelled here, particularly when the pace is somewhat picked up and Johansson lays down some blistering leads. As good as Längqvist's performances are throughout the album, I think the section that shines brightest throughout Black Butterfly for me is the instrumental mid-section, which is a cluster of great interlocking riffs - as well as some strange sound effects. It is a great example of what doom can do with some relatively simple ingredients, although the chorus is still great thanks to the organic organ stabs and the vocal hooks of Längqvist. When Death Sighs opens with another slow-paced, heavy riff, similar to the opening of Angel Battle, but the song then takes a more atmospheric approach at times. There is still plenty of heaviness here, but this is a song that revels more in atmosphere and melody. After the first big riff the opening verse is quite low key, with gentle guitar chugs and an exposed Längqvist vocal, whilst the chorus makes use of subtle synths and some harmony vocals courtesy of Jennie-Ann Smith (Avatarium). Her voice mixes well with that of Längqvist here to create some haunting sounds, and when the big opening riff kicks in again it feels all the heavier thanks to the fact that the song is not as heavy throughout as many of the others here. This dynamic arrangement works wonders, and the song is one of the most interesting pieces here from a compositional perspective in my opinion. It helps that the chorus is a real ear worm, too, and the inclusion of another excellent Johansson guitar solo which opens with lots of effects-heavy bends and noises before morphing into another melodic feast. Lead single Scandinavian Gods very much returns to the album's core sound. It is perhaps less interesting than the more dynamic piece that preceded it, but as a pure slab of old-school doom it works well - with a very hypnotic Lindh drum groove running throughout, which acts as a great bed for the big guitar chords that float atop it. The verses here generally not as riff-based, with chords ringing out and the drums doing most of the work - whilst the chorus is heavier, with more Iommi-like playing and the addition of a precise double bass drum pattern to inject some additional energy. The chorus here also has some strange backing vocals, which I did not notice at first - but on repeated listens the unhinged vocals, which are mixed into the background, add a lot to the overall vibe of the piece. They are much higher-pitched than Längqvist's general approach, which makes them stand out, and they add to the chorus' overall urgency - which is enhanced by the aforementioned double bass drum pattern.

Devil Voodoo opens slowly, with some acoustic guitar chords and Längqvist's mournful vocals - but this vibe does not last for too long as soon another big riff kicks in and the pace is upped quite significantly. Not much on this album can really be called fast, but Devil Voodoo is probably the album's fastest and most urgent piece. There is little of the creeping atmosphere that generally runs throughout the album, apart from during the acoustic-based intro, with the track instead being an energetic, 1980s-inspired rocker with subtle keyboards throughout and plenty of hooky riffs. The guitar playing throughout the song is a bit more melodic than usual, too, with even the riffs being pretty hooky - and the use of a soaring guitar lead throughout parts of the track which Längqvist sings alongside of is particularly effective. There are brief returns to the album's core heaviness, though, such as when the song slows down for its guitar solo. This section has a big keyboard backing, too, which allows Johansson's howling solo to really stand out, but the pace soon picks up again for another reprise of the lead-filled chorus before a drawn out double bass filled closing section reinjects some atmosphere as the song comes to an end. Crucified also opens fairly slowly, with some acoustic guitars and slow-burning vocals - and in fact the overall arrangement of the song is quite similar to that of Devil Voodoo, although it is not quite as fast and there is a stronger emphasis on heaviness rather than hooky melodies. The guitar riffing here is much chuggier, which allows the song to feel much heavier, whilst the guitar leads are much bluesier and effects-drenched to allow for an old-school 1970s sound to be established. The song is still memorable, though, and the simple chorus is one of the moments that stood out to me from the off when I first heard the album a month or so ago. There are more inventive moments here, but it sticks in the brain thanks to its simplicity - and the later guitar solo is another memorable moment thanks to Johansson's tortured choice of leads. The final proper song here is Goddess, which slows the pace down again following the two somewhat faster tracks and returns to the album's core sound. Lumbering riffs are back in a big way here, and the pace never really picks up - with an epic, slow-burning approach taken throughout. Keyboards once again embellish the chorus, whilst the the rest of the track revels in the power of its riffs - with Längqvist again delivering a great, gritty vocal performance. The pace does pick up again towards the end somewhat, for a final verse and shredded solo, but this energy is short-lived as the status quo is soon returned to for a final chorus and a slow-burning guitar solo to see the song to a heavy close. The short instrumental piece A Cup of Coffin then closes the album proper, opening with a sluggish bassline - which then morphs into a sultry twin guitar riff which lasts for around a minute before the album fades to a close. It is a fitting way to end things given the plethora of excellent riffs throughout the album, and the songs here shine due to them and the excellent vocals of Längqvist. Whilst this album is likely more of the same from the Swedish band, it is clear that Candlemass still have a lot to offer the metal world and I will certainly be going back and completing my collection of their albums in due course having enjoyed this one quite a lot over the past month or so.

The album was released on 18th November 2022 via Napalm Records. Below is the band's promotional video for Scandinavian Gods.

Chez Kane's 'Powerzone' - Album Review

One of the melodic rock/AOR surprises of 2021 was the self-titled debut album from British singer Chez Kane (which I reviewed here). Having previously seen Kane as part of the harder rocking seven-piece band Kane'd with her two sisters in 2019 opening for Tyketto, I was not expecting to see her as a Frontiers Records recording artist a couple of years later. Chez Kane, then, was very much a pleasant surprise. I enjoyed Kane'd set with Tyketto, but the band's recorded output has never really grabbed me - despite 2018's Show Me Your Skeleton being something of a fun listen. As a solo artist, though, Kane has taken something of a different direction. Whilst Kane'd are a hooky band, they are also very much a modern-sounding hard rock band - with songs structured in such a way to bring the best out of the three Kane sisters. With Chez Kane, though, Kane very much channelled her love of all things from the 1980s - and created something which was very a much a throwback to the hit AOR albums of that decade. The album was not purely a throwback, though, as it had a freshness and something of a modern sheen to it - but all of the hallmarks of 1980s AOR were present and correct, as is to be expected from a Frontiers Records release. Being a Frontiers Records release, Chez Kane was very much an in-house job, too. Despite Kane being the face and voice of the album, it was put together by Danny Rexon (Crazy Lixx) - who wrote all of the songs, played pretty much all of the instruments, and also produced the album. Frontiers Records is known for having such an approach to some of its albums, and I believe that Chez Kane was Rexon's first foray into putting together an album for someone other than himself and Crazy Lixx. Sound-wise, then, Chez Kane certainly had hints of Crazy Lixx's melodic sound - but was more AOR than hair metal. I still think that it is strange that Kane had no writing input at all, but the result was a very enjoyable album so it does not really matter - it just meant that the album had the air of something from the Frontiers Records production line, which is either a good or a bad thing depending on your point of view. Clearly wanting to capitalise on the success of Chez Kane, then, Rexon and Kane got to work on a second album pretty quickly, and the result is Powerzone - which was released back in October. In terms of sound, Powerzone is very similar to Chez Kane. The songs could have come from the same sessions, and all of the hallmarks that made Kane's debut album a fun listen return here. Despite this, though, for me Powerzone is not quite as strong as last year's release. There is still a lot to like here, but not as many of the songs are living in my brain in quite the same way as those on Chez Kane did - but the best cuts here are very much on a level with the best cuts from last year's album.

The album kicks off with its lead single, the hook-laden I Just Want You - which very much continues the sound established on Kane's first album. A pulsing synth riff opens the song, which is soon joined by a soaring guitar lead - and the track then explodes into a Survivor-esque mid-paced stomp, complete with booming drums and plenty of keyboards. As was the case on Chez Kane, the songs here are very much focused around Kane's vocal talents. There is generally little instrumental showboating here, and the focus throughout is on vocal hooks. Kane has a great voice, and her sultry tones are perfect to deliver this kind of harder-edged AOR. The chorus is a real ear worm, with big backing vocals and crunching power chords, whilst the verses swing with a surprisingly prominent bass line and the rhythmic drumming. There are guitar solos, but they tend to be on the short side. The one here is such, but it is very melodic and adds quite a lot to the song in my opinion - before a final reprise of the huge chorus ensures that the album puts its best foot forward. (The Things We Do) When We're Young in Love moves away from the tougher mid-paced swinging grooves of the relatively hard-hitting opening cut to instead up the pace somewhat and go for smoother sound overall. A stark guitar and keyboard intro sets the tone nicely, and the song is overall much more summery than the album's opener - and it feels like a concerted effort has been made here to make the song sound like it has come from the 1980s. The whole album sounds 1980s-inspired, but some songs feel more 'natural' in that skin than others - and (The Things We Do) When We're Young in Love feels like a deliberate attempt at that sound rather than a natural one. This is not necessarily a band thing, but for me it lacks the sultry sheen of the album's opening cut - with a more overt party tone present this time. That being said, the chorus is very accessible - and there are enough vocal hooks throughout to compensate for the relative lack of musical hooks. The album does better, but the song is still a fun cut - and the sort that would likely go down well live thanks to its overall bounce and big chorus. Rock You Up ups the heaviness somewhat, and goes for a more strident 1980s hard rock sound. A staccato drum groove opens the song, with a fists-in-the-air rendition of the chorus, before a soaring wordless vocal hook really pulls the listener in. After the fairly lightweight previous track, it is good to hear Kane really rocking out here. Rexon's guitars are weighty throughout, and the drumming really makes the song what it is - giving it a stadium-ready feel that is easy to latch onto. Subtle vocal harmonies and the occasional gang vocal throughout add to the vocal magic of the track - with the chorus being one of the album's most hard rocking moments in my opinion. The only disappointment is the tease of a big guitar solo that never happens, with a great shredded build-up that ultimately just leads to another chorus - when, perhaps, a guitar hero moment could have worked nicely.

Love Gone Wild ups the pace, and introduces the saxophone of Jesse Molloy. The opening musical hook sees his playing mix with Rexon's guitar leads, and the effect is suitably 1980s in vibe - before an urgent verse takes over that sees Kane letting her hair down a bit. There is definitely a brashness throughout this song which is not often on display throughout the rest of the album, but it works well - and in my opinion Kane really shines as a vocalist here. Her harder rock roots are definitely on display, but the song's arrangement is still very melodic - with the great saxophone hooks resurfacing throughout, including a pulsing solo, and plenty of synths. As much as I enjoy Kane's big AOR anthems, I really like this sound for her - and I would like to see her try some more urgent, strident melodic hard rock like this in the future. Children of Tomorrow Gone slows the pace, and goes for something of a ballad-esque feel. The song opens with some rolling piano melodies, which are soon joined by some synths and a hard-hitting drum groove - all of which bring New Jersey-era Bon Jovi to mind somewhat. Whilst the song feels like a ballad throughout, it still rocks and has a bit of an attitude. Kane's vocals during the chorus see her really pushing herself, whilst the verses are more soulful in tone - which is in-keeping with the big piano backing. Keyboards dominate throughout, and the guitars generally take a back seat here - providing a bit of a rhythm whilst dancing piano melodies and Kane's excellent vocal melodies dominate. A brief guitar solo then injects some additional melody into the song, but as is common here it does not stick around nearly long enough. This does not detract from the song overall, though, which is anther very enjoyable display of Kane's talents. The album then returns to a more hard rocking territory with the up-tempo title track, which channels some of the energy of Love Gone Wild whilst adding something of a hair metal edge. The song definitely sounds like something Rexon could have recorded with Crazy Lixx, as the guitars are more prominent here - and the overall energy is more driving. That being said, though, the overall mix is such that the song still feels at home on the album. The keyboards are higher in the mix than they would be on a Crazy Lixx album - and the verses are a little more toned down to allow Kane's big vocals to shine. Regardless, though, song still allows Kane to rock out in a big way - and she delivers another impressive performance throughout, especially during the snappy and riffy chorus. I'm Ready (For Your Love) keeps up the pace, but some of the sultry vibes from I Just Want You return somewhat - which makes for a fun mix of alluring vocals and hard rocking guitar riffing. The song is one of the album's most guitar-heavy pieces, and there is a real lack of prominent synths throughout - with a bluesy edge instead that is very pleasing. There is still an overall sheen and a big dose of 1980s melodic rock, but I like the more organic sound which has been achieved here. The song still feels at home on the album thanks to its smoothness, but it also stands out somewhat thanks to its riffy nature and the lack of big keyboards.

Nationwide gets back to the album's core sound, though, and pulls back on the big riffing of the last couple of numbers to return to the more deliberate 1980s-style sounds of (The Things We Do) When We're Young in Love. The keyboards return here, and the guitar riffing is generally pushed to the back of the mix. The song still has an upbeat feel, though, and the guitars do cut through occasionally, but generally this is keyboard and vocal-led piece - with a jaunty drum beat that keeps the energy levels high. For me, though, the song does not hit as hard as it could. The chorus is not as strong as some of the others here, and following two riffier songs it feels a bit tame despite its overall energy. There is nothing here that is genuinely weak, but in my opinion Nationwide is one of the album's lesser tracks - and it would have benefitted from being a bit weightier. Streets of Gold is another ballad-esque piece, and is somewhat similar to Children of Tomorrow Gone but with a more organic sound. The piano dominates throughout, with a slow drum beat keeping things ticking, and the chorus is one that grabs hold from the off - exploding out of the relative simplicity of the song's arrangement. I like how both of the slower songs here still have their rock credentials, though. Streets of Gold still has some weight to it, and Kane's vocal throughout has a surprising amount of grit. There is some guitar muscle during the choruses to help the song sound huge, and there is a solo that is actually of a decent length this time - which really adds to the song overall in my opinion. It is a great song thanks to the organic piano melodies and big chorus - and it shows that ballads can still rock somewhat. The album then comes to a close with the lengthy Guilty of Love. At over eight minutes long, Guilty of Love is easily the longest cut on the album, and of Kane's solo career so far. At first I thought that the song outstayed its welcome somewhat, but repeated listens have made it stick with me - although it perhaps could have been trimmed somewhat. For whatever reason, Rexon decided to save all of his instrumental showboating for this song, as the closing three or four minutes of the track are basically just an extended guitar solo. It is a very melodic solo, and it does work in the context of the song, but in a way I would have preferred a few of the album's earlier solos to have been fleshed out a bit rather than one long one being included at the end. Still, though, Guilty of Love has an excitement factor due to this lengthy guitar outro - and it only hits hard thanks to the great AOR melodies that preceded it, with one of the album's biggest choruses and plenty of driving keyboard stabs creating what ends up being a rather epic closing cut. Whilst I still think that Chez Kane is slightly the better album, there is still a lot to like about Powerzone and I like the fact that there are a few harder rocking tracks here - which is a sound I would like to see Kane experiment with more going forward. Funnily enough it is the smoother, more deliberate-sounding 1980s-style songs that feel the weakest here - with the relative grit of much of the rest of the album best showcasing Kane's considerable talents, providing much enjoyment along the way.

The album was released on 21st October 2022 via Frontiers Records. Below is Kane's promotional video for I Just Want You.

Quireboys - London Review

Following Thursday night's escapades at the O2 Academy in Islington, London, I have now seen three very different shows in 2022 under the 'Quireboys' name. In fact, my first gig of the year was a Quireboys show at the O2 Institute 2 in Birmingham - which saw the then-longstanding line-up of the band belatedly celebrating the 30th anniversary of debut album A Bit of What You Fancy with a show very typical of those that I have seen over the past decade or so. It was my 20th Quireboys show, and it ended up being the last time that I saw the core line-up of Spike, guitarists Guy Griffin and Paul Guerin, and keyboardist Keith Weir together - as in March Griffin, Guerin, and Weir fired Spike and continued on without him. For long-time Quireboys fans, this split came as shock. Whilst Griffin had been in the band since 1989 and had performed on all of the band's albums, Spike was the only truly original member of the band left. Unsurprisingly, the split led to strong reactions from the fanbase, with many taking a side early on, but I tried to remain open-minded about the whole situation - despite feeling pretty strongly that The Quireboys without Spike seemed unthinkable. Whilst I would not be surprised if he was sometimes hard to work with or required a lot of chaperoning, he is the person that the majority of the public think of when they think of The Quireboys. I have often thought of him as not the King of Rock 'n' Roll but the Jack - with his cheeky smile, bandana, and waistcoat being as much a part of The Quireboys' lore as his rasping voice. Having had a ticket for the show since 2019, in September I attended my first post-Spike Quireboys show - at the O2 Forum in London's Kentish Town. This was billed as 'The Orchestral Quireboys' and saw the band, now fronted by Griffin, playing a set with a string quartet, horn section, backing singers, and a pedal steel player. It was an enjoyable show, but for me something was missing. I have not really come to a view on the Spike-less Quireboys yet, but the show, despite the bells and whistles, did not live up to any of the best Quireboys shows that I had seen in the past. I was looking forward to see what Spike would do next, too, as, back in May, he had already expressed his intention to carry on the band he formed back in 1984 - by bringing back some old faces from the past. A few months ago, then, he announced the debut show of his new Quireboys at the O2 Academy in Islington - and that he would be joined by various original and classic members of the band. Billed as 'Quireboys' rather than 'The Quireboys', as they often used to be, Spike announced that he would be joined by founding guitarist and songwriter Guy Bailey, original bassist Nigel Mogg, original keyboardist Chris Johnstone, and classic-era drummer Rudy Richman - along with various special guests. With many of these guys having not playing together in much of a meaningful way since the original era of the band came to an end in 1993, the show could either be a triumph or a disaster - and I had to be there to find out which.

For me, anyway, the show got off to a pretty poor start. I do not really want to bring the support act down, as objectively they were probably good, but whoever thought that the Joli Blon Cajun Band was the right choice to open a night of rock 'n' roll perhaps needs to rethink such decisions in the future! The Joli Blon Cajun Band consisted of three ladies who played through a number of traditional Louisiana folk songs - most of which were sung in French. They referred to the music as New Orleans or Louisiana 'porch music', and it was about as far removed from the Quireboys set to come as it could possibly be. I like to be open-minded about music, but for me their inclusion on the bill did not really work at all. Support acts are supposed to warm the crowd up and get them ready for the main event, but the only real reaction that the Joli Blon Cajun Band received was one of bemusement. The venue was pretty full throughout the night, but the reactions to each of the songs played by three-piece were muted - and I think that most in attendance were probably feeling similar to the way that I was. Musically, the band were clearly talented. Fiddle, accordion, and guitar mixed to create the short, dance songs - but vocally I thought that the trio were lacking. Much of the material was sung in harmony, and I felt that the harmonies never quite seemed to be in tune. In fairness, the kind of music that the trio were playing is probably never supposed to be perfect - and it probably would have sounded fun if they were busking at Camden Lock or playing at some sort of carnival. On stage before a rock band, though, the Joli Blon Cajun Band fell very flat indeed - and I think that most of the crowd were happy when their set finished so that the main event could start.

Half an hour or so later the music that was being played over the PA stopped, leaving only the distant sound of bagpipes. Those of us down near the front were unsure what was going on at first, but it soon transpired that Spike was making his way to the stage through the crowd - led by bagpiper Jimi McRae, known professionally as Jimi the Piper. McRae was playing the hymn Amazing Grace, which Spike then led the crowd through a rendition of when he got to the stage as the rest of the band were taking their places. This was an unconventional start to a Quireboys show, but it certainly made an impact - but when they launched into Can't Park Here from the band's underrated 1993 release Bitter Sweet & Twisted the show really got going. Someone notable by their absence, however, was Bailey. He would make a brief appearance later during the show, looking unwell and unsteady on his feet, but I had assumed that he would be picking up his guitar like the good old days. His absence from the stage was a disappointment, given that Spike had made it sound like he was a part of the band again, but he did not look like he was in any fit state to play what was a two hour-plus set. Spike later said that he and Bailey had written a new album's worth of material together which will be released next year, though, so it is good to see that Bailey is still a part of this new Quireboys era. With Bailey absent, then, the band were joined by three guitarists: Alan MP, Chris McCormack, and Christian Heilmann. Heilmann, who has been playing with Spike throughout the year acoustically, played acoustic guitar throughout, adding depth, whilst MP and McCormack added the main riffs and solos. McCormack did not play on the quieter, more acoustic-based ballads - but added the main heft to the heavier tracks, with MP taking on the more lyrical and slide-based guitar parts. The three guitarists really helped to bring the old Quireboys songs to life - and there were moments early on the in the set where the songs sounded the best that they have ever sounded. Spike was in fine voice throughout, and high in the mix, whilst Johnstone's boogie piano drove everything. The punky bass of Mogg added the attack throughout, allowing everyone really up their game. Can't Park Here was the perfect way to showcase this energy, and this was continued into Misled, with Johnstone's excellent piano solo, and the dirty hard rock riffing of Man on the Loose which brought the best out of McCormack. Even the slow-burning Whippin' Boy felt weightier than usual, before MP's dirty slide licks during the personal favourite Tramps and Thieves upped the energy further. Everyone in the crowd was having a great time by this point, and there was lots of singing - which was good as there were a few times where Spike forgot the lyrics, including to big hit Hey You which came relatively early on. Most of the songs picked were big crowd pleasers, but there were a few deeper cuts thrown in too, such as a great rendition of the oldie Where Ya Been To, which only exists in demo form, and a personal highlight in the tear-jerking ballad King of New York which Spike sung perfectly - backed by Johnstone's sombre piano.

Not everything about the set was perfect, though. The first half of the set contained some of the best Quireboys live moments that I have witnessed - but the second half seemed less polished overall and was a little chaotic at times. Everything just about hung together, but the fact that this version of the band is a new venture showed at times. A few songs in the second half also featured the vocals of Angie Bruyere, and she duetted with Spike on a few numbers. Personally, though, I did not really like her voice that much. At first I thought her microphone was cutting out, as she sounded so juddery and staccato, but the more the set went on I realised that is just how she sounds. It sounded like she was really over-singing throughout - but the moments where she toned it down a bit and sung 'normally' she sounded really soulful, so I am not sure why she felt the need to go all-out constantly. She duetted with Spike on a raunchy version of Ode To You (Baby Just Walk), which was probably the best of her contributions - as well as on Last Time, which also featured fiddle player Fliss Premru from the Joli Blon Cajun Group. Premru's playing added a lot to the song, and she also contributed to the following two numbers, a great rendition of the delicate Roses & Rings and another duet with Bruyere - the rarely-played country ballad You Can't Hide From Your Heart. The latter was a real deep cut, and another that only exists in demo form, so it was a treat for long-time fans to hear. Keeping the country theme going, Sweet Mary Ann followed, which prompted plenty of singing as always, before the booming ballad Take No Revenge saw more singing from Bruyere. Apart from on Ode To You (Baby Just Walk), which worked well in my opinion, I would have just preferred Spike to sing the songs himself. None of the songs were previously sung as duets, and they added to the slightly chaotic nature of the set's second half. The most chaotic moment was up next, though, with Long Time Comin' - which Spike missed a whole verse out of, which left the band looking around rather confused. Take Me Home was filled with a few mistakes from various people, too, so it all seemed like the wheels were about to come off - but stunning renditions of I Don't Love You Anymore and the party anthem 7 O'Clock got things back on track, and ensured that the main set ended on a real high following a few blips. Four songs were still to be played, though, in three encores - which was a little excessive - so the party was not yet over. The encore was kicked off with Spike's rendition of Frankie Miller's Fortune, once again with Bruyere, before a hard-hitting version of Mayfair brought the house down. Mayfair always goes down well live, and there was plenty of singing from the crowd - before a short step off stage led to the live debut of the new Quireboys single Merry Christmas & A Happy New Year, with McRae's pipes and plenty more singing. With one song left, it was time for Spike to invite everyone to a sex party - and the night ended with a barnstorming rendition of Sex Party with plenty of soloing from both MP and McCormack. The setlist was:

Amazing Grace [Traditional Christian hymn w/ Jimi the Piper]

Can't Park Here

Misled

Man on the Loose

Whippin' Boy

Tramps and Thieves

There She Goes Again

Hey You

Where Ya Been To

King of New York

Ode To You (Baby Just Walk) [w/ Angie Bruyere]

Last Time [w/ Angie Bruyere and Fliss Premru]

Roses & Rings [w/ Fliss Premru]

You Can't Hide From Your Heart [w/ Angie Bruyere and Fliss Premru]

Sweet Mary Ann

Take No Revenge [w/ Angie Bruyere]

Long Time Comin'

Take Me Home

I Don't Love You Anymore

7 O'Clock

-

Fortune [Frankie Miller cover w/ Angie Bruyere]

Mayfair

-

Merry Christmas & A Happy New Year [w/ Angie Bruyere and Jimi the Piper]

-

Sex Party

Some wobbles aside, though, this debut of Spike's new Quireboys was very enjoyable. The first half was certainly the strongest, with hard-hitting rocker after hard-hitting rocker, but the ending handful of songs and the encores helped to keep the energy levels high to the end - although it may have been wiser to spread the slower songs out a bit, rather than having them as a bit of a glut in the middle. If this new Quireboys is going to be an on-going concern, then the kinks and wobbles will be ironed out over time - and a few were expected. It will be interesting to see where this Quireboys goes from here, though. Will the other older members of the band want to commit to something more long-term with Spike after being away for so long, and will there be messy legal debates about who can actually use the name? I certainly hope that there is more to be heard from this new Quireboys - as parts of this set were up there with the best Quireboys shows that I have been to, and I would like some more of that please.

Alter Bridge - London Review

The success of bands like Alter Bridge over the past couple of decades proves that hard rock and metal music is as strong as ever. Whilst some old-fashioned gatekeepers want us to believe that the genre is dead, and that there are no new festival headliners coming through - the fact that Alter Bridge have been an arena-sized act here in the UK for around 10 years at this point rubbishes that argument. The Florida-based band have a wide appeal, from young kids to old-school rockers, and their recorded output since putting out their debut album One Day Remains in 2004 has generally been of a consistent quality. The band added another strong album to their already-impressive canon, Pawns & Kings, back in October, too, and the result of this was the band's first European tour since the end of 2019. I first saw Alter Bridge live back in 2010 when they headlined the Eventim Apollo, as it is now called, supporting AB III, and I have seen them three times since at the Motorpoint Arena in Nottingham - in 2013, 2016, and 2019. Keeping up the three year cycle, then, Alter Bridge's regular work pattern did not seem to be impacted by the pandemic - but I am sure that the band were happy to get back out on the road in Europe having wrapped up the Walk the Sky touring cycle not long before pandemic really kicked off in early 2020. Whilst I have often thought that Alter Bridge have never really transitioned to being an arena act from a show and spectacle perspective - from a musical perspective the band have always delivered live. I still think that the 2010 show in London was the best of the four that I have been to, but the other three in Nottingham were also great - with the 2019 show probably the one that felt the most arena-ready. It would have been nice to continue my run of shows in Nottingham, but for this 2022 tour I opted for the tour-closing night in London at the O2 Arena. The reason why I opted for a Monday night in London was because I was supposed to be seeing Lamb of God the following night - but that show was postponed for at least a third, and maybe even a fourth, time a couple of months ago. This was frustrating, but I still had my Alter Bridge show - and it was good to return to the O2 Arena for only a third time. It is not a venue that I have been to very often at all, but I have always enjoyed visiting the strange tent-like arena in the city's Docklands area. I was staying fairly close by in Deptford, but given the snow and ice around the city it meant that getting to the venue look longer than usual. The journey was not too bad, though, but with the weather and the train strikes planned for the following day I do wonder if the overall attendance was affected. There was certainly a decent crowd in attendance, but much of the venue's highest tier was empty. I actually had a ticket for that part of the venue, but towards the end of the first support act's set I was moved down to the lower tier - and ended up with some pretty good seats right at the first of the lower tier.

First up, with just over half an hour to play with, was the newly-formed Mammoth WVH. Essentially a solo vehicle for Wolfgang Van Halen (vocals/guitar/keyboards), the band's debut album came out last year - and featured Van Halen playing and singing everything. Live, though, Van Halen has been backed by a four-piece band over the past year or so, including a couple of somewhat well-known faces in Slash's rhythm guitarist Frank Sidoris and former Tremonti drummer Garrett Whitlock. I was not really familiar with Van Halen's work, but his debut album received quite a lot of strong reviews when it was released last year so I was looking forward to seeing what he had to offer. Despite enjoying some of Van Halen's songs, though, I found the set on the whole to be a bit of a mixed bag. I had no real expectations going in, but knowing of Van Halen's instrumental prowess I did expect his music to be a bit more explosive and high-octane than it turned out to be. On the whole, Van Halen's music was very safe-sounding, and nothing massively different from what any number of modern hard/post-grunge bands have put out over the past couple of decades. One song that did stand out quite a bit, though, was Think It Over - which felt a bit more energetic and much catchier than the few songs that had come before it. It still was nothing special really, but it had some strong hooks throughout - and it made an impression in a way that many of the other songs had not. Some of the other highlight moments of the set were when Van Halen soloed. He is known to be a real virtuoso when it comes to most instruments, and it was great getting to see him play a handful of short solos. As mentioned previously, towards the end of Van Halen's set I was moved from the top tier of the venue to the lower tier. This meant that I watched the band's last song from a different vantage point, and the sound was much louder and more powerful down in the lower tier. As such, the final number was another that had a bit more of an impact as a result - and it did make me wonder whether I had not had the full experience from up in the top tier. As such, I am willing to give Mammoth WVH the benefit of the doubt. I likely would have enjoyed them more had I been in my second seat for their whole performance - as something was certainly lost with the sound travelling all the way up to the top tier. I would like to check the debut album out to see if that is a better representation of Van Halen's talents - but currently I am not really sure what to make of the newly-formed band.

The main support act of the night was Halestorm. I had thought that the Pennsylvania-based four-piece would be too successful to need to support Alter Bridge these days - but I suppose any kind of arena-level touring opportunities should not be turned down, and there has been a relationship between Alter Bridge and Halestorm for a number of years. I am only really a casual fan of Halestorm, but it has been great seeing them rise through the ranks over the past decade or so. I had seen the band live a couple of times previously, both in 2013, so I was looking forward to catching up with them again following the large amount of success which they have found since. One of those 2013 shows was also with Alter Bridge, but that night they were the opening act. With more time to play with this time, then, the band really made their set count - and treated the show as if it was their own. There were clearly a lot of Halestorm fans in attendance, too, and the atmosphere throughout their powerful set was excellent. With their fifth album Back from the Dead still pretty new, half of the set was dedicated to it - with a handful of older cuts padding things out. There was little pretence to the band's performance, and it started with Lzzy Hale (vocals/guitar) singing the chorus to The Steeple a cappella - before the rest of the band crashed in, getting the set underway proper. Despite the power of the band as a whole, the spotlight throughout was always on the Hale siblings - with Lzzy and her drummer brother Arejay taking all of the plaudits. I have often thought that the other two members of Halestorm are somewhat anonymous, and that remains my view - but in truth the chemistry between the two Hales made up for it. After opening with a new song, the band then hit the crowd with the old favourite Love Bites (So Do I), which saw lots of singing from the crowd, before another three new songs came thick and fast. The rasping Wicked Ways was an early highlight, thanks to the big riffing of Joe Hottinger (guitar/vocals) and an anthemic chorus which Lzzy belted out with her gritty and room-filling voice. A little later in the set, both Mine and the older Familiar Taste of Poison provided something of a change of pace. Mine conjured up more of a downbeat modern pop vibe, whilst the latter was the only true ballad of the band's set - with Lzzy prowling the stage without her guitar to sing the murky track. This led into a short, but explosive, drum solo from Arejay which culminated in him using large sticks to play his kit - much to the amusement of the crowd. There was not too much time left at this point, but there was time for one last new track and a couple of oldies. The title track of the latest album proved to be another highlight with its huge chorus, before the clock was turned right back to the beginning for the raunchy mid-paced riffing of I Get Off. This certainly got lots of the crowd singing, but it was an extended version of I Miss the Misery that really got the crowd going - with Lzzy instigating quite a big sing-a-long with the crowd and some shredded soloing from Hottinger. It brought Halestorm's powerful set to a close, proving why they have found so much success in recent years. The setlist was:

The Steeple

Love Bites (So Do I)

Wicked Ways

Bombshell

Mine

Familiar Taste of Poison

Drum solo

Back from the Dead

I Get Off

I Miss the Misery

Half an hour or so following Halestorm's set the lights went down and Alter Bridge took to the stage - immediately launching into the hard-hitting, yet melodic, Silver Tongue from this year's Pawns & Kings. It was one of only three new songs played, which was something of a surprise, with the band instead opting for a career-spanning setlist that took in all but one of their seven studio albums. If I had a criticism of Alter Bridge live it would be that they rely too heavily on the same setlist staples from tour to tour. This was generally the case in London but the three newer cuts and a couple of rarely-played deeper cuts from their debut album helped the show to feel fresh - even if there were a few songs in the set that could do with a rest at this point. The riff-heavy Addicted to Pain, which followed Silver Tongue, was not one, though, and the song is a staple for a reason. The older single always goes down well live, and it helped to lift the atmosphere with its pace and soaring chorus - which frontman Myles Kennedy nailed. Kennedy was in fine voice throughout, and the guitar interplay between him and fellow guitarist Mark Tremonti was as good as ever. The two traded riffs and solos throughout the night, elevating songs like Addicted to Pain and the new This Is War which was wheeled out a little later. In between the two, though, was one of the songs which is due a rest in my opinion. Ghost of Days Gone By is pretty much ever-present in the band's setlists and there are many other great songs in the Alter Bridge canon which could be played instead. Before Tomorrow Comes also had a similar feel, but looking back it has not been played as often as I thought it had. The band have always been quite conservative with their setlists, though, and it does not seem that this is going to change any time soon. With that in mind, then, it was great to hear Shed My Skin from the debut album given a rare outing. I had not heard the song live before, so it was a real standout of the night as a result. It is a song that showcases the band's older post-grunge sound nicely, and it came across well live with Kennedy nailing the slow-burning, yet anthemic, chorus. This vibe was continued with Burn It Down from the same album - with Tremonti handling the vocals. This slightly different arrangement of the song was debuted on the band's last tour, and I like the change of pace that it provides. It added a bluesy touch to the set, with Kennedy handling the closing solo with ease.

The spiky, somewhat progressive Cry of Achilles was then wheeled out to provide another big kick of energy. It is another song that could probably do with a rest, but I still enjoyed hearing it live again. It is one of the songs in the band's canon which shows that they have a bit of a spark that sets them apart from other similar modern rock bands - and from the knotty guitar intro to the stadium-ready chorus the song had everyone in the venue on board with what the band were doing. It was perhaps fitting, then, that the band took the next few minutes to tone things down - and brought out the acoustic guitars for an excellent version of In Loving Memory, another song that I had not heard the band do live before. I am glad that the ever-present Watch Over You has finally been rested, and In Loving Memory proved to be a great substitute - with the crowd often taking over from Kennedy to sing the poignant song. It was another highlight of the night, and a stark contrast in tone to the epic Blackbird which followed. The title track of the band's second album is another ever-present song, but it is one that will never be dropped. It has become the band's anthem, and it is always a great moment of any Alter Bridge show - especially the two-part guitar solo that features the talents of both Kennedy and Tremonti. Everything following Blackbird felt a bit like a victory lap. The slightly grungy Pawns & Kings followed, with its soaring chorus, before the similar Wouldn't You Rather allowed for some somewhat downtuned riffing and plenty of headbanging from the large crowd down on the venue's floor. Everything at this point was being lapped up by the crowd - and the band ended the main set with two big classics: the pseudo-metal of Isolation and the favourite of WWE fans everywhere Metalingus. The latter allowed for the rhythm section of Brian Marshall (bass guitar) and Scott Phillips (drums) a bit of time in the spotlight during the song's rumbling intro. The old-school favourite brought the main set to a powerful close, and the crowd where left wanting more. There was time for a couple more, though, and the two-song encore contained two real crowd favourites. The simple, anthemic hard rock of Rise Today had everyone around me singing along  - but the real highlight of this closing section for me was the epic Open Your Eyes. The song is a big favourite for a reason, and it featured one last sing-a-long conducted by Kennedy as a great set from one of the world's best current hard rock acts came to a close. The setlist was:

Silver Tongue

Addicted to Pain

Ghost of Days Gone By

Before Tomorrow Comes

This Is War

Shed My Skin

Burn It Down

Cry of Achilles

In Loving Memory

Blackbird

Pawns & Kings

Wouldn't You Rather

Isolation

Metalingus

-

Rise Today

Open Your Eyes

The other thing to note about this Alter Bridge show in London was how clear the sound was throughout. Sometimes arena shows can suffer from echoey sound, but Alter Bridge sounded loud and proud throughout - with Kennedy's vocals cutting through the mix and the guitar riffing sounding huge. It helped the night to be as good as it was, and the band's performance throughout their classy set made it a great night all-round. Alter Bridge are always worth seeing, and I am sure that I will be in attendance again next time the band tour the UK.

Avantasia's 'A Paranormal Evening with the Moonflower Society' - Album Review

Quite a few times on this blog I have stated that Avantasia's mastermind, songwriter, and principal singer Tobias Sammet is one of the most consistent and prolific songwriters in metal today. During much of the 2010s, when both Avantasia and Sammet's 'traditional band' Edguy co-existed together, a new album from Sammet was never too far away. In my opinion, Sammet's run from 2008, which included Edguy's hard rocking Tinnitus Sanctus and Avantasia's third opus The Scarecrow, to Avantasia's 2016 release Ghostlights (which I reviewed here), is one of the genre's most impressive. That nine year period saw the release of three Edguy albums and five from Avantasia - and there was very little genuine filler on any of them in my opinion. As great as this run of albums was, such a hectic schedule was clearly not sustainable long-term - and since Ghostlights Sammet had, until October, only released one further album: Avantasia's eighth album Moonglow (which I reviewed here). With Edguy now seemingly a thing of the past, at least for now, it seems that Sammet wants to fully concentrate on the epic rock operas of Avantasia - but those eight albums in nine years had clearly taken their toll. For me, Moonglow was the first Sammet-related release, at least for a long time, that was something of a disappointment. It is certainly not a terrible album, but after the excellent Ghostlights, which was my favourite album of 2016, and Edguy's apparent swansong, 2014's Space Police: Defenders of the Crown (which I reviewed here), Moonglow fell somewhat flat. All of the usual ingredients and some excellent guest singers were present, but for me it felt somewhat uninspired and it is not an album that I have revisited often since 2019. It was probably wise that Sammet took a bit of a break before starting on a new album, then, but it was inevitable that he would write some more over-the-top power metal at some point -  and, true to form, Avantasia's ninth album was released back in October. With the verbose title A Paranormal Evening with the Moonflower Society, it would make sense to assume that Sammet's latest platter was his most expansive and over-the-top yet, but actually the strangely-titled album is probably Avantasia's most concise release - clocking in a relatively modest 54 minutes and including a handful of songs shorter than four minutes in length. Sound-wise, though, A Paranormal Evening with the Moonflower Society is very much classic Sammet. His usual symphonic power metal style is present and correct here, although the snappiness of the album is certainly welcome. Nothing here outstays its welcome, and the album feels more fresh and vibrant as a result - despite the overall formula remaining. Helping Sammet here are many familiar Avantasia alumni, including producer and guitarist Sascha Paeth, Edguy's drummer Felix Bohnke, and the keyboard talents of Michael 'Miro' Rodenberg. A host of familiar singers including Michael Kiske (Helloween; Place Vendrome; Unisonic), Bob Catley (Magnum; Hard Rain), and Jørn Lande (The Snakes; Ark; Beyond Twilight; Masterplan) add their impressive talents to the songs here - with a couple of new faces in Ralf Scheepers (Gamma Ray; Primal Fear) and Floor Jansen (After Forever; ReVamp; Nightwish) joining the fray, too.

Despite the host of guest singers featured throughout the album, A Paranormal Evening with the Moonflower Society opens with the spotlight, rightly, shone on Sammet. He is the sole singer on the opening cut Welcome to the Shadows, and he even performs the song's keyboard solo. In fact he handles most of the album's keyboards, with Miro guesting on two songs, and some of the bass playing - with Paeth playing much of the bass throughout. Welcome to the Shadows, though, is classic Sammet - but there is also a moodiness to the piece. It opens slowly, with some twinkling piano melodies, which Sammet soon starts to croon over - his trebly voice sounding as engaging as ever. The drama builds slowly, with some gothic organ soon joining the fray, but soon Bohnke's drum flourish heralds the entrance of the song's chorus - which is predictably massive. Pretty much every song here has an enormous chorus, which has become Sammet's trademark at this point - and when the symphonic chorus kicks in the classic Avantasia sound is fully established. I like how the song returns to its murkier overall feel for the verses, though. It would have been easy for Sammet to go all out from the off, but I like how Welcome to the Shadows creeps along - with moments of pure bombastic giving the listener a kick. The slow-burning keyboard solo, in place of a more traditional guitar solo, suits this mood, too, and the song helps to add to the overall freshness of the album - despite many of Sammet's classic hallmarks still being present. The Wicked Rule the Night kicks the album into the next gear, though, and Scheepers joins Sammet for the fast-paced power metal anthem. This song introduces Paeth's guitar playing in a big way - with a hypnotic opening melody building towards a melodic guitar solo, which soon gives way to Scheeper's screeching vocals. The verses are heavier than is typical for Avantasia, with Bohnke's relentless double bass drumming recalling Primal Fear's no-nonsense style, and Scheepers really shines - his ageless, gruff voice sounding as good as ever here. Sammet does not get as much time in the spotlight this time, but he starts to dominate more as the chorus approaches - which is still heavy, but it is grander sounding, with strong symphonics and Sammet's excellent vocal melodies. Another guitar solo allows Paeth to let rip a little, with some shredded melodies, before a final reprise of the stirring chorus brings the song to a close.

Kill the Pain Away then takes more of a symphonic path - which is fitting since this is where Jansen is utilised. Sammet starts the song vocally, the piece soon turns into a duet - with Jansen generally making use of her powerful lower range during the crunchy verses - before she really lets rip during the bombastic chorus. Sammet knows how to write to bring the best out of his guests. Just like the previous song's verses had a Primal Fear vibe, there is some Nightwish to be heard during Kill the Pain Away's chorus - with strong symphonics and a choral backing to allow Jansen's big vocal hooks to shine. It is great seeing a female singer really letting rip on an Avantasia song, too, as Sammet has a habit of using them pretty exclusively on ballads - and Kill the Pain Away brings the best out of Jansen thanks to its pace and bombast. It would not be an Avantasia album without a fast-paced old-school power metal song featuring Kiske, and with The Inmost Light Sammet has once again mined at the seam of Keeper of the Seven Keys to put together another speedy, yet highly melodic, song that brings the best out of Kiske's evergreen voice. The song never really lets up pace-wise, and it opens with another shredded Paeth solo, but there is a bit of a lighter touch taken throughout. Sammet's keyboards are much more prominent here, and the guitars are generally much more rhythmic - owing to the production style often used on the early classics of the power metal genre. There is still plenty of guitar firepower, though, including a great back-and-forth between Paeth and regular Avantasia collaborator Oliver Hartmann (At Vance), but the focus is very much on the vocals this time - with Kiske elevating the chorus with his insanely smooth delivery. Misplaced Among the Angels then slows the pace and goes for more of a ballad-esque approach. Driven by Miro's piano, the piece opens slowly, with Sammet crooning against his delicate playing, but it builds as it moves along - with the chorus featuring a heavier arrangement. The song's chorus is one of the album's most symphonic moments, and Sammet sounds great against the dancing string backing - and it only sounds better during later reprisals with Jansen adding some harmonies (she did end up on the ballad after all). Jansen does handle the second verse, too, but generally this is Sammet's song - but the combination of their voices helps the latter choruses to really shine, and the song is really memorable as a result.

I Tame the Storm then returns to a much heavier territory, but the opening guitar lead is very hooky - and there is a real classic rock strut throughout the piece, as both Sammet and vocal powerhouse Lande work their magic. Bohnke's drums are very groove-based here, and there is less of the speed that has featured elsewhere. This allows the guitar riffing to sound meatier, which suits Lande's later vocals - but early on Sammet dominates. The chorus gets more of a symphonic treatment, allowing the hooks to shine, but the highlight of the song for me is Lande's vocal performance. The man is a force of nature, and he sounds excellent as always throughout the second verse and chorus - which leads into a great, aching solo from Paeth. Lande, like Kiske, is essentially an Avantasia mainstay at this point, and I always look forward to hearing him and Sammet battling it out vocally - as their two voices work well together. Paper Plane introduces another fairly regular collaborator in Ronnie Atkins (Pretty Maids; Nordic Union). The song opens slowly, with pulsing synths and subtle strings, which Sammet sings over in a more wistful way than usual. This is a song that does not really ever explode into something as heavy as much of the rest of the album - with more of a laid back AOR sound present throughout. I would have expected Akins to sing something tougher, but I like how he has been used here. His voice has a real richness to it when he sings something slower-paced, and that is evident throughout the song's second verse - and during the choruses where he and Sammet harmonise well together. It is a song which has grown on me over repeated listens to the album, as it is a bit different from Avantasia's usual style. It works well, though, adding something a bit more easy-going to the generally heavy album - and showcases a different side of Atkins' talents. Another genuine part of the Avantasia furniture of Catley. Sammet's love of Magnum is well-documented, and I always look forward to hearing Catley's contributions to each Avantasia album - and The Moonflower Society is another great collaboration between the two. I like how the song is generally sung as a true duet, too, rather than each singer taking a portion of the track. The verses tend to be dominated by one or the other, but the choruses feature lots of back and forth - with Catley's aged voice still sounding powerful and melodic. Catley has often been used on ballads or more sweeping Avantasia tracks in the past, so hearing him on a full-blown heavy rocker is great. The chorus is one of the album's best, with the aforementioned vocal interplay being a big reason why, and instead of a guitar solo the song instead features a bombastic orchestral instrumental section before one final chorus cements the song as one of the album's best cuts - and it reinforces my belief that if Catley is to do another solo album then Sammet should write and produce it.

Rhyme and Reason maintains a similar pace, but does change the overall arrangement as it introduces another of Sammet's recent collaborators Eric Martin (Mr. Big). The enigmatic singer has always been a strange choice for Avantasia on paper, but his bluesy tones work surprisingly well - and the bombast tends to be stripped away during his parts, and builds back up when Sammet takes over. Martin allows for a different vibe to be established, then, and he adds some warmth to the track - which contrasts nicely against Sammet's usual bombast. I generally prefer Avantasia when they are going full-tilt, but Martin allows for a more organic edge tobe added to the album - and Rhyme and Reason is fun as a result. Scars features the vocal talents of Geoff Tate (Queensrÿche; Operation: Mindcrime; Sweet Oblivion), another of Sammet's recent Avantasia helpers. Like his previous songs with the group, Scars is quite atmospheric and moody - which allows the rich tones of Tate's aged voice to shine. There is little of the histrionics that he made his name with, but when Tate croons in 2022 he sounds powerful. As such, his parts here are very much the counter to Sammet's bombast - and he still knows how to inject some emotion into his delivery. Tate can still deliver when he needs to, and the swirling atmospherics of the piece are brought to life by this sultry tones and rich delivery. The album then comes to a close with Arabesque, the sole lengthy track here - with Kiske and Lande joining Sammet throughout. Given the song's title, there are lots of Middle Eastern melodies throughout parts of the track - with Miro's swirling keyboards creating a strong atmosphere. The orchestrations ensure that the song sounds huge, but it is not always as bombastic as might be expected. Like parts of the album's opening, there is a creeping atmosphere throughout - which Miro's keyboards enforce. The vocal performances also do this, as there is generally a moodiness to the way that much of the song is sung - which then contrasts nicely with the more bombastic sections when Sammet's usual symphonic power metal does kick in. As such, the song is very varied - but there is little time for any real instrumental prowess, despite Paeth including a folky guitar solo towards the end of the piece. The track is very musical theatre in its delivery, then, but this works well given Avantasia's overall style - and the varied melodic structure brings the album to a dramatic close. Whilst this album may not reach the heights of some of the real highs of Avantasia's past, for me it is a big improvement over the weaker Moonglow and I think that Sammet has freshened up his approach here whilst still maintaining Avantasia's core sound. This is an album that is easy to listen to over and over, and the focus on melody throughout makes pretty much every song stick in the brain. There is a lot to love here, and fans of Sammet's writing style will find plenty to enjoy throughout the album's 11 songs - which showcase a surprising diversity despite a core sound being maintained.

The album was released on 21st October 2022 via Nuclear Blast Records. Below is the band's promotional video for The Moonflower Society.