Reckless Love's 'Turborider' - Album Review

It does not seem like that long ago when a new release from a Scandinavian hair metal revival act was never too far away. During the late 2000s and early 2010s, this revival was in full swing - with most of the exciting bands recreating the famed Sunset Strip sound coming from either Finland or Sweden. It came at the perfect time for me. I had recently started to get into bands like Mötley Crüe and Poison, when a whole new scene really kicked off. Hair metal was always popular here in the UK, so a number of these Scandinavian bands made the effort to regularly tour here - and one of the standard bearers of the scene who often frequented the UK were Finland's Reckless Love. Whilst many of the newer hair metal bands emphasised the grittier end of the scene in both looks and sound, Reckless Love really doubled down on the poppier side and feelgood side of the genre. The band's self-titled debut album from 2010 is still, for me, one of the best hair metal albums in my catalogue - and that includes releases from all of the genre's classic bands. All of the songs on Reckless Love were really well crafted, and were a great mix of brazen hair metal riffing and soaring pop rock. The balance between the two was finely struck, and the album is probably a big reason why Reckless Love are still well liked. In my view, though, the band have never topped it. 2011's Animal Attraction came close, and probably includes a handful of the band's best tunes, but for me 2013's Spirit (which I reviewed here) was a big step down in quality. The standout tracks are still very enjoyable, but overall the album lacked the quality of the band's first two - and the drop off was noticeable. 2016's InVader (which I also reviewed here) was much better, however. I was worried that they might have run out of ideas, but I listened to InVader a lot in 2016 - and the band were excellent when I saw them in Wolverhampton that same year. It was an album that showcased that the band wanted to go in a bit of a different direction, though. It was still very much a hair metal album, but the balance was shifted significantly in the favour of a much poppier sound. Their were songs on InVader that barely qualified as rock at all, but I still found myself loving the album. The sounded suited Reckless Love, and I wondered if this was the direction that the band would take going forward. It would take us six years to find out, but when Reckless Love's fifth album Turborider was released last month it was very clear that I was right. Turborider takes the pop sound of InVader and turns it up to 11 - so much so that I am not sure that it can even be called a hair metal album. There are certainly moments of it, but on the whole Turborider is just a great pop album - which has shades of pop from both the 1980s and the present day. If the name Reckless Love was not on the album cover then I would have probably never listened to it, but I have been really enjoying Turborider despite its unashamed pop leanings. I feel like the band have been working towards this sound for a while, though, so it should not really come as much as a surprise - although anyone going into this album expecting to hear something like Reckless Love will be disappointed.

Despite the band's line-up remaining the same from their previous albums, there has been a change of producer this time - with Joonas Synthinen (Santa Cruz) taking the reins, as well as co-writing the majority of the songs with frontman Olli Herman and guitarist Pepe. As this is essentially a pop album, the dominant sounds throughout are Herman's voice and walls of synths. Pepe's guitar is still in the mix, however, and there are moments that sound like the Reckless Love of old - especially when he decided to solo. I would be surprised if drummer Hessu Maxx was ever invited to the studio to contribute to the album at all though - as the vast majority (if not all) of the drums here sound like they have been programmed. This fits with the overall vibe of the album, but it does add to the overall synthetic sound present here. The songwriting is often typical of Reckless Love's past, however. This is apparent from the off, and the title track starts the album in fine fashion. It is one of the hardest rocking pieces here, and it sounds like a bit of a bridge between old and new. A dancing synth line opens the song, before Pepe soon launches into a strident riff - which Herman screams over the top of. As if to remind everyone that he can play, Pepe lays down a shredded solo early on - before basically everything drops out to leave Herman to sing the verses against a pulsing synth backdrop. The song is one is grows in stature as it moves along, though. Pepe's riffs occasionally return to add some weight, whilst a lengthy pre-chorus adds effects-heavy vocal lines into the mix. The song's chorus is a winner too, and it takes on a much heavier vibe - and actually recalls some of the Reckless Love songs of old. It has a great vocal hook, and is probably one of the album's most instantly memorable moments. Another excellent guitar solo is the icing on the cake, and the song is an album highlight as a result. Eyes of a Maniac is much more overtly pop, but the song is a real earworm that is sure to stick in the brain after only a couple of listens. It is relatively low key arrangement-wise, with pulsing bass and synths accompanying Herman during a very modern-sounding verse - whilst clean guitar chords add depth. The chorus certainly rocks things up somewhat, as Pepe switches to a more distorted sound to add plenty of crunch. Again, the band's old sound is somewhat referenced here, but the poppy melodies still dominate. The song is very typical of the rest of the album, but still instantly sounds like Reckless Love - despite the shift in tone towards something much poppier. Outrun is similar, but it is much more upbeat and there is certainly a stronger hair metal vibe throughout. It sounds like something that could have appeared on Animal Attraction - although it would have likely been more guitar-heavy had it been released back in 2011. That being said, though, the song is still pretty guitar-focused. Pepe's simple riffs are ever-present throughout, but the synths still just about dominate sound-wise. There are plenty of 1980s-esque vibes this time too, as well as some great smooth guitar leads to close the song out in style.

Kids of the Arcade is similarly upbeat, but the guitars are toned down this time - at least during the early portions of the verses. The 1980s vibes are retained in a big way however, and the synths throughout have more of a proper 'keyboard' feel this time in contrast to the programming that tends to dominate the album. There are lots of synth leads here that could have come from a Survivor album, and when Pepe's guitar does kick in it helps to add a slightly heavier edge with his sharp tone. The song is very bouncy, and it is clearly made for being played live. The chorus will certainly go down well live with its upbeat, stabbing synths; whilst the guitar solo section will be a showcase for Pepe - with the added samples from Mortal Kombat being a nice touch. Up next is a cover of the classic Ozzy Osbourne track Bark at the Moon. It has always been one of my favourite Osbourne tracks, and it contains a number of great riffs from the great Jake E. Lee. Reckless Love's cover here is relatively faithful, but they have added a disco-esque beat throughout - as well as plenty of synths. The additions to the song work well, however, and a great balance is struck between honouring the original song and adapting it to fit in with the album's core sound. The grooves and synths are a nice addition, but the song's core elements remain untouched - including the riff that kicks in after a minute or so which is one of my favourite riffs of all time. This is easily the most guitar-focused song of the album unsurprisingly, and Pepe really shows off here. All of the riffs are nailed, and the multiple lengthy guitar solos are a great mix of melody and speed. I am not sure I needed to hear Reckless Love covering Bark at the Moon, but it works surprisingly well given the synthy update - and it is a fun addition to the album. Following the short instrumental piece Prelude (Flight of the Cobra), which is essentially a Pepe guitar workout, Like a Cobra returns to the album's core sound in a big way. Pulsing synths and punchy programmed drums back Herman throughout the verses, which he sings in a relatively low key manner, but the guitar does join the fray on occasion to add depth. It joins in full-time after the first chorus, too, and the song feels a little heavier from this point on. Overall the song is quite similar to Eyes of a Maniac, but perhaps heavier. There is certainly more of a guitar presence, including a great guitar solo that again brings out the best of Pepe, and the chorus is another winner. For the Love of Good Times is similar again, but there is a real smoothness to the track that is present from the off with Pepe's simple, yet soaring, guitar leads. There is something of an AOR vibe throughout the song, which is thanks to some synths that are a bit less busy than usual. This allows the song to feel a little more atmospheric, and focus more on Herman's vocal hooks. Even the chorus maintains this smoothness, with Pepe's gentle guitar backing, but there is still a great AOR groove throughout - which helps the vocal hooks during the chorus to be hugely infectious.

'89 Sparkle reminds me a little of Coconuts from Animal Attraction, as it has a similar overall vibe - with a bit of a back beat and a slight Caribbean edge. Jalle Verne's bass drives everything, and some of his basslines here are extremely funky. It is really his only time to feature properly in the spotlight throughout the album, but he makes it count with some of the best bass playing on any Reckless Love song to date. His playing continues at this level throughout the song, and Pepe's guitar is generally pushed into the background - adding choppy rhythms and the occasional melody. He does contribute another great guitar solo, though, which is very 1980s in tone - which is something of a contrast to the funky and somewhat calypso vibes of the rest of the track. Future Lover Boy is more typical of Reckless Love's core sound, however, and again it sounds like a track that could have appeared on Animal Attraction. The guitars are toned down compared to that album, but the overall hair metal vibes are much greater this time. It is an upbeat piece, and Herman's voice sounds a little less poppy here - at least during the verses. He sounds a little grittier during them, but the poppy overtones return for the choruses - which are extremely catchy. Picking a favourite chorus here is hard, as clearly a lot of effort has gone into making them very memorable, but this is another instantly-catchy one that will stick in the brain thanks to its upbeat pulsing beats and Herman's knack for a hook. The album then comes to a close with Prodigal Sons, which goes for a slightly heavier sound overall. Turborider opened the album with in relatively guitar-heavy fashion, and Prodigal Sons is somewhat similar - which bookends the album nicely. It is perhaps not as heavy, but there is something anthemic about the piece that makes it work really well as an album closer. There are quite a few different memorable guitar riffs throughout the song, however. It does feel like more of a showcase piece for Pepe, and there are lots of little fills here that allow him a chance to indulge in his melodic style. Throw in a stomping chorus and another busy guitar solo, too, and the song is another strong cut. It ends the album on a high, and shows a little of the band's older selves in and amongst the pop of much of the rest of the album. Despite the fact that Turborider barely even qualifies as a rock album at times, let alone a hair metal one, I have still been really enjoying it over the past month or so. Reckless Love have always been very poppy, and I think that it was wise of them to fully embrace this side of their sound. The hair metal revival is pretty much over now, but Reckless Love have found a way to reinvent themselves whilst still retaining enough of what made them popular in the first place. They will probably never make an album like Reckless Love again, but I would be happy hearing more in the vein of Turborider going forward. It is probably my favourite album that the band have done since Animal Attraction, and that takes into account the fact that I like InVader quite a lot too. Some will hate Turborider, but I love it - and I can see myself spinning it an awful lot this year.

The album was released on 25th March 2022 via AFM Records. Below is the band's promotional video for Turborider.

FM's 'Thirteen' - Album Review

Despite AOR never really being a big deal here in the UK, London's FM have been churning out cracking albums since forming back in 1984. If it is agreed that Foreigner do not truly count as being a UK-based band due to many of its founding and subsequent members being American, then FM are probably the best-known of the UK-based AOR acts - and they have become a reliable source of quality over the past few years. The band probably had an opportunity to break through into the mainstream in the late 1980s, but for whatever reason big success eluded them. In truth, the band members were all probably born in the wrong country. FM's early singles should have been staples on American rock radio as they contained everything that was popular at the time: big hooks, boisterous synths, and a smooth production. The band could have been big stars with the right promotion, but sadly greater success never came. Despite this, FM have still managed to have a good career, and they are one of those bands that you can see live quite regularly here in the UK without making too much of an effort to do so. They are also very prolific, and seem to never run out of new material. The band's first two albums, 1986's Indiscreet and 1989's Tough It Out, will always be my favourites, but all of the band's recent releases have been great too. The modern FM sound is perhaps somewhat bluesier than that which is found on their early albums, and there is very much a Brian Howe-era Bad Company vibe to a lot of the band's recent releases, but recent FM still very much sounds like FM. That being said, 2020's Synchronized (which I reviewed here) seemed to focus more on the band's AOR roots than the few albums that came before it. I am not sure exactly what prompted this slight change in sound, but it worked for me. Synchronized soon became my favourite of FM's recent albums, and it is one that I have continued to listen to pretty regularly. I was not expecting another FM album so soon, despite their prolific nature, but it seems that the band used the COVID-19 lockdowns productively. This is because, last month, the band released their thirteenth album - which is unoriginally titled Thirteen. The band probably could have come up with a better title, as there are a few albums out there with the same name, but the music contained within is once again up to FM's usual high standard. It is perhaps the most diverse album sound-wise that FM have written, however, at least in recent years. The band's two core sounds, smooth AOR and bluesy melodic rock, are still very much here, but there is a lot more groove throughout the album than is common - and there are a handful of tracks that sound quite different to much of the band's previous work.

It is one of these different-sounding songs that starts things off. Rather than starting with a bang, Thirteen gets underway in a rather smooth, synth-based manner. Shaking the Tree is not a riff-heavy rocker, but instead opens with busy synths and a propelling bassline from Mervyn Goldsworthy. Despite FM often employing a lot of synths and keyboards, the synth sounds used throughout Shaking the Tree sound quite different from the norm. They are very poppy, and somewhat more modern sounding than is typical for FM's 1980s-centric sound. A few drum loops and soundscapes add to this feeling, but as soon as Steve Overland starts to sing the song immediately sounds like FM. Overland's voice is one of the best-preserved of his generation, and he sounds as good as ever throughout this album. His performance ensures that Shaking the Tree fits in with the rest of the FM canon, even if the synth route taken throughout is somewhat experimental. The guitars are generally kept to a minimum here, with the bass and drums propelling the synths, but a lengthy guitar solo from Jim Kirkpatrick introduces the instrument properly to the album. I am not sure that Shaking the Tree was the wisest song to open the album with due to its off-kilter sound, but I like the experimentation throughout - which takes the established FM sound in new directions. Waiting on Love, the album's lead single, is very much classic FM, however. Everything that you would expect to hear in one of the band's songs returns here, from Kirkpatrick's anthemic opening chord progression and Overland's first 'Yeah!' to a soaring chorus that sticks in the brain after only a handful of listens. The song is very typical of the sound forged on 2020's Synchronized. The choruses are backed by a keyboard melody that could have easily sat on one of the band's 1980s releases, whilst layers of harmony vocals add depth throughout to create the huge sound that the band are known for. It is a feelgood song for the upcoming summer, and I would not be surprised to see it become a live favourite going forward. Talk is Cheap toughens things up somewhat, and harks back to 2018's Atomic Generation (which I reviewed here) with a more strident opening guitar riff and an overall more bluesy approach. Kirkpatrick's guitar takes the lead here, although Jem Davis' piano helps to bulk out the verses. The piano helps to add to the song's overall bluesy vibe, and Overland's voice takes on a slightly more soulful tone here. The chorus loses some of this edge, however, and instead goes for a smoother approach with some synth stabs and a chiming guitar melody. Another single in the form of Turn This Car Around follows, and the song is an upbeat, anthemic track that showcases everything that is great about the modern FM sound. There is a great classic rock strut throughout thanks to Kirkpatrick's excellent guitar riffing, whilst Davis adds some class with his driving piano lines. Despite the song's crunch and upbeat atmosphere, the track is still extremely melodic. Roy Bittan-esque piano melodies often inject memorable hooks, and of course the voice of Overland is constantly oozing out of the speakers. The song's chorus is one of the album's biggest hooks, and the song is another winner - which is topped by a lengthy guitar solo.

Love and War is much more organic in sound than anything else on the album up to this point. The song opens with acoustic guitar and Overland's bluesy vocals, before a big drum fill from Pete Jupp introduces Kirkpatrick's snarling guitar riff - which goes on to drive the rest of the song. The melodic sheen of the previous songs is largely absent here. Goldsworthy's bass is high in the mix to add some additional weight, whilst the keyboard sounds used throughout are generally quite retro-sounding. The choruses have a great organ backing, which sits nicely alongside Kirkpatrick's riffing, over which Overland delivers a powerful vocal that is perhaps a little more full-bodied than usual - with a little more grit than is usual for him. The song shows FM in something of a different light, but it works well to showcase the band's genuine hard rock credentials. Long Road Home is also somewhat more organic-sounding, but this is largely due to it being a ballad and generally more stripped-back sound-wise. Davis' piano drives the song's verses with its smouldering melodies, whilst acoustic guitar and a gentle drum pattern provide the perfect bed for Overland's crooning. As proved during the previous song, Overland can really rock out - but perhaps he excels the most when he is singing something that allows him to really dig deep emotionally. He shines during ballads as a result, and his performance throughout Long Road Home is a great mix of emotionally-charged and melodically smooth. He sounds as good here as he did on Indiscreet 36 years ago, which is an amazing achievement really. This song is all about his talents, too. The rest of the band do their bit, with Krikpatrick laying down another excellent guitar solo, but Overland's vocal performance is the main draw. Be Lucky ups the pace again, and is based around a bouncy guitar and piano riff that sets the tone for the rest of the song. Whilst not exactly funky, there is a certain groove throughout the song that gives it a distinct identity. The verses continue it on, albeit in a simpler style, as do the choruses - and the track has a certain danceable nature to them which is not typical of the FM sound. Goldsworthy's bass is once again high in the mix, which contributes to the big grooves, and the way that he and Jupp lock together is a big part of what makes the song enjoyable. There is still a bit of bluesiness throughout thanks to the guitar tone and solo, but overall the song another strong feelgood rocker. Every Man Needs a Woman very much accords with the Bad Company comparisons made earlier. There is plenty of great bluesy riffing from Kirkpatrick throughout, as well as an excellent soaring guitar motif during the song's intro, whilst Davis switches back and forth between organ washes and twinkling keyboard melodies. Despite a few synth sounds, in general this is another song that sounds relatively organic. It is not as rustic as Love and War, as there are layers of harmony vocals and a focus on some more AOR-esque moments, but parts of the track certainly feel quite retro. Perhaps the most surprising section though is the instrumental breakdown and guitar solo, which sounds very much like Extreme. I was certainly not expecting to ever compare FM to Extreme, but the riffing style and Kirkpatrick's solo seem very inspired by Nuno Bettencourt here - which is never a bad thing.

Just Got Started returns somewhat to the synth-heavy sound of the album's opening cut, but this time with much more of a traditional rock focus. There is a real groove to the song thanks to its big synths, but it is the bass that does much of the propelling this time - and there are moments that see Davis once again return to his organ for a roaring sound. As with Be Lucky, too, there is a funkiness to the piece that is not typical of FM's sound. The grooves here are extremely infectious, and I like the way that the synth-heavy sound of Shaking the Tree has been tempered a bit here. The balance between the synths and a hard rocking sound has been struck more successfully this time in my opinion, which allows the song to rock whilst still sounding smooth and full of electronic goodness. There is much more of a guitar presence throughout, too, and the bluesiness of the riffing throughout is certainly welcome. Fight Fire With Fire is more of an overt AOR track. Due to the variety of sounds found throughout the album, it is probably the first true AOR track since Turn This Car Around - and much of the organic sounds and funky beats of the previous few numbers is absent. There is still some propelling bass from Goldsworthy, but on the whole the track is one that puts smooth melodies above all else. Overland's vocal lines sound as effortless as ever, and the washings of keyboards and harmony vocals are rarely punctuated by anything else. The occasional synth melody adds some additional hooks, whilst the guitar briefly leaps from the background towards the end to contribute a short, melodic solo. It is a track that seems to focus on concise melodies in a big way, with pop hooks taking precedence over everything else - which is no bad thing as the result is a catchy song that easily sticks in the brain. The album then comes to a close with Be True to Yourself, which feels much tougher after the smoothness of the previous song. Kirkpatrick's guitar riffing throughout is quite weighty, but the song is not exactly heavy - as the riffing has a stop-start quality to it that once again creates a strong groove. Away from the guitars, the keyboards again take on quite a prominent role. Organ and electric piano melodies fill the gaps between the guitar riffs, whilst a big soulful chorus provides a final chance to sing along with the band. Due to the groove and the stop-start riffing, the song has a stomping vibe to it - which makes it another memorable track. It works well as an album closer as a result, as it has plenty of weight and melody that helps it to leave an impression when the album comes to an end. It also highlights the overall diversity that is on display throughout. Thirteen is certainly an album that does not stick to one sound for too long - but everything contained within still very much feels like FM. I like that the band have tried a few new things here, whilst other songs stick to the classic templates that have been so successful for them in the past. The album sounds very fresh thanks to this diversity, and it is another strong release from the band in a long line of enjoyable albums.

The album was released on 18th March 2022 via Frontiers Records. Below is the band's promotional video for Turn This Car Around.

Dream Theater - London Review

Due to the COVID-19 pandemic, Dream Theater at the Eventim Apollo was one of only six shows that I managed to attend in 2020. The band played two nights at the Apollo, which were eventually immortalised via the Distant Memories: Live in London release, which ended up being some of the final shows that the band played prior to the worldwide lockdowns. It was my fourth time seeing the band live, and it was as good as ever. Each Dream Theater show that I have seen has been special for different reasons - largely as the band tend to make an effort to significantly shake up the setlist between each tour. The 2020 Apollo show celebrated both the band's excellent 2019 release Distance Over Time and 1999's seminal Metropolis - Part 2: Scenes from a Memory - with a complete performance of the latter included. Scenes from a Memory is generally regarded as one of the band's best albums, so seeing in performed in full was a real treat. The packed out Apollo clearly agreed, and the atmosphere was perfectly captured on the resulting live release. Sadly, I think at least one planned leg of the tour fell to the pandemic. If I remember correctly, most of the Distance Over Time touring cycle had taken place by the time the European leg came to an end with London and Glasgow - but I think that some parts of the world sadly missed out on what was an excellent tour. Dream Theater used the pandemic downtime wisely, however, and last year released another excellent album in the form of A View from the Top of the World. A View From the Top of the World is easily the band's heaviest and most overtly progressive album for a while, and unsurprisingly it has been very well received by the fanbase. The album's lead single The Alien recently won a Grammy Award, too, bringing the band a tiny amount of more mainstream attention. To the delight of the band's fans, too, the pandemic has now calmed down to the extent that international touring is once again possible. It has also been great to start visiting arenas again, as I did yesterday evening when Dream Theater returned to London. Due to their strong performances and varied setlists, Dream Theater are a band that I try and catch on every tour. Despite the pandemic, the aforementioned show at the Eventim Apollo was only just over two years ago - but the gap felt longer due to the circumstances. Clearly buoyed by two nights at the Apollo, this time the band decided to return to the Wembley Arena - a venue which they last played in 2014. It is a venue that has always been a little too big for Dream Theater, but it can be reconfigured in a number of ways. Whilst last night's show was far from a sell out, the venue was laid out in such a way to make it feel full - and, in my opinion, much more successfully than some of the other layouts that I have seen there before.

Unlike the band's recent tours, the touring cycle for A View from the Top of the World has taken on a more traditional format - with the band foregoing their recent 'Evening With...' shows and instead bringing a support band along. The support act for the three UK shows on the band's European run was TesseracT, a five-piece UK-based progressive/tech metal act who I have seen a number of times live. I last saw the band in October last year opening up for Bullet for My Valentine, and I think that it is fair to say that they left a crowd full of lovers of metalcore largely confused. Dream Theater's audience was certainly more open to TesseracT's rhythmic, yet atmospheric, sound, however, and the band cruised through 40 minutes or so of music to a strong reception. Wisely, the band played a set that was very much focused around the more atmospheric and melodic end of their sound - with many of the heavier staples left out. There were still plenty of big riffs throughout, however, but they were certainly less prominent than usual. Chiming guitar arpeggios and synth backdrops were generally the order of the day, but when Acle Kahney (guitar) did launch into one of his trademark polyrhythmic riffs they made a big impact. Tech metal rarely does anything for me, but what sets TesseracT apart from the crowd is frontman Daniel Tompkins. The guy has a serious voice, and he is a big reason why I enjoy TesseracT. They will never be a favourite band of mine, but they have a very distinct sound and I always enjoy seeing them live - largely due to Tompkins' stagecraft and how ridiculously tight the band are. To pull of TesseracT's music the band need to be really in tune with each other, and they always manage to pull it off. They always have a great light show, too, and yesterday was no different. Their live sound mix was also very clear, and everything came together to allow TesseracT to put on a powerful show that would have certainly earnt them a few new fans - although I would not be surprised if there were already a few in attendance given the reaction that the band generally received throughout their time on stage.

Despite leaving the 'Evening With...' format behind, any concerns regarding being short changed would have been misplaced. Despite only featuring 10 songs during the evening, Dream Theater played for over two hours - and impressed the good-sized crowd with a handful of songs from A View from the Top of the World and a few others which had not been played live for a number of years. It also seems that the band really wanted to showcase some of their longer pieces. Most of the songs played were over 10 minutes long, and as such the evening was one of real virtuosity - with plenty of time for both John Petrucci (guitar/vocals) and Jordan Rudess (keyboards) to solo. All five band members shone, however, and the set was structured to allow everyone some time in the spotlight. The night opened with Grammy-winning The Alien, and the heavy track set the tone for what was to come. Given the general heaviness of the band's latest album, it was fitting that much of the material played was also similarly heavy. The Alien got things off to a great start, and found frontman James LaBrie in fine voice, before the clock was turned back to 1994 for an airing of 6:00. Mike Mangini (drums) opened the song with a barrage of drum fills, before the groovy song impressed the crowd thanks to a gritty LaBrie vocal and plenty of stabs of organ from Rudess. Despite having seen the band four times previously, all but two of the songs played were new to me in a live context. The first three songs were all live debuts for me, with the 8-string madness of Awaken the Master being an early highlight. The heavy track is a favourite from the new album, and it was great seeing the band really showcase their metal credentials during it. It contained some of the evening's best riffing, and it led perfectly into Endless Sacrifice - one of the few songs in the set to have some downtime. This respite only came during the verses, however, as the rest of the song is still pretty heavy. The verses allowed LaBrie some time in the spotlight, before the powerful choruses were one of the evening's main sing-a-long moments. The ending section of the song was perhaps the best, however, as it turned into a real instrumental showcase - with Rudess strapping on his keytar to join Petrucci and John Myung (bass guitar) at the front of the stage to shred.

Endless Sacrifice was another highlight, but in truth essentially everything played was one. The soaringly melodic Bridges in the Sky gave LaBrie a chance to really dig into a chorus, before two uncharacteristically shorter songs were played. Invisible Monster was probably the only song of the night that featured anything like a traditional arrangement, but the relatively straightforward track still went down well with the crowd. By this point, though, Dream Theater could do no wrong. The sound mix was very clear, even if LaBrie was occasionally a bit low in the mix, and the band seemed really fired up. Mangini was really going for it behind his uncharacteristically small drumkit, whilst Petrucci delivered a real masterclass in metal guitar. Rudess quietened things down briefly to delicately introduce About to Crash - part of the lengthy Six Degrees of Inner Turbulence suite which had not been featured live for a while. The song is generally quite piano driven, so his intro worked well, and the song later segued perfectly into the lengthy The Ministry of Lost Souls. The song from 2007's Systematic Chaos became another unexpected highlight. It has never been a song that I have paid a huge amount of attention to before, but it came across really well live. It was probably the closest thing to a ballad played all night, with the lengthy atmospheric verses really allowing LaBrie to shine. The song still rocks when it needs to, but it gave everyone a chance to somewhat catch their breath before the huge title track from the band's latest album brought the main set to a close. At over 20 minutes A View from the Top of the World was the longest song of the night, and it was another highlight. I have always enjoyed hearing the song as part of the album, but seeing it performed live made all of the sections really make sense. It kept the large crowd's attention during its entire duration, too, which is a testament to the band's compositional skills - and the band rightly received a huge cheer when they left the stage. There was time for one more, however, and the encore proved to probably be the overall highlight of the night for me. I have loved The Count of Tuscany for years, and hearing it live again was a real treat. LaBrie really dominated early on vocally, but the overall standout performer was Petrucci. His opening solo was excellent, and the ebow mid-section really filled the arena - before the symphonic closing section brought the crowd to its feet to give the band a standing ovation as they left the stage. The setlist was:

The Alien

6:00

Awaken the Master

Endless Sacrifice

Bridges in the Sky

Invisible Monster

Six Degrees of Inner Turbulence - Part II: About to Crash

The Ministry of Lost Souls

A View from the Top of the World

-

The Count of Tuscany

Dream Theater gigs are always special, and this one at Wembley Arena was no different. The band are on another level when it comes to technical ability, but they always pull it off live - which is why I keep coming back for more. I have been to longer Dream Theater shows, but last night was another extremely memorable night - which included a number of great songs which I saw the band play live for the first time. It was a great showcase of the band's heavier side, too, and after the more melodic previous tour it was good to see the band really rocking out this time.

Moon Halo's 'Together Again' - Album Review

York is famous for many things, with The Shambles and its fabulous Minster being just two of its landmarks, but for those of us into modern UK-based progressive rock it is also home to a number of our favourite musicians. Mostly Autumn is perhaps the best-known of the York-based bands, but there have been a number of others over the years. The York scene, for want of a better word, may not be the largest, but it is extremely creative - and revolves around a core of musicians who seem to constantly want to collaborate with each other in different configurations. One of the latest additions to the York scene is Moon Halo, a trio who debuted back in 2020 with their excellent first album Chroma (which I reviewed here). Formed by two members of Riversea and one member of Mostly Autumn, Moon Halo's sound is smooth and emotional-sounding - but is still packed with enough diversity and virtuosity to allow them fit nicely into the wider York scene. Fronted by Marc Atkinson, Moon Halo is closest in spirit to his output than anything else. Chroma felt like the natural extension to Riversea's previous albums, and the presence of Riversea bassist David Clements helped to cement this. The contributions of keyboard player Iain Jennings certainly helped to give Chroma more of an identity beyond Atkinson, however. Whilst the album brought little to mind of Jennings' work with Mostly Autumn, it certainly channelled his solos albums - particularly his 2017 release The House and some of the instrumental moments found on 2005's Breathing Space. As such, Chroma very much felt like the perfect combination of the talents of its two main writers - Atkinson and Jennings - with Clements holding everything together. It was unclear at the time whether Chroma would be a one-off effort, but last month the trio released their second album Together Again. Together Again was recorded slowly over the COVID-19 pandemic - starting its life in April 2020, with the finishing touches being applied in February 2022. As was the case on Chroma, too, Together Again features a number of guest musicians. Only three additional people contributed to Together Again, however, compared to the larger number that fleshed out Chroma - but all three are well-known to the York scene and also performed on the first album. Essentially all of the album's guitar work was handled by Martin Ledger (Stolen Earth), with the drums being played throughout by Alex Cromarty (Mostly Autumn; Halo Blind). Anne-Marie Helder (Karnataka; Panic Room; Mostly Autumn; Luna Rossa) sings backing vocals throughout the album, too, and her contributions to a few of the songs here are quite significant. She harmonises well with Atkinson and adds additional depth to the band's layered, emotional sound - which is filled with many different synths, Atkinson's warm vocals, and the odd soaring guitar moment from Ledger.

The album starts with one of its strongest songs in my opinion, the smooth yet hooky Light in the World. Together Again is rarely an album that goes for a big, bombastic sound, but Light in the World has a subtle grandness to it that introduces the album's sound nicely. The drum grooves throughout are shuffling and understated, whilst Jennings' synth beds create a dense soundscape. Atkinson always excels vocally when he is singing emotionally-charged material, and Light in the World certainly ticks that box - with an aching chorus motif that sticks in the brain after only a couple of listens. Ledger's U2-esque guitar subtleties enhance the chorus too, as do Jennings' gentle piano melodies and Helder's shimmering vocal harmonies. This is not an album that goes for poppy choruses, but Light in the World certainly has a pop edge despite the song's slower pace and overall downbeat vibe. The melodies soar as a result, though, as they stand out from the murk - and a great synth solo from Jennings adds some bright melodies towards the end of the piece. The album's title track follows, and it immediately takes on a bit of a different vibe thanks to a buzzing guitar line and a pulsing beat that backs Atkinson's early vocal lines. The song is certainly more upbeat than the opening cut, but there is still something smooth and low key about it. The drum grooves and programming have more energy to them, but this is restrained somewhat - which gives the song an interesting mix of synth-pop and smooth modern prog. Chroma had moments like this, as do Jennings' solo albums, but they work well in the context of the album. Ledger adds a great guitar solo towards the end of the piece too, which has a very David Gilmour-esque tone - with the solo section reminding me a little of Pink Floyd's Run Like Hell thanks to the backing grooves. Embrace This Life takes on a much more traditional modern prog feel, with Jennings' keyboards washing over everything whilst Ledger contributes a number of aching early guitar leads. The song is very typical of Atkinson's previous work, and it could have easily sat on one of Riversea's albums without sounding out of place. It is a relatively simple piece, but it allows Atkinson's voice to really shine whilst also giving plenty of space for Ledger to showcase his tasteful playing - particularly during the closing crescendo. If This is all There Is takes on a bit more of a rocking vibe, with a strong Clements bass presence early on - which is soon added to by Cromarty's snappy drum performance. Despite the punchier vibe throughout, the song is not exactly heavy. It certainly rocks more than anything else on the album so far, but the energy is still somewhat restrained. The bass and drums create a strong groove throughout, though, whilst Ledger's guitar lets big chords ring out to add depth. Atkinson's vocal melodies have a bit more bounce to them, too, and some hooks reminiscent of the opening track are utilised. The song reminds me somewhat of a more modern-sounding take on Dare's recent work. Atkinson's vocal approach is similar, and the atmosphere is not too far away - although Jennings' busy synth solo firmly grounds the piece in the realm of prog.

We've Still Got Time is similar, although the energy is tempered somewhat to allow the groove to subtly dominate. Atkinson and Jennings may well be the main forces behind Moon Halo, especially from a songwriting perspective, but Clements' bass playing is a big part of the band's sound. Most of the band's songs have a real groove to them, even the slower ones, and Clements is always at the centre of that. The partnership between him and Cromarty is a strong one, and the smooth We've Still Got Time benefits from their Doobie Brothers-esque shuffle - which forms the perfect bed for Jennings' soundscapes and a melodic Atkinson vocal. There are occasional bursts of guitar riffing and 'lead' keyboards, but generally this is a smooth, groove-based song with plenty of soul. Wasteland is interesting in the sense that is was largely written by Clements. He has not written for the band before, but Wasteland is a strong first effort - and it is one of my favourite cuts here. It certainly has a bit more of a rock/AOR vibe, with a strident guitar riff that acts as a main hook - whilst Jennings adds some old-school rock organ throughout. Helder's vocal contributions here are significant, and she dominates parts of the song with her strong performance - often singing in something of a call-and-response style with Atkinson. A lengthy guitar solo from Ledger pulls everything together, and the song feels like a bit of a throwback to 1980s melodic rock - which is never a bad thing. I would certainly like to hear more of Clements' songwriting on future Moon Halo albums, if there are to be any, as Wasteland is a very strong addition to Together Again. Reconnected immediately returns to something close to the album's core sound, and is a natural companion to Embrace This Life with its focus on warm vocal melodies and emotional guitar leads. It is a solo Atkinson composition, so is another track that could have easily sat on one of his older albums. It lacks some of the groove that generally permeates the album, but I like how it focuses on vocal melodies without too much else to distract the listener. There are stronger songs here - but as a simpler addition to the album it works nicely. About You & Me has something of a funky vibe throughout, but as is common this vibe is still very low key and smooth. It is a bit of a yacht rock song as a result - with Jennings' big piano melodies often cutting through the mix whilst Atkinson's vocal melodies have a Daryl Hall-esque quality to them at times. Helder's sultry backing vocals only add to the yacht rock vibes, and the smooth bass playing of Clements is worthy of a Steely Dan album thanks to its precision and feel. The song is an album highlight for me, and I would like to hear the band write more songs in this vein going forward. Stories to Tell pulls back on the funk of the previous song, and returns to something close to the album's core sound. Jennings' keyboards wash over everything, whilst Helder harmonises with Atkinson throughout essentially the whole song. This creates something of a haunting atmosphere, which is then backed up by the string patches that Jennings chose - as well as the chiming guitar arpeggios from Ledger. There is another strong Ledger guitar solo here too, which this time takes on more of a bluesy vibe - with a cutting tone and busy phrases.

Back to Normality ups the pace again a little, and the song is a good mix between atmospheric, more emotional, sections and poppier parts with more of a rhythm. The choruses are smooth, with Helder's harmony vocals and an emotionally-charged hook, whilst the verses are more upbeat. Cromarty's drum beats have a nice punch to them, and the keyboard work during the verses in particular has something of a pomp rock feel with its grander sounds. This pomp vibe is continued throughout a lengthy keyboard solo which soars in the context of the song; although it is perhaps the smooth chorus hook that sticks in the brain the longest - with Atkinson and Helder teaming up for a simple melody. It Was You generally strips the band's usual layered sound away and goes for something relatively sparse. A simple percussive loop forms the basis of the song, which Jennings then plays a whimsical piano melody atop of. The song does grow somewhat as it moves along, with some guitar melodies and more of a proper drum presence being added, but it never really strays that far from its simple beginnings. The melodies always hark back to Jennings' opening keyboard motifs, and Helder's sweet vocal contributions add to the overall floaty nature of the piece. Ledger's closing guitar solo is excellent, too, and it really captures the mood of the piece perfectly - with plenty of light melodies. The Sandman is Waiting takes on a bit of a darker tone, and the song itself is a bit more energetic - rocking a little more. It is certainly not a heavy track, but there is a bit more grit to it - with Jennings' pulsing string stabs and some screaming guitar leads from Ledger. It is a bit of a creepy track in places, but only in contrast to the rest of the album - and I like the atmosphere that the song creates. Some of the synth sounds and melodies throughout really enhance this vibe too, as do the sections that prominently feature Ledger's busy guitar playing - which is more effect-creating than melodic. It is a song that takes the album in a bit of a different direction, but it still has enough of the band's core hallmarks to feel at home. Life Goes On, the album's closing song, is another that takes things in a slightly different direction - but the core Moon Halo sound is still present. The song sounds more organic than is typical for the band, with a slight country-esque twang and the use of organ sounds rather than Jennings' usual synths. The song is still very smooth, however, and Atkinson's vocal melodies are very typical of the rest of the album. The song sounds like a bit of a throwback to the 1970s as a result of the more organic sound though, and there is very much an American feel here - which is something that is generally not present throughout the album. It is quite a jaunty piece, which works well considering that the song seeks to end the album on something of an upbeat vibe. It certainly feels like a song that is looking forward, as opposed to many of the reflective pieces heard earlier, and the album ends on a high as a result. Whilst I enjoyed Chroma two years ago, for me Together Again is a stronger album - and I really like how Atkinson and Jennings' songwriting has developed here. I hope that the band continue to work on new material going forward, as I would like to see this band and sound developed further - with some more songwriting contributions from Clements who also impressed here. This is an album that anyone into the York scene will appreciate, but anyone who likes smooth, atmospheric music with pop hooks will also find plenty to enjoy here.

The album was released on 14th March 2022 via Moonhalomusic. Below is the band's promotional video for album, featuring snippets of many of the album's songs.

Scarlet Rebels - Plymouth Review

I have made a similar point on this blog before, but if there has been a tangible benefit of the COVID-19 pandemic for the live music industry then the fact that more bands have undertaken lengthier UK tours over the past year is it. Although it seems that touring throughout Europe and America is now largely possible again, there has understandably been a focus on UK-based touring over the past year, particularly from UK-based bands. This has meant that even parts of the country which are more often than not left out of touring schedules (e.g. the South West) have hosted their share of concerts recently. I have probably been to more concerts in Plymouth and Exeter since last summer than I have since moving to Plymouth in 2016, and it has been great having the opportunities to see more bands locally. This will probably fizzle out again in time, but at the moment venues like The Junction in Plymouth are busy. I have been there a few times recently, but it had been a couple of months since my last visit when I walked up there last night to catch the Welsh rockers Scarlet Rebels on the tour for their latest album See Through Blue. The show was meant to take place last month, but it had to be postponed due to a positive COVID-19 test within the band. Luckily a replacement date was quickly sought, and the show took place just over three weeks after it was originally supposed to. Despite having been familiar with the name Scarlet Rebels for a while, it was the announcement of this gig that finally convinced me that I needed to check them out. There are so many new rock bands out there that it can often be hard to keep up, plus I have sometimes found that those that get most of the attention are the ones that I end up liking the least. I am not sure why this is the case, but I think that this view stems back to my teenage years when all the new rock bands that I liked were resolutely ignored by both the rock press and older rock fans. Thankfully this is no longer the case, and there seems to be more of a willingness from all to try new things, but I still find it to be the case that the most interesting bands get less attention - at least in my opinion. Scarlet Rebels are starting, now, to do quite well for themselves - and See Through Blue reached number 7 in the UK Charts back in February. I have been enjoying the album quite a bit over the past few weeks, although it is very typical modern hard rock in sound. There are newer rock acts that I prefer, but Scarlet Rebels are certainly a good band - and I was looking forward to seeing them at The Junction.

I got to the venue just before the first band started playing, and the place was already busy. Scarlet Rebels are clearly getting quite popular, as their chart position can attest to, and it was great to see so many people in The Junction - especially following a couple of recent sparse nights out there. Before Scarlet Rebels' set, however, two local support acts played. The Outlanders were up first, who's mix of modern hard rock and indie came across well live. I cannot say that either of the night's support acts were bands that I would listen to off own back, but both were enjoyable live. The Outlanders certainly had plenty of energy, with the riffs of Jake Walke (guitar/vocals) driving everything. I am not a big fan of indie, but The Outlanders were much more hard rocking than is typical for most indie bands - and they lacked the jangly sound that generally puts me off the genre. Kalum Wilmot's (vocals/guitar) voice had a certain indie quality to it, but his delivery worked well in the context of the music - and many of his vocal melodies were memorable, especially against the riffy backdrop. The band also included a lot more soloing than is typical of indie, too, with Walke impressing on a number of occasions with some fluid solos. This mix of strong vocals, decent riffs, and the odd solo made for an enjoyable half an hour or so of music - and The Outlanders certainly have something about them that makes them an interesting prospect.

The Kites followed The Outlanders, and the local four-piece similarly impressed. Sound-wise the two bands had some similarities, but The Kites were probably a bit more retro-sounding; with George Wilson's (guitar) playing style being more blues-based. The main difference, however, was frontman Joe Cocker - who really owned the stage with his classically-inspired strutting moves. He cut something of a Jim Morrison/Ian Astbury/Andrew Wood vibe during the band's set, and had a soulful voice to match. He is clearly the band's secret weapon, and The Kites will certainly stand out from the crowd of other local acts due to his charisma. That being said, however, such charisma would all be for nothing if the songs were not up to much - but I enjoyed what The Kites had to offer. There was certainly a bluesiness to their playing, which was exemplified early on by a rendition of Hard to Handle (in the style of The Black Crowes' version), but there were also indie-esque touches too occasionally. They were probably less energetic overall than The Outlanders, but a short closing number showed that they could also rock out pretty hard when they needed to. I enjoyed their set, as did the rest of the crowd, and it was great to see two local bands getting strong reactions. It is easy to be cynical about local bands, but I enjoyed the efforts of both The Outlanders and The Kites. Neither are bands that I would probably listen to in my own time, but seeing them live was a fun experience - and I will certainly be interested to see how both progress.

It was Scarlet Rebels that everyone was there to see, however, and half an hour or so following The Kite's set the band took to the stage - and played for around 80 minutes to an appreciative crowd. The band were seemingly a man down, which was never acknowledged from the stage, but the four-piece version of Scarlet Rebels certainly did not feel lacking as a result - and they delivered a strong set of material from See Through Blue and their older releases. Newer songs dominated the set, but there were still quite a few songs played that I was not familiar with. Scarlet Rebels' songs are generally easy to digest, however, and the fact that I was not familiar with a chunk of the set did not detract from my enjoyment of the show. I'm Alive was a great set-opener, which saw plenty of singing from the crowd, whilst other new numbers Storm and Everything Changed showcased See Through Blue early on. The older material played generally seemed a little heavier, and certainly more classic rock-inspired. This was exemplified by Part of Me being introduced with a snippet of Bon Jovi's Wanted Dead or Alive, whilst the oldie Let Me In had a strong chorus that prompted a bit of a mid-set sing-a-long. The ballad I Can Sleep Now proved to be a great mid-set change of pace too. Wayne Doyle (vocals/guitar) said that the song was one of his favourites from the new album, and it certainly had a bit of a different vibe to the rest of their material. It was a good way to shake things up part-way through, though, and allowed more anthemic pieces such as Take Me Home and Say My Name hit a little harder later - with plenty of soloing from Chris Jones (guitar/vocals), who very much seemed inspired by Slash by his playing style and various poses. Riffier tracks like Save Me and You Take My Breath Away signalled that the end of the set was approaching, and by this point the whole crowd was totally on the side of Scarlet Rebels. The atmosphere was excellent throughout, and the band seemed pleased with the reaction following their long journey down to Plymouth. Instead of leaving the stage and coming back, the band opted to just play two more tracks following You Take My Breath Away, with the ballad-esque Heal injecting a bit more of an emotional punch before the closing rocker These Days brought the night to a melodic end. The setlist was:

I'm Alive

Storm

Everything Changed

No One Else to Blame

Let Your Love Go

Wanted Dead or Alive [Bon Jovi cover]/Part of Me

Let Me In

I Can Sleep Now

Take You Home

Say My Name

Not the One

Save Me/It's a Long Way to the Top (If You Wanna Rock 'n' Roll) [AC/DC cover]

You Take My Breath Away

Heal

These Days

After the show the band came out to the merch desk to meet the crowd, so I got my copy of See Through Blue signed - which was nice. I certainly came away from the evening more into Scarlet Rebels than I was before hand, and the band certainly excelled in a live environment. I enjoyed a lot of the older songs too, so I will have to pick up their older albums in due course as I think that Scarlet Rebels are a band that I should devote some more time to going forward.

Ghost - Birmingham Review

It is always great to see a new hard rock or metal band rise through the ranks and become an arena-headlining act. There is often a lot of pearl-clutching from rock and metal fans, particularly here in the UK, when the subject of future festival headliners is raised. "When Metallica and Iron Maiden retire there will be no-one left to headline Download!" a certain, but sadly vocal, group of people often say - as if to make the point that the rock and metal scenes are not as they were in these people's day. The people who utter such rubbish are usually older, and probably have no interest in any music that has been released in the last 20 years in any case, but there are plenty of newer bands that have already headlined Download (e.g. Slipknot, Avenged Sevenfold, Muse, etc.) - and there are plenty more that are certainly on their way to doing so. One such band, for me, has to be Sweden's Ghost. I have told the story of my personal, delayed, history with the band on here previously, so I will not repeat it, but it is safe to say that I am now a big fan of Tobias Forge and his whole vision. They are a divisive band, which I can personally attest to, but only those who wish to purposely underplay the band's achievements will not recognise that Ghost are one of the biggest rock and metal bands in the world at the moment. For a band that only released their debut album 12 years ago, this status is hugely impressive. From tiny clubs to festival headline slots (the band headlined the 2017 iteration of Bloodstock Open Air here in the UK) Ghost have continued to grow, and they are now established arena-fillers in the UK. I saw the band live for the first time in 2019, after finally getting into them the previous year, at the Motorpoint Arena in Nottingham. For a band that was playing at Rock City four years before, filling the city's arena was a great achievement. The Motorpoint Arena was not sold out in 2019, but it was very busy - and the crowd gathered within could have easily sold out Rock City multiple times. Ghost's 2019 tour was their first foray into headline arena shows in the UK - but it would not be their last. Yesterday, I travelled up to Birmingham, to the Resorts World Arena at the NEC complex, to catch the band live for the second time. Ghost are probably even bigger now than they were in 2019, and they have moved up from the 'smaller' arenas (such as the one in Nottingham) to the larger ones - with this tour having already hit up the O2 Arena in London. Ghost are certainly going big rather than going home, and seem to be on top of the world currently following the release of their excellent new album Impera last month. Impera may well be my favourite Ghost album yet, and I was really looking forward to hearing some of the songs live - as well as reliving some of the excellent moments from the 2019 show. Lots seemed to share the same sentiment, as the place was pretty packed. I doubt that the show was sold out, but the crowd was large - and certainly warranted being held at the NEC.

Before Ghost took to the stage, however, the growing crowd was treated to sets from two support acts. I remember the support acts in 2019 being underwhelming (although I do have a passing interest in Tribulation), and sadly, at least for me, that was also the case this time. Up first were Twin Temple, a duo (although they were supported by four other musicians) who describe their sound as Satanic doo-wop. I am certainly no doo-wop expert, but that description is probably fairly accurate, at least up to a point - although I have to say that Twin Temple's set was very much one of style over substance. They are almost the posterchild for the fact that having a gimmick is not enough to make a band interesting - as songwriting is just as important. Twin Temple only had enough half an hour to play with, but they probably wasted between 10 and 15 minutes of this time acting out something of a ritual - whilst their backing band played some rather generic sounding soft jazz. Even when frontwoman Alexandra James actually started singing, though, nothing really changed. The only thing at all Satanic about Twin Temple's sound were the lyrics; as the music was all very typical of the lounge/jazz style of the 1920s - albeit rocked up somewhat. There was no attempt to make this sound particularly evil or metal sounding - and the band seemed to realise this, hence spending so much time at the start and end of the set playing with goblets, swords, and an altar at the back of the stage. As such, the band probably only played three or four actual songs; and all of them sounded very similar. James is certainly a good singer, but she did nothing to stand out from any other lounge singer out there - and I found myself getting bored with the band's act after the initial novelty factor had worn off. It did not help that the music itself was extremely safe - and certainly not in any way Satanic. Take away the lyrics and the mucking around, and the songs could have been played at a jazz club to a stuffy old jazz crowd - and to me that is rather telling.

Uncle Acid and the Deadbeats, who followed, were better - although not significantly. I had seen the band live previously, as they supported Black Sabbath at the same venue in 2013. I remember not thinking much of them back then, but I went into their set with an open mind as I had not heard a note of their music in nine years. On the one hand, I do admire the band's commitment to their sound and overall style. They clearly want to channel early Black Sabbath and the late 1960s psychedelic rock scene, and in some ways they really nail that sound. On the other hand, however, they fall foul of the same issues that Twin Temple do - in that purely having a style is not enough. I actually enjoyed the band's first couple of songs, and I thought that I might 'get them' this time, but it soon became clear that uncle Acid and the Deadbeats only do one thing. Throughout their 40 or so minutes on stage nothing really changed. Overly-fuzzy guitars churned out droning riff after droning riff whilst Kevin Starrs (vocals/guitar) and Vaughn Stokes (guitar/vocals) sang in harmony atop this endless barrage of fuzz. The first couple of songs seemed to have proper choruses and a few hooks, but the fatigue soon set in. I remember feeling very similar in 2013. I even went back and re-read my review of that gig from the time, which confirmed that I did indeed feel the same nine years ago. Uncle Acid and the Deadbeats are a band that I want to like, and they are a band that have done pretty well for themselves over the years. Many of their albums have been well-received, and they tour regularly, but they just do not do it for me beyond the novelty of hearing some really fuzzy guitars for a few minutes. I feel like a bit more variety in the band's sound would help, but it is clear that the band probably want to sound as garagey and as grimy as possible - which means that Uncle Acid and the Deadbeats will probably never be for me.

If there is a band that backs up having a shtick with a tonne of great songs, however, then Ghost is it. It was almost as if the evening was an exercise in how to do a gimmick properly, with some examples of hand of how not to do it too, but anyone who has been following Ghost for any length of time will know that they back up their theatre with real substance. Some bands struggle to adapt to arenas from the spectacle side of things, but Ghost were born to play them. From the moment the curtain dropped, the nine-piece band filled the stage. A huge drum kit sat in the middle of the stage, atop a set of industrial-looking stairs, whilst two banks of keyboards flanked it. A backing singer (one of which also played a fair amount of guitar) stood at either end of the stage; and the main portion of it was the playground of the bassist, the two main guitarists, and Forge himself - adopting his Papa Emeritus IV persona. With five albums to their name now, the setlist was a real mix of songs from throughout the band's history, but it largely focused on their newer work. Impera was represented by four songs, the first of which, Kaisarion, kicked things off with its opening melodic guitar lead and riff-heavy vibe. What followed was around an hour and 45 minutes worth of great music, with the occasional break in play to allow Forge to address the crowd in his now-famous idiosyncratic way. He is a great frontman, and very funny when he does talk to the crowd, but he knows not to overdo it either - and he largely allows the music to do the talking. When a song like Rats has a crowd singing loudly and a song like From the Pinnacle to the Pit whips up the amount of headbanging that it does, however, it is clear that there is not much more that Forge needs to do. He had the crowd on-side from the off, and the soaringly melodic Mary on a Cross sealed the deal before he took his first little break off-stage. Despite being the star, Forge let the band shine, too. Devil Church was stretched out to include plenty of guitar soloing - and it also allowed Forge to don his bat wings and reappear in time for Cirice.

He indulged in a few costume changes throughout the night, but he largely stuck to his dapper suit. This allowed him to cut a distinct presence on the stage among the rest of the Nameless Ghouls - whose Tusken Raider-meets-Big Daddy costumes were certainly striking. Given the strength of the Ghost catalogue, there was really no downtime at all in the set. Newer songs like the hard-driving Hunter's Moon sat perfectly alongside the neo-classical shred of Faith - the latter in particular the lead guitarist Ghoul nailed with his bright white 1970s-style Fender Stratocaster. The rhythm guitarist stuck with the classic shaped guitar that has long been associated with Ghost, though, which makes me wonder if the lead guitarist is a new addition to the band - and has insisted on playing their Strat. They did a great job, though, as did the whole band - who perfectly recreated Ghost's multi-layered sound with ease. Songs like the poppy Spillways benefitted from having dedicated backing singers who could harmonise nicely with Forge, whilst the older Year Zero relied heavily on the depth of the band - with both keyboard players getting a workout. The real band showcase, however, was the instrumental piece Miasma, which featured lots of strong keyboard and guitar playing - before, as was the case on the previous tour, the third guitarist appeared on stage dressed up as Papa Nihil to play the song's saxophone solo. By this point, however, the end of the set was approaching. The heavier Mummy Dust allowed gave everyone the opportunity to head bang again, whilst the anthemic Kiss the Go-Goat was seen as the end of the main set. The band never left the stage however, and following some thank yous Forge started singing their cover of Metallica's Enter Sandman. Personally I would have rather heard another song from the new album, but it was a fun addition to the set - before two bona fide Ghost classics finished things off. Dance Macabre turned the whole arena into a disco, with multicoloured lights pulsing as the crowd sung the huge chorus hook, whilst Square Hammer brought the evening to a close. The crowd went wild as soon as the main keyboard riff was heard, and the song proved to be an opportunity to party with Ghost one last time. It was a perfect way to end the lengthy set, and I cannot imagine that anyone went home disappointed. The setlist was:

Imperium

Kaisarion

Rats

From the Pinnacle to the Pit

Mary on a Cross

Devil Church

Cirice

Hunter's Moon

Faith

Spillways

Ritual

Call Me Little Sunshine

Helvetesfönster

Year Zero

Spöksonat

He Is

Miasma

Mummy Dust

Kiss the Go-Goat

Enter Sandman [Metallica cover]

Dance Macabre

Square Hammer

As much as I enjoyed Ghost's 2019 show in Nottingham, I think that last night's effort in Birmingham was even better. Ghost are really adapting to being an arena-filling act now and, with the excellent new songs from Impera adding to an already impressive discography, the setlist was packed full of melodic anthems. Ghost are here to stay in a big way, and it is great that 12 years on from releasing their debut album the band are soaring - and becoming one of the biggest rock and metal acts in the world. They could easily headline Download going forward, despite the fact that it would upset the aforementioned group of people who moan about the future of festivals, and they would certainly deserve it on the back of last night's showing.

Ghost's 'Impera' - Album Review

It is amazing how quickly you can do a U-turn on something. Despite it not always being easy to do, I generally try to be open-minded - even regarding things which I have previously dismissed for whatever reason. As someone who constantly likes to discover new music, being open-minded is important. Few things are as divisive as music, and whether you like a band or not is a personal choice - and often a choice that we make subconsciously. As such, bands choose us rather than the other way around - and only someone who is trying to 'fit in' or cultivate a specific image for themselves would say that they enjoyed a band which they actually did not really like. Despite this, though, there are often bands that we consider that we should like, based on our wider tastes, but do not for whatever reason. For many years, one such band for me was Ghost. I remember when the Swedish band's debut album, Opus Eponymous, was released in 2010 as it started to gain traction pretty quickly. I remember listening to a couple of songs from it around this time too, but they did nothing for me. I tried again when Infestissumam was released in 2013 but, again, nothing grabbed hold. At this point I decided that Ghost were probably just not for me, and stopped making the effort - but their meteoric rise was impossible to ignore. They seemed to get bigger with each album, and it was great to see a new band doing so well - even if they were one that I personally had no connection with. Despite never getting into their music at the time, I always liked their image and general vibe. It was clear that main man Tobias Forge likes a lot of classic rock and metal from the 1970s and 1980s, and the theatricality of Ghost was a bit of a throwback to many of the great bands of those eras. Something changed for me in 2018, however, and that was the release of Rats - ahead of Ghosts fourth album Prequelle (which I reviewed here), which came out in the June of the same year. I am not sure why I decided to click on the link to the song's video, but I am glad that I did. It was the first Ghost song that I connected with, and I enjoyed Prequelle a lot when it followed a few months later. Since then I have amassed the whole Ghost catalogue, have seen them live, and will be travelling up to Birmingham tomorrow to see them again. I think that it is fair to say that I have U-turned on Ghost, although I have to admit that Opus Eponymous still does not do that much for me.

The reason for this preamble, however, is the fact that Ghost have recently released their fifth studio album. Impera, which came out last month, was recorded throughout the COVID-19 pandemic, and builds upon the more overtly-melodic sound that made Prequelle such a success. There is little of band's early mystique left at this point, but Impera still very much sounds like Ghost - and, in fact, it seems to re-introduce some of the 1970s occult vibes that were generally absent from Prequelle. For me, it sounds like the perfect mix of Prequelle and 2015's Meliora - with the pop accessibility of the former and the compositional nous of the latter. As usual with Ghost, it is hard to know exactly who contributed to Impera - beyond Forge of course. Guitarist Fredrik Åkesson (Talisman; Krux; Opeth), drummer Hux Nettermalm, and keyboardist Martin Hederos (The Soundtrack of Our Lives) are all credited in the album's booklet, but it hard to know the extent of their contributions - and it is likely that many others also played on Impera. As always, however, Forge is the mastermind behind the whole thing - and his signature style is all over the album's 12 tracks. Impera is made up of nine 'proper' songs and three short instrumentals; and it is the first of these shorter pieces, Imperium, that opens things up. The song starts slowly, with a simple acoustic guitar melody, before a marching snare drum and some mournful guitar leads join in. It gradually grows in stature over its 90-odd second length, and it has an understated grandness that perfectly gives way to the opening Rush-inspired guitar melodies of Kaisarion - the first 'proper' song here. The song's intro has strong The Spirit of Radio vibes in my opinion, although a big vocal scream from Forge also brings a lot of early 1980s metal to mind. The Rush comparisons only really apply to the song's intro, though, as once the verse takes over it becomes much more of a chugging track - with a strong rhythm guitar presence and a big snare sound that punches its way out of the speakers. Despite the plethora of hooks to be found throughout, it is a song that took a few listens for me to fully appreciate - which I find is common with Ghost's work. The opening guitar melodies really hooked me from the off, but the chorus took a few goes - but now I think it is a really strong moment. There is a heaviness to the track which is not always present throughout the album, too, and there is a reason that the band have been opening with it on their on-going tour this year.

Some Ghost songs, however, hit from the off. They generally come from the poppiest end of the band's work, and the extreme earworm Spillways is one that I knew was going to be a hit. From the Survivor-esque keyboard opening, the song is just hook after hook - with the heaviness of the opening cut stripped away to allow the song to really revel in the Prequelle sound. Despite the poppiness, though, the song is extremely well crafted. It feels more mature in a way than many of the similar songs on Prequelle, and some of the vocal melodies hark back to Ghost's older albums - whilst maintaining the smoothness that the band have adopted in recent years. The chorus is one of the album's best, and it soars like an AOR hit of the 1980s, whilst the shredded guitar solo is packed full of melody and 1980s-esque guitar hero antics. Call Me Little Sunshine loses some of the pop sheen from the previous song, and takes on more of an occult rock vibe that harks back to the band's earlier albums. There is a strong Meliora vibe to the song, and there is little of the brightness of the band's recent work. It is based around a great hypnotic guitar melody whilst Forge's thin voice croons atop in his inimitable style. The same guitar melody forms the basis for the choruses too, but a punchy pre-chorus provides something of a break with some crashing snare rolls and plenty of big vocal harmonies. Despite the old-school Ghost sound on display here, the song is still extremely melodic. It is instantly catchy, and the hypnotic guitar line is sure to be playing on repeat in the brain after only a couple of listens. Hunter's Moon is similar, and the Meliora vibes are retained throughout. The song was originally released last year on the soundtrack to the film Halloween Kills, and it is a great mix of haunting and heavy. The opening sections are similarly hypnotic to Call Me Little Sunshine, but the song becomes much crunchy as it moves along. The forgoes a proper chorus, and instead has a single lyrical refrain which accompanies a great guitar riff that acts as the song's main melodic hook. When I first heard the song I was disappointed at the lack of a proper chorus, but now I am more familiar with the piece I like how the riff acts as a chorus. It is another musical motif that easily sticks in the brain, and it allows the song to become one of the heavier pieces here - and bring the old Ghost sounds to the fore again.

Watcher in the Sky is also on the heavier side, but is overall a great mix of 1980s-style melodic metal and pop hooks. The song's main riff might be my favourite on the album, as it sounds like something Jake E. Lee would have written for Bark at the Moon or The Ultimate Sin with its mix of strident power chords and snappy runs. The verses are mid-paced, with punchy drums and lots of rhythm guitar presence, whilst the choruses re-use the opening riff along with a strong organ backing - which Forge sings a hooky refrain atop. This chorus is so easy to latch onto, and I really like how the song essentially retains its metal credentials throughout. There is no downtime here really, and the track is one of the crunchiest here - with plenty of guitar tricks to enjoy. Following the short, moody Dominion, which is packed full of keyboard drones and a slight regal touch, the strange Twenties kicks in. To me, Twenties is easily the most left-field piece here; and it goes for a rhythmic, heavy vibe that at times reminds me a little of System of a Down - but with more of a retro, organic sound. Forge's vocal melodies are unlike anything he has really done before, and he tackles the song in something of a pseudo-rap, spoken word style that sounds suitably creepy - given the bass-led music that sits behind him. This is very rhythmic piece, so the bass and the drums are high in the mix - and there is plenty of double bass grooves throughout, in what sounds like a mix of time signatures. It is not a song that will work for everyone, but I like the strangeness of it - and it adds some great grooves to the album. The album's sole ballad, Darkness at the Heart of My Love follows. At time of writing, it is the only song on the album that has not really clicked with me. It is certainly not a bad song, but for me it feels somewhat pieced together - so much so that the chorus does not really feel like it fits with the rest. I like how the song starts, with gentle guitar melodies and Forge's crooning voice, but the staccato drum crashes of the chorus disrupt the atmosphere for me. Later reprises of the chorus are somewhat smoother, but for me the heaviness could have been toned down significantly - which would have allowed the song to have relied more on its creepy atmosphere. There is still a lot of strong lead guitar work throughout the piece, and a nice atmospheric depth thanks to layers of keyboards, but there are elements of the track that still feel jarring to me - and it is my least favourite cut here as a result.

Griftwood gets the album truly back on track, however, and the overtly poppy vibes of Spillways return. It might not be quite as instantly-hooky as Spillways, but Griftwood is still built around a number of really strong hooks. There was clearly an attempt made, however, to keep the song feeling somewhat spooky too - and the balance between pop hooks and atmosphere works well. It is certainly balanced more heavily in the favour of the former - but there are shades of Meliora again throughout, such as some of the whispered vocal lines and the various guitar melodies that border again on the hypnotic. The bridge section that appears about two-thirds of the piece has an old-school Ghost vibe too, with its dense atmosphere and slower pace, but generally this is a song that goes for hooks in a big way. The chorus really sticks in the brain, and the song's guitar solo is full of fast-paced melodies harking back to the 1980s. The final short instrumental piece Bite of Passage follows, before the album's closing track Respite on the Spitalfields kicks in with a mid-paced drum beat and a Marillion-esque guitar melody. It is the album's longest song, at just shy of seven minutes - and it is another that mixes elements of both Meliora and Prequelle perfectly. It generally reminds me more of the former, though, as the song has a real atmospheric depth. It is an example of Forge's progressive songwriting tendencies; as the song is one that shifts in tone a number of times. Atmospheric sections are often punctuated with moments of heavy riffing - whilst the chorus has a real theatrical quality thanks to its epic melodies and soaring harmonies. Given that the song is the album's closer, it is fitting that everything here just sounds that little bit more over the top. The song was clearly written with sounding 'big' in mind, and every melody is lingered on just a little longer - and every harmony is just that little bit fuller. It works well to bring the album to a close - as it has the sense of wrapping everything up neatly. The album has a completeness to it as a result, and for me that is a big reason why Impera really works. Prequelle had a lot of great songs, but for me it never flowed that well as an album. Impera has built on Prequelle perfectly, however, and it really is a complete piece of work - and one that also reintroduces some of Ghosts older sounds back into the picture. Ghost in many ways keep getting better, and Impera may well be my favourite album of theirs so far. It is one that I can see myself listening to a lot this year, and I am really looking forward to hearing some of the songs live tomorrow.

The album was released on 11th March 2022 via Loma Vista Recordings. Below is the band's promotional video for Call Me Little Sunshine.

Kris Barras Band's 'Death Valley Paradise' - Album Review

'Local boy done good'-type stories are always ones to enjoy. There are not many South West-based bands and artists that have pushed through into the relative mainstream in recent years, with acts like Muse and Seth Lakeman being the notable exceptions, but the Kris Barras Band are the latest act to really start to make a name for themselves outside of the locality. I am relative newcomer to Barras' work, as I only started listening to his albums in 2020 following the recommendation of a friend. As Barras is from Torquay, which is not that far from where I live, I had heard of him previously - but for whatever reason it took this recommendation for me to get stuck in. 2019's Light It Up impressed, but it was seeing him live last year opening for Black Stone Cherry that really made me sit up and take notice. The stop of the Black Stone Cherry tour that I caught was in Exeter, which again is not that far from Torquay. As such, there were quite a few Barras fans in attendance - and he received a great reception throughout his time on stage. During this set, he played a number of songs which were, at the time, unreleased. Barras' older albums are generally quite bluesy, but these new songs showcased a much harder edge to his playing and songwriting - and they hooked me from the off. Those who know me well will know that, whilst I appreciate and enjoy it, the blues has never been my favourite genre of music. I liked the more hard rocking end of Barras' earlier work, however, but to hear all of these new heavier tracks live made me look forward to what was to come. The 2021 shows also debuted the new-look Kris Barras Band line-up, as bassist Kelpie McKenzie and drummer Billy Hammett joined forces with Barras - with long-time associate Josiah Manning switching from keyboards to guitar. Whilst I miss Manning's Hammond organ, the choice to add a second guitar to the sound has certainly allowed the Kris Barras Band to become more of an outright hard rock unit - with many of the new songs debuted last year relying on the big sound generated by two guitars. These songs were finally released properly last month - when Barras released his fourth studio album Death Valley Paradise. All of the songs debuted last year, alongside others, appear on this new album - and it is interesting to see that Barras wrote a number of them with various well-known modern rock songwriters such as Bob Marlette, Johnny Andrews, and Blair Daly; with Daly being the most involved. If I had not already heard a handful of the songs prior to the album's release, seeing these names would have concerned me, however. All three have done good work, but they have also been at least partly responsible for the dumbing down of some modern rock bands in my opinion, particularly Black Stone Cherry, but thankfully their input seems to have benefitted Barras. There is little trace of his old blues-based sound here, with Death Valley Paradise being something fresh-sounding and hard rocking.

One thing to note going into Death Valley Paradise is how compact it is. The album's 11 songs only total around 40 minutes of music, which makes it a very easy listen. Barras' older albums were generally around an hour long, so Death Valley Paradise can be seen as an exercise in cutting the fat to really focus on riffs and hooks. There are still plenty of great guitar solos here, but generally everything has been significantly streamlined. This may turn off some fans who prefer a bluesier sound, but those who appreciate modern hard rock riffs will find plenty to enjoy here. The opening cut, Dead Horses, is, for me, one of the finest songs here - and it could well be my favourite Barras-penned song to date. It was released as a single last year, and is a perfect representation of where Barras is musically at the moment. In many ways it is a microcosm of the rest of the album, as it contains all of the album's key touchstones. Following a short drum build-up, the song kicks off with the first of many great riffs that grace this album - before settling into a groovy verse that builds on the drum punch of the song's opening. It is a very simple song, but the combination of the riffing, the grooves, and the chorus' vocal hooks make it a winner - and it brings the best out of Barras as a singer. I have always enjoyed his voice, but his performance throughout this album is probably his best yet. His slightly husky voice is perfectly suited to the heavier sound on display - but he still managed to conjure up a number of memorable hooks during the chorus, which really soars. It is easily my favourite chorus on the album, and it has been stuck in my brain since first hearing it last year. Throw in a great shredded solo, backed up Manning's tough rhythm guitar grooves, and the song truly shines as one of the best true hard rock tracks of the year so far. Long Gone slows things down a little somewhat, and injects some of Barras' older blues-based sound into the album's modern hard rock style. There is a bit of a southern rock strut to the song, particularly early on due to its snaking main riff, whilst the verses turn the clock back a little with a somewhat more organic sound thanks to a thinner guitar tone. This sound works well, however, and helps to recall Barras' past - before the chorus thickens things up again to sound more modern. The chorus is another hooky one, albeit with a slower overall pace, whilst the guitar solo is much bluesier this time - to fit in with the song's overall southern rock vibe. My Parade is another of the album's singles, and a track that seems to be destined to be one of Barras' defining songs. It is a real anthem, and it opens with a percussive take on the song's chorus - before another big riff kicks in, followed by a stop-start verse that makes the most of Barras' husky voice. It is another simple track, but the punch of the verses is easy to latch into - and the occasional bass slide from McKenzie adds character. The chorus provides the main hooks however, and the chant-along nature of the its lyrics make it easy to latch onto. It has already become a live favourite - and it is a song that is sure to be in Barras' setlists for years to come.

These Voices opens with a snappy riff, that includes the occasional burst of twin lead guitar, but this hard rock vibe soon drops out - as the verses here are relatively low key. Of all the songs heard so far, it is the least heavy - although the opening riff is occasionally reprised to add weight. The verses rely heavily on the groove-based drumming of Hammett, and the lack of big riffing allows Barras to sing a slightly more delicate way. Even the choruses are relatively quiet, with chiming guitar melodies dominating in an almost U2-esque manner. There is still some punch to be found, however, and later verses and iterations of the chorus do feel somewhat chunkier - but on the whole the song is one that takes a lighter path. Who Needs Enemies ups the heaviness again, as well as the pace. With the exception of Dead Horses the album has generally been quite mid-paced up to this point, so the faster pace of Who Needs Enemies allows it to stand out. The verses are pretty energetic, with another strong Barras vocal and more stop-start riffing - whilst the chorus is much fuller-sounding with frantic guitar rhythms and a modern punk feel thanks to the pace. That being said, however, the song maintains some of the lightness of the previous song. Who Needs Enemies is rarely as heavy as the album's opening songs, which allows it to rely more on its pace and hooks to make an impact. It contains one of the album's best guitar solos in my opinion too, and the technical phrases from Barras help to make the song a memorable one. Devil You Know ups the heaviness again, and returns to the overall sound that fuelled the album's opening three songs. The pace from the previous song is retained however, so the song really packs a punch thanks to the mix of pace and slab-like riffing. The chorus is another hook-laden affair, and it has a real post-grunge feel thanks to Barras' smoky voice and the overall layering of sounds - with a focus on thick-sounding guitars. I also like how the verses often strip away the big sound heard elsewhere to allow the rhythm section to really shine - but the overall pace and heaviness never feels compromised by this. Wake Me When it's Over is more of a ballad, and the first real piece of respite on the album. These Voices toned things down somewhat, but Wake Me When it's Over does so in a much more significant way - with clean guitar-led verses and a much more delicate vocal from Barras. That is not to say that the song is totally stripped down or acoustic, as it is not, but it does sound quite different from everything else here. The choruses are still relatively rocking, as is Barras' solo section which is relatively lengthy and filled with emotive playing, but the whole vibe feels different - which allows the song to act as a bit of a mid-album break.

Hostage opens with some choppy riffing that Barras sings over, with a percussive drum backing, and the song stays this raw until the chorus rolls around, which is another hooky one. For me, however, the chorus of Hostage strays a little too close to American radio rock for comfort. I still like the hooks, but I hope that this is not a path that Barras treads too heavily going forward. The vast majority of this album manages to stay the right side of this line for me, but Hostage has moments which certainly feel like they came from Daly and co. in a big way. Modern American mainstream rock has a sound which I do not want British bands to re-create - and I hope that Barras remembers his roots when moving forward. I still like the song despite this, however, particularly its opening section. Cigarettes & Gasoline is a little similar to Long Gone, as it has something of a southern rock vibe thanks to a strong groove throughout and a bluesiness which is generally absent from the rest of the album. Thankfully the American radio rock vibes have already been cast aside here, and the track has a really rootsy vibe despite the overall heavy riffing that is present throughout. The chorus perhaps lacks a little punch, but it is the first here that does not quite hit the mark - which is not a bad return considering that the song is track nine of an 11-track album. The vibe itself makes the song enjoyable, though, and it is another strong effort. Bury Me has ballad-esque vibes, but it feels more rocking than Wake Me When it's Over thanks to some snaking riffing and the excellent bass playing throughout. It is certainly one of the album's gentlest songs, with a chorus that recalls These Voices thanks to some guitar arpeggios and a bit of synthy depth, but the moments that feature heavier riffing help to set the song apart from the album's main ballad. Bury Me instead is a bit of a hybrid piece, which includes a good mix of gentler and harder rocking moments that helps it to stand out. The album comes to a close with the riff-heavy Chaos which, like Dead Horses, is another song that seems to sum up everything that is great about the new-look Kris Barras Band. It is perhaps not as hooky or as hard-hitting as Dead Horses, but it is driven by a great riff that again has shades of southern rock to it - whilst the verses are a bit more laid back to allow the song to build towards a memorable chorus. There are better tracks here, but the song has a slightly epic feel to it that helps it to work well as an album closer. It is a very dynamic song, with a chorus that feels a bit more expansive than much of the rest of the album - which ends things on a rather forward-looking note. In truth, though, forward-looking is generally what this album is. It would be easy to be cynical and say that Barras has streamlined his sound in an attempt to reach a broader audience, but Death Valley Paradise feels very honest despite the outside involvement and rather significant shift in sound. There are glances back to his older albums, but I imagine that, going forward, this is how the Kris Barras Band will sound. Considering that Death Valley Paradise is probably his strongest album yet this is no bad thing, but I hope that he continues to remember his roots and does not allow the Dalys and Marlettes of this world to turn him into the latest casualty of American rock radio.

The album was released on 4th March 2022 via Mascot Records. Below is Barras' promotional video for Dead Horses.