Seventh Wonder's 'The Testament' - Album Review

The COVID-19 downtime has produced quite a few musical surprises over the past couple of years. Whilst some bands essentially downed tools to hide out the storm, others used the time wisely by writing and recording new music. Despite this, though, I was still not expecting to hear anything new from the Swedish progressive metal act Seventh Wonder this year. The band have not exactly been prolific of late, and have essentially become a side project since frontman Tommy Karevik joined Kamelot in 2012. Kamelot are a busy band, particularly when it comes to touring, which has left little time for Karevik to dedicate to Seventh Wonder. As much I as love Kamelot, and think that Karevik is a great fit for them, it is a shame that this partnership has had to come at the expense of Seventh Wonder. Seventh Wonder have only managed to release one album since Karevik joined Kamelot, the excellent Tiara (which I reviewed here) which came out in 2018, and with Kamelot working on new music for an album due out next year I was certainly not expecting anything from Seventh Wonder until that was out of the way at least. I suppose the lockdowns allowed Karevik to work on two albums at the same time, though, as earlier this year it was announced that Seventh Wonder would be releasing their sixth studio album, The Testament, in June of this year. I was not sure quite what to expect from The Testament. Two of the band's three most-recent albums are dense, expansive concept albums (2008's Mercy Falls and Tiara); with the middle one, 2010's The Great Escape, containing a 30 minute-long concept piece with a few other stand-alone songs. I had wondered if the band would go down the concept album route again as it has served them well of late, but when the album dropped through my letterbox last month I was surprised to find it to be somewhat simpler in tone and style - albeit it with the classic Seventh Wonder sound very much intact. In some ways, the album sounds like an updated and more polished version of 2006's Waiting in the Wings - a song-based album that focuses on the band's love of a good hook and without any of the baggage that comes with writing a concept album. The band's two concept albums are easily my two favourite Seventh Wonder albums, but I also enjoy the band's simpler works, too. I use the word 'simple' loosely, though, as The Testament is still very much a progressive metal album. There is still a lot going on musically throughout the album, but it feels a bit tighter overall - as if some of the fat has been trimmed to allow the melodies to shine bright. There are a number of huge choruses here that bring the best out of Karevik as a vocalist, but the rest of the band also have plenty of opportunities to shine - with guitarist Johan Liefvendahl and keyboardist Andreas Söderin in particular getting lots of screen time with their impressive leads and solos.

Despite this, though, the album kicks off in a manner which is not all that typical for the band. Seventh Wonder have never been the heaviest of metal bands, but The Testament gets underway with the chugging Warriors - a mid-paced, groovy track which allows Liefvendahl to channel his inner John Petrucci with a heavy guitar riff. The band's trademark melodic sensibilities are still present throughout the song, but Warriors is a track that generally focuses on riffing and attitude over pop hooks. Söderin's keyboards generally provide an atmospheric backing rather than melodic leads, whilst Andreas Blomqvist's bass adds depth and the occasional flourish. It is very much a song for the guitarists, though, and Liefvendahl shines throughout. Karevik's vocal melodies are slightly grittier than usual; particularly during the cinematic chorus; but he still shines atop the riffy backing. The verses see him adopt the vocal style that he tends to use with Kamelot, whilst other sections see him utilising his more natural range - particularly during the chorus. A great Liefvendahl solo brings everything together, and the song kicks off the album in a fine and weighty manner. The Light is very much typical of the band's core sound, though. The pop hooks are pushed to the fore here, and the technical interplay between Liefvendahl and Söderin is present from the off. The latter's soaring keyboard lead during the song's intro is extremely infectious, and the rhythmic grooves that the guitars create during the verses is offset nicely by a bed of sparkling synths. Karevik sounds more like his typical Seventh Wonder self here, with his vocal melodies impressing from the off. The song's chorus is one that sticks in the brain after only a handful of listens, but for me it is actually the verses where he shines the most. He has such a unique approach to crafting vocal melodies, and The Light sees this talent fully utilised with some rhythmic melodies that are truly the light to the shade of Liefvendahl's riffing. Despite the poppier nature of the song, there is a lot more room for instrumental showboating here than in Warriors. A great solo section sees flashy playing from Liefvendahl, Blomqvist, and Söderin - with each taking the turn to solo impressively before the latter transitions the song into a piano-led mid-section which reintroduces Karevik. The Light is very much classic Seventh Wonder in sound and style, and it is one of my favourite cuts here. I Carry the Blame is another classic-sounding Seventh Wonder track, but it is more overtly progressive than The Light. It opens slowly, with a chiming Liefvendahl guitar arpeggio, which then morphs into a busy instrumental section that features lots of excellent bass playing from Blomqvist. I have always got the impression that Blomqvist is the de facto leader of Seventh Wonder, so it does not surprise me that the bass is generally more prominent in the mix than is perhaps typical. This is a big part of the band's core sound, though, and his lyrical bass playing gives them an edge - and really contributes to the band's melodic hooks, as they essentially have three lead players as a result. Blomqvist's bass dominates I Carry the Weight, with Liefvendahl generally joining drummer Stefan Norgren in the rhythm section to allow the bass and keyboards to shine. Pulsing keyboard stabs perfectly augment the busy riffing; whilst Karevik's emotional vocal delivery perfectly suits the denser track - with another hooky chorus showcasing his talents.

Seventh Wonder have always managed to suitably showcase their instrumental prowess within their melodic songwriting style, so going down the route of writing full-blown instrumental pieces has not generally been their thing previously. With the exception of some short linking and overture pieces on their two concept albums, Reflections is the band's first bona fide instrumental piece and it is a track that allows the four musicians to show off without having to fit their melodic leads in around the vocals. Despite this, though, the band's classic approach to melodies is still very much present. There is a lot more soloing throughout the song, as is expected, but all of the guitar and keyboard leads are similar in style to the band's usual vocal hooks - so the song still is easily identifiable as being by Seventh Wonder. Liefvendahl and Söderin tend to trade melodies and solos back and forth, with the rhythm section providing a tight groove that keeps everything moving at a decent pace. The song comes to an end with an atmospheric bass solo from Blomqvist - which then neatly transitions into the next song. The Red River picks up where Reflections left off atmospherically, with Söderin taking over on the piano to lay down a sombre intro. The song is not a ballad, however, and it is not too long before another big riff kicks in - and the track becomes a slightly darker take on the band's trademark sound. There is definitely a little bit of Karevik's Kamelot day job here atmospherically, and the sound overall is generally denser than is typical for Seventh Wonder. That being said, though, there is still enough of the band's core sound present to ensure that the song feels at home on the album. Söderin's keyboards still have an airy sound, despite the darker tones, whilst the chorus is still packed with hooks - even if they do not soar in quite the same way. That being said, though, the song transitions further towards the band's core sound as it moves along. A melodic solo section dispels some of the darkness, whilst a piano-led mid-section allows Karevik to sing in his more traditional range. As such, the song has a dynamic arrangement - which contributes to the overall light and shade of the album. Invincible dispels all of the darkness, though, and the poppy track is very much one that is made to showcase the band's approach to melodic songwriting. It is the shortest song here, clocking in at less than four minutes, and it is very much hook after hook - despite the odd off-kilter progressive metal riff. Karevik dominates throughout, and his carefree approach to vocal melodies is really allowed to flourish. The song's chorus is easily one of the album's hookiest moments, even though it does sound somewhat similar to melodies from the band's past. The song was clearly written to add some additional pop hooks to the album, though, and it very much succeeds at doing so - with the progressive side of the band's writing largely taking a backseat save for the occasional flourish.

Mindkiller reintroduces the band's progressive side, though, but it remains another hooky track that mixes heaviness and melody. The song is certainly heavier than Invincible, but it is not as a dark as The Red River. The song is somewhat similar to The Light in style, then, but it feels somewhat heavier than that song - largely thanks to the prominent bass playing of Blomqvist. This is another song that really pushes the bass playing for the fore, and it stands out as a result. Whilst the guitars and keyboards provide the main melodies and are generally playing leads throughout, the main riffs come from the bass. Everything plays around Blomqvist's gritty and driving performance, and it is this feature that ensures that the song really showcases the band's core sound in a big way. The vocal hooks are perhaps not quite as catchy this time, but the song's chorus is still a strong one - and the myriad of guitar leads and keyboard textures throughout help to keep the song interesting. The album's penultimate song, Under a Clear Blue Sky, is the longest track here - at just under nine minutes. The band have largely kept the overall length of the songs down here, but that allows Under a Clear Blue Sky to stand out - and it acts as the 'epic' on the album that allows the band to stretch out somewhat. It starts slowly, with some clean guitar melodies and some whimsical, lyrical bass playing, before it morphs into a mid-paced rocker with a busy guitar riff that is packed with melodic twists. The thing that makes the song stand out for me the most, though, is just how many hooks there are throughout. For me the song is one of the standout cuts on the album, and that is because there is always something new happening melodically. Karevik's vocal melodies throughout are in his trademark soaring style, particularly during the chorus which picks up the pace compared to the verses, whilst Söderin constantly changes things up with his many keyboard textures - be it synths or more traditional-sounding organ. There is a lot of soloing, too, and the bass playing from the song's intro returns during a lengthy instrumental mid-section that moves from an atmospheric bass solo into a hard-hitting riff-fest - which then transitions again into a slow-burning vocal-led section with chiming piano melodies. The song is a real winner for me, and it is a great representation of the band's talents both for melodies and for arrangements. The album then comes to a close with Elegy, its only ballad, which is a real vocal showcase for Karevik. Violin is added to the band's sound here, courtesy of Görgen Antonsson, with the sombre instrument adding significantly to the song's emotional pull. Karevik usual emotional vocal approach is used to full effect here, and there are few singers in the progressive metal world that convey emotion quite like Karevik. Elegy is a great representation of his talents, whilst Söderin's piano, subtle strings, acoustic guitar, and the violin all come together to create a great bed for his fragile melodies. It may seem strange to end the album with a ballad - but for me it really works. It has the feel of an end credits scroll, particularly following the epic Under a Clear Blue Sky, and for me it ends the album on a reflective high. It suits the album's relative simplicity, too, although there is still a lot to digest throughout as The Testament has a lot of different sides to explore despite its brevity. It is another strong release from the band, and something of a palate cleanser after three epic, lengthy albums. Fans of the band will find a lot to enjoy here, and those interested in seeing what Karevik does outside of Kamelot can do worse than starting their journey here.

The album was released on 10th June 2022 via Frontiers Records. Below is the band's promotional video for The Light.

Michael Monroe's 'I Live too Fast to Die Young' - Album Review

Although the Finnish punk rock/glam metal pioneer Michael Monroe started his solo career back in 1987 with the release of Nights Are So Long, I think it is fair to say that his fortunes as a solo artist have improved significantly in the past decade. Monroe, who of course is known for being the frontman of the genre-defying and hugely influential Hanoi Rocks throughout much of the 1980s and the 2000s, has only really established himself as a true solo performer in recent years - with his solo career up to 2010 often being fairly low key or taking a back seat to whichever band he was fronting at the time, be that Hanoi Rocks, Jerusalem Slim, or Demolition 23. With Hanoi Rocks calling it a day for the final time in 2009, though, Monroe decided once and for all to strike out on his own - and launched his current solo project in 2010. Three of the four musicians that joined Monroe from the off still remain, and as such there has been a real consistency in both sound and quality throughout the albums that he has put out since 2010 - which was kickstarted by the rough and ready live album Another Night in the Sun: Live in Helsinki. Despite Monroe's name being on the albums, though, the current band is just that: an actual band. Monroe has often made this clear in interviews, and this is likely why the quality of the albums has generally been more consistent than his older solo albums - which often featured a disparate collection of musicians that were purely following Monroe's vision. Monroe is clearly the face of his solo project, and he remains a high-octane performer, but I think it is fair to say that the rest of the band often drive things from a creative standpoint. Monroe has never been a prolific songwriter, with Andy McCoy writing much of Hanoi Rocks' material, and he seems more than happy to allow his band to come up with much of the material for his albums. This was not so much the case early on, but from 2015's Blackout States (which I reviewed here) onwards Monroe has contributed much less to the albums from a songwriting perspective. His last album, 2019's One Man Gang (which I also reviewed here), only featured one song written by Monroe - but due to the aforementioned band feel of Monroe's solo career and his distinctive vocal style this barely seems to matter. Guitarist Steve Conte, bassist Sami Yaffa, and drummer Karl Rockfist have all been playing with Monroe since 2010 - with guitarist Rich Jones joining the band in 2014. Despite being the newest member, though, Jones seems to really be driving the Michael Monroe band these days. His songwriting dominated Blackout States and One Man Gang - as it also does on Monroe's latest album I Live too Fast to Die Young, which was released last month. All but two songs here are written by Jones (two of which were co-written with Monroe), with one being written by Conte and the other being a collaboration between Monroe and Mickey Crane - and is a re-working of a song by Crane's band Crystal Extasy.

Sound-wise, I Live too Fast to Die Young is exactly what you would expect from Monroe - for the most part. It is an album that is characterised by its fast pace, its punk attitude, and its anthemic choruses - but there are occasional deviations, too, which see the band take more of a moodier direction. The album kicks off in familiar fashion, though, with the up-tempo single Murder the Summer of Love. Yaffa's bass dominates the early portion of the song, before a muscular riff kicks in - driving things with its upbeat blues/punk vibe. The verses are perhaps not quite as in-your-face, but they still hit hard. Gang vocal shouts punctuate Monroe's leads, and the snappy riffing that sits below this vocal interplay is tight and melodic. The song really comes alive during its chorus, though, which is anthemic in Monroe's traditional fashion. He has a knack for a hooky chorus melody, and the vocal lines here are very memorable. The song is sure to become a live favourite thanks to its stadium-worthy chorus, whilst a relatively slow-burning bridge section slows the pace a little before a short, high-octane guitar solo. Young Drunks & Old Alcoholics is similar, but the 1970s glam rock side of Monroe's sound is pushed to the fore this time. It is still a fast track, but it is not quite as muscular as the opening cut, with chiming guitar lines and the occasional power pop vocal harmony sitting atop the band's usual punky riffing and driving bass. It is a very easy song to latch onto as a result, and it is a track that boils down all of Monroe's key sounds into one digestible chunk. The chorus is another memorable moment, with a punchy hook that sticks in the brain, but in truth the whole song is very easy to enjoy - and it is clear that a lot of thought has been put into ensuring that the song as a whole is memorable, and that no note is wasted. Derelict Palace changes things up, though, and goes for a moodier sound that seems to be inspired quite significantly by 1980s goth music. Yaffa's bass is the main instrument throughout, with his pulsing playing driving the whole song, whilst Jones and Conte add colour - either through chiming guitar leads or effects-heavy chords. There are guitar lines here that remind me of bands like Sisters of Mercy or Fields of the Nephilim, but the music is never as abrasive or oppressive with Monroe's accessible vocals keeping the song grounded. This is not a sound that Monroe has significantly toyed with before, too, but in my opinion the experiment works well. Despite having a core sound, he has occasionally taken a left turn on his recent albums, and Derelict Palace is one such effort here - with the atmospheric song adding a different dimension to the album. All Fighter very much gets the album back on track as far as its core sound goes, though, as it ups the energy levels again significantly. It is easily the most punk and high-energy song so far, with Monroe delivering the lyrics in his usual snappy manner - whilst the guitarists lay down machine gun patterns that are aided by Rockfist's busy snare rolls. An anthemic chorus slows the pace a little, but the band-focused vocal approach ensures that the punk vibe is retained.

Everybody's Nobody slows the pace somewhat, and the track is more of a mid-paced hard rocker - which again channels quite a big 1970s glam rock influence. There is a lot more room throughout the song for flashier guitar playing, too. The guitar playing throughout the album is mostly riff-focused, but there is a lot more going on this time - with a soaring intro lead setting the tone for the rest of the track. As such, the piece is much more overtly melodic. Monroe has always had a pop side, and that is very much on display here - with a chorus hook that sticks in the brain. He even throws in a short harmonica solo, which segues nicely into a fluid and melodic guitar solo - which is quite different from the bursts of energy which are present elsewhere. Antisocialite is another slower track, but it is very different in tone to Derelict Palace. Antisocialite is instead a rather typical ballad, which reminds me a little of some of David Bowie's slower songs from the early 1970s. It features a piano backing from Lenni-Kalle Taipale, which forms the basis of the track, whilst the guitars atop to be acoustic to add depth. The rhythm section add some grooves, but in truth this is a song that really allows Monroe to shine as a singer. There is less of his usual grit here, with his performance being much more overtly melodic to fit in with the song's more organic nature. The combination of the piano and the acoustic guitars works well to back him, though, and the song is a memorable one thanks to it taking a different path. Can't Stop Falling Apart also features Taipale's piano, but it is used in a much different manner. The song is an upbeat hard rocking track with some 1950s rock 'n' roll guitar moments and a barroom piano backing - all wrapped up in a punk vibe with a big band-led chorus vocally. It is another song that is very easy to latch onto as there are so many great hooks throughout. The guitar solo sees the band's two guitarists trading licks, and they both tap into the song's 1950s overtones, whilst the piano adds a depth that helps it to stand out. Pagan Prayer is Conte's sole writing contribution to the album, but it is one of the fastest tracks here - and easily the most punky cut. After a couple of songs with a different vibe, Pagan Prayer really gets back to Monroe's core sound in a big way. Yaffa's bass powers through the mix, whilst Rockfist gets a real workout behind his drum kit. Monroe's voice sounds at its most visceral here, too. He has always had a snarl to him, but songs like this really bring the best out of him. His voice has barely aged since his early days with Hanoi Rocks, and this track is one that perhaps showcases his harder rock side the best. A brief, slower mid-section only ups the heaviness, too, with some slower-paced riffs that pour out of the speakers with real venom - before a final reprise of the hard-driving chorus sees the song come to a close.

No Guilt is much more atmospheric, but it is not exactly another ballad - instead being a mid-paced rocker with a bit more of a moody vibe. There is some great lead guitar playing throughout the song to help set the tone and provide some melodic hooks, whilst much of the rest of the guitar playing adds colour. There are fewer big riffs here, but there are occasions where the guitars rock things up somewhat. These are rare though, with the bass instead creating most of the weight. There is more of that 1970s glam rock feel on display here, too, and there is another melodic solo fits nicely with the chiming melodies and overall atmospheric feel of the piece. The album's title track follows, and it is the last real high-energy song here. It features the guitar playing of Slash (Guns N' Roses; Slash's Snakepit; Velvet Revolver) throughout, although he is largely featured as a soloist. The song's solo is impressive, then, but the song in general is typical of Monroe's punky, yet poppy, sound. Occasional slower moments add colour, but these are few in number - with the song in general being a hard rocker. Songs like this have made Monroe's recent solo albums what they are and at this point are to be expected. It has a very simple chorus which will definitely go down well live, and its overall anthemic vibe makes it another memorable cut on an album that is full of strong moments. Slash does not overpower the song, either, as his playing fits in perfectly with the brevity of the piece in general. The album then comes to a close with Dearly Departed, the aforementioned reworking of an old Crystal Extasy song - whom I believe Monroe previously produced. The song is quite different from the rest of the album, and it is easily the slowest piece here. Whereas Antisocialite was more of a typical piano-led slower piece, Dearly Departed is very atmospheric - and features little in the way of traditional instrumentation. Much of the backing appears to be synths, although guitar chords add colour whilst Monroe sings over this sparse, yet enveloping, backing in a slightly odd way. It is not the sort of song that I expect from Monroe, and I am not sure that the experiment has really worked. His voice does not really suit the song in my opinion, and it does not make use of the band much at all. Songs like Derelict Palace showcase an atmospheric sound more successfully in my opinion, and Dearly Departed sadly ends the album on a bit of a downer - being the weakest track here for me. Despite this, though, I Live too Fast to Die Young is generally a very strong album. There are a lot of tracks here to like, many of which are very much within Monroe's core wheelhouse. There are diversions from this core sound, but a fast, punky track is never too far away - and the album is another solid entry into his recent catalogue which continues to impress.

The album was released on 10th June 2022 via Silver Lining Music. Below is Monroe's promotional video for Everybody's Nobody.

Wolfsbane's 'Genius' - Album Review

The British hard rock scene of the late 1980s and the early 1990s has always interested me. The NWOBHM movement earlier in the 1980s found world-wide popularity, as had the British classic rock boom of the 1970s, but by the end of the decade the influence of Britain as a musical force had waned - at least in the hard rock and metal worlds. America was really where it was at during the late 1980s, whether you wanted a more accessible hair metal sound or the more extreme thrash and death metal scenes, and there was something of a dearth of popularity when it came to new acts from the UK. This is a real shame, as the UK produced a lot of great hard rock acts throughout the late 1980s and into the 1990s. Bands like The Quireboys, Little Angels, Skin, The Wildhearts, and The Almighty all found some success; with Thunder probably being the most successful of them all - especially considering the London-based band's current standing. Another band that found some success during that era were Wolfsbane - from Tamworth in the West Midlands. The band can trace their roots back to 1984, but their career really kicked off in a big way when they released their debut album Live Fast, Die Fast in 1989. The album was released on the Def American label and was produced by the legendary Rick Rubin - who around the time was producing some of the biggest rock and metal bands in the world including The Cult, Slayer, and Danzig. Quite how a rough and ready band from Tamworth got signed to Def American before they had released anything formally remains a mystery to me - but Wolfsbane ended up putting out two studio albums and an EP via Def American before being dropped. The pulling power of the label and Rubin did not seem to quite translate into big-time success for Wolfsbane, which is a shame. That being said, Wolfsbane's sound has always been hard to pigeonhole. They are a bit too fast and furious to be hard rock, and they are too punky to be bona fide heavy metal. They are a band that fall through the cracks a bit somewhat, and when frontman Blaze Bayley left the band in 1994 to join Iron Maiden Wolfsbane came to an end. One-off reunions in 2007 and 2009 led to a permanent reunion in 2010, and Wolfsbane have been semi-regulars on the live circuit again since - with Bayley also fitting in a busy solo career around the band's activities. The band's fourth album, Wolfsbane Save the World, was released in 2012 - but ever since they have been quiet on the studio front. That was until last month, though, when the band released their fifth album Genius - their first album of new material in 10 years. Wolfsbane's music has always been uncomplicated and uncompromising, and Genius is no different. The band's trademark mix of rock, metal, and punk is very much alive and well here, and it is clear that age and the 10 year gap between albums has not slowed them down one bit. For those who appreciate brevity, too, Genius will tick all the boxes - as the 10-track album is barely longer than half an hour. It flies by, but the songs are still memorable and the production allows the band's raw sound to really shine.

The album kicks off with Spit It Out, one of the shortest songs here yet also one of the most memorable. It is barely longer than two minutes, but the punky anthem is a great representation of Wolfsbane at their most energetic. A huge gang vocal-led chorus provides the first big hook of the album, whilst the booming double bass drumming of Steve Danger keeps everything moving. It is very much an uncompromising song, and that is generally what Wolfsbane have been about over the years. That being said, though, there is still an accessibility here despite the heaviness. Bayley's vocal melodies are easy to latch onto, and some of Jase Edwards' opening guitar pyrotechnics are Van Halen-esque. There is not a wasted note throughout the song, with the muscular riffs that sit alongside the more melodic guitar moments giving the track a real metal weight. It is a great way to kick the album off, and the song was a highlight in the set on the band's recent tour. Zombies treads a different path, though, and goes for a much bigger sound with a slow-burning synth-heavy opening that showcases a bit of a progressive rock influence. The song proper is classic Wolfsbane in sound, though, but the atmospheric intro helps to set the tone for its themes - and there are moments throughout that do somewhat return to this atmosphere, which helps to break up the mid-paced riffing and Jeff Hateley's prominent bass playing. The song's chorus is another memorable one, too, with a slight pop edge that reminds me a little of Cheap Trick - with a punk backing. Impossible Love is more of a traditional hard rock song, and it reminds me quite a bit of the sound that was present throughout Wolfsbane Save the World. There is little of the band's punk edge here, with a driving and melodic rock sound present instead. Edwards' riffing keeps everything moving with its simplicity, but the standout performer here is Bayley - who's rich voice is perfect for the song's anthemic nature. The pre-chorus really ups the song's power, before the chorus proper and its harmony vocals ensure that the song sticks in the brain. Rock the Boat is similar, but it ups the heaviness somewhat - with a main riff that sounds like something Jimi Hendrix might have written had be joined a heavy metal band in the mid-1970s. The riff has a Hendrix-esque rhythm, and that is extended to the rest of the song - which has a strong groove throughout, and another chorus that makes good use of big gang vocals. It is a song that catches on due to its rhythms and the big bass presence of Hateley, but there is also a great Edwards guitar solo to inject some classic rock melodies - before a grungy mid-section prefaces a final chorus. Small Town Kisses is more upbeat, with some of the heaviness of the previous songs stripped away to leave a great 1970s-esque pop rock sound that is driven by Danger's busy drumming and a punk energy. The song reminds me a bit of The Wildhearts' typical sound, which often fuses pop hooks and a punk energy, and it sticks in the brain as a result. There are lots of great melodies throughout, and the chorus is one of the album's best thanks to Bayley's hooky vocal performance.

Things are Getting Better is another highlight for me, and it ups the pace again somewhat whilst retaining the pop hooks of Small Town Kisses. It contains another great pre-chorus/chorus section, and the driving hard rock energy helps to give the album another dose of the band's love of a high tempo. A slightly strange guitar solo section gives the track a bit of an edge, though. Wolfsbane have often taken slight left turns on their songs, even if they are only brief diversions, and the solo section here is one of those - before the big chorus kicks in once more. Good Time is similar, but with more of the 1970s pop sound again - and some busier guitar playing from Edwards. Due to the fact that most of the band's songs are quite short, the band members do not often show off - but Good Time certainly feels busier from a guitar perspective. There are quite a few little melodies from Edwards throughout, and the riffing is tight and snappy as the song builds towards its chorus. Unsurprisingly, this chorus is another big one - with its punky, repetitive melodies being extremely infectious. Rock City Nights returns to a more muscular hard rock sound akin to Impossible Love. Rock City Nights is cut from the same cloth, and features vocal melodies which are similar to Bayley's solo work. The band's punk side is essentially absent this time, and the track is anthemic - with lots of big Edwards riffing and a lengthy (for Wolfsbane) shredded guitar solo that is packed full of melodic runs. Songs like this showcase Bayley as a singer, though. For me he is at his best when he is at his richest, and Rock City Nights allows the deepness in his voice to come out - and the chorus really shines thanks to this tone and vocal approach. Running Wild is a bit more dynamic arrangement-wise. It is generally not too dissimilar to Rock City Nights, but it has a bit more of a punk injection - whilst there are a handful of lower-key moments too that see the band take a slower path. Wolfsbane are rarely stripped back in that sense, so the brief moments of calm here are welcome - but in general the song is very typical of the band's sound with another driving chorus and a bounce that comes from the power of the rhythm section. The album then comes to a close with I Was Born in '69, which is possibly the most out of character song here - but the piano-led track works well as an album closer. It is not exactly a ballad, but the grander song is certainly slower than is average for Wolfsbane - and it also features one of the band singing in a duet with Bayley. Edwards is credited for writing the song's lyrics so I assume that it is him singing - but the CD booklet does not make this clear. I cannot think of another Wolfsbane song that sounds anything like this, and I like that they have tried something different here. Most of the rest of the album has been driving hard rock and punk up to this point, so I Was Born in '69 allows the band to showcase a different side to their songwriting - with a great piano backing and more of an emotional vocal from Bayley. On the whole, though, Genius is generally exactly what was expected from a new Wolfsbane album - but the formula still sounds fresh. They are not a band that releases a lot of new music, so a new album from the Tamworth four-piece is always welcome, and their brand of punky hard rock always gets the blood pumping.

The self-released album was released on 3rd June 2022.

Michael Schenker Group's 'Universal' - Album Review

Many acts have been more prolific than usual of late thanks to the COVID-19 pandemic and the inability to tour, but the German guitar virtuoso Michael Schenker, at least over the past decade or so, has never needed an excuse to write new music and record a new album. Despite putting out a lot of albums under various guises over the course of the 2010s, last year Schenker returned to his traditional solo vehicle, the Michael Schenker Group (MSG), for the first time in the studio since 2008's In the Midst of Beauty. MSG had been put to one side in favour of the heavier Temple of Rock, which also allowed Schenker to plunder his non-MSG back catalogue more liberally live, and then Michael Schenker Fest - which was essentially the ultimate version of MSG that brought back many of the band's classic members for a big celebration of its catalogue. I am sure that all involved had a great time on the Michael Schenker Fest tours, but it had the feel of a short-term project. Getting so many schedules to line up was likely quite the challenge, so I am not surprised that Schenker has returned a simpler live configuration of late - and it also does not surprise me that he has returned to the MSG name. MSG has been Schenker's moniker since the early 1980s, and it is a brand that commands respect - despite the various eras and line-ups that Schenker has led over the years. The first MSG album since 2008 though, last year's Immortal (which I reviewed here), felt some more like the third Michael Schenker Fest album than a true MSG album - which was due to the amount of talent that it contained. Schenker has solidified things on the live front again now, but Immortal featured a vast cast of characters - some of whom where previous MSG alumni, some of whom are in MSG now, and some of whom were just guests. Having clearly enjoyed working with the current MSG line-up live last year, though, Schenker seemed to want to capture that magic in the studio - which lead to the release of Universal, the latest MSG album, back in May. The core of the album was recorded by the current MSG line-up, but a few guests were still invited along, too. Joining Schenker on most of the songs here are previous MSG folk and current live band members frontman Ronnie Romero, drummer Bodo Schopf, and keyboardist Steve Mann - along with new bassist Barend Courbois (Vengeance; Tank; Blind Guardian). There are a number of other familiar faces here too, though, such as vocalists Gary Barden and Ralf Scheepers, bassist Barry Sparks, and drummers Simon Phillips and Brian Tichy. A few new faces have also joined the fun, though, including guest spots from vocal legend Michael Kiske (Helloween), bassist Bob Daisley (Rainbow; Ozzy Osbourne; Uriah Heep; Black Sabbath; Gary Moore), drummer Bobby Rondinelli (Rainbow; Black Sabbath; Blue Öyster Cult; Riot; Axel Rudi Pell) among others. Despite this, though, Universal feels more like a true 'band' effort than Immortal - and it really showcases the talents of Romero in particular who is the primary lead vocalist throughout.

The great thing about Universal, too, is how concise it is. Some versions come with two bonus tracks, but the main album features 11 songs, one of which is a short instrumental piece, all of which are very digestible in length. Universal feels like an old-school MSG album as a result, which is nice considering that Schenker's recent releases have tended to be on the longer side. It opens with Emergency, a strong mid-paced hard rocker that very much has that old-school MSG vibe - although there is actually more than a little hint of Ritchie Blackmore in Schenker's main riff here. Mann's Hammond organ backing enhances this slight Deep Purple/Rainbow vibe somewhat, too, whilst Phillips' tight double bass drum grooves keep the song ticking. I have sometimes been critical of Romero on this blog, but I feel that he has really found a home with Schenker of late - and his vocal performance throughout this album is very strong. He can sometimes be a bit over the top, but his vocal on Emergency is quite understated - perfectly carrying the melodies of the snaking, mid-paced track. Schenker's guitar playing is a majestic as ever, too, with the song's main riff being a catchy one - and his neo-classical solo is packed full of memorable phrases and melodic leads. Under Attack follows, and it is the first song there that features the current MSG live band in full. The Blackmore vibes from the opening track are gone, and instead the track is very much in the classic MSG mould - with a muscular guitar riff that drives everything and the prominent bass presence of Courbois giving the song real weight. Emergency had more of a fleet-fingered feel, but Under Attack is much heavier - although the production, courtesy Schenker and his long-time collaborator Michael Voss, helps to give the track a warm feel. Mann's keyboards add depth, but they are less prominent this time, and there is an anthemic chorus that features a strong backing vocal refrain that is bound to go down pretty well live. It is a very memorable song as a result, and I would not be surprised to see it appearing in the band's setlists going forward - as its riff-heavy sound and big chorus are made for the stage. A short keyboard-led instrumental piece Calling Baal, written and performed by Tony Carey (Rainbow; Planet P Project), then essentially acts a spacey and extended intro for A King Has Gone - which is Schenker's tribute to the late Ronnie James Dio. It seems a bit strange to release a Dio tribute 12 years after his death, but the song is very enjoyable - featuring Carey and Daisley, who have both worked with Dio in the past. Kiske takes the lead vocal this time, and his strong, higher-pitched voice works well throughout the neo-classical track - whilst Rondinelli's drums add his trademark hard-hitting sound into the mix. The song's lyrics make lots of references to Dio's lyrics, and Kiske handles them well - whilst Carey adds plenty of roaring Hammond to the track. Schenker's guitar solo is another memorable and melodic one, too.

The Universe loses some of the overt rockiness of the opening few numbers, and goes for a slower-paced, somewhat more epic sound - and features Romero duetting with original MSG frontman Barden. Barden's voice has certainly deteriorated over the years, but he turns in a memorable performance here. Romero does much of the heavy lifting, with Barden adding his melodic croon to some of the slower sections - and the duet works well as a result. Schenker's guitar playing is actually fairly understated throughout the song, too, especially early on. The song does grow in stature as it moves along, which calls for some bigger riffs, but in general he lays down melodies for the two singers to croon atop - whilst Mann adds keyboard depth and the rhythm section keep a mournful beat. Schenker has always known when to pull back and allow others to shine, unlike some other guitar playing solo artists, and this is a perfect example of that mindset - although the lengthy, closing guitar solo still allows him to shine with a trademark melodic display. Long Long Road is another track courtesy of the current live band, and it is another fairly organic hard rocker. It has a bit of a 1980s sheen throughout, though, largely thanks to Mann's keyboards. The keyboards have a bit of a pomp edge throughout, and there are a few twinkly melodies that are sprinkled throughout the track - which clash nicely with Schenker's busy, yet mid-paced, riff. The chorus is another very catchy one, too, and Romero really owns it vocally. Subtle vocal harmonies make the chorus sound nice and big, and it is another song that is likely to go down well live thanks to its hooks and general melodic nature. Wrecking Ball features the final guest vocalist of the album as Scheepers, who also appeared on Immortal, takes over the microphone. Unsurprisingly, the song is heavier than much of the rest of the album, but it is not as heavy as Scheepers' previous contribution Drilled to Kill. The organic nature of the rest of the album is maintained throughout Wrecking Ball, but Schenker's riffing is much meatier and louder - whilst Mann's Hammond roars and adds a slightly aggressive edge to the track. Scheepers sounds great vocally as always, too, and his screeching traditional heavy metal vocal style suits the riffy song nicely. It is a track with a lot of balls, and it gives the album an injection of pace and power as a result. Yesterday is Dead returns Romero to his rightful place behind the microphone, and the track is another mid-paced hard rocker with a strong Tichy drum groove and a chorus that would go down well live thanks to its anthemic pace and slow-burning pre-chorus. This pre-chorus section helps the song to have a dynamic sound thanks to its keyboard arrangement, and the pulsing bass playing of Sparks throughout gives it its bouncing rhythm.

Another standout song for me is the heavier, mid-paced hard rock of London Calling. It is not a Clash cover, but instead a tribute to the British rock scene of the 1970s as well as the NWOBHM movement of the 1980s. Schenker himself was of course a part of his movement in the 1970s as a member of UFO, and MSG has also contained a lot of British musicians throughout the years and were regular visitors to the UK throughout the 1980s. Schenker clearly feels an affinity with the UK as a result, despite his German heritage, and London Calling showcases this. It is a very British-sounding song, too, with lots of Hammond organ and a stomping groove that recalls many of the 1970s British hard rock acts. Romero supplies a great vocal, too, and his delivery of the crunching chorus helps to bring it to life. The lyrics are a bit wordy at times, but his conviction manages to keep things on track - and the song is one of my favourite cuts here thanks to its heavier sound, Romero's excellent vocals, and Schenker's solo. Sad is the Song slows things down quite considerably, but the song is not exactly a ballad. The opening moments have slight Blackmore nods again, with a bit of a Gates of Babylon feel thanks to Schenker's neo-classical melodies and an Eastern-tinged vibe - which is accentuated by Phillips' off-kilter drumming. This sound dominates the verses, but the choruses are more traditional in style. The pace is upped during the choruses and the melodies are much more traditional in tone - with the strong Romero vocal and some atmospheric keyboards. Schenker's solo makes use of the slower tones of the verse section as a backing, though, and it allows him to indulge in a different playing style. His solo in Sad is the Song is more atmospheric and effects-heavy than usual; and it sounds quite different from the rest of the solos here. The album comes to a close in more of a traditional manner, though, as the pace is raised again for Au Revoir - a catchy, old-school sounding Schenker tune with a busy guitar riff and some excellent drumming from Phillips. Schenker and Phillips have a great understanding that goes back many years, and the two team up perfectly here for the snappy riffing - which Sparks holds together with his busy bass playing. Mann's Hammond adds additional melodies where necessary, too, and Romero sings atop everything in his trademark powerful manner. Reflecting back on Romero's performances throughout this album, this may well be his best recorded work yet. He reined in some of his excess here, and there is a warmth and emotion that has not always been present previously. Even throughout this faster, heavier song he sounds more organic than usual - and that suits the 1970s grooves of Schenker and Phillips. The song ends the album on a high, although there are no weak moments here really. The whole album showcases Schenker's songwriting and guitar playing, but also the talents of many other musicians and singers. I like the fact that this feels like more of a band effort, though, despite the multiple guests, and the focus on Romero as a singer works well. Schenker seems to be on a roll currently, so I imagine that it will not be too long before we hear more from him - but for now Universe is another excellent album for his fans to enjoy.

The album was released on 27th May 2022 via Atomic Fire Records. Below is the band's promotional video for Emergency.

Def Leppard's 'Diamond Star Halos' - Album Review

Sheffield's Def Leppard are, and have been for a long time, regarded as true British rock royalty. Whilst they might not have quite reached the level of bands like Queen when it comes status, there is no denying that Def Leppard have been a huge force in the music world since the 1980s - and they are certainly one the UK's biggest musical exports, based on their album and single sales in the 1980s alone. The band are showing no signs of slowing down, either, as, at time of writing, they are currently in the midst of a large and seemingly very successful stadium tour of America with Mötley Crüe. Unlike some of their peers, too, who have long embraced the nostalgia circuit, Def Leppard have generally remained a creative force. Whilst their setlists are generally quite greatest hits-centric, the band have remained active as songwriters - and have periodically put out new albums over the past couple of decades, whilst also sometimes pulling the odd nugget out of the vault live. Until this past May, however, it had been quite a while since the band had released any new music. The band's last, self-titled, album (which I reviewed here) was released back in 2015 - which in itself was their first album in seven years. In my opinion, though, Def Leppard was a great album. Whilst many of the casual Def Leppard fans who just want to hear hits probably never bothered to pick it up, those of us who did spend some time with the album found it to be a varied and enjoyable mix of songs - that included a number of classic-sounding Def Leppard pop rockers mixed in with some grander and more organic pieces. It was an album which showcased that the band were still great songwriters, and it built on the good work of 2008's Songs from the Sparkle Lounge - a less complex album, but one which was packed full of memorable anthems. Rumours of a follow-up to Def Leppard had been circulating for a while, but back in May the band released their twelfth studio album Diamond Star Halos. On the one hand it is a shame that Def Leppard have left long gaps between their recent albums, as it means that their die-hard fans have had to endure long waits between each one; but on the other hand the gaps ensures that each new album is something of an event. Considering how many classic bands see little value in releasing new albums, too, Def Leppard's willingness to be creative should be applauded - even if they do not return to the studio as often as many would like. Their albums are often worth the wait, too, and Diamond Star Halos is another excellent entry into their catalogue. For me, the album is quite similar in style to Def Leppard - in so far that it is quite varied and contains a few different styles which have had the Def Leppard sound applied to them. It is probably not quite as diverse as Def Leppard, with Diamond Star Halos also looking back to Songs from the Sparkle Lounge for influence - as the new album includes a number of straight up pop rockers which seem to have been going down well on the band's current tour. It is very much an album that captures the essence of what has made Def Leppard great over the years, too, and it continues the band's excellent recent run of form.

The early part of the album is characterised by its upbeat and poppy nature. Many of the opening songs were released as singles prior to the album's release, and they are very much in the classic Def Leppard vein. Take What You Want opens the album, with a crashing power chord and an Electric Light Orchrestra-esque guitar melody - which builds up, in classic Def Leppard fashion, towards a weighty guitar riff. Guitarists Phil Collen and Vivian Campbell both shine throughout the album with their melodic playing and fluid soloing, but Take What You Want is a great guitar showcase early on. It is one of two songs here written by bassist Rick Savage, though, so unsurprisingly the verses are very bass-driven - with the guitars adding melody atop the driving rhythm section. Frontman Joe Elliott sounds great throughout, too, his trademark approach to vocal melodies as hooky as ever, and the song's chorus grabs hold thanks to his anthemic performance. A solo section that is started by Campbell and closed by Collen injects some virtuosity into the piece, too, and it is clear from the off that Def Leppard mean business here. Kick, which was the first single released from the album, then kicks in and opens with a fuzzy guitar riff. Def Leppard have always been influenced by 1970s glam rock, but there seems to be even more of that in the band's sound throughout this album - and Kick has a strong 1970s vibe thanks to its old-school guitar tones and drummer Rick Allen's slightly funky beat. The pre-chorus channels Sweet somewhat, whilst the chorus looks across the pond to the power pop sound of Cheap Trick. It is a great old-school slab of glam rock, which I imagine will really come alive on stage. Fire It Up is similar in tone, but it feels more anthemic overall thanks to an opening staccato drum groove that brings Queen's We Will Rock You to mind somewhat. This is then mixed with a slightly heavier verse that recalls early Aerosmith, and it provides a great contrast with the opening rendition of the chorus - as later choruses tend to feel smoother and less drum-led. Collen's guitar solo has a strong 1970s feel to it, too, especially the early licks within it which are rather bluesy, which fits in nicely with the Aerosmith vibes of the verses. This Guitar tones things down quite considerably, and is the first of two songs here to feature to vocal talents of Alison Krauss. She does not dominate the song, but she sings in harmony with Elliott throughout - and she helps the country-inspired ballad to shine. Their two voices work well together, whilst Campbell's slide guitar swells throughout boost the song's emotional pull. Def Leppard have always done ballads well, but This Guitar stands out somewhat as it is not a ballad in the band's typical style. The country vibes work well though, and Collen's emotional guitar solo really pulls everything together. SOS Emergency gets back to the band's core sound, though, and it sounds like something that could have appeared on Songs from the Sparkle Lounge. Outside of Take What You Want, SOS Emergency is easily the most classic Def Leppard-sounding song on the album so far - with a big Collen guitar lead giving the track a strong melodic hook, whilst the chorus is packed with walls of the band's classic vocal harmonies. It is a song that sticks in the brain, and channels the band's classic sound perfectly.

Liquid Dust tones things down again somewhat, but the song is not slow enough to really be considered a ballad - with the track instead being something of a cinematic mid-paced rocker. This is a sound which the band have toyed with quite a lot of late, and there were a few similar cuts on Def Leppard in 2015. Subtle string arrangements add depth throughout, whilst the track brings the best out of Elliott's slightly grittier vocal delivery which he has acquired with age. Due to the big sound of the piece, it is a song that showcases the band's love of Queen, too, with lots of vocal harmonies, lead guitar themes, and keyboards to create a strong atmosphere throughout. The song segues into U Rok Mi which, embarrassing title aside, is another strong cut that takes something of a different path than what might be expected. The eventual chorus is very much typical of Def Leppard's sound, but what surrounds it is different - with a pounding and groovy Savage bassline and lots of chiming ukulele playing from Collen. This means that song opens out with something of a bluegrass vibe, but this is mixed with a funky hard rock sound that at times reminds me of the Dan Reed Network's recent work - with a classic Def Leppard chorus and a busy guitar duel between Collen and Campbell thrown in. Goodbye for Good This Time is another ballad, and it is the first of two songs to feature the piano talents of David Bowie's long-time collaborator Mike Garson. Garson has tended to operate at the more avant-garde end of the musical spectrum, so hearing him contribute to what is essentially a big 1980s-style power ballad is a treat, and his playing really bulks out the song nicely - which also includes a delicate nylon strong guitar solo from Collen and a soaring string arrangement. The spotlight, though, tends be to on Elliott, who's vocal performance throughout the song is excellent - and the chorus really shines thanks to his emotional delivery and more big harmonies. After a handful of different-sounding tracks, All We Need is very much another slab of classic Def Leppard pop rock. The band have always had, at least since Collen joined the band, a very recognisable approach to creating guitar riffs and melodies - and All We Need makes use of that classic sound throughout. A staccato guitar melody really drives the song, whilst Elliott once again channels the Electric Light Orchestra with a vocal style and delivery which is very reminiscent of Jeff Lynne. I really like all of the 1970s influences that have been pushed to the fore throughout this album. They have always been present in Def Leppard's sound, but they seem more prominent this time - and it ensures that every song is packed full of melody. Open Your Eyes ups the heaviness a little, and opens with a thick Savage bassline. The bass playing is very prominent throughout the song, and Savage's playing certainly stands out more than much of the guitar riffing this time - which generally only add colour to the prominence of the rhythm section. It is this that makes the song feel heavier, although in truth is largely another mid-paced cinematic rocker - similar in tone to Liquid Dust. The snaking track is full of atmosphere and mystique as a result, and a closing Collen guitar solo injects a few spiky melodies as it fades out.

Gimme a Kiss That Rocks returns to the extremely accessible nature of the album's opening handful of songs, and the track is a bouncy pop rocker in classic Def Leppard fashion. There is a big backing vocal arrangement that is present throughout - but it really enhances the song's pre-chorus and chorus sections. The pre-chorus features some of the busiest backing vocals on the album, which add lots of depth and additional hooks, whilst the chorus is relatively hard-hitting with some weighty riffing and anthemic Elliott vocal melodies. Despite the complex backing vocal arrangements, the song as a whole is relatively straightforward - with a foot-stomping rhythm throughout and lots of big hooks. Angels (Can't Help You Now) is another ballad, and it very much feels like the sequel to Goodbye for Good This Time - especially as it also features Garson's piano playing. Funnily enough, the song actually reminds me of some of the ballads that Cats in Space have written - which amuses me as Cats in Space's sound is deliberately very much a throwback to the 1970s, although they do include the odd Def Leppard-esque moment from time to time, too. Elliott has always written strong ballads, though, and this is another good one - with a chorus that sticks in the brain thanks to another big harmony vocal arrangement and more soaring orchestrations. Lifeless is the second song to feature Krauss' vocals, and she is used in a similar supporting to role again - although she shines a little more this time, too, with the odd featured vocal line. Whilst This Guitar was more of a ballad, Lifeless is more upbeat - and it very much channels that modern country sound that is popular in America. It works well in a Def Leppard context though, as the band have still managed to include a number of their key sounds - such as their love of a big vocal harmony and a lengthy Campbell guitar solo. Unbreakable opens slowly, with Elliott's vocals and a guitar melody, but it is not too long before the song morphs into another upbeat pop rocker. It has an overt drum machine backing, which gives the song a strong 1980s pop vibe at times, but when Allen's proper drums kick in for the chorus the big Def Leppard feel returns. The chorus is one of the album's hookiest, too, thanks to some great vocal harmonies and melodies which again recall Sweet. Campbell's solo is suitably muscular, too, and adds a lot to the song. The album then comes a close as it started, with a Savage songwriting effort, and From Here to Eternity is a strong closing number. It is the only song here to breach the five minute mark, and it very much reminds me of some of the more expansive and experimental pieces from Def Leppard. There is a Led Zeppelin meets Electric Light Orchestra vibe present throughout, with more of an organic sound guitar-wise meeting big vocal arrangements and a lighter pop touch. That being said, though, the arrangement is generally quite dense. There are a lot of keyboard and string sounds here, which when added to the vocal arrangements give the song a big sound. Both Campbell and Collen solo throughout, too, and the song is one that brings the best out of the whole band - whilst bringing the album to an epic close. It is also a song that pulls some of the album's other ideas together, and it helps to reflect on some of the previous songs, too. Diamond Star Halos, as a result of its diversity and songwriting, is another excellent recent effort from Def Leppard. It is a long album, at over an hour in length, but there are no songs here that I could easily cut to improve the overall experience. The quality is strong throughout, and it is great to see the band really delivering in the 2020s.

The album was released on 27th May 2022 via Bludgeon Riffola Limited/Mercury Records. Below is the band's promotional video for Kick.

Evergrey's 'A Heartless Portrait (The Orphean Testament)' - Album Review

There have been quite a few bands that turned the COVID-19 pandemic into a reason to be creative, and the Swedish progressive metal band Evergrey are one of them. Having wrapped up a loose trilogy of albums in 2019 with the release of the excellent and heavy The Atlantic (which I reviewed here), the band got back to business following a year of touring to create 2021's Escape of the Phoenix (which I reviewed here) - an album which saw the band look to the past as well building on the success of their recent work. Following a brief hiatus, plus the return of guitarist Henrik Danhage and drummer Jonas Ekdahl in 2014, Evergrey have been in rude form. The loose trilogy that culminated in The Atlantic was kicked off in with Hymns for the Broken (which I reviewed here) - with 2016's The Storm Within (which I reviewed here) then proving to be the meat in the sandwich. Starting with Hymns for the Broken, which is probably my favourite Evergrey album to date, the band modernised their sound somewhat. The dark-sounding, atmospheric heavy metal upon which the band made their name was still present - but the band took their sound in a more modern direction. Some of the riffs on The Atlantic in particular could have been written by Gojira, so heavy and mechanical-sounding they were, but Evergrey made the transition work whilst maintaining the key elements of their core sound. I think that many would agree that these three albums contain some of the band's best work to date - and the band clearly agree, as songs from the trilogy have dominated their setlists in recent years. Despite this, though, it seems that the band wanted to return to their older sound somewhat with Escape of the Phoenix. Evergrey have often had a fairly organic sound, particularly thanks to Rikard Zander's approach to keyboard playing and frontman Tom Englund's warm, deep voice, and Escape of the Phoenix emphasised this again. It was less driving and mechanical than the preceding three albums - but the overall production style and general heaviness were similar. This meant that the album sounded like a natural continuation of the trilogy, whilst also allowing the band's history to shine - which ensured that Escape of the Phoenix was another excellent addition to the band's canon. Escape of the Phoenix was released last February, and back in May Evergrey released the follow-up as a result of the COVID-19 downtime, with A Heartless Portrait (The Orphean Testament) being something of a surprise. What is not surprising, though, is the quality that is found throughout the band's thirteenth studio album. It very much carries on where Escape of the Phoenix left off, but A Heartless Portrait (The Orphean Testament) is possibly even more old-school sounding than its predecessor. Englund and co. certainly seem to have been very inspired by their earlier work of late, but perhaps the most inspired throughout the album is Zander - who's keyboard work is once again excellent.

The album opens up with its lead single Save Us, which kicks in in a big way with little to no fanfare. There is no gradual build-up or atmospheric scene-setter here, instead the song opens with a mid-paced riff - backed up by Ekdahl's groovy double bass drum rolls. Whilst there are lots of hooks throughout the track, it is perhaps this groove that makes it really stand out. The rhythm never lets up throughout, and the song just sits back on Ekdahl's footwork - with long-time bassist Johan Niemann adding plenty of weight thanks to his thick bass sound. The verses are quite abrasive-sounding, recalling some of the band's recent heavier work, with occasional gang vocal-led hooks accentuating the groove. Gang vocals are not typically a big part of Evergrey's sound, but they work really well here, and these punchy sections help to draw the lister in before the big chorus arrives - which is much more atmospheric thanks to Zander's keyboards and Englund's trademark emotional vocal delivery. The song is an instant favourite for me, and it kicks the album off in fine fashion. Midwinter Calls is another song that opens with a strong groove, with Niemann and Ekdahl laying down a stop-start rumble with lots more double bass drum work, but the song is instantly more melodic from the off thanks to Zander's synth lead. Keyboards are a big part of the song, and it is much more atmospheric overall than Save Us. The guitar riffs are generally much more rhythmic this time, with the synth melodies providing the main hooks, whilst slower sections focus on some subtle piano playing - with Englund's smoky voice benefitting from the overall approach. There is still plenty of heaviness throughout, as well as lots of depth thanks to the subtle use of choral vocals to bulk things out. As such, the song is a great representation of Evergrey's core sound, and it strikes a good balance between the band's trademark atmosphere and heavy grooves. The chorus is gothic-tinged earworm, too, and a two-part melodic guitar solo featuring both England and Danhage pulls everything together. After two pummelling groove-based tracks, the album then takes a turn towards more of a gothic/doom sound with Ominous. Whilst never sounding like Swallow the Sun, Evergrey have occasionally gone for a slower sound that mixes heaviness, atmosphere, and slow gothic drama together - and Ominous is their latest product from that forge. The riffing is generally less prominent, at least early on, and the song focuses on atmosphere and keyboard textures more significantly. Some of Englund's vocal lines early on are probably some of the album's best, due to how exposed they are and how much emotion they convey, and even when the song opens out somewhat and becomes heavier there is still a strong gothic vibe throughout. England, who is known for his deeper voice, even hits a couple of quite impressive high notes throughout - which only push the emotion in his delivery further and make the song a stand-out cut from a vocal perspective.

Despite the mix of heaviness and emotion, the album's opening three songs are quite dense arrangement-wise - which helps the relatively simple Call Out the Dark to stand out. It is a very hook-focused piece, and is probably about as poppy as Evergrey can get. The song is very much true to the band's core sound, but it is not as all-enveloping as usual - with a big chorus that sticks in the brain after only a couple of listens and a hooky keyboard refrain that showcases Zander's talents. This keyboard melody opens the song, in piano form, and it later becomes the main chorus hook - which Englund then sings around, his melodic vocal lines taking the song to the next level. A lengthy and knotty guitar solo, again featuring both Englund and Danhage, adds some of the band's technical prowess to the song - but on the whole this is a simpler cut that prioritises huge hooks and melodies over everything else. The Orphean Testament ups the heaviness again, and somewhat returns to the groove-based sound of the album's opening numbers. The song mixes heavy grooves, which tend to dominate the verses, with a soaring chorus that sounds like it could have come from one of the band's earlier albums. The contrast between the driving, dry-sounding riffing and Ekdahl's double bass drumming with the chorus is one that makes the song stand out - and Englund's soaring guitar solo perfectly builds on the chorus melodies. It is one of the album's least complex solos, but it has a great emotional pull that perfectly compliments the melodies of the chorus. There is a much busier instrumental section later in the song, though, which features an excellent 1970s-esque Zander keyboard solo sandwiched between two guitar solos. Reawakening, despite opening with some heavy riffing, is another track that leans quite heavily on the band's more atmospheric side. I have already praised Englund's vocal performances quite a lot throughout this piece, but on Reawakening he takes things to another level. There are heavy sections which see him singing in his trademark driving, slightly gruff manner, but when the keyboards really kick in and the chorus starts he takes flight. The vocal melodies he has conjured up here are excellent, and there is definitely a big progressive rock influence throughout the track - both in this vocal approach and the keyboards of Zander. The chorus is one of the album's best, thanks to the vocals, whilst Zander also shines thanks to a great mix of floaty soundscapes and old-school synth leads. The Great Unwashed goes for another groove-based approach, but in more of a 1970s hard rock way than the heavier, double bass-led grooves of the early parts of the album. The song is a mid-paced rocker, with something of an organic sound thanks some screaming Jimmy Page-esque guitar leads that inject some looseness to the track - as well as plenty of old-school organ from Zander that give some of the riffs a bit of a Deep Purple edge. Evergrey's trademark dense and atmosphere sound is still present, but the focus on more of a classic rock strut works nicely. Ekdahl's drumming is still very groovy, but he tends to stay away from his double bass pedals here, and the chorus has a smoothness thanks to Zander's keyboards and Englund's smooth vocal delivery.

Heartless feels like a real throwback to Evergrey's past, and throws off some of the band's melancholic shackles to emerge as a fast-paced and hard-hitting slab of progressive power metal. The chorus floats and relies on atmosphere in the band's traditional way, but the opening Zander keyboard riff sounds like it could have come from the 1980s - whilst the hard driving verses have a strong US power metal sound with fast-paced NWOBHM-inspired riffs and a gritty vocal performance from Englund that is more pure power than emotion. Evergrey have not really sounded like this since their first handful of albums, and it is great to see them operating at such metallic speeds again. Few of Evergrey's recent songs are genuinely fast-paced, but this is one of them - and Danhage's solo is a great blur of shredded notes as a result. There are some more classic Evergrey moments, however, with the bridge section before the solo kicks in seeing England singing atop Zander's piano melodies in a very Anathema-esque manner. Blindfolded returns to the album's core sound, though, with the groove-based approach from the first few songs making another appearance. It is a song which remains pretty heavy throughout, with some dry-sounding tech metal riffs sitting nicely on a bed of double bass drumming from Ekdahl. Some of Evergrey's recent songs have gone for a somewhat mechanical sound, and this is another one - although the soaring vocal melodies that the band are known for are still present. That being said, though, Englund takes a slightly different vocal approach during the song's chorus, and sings in a less dramatic way with some strange effects on his voice. It works well in the context of the mechanical song, though, and the verses are still very much sung in the typical Evergrey way. Despite the slight change in tone, then, the song still contains enough of Evergrey's core sound to allow it to feel at home on the album. It is the last heavy statement here, too, as the album's closing track Wildfires is very much a quiet affair with Englund singing alone atop some gentle acoustic guitar melodies and a big Zander soundscape. Shorter, more acoustic pieces are not commonly found on Evergrey's albums, but for me Wildfires works well as an album closer. The album has generally been pretty heavy up to this point, despite a strong focus on atmosphere and melody, and the more reflective Wildfires allows for a moment of calm before things come to a close. Zander's keyboard work is particularly impressive here, and is a great bed for Englund's vocals - which are as heartfelt as ever. It is a great end to the album, which overall is another excellent entry into Evergrey's catalogue. For me the album has a different feel to both the recent trilogy and Escape of the Phoenix, but it is still very much an Evergrey album that channels the band's unique core sound perfectly - showing that the band do not seem to want to slow down anytime soon.

The album was released on 20th May 2022 via Napalm Records. Below is the band's promotional video for Save Us.

Karnataka - Tavistock Review

Despite them being able to trace their history back to 1997, I first got into the Welsh progressive rock act Karnataka in 2010 with the release of their fourth album The Gathering Light. I had been familiar with the band in name-only prior to this, though, largely due to them being contemporaries of and having some crossover members-wise with Mostly Autumn. I had planned to catch them at the 2009 iteration of the Cambridge Rock Festival, but the festival was plagued with technical issues and delays that year - meaning that Karnataka did not end up playing despite being on site and ready to perform. Enough people whose views I trusted spoke very highly of Karnataka, though, so I pre-ordered The Gathering Light without hearing a note of their music - and I loved it from the off. I have not looked back since, and Karnataka have been regular residents of my iPod - and I managed to catch the band live five times between 2012 and 2017. Sadly I never saw The Gathering Light-era of the band live, as they split up not long after the album's release, but I finally caught the band twice in quick succession on 2012's New Light tour with then-new frontwoman Hayley Griffiths. I saw them for a third time at the back end of 2012, too, before also seeing them in 2015 and 2017 - by which time the excellent Secrets of Angels album had come out. Despite loving the band's previous work, and the fact that 2003's Delicate Flame of Desire is likely still my favourite Karnataka album, the Griffiths-led version of the band felt like 'my' Karnataka due to having never seen them live with either of their previous singers. I was sad, then, when the Griffiths-era folded at the end of 2017 - but this sadness was relatively short-lived as I knew that the band would be back. Bandleader Ian Jones (bass guitar) has had to essentially rebuild Karnataka from scratch three times now, and I was confident that this third rebuild would be as successful as the previous two - which resulted in The Gathering Light and Secrets of Angels respectively. This time, though, Jones also needed to contend with the COVID-19 pandemic. Much of the current core of Karnataka was in place and ready to tour in 2020, but of course the world had other ideas. Jones and the band finally managed to kick off the long-awaited New Dawn Rising tour earlier this year, and the current iteration of the band has been attracting positive reviews at every show. The tour has not been easy, though, as returning The Gathering Light-era keyboardist Gonzalo Carrera lasted one show before quitting - leaving the band to tour as a four-piece as a replacement could not be sought in time. The band also had to content with COVID-19 itself, too, with members of the band coming down with it a few months ago - which meant that the show at The Wharf in Tavistock had to be rescheduled. The rescheduled show took place last night, though, so it was with excitement that I headed to Tavistock for the second time of the week to enjoy some live music.

I had wondered what the turnout would be like, especially considering the long gap between now and the band's last tour in 2017, but it was probably a bit healthier than I had expected. I had feared a rather sparse crowd, but a significant handful of people made the effort - and I have certainly seen The Wharf emptier than it was last night. It is a shame that not more people turned up, especially considering how busy the venue was for Mostly Autumn's show two days before, but the band seemed pleased with the numbers - and those who did turn up were certainly there to enjoy themselves. There was no support act, and the band played a 13-song set that filled the best part of two hours - which was made up of a number of Karnataka favourites and three new songs from the band's upcoming sixth studio album. The first of two sets, though, was largely packed full of favourites. The band took to the stage following an orchestral intro, and launched into their self-titled instrumental piece - during which new frontwoman Sertari joined her three bandmates towards the end for the wordless vocal melodies. This segued nicely into the epic The Serpent and the Sea, which has always been a favourite of mine. It was clear from the off that Sertari is the perfect fit for the band, but it took a few numbers for the live sound mix to level out. Due to Carrera's departure, the band are currently relying on triggered keyboard parts, and these were very low in the mix for much of the first set. This robbed the band of some of their trademark atmosphere, but it did allow the spotlight to be shone on Jones' busy bass playing - as well as the lead playing of Luke Machin (guitars). The second half of the set was better balanced sound-wise, but I still enjoyed the first few songs despite the band essentially sounding like a guitar-led power trio during parts of it. The Serpent and the Sea did lack some of its power as a result, though, but the snappier and poppier Tide to Fall fared better due to its simpler arrangement and its reliance on vocal hooks. It did not take me long to be convinced by Sertari, though, despite the muddy sound. As much as I liked Griffiths as a singer, I feel that Sertari is likely to be a better fit for the band all-round - and she already seems to feel at home. She nailed the material from the band's original run, too, with the personal favourite Delicate Flame of Desire sounding great despite the lack of prominent keyboards. Machin impressed during the song with a lengthy solo, too, although I was less convinced with him overall in the context of Karnataka. Machin is a real talent, and he shines in a more overt prog context, but his style was sometimes a bit too busy for Karnataka's precise, melodic sound in my opinion - and his overall tone felt thin, but this could have been due to the muddy sound mix. It is still early days for this version of Karnataka, though, and I feel that he will grow into the band as they play more shows together. One new song was featured in the first set: the lengthy Forgiven which was probably my favourite of the three new songs played. It felt like an old-school Karnataka classic, with an aching chorus and lots of great guitar playing - whilst a symphonic mid-section added some of the gothic drama that was present on Secrets of Angels. It was a great end to the first set, by which point the sound had levelled out somewhat and the band were hitting their stride.

The second set only included five songs, but they were all pretty lengthy and showed off the more progressive side of the band. After the short break they restarted the show with Road to Cairo, the only Secrets of Angels song to be played, which really suited Sertari's voice. As a singer, I feel that she is the perfect mix of the band's previous singers - whilst having her own sound. Griffiths was more of a powerful singer that perhaps lacked some of the emotional side of her predecessors, and I felt that she never quite managed to nail the material from the band's early days. Sertari managed to nail the material from all three of her predecessors whilst never sounding like a carbon copy of any of them - and Road to Cairo shone thanks to her interpretation of the Eastern-tinged melodies and floaty chorus. Another new number, All Around the World, was then played - and the song was easily the hookiest of the new numbers. Forgiven was my favourite, but the chorus of All Around the World certainly stuck in the brain, and it very much whet the appetite for the upcoming album. It was a shame to have to hear these songs without the 'full' band though. As much as I enjoyed the show, I do think that the lack of a keyboard player did hold the band back. Backing tracks are not true substitute for a keyboard player, and I feel that the band would have shone even more with a fifth member up there with them. The first set's muddy sound may not have been an issue with someone playing the parts - and I do wonder if the backing tracks were deliberately kept relatively low in the mix so as not draw too much attention to the fact that the band are a man down. Either way, though, Karnataka's sound needs a keyboard player. I understand why it was not possible to bring someone in at such short notice, but this does need to rectified for future tours - and I hope that the band do not rely on the pre-recorded keyboards going forward. This issue aside, though, the show was excellent, and when the band launched into Heart of Stone I was very happy. The song is another favourite, and Sertari nailed it - with the final, heroic chorus coming across really well. The final new number, Sacrifice, followed, and it was probably the simplest and most rocky of the new numbers. It did not make quite as much of an impression as the previous two, but I still enjoyed it - before the main set came to a close with an excellent rendition of Forsaken. The lack of a keyboard player was very noticeable here, though, as Sertari spent much of the opening and closing sections singing along with the pre-recorded piano parts - but she nailed it vocally, and Machin's interpretation of the lengthy guitar solo was very good. The band left the stage after the song finished, but their rest was only brief as they came back for one more lengthy track: The Gathering Light. The song has often been used as a show-closer, and it worked very well as such again. It is the sort of song that builds towards a joyous chorus, and it contains a number of melodies that just go round and round in the brain. It brought the show to a powerful and uplifting close, and the band certainly enjoyed the cheers as they took their bows. The setlist was:

Karnataka

The Serpent and the Sea

Tide to Fall

Delicate Flame of Desire

Your World

Time Stands Still

Forgiven

-

Road to Cairo

All Around the World

Heart of Stone

Sacrifice

Forsaken

-

The Gathering Light

Despite a couple of quibbles which I have mentioned throughout this piece, I had a really good time with Karnataka last night in Tavistock. The setlist was a great representation of some of the band's best work, and I really liked the three new songs played - with two in particular having the potential to be future Karnataka classics. Jones is clearly inspired by the band's new era from a songwriting perspective, and in Sertari he seems to have found the perfect foil. The band do need to fix the keyboard player situation before any future tours, though, as the instrument is key to the band's symphonic, atmospheric sound. I am sure that Jones knows this, though, and I hope that the reception to the new songs on this tour spurs him on to finish the new album - which I am really looking forward to now that I have had a taste of it.

Mostly Autumn - Tavistock Review

By this point I am not sure how many concerts I have been to, but it all started in 2006 with Mostly Autumn at The Wharf in Tavistock. I was not really familiar with the band at all at the time, but went with my Dad and a family friend - and it essentially kick-started my love of live music. I did not become a Mostly Autumn fan overnight, but over the next few months I started to listen to their albums - and my fandom was sealed in 2007 at the band's one and only convention. Since then, I have seen the band more than anyone else. I have now seen Mostly Autumn 45 times, which is more than double the amount of times that I have seen my second most-seen band, and a year without at least a couple of Mostly Autumn shows never seems complete. I have seen the band at many different venues over the years, but their annual return to The Wharf is always special. It feels like a homecoming for me in many ways, so it was with excitement that I returned to the venue last night to catch the band there once again. It had been a few years since I last saw Mostly Autumn at The Wharf, though. My last Mostly Autumn concert at the venue came in 2018, as I missed the 2019 show due to it clashing with another show that I already had a ticket for. I did see them the following day at Sub 98 in Reading, though, so I did get my Mostly Autumn fix, but I was sad to miss my yearly trip to see them in Tavistock. For obvious reasons, too, the band did not make it down to Devon in either 2020 or 2021, although I did head up to Bilston last November to catch them at The Robin 2 - another regular haunt of theirs. It was great to see the band live again after not seeing them at all in 2020, which is the only year that I have not seen them live since getting into them, and thankfully things seem back to normal now - as I also saw the band a few weeks ago at the Cambridge Rock Festival. I may travel back to Bilston in November to see them again, too, but first I need to digest last night's excellent showing. Mostly Autumn have always excelled at The Wharf, and it is the sort of venue and setting that is perfect for a band as organic as them. It has a large stage, which means that the seven-piece band can all comfortably fit on it - and the moorland surroundings really suit the band's music, especially their early, folkier work. Mostly Autumn have quite a following in Devon, too, and their shows in Tavistock are always well attended. Last night's show was probably the fullest I have ever seen The Wharf for Mostly Autumn, though, which was great to see. Their turnouts are often healthy, but The Wharf was packed - with lots making the effort having been starved of their regular dose of Mostly Autumn live over the last couple of years. Unusually for a Mostly Autumn show, too, there was a support act - a solo acoustic singer/songwriter - but unfortunately I did not catch her name. She played a very brief set of original acoustic songs, which generally is not really my thing - but her set was a nice addition to the evening.

With Graveyard Star still fresh in people's minds, Mostly Autumn are still keen on promoting it. Instead of playing a big chunk of the album as a suite, though, as they did in Bilston last year, the setlists so far this year have generally been more balanced. Graveyard Star is still featured quite heavily, but the setlist last night was focused more generally on the band's last handful of albums - and gave prominence to a handful of older classics, too. The band took to the stage at around 20:30 and, as they did at the Cambridge Rock Festival last month, kicked off with the up-tempo cinematic hard rock of Tomorrow Dies. The song has been a live staple since Sight of Day was released in 2017, but it now finds itself the set-opener - and the hard-driving, keyboard-heavy song worked well as such. It allowed frontwoman Olivia Sparnenn-Josh to showcase her powerful voice from the off, as well as allowing Iain Jennings (keyboards) to rock out behind his bank of keyboards. The song's big chorus always gets the crowd going, and the closing instrumental sections with the twin guitar leads of Bryan Josh (vocals/guitar) and Chris Johnson (vocals/guitar/keyboards) is always exciting. This led into another rocker, Spirit of Mankind - which was the first of four songs from Graveyard Star featured. It continued the vibe of the set-opener nicely, and featured another big chorus for Sparnenn-Josh to belt out. Johnson was highlighted too with a delicate acoustic guitar solo, which then led into one of Josh's trademark soaring solo spots. His guitar playing was as powerful as ever throughout the gig - and he was also in fine voice, too, as evidenced throughout The Spirit of Autumn Past - Part 2. Perhaps surprisingly, one of the early highlights for me was a stunning rendition of The Last Climb. It has been a semi-regular addition to the set over the past few years, but last night's version was possibly the best yet. It showcased Angela Gordon (flute/keyboards/whistles/recorder/vocals) in a big way, too, as she sung the main vocal harmony along with Josh, before launching into a lengthy flute solo that took the crowd back to the early days of the band. Josh's long guitar solo followed the flute workout, and it was probably his most powerful moment of playing of the night. A couple of more stripped back songs followed, with Johnson's Gaze getting a relatively rare outing. It was a slightly fuller arrangement than the acoustic version that has generally been played live, with some piano and flute to back him, before Sparnenn-Josh retook the stage for the slow-burning This Endless War. The track morphs into a huge power ballad, though, and it was a real vocal showcase for her. Back in These Arms was up next, and the lengthy band piece saw lot of great vocal interplay between Josh and Sparnenn-Josh - as well some folky interludes which Gordon dominated. The first set then came to a powerful close with a barnstorming rendition of Mother Nature, which hit hard as always thanks to its powerful chorus, Jennings' lengthy keyboard solo, and the symphonic closing section that saw the whole band powering through.

Following a 20 minute break, the band came back for another hour-plus, of music. Henry Rogers' (drums) barrage introduced In for the Bite, a hard rocking Josh solo number that has found a home in the band's sets in recent years. It set the tone for the early part of the second set, though, which in general was pretty hard rocking. The upbeat AOR-esque Into the Stars followed, which always goes down well live thanks to its snappy melodies and big chorus, before the band took a dive into more symphonic territory with Western Skies. The song built slowly from Gordon's flute melodies and Jennings' piano, which Sparnenn-Josh sang over, but it really got going around the halfway point. This section always goes down well live, and Jennings' driving symphonic keyboards and the siren-like vocals from Sparnenn-Josh made the song another highlight. The folkier Skin of Mankind followed, with more excellent flute playing from Gordon, and the band then went back to their 1998 debut album for the excellent Nowhere to Hide (Close My Eyes) which is pretty much an ever-present feature in the set. The big vocal approach of the current band allowed the chorus to really shine, and it is another song that the crowd always laps up thanks to its hooks and overall vibe. Two of Johnson's songs followed, with the alternative pop rock of Changing Lives going down well. The song has become another setlist staple of late, and its Anathema-esque vibe makes it a song that adds some diversity to the band's shows. His aching ballad Silver Glass followed, and the song is rightly often heralded as a true Mostly Autumn classic. Jennings' piano drove the song, whilst Johnson's shimmering vocals added real emotional weight - which was only then equalled by Josh's soaring guitar solo. It is great that Johnson has been back in Mostly Autumn again over the past few years. He was in the band when I first got into them, but left soon after. Whilst it was right that Jennings returned to the band, who's space Johnson was essentially filling at the time, I am glad that room was eventually found for both - with Johnson taking over the rhythm guitar position in 2014. He has been ever-present since, and his songwriting has helped to add some diversity to the band's last three albums - which I hope remains going forward. He then took over on keyboards, along with Jennings, for the dense ballad Heart, Body and Soul. Sparnenn-Josh led the song, but Gordon sung much of it along with her in harmony - with their two voices perfectly bringing the darker song to life. The main set then came to a close with the lengthy, multi-part White Rainbow - which was another big band showcase. Jennings' keyboard intro perfectly set the song's atmospheric tone, whilst Josh then dominated the song's early portions - with his gruff vocals and organic guitar chords. The song is one that builds as it goes along, and it soon morphed into an angular hard rocker - and then became another symphonic piece with more siren-like Sparnenn-Josh vocals. Everyone gave it their all during the song, and the closing acoustic-led melodic coda with both Josh and Sparnenn-Josh singing in harmony was a perfect end to the main set. The band were running out of time at this point, so they only had time for one encore - which of course was Heroes Never Die. The lengthy ballad is always a highlight of a Mostly Autumn show, and the closing guitar solo section brought an end to another excellent night of live music. The setlist was:

Tomorrow Dies

Spirit of Mankind

The Spirit of Autumn Past - Part 2

The Last Climb

Gaze

This Endless War

Back in These Arms

Mother Nature

-

In for the Bite [Bryan Josh solo material]

Into the Stars

Western Skies

Skin of Mankind

Nowhere to Hide (Close My Eyes)

Changing Lives

Silver Glass

Heart, Body and Soul

White Rainbow

-

Heroes Never Die

Mostly Autumn shows are always special, and last night in Tavistock was no different. It was great to see the band in Devon again, and it was also great to see such a big turnout, too. The band always find a warm welcome waiting for them in Tavistock, which is why they keep coming back. I am sure that next year will see the band back at The Wharf, at which they will no doubt receive another big welcome. Mostly Autumn always deliver, and that is a big reason why last night's show of theirs was my 45th Mostly Autumn gig - and I doubt that it will be too long before I attend my 50th.