Arjen Lucassen's Supersonic Revolution's 'Golden Age of Music' - Album Review

Considering how many progressive and power metal albums and concerts I have covered on this blog over the years, one name that has rarely been mentioned here is Arjen Anthony Lucassen. Considering how prolific Lucassen has been with his various projects over the years, and how much I generally like his output, I am quite surprised that I have never really written about him or his work here. Whilst I am certainly not familiar with everything he has ever done, I have heard most of the Ayreon and Star One albums as well as a handful of some of his other more one-off projects. I think that the main reason for not covering him before is the fact that the majority of his albums tend to be mammoth undertakings which I just cannot dedicate a lot of time to listening to. I have enjoyed all of the Ayreon albums that I have heard, but they all tend to be sprawling, lengthy, complex concept albums - and they are just not albums that I tend to listen to that often, despite enjoying them and the majority of musicians and singers which collaborate with Lucassen on them. This extends to Star One, too, and I have always found Star One generally to be pretty similar to Ayreon - despite Star One typically being on the heavier side and Ayreon straddling the line between prog rock and prog metal more finely. Over the years, too, I have also enjoyed Guilt Machine's sole album On This Perfect Day from 2009, which was more of an overt and atmospheric progressive rock release, and the folky and more organic The Diary by The Gentle Storm from 2015. I am also quite a big fan of the gothic/prog metal act Stream of Passion, which Lucassen helped form in 2005 and whom later grew into a fully-fledged band without his involvement. As such then, despite the lack of coverage here, I am a pretty big fan of Lucassen and his work - so writing about an album of his does somewhat feel long overdue. It is perhaps fitting, then, that I have chosen his latest project as my first review of his work - and, in my opinion, this latest offering does do something a bit different from anything he has done before. Lucassen's new band, Supersonic Revolution, is a five-piece in the classic rock style - and that is exactly the type of music which they play. Lucassen's prog leanings do not really appear here at all, and Golden Age of Music, Supersonic Revolution's debut album, clearly plays tribute to a number of Lucassen's classic rock influences from the 1970s. Deep Purple and Uriah Heep seem to be the main touchstones here, but there is also influence taken from 1970s glam rock bands like Slade and Sweet. A good comparison to make is actually to the newer retro rockers Cats in Space - albeit heavier and much more Deep Purple-influenced. Supersonic Revolution retain Lucassen's signature crunch and approach to melody, but play no-nonsense hard rock with big melodies, plenty of Hammond organ, and some excellent lead guitar work. Despite writing most of the songs as usual, Lucassen has contented himself with bass duties here, and he has been joined by frontman John Cuijpers (Praying Mantis), guitarist Timo Somers (Vengeance; Delain; Carthagods), keyboard player Joost van den Broek (Sun Caged; After Forever), and drummer Koen Herfst (I Chaos; HDK; Vandenberg) - all of whom have collaborated with Lucassen in the past.

Despite this classic rock approach taken, I still think Golden Age of Music sounds like a Lucassen album. He just has an approach to songwriting that stands out a mile off, but he has toned down the prog here to go for an all-out hard rock sound. Before really kicking off, though, the album gets underway with the short keyboard-led instrumental SR Prelude. The organ work from van den Broek here builds, in the neo-classical style, towards the album's first proper song - and it signals how important the keyboards are going to be to what follows. van den Broek really shines throughout this album, and the instrumental intro showcases him nicely - before The Glamattack crashes in and the album gets underway proper. The hard-hitting Deep Purple-esque sound of the album is established from the off, but the song definitely feels more modern despite the influences on display. There is still a strong metal attitude present throughout the song (and, indeed, much of the album), largely thanks to Herfst's powerful drumming and the grit in Cuijpers' voice, but there is enough of a retro edge to allow the influences to shine. Somers' approach to his guitar playing here is generally a bit more modern, too, with pinch harmonics and shredded licks often eschewing a more bluesy approach - but the Hammond organ roots everything in the past. This mix of sounds works well, though, and it gives the album a unique feel - and The Glamattack is a perfect representation of the band's ethos. The opening riff is hard-driving, with a strong organ backing, whilst the verses are a bit more melodic to allow Cuijpers to shine. Praying Mantis fans will already be aware of his excellent voice, but he pushes himself more here - and the difference between the more melodic verses and the more metallic chorus showcases his range. The chorus is very catchy despite its fast pace and serious attitude, and it shows how well Lucassen has leaned into his influences here and still managed to showcase a bit of his core sound. It is not all about the vocals, though, and a blistering instrumental sections sees Somers and van den Broek trading solos and licks back-and-forth in a manner reminiscent of a modern Ritchie Blackmore and Jon Lord. There is a quieter moment later on, which sees Cuijpers singing against a more atmospheric keyboard backing - but generally the song steams along, and it kicks off the album in fine fashion. The title track follows, and it continues on the core sound of the opening number perfectly - although it is slower and focuses a bit more on groove. It opens in busy fashion, with some explosive lead guitar playing, before a crunchy verse kicks in - driven by some groovy bass playing and plenty of Hammond swells. The song is less frantic, but it still feels pretty crunchy throughout - with Somers' more modern guitar grooves perfectly clashing with retro keyboards and the funk of the rhythm section. Cuijpers is more overtly melodic throughout, particularly during the story-telling verses, whilst the chorus hits a little harder with plenty of strong vocal harmonies and a lushness thanks to the keyboard backing. Guitar and keyboard lead passages are never too far away, either, and the song is packed with plenty of hooks as a result - and perfectly balances accessibility with a busy instrumental approach, like so many of the best bands of the 1970s.

The Rise of the Starman appears to rein in the heavier side of the band somewhat, as it builds from a keyboard intro which Somers soon solos over in a rather whimsical manner. It feels as if it is about to take a different path from the opening couple of numbers, but soon another big riff crashes in and the song morphs into another mid-paced hard rocker - although it feels more atmospheric and expansive overall. Whilst Lucassen generally has not mined his usual prog seams here, he does showcase his prog side a little occasionally - generally in scope and arrangement more than anything else. This is a song that benefits from his prog experience - as it is very busy instrumentally, and there is a lot of time dedicated to guitar and keyboard solos. They all add to the overall experience, though, and the keyboard depth throughout helps the song to feel huge - and this larger scope helps to mitigate against the guitars being a bit less crunchy overall here. This is very much a song which showcases van den Broek's organ playing, particularly as much of his time is dedicated to leads and melodies - not just swells of growling sound. This approach works well, though, even whilst Cuijpers is singing, and it helps the song to feel a little grander overall. Burn It Down returns to something much crunchier, though, and if any song here channels Deep Purple then it is this one. There are definite lyrical references to Smoke on the Water at times here, and the main keyboard riff reminds me a little of Might Just Take Your Life. Despite this, though, the song does not just sound like a poor pastiche of Deep Purple, but instead it feels like a celebration of that brand of 1970s hard rock - and the grit-filled voice of Cuijpers really adds character to the strutting, mid-paced number. He brings the song to life, particularly during the snaking chorus, whilst some more back-and-forth between Somers and van den Broek add further flourish during an instrumental section which channels both bluesy and neo-classical vibes. Despite the influences being rather blatant here, the song is executed really well - and it perfectly showcases what Lucassen was trying to achieve with this latest project. Odyssey is another piece that showcase a bit more of prog feel, and it is probably the most expansive and atmospheric here. Opening with clean guitar melodies and some spacey leads, the song builds from this slow intro - adding Hammond organ pulses as Cuijpers starts to sing. This vibe continues on for a while, with the atmosphere building slowly over the song's first couple of minutes behind Cuijpers - but soon things pick up the pace somewhat, and Somers launches into another fairly lumbering riff, complete with pinch harmonics, and the song becomes more metallic. Sparking synth leads and some off-kilter drumming take the song in a different direction briefly, but once Cuijpers starts to sing again the more expansive feeling returns - albeit with a heavier backing. The crunch helps to enhance the melodies overall, though, and the song's build feels natural despite the shift to something heavier. The vocal hooks might not be as memorable here, but Cuijpers instead sings in a manner more befitting of the song's journey - although the occasional big hook does add a sheen when needed, if the many guitar and keyboard excursions did not already do so.

They Took Us By Storm returns to something more typical of the album's core sound, and opens with some of the most overt and in-your-face Hammond organ playing here. van den Broek is given free rein during the intro, where he lays down some retro swells and roars, before the rest of the band crash in and Somers leads the charge with a riff that is packed full of groove. This is another song which perfectly mixes Somers' more modern riffing style with the retro songwriting of Lucassen, and the mid-paced bounce which is created throughout is very easy to latch onto as a result. Much of the best classic rock features strong grooves, and They Took Us By Storm is no different. Things are toned down somewhat for the verses, but they maintain the same overall rhythm, whereas the chorus is much punchier - with the Hammond of the intro returning as Cuijpers' voice is backed by walls of harmonies. A lengthy organ solo ensures that van den Broek's dominance is retained, and it brings everything together nicely. Golden Boy does tone things down somewhat, opening with a shuffling groove and some distant keyboards - whilst Cuijpers sings against this muted, but busy, backing in a more melodic manner whilst Somers grinds away on his guitar. Occasional volume swells tease a more hard rock approach, but the song tends to remain more low key despite a punchier chorus. The organ stabs keep it grounded, though, and Somers does not let rip as much here. There is still plenty of rock here, but the heaviness is not as overt - with Lucassen's prog side on show again as far as the arrangement goes. The pulsing, shuffling groove is welcome, though, and the song helps to provide a bit of a change of pace. This change of pace is maintained with Holy Holy Ground, the album's sole ballad which tones things down further and goes more an atmospheric approach that features lots of emotional guitar playing from Somers. The pulsing intro is dominated by a lengthy guitar solo, and when Cuijpers takes over vocally he continues on the atmospheric approach established. He showcases a more melodic side of his voice here, with much of the earlier grit left behind to suit the song's slower burn and the more emotional approach. The rhythm section shuffle away, yet still pack a decent punch, whilst all the depth is added by the keyboards. The verses brim with washes of organ, whilst a lengthy keyboard solo builds on many of the vocal melodies throughout. This then transitions into a screaming guitar solo, which is still packed full of emotion despite the somewhat busier approach and more cutting tone. There is a lot to like about the song, and as the album's only ballad it helps to add something different overall. Despite the influences on display here, there is still fair amount of variety, and Holy Holy Ground showcases this with its more delicate melodies and bluesier approach to guitar leads.

Fight of the Century returns to something more typical of the album, but the song is not as furious as some of the harder tracks here - instead going for a more groove-based mid-paced approach. The rhythm section once again do their bit, creating strong grooves with off-kilter drum patterns, whilst the organ again is the MVP - providing many countermelodies throughout the verses and filling the chorus with its more aggressive overall sound. In my opinion, though, the album has other songs which do this style better. There is a lot to like here, though, and the instrumental section may well be the album's best. It builds from a busy organ solo, and then explodes into Somers' most shred-happy guitar solo here - backed by some really fast double bass drumming out of nowhere. The vocal hooks are not as strong here as they are in many of the other songs, though, which means that the track does not feel as hooky overall as many of the album's best cuts. It is still a great representation of the band's core sound, though, and makes up for its lack of interesting vocal hooks with the excellent aforementioned instrumental break. The album then comes to a close with Came to Mock, Stayed to Rock, which opens with a strange acoustic guitar ditty - which is soon backed by some whimsical keyboards. The opening section of the song builds on this acoustic intro, and presents something very different and almost bluegrass-esque in tone, but the bulk of the song is more typical of the album's core sound - and it soon explodes into another relatively fast-paced piece with choppy guitar riffing, staccato keyboard stabs, and an overall vibe which feels rather jaunty and upbeat. Cuijpers' vocals hooks are appropriately snappy, nicely fitting around the pulsing grooves in true glam rock fashion, with the fast-paced chorus in particular sticking in the brain. The busy arrangement makes the most of the band's instrumental talents, too, and there is quite a lot of soloing here - including another fairly lengthy back-and-forth between Somers and van den Broek which nicely showcases the pair's chemistry. It brings the album to a busy and dynamic close, then, and once again showcases Lucassen's love of retro rock. Overall, then, Golden Age of Music is a really fun album which has allowed Lucassen to do something a bit different and pay tribute to many of his rock influences from the 1970s. His prog side does shine through sometimes, but generally this is a more up-tempo and harder rocking album - with a big focus on melodies and furious instrumental trade-offs. Given Lucassen's track record with projects not named Ayreon or Star One, I would not be surprised if this release turned out to be a one-off - but if Lucassen ever feels like he wants to write more songs in this style I would happily listen to Supersonic Revolution's second album.

The album was released on 19th May 2023 via Music Theories Recordings. Below is the band's promotional video for Golden Age of Music.

Alcatrazz's 'Take No Prisoners' - Album Review

Alcatrazz are one of those bands that have a big banner reading 'What If?' hanging over them. Despite finding an audience in the 1980s, they essentially acted as a springboard for the careers of two American guitar legends without ever making much of a mark themselves. Perhaps this turnover of guitar heroes did not help, but I would have still thought that being fronted by Graham Bonnet in his prime, fresh from Rainbow and the Michael Schenker Group, would have counted for more. It was not to be, however, and the band split in 1987 after three albums with three different guitar players. They deserved better, but then so do many bands - and Alcatrazz are just one of many good bands who never got the respect they deserved. This, though, makes the recent Alcatrazz story so interesting. Reforming in 2019, the band released their fourth album Born Innocent (which I reviewed here) the following year. Born Innocent contained a lot of strong songs, but it felt more like a Graham Bonnet Band album that was released under the Alcatrazz name given the sheer amount of guest musicians and songwriters that contributed to it. A few months later, though, Bonnet was out of Alcatrazz and another Rainbow alumnus Doogie White was in. Given that Alcatrazz always seemed to be Bonnet's band, the change was a shock - particularly given that Born Innocent had not really been a true band album. Perhaps this was part of the issue, but Bonnet seems content to be a solo artist these days anyway - and Alcatrazz has continued on under the guiding hands of founding members bassist Gary Shea and keyboardist Jimmy Waldo. Bonnet has an extremely distinctive voice, but I have been a big fan of White for a number of years - so I was keen to hear what Alcatrazz would sound like with him at the helm. I did not have to wait too long, as V (which I also reviewed here) came out towards the end of 2021 - and introduced a new-look Alcatrazz which very much played into White's more traditional hard rock and heavy metal background, as well as really letting current guitarist Joe Stump run wild. Stump had impressed on Born Innocent when he was not being forced to share the spotlight with the various guests along for the ride - but on V he really got to showcase his neo-classical talents. It was clear that he and White had struck up a strong writing partnership from the off, too, and that has continued on throughout the second Alcatrazz album of the White era, Take No Prisoners, which was released last month. Waldo and manager Giles Lavery chip in too, but generally, again, this album is the White and Stump show from a songwriting perspective - with the former laying down a number of strong vocal hooks and the latter contributing lots of big riffs and solos. There are no 'guest replacements' this time, either, as even V featured additional drummers and bass players - meaning that Take No Prisoners is a true representation of the current Alctrazz line-up. Speaking of drummers, though, it is the band's first effort with Larry Patterson (Arbitrater; Chokehold; Blaze Bayley; Iron Knights; Raven Lord) - and the journeyman New Zealander does a fine job throughout.

The retro hard rock sound of V is generally retained throughout Take No Prisoners, and the album continues the good work which the 2021 release started. Little Viper kicks things off, and opens with a riff which could have been written by Yngwie Malmsteen. Stump is clearly a big fan of the Swedish guitar hero, and channels his style throughout - but, thankfully, the songs here are much more song-based than much of Malmsteen's recent catalogue. The main riff hooks the listener in the from the off, which is soon augmented by Waldo's organ countermelodies, before White join in - delivering a slightly more atmospheric verse with aplomb. The riffing is less hard-driving during the verses, which allows the keyboards to add depth, but the song still drives along at a decent pace - particularly as it accelerates towards the chorus with plenty of double bass drumming from Patterson. The chorus sees the song's opening riff reused, and the heavier section hits hard with some strident vocal melodies which sink into the brain nicely. The hooks are very typical of White's dramatic style, and he demonstrates throughout the album why he should be held in higher regard, whilst Stump later lays down the first of many busy, yet melodic, solos. Little Viper very much sets the tone for the rest of the album, then, and is another great representation of the White/Stump writing partnership. Don't Get Mad...Get Even follows, and the song takes more of a meaty hard rock direction - with a strident opening riff packed with 1970s grooves, and everything culminates in a shout-along chorus which features the members of NWOBHM legends Girlschool adding extra depth to the gang vocals. The song is perhaps less hard-driving and neo-classical than is typical of the album's core sound, but Alcatrazz occasionally slip into a more anthemic hard rock territory, with occasional hints of 1980s stadium rock, and Don't Get Mad...Get Even is a great representation of that sound - with the main riff packed full of groove and hooks, and the chorus an instant winner (especially with Waldo's organ flourishes). It certainly channels a lot of fun throughout its meaty riffing - and it acts as a great simpler hook among the album's more neo-classical moments. Battlelines returns to the album's core sound, then, but there is more of an atmospheric depth throughout. The song is weighty, with a chugging riff that keeps it moving, but Waldo's keyboards also take on a more prominent role. Neo-classical rock/metal often has a strong keyboard presence, and Waldo's synths and organ add a lot to the mid-paced Battlelines - and act as a melodic halo to Stump's chugging riffing and occasional bursts of lead playing. Songs like this also really bring the best out of White in my opinion. His thespian edge thrives during songs such as this - and the uplifting chorus is made such by his excellent delivery, and the subtle vocal harmonies throughout add depth. Stump's guitar solo is pure Malmsteen, too, and it is also fairly lengthy - which allows him to stretch out against the song's more atmospheric backing to really make his mark.

Strangers slows things down, and opens with some clean guitar melodies from Stump - before Patterson's drums kick in, laying down a sombre beat which forms the basis of the verses. The guitars take a bit of a backseat here, with a rhythm section of Shea and Patterson creating the main base for everything, whilst Waldo's keyboards are high in the mix. The opening guitar melodies remain, but they are generally sat below the swirling synths - and this allows White's emotional vocal delivery to shine. As such, the song feels like the album's ballad, but it changes later on. The chorus is rocked up a bit, with more of a guitar presence and Waldo's Hammond organ pulses, but the overall pace remains quite slow for the most part. This allows the heavier sections to hit hard, but the song does start to race away towards the end - with a flashy keyboard solo from Waldo seeing the pace upped before the song's closing section feels more much typical of Alcatrazz's modern sound. As such, the song has a pretty dynamic arrangement, then, and I really like how it grows from its slower opening sections. Gates of Destiny, written by AOR songwriting legend Jim Peterik, is another mid-paced hard rocker - and one that sticks to the band's core sound despite it being written by Peterik. Those expecting an AOR song in the vein of Survivor will be disappointed, as the song still feels very much like the rest of the album - although perhaps the vocal melodies during the chorus are a little more overt than they otherwise would be. There are strong shades of early Rainbow here, too, which is unsurprising given White's and Stump's influences and history, but generally the crunching guitar riffs and the ever-present keyboards create a familiar-sounding bed for White to weave his magic. Waldo's keyboards create a grandness throughout, which is aided by the song's mid-paced strut - and is furthered by another lengthy guitar solo from Stump later in the piece which tunnels further into the Rainbow mine. The self-titled song which follows ups the pace again, and is driven from the off by Patterson's double bass drumming and some busy Stump guitar playing. The song very much feels like it could have fit on one of Malmsteen's early classic albums, as Stump's playing is a mix of chunky riffing and off-kilter lead work - whilst the atmospheric depth added by the keyboards is a great counter to the hard-driving drumming. As such, the song is very typical of the band's modern sound, and it channels its influences nicely. There are certainly hookier songs here, but the overall sound that it creates hits the nail on the head. I really like the atmospheric depth created throughout, which is exemplified later by Waldo's keyboard solo, and the overall pace keeps things sounding heavy. In many ways, the song perfectly showcases what great neo-classical rock/metal should sound like - and White's dramatic chorus brings everything together. Holy Roller (Love's Temple), co-written by Saxon's Nibbs Carter, is another more mid-paced piece, which opens with some stuttering riffing and drum rolls, but again is another good representation of neo-classical sounds. The balance between the guitars and the keyboards is well struck throughout, meaning that there is enough atmospheric depth without sacrificing too much weight. I do not find the song to be as memorable as some of the other cuts here, but there is still a lot to like - with the swinging chorus adding a slightly different vibe and Stump's guitar solo is another winner.

Power in Numbers is much more keyboard driven than the rest of the album - but I like the change in tone overall and it still sticks pretty closely to the album's core sound. Waldo's keyboards are important throughout the album, but generally Stump provides the main riffs. The opening sections of this song, though, are very much dominated by pulsing keyboard riffs and stabs - with the guitars providing more of a crunchy, rhythmic backing. This change in emphasis is welcome, though, and the song stands out for that reason. The keyboard riffing is very much out of the 1970s classic rock playbook - but set against a more metal backing the piece still feels nice and weighty. The keyboard dominance brings the best out of White, too, who really soars throughout the track - particularly during the headbanging chorus which crawls along at a weighty and more deliberate overall pace. Given the keyboard dominance an organ solo or something similar would have been nice, but Stump's neo-classical shred explosion is still welcome - especially as it is really his only moment in the song where he shines, which shows that he also knows when to step back somewhat. Salute the Colours also has a strong keyboard presence, but the balance between the guitars and the keyboards is much more finely-balanced again here - with the opening instrumental flourish seeing Stump and Waldo trading licks and playing in unison, before the pace slows down to a classic heavy crawl to again showcase that early Rainbow sound (with a hint of Black Sabbath, too). There is a doomy nature to the song throughout, particularly given Stump's slow-paced riffing and the horror depth which is added by Waldo's organ, but the song still contains a number of key neo-classical elements. White shines during this slow-burning, dramatic, and heavy piece - and the slightly folky melodies utilised during the verses add a slightly different dynamic. Despite this slight lightness, though song overall feels like one of the album's darkest moments - with the heaviness and brooding nature bleeding through throughout. Stump's solo feels a bit more upbeat, but it is still set against a slower backing. What is upbeat, though, is the album's closing cut Bring on the Rawk, which returns to a vibe similar to that of Don't Get Mad...Get Even with a shout-along chorus and more of an anthemic sound. The pace is much faster, though, which means that the song does not have as much of a classic rock strut - with Patterson's double bass drumming keeping everything ticking, which gives the album a real kick as it comes to a close. The riffing is busy, then, but the keyboards still provide a strong counterpoint, and White goes all-out vocally - particularly during the frantic chorus which is packed with gang vocals and a strong overall attitude. One last instrumental section sees both Waldo and Stump shredding, too, and the album comes a high-energy end - in a similar manner to how it began. Now two albums deep into the White era, it is clear that Alcatrazz are reborn and aim to be a going concern once again. With V and now Take No Prisoners, the current era is creating a strong legacy for itself already - and those who love neo-classical rock/metal and want to hear lots of great guitar solos and strong hooks will find plenty to enjoy here.

The album was released on 19th May 2023 via Silver Lining Music. Below is the band's promotional video for Battlelines.

Yes' 'Mirror to the Sky' - Album Review

Given that the British progressive rock legends Yes have not exactly been the most prolific when it has come to releasing new albums in recent years, I surprised myself in 2021 by including a new Yes album in my Albums of the Year list for that year. Whilst I have been a fan of Yes for quite a few years at this point, I had never really considered myself anything other than a casual listener of the band - but in 2021 and 2022 I gave Yes a lot more attention, largely due to the release of their last album and the fact that they played a small tour warm-up show locally to me. In many ways, though, my revisiting of Yes was long overdue. I have been a prog fan for a long time, but I have often been fairly picky as to which prog bands I explore. Yes' catalogue had only really been given a cursory exploration as a result, but over the last couple of years this changed and I filled in many of the gaps in my Yes collection after revising the classics and devouring 2021's The Quest (which I reviewed here). I had expected to enjoy The Quest on a casual level, but I did not expect it to become one of my most-played albums of 2021. Given that the band's previous album had been the rather lukewarm Heaven & Earth, I do not think that many people were expecting much from The Quest - so I think that it surprised quite a few, as it received pretty decent reviews across the board. Given how long The Quest had taken to put together, too, I do not think that anyone was expecting a follow-up to be released so quickly - but this is what happened last month when Yes dropped their 23rd studio album Mirror to the Sky. Given the pleasing reception which had greeted The Quest, I imagine that the band wanted to capitalise on this momentum and positivity and push forward with a follow-up. Unfortunately for Yes, they have one of those rather obsessively dedicated fanbases who are ultra-critical of everything that the band do - so they are probably used to reading negative reviews. The relative positivity surrounding The Quest was likely welcomed, then, so Mirror to the Sky was born. I also think that the pandemic has had an impact on some veteran bands - and has made them realise that they probably only have a few years left together. A few veteran bands seem to have been spurred on recently to record new music, and I welcome this activity from Yes - particularly given the strength of The Quest. Turning to Mirror to the Sky, in my opinion it is another strong album from the band - and it feels quite similar to The Quest overall. I do not think that this latest album is quite as strong, but it ticks all of the right boxes and contains a number of strong tracks - including a lengthy prog epic. It is the band's first album since the death of long-time drummer Alan White, so is the first to feature Jay Schellen (Hurricane; Unruly Child; World Trade; Asia; Circa) behind the drumkit. Schellen has toured with the band for a number of years, and was credited with percussion on The Quest - but Mirror to the Sky marks his first Yes release as an official band member. Like The Quest, most versions of Mirror to the Sky come with a bonus CD containing three extra songs - but this review will only cover the main album itself and the six songs it includes.

The Quest opened with one of its best songs, and Mirror to the Sky does the same. Cut from the Stars was released as a single ahead of the album's release, and the jaunty number continues the overall vibe of The Quest nicely. The album contains three longer songs and three shorter ones - with Cut from the Stars being on the shorter side. It still contains plenty of Yes-isms, though, showcasing the tightness and confidence of the current line-up. A dancing string motif opens the song, before Schellen's drums roll in - and a busy bassline from Billy Sherwood takes over, which provides the main rhythm throughout. Given that Sherwood co-wrote the song, the focus on the bass throughout is unsurprising. He has filled the late Chris Squire's shoes nicely, and his bass playing throughout this track is reminiscent of that classic Yes sound - whilst Steve Howe adds spiky guitar chords and the odd melodic flourish, and keyboardist Geoff Downes adds colour with his bank of retro keyboards. Frontman Jon Davison delivers throughout, too, his playful vocal melodies and whimsical delivery perfectly accenting Sherwood's busy bassline - as well as leading through a hooky chorus which is one of the album's key earworm moments. There are songs here which are more musically complex, but as far as hooks go Cut from the Stars ticks all the right boxes. Despite their complexity, Yes have never shied away from a pop hook - and this song is full of them. Davison and the busy bass playing provide a lot of interest throughout, but there is also a strong instrumental break, too - which sees Howe and Downes trading guitar and synth melodies back and forth in a busy, yet still melodic, fashion. This whig out closes the song, and it provides a bit of instrumental bite as the track comes to a close - prefacing what is to follow nicely. That which does follow is the longer-form All Connected, the first of two nine-plus minute songs in a row. Whilst Sherwood drove the previous song, All Connected is very much Howe's piece. Given that he is the longest-standing member of the band at this point, it is unsurprising that Howe dominates the album. He took something of a backseat during Cut from the Stars, but All Connected features a lot of his distinctive playing. The song is birthed from a subtle keyboard swell, which soon gives way to some atmospheric guitar leads from Howe - which culminate in some slide licks before Davison starts to sing. Sherwood's bass is still prominent throughout, but his playing is less busy - with his bass playing more convention in nature, despite a few little flourishes to break up the atmospheric guitar backing and more lead-based approach. Davison still manages to make himself heard above this busy mix of sounds, and the song hangs together in that classic Yes manner - with the odd more heroic vocal line and a few subtle harmonies from Sherwood filling out the sound. As hinted at, though, a guitar lead is never too far away, and Davison often steps back to allow Howe to shine. There are a few brief leads early on, but he really steps forward when the song's pace slows - and he delivers some slow-burning leads against a shimmering keyboard backing. This section then transitions into a somewhat funkier section, briefly showcasing the bass, before segueing back into the main verse/chorus melodies which largely dominate the rest of the song - save for Howe's best solo on the album up to this point, which is saved until last.

Following a really strong opening duo, then, the album does take a bit of a dip in quality with its third song Luminosity. Of the six main songs here, it is the only one that has not really clicked with me - and the lengthy song is perhaps not served well by having to follow the stronger All Connected. There are still interesting moments here, though, and the opening instrumental section is one of them - with some snappier guitar rhythms from Howe which soon give way to a more deliberately-paced section featuring pounding bass grooves, warm synths, and some wordless vocals from Davison. This then transitions into a brief piano-led moment, before the verse proper kicks in - with Davison singing warmly against a gentle backing and the odd strum of autoharp. This section does not grab me that significantly, though, but the song does build somewhat - with Downes taking on more of a presence with the occasional keyboard flourish. These sections are weightier, and include a more strident vocal delivery which does enhance the hooks - but for me much of the song is a bit lightweight and a bit pastoral for Yes. Yes have rarely been pastoral, and the laid back electric piano melodies and whimsical guitars which dominate large sections of the song lack the band's trademark bite and quirky rhythms. It is a bit pipe and slippers as a result, but there are still some good ideas to come - and when Howe takes over and launches into the lengthy guitar solo the song comes alive a little more. The solo is certainly at the more atmospheric end of Howe's playing, and lacks his usual jazz diversions, but the note phrasing and use of slide perfectly rings out against Downes' simple, shimmering keyboard backing. It is definitely a solo with a journey, and this lengthy instrumental section essentially fills the song's entire final third. The song ends on a high then, but it is a shame that all of the ideas here do not quite seem to hang together. It may well grow on me further but, as things stand, it is my least favourite track here. Living Out Their Dream is short, and gives the album a bit of a kick following the pastoral previous number. It is the album's heaviest number, and it is built around some spiky guitar chords from Howe and a driving Schellen drum groove - into which some great jazzy guitar flourishes are inserted. Despite this, the song itself is relatively straightforward. Davison and Howe sing the song as a duet, with Howe's deeper voice adding depth to Davison's higher-pitched delivery, whilst Downes' organ rumbles away behind much of the song. It is the only song here which Downes co-wrote, but it is not as keyboard-heavy as might be expected. The song's more organic approach brings the best out of his Hammond, though, and sparkling synths are used elsewhere to add hints of brightness. Another excellent Howe solo acts as a highlight here, too, and the busy instrumental section feels very different to the previous song's closing effort. Howe is much more jazz-inspired here, and the solo has plenty of bite to it as a result - with a closing keyboard flourish also adding to the song's relatively frantic nature before a fairly unexpected fade-out.

The album's epic title track follows and, at just under 14 minutes, it is the longest piece here - and also the most expansive. It opens slowly, with some acoustic guitar and piano melodies - but soon Downes' organ rumbles into view and the song really gets going. Howe's riffing here is very much out of his 1970s playbook, but soon the band veer off into proper prog territory thanks to Sherwood's bass taking over - and there is a bit of a call-and-response established between the guitar and the bass, creating hooky riffs that immediately suck you in. Howe soon solos, too, his melodic playing setting the tone over a busy backing - and the song's opening few minutes see Yes feeling the most prog that they have for a while. Once Davison starts to sing, though, things calm down somewhat - and a more acoustic backing is created. Howe again adds his vocals for depth, and the opening, sparse vocal lines feel quite slow - but this works well to allow the song to grow again from this acoustic base. Given that Howe leads the current Yes line-up, he makes great use of the song's length to stretch out. There are plenty of guitar breaks here, most of which are pretty slow-burning - at least early on. They add plenty of melody to the song, and perfectly add gaps between Davison's vocal-led sections - and they allow the vocal hooks to shine, and there are a number of repeated vocal refrains here which help to keep the song interesting despite its length. Things take something of a darker turn around halfway through, and a bigger keyboard presence takes over - with Davison sounding more mournful as the pace slows. This section soon morphs, including some rolling piano for Davison to sing atop - and also includes some jazzy incursions from Howe, as he adds some biting melodies to this more atmospheric backing. The pace soon slows further, with a slow-burning section creating more of a darkness with chattering synth breaks and swells of effects-heavy guitar - all whilst Sherwood occasionally crashes around with his snappy bass tone. This vibe continues on for quite a while, until a more upbeat acoustic guitar line takes over - and the song starts to build back up again, with dramatic strings adding essentially a purely classical section. The band soon crash back in, though, with Howe leading the jazzy charge, which leads the song through to a dramatic and harder rocking close. Given Mirror to the Sky's excursions, then, it is fitting that the song closes on a more reflective note, with the gentle Circles of Time. The song opens with Davison singing alone, before some acoustic guitars and a simple string backing join him. The song never really grows from this base, with Davison and Howe both armed with acoustic guitars to create the weaving melodies and campfire chords - whilst the strings create a delicate backing. Davison's voice is right at the front of the mix given the simple arrangement, and his higher-pitched delivery perfectly evokes to the tone of Yes singers past - and he shines against the simple backdrop. A short acoustic guitar solo is included, but the song is very much a vocal piece - and it acts well as an album closer, bringing the more expansive set of songs to an atmospheric end. This expansive nature means that there is a lot to like about this album, and Yes fans will certainly find plenty of the band's key sounds and approaches here. I prefer The Quest, but Mirror to the Sky continues to grow on me - and the prevalence of Howe's guitar soloing is certainly welcome. The band generally feel fired up here, too, and this current line-up are adding their own chapter to Yes' long legacy.

The album was released on 19th May 2023 via InsideOut Music. Below is the band's promotional video for Cut from the Stars.

Bruce Springsteen and the E Street Band - Birmingham Review

I get asked quite often what the best gig that I have ever been to is. Having been to hundreds of gigs over the years, giving anything like a definitive answer is hard - and even somewhat redundant. Despite this, I have generally narrowed all of the gigs which I have ever been to down to two: Marillion's debut appearance at the Royal Albert Hall in 2017, and Bruce Springsteen bringing the party to Wembley Stadium in 2016. Both of those gigs were special for different reasons, but Springsteen's Wembley showing is one that has lived long in the memory. Wembley Stadium is huge, and I was about as far away from the stage as it was possible to be and still be in the house. I was sat in the stadium's highest row at the opposite end to that of the stage - and yet Springsteen's performance made that immaterial. Despite the literal distance I was from the stage, the atmosphere within Wembley Stadium was such that it did not matter - and I felt as much a part of the show and experience as those down in the front row shaking hands with the man himself. Being a hard rock and metal fan I do not get to many stadium shows - but there are few who can command a stadium like Springsteen can, especially during shows as lengthy and diverse setlist-wise as his. The 2016 show was, then, something akin to a religious experience - and I knew that I could not let it be my only experience of Springsteen live. Whilst he has been busy over the years, he is not someone that comes around every year - so opportunities to see him are to be jumped at. For a number of reasons, including the pandemic, Springsteen had not toured in Europe since 2016 - so when his latest world trek with the E Street Band was announced last year I knew I had to get a ticket. Of all the UK shows, the most sensible seemed to be Birmingham's Villa Park. Springsteen's London shows this year are to take place in Hyde Park, and those sort of shows never really appeal - particularly given how hot the UK has been recently and the lack of shade that would be present. Plus, there is only so far away that you can be in a physical stadium - which would also provide shelter from adverse weather of any kind. Despite all the drama surrounding the growing ticket prices for Springsteen's shows, I managed to get a face value seated ticket in the cheapest band pretty easily when they went on sale last year - so I had been looking forward to the show for quite a few months. I ended up tying the show into seeing Geoff Tate in Wolverhampton the night before - and stayed in Wolverhampton the night of the show, too, traveling to and from Witton station to get to Villa Park. On the way back it seemed for a brief period that this had been a tactical error given the amount of people trying to get into the station - but the plan worked and I got back to Wolverhampton before midnight, which was a bonus. I had not been to Villa Park before, but I liked it as a stadium. It has an old-school feel that all proper football stadiums should have - and I was in the last-but-one row this time, so at least I was not at the very back! I also had a good view of the stage and screens from my seat, with no pillars or speaker towers in the way. I got the stadium around an hour or so before the action was supposed to kick off. A 7pm start had been advertised, but it was around 7:15pm when the evening got underway.

As the E Street Band trooped onto the stage, Villa Park erupted. On this tour the band have been joined by a horn section and a cohort of backing singers, so there was a steady stream of musicians taking the stage before Springsteen himself climbed the steps to huge cheers. As is generally the case with Springsteen's shows, there was no standing on ceremony - and he and the band soon launched into a high energy version of No Surrender. Unlike most of his previous tours, the setlist of this tour has largely remained the same from show to a show - with a handful of alterations along the way. Some have criticised this choice, but, for me, the skeleton of the setlist was different enough from the 2016 show that I did not mind. It contained a good mix of well-known songs and deeper cuts - all of which covered a good portion of his lengthy career. Given that this was the first tour since the release of 2020's excellent Letter to You, too, it was right that the album was represented. Wanting to keep the energy levels high, a barnstorming version of Ghosts from the latest album was wheeled out after No Surrender - and the power of the E Street Band was established from the off. Springsteen's backing band are legendary for a reason, and the live sound mix, at least where I was sat, was good enough to allow everyone to shine. Steven Van Zandt (guitar/vocals) had a lot of 'screen time' early on, his brash guitar rhythms and nasally backing vocals the perfect foil for Springsteen, whilst the driving piano of Roy Bittan (keyboards) kept every song moving. Early on, the high-energy tracks came thick and fast. Prove It All Night saw plenty of singing from the large crowd during its chorus - whilst the more mid-paced and folky The Promised Land, augmented by some violin from Suzie Tyrell (violin/guitar/percussion/vocals), had everyone swaying. Out in the Street, featuring vocal cameos from many in the band, was the last of the early high-energy tracks - as the set then moved into a different territory for a few numbers. The more atmospheric Candy's Room, with some frantic piano playing from Bittan, set this early tone - but for me it was Kitty's Back which really kicked the set up a notch. The lengthy song has never been a personal favourite - but live it was something else. The horn section really made their presence felt during the soulful rocker, with each player taking a brief solo spot. Also soloing was Charlie Giordano (keyboards), whose Hammond organ solo was the best moment of the epic track for me. The song's R&B vibes set the tone perfectly for Springsteen's version of Nightshift to follow, which saw the backing singers, particularly Curtis King Jr., earing their pay. Another big highlight for me during this section was the rollocking Mary's Place, which again featured plenty of involvement from the horn section. Springsteen really whipped up the crowd during the song, and the spotlight was also turned over occasionally to Jake Clemons (saxophone/percussion/vocals) - who often ventured down from his place with the horn section throughout the night to solo. The last song of this more R&B-inspired part of the night then came in the form of The E Street Shuffle, which provided a few last grooves before the vibe changed again.

A few slower numbers followed, with the synth-heavy ballad My Hometown prompting one of the best sing-a-longs of the night - with Springsteen often holding out the microphone during the chorus for a call-and-response effect. This was then followed by a first outing for The River on this tour, with Springsteen dedicating it to Birmingham - as the place erupted when the first strains of harmonica were heard. There was again plenty of singing, as Springsteen emoted the song perfectly against a backing of Van Zandt's acoustic guitar. The stripped back vibe was then furthered with a version of the newer Last Man Standing, written in tribute to a late school friend, which Springsteen sung alone with his acoustic guitar - with the exception of a short, mournful trumpet solo from Barry Danielian (trumpet/percussion). It was a poignant moment in a set filled with bombast, and also marked the last slower song for a while - as by this point the evening's final third was approaching and it was time to rock again. Backstreets transitioned into this vibe perfectly, but it was Because the Night which kicked things up another notch. The song prompted more singing, and it also included an incendiary solo from Nils Lofgren (guitar/lap steel/vocals) - in a rare moment of musical excess. A few more expansive rockers such as She's the One and Wrecking Ball followed, but it was the atmospheric, hopeful The Rising which really prompted a lot of singing. Walls of keyboards filled the venue, with Tyrell's violin again adding depth, and the song proved to be the last big, expansive song of the night. The end of the main set was fast approaching by this point, so it was left to two bona fide classics to bring it to a close. The hard rocking Badlands kicked the crowd into overdrive, and the chorus was shouted back at Springsteen - whilst Clemons once again nailed the classic saxophone solo. The more pensive Thunder Road was left to close out the main set. Building from Bittan's piano, the song has long been a favourite - and it was great to hear it in full this time, as an acoustic version was played at the 2016 show instead. It kept the energy levels high, and the band really rocked it up - bringing the main set to a powerful close. Following some bows, the band returned for a lengthy encore section which was packed full of hits. The synth-driven Born in the U.S.A. was only the beginning of this seven-song party, but it was Born to Run that arguably set the tone - with the crowd joining in at all the right moments which could likely be heard all around Aston. Bobby Jean then allowed for a slight change of pace, with lots of swaying from the crowd, before Glory Days rocked the set up again - and included plenty of banter back and forth between Springsteen and Van Zandt as the meaty rocker crashed around them. More synths heralded the arrival of Dancing in the Dark, but for me the big highlight of this part of the show was Tenth Avenue Freeze-Out, which was really brought to life by the horn section. Clemons had a few saxophone spots in tribute to his late uncle, but the song overall was a real band showcase - showing the E Street Band's love of R&B, and also showing the merits of bringing along the horn section for this tour. It was also the band's last gasp for the evening, as they took their bows following its conclusion, but there was still time for one more song - and Springsteen closed the evening alone with a beautiful version of I'll See You in My Dreams from his latest album. It was a calming close to the near three hour rock fest which had preceded it, and it provided a moment of reflection whilst leaving Villa Park. The setlist was:

No Surrender

Ghosts

Prove It All Night

Letter to You

The Promised Land

Out in the Streets

Candy's Room

Kitty's Back

Nightshift [Commodores cover]

Mary's Place

The E Street Shuffle

My Hometown

The River

Last Man Standing

Backstreets

Because the Night [Patti Smith Group cover]

She's the One

Wrecking Ball

The Rising

Badlands

Thunder Road

-

Born in the U.S.A.

Born to Run

Bobby Jean

Glory Days

Dancing in the Dark

Tenth Avenue Freeze-Out

I'll See You in My Dreams

A Springsteen show is always going to be a special occasion, and my second night with the man himself was another to remember. Whilst I think that the 2016 show was slightly better overall, as well as it having the novelty factor of being my first, Villa Park's more structured set and augmented E Street Band allowed for some really powerful moments - with the R&B-inspired section in particular standing out. Given that Springsteen is 73 now, it is hard to imagine that he has that many E Street Band tours left in the tank - so I do wonder if I will get the chance to see him live again. Whether I do or not, though, Villa Park has provided more excellent Springsteen memories which will live on for a long time.

Geoff Tate - Wolverhampton Review

The American progressive metal band Queensrÿche have been one of my favourite bands since I started listening to them in around 2008. They were one of the first progressive metal bands that I got into after getting into some progressive rock bands over the previous couple of years - with the band's 2000 Greatest Hits album being something of game-changing impulse buy having only heard the band's name previously. Even when I was starting to really develop my love of music, compilation albums never truly sated me. I have always been a full album type of person, and I think that my first Queensrÿche album was 1984's The Warning - but I think that it is fair to say that the album which really made me sit up and take notice was 1988's Operation: Mindcrime. I have always loved concept albums, and Operation: Mindcrime hit me right away thanks to its story, huge melodies, as well as Queensrÿche's technical-yet-accessible approach to songwriting. It is fair to say that Operation: Mindcrime has been one of the most important albums in the development of my current musical tastes. I have often called it my favourite album of all time, and I stand by that. It is hard to pick just one of the thousands of albums which I have heard in my life as the pinnacle - but Operation: Mindcrime truly deserves to be called such. One of the reasons why Queensrÿche stood out was the voice of former frontman Geoff Tate. In his prime, Tate was one of the best vocalists in metal - mixing thoughtful lyrics with a huge vocal range. Operation: Mindcrime would not be the album that it is without Tate's story and thespian vocal delivery. Those who have followed Queensrÿche in more recent years, though, will know that Tate has not been in the band since 2012. The messy split which saw Tate fired reinvigorated the band, and I have seen Queensrÿche five times over the years with current frontman Todd La Torre. I was very much team Queensrÿche at the time, despite my love of Tate's voice, but I think that it is also fair to say that the split also reinvigorated Tate - it just took a little longer to have an impact. I saw Queensrÿche with Tate once, a year or so before the split at a festival in London. I enjoyed the band's set at the time, but looking back it was clear that a change was needed. Tate's voice had deteriorated quite significantly at that point, and his creative control over the band had led to a number of bland albums. I also felt that he did himself no favours during all of the drama surrounding the split with a number of strange interviews which clearly saw his ego getting the better of him. I really had no interest in Tate around this point, especially after seeing lots of poor footage of his hastily put-together version of Queensrÿche which then become his solo band. Over the years, though, Tate seemed to change. He seemed to realise that his behaviour was having a negative impact, and the Tate of more recent years seems more humble and, potentially, sure of himself. He has also worked on his voice, and recent footage prompted me to give him another chance. He tours the UK fairly regularly, but his tours often call at some strange places which are not easy to get to from the South West - especially as they often take place mid-week. I have been trying to see Tate for a few years, and had tickets to a Bilston show which kept getting moved due to the pandemic, but I finally managed to make a plan work this year - when Tate announced a show at KK's Steel Mill in Wolverhampton as part of a UK tour to celebrate the 35th anniversary of Operation: Mindcrime with a full performance of the album.

The show finally rolled around last night, and it was my third visit to the venue so far this year. Before Tate took to the stage, though, the growing crowd was treated to sets from two support acts. At first it looked as if the turnout was going to be quite poor, but by the time Tate hit the stage later in the evening a healthy and vocal crowd had gathered. Up first, though, was the local four-piece New Saints. I have seen a number of local bands over the years - some good and some not so good. New Saints sat somewhere in the middle, with a great guitar-slinging frontman and a fluid bass player backed by a rather average lead guitarist and a drummer who seemed a bit rusty. From what the band's singer said throughout the set, it seems as if they have recently reformed. As such, last night's set could have been one of their first for a while - and New Saints certainly had some promise. The frontman had the look and a strong voice, as well as being a stronger guitarist than his bandmate - but thinking back to the set none of the songs really stood out. The riffing was pretty solid, but none of the chorus hooks have stuck with me since the show. I think that it is fair to say that the band did not manage to elicit much of a reaction from the growing crowd either. There seemed to be a couple of people who were familiar with the band due to some gentle heckling, but everyone else seemed rather non-plussed by New Saints' set. Apart from the strengths mentioned, my overall view was rather the same. I somewhat felt that the frontman was better than the rest of the band - and perhaps he could excel by surrounding himself with stronger players. New Saints only played for a short length of time, though, so they did not outstay their welcome.

Up next were the familiar faces of the Swiss hard rock four-piece Daxx & Roxane - a band I seem to come across fairly regularly. The band have become relatively popular over the years with the UK's rock fans, but they have never really done it for me. There are quite a lot of newer hard rock bands coming throughout currently, and there are plenty of other more interesting bands than Daxx & Roxane in my opinion. That being said, though, the band have certainly honed their stagecraft over the years. Whilst I generally do not find their material to be that memorable, they are a powerful live act with a strong stage presence. Cal Wymann (guitar/vocals) is the sort of musician who it is hard to take your eyes off. Despite looking about as rock and roll as a cup of tea, he never stands still - charging around stage and throwing all sorts of rockstar shapes. He is a capable player, too, and peeled off a number of high-octane bluesy solos throughout the band's relatively short set. Outside of Wymann's playing, though, Daxx & Roxane's set all rolled into one. I have always found the band's riffs to be pretty typical of that post-AC/DC meat and potatoes sound - whilst their choruses also lack strong hooks. Despite the band's strong stage presence, I have always struggled to understand why Daxx & Roxane seem to have found a decent-sized fanbase - largely as there are a number of other modern hard rock bands who write stronger material in my opinion. That being said, though, the decent-sized crowd which had gathered by this point seemed to generally enjoy Daxx & Roxane's set - as the four-piece received a fairly strong reaction during the relatively short set.

After half an hour or so the lights went down and Tate's band took to the stage as I Remember Now played over the PA. Despite hoping that I would enjoy the show, I had kept my expectations in check - but as soon as the band launched into Anarchy-X my interest really piqued. Alongside his voice improving again in recent years, Tate has also started surrounding himself by better musicians. Some of his early bands were made up of some pretty sloppy musicians, but the four guys backing him yesterday were all excellent. I did not catch the French guitarist's name, but James Brown (guitar/vocals), Jack Ross (bas guitar/vocals), and Daniel Laverde (drums) all pulled their weight, and did their bit to bring Operation: Mindcrime to life - as Tate took to the stage as Revolution Calling kicked off. Most of the main set was made up of the Operation: Mindcrime album, then, as Tate and the band brought it to life. The two guitarists nailed all of the album's memorable solos, and the rhythm section propelled the varied songs nicely - even if it was strange to see Laverde playing an electric drumkit. The star of the show, though, was of course Tate. I knew that he had improved his singing again in recent years, but he sounded even better than I was expecting him to. Whilst he did not sound as strong as he did throughout the 1980s and early 1990s, he sounded similar to how he sounded throughout the late 1990s and early 2000s. His voice was full of character throughout the night, and he hit a surprising amount of higher notes during the show. He lived every word of the album's story, too, particularly during the more melancholic moments such as The Mission and the lengthy Suite Sister Mary. The epic latter track was one of the night's overall highlights - with Tate's daughter Emily handling the female vocal parts and the guitarists nailing the song's murky atmosphere. The hard-driving The Needle Lies was another favourite, with the crowd shouting some of the lyrics back at Tate - and it was the song which kicked the album's performance into the next gear. The last third or so of it is filled with emotional moments, even with all the hooks. I Don't Believe in Love had everyone singing along - but it was the album-closing Eyes of a Stranger which was another overall highlight of the evening. Tate nailed the song vocally - and as the band moved into a reprise of Anarchy-X the crowd made their feelings known with some huge cheers. The band then took a pause to soak in the applause, but there was more to come - and Tate led the band through a powerful rendition of the delicate Silent Lucidity. The song's big solo rang through the venue as the emotional song moved forward, whilst two more songs from 1990's Empire album followed. Of the two, it was the album's title track which hit the hardest - before the main set came to a close with the anthemic Take Hold of the Flame, although without its iconic intro it took me a few bars to realise what song was being played! The band then left the stage, but were called back for one more following some loud cheers. I had seen that Tate had started playing Queen of the Reich again recently, so was hoping that he would play it. He did indeed pull out the old anthem, and he sounded great throughout - especially during the choruses where he hit some impressive high notes for a man in his 60s. It brought a great set to a powerful close, and the band then took their bows to huge cheers. The setlist was (N.B. all of songs below are Queensrÿche songs):

I Remember Now

Anarchy-X

Revolution Calling

Operation: Mindcrime

Speak

Spreading the Disease

The Mission

Suite Sister Mary [w/ Emily Tate]

The Needle Lies

Electric Requiem

Breaking the Silence

I Don't Believe in Love

Waiting for 22

My Empty Room

Eyes of a Stranger/Anarchy-X

Silent Lucidity

Empire

Jet City Woman

Take Hold of the Flame

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Queen of the Reich

Given that I had essentially written Tate off for quite a number of years, it was great catching up with him again last night in Wolverhampton. I had never seen him or Queensrÿche perform Operation: Mindcrime in full before, so it was a treat to see my all-time favourite album performed live by a strong band fronted by a rejuvenated Tate. He sounded great vocally throughout the night, and seemed to be having a blast on stage - prowling around and living every moment of the album's story. The extra songs played were a bonus, too, and overall it was just great to see one of my favourite singers back to something close to his best - showing that a bit of humility sometimes is all that is needed to excel once again.

Battle Born's 'Blood, Fire, Magic and Steel' - Album Review

On this blog over the years I have mentioned quite a few times that the UK has never really been a hotbed of power, symphonic, and progressive metal. The fact that I have always said this in the context of a review of a melodic metal band from the UK, which may suggest that the statement is not as true as it sometimes appears to be, has become a little bit of a personal joke over the years - but I still agree with the sentiment. It is just the truth that, in general, power, symphonic, and progressive metal is not significantly liked or created in a significant way here in the UK. A few foreign bands have cracked the UK market, with Nightwish and Sabaton standing out as being arena headliners here, but many bands who routinely play multiple large club-sized shows in other European countries have to make do with a mid-week one-off show at The Underworld in Camden here in the UK. This is a shame, but there is just not the audience for such bands here - so it is always a treat when a melodic metal band from the UK get some attention. There are likely more such bands than I am aware of, but the latest UK-based power metal band which has been getting some attention is the Southampton-based five-piece Battle Born. The band formed back in 2018, and released a self-titled EP in 2020, but I first become aware of them last year - when they played a show at The Underground in Plymouth. I actually became aware of the show as the Bristol-based symphonic metal band Control the Storm were also on the bill, so I discovered Battle Born somewhat by default - and as tickets to the show were extremely cheap I decided to make the short walk from my house up to Mutley Plain to check the bands out. Sadly I was one of only around 20 people who decided to do so, but Battle Born did not let this deter them - and they put on a strong showing. Whilst I have moved away somewhat from power metal of the deliberately cheesy variety over the years, it was hard not to get swept along with Battle Born's sweeping synths, shredded solos, and anthemic choruses. I think that it is fair to say that their music is nothing that most power metal fans will not have heard before - but I think that the band are aware of this and somewhat play up to it. Their music is created by and for a certain type of power metal fan, and it excels in that regard. After establishing themselves over the past few years, then, the band's first big milestone arguably took place last month - when they released their debut album Blood, Fire, Magic and Steel. 2020's EP was self-released, but Blood, Fire, Magic and Steel has been released through Prosthetic Records - and was partly recorded in Germany with Orden Ogan frontman Sebastian Levermann, who has become a sought-after studio hand in recent years, partially producing and fully mixing the album. Working with Levermann is a big coup for a band as early in their career as Battle Born are - but the result is an album that sounds the business, and one that bristles with all of the bells and whistles that are expected when it comes to power metal of this ilk.

There is very little true variety here, so the album kicks off as it means to go on. This may sound like a criticism, but it is not intended to be one really - as Battle Born's core sound impresses from the off. Wind Caller does fade in slowly, though, with the sound of the wind giving way to some grand synth and choral lines - before a soaring guitar lead from Will Kerr comes in, and the song speeds off. The album often operates at higher speeds, with drummer Charles Lamacraft-Perrett regularly laying into his double bass pedals. This is typical of power metal, and Wind Caller is very true to that sound. The guitars of Kerr and Tom O'Dell tend to chug away with the fast-paced drums, whilst the synths (also handled by Kerr) create a dramatic backing. Frontman Jack Reynolds has an engaging voice, and he stamps his authority on the song from the off. Whilst he might not have the range of the genre's best singers, his voice is generally full of character - and he is able to hit the occasional higher note when needed. The verses here see him setting out his stall - before the first of a number of big choruses showcases the band's slightly symphonic edge with a strong choral backing and plenty of fists-in-the-air moments. It is a strong song, but I feel that Dragon Heart, which follows, is better. Whilst the band has a symphonic side, they also use more futuristic-sounding synths at times - and Dragon Heart's intro is filled with them. The overall pace is a little slower this time, which allows it to feel heavier. The song is crunchier overall, with a memorable opening riff that creates a strong rhythm in unison with a hooky drum pattern. Despite this crunch, the synths still tend to dominate throughout. The verses feel a little more stripped back, despite a strong drum presence, whilst the chorus is bigger overall - with dancing synths backing Reynolds and a tight harmony vocal arrangement. I sometimes feel that power metal of this ilk looses a bit of its edge due to its reliance on synths, but Dragon Heart balances the guitars and the synths nicely - with a few riff-led sections sitting side-by-side with the song's synth-led verses and chorus. Blood and Fire is more guitar-centric, though. The synths are present throughout, but they generally create a atmospheric bed for the rest of the band this time - with the riffing of Kerr and O'Dell driving everything. Crunchy moments up the heaviness between each section of the song - whilst the opening guitar leads soar and aid the song's overall fast and epic-sounding arrangement. Double bass drumming kicks the song along, with both the verses and the chorus benefitting from Lamacraft-Perrett's fast footwork - but the chorus makes great use of choirs and dramatic synths to add a grand depth. A snappy, shredded guitar solo makes Kerr's presence felt, too, and the song shines due to its slightly heavier arrangement and focus on guitar riffs and leads.

Power Force shares more similarities with Dragon Heart than anything else heard so far, but there is also more guitar weight here, too. The song makes use of more futuristic-sounding synths, and there are plenty of effects on Reynolds' voice throughout the verses to create a bit of a robotic sound. The song is driving by a strong opening guitar lead, which resurfaces throughout, but in general it is the vocal hooks and the synth choices which make the song memorable. The band have certainly taken a lot of influence from Beast in Black here - as the overall mid-paced groove is similar to the Finnish band's core sound - whilst the reliance on futuristic synths adds an edge which brings the crunchy mid-paced song to life. The foot-stomping chorus is one of the album's hookiest moments, and the guitarists make sure that they are not left behind with a couple of shredded solos amongst the robotic grooves and vocal lines. When Empires Die returns to a more traditional power metal sound. The double bass drums once again dominate during sections of the song, and it opens with a flashy keyboard melody that grows in stature slowly before the rest of the band crash in. Whilst the chorus is fast-paced, and heroic in tone with Reynolds' big vocal hooks and some subtle gang vocals, the verses are actually a bit more stripped back - with crunchy guitar chugs, subtle keyboards, and a more prominent bass presence from session player Ethan Bishop (Matt Hudson has since joined the band as their bassist on a permanent basis). This bass presence gives the song more weight, and it also allows the song to feel a bit heavier. The verses stomp along as a result, before exploding into the epic chorus - which captures that big power metal sound perfectly. Throw in a shredded solo-off between the keyboards and the guitars, and the song is one of the album's standout cuts in my opinion. The Endless Grey then slows everything down, and acts as the album's ballad. Ballads are often popular in power metal and there are a number of good examples, but, in all honesty, I am not a huge fan of Battle Born's effort here. Swirling synths and some classical-sounding acoustic guitars create a bed for Reynolds' voice - and I actually think it is the vocals here which let the song down for me. Reynolds generally does a good job throughout the album, but The Endless Grey highlights his relative lack of range - and I feel that he does not quite manage to tap into the emotional well needed to sing ballads with conviction. It feels a bit forced in my opinion, and the song lacks the gravity that all good power metal ballads have as a result. The chorus sounds better, though, thanks to some well-used choral vocals, but it is not enough in my opinion to save what is really the only true misstep here. Fire Storm gets the album back on track, though, and ups the pace again with more double bass drumming and a dancing synth intro. The song is nothing that has not already been heard on the album, but the snappy vocal hooks make it stand out - and, whilst the song is still epic-sounding, there is also a relative simplicity to the main motifs. The main guitar riff is crunchy and old-school sounding, with a synth line backing it nicely, whilst the choral and gang vocals add wordless vocal accents - and contribute nicely to Reynolds' strong vocal performance. Another shredded guitar solo adds a further burst of old-school metal to the song, and helps to get things back on track after the limp ballad.

Down Your Drinks and Raise Your Swords is the latest entry in the long-standing song category of power metal drinking anthems. These tend to be some of my least favourite power metal songs in general, but this one is not as idle as some other examples - and has more of a battle metal vibe overall with some folky melodies and shanty-esque vibes. The song reminds me of a more synth-heavy version of Turisas' first album, but Battle Born's effort at that style is less folky overall - despite those tones certainly being present. A flashy keyboard solo which later gives way to some driving synth stabs certainly sounds rather Turisas-esque - with the rest of the track generally being a relatively grand mid-paced rocker with bouncy vocal melodies and a bit of drunken wordless chanting for good measure. Meridia initially sounds like it is going to be another ballad thanks to its slow-burning keyboard intro, but the rest of the band soon crash in as the synth hook becomes more intense - and it soon sits, folkily, atop a crunchy mid-paced rhythm. The band have done faster songs, but there is still a fairly snappy rhythm whipped up throughout - albeit with more of a classic rock strut thanks to a slightly-groove based approach. The chorus ups the pace slightly, but it generally still feels fairly mid-paced - and it is brought to life by Reynolds' big vocal hooks, which are simple in tone but extremely hooky. It is a great track which injects some older sounds into the album - especially following the somewhat trite drinking song which it follows. Picking up the pace again, Ride North for Winterhold returns to the band's fast-paced core sound - and the result is another strong power metal anthem with driving double bass drumming as well as a somewhat gnarlier approach to guitar rhythms during the verses. The buzzsaw guitar approach really cuts through the mix, creating a strong sound and rhythm, before the chorus explodes with a flurry of melodic choral vocals, synths, and more snappy vocal melodies from Reynolds. The faster songs here are all generally punchy, but this one feels punchier than most - largely due to the tougher guitar rhythms throughout. There is plenty of weight to the song, although this is soon offset by a busy synth solo which adds plenty of melody. The album then comes to a close with Sky Guard You, which is a more mid-paced track - and one of the album's lesser cuts in my opinion. It has quite a dynamic arrangement, with slower sections sitting side-by-side with more typical metal sections - but this means that the issues I had with The Endless Grey resurface here in part. As much as I like Reynolds, in my opinion he is just not a ballad singer - and his high-octane whispered approach lacks the depth needed to bring slower sections to life. He excels during the song's heavier sections, which also have a strong synth hook backing, but the slower sections suffer overall. I like the attempt to create something more dynamic, but for me the song is not really pulled off - which is a shame as the album ends on a lower note despite the general quality shown throughout. Overall, then, Blood, Fire, Magic and Steel is generally a strong debut album from Battle Born. This band is still young and will no doubt develop further over the years, and I am looking forward to seeing how they progress. Despite having some reservations, the album is still a very enjoyable slab of upbeat power metal - and plenty of people will end up enjoying it if they give it a chance.

The album was released on 12th May 2023 via Prosthetic Records. Below is the band's promotional video for Blood and Fire.

Cairo's 'Nemesis' - Album Review

Despite being a big fan of the seemingly-defunct British progressive rock band Touchstone, I think that it is fair to say that I have not given Cairo, the band which Touchstone's keyboard player and co-lead vocalist Rob Cottingham formed after leaving the five-piece in 2015, as much of a listen as I should have. Touchstone were one of my big discoveries of 2008, having been blown away by the band's set at that year's iteration of the Cambridge Rock Festival. I purchased a copy of their debut album Discordant Dreams, which had been released the previous year, at the festival - and it become one of my favourite albums of that time - and the release of Wintercoast in 2009 only cemented my love for the band further. Touchstone released two more albums: The City Sleeps in 2011 and Oceans of Time in 2013; both of which are very enjoyable, particularly The City Sleeps, but, for me, they did not quite match the quality of the first two. By 2015 I get the impression that the band's main writers: Cottingham, guitarist Adam Hodgson, and frontwoman Kim Seviour; all had different ideas about where Touchstone should go - and ultimately decided to split. Hodgson carried on with Touchstone, whose next line-up splintered after releasing a decent EP and have essentially been dormant since, Seviour released the enjoyable Recovery is Learning (which I reviewed here) in 2017, and Cottingham formed Cairo - a band with which he could lead the charge again. Touchstone, especially in the early days, was very much Cottingham's band. He formed the band back in 2003, and was the dominant force, both vocally and lyrically, throughout their early period - but this dynamic seemed to shift as the years went on. For me, I think Touchstone worked as they were more than the sum of their parts. Cottingham's pop leanings and Hodgson's harder rock influences meshed over a shared love of progressive rock, and Touchstone's best work featured those disparate influences all pulling in the same direction. As such, I have never felt that anything that Cottingham and Hodgson have done apart from each other has reached the heights of Touchstone's best work. That being said, though, Cairo's 2016 debut album Say was enjoyable. It is not an album that I have given a lot of time to over the years, but Cottingham's style is distinct from the off - and it very much feels like his work, in line with his couple of solo albums. Following up Say has taken Cottingham and the band quite a while, though. A couple of frontwoman changes likely did not help, but Cairo's line-up seems to be pretty set now - with frontwoman Sarah Bayley, guitarist James Hards, bassist Paul Stocker, and drummer Graham Brown backing Cottingham on Cairo's recently-released second album Nemesis. Having listened to Nemesis quite a bit over the past month, it feels more assured than Say. Say at times felt more like a collection of ideas, some of which had not been fully fleshed out, but Nemesis feels like a complete album - and it is one that plays to Cottingham's strengths, despite a couple of somewhat undercooked ideas. There are lots of lush melodies and pop hooks here, but everything is tied together by progressive rock threads.

Despite this, though, the album opens with a bang. There is no scene-setting here, as Asleep at the Wheel opens with a barrelling guitar riff form Hards, backed by a crashing drum break from Brown, and the song's opening section feels pretty metallic as a result. Much of the rest of the album is not this heavy, but the riffing certainly grabs the listener's attention before transitioning into something more atmospheric. The song seems to get going proper once Cottingham's synths join in, with Hards switching over to a more melodic lead-based approach, before another riffy section, this time backed by keyboard stabs, injects further heaviness. The opening moments of the album are pretty varied, then, and the song morphs again once Bayley starts singing. She approaches the verses here by singing in a lower-than-usual register, and the effects on her voice create an unsettling sound - which suits the chiming guitar backing, pulsing bassline, and occasional explosions of riffing that back her. Despite the more atmospheric approach taken, the toughness of the song's intro remains - and the song feels weighty as a result. As such, when another transition sees the band move further into a more atmospheric territory, then, the contrast between the two sounds is stark. Cottingham adds his vocals to this more progressive-sounding section, his melodic tones cutting through the swirling synth leads. This section is more akin to Cottingham's typical approach - but the gnarlier riffing either side still sounds natural, and the album's opening is a good mix of heavy and atmospheric, with the opening riff being reprised as the song comes to a close. Tripwire opens with some effects-heavy wordless vocals from Cottingham, before another strong riff from Hards kicks in - and the band lay down a relatively up-tempo hard rocking groove, which Bayley soon starts to sing over. There is a bit more of a classic rock strut present here, with Cottingham's synths generally scaled back to allow the guitars and bass to shine. With much of this album having a strong progressive rock influence, Tripwire is pretty straightforward - and is a song which clearly goes for accessible hooks and grooves more than a more complex arrangement. Bayley shines, with her snappy vocal hooks during the hard-driving verses sounding powerful - whilst the chorus sees a bigger overall vocal arrangement with Cottingham adding harmonies and more of a keyboard presence. Despite a slightly synth-heavy bridge and later closing section, the song never really deviates from its core approach - which is welcome given the more involved arrangements which follow throughout the album.

Glow then changes tack from the off, and strips away all the heaviness of the previous songs - instead going for a keyboard-led approach. Songs like this are more typical of Cottingham's core style I think, although the song opens in a very stripped back manner - with Bayley's delicate vocals set against a shimmering keyboard backing. Cottingham's piano notes are slow-burning, but this perfectly sets the tone and allows Bayley to shine - and it also creates a strong contrast when the rest of the band join in. Hards immediately launches into a soaring guitar solo, which is packed full of emotion, which Cottingham then takes over from - adding a busy synth solo before Bayley starts to sing again, this time in a more full-bodied manner to befit the song's larger arrangement. The song is on the short side, though, which is a bit of a shame as I feel that it could have been developed further - but it is nevertheless a strong addition to the album. Rogue adds a bit more of a harder rock edge again, but this song feels like a real hark back to Touchstone's overall approach. The overall arrangement feels like an attempt to recapture the magic of Touchstone's early sound, and it largely works. Hards' guitar approach adds just enough crunch and melody without dominating as he did earlier in the album, whilst Cottingham's keyboards and harmony vocals bulk out the sound nicely. The rhythm section of Stocker and Brown also contribute plenty of grooves - and some of the drum fills here do well to add interesting accents during the snappy verses. Bayley's vocals are a little edgier here, too, recalling Seviour's general approach throughout her time in Touchstone - and the melodies overall are just classic Cottingham. Despite always assuming that Cairo was Cottingham's way of carrying on what he saw as Touchstone's sound, the band have not often sounded like Touchstone all that much. Rogue is a clear call back to that era of Cottingham's writing, though, and it is a song that really stands out to me as a result. The bridge section which sees Cottingham take over vocally really could have sat nicely on Discordant Dreams, and as the song closes on a piano-led melody the ghost of Touchstone is very much present. The Love, the lyrics of which were based on a poem written by Cottingham's wife, returns to a more delicate approach, with piano opening things up - before Bayley starts to sing against a gentle keyboard backing. There are shades of the opening of Glow here, but the song feels more organic overall, at least early on, and Bayley sings in a more emotionally-charged manner. Like Glow, though, the song is similarly-structured with the band joining in after a short while. Marching drums are the first addition, but the rest of the band soon make their presence felt - particularly Hards, who lays down a lengthy and extremely melodic guitar solo which really showcases his talents as a guitarist. Cottingham leads this band, but he knows when to let others shine - and Hards elevates the song with his excellent solo, before the band drop away again to leave Bayley and Cottingham to close things out with a final verse and a piano coda.

New Beauty also opens slowly, but this time with Hards' melodic guitar melodies - which are backed by some dreamy keyboard lines, all of which slowly grow in intensity over the course of a minute of so. The song overall, though, is punchier, and it is not long before Brown's drums kick in and a spiky verse takes over - with both Bayley and Cottingham singing in a more staccato manner. 'Spiky' is a good way to describe the song overall, but not in a way which might be expected. The riffing throughout is generally not all that heavy, despite the occasional stab, but the song just feels quite angular throughout thanks to the vocal melodies and the coldness of Cottingham's synths. Brown's drumming is also generally quite off-kilter, with his rhythms often backing a relatively sparse arrangement - giving them more prominence than usual. Occasional bursts of melodic guitar and synth leads add colour, but in general this song feels more unconventional than much of the rest of the album thanks to its rhythmic nature and sparse arrangement. This is until the end, though, which suddenly explodes into a flurry of hooky piano melodies which definitely hark back to Touchstone's classic sound in a very deliberate way. Déjà Vu also opens slowly, with some more slow-burning guitar lines creating a darker sound - and this mood is continued on throughout. Like the previous song, Bayley and Cottingham sing in unison during the verses - with Cottingham's voice pushed more to the fore. I am surprised that this does not happen more throughout the album, but Cottingham is clearly happy to step back a bit vocally if he feels it serves the song to do so - but I like his vocal dominance here, as his distinct voice has always been a big part of why I like his songs. It is another short song, which again I feel could have been developed further, but it works as a brief moment of darkness before the more expansive pieces which follow in the album's closing third. Jumping on the Moon is very different from the off, and is easily the most upbeat song on the album. Cottingham has always been a big fan of the poppier end of progressive rock, and the song perfectly showcases his love for that style. There is an AOR edge to the song throughout, and the keyboard sounds used are right out of the 1980s. Pompy keyboard hooks drive the upbeat and pulsing chorus, which is brought to life by Bayley's poppy vocal hooks, whilst the riffs below add a decent amount of crunch to stop the song feeling too lightweight. Due to its focus on big hooks, Jumping on the Moon was a song that really stood out to me from the off. Cottingham has written songs like this before, and there are some shades of Touchstone here, but overall the song does sound more 1980s AOR-inspired than his general approach - and that works for me as I love that sort of music. There is also a strong guitar solo from Hards part way through the song, too, and the track is easily the most fun that the album has with its core sound.

Save the Earth then takes a different path, as it is essentially a synth-heavy instrumental which creates a strong soundscape. There is some spoken word which carries on throughout, but it is mixed in such a way that it is quite hard to hear what is being said - so the voice almost is used more for effect than for its message. The song is very different to everything else on the album, and essentially just features Cottingham and his army of synths. Everything here is programmed, with pulsing synths creating a subtle beat whilst the soundscapes are laid on top of it. It sounds like something which Trent Reznor might write for one of his more droning albums or film soundtracks, but it works well to create a strong atmosphere before the album's longer closing title track. As such, then, when the band next crash in, Nemesis has arrived and the title track feels like a triumphant victory lap after what has been a pretty diverse album up to this point. Cottingham's epic keyboard hook leads the expansive mid-paced opening, which harks back to Touchstone's lushness, but this soon drops away for the opening verse, which sees Cottingham singing alone against some synths and a subtle drum loop - with Bayley occasionally adding harmonies. Those who wanted to hear more of Cottingham's vocals will love this song, as he tends to dominate throughout. This really brings early Touchstone to mind, then, and there are lots of call backs to Cottingham's former band as a result. The chorus melodies, which see his keyboard hook returning, again could have sat on Discordant Dreams, and the subtle vocal harmonies throughout from Bayley really elevate the song - despite Cottingham dominating. All of the more angular sounds which have been experimented with throughout this album are discarded here, and Nemesis really plays to Cottingham's strengths. Songs like this are what I really want to hear from him, as he really nails this style of songwrtiting - and as the song builds the lushness only deepens, and Hards starts to expand his role by adding a slow-burning and melodic guitar solo. Hards' solo is quite lengthy, and adds to the song's overall atmosphere perfectly. It is also the album's last big musical expression, as once it comes to an end the song is almost done - with just a few bubbling synths present as it slowly fades out. The song is one of the album's best in my opinion, and it really showcases Cottingham's core style perfectly - and it ends the strong album on a real high. Despite not really getting into Say, Nemesis for me really delivers. It is an album which I have been enjoying a lot over the past month, and it feels more much more assured and confined than Say's more scattergun approach. In the absence of Touchstone, Nemesis feels like the next-best thing - and I can see myself playing it a lot over the coming months.

The album was released on 5th May 2023 via Heavy Right Foot Records/Spirit of Unicorn Music. Below is the band's promotional video for Tripwire.

Carcass - Exeter Review

With the exception of a trip to Birmingham to catch Sweden's At the Gates back in 2014, I cannot recall ever going out of my way to see a true death metal band live. I have seen a handful over the years at various iterations of Bloodstock Open Air but, as death metal is not exactly a favourite genre of mine, rarely have I made the effort to see a death metal band at their own show. As I have mentioned in recent years on this blog, though, I have been making more of an effort with extreme metal in general of late. Whilst I certainly would not call myself a convert to death metal, I can certainly appreciate many of the genre's big hitters - and one band that I have been enjoying slowly getting into over the past few years is the UK's own Carcass. Formed in Liverpool back in 1985, the band have been hugely important to the development of extreme metal over the years - releasing seminal albums in the grindcore, death metal, melodic death metal, and death 'n' roll genres before calling it a day in 1996. The band have been a going concern again since 2007, initially just as a live act, with two genre-melding albums following in 2013 and 2021 - and over the past couple of years the band seem to have been busier than ever. When they first reformed they generally stuck to playing festivals and doing the odd headline show, but recently they have been touring quite heavily. I saw the band live for the first time last year, as they joined Arch Enemy and Behemoth for a lengthy European tour. This tour got Carcass playing in front of some big crowds - and at the London show which I attended they certainly went down very well. I imagine that this reception was common throughout the tour, and it perhaps spurred the band on to do some shows of their own. With 2021's Torn Arteries still relatively fresh, the band undertook a decent-sized US tour earlier this year - and a few months ago announced their first UK headline tour since the 1990s. Having enjoyed the band with Arch Enemy, I was keen to see Carcass again - and when I saw that they had booked a show at the Phoenix in Exeter I knew that I had to make an effort. Exeter is only an hour or so away from where I live, so the mid-week date did not matter. Exeter gigs are usually attended with friends or family, but there was no-one I could persuade to come and see Carcass with me - so I headed up to Exeter yesterday afternoon after work and as one of the city's Premier Inns had been pretty cheap when I booked the ticket I had decided to stay overnight to avoid rushing back to the station to catch a late-night train. This proved to be a good decision, as the show was a hot and sweaty one - so it was good to get back to bed pretty quickly and not have to wait it out on the train. Having come from work, there was not a lot of time to kill once getting to Exeter - so after a brief stop in the Premier Inn I headed into the city centre for a meal at the nearby Wetherspoons before heading up to the venue. The Phoenix is a venue which I have been to many times, but it is not generally a place played by metal bands. Perhaps the Phoenix should try and encourage more metal bands down, though, as the show sold out a couple of days beforehand - as many of the other dates on the tour had. The place was packed as a result, and ensured that there was a great atmosphere from the off.

Before Carcass took to the stage, though, the crowd had two support acts to enjoy. Up first, and new to me, were Conjurer - a British metal band who are hard to categorise. I was familiar with the band in name-only, so was interested to see what they were about - but after seeing them I am not sure what to make of the four-piece. Conjurer can certainly be described as extreme metal, with a sludgy/death metal sound dominating, but there were moments of the set which moved into a more avant-garde/jazzy territory - whilst there were also occasional moments of 1970s-esque progressive rock. The vocals throughout were shared between Dan Nightingale (vocals/guitar) and Brady Deeprose (vocals/guitar) -who mixed death growls and black metal shrieks during the band's chaotic songs. The songs were generally on the faster side, but there were also some extremely doomy sections which saw the bass of Conor Marshall (whom I was familiar with via Sylosis) taking on more prominence. Without knowing much about the band, though, I found Conjurer's songs hard to follow. There were moments of musical brilliance, especially when the band leaned in a more progressive direction, but there were also sections which left me somewhat cold. The band's set was certainly memorable, though, and they garnered a strong reaction throughout. There were lots of Conjurer shirts being worn throughout the crowd - so the large Exeter Phoenix audience had clearly made the effort to get to the venue early to check Conjurer out. One particularly memorable section saw Nightingale growling without his microphone whilst the band toned it down and went in a slightly more experimental direction. The crowd certainly enjoyed that, and the warmth for them certainly increased as their set progressed. I am sure that the band made themselves some new fans with their set - and they are clearly a band out there doing something different and interesting. Whether what Conjurer do is for me or not remains to be seen, but it is always good to catch a band live who seem to be pretty original.

Up next were the American gothic rock band Unto Others who, like Carcass, were also part of last year's Arch Enemy tour. Despite their short set and poor live sound mix I had enjoyed Unto Others' set last year, so was looking forward to seeing them again properly - and again I enjoyed what the four-piece had to offer. I do not think that Unto Others can be called particularly original, but there are so few bands out there currently writing retro-sounding gothic rock with a metallic twist that the band do sound quite fresh. They look like a product of the late 1980s or the early 1990s, with frontman Gabriel Franco looking a bit like Blackie Lawless from the early 1990s - but behind the big hair and flowing outfits lie a number of strong songs. Mixing chiming clean guitar melodies with crunchy riffs, Unto Others certainly have a core sound - and much of the set stuck to it. Franco and Brandon Hill (bass guitar/vocals) harmonised well with each other throughout to create some melodic vocal hooks, whilst Sebastian Silva (guitar/vocals) often prowled the stage throwing old-school shapes - all whilst contributing a number of shredded guitar solos. Many of the band's songs were pretty memorable from the off, with tracks like Nightfall and When Will Gods Work Be Done in particular standing out, but I imagine that Unto Others are the sort of band that can really get under the skin after repeated listens. The vocal melodies tend to be of that sultry kind commonly found in gothic music which become irresistible after a while, and it is fair to say that Unto Others have totally nailed that sound - despite it all being rather retro in tone. The band put on a strong set filled with classic rock strut, so it was a shame then that the crowd was noticeably smaller than it had been Conjurer. Plenty of people still watched Unto Others' set, but quite a few seemed to sit it out. Unto Others definitely seemed like the odd band out, but they have generated quite a bit of buzz in recent years - so it was a shame to see the crowd thin out. Clearly they were too lightweight for some concertgoers, but I and the others who made the effort certainly enjoyed what we saw - and Unto Others enjoyed a strong reception throughout.

The changeovers during the night were pretty quick, so it was only around 20 minutes or so following Unto Others' set that the lights went down and Carcass hit the stage. By this point the room was absolutely rammed, and it was easily the fullest that I have ever seen the Phoenix. I was stood near the back, and it was actually hard to see the stage at times - but the atmosphere throughout the night was excellent, with everyone there enjoying catching one of the UK's most legendary extreme metal acts live. The set was relentless, too, with the band rarely stopping for breath. They put a number of younger bands to shame really, and many of the songs played were extremely fast - with a few more groove-based tracks breaking up the pace occasionally. The live mix was also pretty good. Sometimes Jeff Walker's (vocals/bass guitar) voice was a bit low in the mix, but generally the band sounded massive - and were extremely tight as they peeled off riff after riff. The grooving Buried Dreams got the set off to a fine start, but generally the show was characterised by pace. It was also a career-spanning effort, with most of the band's albums represented. Newer numbers like Kelly's Meat Emporium sat nicely side-by-side with older grind-based tracks like Incarnated Solvent Abuse - whilst cuts like This Mortal Coil showcased guitar players Bill Steer and James Blackford. Carcass have always included a lot of guitar solos in their songs, and Steer in particular really shone. He cut a mean presence throughout the night, and his many shredded solos were generally very melodic. Despite Steer being one of the band's founders, Blackford as a newer recruit still had opportunities to shine. He had plenty of solos throughout the night, too, and the guitarists traded leads back and forth with aplomb - particularly during the newer songs and those cuts from 1993's Heartwork. Death Certificate was once such example, and it was also one of the songs which the band introduced by play some riffs from another track - with a snippet of Tomorrow Belongs to Nobody opening it up. Highlights of the set included the classic rock strut of Keep on Rotting in the Free World and the excellent newer cut The Scythe's Remorseless Swing - which has one of the hookiest and grooviest refrains in the band's whole catalogue. It did not matter what the band chose to play, as the crowd lapped it all up - and by the time that the set-closing rendition of Heartwork rolled around Carcass had conquered Exeter. A three-song encore followed, with a couple of older cuts and one newer song sating the crowd. Walker and Steer traded vocals like they used to in the old days throughout Exhume to Consume and the rollocking Tools of the Trade, before the hookier 316L Grade Surgical Steel brought the band's 80 or so minutes on stage to a close. The setlist was:

Buried Dreams

Kelly's Meat Emporium

Incarnated Solvent Abuse

Under the Scalpel Blade

This Mortal Coil

Tomorrow Belongs to Nobody/Death Certificate

Dance of Ixtab (Psychopomp & Circumstance March No. 1 in B)

Black Star/Keep on Rotting in the Free World

The Scythe's Remorseless Swing

Corporal Jigsore Quandary

Ruptured in Purulence/Heartwork

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Exhume to Consume

Tools of the Trade

316L Grade Surgical Steel

Given that I was pretty much out of my comfort zone throughout Carcass' set, I had a great time with the veteran band. They put on a fierce show filled with classic death metal anthems, and the capacity crowd enjoyed every minute of it. The atmosphere was electric throughout, and everyone was certainly a sweaty mess by the time things came to an end. It was all very much worth the effort, though, and my night in Exeter was an excellent one.