Sylosis' 'A Sign of Things to Come' - Album Review

When the Reading-based metal band Sylosis announced earlier in that year that they would be releasing their sixth studio album A Sign of Things to Come in September there was much rejoicing from the band's patient fanbase. Whilst it had only been three years since the release of Cycle of Suffering (which I reviewed here), which was followed by a handful of stand-alone singles, it was the content and tone of A Sign of Things to Come's announcement which caused the most excitement. A new Sylosis album is always welcome news, but within the statement the band stated that, from this point on, Sylosis would be more active than ever before. True to their word, the news of an upcoming tour with current Sheffield-based darlings Malevolence was announced not too long afterwards - and 2023 promises to be Sylosis' busiest year since 2016, which is when they last went on tour. For a while, it seemed that Sylosis were dead and buried. Whilst a hiatus was never formally announced, following that 2016 tour the band's activity was extremely limited until the release of Cycle of Suffering - and any further activity was almost immediately halted by the pandemic. There was good reason for this, of course, as Sylosis' leader Josh Middleton officially joined Architects in 2017 - and he held down the lead guitarist spot in the Brighton-based band until earlier this year, contributing to three albums in the process. During the early part of his Architects tenure, prior to Cycle of Suffering's release, Middleton seemed to want to leave Sylosis behind - or, at least, his head was in another place. It must have been hard for him in truth, as he had basically led Sylosis since they formed in 2000 and, despite a lot of excitement and positive reviews, the band had never really risen beyond being considered a 'hot prospect'. Sadly, this is a fate which befalls a lot of bands who deserve more - and given Architects' status it was understandable why he 'jumped ship'. I am not sure if Middleton's departure from Architects earlier this year and his promise that Sylosis will now be busier than ever are linked or not - but either way he seems the most enthused about Sylosis than he has done for years. Cycle of Suffering appears, in retrospect then, to have been a bit of a testing of the waters - with A Sign of Things to Come being the true 'rebirth' of the band. This is fitting, too, as the album is the most concise and hooky of the band's career. Sylosis are known for their complex sound which mixes thrash, extreme metal, metalcore, and progressive influences together - but they have arguably been moving away from this sound since 2015's Dormant Heart (which I also reviewed here), which was less complex than the two progressive juggernauts that preceded it. A Sign of Things to Come feels like the natural progression from the sound which started on Dormant Heart, then, but the songwriting still very much feels like Middleton despite the more focused arrangements. His amazing riffs and melodic solos are still here, and the vocal performance is easily his best and most diverse yet. Drummer Ali Richardson returns here from Cycle of Suffering, and the album sees the studio debut of bassist Conor Marshall - who was in the band when Cycle of Suffering was released but did not perform on the album (as Middleton essentially played everything on it apart from the drums). Long-time guitarist Alex Bailey rounds out the current band line-up - who is the only link, along with Middleton, to much of their past.

At 43 minutes long, A Sign of Things to Come really races past. There is still a lot going on within the 10 songs here despite the more concise arrangements - and opening cut Deadwood is a good example of the album's core sound. There is no slow build-up here, as the song kicks in from the off - with the first of the many big riffs. In classic modern metal style, the opening riff is left to hang in the air a little - letting the chords breathe as Richardson's drums fill in the blanks. This acts as a great intro, with a few little guitar leads adding colour, but when the band really lock in the song gets going proper - and the mid-paced verse is a mix of hard-driving grooves and the occasional metalcore guitar flourish. Richardson's ringing ride cymbal gives the song an organic side, whilst the powerful chorus provides a strong anthemic hook despite Middleton's assured harsh vocals. He may have been Sylosis' singer on most of their albums, but he very much took on the role out of necessity - but he has worked at his craft over the years, and his chorus hooks here are a great mix of harsh and anthemic. He has occasionally included clean vocal sections, too, and a short bridge here sees one of his best clean vocal deliveries to date. When the song was released online a few months ago it was clear that Sylosis were feeling leaner than ever - and it kicks off this snappy album in fine fashion. The title track follows, and a wall of cold synths set the tone before a doomy riff takes over. This riff is very much out of the Sylosis old-school, and feels like it could have appeared on one of their more progressive releases, but the tone soon changes - and sees Middleton singing clean against the opening synths, before the doomy riff kicks back in and the song grooves along at a slow place for a while. The song is very dynamic, though, and it builds from this slow-burning pattern - soon exploding into a thrashy section with a knotty guitar lead backing, before a mid-paced chorus somewhat mixes the two vibes together around another anthemic vocal hook. Those concerned that the clean vocals have become more dominant given the amount which I have already referenced them need not worry too much. This album certainly has more clean vocals than any previous Sylosis release, but Middleton's expressive harsh vocals still dominate - and I like the use of the cleans to add some colour, particularly given that Middleton has clearly been working on this clean delivery in recent years. Another melodic solo adds further colour, showcasing why Middleton is one of the best British metal guitarists today, but in general this song is more about the riffing - which is varied and heavy. Pariahs feels a bit more in-your-face. The overall pace feels a bit faster this time, and there is less of the groove-based riffing of the opening two tracks - with more of a thrash feel at times. The track does not speed away, but it has more of an urgency to it overall. There are still groovy sections, but the verses feel a little punkier with more of a straightforward riffing pattern overall - whilst marching drum-led sections, which often morph into the pounding chorus, add some groove. Cold synths are once again utilised to add depth, although this time they are mixed in with the riffing. There is little light this time, and the song is heavy from start to finish - with Middleton also making use of some of his trademark sweep-picked arpeggios during the solo section.

Poison for the Lost ups the pace again, and it is easily the fastest track on the album up to this point. Sylosis have always had a strong thrash influence, and there is plenty of that on display throughout Poison for the Lost - as well as a few riffs which definitely hark back to the origins of the metalcore genre in the mid-2000s. Sylosis have always been heavier than that, though, and this song is a good example of such - with pacy, breakneck riffing dominating, with Pantera-esque moments injecting moments of mid-paced groove. The chorus is a bit slower, and again goes for something of a more anthemic approach. Middleton really barks the vocal hooks over the the chugging chorus riff - and it adds a change of pace from the hard-driving verses which generally characterise the rest of the track. The solo section is also full of speed - with Middleton instead going for an all-out shredded flurry of notes this time, which fits in with the song's fast-paced aesthetic. Descent showcases the band's current approach perhaps better than any other song here. I am disappointed that the stand-alone single Heavy Is the Crown was not included here, as it is one of the hookiest songs that the band has ever done, but Descent treads a similar path - with a chorus which sticks in the brain from the off. The song is another mid-paced rocker - with a slower pace during some fat verses which feature a strong bass presence from Marshall. The verses are packed full of groove, with Richardson laying down a pretty straight drum beat which the crunching riffs sit atop, whilst the chorus ups the pace somewhat. Subtle guitar leads add depth, whilst Middleton sings in more of a gritty clean manner - with synths adding an extra melodic edge. The band have not done many choruses in this manner before, but it works well in the context of the hooky song. Some may consider the song a bit on the poppy side, but it is really only the chorus vocal hooks which feel that way - and the rest of the track is still very much classic Sylosis, and the song will likely become a live favourite due to its mix of grooves and hooks. Absent is much moodier, and it essentially acts as a ballad. Sylosis have done songs like this before, or at least have had substantial sections of songs which sound like this, but Absent essentially stays in this low key manner throughout - despite getting heavier later on. Middleton's clean vocals dominate here, and he sings against a wall of synths and industrial noises in an emotional manner. The song actually reminds me Nine Inch Nails the most - and the production and vocal delivery very much remind me of the cold ballads of that band's early days. The band does kick in about two-thirds of the way through, and it does get heavier - but after a few screams a mournful guitar solo takes over, and this dominates much of the rest of the track, until a few more screams see the song close out. Eye for an Eye returns to something more typical, and the heavy song hits harder following the previous atmospheric piece. There are still quite a lot of synths here, though, and the chorus is another which features prominent clean vocals. It is not as hooky as Descent's chorus, though, but there is an anthemic moment which sounds awfully similar to Trivium's Pull Harder on the Strings of Your Martyr for a brief moment. This bit is always a bit jarring, but the song in general is another good example of the album's core sound - although the stronger synth presence ensures that the previous song's industrial edge is retained, despite the groovy riffing throughout.

Judas, following a synth-led intro, is another faster track - and the band's thrash influences are very much on show again here. The chorus is more mid-paced, despite some relentless double bass drums, and slightly anthemic, but the rest of the song really goes for the throat with plenty of busy drumming and some more riffing which sounds like beefed-up metalcore patterns. Richardson really excels on this album, and the tone of his drums throughout is excellent. Like the first song, his ride playing here is great, and I love how the drums have been mixed to allow things like that to shine. Middleton has always made the point of recording drums in an organic way - and Richardson has been a great addition to the band in recent years. He locks in perfectly with Middleton and Marshall here, and the fast-paced song is full of energy thanks to this approach from the rhythm section - and Middleton's melodic solo is another prefect example of his talents as a guitarist. The song is not as anthemic as some of the others here, but the depth of the arrangement, which features some mournful synths at times despite the heaviness, gives the song a bit of a different edge - and the track is not just pure thrash. Thorns is another slower song, but it is not as sparse as Absent. At first it feels like it might be, thanks to some synths and distant acoustic guitars, but the band soon crash in - and the track becomes a lumbering semi-ballad which mixes clean guitar-led sections with doomy riffing. Middleton mixes clean and harsh vocals throughout - with the chorus showcasing a surprisingly poppy side to this voice, whilst the verses are more mournful. The verses are where the doomy side of the band shines, with occasional clean lines mixed in with gigantic roars. The riffing here is slow-burning, but it works well, and this allows the poppy chorus to feel more uplifting overall - with big synths and vocal harmonies dragging the song briefly out of the darkness. The acoustic guitars from the intro are repurposed during the bridge section, and the song is surprisingly dynamic as a result. The album then comes to a close with A Godless Throne, which kicks off with a massive riff following the slower previous song. The song is pretty fast throughout, with lots of thrash influences on show, and it is also the longest piece here at just over five minutes. It is also the song here which feels most like the band's older albums. The longer run time allows the band to stretch out a little, and there is lots of progressive chopping and changing throughout - with endless riffs knotting together to create something interesting. Thrashy sections sit side-by-side with groovier patterns - and some of Middleton's trademark lead guitar melodies are used here to add plenty of depth. The chorus is more in line with the album's core sound, though, thanks to some gritty clean vocal hooks and synths, but the rest of the song is pretty ferocious. The guitar solo is more of a slow-burn, though, but it allows Middleton to really stretch out - and it is probably his best on the album. A short, punky vocal section follows this - before another flurry of riffing then gives way to some synths which see the song fade out nicely. It is a dynamic way to the end the album, and it is great to see some of the band's old ethos shining here. Overall, then, A Sign of Things to Come is, hopefully, just that. Despite loving the band's older, knottier albums, I like how the band have reinvented themselves here without throwing the baby out with the bathwater. Some may lament the loss of the more complex arrangements, but the songwriting here is tight as anything - and the performances throughout are some of the best of the band's career. I for one am excited about this new era of the band, and I am already looking forward to seeing them live again later in the year.

The album was released on 8th September 2023 via Nuclear Blast Records. Below is the band's promotional video for Deadwood.

Phil Campbell and the Bastard Sons' 'Kings of the Asylum' - Album Review

I feel that some albums which were released in 2020 have somewhat already become 'lost' in the catalogues of the bands which released them. Whilst there were some of us who were devouring more new music than ever during the pandemic in an attempt to stay sane, I feel that the general mood led to quite a few albums falling through the cracks - particularly for bands who tend to rely on live activity to push their message. For me, the second album from Phil Campbell and the Bastard Sons, We're the Bastards (which I reviewed here), is one such release. The album came out in the November of 2020, which was arguably part of the bleakest season of the whole pandemic, and the lack of live opportunities for the band meant that it somewhat came and went. Even when the band finally managed to get on tour a year or so later, only a handful of songs from the album were included in the setlist - with songs from 2018's The Age of Absurdity (which I briefly discussed here) and cuts from Phil's time with Motörhead dominating. In some ways, I wonder if albums like We're the Bastards are seen in a negative light by their respective bands, too. They are a reminder of times to forget and of missed opportunities - and it must have been very disheartening to put all of that effort into an album and then not be able to properly promote it. It did not help, either, that by the time the band could get on the road their original frontman Neil Starr was no longer a part of the band. Not much light was shed on Starr's departure, but I got the impression from the band's statement that he had been fired. It was a shame to see Starr go, as I thought he added a lot to the band, but it must have been hard to be the only non-family member in a band like Phil Campbell and the Bastard Sons - even as the frontman he was always the odd one out. With Starr out, then, Joel Peters (Bootyard Bandits) was in - and he was confirmed as the band's permanent singer following the 2021 UK tour which had acted as an extended audition. Peters impressed on the tour, so I was looking forward to see where the band would go with him at the front of the stage. Nearly two years later that question has been answered with the release of Kings of the Asylum earlier this month. The band's third album follows nearly three years after We're the Bastards, and it is a raucous album in manner which would be expected from Phil and the boys. We're the Bastards was probably a bit on the long side, and featured a few slower and bluesier songs, but Kings of the Asylum is pretty in-your-face from the off - and feels more like The Age of Absurdity than the previous album. Phil's riffing style is very much well-entrenched at this point - and he and Peters are joined here, as always, by his three sons: guitarist Todd Campbell, bassist Tyla Campbell, and drummer Dane Campbell.

Very little time is wasted with this album, and the opening cut Walking in Circles very much sets the tone for what is to follow. The song's main guitar riff phases in, gradually building in clarity, whilst Dane's drums soon join the fray - adding a percussive pattern early on. The song is pretty hard rocking, but the intro is not as in-your-face as it could be. I like the relatively slow build, though, and it introduces Peters well. He is not hugely different to Starr, but he probably has a bit more grit and attitude in his voice - so he fits the band's established sound perfectly. After the groovy intro, the rest of the song is faster paced - with Tyla's bass rumbling away beneath the rest of the band, whilst the Dane's driving drum beats are full of energy. The opening riff forms part of a later chorus, which has an infectious and simple vocal hook, whilst the verses are generally simple and much more chugging. The first of the album's guitar solos is busy and bluesy, too, filling the energetic song with some additional classic rock strut - and the album proves to be a winner from the off as a result. Too Much is Never Enough also packs quite the punch. It operates in a similar territory - faster than groovy mid-paced but not out-and-out fast - and it is a song which certainly showcases Phil's past with Motörhead. Generally his current band is less intense, but there are of course Motörhead-esque moments which raise their heads. The verses and the main riff here sound very Motörhead, but the chorus is more modern sounding perhaps - with a slight punk edge to Peters' fast-paced delivery. It is the main riff which makes this song for me, though, and the meaty verses are filled with classic Phil riffing - and the track is sure to be a winner if played live. Hammer and Dance ups the pace a little, and opens with a pulsing bass riff from Tyla. Dane's drums are full of early punch, but it is the bass that really sets the tone - with some phased guitars in the background to add some surprising atmospheric depth. Tyla's bass drives the whole song, but the guitars take on more prominence as the band kick in properly - and the verses are hard-driving as a result. The song is the album's fastest up to this point, and this is likely due to the prominent bass playing and the focus on tight grooves. The guitar interplay between Phil and Todd is also tight, and the interlocking riffing keeps the pacy song moving - whilst the guitar solo section sees the pace slowed somewhat, whilst bluesy motifs sit atop something more tempered. The song is very typical of what the band have done previously, and it very much sees the five musicians playing to their strengths. This is no bad thing, and the high-octane riffing is very much welcome. Strike the Match is more of a mid-paced song overall, and the slightly slower approach allows the slab-like riffing to hit home. The bass rumbles away again, pretty high in the mix, whilst a lumbering verse mixes crunchy chugs and ringing chords to create something full of character. There are a handful of really strong choruses on the album, but Strike the Match's is one of the best - with big shout-along hooks and subtle harmonies which makes Peters' voice sound huge. In truth he always sounds big, but the grooves of this song and the approach to the harmonies makes the chorus really pop - and the song is one of the overall highlights for me thanks to this mix of mid-paced groovy riffing and anthemic vocal hooks.

Schizophrenia ups the pace, and very much channels Phil's time in Motörhead in a big way. It certainly feels much more 'metal' overall, with snappy, hard-driving riffing and plenty of fast drumming from Dane. It does not do anything significantly different from what has been heard up to this point, but it is much more energetic overall - and it feels like a song really made for being played live. Peters' voice is right at the centre of the arrangement, and there is a use of gang vocals throughout to make certain lines stand out. The verses sound as big as they do thanks to these gang vocal shouts; whilst the chorus overall feels a bit groovier thanks to the great riffy backing and a few snaking vocal hooks. A breakdown section sees the heaviness drop away somewhat, and more focus placed on Tyla's snaking bass. This part acts as a slightly atmospheric break before the explosive guitar solo section - which is full of energy and shredded leads. The song is another overall highlight for me thanks to this overall mix of ingredients - and the song is another which is sure to become a live favourite. The album's title track follows, and it slows the pace quite considerably. The band have done a number of these slower, bluesier songs on their past couple of albums. I hinted earlier that We're the Bastards had a few of them, but this song is closer to something like Dark Days from The Age of Absurdity. Despite the slower pace the song is still pretty weighty, and the riffing of Phil and Todd has a slight southern rock feel at times - which only allows the bluesy edges to shine, whilst the rhythm section lock in with a slight shuffle beneath them. The song is still pretty anthemic overall, too. The chorus has a simple, rhythmic feel to it which is very easy to sing along with - and it feels like something of a rallying cry amongst the smoky vibes and strong grooves found throughout. Unsurprisingly, this extends to the guitar solo, too, which is more slow-burning here - and is filled with lots of expressive phrases. The Hunt ups the pace again, and the fast-paced piece again returns to the Motörhead well - with a main riff which could have sat nicely on any of the now-defunct band's last few albums. Dane really lays into his double bass drums here, which keep the song moving, whilst the strong bass presence adds a bit of a punky bed for the buzzsaw guitar riffing above it. Vocally the song is not the catchiest here, but the overall energy more than makes up for this - and the short song feels like a bit of a pallet cleanser following the lengthier, slow-burning song which came before. Show No Mercy returns more to the album's core sound, and sounds more like the album's first few numbers than the last handful. It is a pretty in-your-face mid-tempo rocker, which includes a pretty expressive guitar lead during the intro to add something a little different overall, and is built around another strong bass presence and lots of head-nodding tempos. The chorus is another that includes some gang vocals, although they are not as raucous as perhaps they could be. It may have worked better had the band gone all-out during the chorus and making it a real rocker - but as things stand the song is another decent mid-paced rocker in their classic style.

No Guts! No Glory! is similar, although the opening riff feels a bit slower. It seems at first, then, that the track is going to be a bit more lumbering than it actually is - as the piece is another pretty up-and-at-them mid-paced rocker with punchy drumming and snarling riffing. Gang vocals are once again used here, and they feel a bit more potent than the ones on the previous song. In some ways, then, No Guts! No Glory! feels like a more intense and more developed version of the previous song. It certainly has more grit to it, and the louder gang vocals make the song sound heavier overall. There is also a great guitar solo section which sounds like it features sections from both Phil and Todd. This certainly makes the song feel more well-rounded - and the chorus is one of those which hits home after a few listens. It is a bit of a grower, then, despite the big melodies, but it is one of the songs which has impressed more with repeated listens. Ghosts feels a bit more classic rock-inspired overall. The band's trademark crunch is still here, and the song is another mid-paced number, but it just feels a bit looser and more old-school than many of the other tracks here. The drums are less punchy, and have a bit of a swing to them at times, whilst the guitar playing relies more on big ringing chords than razor riffing. The band have done songs like this before, but it is only real example of such a sound on this album - and I like the throwback to bands like UFO and Thin Lizzy which the track seems to be attempting. There are strong blues overtones during parts of the song, and the chorus feels less punk-inspired - with Peters singing with less grit overall. I like the change of pace, and the guitar solo section, which is quite lengthy, certainly feels very 1970s thanks to the guitar tones chosen and the more lyrical approach to note choice. The album then comes to a close with Maniac, which is a return to the band's classic sound - with more than a few hints to Motörhead. Motörhead wrote a few more rock 'n' roll-inspired songs over the years - with Going to Brazil coming to mind. This is a bit like Phil Campbell and the Bastard Sons' take on that sound. There is certainly a boogie vibe throughout thanks to the bounce of the rhythm section - and the bluesy guitar leads which are utilised throughout recall the approach of the rock 'n' rollers of the 1960s. Given the profanity and attitude within the lyrics, as well as the shout-along chorus, the song feels like another one which is likely to become a big live favourite. The chorus will certainly be latched onto by crowds - and Peters' gruff voice brings it to life perfectly. The boogie vibe present throughout also means that the song acts well as an album closer. It has a finality to it, and reminds me of all of those classic 1970s live albums which ended with old rock 'n' roll covers. Maniac works in a similar manner here, and it ends the album on a fun high with some boogie grooves and a shout-along chorus. Three years on from their somewhat forgotten album, then, Phil Campbell and the Bastard Sons are back with a bang, and it feels like a bit of a rebirth after the pandemic and the ensuing line-up change. It is an album which focuses on the band's strengths, and delivers exactly what their fanbase expects of them. It is not an album which is going to surprise many, but those wanting to headbang can do worse than to check it out.

The album was released on 1st September 2023 via Nuclear Blast Records. Below is the band's promotional video for Schizophrenia.

Young Gun Silver Fox - London Review

If Robert Jon & The Wreck are 2023's main discovery, then the British/American yacht rock duo Young Gun Silver Fox were my main find of 2022. I am a member of an excellent #nowplaying-esque Facebook group - and one of its members recommended the band to me after I had posted that I had been listening to a few yacht rock classics. Yacht rock is very much rooted in a certain period (the late 1970s to the early 1980s), so finding out that it was still being made today was a real treat. I picked up a copy of 2020's Canyons off the back of the recommendation, and it is fair to say that I was hooked from the off. Over the next few months I picked up their other three albums, including last year's excellent Ticket to Shangri-La (which I reviewed here), and they were on such regular rotation on my iPod that I ended up taking them off it for fear of burning myself out. Seeing them live was the next step, but the band are more of a project so have not always been the most active when it comes to playing live. Luckily for me, though, it seems that the duo want to grow the band further - and 2023 has seen quite a bit of live activity. The band undertook their first proper UK tour earlier in the year, and I headed up to London to catch them at a sold out Lafayette in January. I had expected to have a good time, but they really impressed live. I was not sure how the band's multi-layered sound, particularly vocally, would be easily replicated live - but the live arrangements of the songs worked really well, and the Lafayette show was a real highlight of the early months of the year. The atmosphere in the sold out room was excellent from the off, and the band's feel-good music filled the newer venue - leaving no-one disappointed. Given the band's relatively sparse live activity, I did not expect that I would be seeing the band again live so soon - but a few months after the tour they announced a one-off UK show at the Electric Ballroom in Camden, which was billed as their biggest UK headline show to date. As it fell on a Saturday, I just knew that I had to get a ticket. I was not sure when my next opportunity to see the band would come, either, so tickets were snapped up right away - and another trip to London was added to 2023's calendar. Despite being a regular visitor to Camden, I have actually not been to the Electric Ballroom that many times - although my last trip came back in February. I have always enjoyed nights out there, though, but it seemed a bit grungy for Young Gun Silver Fox considering the nice surrounds of the Lafayette! Being a Saturday, too, the show was an early one. The doors opened at bang on 6pm, and everything was wrapped up by 9:45pm. I enjoy an early finish in truth, as it means that there is generally little time for hanging around during the night. The early start meant that the place took a bit of time to fill up, though, so I was a bit worried at first that the turn out was going to be poor. This proved not to be the case, though, and by the time Young Gun Silver Fox hit the stage at 8pm the place was pretty full.

Before Young Gun Silver Fox's set, though, the growing crowd was treated to 30 or so minutes of music from Emma Noble - a powerful singer who certainly seemed popular with portions of the crowd. I was unfamiliar with her work, and on paper she probably is not really my thing, but she impressed from the off. This set seemed to feature a smaller band and more stripped back arrangements than is usual for her, but the four musicians which accompanied her made a big sound for what was essentially an acoustic set - and her soulful material came across well in that format despite it perhaps lacking some of the power of the typical bigger arrangements. Noble's sound seemed to be a mix of soul, disco, and pop - all wrapped up in a bit of a yacht rock twist thanks to the liberal use of electric piano and the tight vocal harmonies. It was all very rooted in the 1970s, and she even had the afro to match, but her take on the style sounded fresh - and her vocal delivery was perhaps more 'modern' in approach. She did not sing in a particularly overwrought manner, and her more simplistic take on soul worked really well for me. There was a little bit of bite there vocally, too, which helped to add a rocky edge to the material - even in the more acoustic manner in which is was presented last night. The piano tended to be the driving force, but the rhythmic acoustic guitar playing added plenty of depth - with percussion and the occasional flute melody rounding the sound out. It helped, too, that all of the songs played were hooky. From memory, everything played had a pretty big chorus - and Noble's vocal melodies in general were just memorable. Some of the phrasing and melodies used were a bit different from the norm, but this only helped the songs to stand out further - and the vocal melodies from a couple of the band members helped to bulk out the sound. There is nowhere to hide during a more stripped back set, but the singing from all involved was great - and hearing live vocal harmonies done so well is always a treat, no matter the genre of music. It is always a good sign when you are disappointed when an unknown support act finishes their set. I would have happily listened to another couple of Noble's songs, so her and her band certainly did a good job of warming up the crowd - and I am intrigued to check her out further as I am intrigued to hear how these songs are 'supposed' to sound with her usual 10-piece backing.

Whilst Noble had received a strong reception, when Young Gun Silver Fox walked on to the stage to Rocky's famous training music the Electric Ballroom erupted. By this point the place was packed, and the large crowd were ready to for the band to smash through a 19-song set which covered all four of their studio albums. Andy Platts (vocals/keyboards) and Shawn Lee (guitar/percussion/vocals) were joined by their regular drummer Adrian Meehan (who had recently broken his right foot so had essentially re-learnt the whole set playing the bass drum with his left foot), a bassist who's name I did not catch, and a three-man horn section made up of Graeme Blevins (saxophone/flute), Tom Walsh (trumpet), and Nichol Thomson (trombone). Thomson and Walsh are regular studio collaborators with the band, and Thomson arranges the band's horns. It was great that Young Gun Silver Fox were able to be joined by their regular horn collaborators for this special show - and the seven-piece band made their full power felt from the off with the sultry, harder rocking Still Got It Goin' On. The pulse of the horns only upped the song's power, but the mix throughout the set was excellent - which meant that the intricacies of the music could be heard. Platts' voice was high in the mix, and the harmonising between him, Lee, and the bass player were on point throughout the night. The chorus of Kids showcased this, with Blevins' flute adding playful melodies, but really every song played was done so immaculately. The live versions of the songs might not be as layered as their studio counterparts, but all of the key elements are included - with Platts varied keyboard playing and the delicate guitar melodies of Lee doing much of the heavy lifting. Early on, the poppy tracks came thick and fast. The Boz Scaggs-esque West Side Jet had everyone grooving, but perhaps the first massive sing-a-long came with Rolling Back - one of the highlights of last year's album. It contains easily the poppiest chorus from the band yet, and everyone in the venue was singing along. The show had been great up to this point, but it seemed to get even more powerful afterwards.

You Can Feel It was stretched out a little to include a bit of crowd participation, whilst the more acoustic rendition of the ballad Sierra Nights benefitted from the excellent mix. It is not one of my favourites from the recent album, but the live arrangement works really well - and was rounded out by a brief flute solo. Another highlight for me was a powerful rendition of the recent single Moonshine - which Platts wrote a number of years ago with the late Rod Temperton. The setlist was essentially the same as the Lafayette show - with Moonshine being the only addition. It was a great addition, though, and the it allowed the horn section another chance to earn their stripes. Perhaps their crowning moment, though, was during an elongated version of Simple Imagination, which included extended solos from all of the players in the horn section. This turned the song into a proper wig out, and one of the few moments where those on stage really cut loose. Generally the band's songs are tight, focusing on melody, but the looser live arrangement of Simple Imagination worked well and it added a different vibe to the show. Everything that followed felt like a victory lap, and by this point there was not a huge amount of time left. The best was left until last, though, and the closing three songs from 2018's AM Waves showcased the best of Platts' and Lee's songwriting. The pulsing piano of Underdog had everyone singing along, but it was the chorus of Lenny which had the Electric Ballroom going wild - whilst the harder rocking romp of Lolita brought the main set to a close. The band did leave the stage, but they were behind the curtain for mere seconds before the cheering brought them back out for two more. The sultry Tip of the Flame was a fun addition to the set, but it was the night-closing rendition of Kingston Boogie which sent everyone home happy. The horn section added plenty of class to the track, and there was plenty of dancing going on around me during the massive chorus - which is another of the band's best. It was a great end to a fantastic set, and the huge crowd made their feelings felt as the band took their bows. The setlist was:

Still Got It Goin' On

Kids

West Side Jet

Midnight in Richmond

Long Distance Love Affair

Rolling Back

You Can Feel It

Sierra Nights

Mojo Rising

Moonshine

Baby Girl

Simple Imagination

Long Way Back

Love Guarantee

Underdog

Lenny

Lolita

-

Tip of the Flame

Kingston Boogie

Getting the opportunity to see Young Gun Silver Fox twice this year has been a real treat. I am really hoping that the band keep up their recent level of live activity, and the large Electric Ballroom crowd shows that they are doing something right. From the stage the band said that when the next time that they come back to play comes around they will have a new album out, so I am already looking forward to hearing that whenever it is ready. The four albums so far have all been great, and the band are excellent live - so I will definitely be in attendance next time they tour the UK.

Eclipse's 'Megalomanium' - Album Review

I mentioned in my previous post on this blog about how it can sometimes be good to get a new album from a dependable band who tend to stick quite closely to a well-established formula. Progressive music is great, but sometimes something more simple and instantly-satisfying is required - and Sweden's Eclipse can somewhat be described as a band who continue to deliver the goods on album after album in relatively quick succession. Led by frontman, songwriter, and producer Erik Mårtensson, Eclipse have been delivering hard-hitting melodic rock and AOR since forming back in 1999. Whilst the band's early handful of albums are now quite hard to get hold of, everything that they have released since 2012's Bleed & Scream has been extremely solid in my opinion. Being a long-time associate of the Italian melodic rock label Frontiers Records, for whom Mårtensson has acted as an in-house songwriter and producer for in the past, it should surprise no-one that Eclipse's sound very much falls on the AOR side of hard rock - with plenty of stadium ready choruses, hooky riffs, and guitar hero solos making up many of the band's best songs. Despite Frontiers having a 'sound', I think that it is fair to say that Eclipse stand out compared to some of the label's more generic fodder. They are one of the heavier AOR bands on the circuit currently, and they are truly more of a hard rock act overall - with lead guitarist Magnus Henriksson certainly a scholar of guitarists like John Sykes. Eclipse are more about sharp guitar riffing and stadium-ready hard rocking anthems than walls of synths and syrupy ballads - and that is what makes them interesting. With so many modern melodic rock acts wanting to channel the sounds of Journey and Foreigner, Eclipse take Mårtensson's love of metal and turn that into something more accessible and hooky. Eclipse's songs generally take hold after only a couple of listens. There is nothing complicated about their melodic songwriting, but album after album keep delivering - so Mårtensson must clearly be doing something right. In recent years, too, the band have generally released an album every two years - so we are now two years on from 2021's Wired (which I reviewed here) and the band dropped their ninth studio album Megalomanium earlier in the month. It is the band's second album with the current line-up, which sees the Crusner brothers, Victor on bass guitar and Philip on drums, joining founding members Mårtensson and Henriksson. Victor made his debut with the band on Wired, and made his impact felt by co-writing a few of the songs - and here he has stepped up further and now appears to be a significant collaborator with Mårtensson. He even sings one of the songs, and his influence seems to have shifted the band's direction a little. Megalomanium is not a significant shift, but there are a few more modern vibes present this time - which seems to have come from Victor writing more and Henriksson writing less.

Everything that the band's fans love about Eclipse remains throughout Megalomanium's 11 tracks, and the few twists on their established sound are welcome. Lead single The Hardest Part Is Losing You kicks things off, and the song showcases what I mean. Gentle clean guitar melodies open the piece, over which a slightly folky lead is laid - but the song soon explodes into something more typical. The opening folky lead morphs into something more stadium-ready, and a snappy verse introduces Mårtensson's excellent voice for the first time on the album. He always delivers vocally, and he knows how to whip up plenty excitement with a strong vocal melody - and the verses here are hooky, with a strong backing thanks to Victor's bass presence. The chorus is where the song shines, though, and it showcases a slightly more modern edge - with melodies that would not sound of place in a My Chemical Romance song circa The Black Parade. The urgency of the stuttering drums and the tremolo guitar lead recall the emo pioneers - and the overwrought chorus melodies only enhance that vibe. It works really well in my opinion, though, and the hooks really shine - with a simple guitar solo adding further melody later on. Got It! actually opens in a similar way, with a big scream from Mårtensson and a frantic riff and drum groove which is right out of the pop-punk era. That vibe continues on throughout the whole song, and the punchy track is packed with more modern vibes - but the approach to vocal hooks throughout and a few lead guitar moments from Henriksson ground the track within Eclipse's core sound. This is perhaps best exemplified during the chorus, which mixes a punky pace and relentless energy with some choppy sections that again remind me a little of My Chemical Romance and their ilk. A shredded guitar solo based around some classic rock 'n' roll boogie riffing feels more typically Eclipse, but the foot-to-the-floor attitude throughout the song certainly feels a little different for the band overall. Anthem opens in a similar manner to the album's opening cut, with a few clean guitar melodies - but soon Philip's drums kick in, playing a very (fittingly) anthemic groove. There are certainly We Will Rock You vibes during the song's intro and chorus - and after a couple of pieces which sounded more modern Anthem feels more like Eclipse's usual 1980s-inspired sound. The clean guitars from the opening form the basis of the simple verses, which feel like the calm before the anthemic storm of the chorus, and the overall dynamic approach taken works well. Mårtensson's vocals sound a bit over-processed during the verses, though, which is odd, but he sounds his usual self during the shout-along chorus - whilst Henriksson clearly channels his love of Thin Lizzy during his heroic and slightly folky solo. The song is sure to become a live staple going forward, and crowds the world over will love the fist-pumping chorus. Those missing Henriksson's love of Sykes will instantly enjoy how Children of the Night opens out, as the main guitar riff is very Sykes-esque - and Henriksson's big riffing is much more of a feature here. The song was one that stood out to me from the off, and it remains one of my favourite cuts on the album. The mix of big riffing from both Mårtensson and Henriksson adds some metal weight to the track - whilst the subtle keyboard textures featured during the verses add a certain grandeur. The chorus is one of the album's best in my opinion, and it is another that I can see being really latched onto by a crowd. A few wordless vocal hooks throughout help, and Henriksson's solo here is his best on the album up to this point - especially as it transitions into a final reprise of the killer chorus.

Hearts Collide again opens slowly, with some mournful clean guitar melodies. Given the title and this opening, it seems as if the song is going to be a ballad, but in truth it is another modern-sounding hard rocker - although the track is a bit more atmospheric than what has been heard up to this point. Victor's bass dominates the verses, whilst gentle synths and clean guitar melodies add depth, but the chorus is another powerful moment which features some strident vocals from Mårtensson. The use of synths and the way the verses are structured feels quite modern - but the chorus is very much out of Eclipse's usual playbook, with stadium-ready hooks bursting out of the big guitar presence and lingering synths. It may be a little a different to the norm tone-wise, but there are still plenty of typical Eclipse hooks here - and the song is another strong one for me. I Don't Get It sheds all of the modern trappings which have been heard up to this point, and harks back to the band's last few albums. The up-tempo song is filled with 1980s-esque moments, and the main riff is one of the album's hookiest in my opinion. The snappy chords really stick in the brain, and they contrast nicely with the stabbing piano melodies which surface during parts of the verses. The snappiness of the riff generally sets the tone, though, and the song is on the heavier side. The piano adds depth, but this is a pretty hard-driving rocker despite the hooks - and the chorus is complete with walls of harmony vocals, and sections which feature gang vocals. Long-time followers of Eclipse will recognise the band's trademark style here from the off, and the track is another favourite. The Broken is more of a mid-paced track, and the heaviness of the last track is generally stripped away to create something a bit more groove-based overall. I would not often call Eclipse bluesy, but there are some more blues-based moments here - whilst more of a keyboard presence adds depth. The verses are another moment here which features the prominent bass playing of Victor, and they snake along nicely with a sparse overall arrangement and some jagged vocals. The chorus is heavier, but it feels a bit more atmospheric overall thanks to the increased use of synths - and another big vocal arrangement helps it to stand out from the bluesy strut of the rest of the song. So Long, Farewell, Goodbye returns to something a bit heavier. It is not as fast-paced as I Don't Get It, but there is a strong riff which drives the song early on - and the punch overall from Philip's drumming ups the overall heaviness. Despite this crunch, the song still pretty dynamic. The groove-based approach from the previous song is retained during the verses, which see the Crusner brothers going all-out and hogging the spotlight with some busy interlocking playing, whilst the more emotional chorus returns to something similar to the one found in Hearts Collide. Keyboards make their presence felt, and Henriksson's shredded solo helps to tie everything together. Eclipse have often done well with these mid-paced tracks, and the melodic approach overall here helps it to be another strong cut.

High Road, which is the song here which is partially sung by Victor, is another which feels a bit more modern overall. That being said, though, there is a strong keyboard presence throughout - and the opening synth melodies are very much rooted in the 1980s. It is perhaps less AOR-sounding than it initially seems like it could be - but it still very much sounds like Eclipse. There is a lot more space for Henriksson's guitar leads here, and he adds a lot with his playing, whilst Victor's slightly deeper voice adds some grit to the hard-driving piece. He does not sound all that different from Mårtensson, though, so I am not sure I would have noticed had it not said in the CD's booklet that he was singing. Mårtensson has more of a vocal presence during the chorus, though, but Victor tends to dominate throughout - and it is great seeing the band's newest member make his stamp on the band vocally, as well as with his songwriting. The song get heavier as it moves along, too, and there is a great closing section which features quite a bit of fast-paced double bass drumming to act as a powerful crescendo. One Step Closer to You feels slower overall. It is not exactly a full-blown ballad, but the overall vibe feels a bit more restrained - and there is a big emphasis throughout placed on Henriksson's laid back lead playing. The verses are again somewhat stripped back, featuring plenty of bass, whilst the chorus is bigger - with walls of keyboards and a warm vocal display from Mårtensson. There are gentler moments, whereby some clean guitar sections take over, and Henriksson's guitar solo is quite country-esque in tone with some more bluesy leads and the occasional twang in the mix. There is still plenty of power in the song, though, and the warmth of the arrangement and the country-esque side to the band's playing helps it to stand out as another song which is somewhat different. The album then comes to a close with Forgiven, a track which feels very typical of Eclipse's core sound. The opening guitar lead feels somewhat muted against the quiet background - but when the band really kick in, the elevated lead feels much more heroic. Many of the band's previous songs have done similar things, and there is a great lead guitar presence throughout - with extended notes particularly filling out the anthemic chorus. The song is one of those that just feels like it was destined to be an album closer. It does not do anything significantly different from the rest of the album, but Mårtensson's vocals throughout just feel that bit more conclusive overall - and there is a bit of a 'last chance' urgency to the soaring chorus hooks. It is another winning chorus on an album that is packed with hooky and memorable moments - and the slower, more anthemic version which sees the song close out is a great note to leave things on. As much as I have enjoyed all of the band's recent albums, I feel like Megalomanium may be the album which has grabbed me the most - particularly when considering the last two or three. The modern twists have helped to shake up the formula, and the band sound really fired up here - with some classic-sounding pieces and a few tracks which tread a slightly different path. It is always good to see a band experimenting a little, but Megalomanium is still Eclipse at its core - and it will continue to enjoy spins here.

The album was released on 1st September 2023 via Frontiers Records. Below is the band's promotional video for The Hardest Part Is Losing You.

Primal Fear's 'Code Red' - Album Review

Whilst following bands who regularly switch up their approach is often very exciting, as each new release from such acts is likely to be a unique experience, there is something comforting and enjoyable about those bands who regularly release albums within a pretty rigid framework and continue to excel at their chosen sound. Bands like that are often good refuges to return to after branching out into unfamiliar territories - and the German metal titans Primal Fear having been providing such a refuge for fans of old-fashioned heavy metal since releasing their self-titled debut album back in 1998. Formed a year earlier by frontman Ralf Scheepers, who was relatively fresh out of Gamma Ray and filled with disappointment after loosing out to Tim Owens in the race to become Judas Priest's singer, and bassist Mat Sinner, Primal Fear have now released 14 studio albums - and have remained extremely consistent sound-wise despite undergoing a few line-up changes over the years. Scheepers and Sinner have always kept Primal Fear going, though, have kept the band on the straight and narrow. The band are sometimes seen as part of the European power metal scene, and there are power metal moments to be found throughout their catalogue, but in truth Primal Fear just channel the best of heavy metal throughout the years - with the heavier end of Judas Priest's signature sound certainly being a key touchstone. Earlier this month, the band's latest platter of wholesome heavy metal was released into the world - with Code Red being the band's 14th studio album and their first to be released through Atomic Fire Records. It is the band's first album for three years, following the enjoyable Metal Commando (which I reviewed here) which came out in 2020. Whilst a three year gap between albums is pretty normal these days, this is actually the longest gap between albums in the band's career. Primal Fear have generally released an album every two years, and early on even released albums in consecutive years a handful of times. The pandemic likely did not help, but the relative delay was likely due to Sinner's recent health issues. I am not exactly sure what Sinner has been going through, but it seems as if his health took a significant downward turn over the past couple of years. He is recovering, and is clearly now well enough to co-write, record, and produce Code Red, but he is still not back to full fitness so is currently not touring with the band. It is great that he appears to be on the road to recovery, though, and as one of Primal Fear's main songwriters and their producer I am sure that the band are happy that he is well enough to at least write and toil away in the studio. The slight delay has not had much of an impact on Primal Fear's classic sound, though. There has certainly been a slight smoothness to the sound since guitarist Magnus Karlsson came on board in 2008, but Code Red is as heavy and as hard-driving as ever - and is very similar to all of the band's other recent releases. It is the second album to feature the band's current line up, with Scheepers, Sinner, and Karlsson joined by original guitarist Tom Naumann, long-time guitarist Alex Beyrodt, and relatively new drummer Michael Ehré.

Following some sparkling synths, the album kicks off with Another Hero - a mid-paced metal anthem which is very much well within the band's core wheelhouse. The main riff is a real slab-like effort, and drives the song from pretty much the off - forming the basis of the heavy verses along with Sinner's pounding bass and the precise punch of Ehré. The song's intro and various instrumental sections which feature the riff see Ehré taking more of a percussive drumming approach, but the verses feature a very straight forward beat - which is the perfect backing for Scheepers' voice, who sounds as good ever. The chorus does round the off song's edges a little, and the band's dalliances with power metal are evident. Subtle keyboards are added to the mix to create some melodic depth, whilst Scheepers sings with less grit. The chorus is very hooky as a result, and it adds a slightly pop edge to what is otherwise a pretty crunchy song. A lengthy guitar solo features a mix of lead styles - from shredded phrases to more precise dual-guitar leads - and it is clear that the song is another strong effort in a long line of mid-paced metal anthems from the band. Bring That Noise is somewhat similar, but the song has more of an urgency to it. It is no speed metal piece, but it feels more kinetic than the stomping previous track - with some harmony guitar riffing early on, which is augmented by some double bass drumming from Ehré. This drumming approach makes the song feel faster than it actually is, but the riffing throughout generally remains pretty mid-paced - which is typical of the band's molten approach. The harmony guitar riffs are quite modern sounding, showcasing that Primal Fear are not just nostalgia merchants, whilst a soaring pre-chorus section sees Scheepers pushing himself vocally and delivering a surprisingly smooth performance - before a gang vocal-led shout-along chorus returns to something more typical. The song feels pretty anthemic as a result, power metal melodies and Accept-like stomping riffs mixing well to create something instantly memorable - and it would not surprise me to see the song become a live staple. Deep in the Night returns more to the Teutonic sound of the album's opening cut, but the pace has been slowed further to ensure that the piece feels even heavier. Despite Judas Priest being the band's main influence, there is also quite a lot of Accept to be found in Primal Fear's sound - and Deep in the Night very much channels Primal Fear's countrymen throughout. Scheepers' is not as guttural-sounding as any of Accept's frontmen, but he is gritty enough to suit the headbanging riffing style which Accept made famous - and the occasional higher-pitched note from him ensures that Primal Fear are set apart from Accept. The song is a simple one overall, though, with strident riffing, another real shout-along chorus, and a surprisingly bluesy solo section which features some excellent melodic guitar playing. It rounds off the album's opening anthemic triple-threat nicely - and sets up some of the more expansive pieces to come.

Cancel Culture is more of a longer-form piece, and it allows the band to both stretch out somewhat and indulge in something more speedy. Occasionally the band write longer pieces, and this is one of two found on the album. There is also a strong speed metal influence here, and the track generally operates at a faster pace than what has been heard up to this point. It also feels bigger overall, thanks to some subtle symphonic elements and more of a keyboard presence at times. The opening feels more epic, then, but a thrashy riff soon kicks in - and Ehré leads the charge throughout the verses with his fast footwork. This ups the overall heaviness, and the driving riffing throughout is full of power and thrashy accents. The whole song is not like this, though, and the arrangement of the longer song is somewhat more dynamic. As mentioned, there are some symphonic trappings here - and the chorus is slower overall with a big string backing to allow Scheepers' powerful vocal display to rise above the more mid-paced riffing which is featured here. There is also more of a focus on symphonics later, with an instrumental section which features stabbing strings and plenty of keyboards - before a lengthy guitar solo section takes over which likely features all three of the band's guitarists trading licks. Play a Song returns to something a bit more straight forward akin to the album's opening tracks. Despite this, though, the band's power metal side is featured a bit more throughout the track - with Scheepers generally singing in a slightly cleaner manner throughout. His grit is generally replaced with more of a soaring approach, and he really soars during the hooky chorus - whilst the punchy mid-paced drum grooves and the occasional harmony guitar leads create a decent amount of energy. There is still plenty of crunch, but the song does not feel as intense as some of the others here. The melodies have been pushed to the fore this time, and there are certainly similarities that can be drawn to bands like HammerFall here - despite the overall punch which is still present. The World Is on Fire returns to the band's much crunchier side - and the track is one of my favourites on the album. It opens quite slowly, with a guitar melody which slowly builds up - before the song explodes into a big riff, and the mid-paced verse sets the tone. In many ways, this is a song which features a lot of the band's trademarks in one package. Scheepers growls his way through the headbanging verses, which are punctuated by hooky little riffs, whilst a lengthy pre-chorus features the band's more melodic approach - with some higher-pitched and smoother vocals. This sections returns to the power metal of the previous song, but there is still plenty of crunch, whilst the chorus which follows is a good mix of hard-driving, gang vocal-led hooks and some smoother counter-melodies. Lots of the hooks here really sink into the brain, and the track is a real favourite thanks to this mix of approaches. It is not as dynamic as Cancel Culture, but it still feels more 'developed' - and has been a favourite since my first listen.

Their Gods Have Failed is similar, and it is the album's longest song at over seven minutes in length. It is easily the most dynamic piece here, and the song channels a few progressive influences despite the band still sticking pretty closely to their usual script. The song opens slowly, with acoustic guitar melodies, but the track is not a ballad - and it soon builds up, exploding with some folky harmony guitar leads which transition into a bigger riff. There is a lot going on during the song's early sections, then, and the verse introduces another sound - as Sinner's bass tends to dominate, with the guitars adding big, clean sweeps which add plenty of depth. Much of the song is heavier, so these more atmospheric verses are welcome - although a fat bass tone helps to keep the song from feeling too mellow. The song builds towards its chorus, which sees the band return to their usual mid-paced, crunchy approach - but the symphonics of some of the earlier songs return here, and the chorus is packed full of strings to make the song feel much more epic overall. A dramatic spoken word section makes more use of the strings later on, adding a theatrical side to the piece - before a pretty lengthy guitar solo takes over. The solo is not as high-octane as might be expected, and instead the phrasing throughout is generally pretty slow-burning. This fits in with the song's more expansive tone, and quite a large portion of the solo is given over too smouldering harmony guitar leads - which again leans into the song's bigger overall sound. The song feels like the album's centrepiece, and it is another overall highlight for me thanks to its dynamic arrangement and overall approach. Unsurprisingly, Steelmelter returns to something more typical of the band's hard-hitting sound, and there is plenty of Judas Priest to be found throughout the simpler track. The main hooky mid-paced riff is a big focus throughout, whilst the verses feature some old-school chugging to keep the song grounded in the band's core sound. After a couple of more complex pieces, the simplistic chug of Steelmelter is welcome, but it is very much Primal Fear 101. This is not necessarily a bad thing, though, and there are some excellent harmony guitar moments throughout to add additional melodies, whilst a decent chorus shows that the band can be melodic without sacrificing too much of their trademark grit. The guitar solo section returns to something more shredded, too, and the band's guitarists let rip a bit more here - after recovering from their more precise and cultured approach to soloing in the previous song. Raged by Pain is similar, and it is the album's shortest song at just over three minutes. Generally Primal Fear songs are somewhat longer to allow a chance for the riffing and soloing to hit home, but Raged by Pain takes more of a smash-and-grab approach - with another Accept-like shout-along chorus and plenty of rasping vocals during the chugging, albeit faster, verses. There are certainly more interesting songs here from an arrangement perspective, but as a burst of energy Raged by Pain succeeds at doing the basics right.

Forever then changes the overall pace quite considerably, as it is the album's only ballad. Given that it is the album's penultimate song, it does feel a bit late in the day for a ballad - and perhaps it could have come earlier in the album to break up the more relentless riffing found elsewhere. Despite this, though, the song is succeeds at being a ballad - even if its placing on the album feels strange. It opens slowly, with delicate piano melodies, which Scheepers soon starts to singer over. Subtle strings are added to the mix, and the first verse in general is pretty sparse throughout - with just the piano and strings to back Scheepers' different vocal approach. All of his usual grit is absent here, but his delivery suits the low key approach - although he returns to something more typical during the chorus, which is heavier thanks to the band crashing in. The symphonics remain, making the chorus sound pretty big, and the song remains pretty epic in scope despite being a ballad. Later verses are more involved, with a punchy drum groove and more of a propelling bass presence, but they still feel pretty restrained - which allows the chorus to hit harder with its symphonic arrangement each time it returns. The guitar solo here is unsurprisingly quite slow-burning, too, but it is not as lengthy or as epic as it could be. I would have preferred much more of a showcase solo moment here, but it is on the short side somewhat - with a more typical instrumental section featuring the strings taking more of the focus. As the album's only ballad, Forever does its job - but for me it feels too late in the tracklist to provide much of a genuine change of pace. The album then comes to a close with Fearless, which returns to the band's core sound in a big way. It is another mid-paced metal anthem, although it has a bit of a snappier overall sound with some power metal vibes again making their presence known. The song is not as smooth as some of the other power metal pieces, but the focus on melody throughout feels power metal in nature. The riffing feels pretty nifty throughout, with speedy little melodies rising out of the mid-paced crunch, whilst Scheepers' voice is not quite as gritty throughout as it can be. There is still plenty of big riffing throughout, though, and the chorus is another hooky moment - which is fitting given that it is the last one on the album. The chorus melodies feel a bit more strident than is typical, with more of a classic rock approach to vocal melodies perhaps the grittier sound generally taken. The band's core sound is still very evident though, and a final solo section features some more knotty guitar leads before the song comes to a somewhat slow close thanks to a fade out and more crunchy riffing. Primal Fear are one of those bands who rarely disappoint, and Code Red is therefore exactly what their fanbase would expect. A couple of more longer-form pieces help to ensure some variety, but in general the album sticks to the band's well-established template nicely - and those who love old-school heavy metal will find plenty to enjoy here considering how many big riffs and choruses there are throughout the album's 11 songs.

The album was released on 1st September 2023 via Atomic Fire Records. Below is the band's promotional video for Another Hero.

Robert Jon & The Wreck - Exeter Review

I recently mentioned on this blog that my most-played artist of 2023 so far has to be Robert Jon & The Wreck. The California-based southern/country/blues rock band fell onto my radar earlier in the year, and the fact that they were going to be playing locally later in the year prompted me to give them a go. A couple of listens to 2021's Shine a Light on Me Brother had me hooked - and over the past few months I have been amassing their back catalogue. This culminated in getting their latest album, Ride into the Light (which I reviewed here), which has already become one of my favourite collections of songs from the band. I am not quite sure how they managed to elude me until earlier in the year. I had assumed that perhaps the UK tour which was announced earlier in the year was to be their first - but it turns out that Robert Jon & The Wreck have been pretty regular visitors to the UK and Europe since the pandemic started to wind down - making gigging possible again. It also appears that the band played at a festival here in 2019, so I am really not sure how I managed to not really hear anything about them until earlier this year. Regardless of this lack of awareness of my part, I am glad to finally be on board the train. It was the announcement of a show in Exeter, which is around an hour or so's drive from home in Plymouth, which prompted me to give the band a go - so, in some ways, everything was building up to a night at the city's Phoenix. Following many spins of their handful of albums, the show finally rolled around - so I headed up to Exeter yesterday via a roadside diner to enjoy an evening of organic rock. The Phoenix is a great venue, and one which I have been to quite a few times over the years. It is a multi-arts space with a lot of great facilities, and gigs there are generally memorable experiences. I last visited the venue back in June, when I saw the British death metal band Carcass play a raucous set to a packed and sweaty room - so it was good to return in somewhat more sedate circumstances. Robert Jon & The Wreck can certainly rock out, but they are more measured in their approach than someone like Carcass - with the crowd also rather older and more restrained than those who filled the pit back in June. Turnout-wise, the venue ended up being pretty full. Early on it looked as if the place was going to be quite empty - but the room soon filled up. I have seen bigger crowds there, but I think I would describe the turnout as healthy - particularly given this was the band's first visit to Exeter. There were quite a few of the band's t-shirts to be seen, too, so clearly some of those in attendance were seasoned veterans - which only made me more annoyed that I had missed the band's previous tours.

Before Robert Jon & The Wreck's set, though, the growing crowd were treated to half an hour or so of slightly funky and soulful rock from Caitlin Krisko and the Broadcast - a four-piece who were making their UK debut by opening up for Robert Jon & The Wreck on this tour. Hailing from North Carolina, there was certainly a bit of a southern rock vibe to the band's sound, but they were more soulful and bluesy than rootsy - with a few more pop-based moments throw in for good measure. Centred around frontwoman Krisko, the band seemed up for their first ever UK show - and they impressed the growing crowd from the off. Krisko's voice was perfectly suited to the material, and the spotlight was on her throughout. Aaron Austin (guitar/vocals) impressed with a few tasteful solos, but in general the band were not all that flashy - with the rhythm section creating strong grooves and Austin adding riffs and colour to support Krisko's vocals. The band rocked, but I would not describe them as a hard rock act. There was some bite when needed, but the band's songs were generally pretty smooth - which certainly harked back to the West Coast rock sounds of the 1970s, with some of William Seymour's (bass guitar/vocals) basslines reminding me of something that former Doobie Brother Tiran Porter might have come up with. Strong vocal hooks and soulful choruses anchored the songs, though, and Krisko was a captivating presence on the stage, too, with her long flowing 1970s sleeves and platform heels. There was certainly a retro vibe present both in look and sound, but a modern pop sheen stopped everything from sounding kitsch - and in fact it was perhaps Austin's laid back guitar style which injected a bit of modernity into the band, as he generally shied away from guitar hero antics. He did let rip during a version of Led Zeppelin's Rock and Roll - which was likely the set's most rocking moment. Krisko did the song justice vocally, whilst the band rocked around her. It received a decent cheer from the crowd, but in truth the crowd had been getting more into the band's performance with each song - and the lengthy closing track certainly heralded a strong reaction as the set came to a close. I am not sure of the band's history, but there was certainly a lot to like about Caitlin Krisko and the Broadcast - and the four-piece's set got the evening off to a fine start.

Half an hour or so following Krisko's set, the lights went down and the five men who make up Robert Jon & The Wreck trooped onto the stage Namesake Robert Jon Burrison (vocals/guitar) took the stage last, before the band launched into the rollocking She's a Fighter - one of a couple of stand-alone singles released last year. From the off, it was clear that the band were really up for the show - and the live mix throughout was pretty good. It would have been nice to have heard more of Jake Abernathie's keyboards, but generally everything else was clear, punchy, and loud - with Burrison's vocals also pretty high in the mix. I generally consider the band's more recent albums to be their best, and clearly they agree - as basically all of the 14-song set came from the last few releases. Burrison took a few moments to chat with the crowd, particularly joking about seeing Stonehenge for the first time earlier in the day at one point, but generally the band just cracked on - with Do You Remember keeping the energy high following She's a Fighter. An early highlight for me, though, was the Eagles/Blackberry Smoke mash-up of Tired of Drinking Alone, which introduced a country bent to the night - and showcased Henry James Schneekluth's (guitar/vocals) slide playing for the first time. Burrison leads the band, but perhaps the true star is Schneekluth. He is such a formidable guitar player, and there was barely a song in the set which did not benefit from his lead playing and soloing. He teamed up with Burrison a few times for some Allman Brothers-esque moments, such as during Ride into the Light, but generally he was responsible for all the lead playing - with Burrison more of a riff machine. It helped that the set was generally pretty hard-hitting. Groovy southern rock anthems such as High Time sat nicely alongside more riffy songs like Pain No More, and each song just further cemented how powerful the band were on stage. A short solo from Andrew Espantman (drums/vocals) later acted as an extended intro to Don't Let Me Go, whilst Warren Murrel (bass guitar) picked out the main melody to Bring Me Back Home Again on the bass whilst the band slowly filled in around him. The diverse track was another highlight, with plenty of organ playing from Abernathie and a lot more slide from Schneekluth. It showcased the band's blues edge nicely, whilst also allowing Burrison to let rip vocally thanks to the muscular arrangement. The pace then slowed somewhat with the set's only ballad Gold, which featured an emotional vocal performance - although the country rock stomp of Oh Miss Carolina which followed upped the energy again without the band exactly rocking out in a big way. It prompted a bit of a sing-a-long, too, but it was the calm for the epic storm of Cold Night - which brought the main set to a close. It was the only 'older' track played, and it was stretched out to include a lot of jamming and soloing - with Schneekluth really letting rip for a good few minutes. He truly is one of the unsung guitar talents of the moment, and his showcase was a real treat - as was his back-and-forth with Abernathie which was packed full of melody and Allman-esque virtuosity. It brought the main set to a powerful close, and the band left the stage to plenty of cheers. After quite a lengthy break, following lots of clapping, they returned for one more - and the upbeat and soulful Shine a Light on Me Brother closed the night out. Each member of the band showcased during the piece, and Burrison led the crowd through another sing-a-long during the big chorus - which was a great end to a great set. The setlist was:

She's a Fighter

Do You Remember

Tired of Drinking Alone

Ride into the Light

This Time Around

High Time

Don't Look Down

Pain No More

Drum solo

Don't Let Me Go

Bring Me Back Home Again

Gold

Oh Miss Carolina

Cold Night

-

Shine a Light on Me Brother

I loved my first live experience with Robert Jon & The Wreck - and it certainly will not be the last. Based on the band's recent history, they have been visiting the UK pretty regularly - so I hope that they will return again soon. The Exeter show last night was the first show of a fairly healthy run of UK shows - so hopefully they other dates will also be well-attended and persuade the band to schedule something fairly lengthy again in the future. I came away armed with a new shirt and a new favourite band - and I have loved getting into this excellent band over the past few months.

Vandenberg's 'Sin' - Album Review

Whilst he might not be a household name, the Dutch guitarist Adrian Vandenberg is rightly respected in the rock world. As a member of Whitesnake's most commercially successful period, Vandenberg toured the world and wrote two excellent studio albums with David Coverdale - with his tasteful blues playing on 1997's underrated Restless Heart perhaps showcasing him at his best. Whilst he will always be associated with Whitesnake's big hair period, those music videos from the 1987 album, and his guitar solo on the most famous version of Here I Go Again, Vandenberg has always been more than just another former Whitesnake guitarist. Vandenberg had to have been doing something right to catch Coverdale's eye, and that was leading his own self-titled band. Vandenberg, the band, burst onto the rock scene in 1981 - and released their self-titled debut album the following year. Two albums, 1983's Heading for a Storm and 1985's Alibi, followed, but big success eluded the band. They had some success in the Netherlands, and the single Burning Heart reached the Top 40 in the US, but the band never really broke through. Vandenberg clearly did enough to excite Coverdale, though, and Vandenberg's tenure in Whitesnake has meant that all of his other projects have received a decent amount of attention - particularly in more recent years. His short-lived band Manic Eden failed to catch on in the early 1990s, though, debuting between Whitesnake stints, and following Whitesnake coming to an end in 1997 Vandenberg essentially retired. He returned to active service in 2013, though, following a handful of guest appearances with Whitesnake, and formed the band Vandenberg's Moonkings - a bluesy band who released two albums in 2014 and 2017. The two Moonkings albums certainly felt more organic and Led Zeppelin-esque than anything Vandenberg had done previously. Moonkings were a fun band, but I think that they were essentially Vandenberg testing the waters for a bigger return - which happened in 2020 with the formation of a new line-up of the Vandenberg band and the release of 2020 (which I reviewed here). 2020 felt more like it. It rocked harder than either of the Moonkings albums, and returned to the hard-hitting sound which characterised the earlier Vandenberg releases - albeit with a tougher, more modern production and influence taken from his time with Whitesnake. I had hoped that the album would not be a one-off, and thankfully three years on the band are back with their fifth album Sin - which was released last month. Vandenberg, bassist Randy van der Elsen, and drummer Koen Herfst all return here - but Sin marks the debut of current vocalist Mats Levén (Treat; Yngwie Malmsteen's Rising Force; Krux; Therion; At Vance; Candlemass), who replaced Ronnie Romero in 2021. I think that Romero did a good job on 2020, but I can understand why Vandenberg moved on with Levén instead. I think I remember an interview where Vandenberg said that Romero was essentially singing for everyone - and he wanted to have a more distinctive frontman going forward. Romero is certainly an in-demand singer, and is a bit of a journeyman, so I can understand why Vandenberg chose to move on with him - but I do wonder why Vandenberg chose him in the first place if that was a concern. Levén's gravelly voice is perfectly suited for the songs throughout Sin, though - and he has a hand in the album's creation, too, co-writing all but one of the songs here. Generally Vandenberg writes the songs himself, so it is interesting to see that the pair have struck up a strong partnership already.

Everything here is pretty hard rocking, and producer Bob Marlette's production has something of a raw edge. This album is not as organic as the Moonkings releases, but there is still a rough and ready sound which suits Vandenberg's heaviness. Opener Thunder and Lightning is a good example of this, with its staccato opening drum barrage soon giving way to a muscular bluesy riff which has a strong Whitesnake vibe. Whilst he played the part during the 1980s, Vandenberg himself was never a high-octane shredder, and the muscular riffing here is a great representation of his style. Subtle, organic keyboards underpin everything - but the guitar is always the centre of attention, with Levén the perfect foil for the riffing approach taken. The song's verses are punchy, with great hooks from Levén, but the chorus is not as strong as it could be in my opinion - and as such the song fails to reach the heights of some of the others here. There is a lot to like, though, with the pacy verses bringing the best out of Levén - whilst the riffing elsewhere and Vandenberg's bluesy, yet fast-paced, solo are a great showcase for the man himself. There is better to come, but Thunder and Lightning does a good job at establishing the album's core sound - with the tight rhythm section adding plenty of punch throughout. House on Fire opens in a somewhat slower manner, and the song feels a bit more moody and expansive overall. There is still plenty of punch here, but the song feels more creeping and groove-based - with a few Eastern-tinged melodies in some of the guitar leads. There is more space in the mix here, with the rhythm section not feeling as frantic, whilst Levén showcases a bit of a different side to his voice here. He generally does his best to channel a Coverdale-esque approach throughout, albeit with a bit more of a metallic grit, but there are moments here which showcase a deeper delivery - and it is clear why he has history in the doom genre with Krux and Candlemass. These moments only surface occasionally, but they add some depth to the song - and the chorus feels bigger when he lets rip as a result of the murk elsewhere. Vandenberg's solo is not as frantic, either, and the snaking melodies fit in nicely around the grooves found elsewhere - creating a song which feels sparser and more organic than some of the harder-hitting pieces here. The album's title track follows, and it feels a lot more expansive than what has come before - with hints of Led Zeppelin's Kashmir, Whitesnake's Judgement Day, and Deep Purple's Perfect Strangers all meshing together to create an atmospheric, majestic, yet hard rocking track. Vandenberg's riffing is slow-burning here, with the rhythm section adding some crunch below the slower chugs - whilst keyboards add neo-classical accents in a manner similar to those referenced songs. There are moments which really recall Judgement Day heavily, with Levén singing in a bit of a call-and-response manner against the rest of the band - whilst the chorus looms into view with more expansive vocals and sultry bluesy tones as it closes out. Unsurprisingly, too, Vandenberg's central guitar solo is a lengthy one. It opens achingly, with some excellent bluesy leads, but it slowly speeds up as it moves along - climaxing with some shredded phrases, which help to tie the wider song together nicely before a final reprise of the lumbering chorus.

Light It Up ups the pace again, and returns to something more throaty in the manner of the album's opening song. After two more mid-paced tracks, the pacy song is welcome - and the presence of plenty of organ throughout firmly roots the track in that updated 1970s hard rock sound which much of the album revels in. Despite the stronger keyboard presence, riffing throughout from Vandenberg is still busy. The opening salvo is catchy, really drawing the listener in, whilst the core hook mixes a couple of weighty power chords alongside a little descending melody which easily sticks in the brain. This mix of big chords and melodies gives the guitar playing plenty of edge throughout - whilst Herfst's shuffling drum groove further accents the track's 1970s aspirations. Levén sticks firmly to his Coverdale impression here, but works perfectly - although his history in metal gives his voice more of an 'attack' overall, and the piece is certainly all the more powerful thanks to his vocal approach. Walking on Water takes a more dynamic approach, and the piece opens slowly before later exploding. Vandenberg's clean guitar melodies form a bed for Levén's vocals early on, and this more atmospheric opening sets the tone thanks to a simple keyboard backing and Levén's deeper vocal delivery. The song soon starts to rock harder, but the piece generally shifts back and forth between riffier sections and moments which feel like amped-up versions of the intro - with a punchy rhythm section backing. The verses feature chiming clean guitar melodies (with later iterations seeing this melody morphing into more of a riff to good effect), whilst the chorus builds on a powerful riff from earlier in the song - and sees Levén really going for it vocally, pushing out big vocal hooks which add up to being one of the strongest choruses on the album overall. The song is one of the overall highlights in my opinion thanks to this hooky chorus and the song's overall approach - and it really showcases what this Levén/Vandenberg collaboration can produce. Burning Skies feels a bit heavier overall, but the song is not significantly different from the previous track. It is another song with a strong chorus, which is up there in quality with that of the previous song, but the overall arrangement is less dynamic - instead focusing more on bigger riffing. The rhythm section seem to be featured a bit more here, too, with van der Elsen's bass really propelling the verses in a manner which they have not really done in such a prominent way on the album up to this point - whilst Herfst's drumming is pushed into the spotlight occasionally thanks to some more percussive playing during sections which break up the main grooves. The song feels somewhat dynamic, then, but overall the track is heavier - with more of an urgency during the snappy chorus, which again features some excellent vocals from Levén.

Hit the Ground Running ups the pace quite considerably, and it is one of the fastest tracks here. The song feels a bit like a hark back to Vandenberg's songwriting style around the time of Whitesnake's 1989 release Slip of the Tongue. Vandenberg never got to record the songs he wrote for the album due to injury, but the riffing style here is very much of that time. Steve Vai famously recorded all of the guitar parts on the album, and Vandenberg has since lamented this - as he felt that Vai's flashy style perhaps did not suit all of the songs he had written. Perhaps the Slip of the Tongue album would have sounded more like Hit the Ground Running tone-wise had Vandenberg not suffered the injury - as the riffing is very much high-octane in that manner, and Herfst seems to be channelling his inner Tommy Aldridge with a hard-hitting drumming performance that would have also felt at home on the 1989 Whitesnake album. The chorus is another strong moment, too, with Levén letting rip a bit more and going for a few high-pitched notes which suit the 1980s overtones of the piece. Moving on to something more emotional overall, the ballad Baby You've Changed is the only genuinely slower track here. It is the only song here which Levén did not co-write, but the singer gives it his all here - turning in a sultry performance which perfectly suits the mournful guitar melodies and shimmering keyboard backing. There is a strong rhythm and groove throughout, though. The rhythm section are very present throughout the song, so the ballad still feels pretty hard hitting. This is no acoustic number, and the punch of the drums is very metronomic - despite the depth added by the keyboards and the emotional tug of Levén's excellent vocal delivery. Vandenberg's solo is unsurprisingly quite a slow-burner, too, but there is still a lot of muscle in the phrases chosen - and the ballad hits the mark as a result by not feeling too wimpy and keeping in tone with the rest of the album. The album then comes to a close with the meaty Out of the Shadows, another more expansive piece akin to the album's title track - but this is less majestic overall, with more of a strident blues rock approach taken instead. The song opens slowly, with distant vocals against an atmospheric backing, but the track on the whole is a strong, mid-paced number built around a snaking, hooky riff which is utilised relentlessly throughout. There are harks back to Judgement Day again during a pre-chorus which feels more call-and-response - and the pre-chorus also feels bigger thanks to the use of keyboards, which also pad out the chorus somewhat despite the bigger overall sound. Big note bends and tortured phrases make up Vandenberg's bluesy guitar solo, and the track seems to essentially be one big showcase for him. Levén is great is always, but the vocals here are not as big as they are for some of the other songs - with the riffing and extended solo being the main event. There is plenty of soloing during the final chorus, too, adding a high-octane finish to an album which has generally remained consistently hard rocking throughout its 40 minute or so runtime. This consistent sound and heavy blues approach certainly makes Sin a strong release, and the combination of Levén and Vandenberg appears to be a winning one. The songwriting here is solid throughout, with a handful of the songs really standing out. It is always great to hear Vandenberg play the guitar, too, and I hope that there is more from this line-up to come in the future.

The album was released on 25th August 2023 via Music Theories Recordings. Below is the band's promotional lyric video for House on Fire.

Alice Cooper's 'Road' - Album Review

There is very little to be said about Alice Cooper which has not already been said. The 75 year old rocker has been ever-present on the scene since the late 1960s, and has been influencing generations ever since - particularly due to his theatrical image and gritty, sometimes garage, approach to hard rock. Whether as the leader of the original 'Alice Cooper' band or as a solo artist, Cooper is genuine rock royalty - and his legacy is rightly put on a pedestal where it belongs. Something that I have always liked about Cooper, though, is his wish to move forward with his sound and remain fresh. Whilst certainly not as iconoclastic as someone like David Bowie, Cooper's sound has evolved quite significantly over the years - in an attempt to keep up with the times and stay relevant. I think it is fair to say that there has been some scene chasing over the the years, particularly during the 1980s and 1990s, but Cooper has often excelled at whatever sound he has turned his hand at - with his raspy voice and theatrical presence tying each era together nicely. Sound wise, though, Cooper has arguably come full circle. He has remained pretty prolific over the years, and his recent run of albums, arguably since the mid-2000s, has seen him return to a sound akin to his work in the 1970s with the original Alice Cooper band. Cooper's recent albums have certainly stripped back some of the production, bombast, and heaviness of some of those which came before - and have returned to the garage rock aesthetics of the early days, albeit with plenty of swagger and hard rock grit. Not many acts who debuted in the 1960s are still regularly releasing albums, but Cooper seems to enjoy staying creative - and last month he released his 29th overall album of original material Road. Road is both similar and different to his other recent releases. Sound wise, it is very typical of Cooper's last few albums; with a dirty glam rock stop, a raw production, and snappy songwriting; but it is different in the fact that it is his first album for a while to utilise his live band throughout. Cooper has often used his live bands on his studio albums, but over the past decade or so this tradition has been far less prevalent - with the last few albums being made by huge casts of characters including live band members past and present, trusted studio hands, and guest stars. As such, Road features fewer musicians than has been typical of late - with guitarists Nita Strauss, Ryan Roxie, and Tommy Henriksen, bassist Chuck Garric, and drummer Glen Sobel behind most of what is heard here. Roxie, Henriksen, and Garric have all contributed to some of Cooper's albums in the past - but Strauss and Sobel make their debuts in the studio here. Some of the songs were even written by the full band, but there are also collaborations here with long-time producer Bob Ezrin, Keith Nelson (Buckcherry), session ace Dick Wagner, and former live band member Kane Roberts - to name a few. Some of these names turn up on the album, too, but the focus here is very much on Cooper's live band - which is fitting given that this album was written on, recorded on, and is about the 'road'.

The album contains 13 songs, but since none of them are particularly long Road does not outstay its welcome. In fact, it is a pretty snappy piece of work - and there is a lot to enjoy here, even if the album's first half is better than its second. Kicking off with lead single I'm Alice, the album sets out its stall pretty early. Sobel's percussive drumming and some harmony guitar leads set the tone, before Cooper starts to sing over this rather sparse arrangement. The song's opening is delivered in a somewhat spoken word manner, as the drums crash around him, but the song grows as it moves along - morphing into some thing more typical with ringing guitar chords and a propelling bassline. The chorus is a throwback to some of the circus-esque moments of Cooper's past, with lots of rolling snare work recalling some of the early harder rock which grew up in the 1960s. The song is deliciously retro, but there is still plenty of weight to be found thanks to the busy drumming and the crunchy guitar tones used throughout. A brief solo and the aforementioned leads create some interest, whilst a harmony vocal-led bridge adds a slightly psychedelic sound and briefly shifts the tone. Welcome to the Show is a bit more of a straight ahead hard rocker, with a strident opening riff, which is played in a call-and-response fashion, whilst Sobel's punky drumming later keeps the verses moving at a decent click. The song is a pretty pacy one overall, and Cooper whips up plenty of energy with his gritty vocal delivery. Snappy riffing also helps to bulk out the verses, whilst some band-led harmony vocals fill a hooky pre-chorus - before the chorus proper explodes with a barrel full of hooks and percussive swagger. A blistering solo is later full of bluesy goodness, and the kinetic excitement brought by the overall arrangement is partly thanks to the understanding of these musicians who have been playing together for a number of years. All Over the World is more of a mid-paced track, but it still rocks pretty hard - albeit with a few more nods back to some of the early rock of the 1960s. The approach to backing vocals and some subtle keyboards throughout conjures up that time period. Henriksen is responsible for most of the keyboards here, and his synth horns during the chorus add some swing to the mid-paced rocker, whilst the plethora of guitar leads also featured give the track a big sound. Cooper's trademark vocal style is very much the centre of everything, though, and this is another song which features some somewhat spoken word sections - particularly during some sparser instrumental sections, but either way he sounds as good as ever. Dead Don't Dance ups the heaviness, and it is likely the album's most metal song. It was co-written by Roberts, who also adds his muscular guitar playing to the piece. He recently filled in for Strauss for a stretch of shows, so it is clear that him and Cooper hooking up again led to the creation of this rocker - and it is a great addition to the album with its grinding riff, shooting guitar leads, and a gritty vocal performance. Cooper really goes for it vocally here, his powerful performance sitting nicely against the song's darkness, whilst the shredded guitar solo, presumably from Roberts, is a high-octane look back to the 1980s. Everything hangs around a stomping chorus, though, and the track is one of my overall highlights thanks to these hooks and the massive riffing throughout.

Go Away opens with a riff which sounds a bit like Rainbow's All Night Long, but the track has plenty of 1970s grit despite this arena rock opening. There is less of the whimsical psychedelic sound which has been present on some of the songs up to this point, and instead the track is a bit punkier. Cooper has often had a punk streak in his music - and Garric's bass is arguably the most prominent instrument throughout the verses which only furthers this sound. Subtle vocal harmonies and thrashing guitar chords make up the frantic chorus, whilst there is plenty of guitar soloing as the song moves on - with plenty of fast-paced phrases adding to the punky nature. It is one of two songs here co-written by Nelson, and his songwriting style is very much evident here - with a good mix of punk, sleaze, and hard rock. Another highlight for me, though, is White Line Frankenstein, co-written by and featuring Tom Morello (Rage Against the Machine; Audioslave; Prophets of Rage). It is another mid-paced hard rocker, and like Dead Don't Dance it is on the heavier side than much of the rest of the album. There is less of Cooper's garage rock aesthetic here, with Morello's main riff having a bit of a 1980s hard rock edge - which sits nicely against Sobel's punchy drumming and some choice occasional gang vocals. Morello adds a typically chaotic guitar solo to the piece, but this is a track which is more about groove - and the riffing throughout really settles in on a groove early on and never really lets up. This helps the song to snake its way through the album - with even the simple chorus making use of the same rhythms. Big Boots returns to something a bit less heavy, but there is still plenty of classic rock within the song's riffy sound - as well as more than a few nods to the British glam rock scene of the 1970s. The guitar tones used throughout, and the simple riffing, harks back to that era, whilst the barroom piano used during the chorus adds a bit of a joyful edge. The song is one of those which feels a bit off-the-cuff and throwaway, but it is anything but - and it is another one of my favourites here. The simple riffing is what makes the song stand out, and the addition of the piano adds a different edge. Cooper's vocal delivery is quite playful, too, and the shout-along chorus is one of the album's best. Rules of the Road is more up-tempo and it was co-written by Wayne Kramer (MC5) - whom Cooper has been working with quite a bit of late. Unsurprisingly, given Kramer's involvement, the song is a bit punky and harks back to those early garage rock days of the 1960s, but there is still a strong vibe throughout thanks to some of the smooth backing vocals used - as well as the shuffling drum groove throughout from Sobel. The darkly-comic spoken mid-section is very memorable, but the rest of the song is filled with lots of little hooks - so there is a lot to enjoy within the quirky riffing. The Big Goodbye ups the heaviness again, and it the last of four songs here co-written by the whole band. Garric's bass drives everything, whilst the slab-like riffing of the band's three guitarists is powerful - and makes the song stand out. There is not much riffing here which could genuinely be considered to be metal, but this song is one such piece - and it rivals Dead Don't Dance for toughness. This song is not as catchy as that one, though, as the chorus is not as hooky as it could be. It has a strong atmospheric vibe, though, which mixes well with the riffing - and it helps the chorus to stand out from the rest of the song. There is lots of guitar soloing, too, and the hard-driving rocker is, overall, another strong cut.

The album's home straight is a little on the weaker side, but nothing here is bad. Many albums are frontloaded, and Road is no different - but Road Rats Forever, co-written by Wagner, is a decent rocker. Like Big Boots, keyboards have been used here to good effect, and session man Buck Johnson's piano playing adds a different dimension to the piece. Given Cooper's big, theatrical sound, I am surprised that he has not made more use of keyboards throughout his career - but the moments where they surface here they add significantly to the song. Elsewhere, the riffing is pretty bluesy - so it is another song which sticks quite closely to the template of the early 1970s, with a strong garage rock vibe. Baby Please Don't Go is the second Nelson co-write, but it is very different to his earlier effort - as the song is an acoustic-based ballad. It is the slowest song on the album overall, but it works well to create a bit of a different atmosphere. The acoustic guitars form the basis of the song, whilst occasional bluesy guitar leads add depth. For some reason, though, Garric is not featured here - with Roger Glover (Deep Purple; Rainbow) playing the bass instead. Glover has collaborated with Cooper in the past, but this ballad seems like a strange track to bring him on board for - unless he just happened to be hanging around the studio at the time it was recorded! It is not a bad track, but I am not sure that ballads are generally Cooper's strong point - although he did lay down a decently-emotional vocal here. Perhaps the song would have worked better coming earlier in the album, where it would have been able to provide some respite from the harder riffing. The penultimate track, and final original song, here is 100 More Miles and it is a bit of a strange one. It is another somewhat slower piece, but it does not really feel like a ballad - as the track is a bit more psychedelic overall, with a strong 1960s vibe. There are quite a lot of keyboards used here to add depth, whilst the guitar playing mixes big chords during the heavier chorus and spacey melodies during the verses. It is definitely the album's most atmospheric piece, so it stands out quite a bit. The rest of the album is generally heavier, so this spookier piece does feel somewhat out of place. It is a fun diversion, though, and it does hark back to some of the artier moments of Cooper's early solo albums - as well as his 1960s releases with the original band. The album then comes to a close with a raucous version of The Who's Magic Bus, which is pretty tough - although it mixes acoustic and electric guitars throughout for depth. The band add gang vocals throughout, giving the song a live feel, whilst the mix of guitar types gives the song a massive overall sound. I am not the biggest Who fan, but Cooper does the song justice, and it very much fits the overall sound of the album thanks to the garage rock stomp throughout - as well as the theme of being on the road. Sobel is featured quite heavily towards the end, with a pretty lengthy drum solo, before the rest of the band crash back in for a final moment of riffing - as the sound of a crowd fades in and out to close out the album. It is a fun end to an album which is overall very strong. Not many artists release 29 studio albums - and even fewer have a 29th album which is as strong as Road. Cooper's recent run of albums has generally been solid, but this one might be my favourite of the lot. Using his current band was a wise move, and I hope that this is something which he continues to do again going forward - as the results here are excellent.

The album was released on 25th August 2023 via earMusic. Below is Cooper's promotional video for White Line Frankenstein.