Music of 2023 - Part 1

As we get older, each year seems to pass more quickly than the previous one. Given that each year is a less significant amount of our lives in the context of the whole, this stands to reason - but it does mean that the end of year summary which I like to undertake on this blog has rolled around again in double quick fashion. It helps, though, for me at least, that 2023, like every other year, has been packed full of excellent music. I have reviewed a lot of new albums and EPs this year as is traditional; and I also attended a number of concerts, with 44 evenings out of that nature occurring. This is almost as many as I went to in 2022 (47), which I think was likely my busiest ever year due to the amount of post-pandemic catching up which took place. 2023 contributed to this, too, but in general the touring cycles this year felt more normal - with many bands out touring some of the excellent releases which I reviewed this year (or last year). I will detail my favourite albums and gigs of the year tomorrow, as is typical, but I also like to highlight a few albums at the end of each year which I did not get around to reviewing. I would like to review every newly-released album that I buy each year, but sadly that is not possible. This blog is a hobby, so has to fit in around work commitments and my social life - but I think that I manage to get to an impressive number of new releases each year, especially as my reviews tend to be quite lengthy track-by-track analyses. Even though the readership numbers on this blog are pretty low, I feel that I get a lot out of writing my reviews. I certainly appreciate each album I have reviewed more than I would have otherwise done - and reviewing albums encourages me to stick with them, even if they initially did not grab me. It is also good to write positively about music online. I do write negative reviews from time to time, but generally I cover things that I enjoy - and with so much negativity out there it feels good to shout about things worth shouting about. I do not feel that I will ever tire of digesting new music and when so much is released each year it is impossible to get bored. Something new is always around the corner - and I already have quite a few albums on order which drop in the early months of next year. Before I highlight some of those, though, I have five mini reviews to present. As mentioned, I cannot review everything which I buy. Some albums I just do not have much to say about them, but generally the reason I do not review something is time. Albums often come out in batches, meaning that lots drop within a few weeks of each other. I like to review albums whilst they are still relatively new, otherwise the wider window of interest has closed. As such, during busy periods some albums inevitably miss out. As always, too, I will also detail my favourite live release of the year below - as I do not cover them otherwise.

Up first, though, is the second solo album from Ray Alder - unimaginatively titled II. This was an album that, due to its initial high price, I did not pick up until the price dropped two or three months after its release. It was too late to review it by the time that I got it, then, but it has been on semi-regular rotation since - even if it may not be quite as strong as his 2019 solo debut What the Water Wants (which I reviewed here). With Fates Warning now seemingly over, Alder has been looking for other things to do with his time. His solo career is now two albums deep and he has also found the time to create music with his prog metal supergroup A-Z - who released their self-titled debut album (which I also reviewed here) last year. A-Z's album felt a bit brighter and more metallic due to the personnel involved, but II returns to the murky sounds which Alder has made his own in recent years. Like What the Water Wants, II sees Alder writing songs with both Fates Warning's touring guitarist Michael Abdow and Lords of Black's Tony Hernando. This second solo album is much more atmospheric than Alder's first, though, and it feels much darker as a result. I think this is why it perhaps has not connected with me quite as much, but the mood that it creates is excellent. Some more overt heavier moments would have been welcome, but as a showcase for Alder's emotional vocal style the album works well. No-one else really sounds like Alder vocally these days and the way that he has approached aging from a singing perspective should really been seen as an inspiration by others. His rich, warm tones are on full display throughout II and the album is great for when something darker and more atmospheric is required.

A new discovery for me this year was the Swedish heavy metal act Heavy Load. I had not heard of the four-piece until their latest album Riders of the Ancient Storm was released in October - and I picked up a copy in November after being impressed with lead single Ride the Night. Riders of the Ancient Storm is the band's first album since 1983's Stronger than Evil - meaning that it had been 40 years since the band's fans had something new to look forward to. In fairness, Heavy Load were dormant for most of that time - but they have been active again recently and clearly decided to write and record their fourth album. I have not gone back yet and explored their early work, but this latest album is very enjoyable. The band were a part of that early wave of European power metal which was strongly influenced by the NWOBHM and some of the American equivalents. Heavy Load pre-dated bands like Helloween, though, so were certainly a bit ahead of their time - and this latest album is packed full of epic songs which generally stick to a crunching, mid-paced formula and are fleshed out by plenty of dramatic keyboards and the duelling vocals of brothers and founding members Ragne (guitar/keyboards) and Styrbjörn Wahlquist (drums). Classic-era bassist Torbjörn Ragnesjö also returns here, with the only new face being guitarist Niclas Sunnerberg. Riders of the Ancient Storm is certainly not the fastest or the heaviest of power metal albums, but anyone wanting to hark back to the genre's early days can do worse than revisiting this band which flew under the radar previously - and are sounding vital here.

I was prepared to review Paragon, the debut solo album from current Nightwish, and former After Forever and ReVamp, frontwoman Floor Jansen, but I ended up passing on it. I remember that its release ended up being delayed and I also think that, for some reason, the physical copies in the UK were posted out later still. As such, by the time I got the album it was quite a while after its release date - but it is an album which I would struggle writing a typical length review about. I wanted to cover it here as Jansen has featured on this blog due to her time with Nightwish - but Paragon, in my opinion, ended up being an album I could take or leave. I would not say that I was disappointed with it, as it was clear that it was going to be a departure from her traditional symphonic metal sound, but a handful of strong songs aside it feels quite limp. In some ways it is good to hear Jansen doing something different on the album, but it falls flat compared to her best work - and it does seem like a bit of a cash-in following her appearance on the Dutch reality TV series Beste Zangers in 2019, with perhaps an eye on a more mainstream solo career in the future. With Nightwish due to release a new album in 2024 which they have already said that they are not going to tour in support of, I do wonder if Jansen is looking for other opportunities - and 2023 has seen her branch out as a solo artist. I would not be surprised to see her doubling down on this given that Nightwish will not be touring - but it does seem that she is wanting to branch out and gather a new fanbase. This is understandable, but I am not sure that this album will float the boats of many After Forever or Nightwish fans - despite her strong vocals throughout. I rated the album she put out with Northward (which I reviewed here) a few years ago, and, in my opinion, she is better suited to gritty hard rock more so than the sultry pop of this album.

Another new discovery for me this year was the Italian power metal band Temperance. I was somewhat familiar with them in name only due to knowing both guitarist and principal songwriter Marco Pastorino and co-lead vocalist Michele Guaitoli from other bands - but I discovered them properly the old fashioned way back in February when I saw them opening for Tarja. Despite having a make-shift line-up on that tour, I was impressed by the band's catchy and poppy brand of power metal. Not quite as poppy as someone like Amaranthe, Temperance have a much more traditional power metal sound. I have since gone back and picked up a few of their older albums - and I also picked up their seventh album Hermitage (Daruma's Eyes - Part 2) when it was released back in October. October and November were extremely busy with new releases so I did not get a chance to review the album here - but I have listened to it a few times. Given my relatively limited knowledge of Temperance, I was not expecting this latest album to be so involved. Generally the band's work consists of snappy power metal, but this album, which (Dream Theater style) is a sequel to a song from 2018's Of Jupiter and Moons, is a lengthy concept album which features a much more symphonic sound than is typical. It is the band's first album with co-lead vocalist Kristin Starkey, and she does a great job alongside Guaitoli - but there are some guest vocalists here too, including Alessandro Conti (Trick or Treat; Luca Turilli's Rhapsody; Twilight Force) and Fabienne Erni (Eluveitie; Illumishade). Prog legend Arjen Anthony Lucassen provides narration throughout, too, meaning that there are twists and turns around every corner. I am not sure that the album has really clicked with me yet, but there is a lot here to like - and I am looking forward to seeing the band again in February with Serenity.

The final album which I want to look at here is the self-titled release from the Canadian melodic rockers Tempt. Despite releasing an album back in 2016, this self-titled album feels like the band's launch proper - and I certainly had not heard of them until a few months ago. With labels like Frontiers Records pumping out endless amounts of cookie-cutter AOR it can often be hard to see the wood for the trees - but Tempt feel fresh. They do not look like a throwback band with their sleek, modern look - and their sound is very much influenced by modern pop as much as it is by 1980s melodic rock and AOR. Def Leppard is clearly a big touchstone here, with many of the guitar melodies and the approach to harmony vocals clearly borrowed significantly from the Sheffield band - and this guitar-centric sound actually helps Tempt to stand out from the modern AOR crowd. There are plenty of keyboards and synths here, but Harrison Marcello's guitar drives everything - and the synths feel more modern and pop-influenced than retro. The album is a great mix of old and new, then, and Tempt deserve the attention which they have been getting. I have to admit that a listen to one of their singles did not do much for me, but I picked up the album a while later due to all of the press and I am glad that I did. The songs work really well within the context of the album and the songwriting is smooth and filled with hooks. Frontman Zach Allen has the perfect voice for this sort of music and, with some luck, Tempt may be the band to bring AOR back to the masses with their boy band-esque charm and accessible material.

Whilst that includes my final say on 2023's new album releases, I also like to highlight my favourite live release of the year in this annual post. I do not cover live albums here, but I listen to them quite regularly - and I particularly enjoy a well-shot concert video. There have been a few good ones this year, but I would like to highlight Robert Jon & The Wreck's Live at the Ancienne Belgique. Robert Jon & The Wreck have probably been my most important discovery of the year. I consumed their whole discography, enjoyed their latest album Ride into the Light, and saw them live for the first time in September. They are definitely going to be a big favourite going forward, so it is good to have Live at the Ancienne Belgique as a reminder of their no-nonsense southern rock captured live. The lengthy show contains a number of fan-favourites performed by the five-piece band (augmented by a couple of backing singers) with plenty of style and swagger. Frontman Robert Jon Burrison is a great singer and songwriter, but it is perhaps lead guitarist Henry James Schneekluth who steals the show with his endless soloing and tasteful slide playing. Many of the band's song stretch out live and the excellent ability of the musicians to go with the flow makes each of their concerts a unique experience. Whilst not a jam band in the vein of The Allman Brothers Band, they certainly show shades of such sometimes - and southern rock has been calling out for such a band for a while, with many of the more modern examples of the genre being tougher overall. With a new album set for release next year, Robert Jon & The Wreck are not slowing down and I doubt that they will be playing small clubs such as the Ancienne Belgique for much longer.

All that is left for me to do now is to list off my top albums and gigs of the year, which I shall do tomorrow on New Year's Day as has become traditional. Reviewing new music and concerts always keeps me busy; and I already have a lot planned for next year. I have many gig tickets in the bag already and there are a number of albums which I am looking forward to. The first review of the year is likely to be Magnum's Here Comes the Rain - which drops in early January. Magnum often reliably release a new album every other year, and this latest one is likely to be as impressive as ever. Also throughout the early months of the year I am looking forward to hearing Death of the Party, the second album from one of my favourite young bands South of Salem, the latest effort from Blackberry Smoke, and the first solo album from Iron Maiden's Bruce Dickinson since 2005. There is a lot to look forward to as always, and I hope that you will continue to join me in celebrating the very best of it.

Bad Touch's 'Bittersweet Satisfaction' - Album Review

If there is one band which the current UK-based boom of bluesy hard rock can be traced back to, then the Norfolk-based five-piece Bad Touch may well be it. I am not exactly sure when they formed, but I first came across them in 2013 when they opened for The Quireboys. They did not have any albums out at that point, and it took me quite a few years to actually get into them, but they seemed different from many of the other young British rock bands around at the time. In 2013, the scene which had been led by Heaven's Basement, Dear Superstar, and others was on its way out. The sleazier, more 1980s-inspried sound which dominated my university years had seemingly burnt itself out - and over the next few years the current scene, which has been received more warmly than the once which preceded it, grew. Bad Touch may seem like veterans at this point, but they have never been fawned over in a way which many of the UK rock bands who have followed them have. This is a real shame as they are a strong band - which I finally learnt when I actually bothered to give them a proper listen. It was in 2018 when I finally came around, after seeing them close a show which I had attended largely to see Aaron Buchanan and the Cult Classics. By this point I had seen the band supporting others, including The Answer and Skid Row, but it was that 2018 headline show which finally made me sit up and take notice. It perhaps helped that 2018's Shake a Leg had been released by that point, which is likely my favourite of the band's albums to date. Much of the set was taken from it and since that night I have been a fan. I saw them again in 2019, again with The Quireboys, and was also supposed to se them in 2021 but had to bail due to illness. They also released their fourth album, Kiss the Sky (which I reviewed here), in 2020 - so the band have been pretty busy over the past few years. Quite an extensive UK tour is planned for next year, too, which is in support of their fifth album, Bittersweet Satisfaction, which came out earlier in the month. Whilst Bad Touch established their core sound early on, I feel that it has been refined in more recent years. Their first couple of albums, despite containing plenty of strong songs, are on the long side - but from Shake a Leg onwards the band have tightened things up. The newer albums fly by, then, and Bittersweet Satisfaction is no different - clocking in at just over half an hour in length. Some may consider this too short, but given the band's no-nonsense groovy blues rock sound the concise length is appropriate. The album says everything that it needs to say within the 10 songs here and it builds on the good work of the band's last two releases in particular. Fans will know what to expect, but the band's trademark swagger sounds as good as ever - and sticking with the same line-up since the off (bar a brief period when lead guitarist Robert Glendinning was absent) has helped to solidify what makes Bad Touch a strong band.

Nothing here outstays its welcome and the album kicks off with the excellent Slip Away - one of the best tracks here. The opening Stevie Ray Vaughan-esque guitar lead establishes the band's bluesy credentials early on - but the track is much more of a hard rocker when it gets going, with George Drewry's drumming whipping up plenty of energy. Like the previous album, Bob Fridzema (King King) provides the keyboards throughout - and his roaring Hammond organ backs the song nicely. The organ adds a depth to the riffy track, with the verses sounding meaty thanks to the tough riffing of Glendinning and Daniel Seekings - whilst Michael Bailey's bass is surprisingly busy to create additional grooves. Frontman Stevie Westwood sounds as good as ever - adding to the verse grooves and belting out the simple chorus with his usual charismatic charm. The song is a simple one, but its high energy levels, bluesy flourishes, and excellent chorus ensure that it kicks off the album nicely - and I can see the song opening the shows on the band's upcoming tour. This Life is a little more involved, presenting more of a mid-paced groove from the off. Based around a riff which sounds like a warmer take on AC/DC's classic sound, This Life actually reminds me of the rockier end of King King - so it is fitting that Fridzema's Hammond takes on a more prominent role here. His playing backs the tougher riffing nicely - whilst the chorus is a real sing-song moment. Westwood has always written strong chorus melodies and this song is no different. The hooks stick in the brain after only a couple of listens and Drewry's subtle harmonies add depth alongside the growling Hammond. The track reminds me of the more organic moments of the band's past and it is full of excellent melodies. Spend My Days ups the pace somewhat, but the overall sound of the piece is smoother. There is less of a focus on big riffing here, with the song including slower verses which build towards a somewhat busier chorus - which is backed by some subtle guitar melodies. The song has a bit more of a modern sound, then, but I like the melodic guitar approach taken and Westwood's chorus hooks are as memorable as ever. The overall arrangement is a bit more dynamic than elsewhere, too, and this helps to give the album some variety - which is welcome despite the short runtime. The title track follows and it returns the album to a more hard rocking sound - with stop-start riffing creating an infectious verse, whilst the Hammond fills in the gaps. The band often look to create groovy songs and this is a great example of that sound. The verses pulse with this staccato rhythm, whilst the chorus feels more involved - despite the call-and-response vocal approach which is likely to come over really well live. It is another of my favourite pieces on the album and given the simplistic approach taken throughout the inclusion of some soulful harmony vocals during the chorus is welcome. Glendinning's bluesy solo is excellent, too, and it helps to wrap up what is another strong song. Single Nothing Wrong with That is more of a mid-paced boogie track. The snaking groove throughout and the big chorus which includes some gospel-esque elements make the track feel like the album's centrepiece - whilst the whimsical lyrics tap into that off-hand manner of some of the band's older favourites. It is clearly another song made to be heard live and it feels like it is destined to become their 'audience participation' song going forward. The chorus and the overall percussive rhythm gives the song that feel - and it is a feel-good piece with another melodic bluesy solo and plenty of the band's usual charm.

Taste This returns to something a bit more overtly bluesy. The opening riff channels that Vaughan-esque tone hinted at earlier, but the track takes a bit of a darker path overall. This bluesy riffing resurfaces throughout, but the verses in general are slower - with Bailey's bass dominating. As such, there are plenty of grooves throughout - which are aided by the song's very precise pace. The call-and-response vocal approach utilised earlier in the album is used again during the chorus here - although the gospel tones are less prominent. That vibe is somewhat retained, but it has been squeezed through a darker filter - and the track overall feels much more atmospheric as a result. Even's Glendinning's solo feels a bit more cinematic than usual. Tonight is more upbeat and it returns to the band's classic sound. It is a feel-good rocker with a driving opening riff, but the bounce which often rears its head during the band's best tracks is present here. It is a song which is easy on the ear, then, with plenty more washes of Hammond and a few more groove-based moments where the bass is more prominent. Elsewhere, the guitars feel pretty snappy - but their tone is much more melodic which reins in some of the toughness the band can sometimes exhibit. As such, there is a bit of a smoothness present again so in some ways the song feels more classic Bad Touch as a result. Come Back Again slows the pace down, with some bluesy guitar leads setting the tone early on - before a piano-led verse changes tack somewhat. Like Spend My Days, the song sticks to a slower pace throughout - and it has the feel of a ballad, even if it is a bit more 'produced' throughout than some ballads can be. There is a strong piano and Hammond presence, whilst later verses feature wordless harmony vocals to create a bigger sound. Despite the slower pace, then, the song certainly feels quite 'big' production-wise - and it adds a lush sound to the album's second half, which is generally made up of rockier pieces. See It to Believe It returns to the band's core sound and as such is an up-tempo rocker with plenty of bluesy overtones. It may not be the fastest piece, but nevertheless the overall atmosphere has a feel-good vibe to it thanks to the driving guitar riffing and the boogie barroom piano melodies which often surface throughout. It is not one of the album's strongest pieces, and there are other songs in this vein here which are catchier, but nevertheless the song still has a strong vibe throughout. The album then comes to a close with Dizzy for You which is similar to much of the material here - as it creates a feel-good atmosphere thanks to its punchy blues rock sound. Despite this, though, the track builds on some of the more 'produced' slower songs here, and includes a few more cinematic touches which are not always included in the band's rockier pieces. There is a strong use of harmony vocals throughout, which in particular gives the chorus a kick, and the keyboards feel a bit denser here - which ensures that the song feels a bit bigger than most of the others here. This is fitting given that the track is a closer and it ends the fun and bluesy album on a high. Overall, then, Bittersweet Satisfaction is a great example of Bad Touch doing what they do best. It feels like a real exercise in cutting the fat, as each song here is lean and to the point - which I welcome in this era of over-long albums. As such, it is an album for any occasion and Bad Touch in general continue to perfect their particular brand of feel-good rock.

The album was released on 8th December 2023 via Marshall Records. Below is the band's promotional video for Nothing Wrong with That.

Dirty Honey's 'Can't Find the Brakes' - Album Review

Whilst lots of attention has been given to a certain young American rock band who often drawn comparisons to Led Zeppelin in recent years, in my opinion the most exciting new classic rock-style band to come out of America recently is the California-based four-piece Dirty Honey. Without wanting to dismiss the achievements of Greta Van Fleet (the band I was initially referring to), as what I have heard of their output has been enjoyable, in my opinion Dirty Honey are heads and shoulders above the Michigan act. I am not exactly sure when I first came across Dirty Honey, but I think it was during the COVID-19 pandemic. I listened to a lot of music during that time for obvious reasons so, more than ever, I was always on the hunt for new things. I first listened to the band's self-titled EP, which was released in 2019, in either 2020 or 2021, then, but, at the time, I do not think that any of the band's music had officially been released here in the UK - other than on digital platforms. I ended missing their 2021 debut album, which was also self-titled, for this reason - but, due to a growing profile, both of the self-titled releases were released physically in the UK last year as a double CD set. I think this possibly coincided with the band's tour with Rival Sons, which included their first visit to the UK. Unfortunately I could not make any of the dates on that tour, but I did finally pick up the debut album - and I spent quite a lot of the back end of 2022 listening to both it and the older EP. What struck me about both releases was, despite how retro Dirty Honey's sound is, how fresh the songs sounded. There are lots of retro rock bands out there currently, many of whom are very good, but not many sound as energetic or as vital as Dirty Honey. Given the glut of UK-based new rock bands, too, it was good to hear something distinctly American. Dirty Honey certainly borrow plenty from Aerosmith, both from the band's raw 1970s output and the bigger hits of the 1980s, but there are also influences taken from the 1980s hair metal era - as well as some British blues rock influences. I am not sure that Dirty Honey exactly evoke any one band in particular, then, despite Aerosmith likely being the closest comparison - and that helped both of the self-titled releases stand out. Clearly many others thought so, too, as all of the band's UK shows on their debut European headline tour at the beginning of the year sold out. I went to the Nottingham show and the band rocked the small room they had booked - and it was clear that they would not be playing rooms of a comparable size in the UK again. This has proven true, as larger rooms have been booked for next year's UK tour, and it is great to see Dirty Honey getting some real traction here. It was time for the band to capitalise on this success, then, and last month they released their second album Can't Find the Brakes - their first with drummer Jaydon Bean who replaced Corey Coverstone earlier in the year. The album shows quite a bit of growth since the 2021 release, with the 11 songs here being more diverse in sound than those previously released. There are plenty of old-school hard rock moments here, but this is an album which feels more grown up overall - with a number of more textured and layered compositions to broaden the band's palate.

I think that the slightly different approach taken throughout this album is evident from the off, with Don't Put Out the Fire going for a slightly smoother overall sound than anything heard from the band previously. It opens with some effects-heavy clean guitar melodies from John Notto, over which frontman Marc LaBelle croons in a wistful, distant manner - before Bean's drums kick in and the track becomes a mid-paced bluesy rocker led confidently by Justin Smolian's walking bassline. The song rocks, but it is certainly not as raucous as the band's core sound up to this point - and there is a strong Free vibe throughout thanks to the simplicity of the arrangement. The bass provides the main groove, with Notto adding bluesy depth, whilst LaBelle sings in a slightly cleaner manner than is typical - until the chorus briefly up the heaviness to add a little more grit. This chorus is memorable, with soulful backing vocals adding plenty of depth, but the groove of the whole song makes it stick in the brain - and it is great to hear the band sounding so bluesy and raw here despite the song's overall smoothness. It might not kick off the album with a bang as might have been expected, but Dirty Honey sound powerful here - and show from the off that they want to explore some different strands of their core sound. Speaking of their core sound, Won't Take Me Alive very much harks back to the previous album. Following the more stripped back arrangement of the previous song, Won't Take Me Alive is an out-and-out hard rocker - reminiscent of many of the fan-favourites of the band's past. Notto's busy riff drives everything and it is likely one of the catchiest in the band's catalogue yet - with pulsing bass and Bean's snappy drumming keeping the pace up. LaBelle sounds grittier here, ever the rock frontman, whilst subtle bluesy slide guitar melodies are added into the mix as the song progresses. The band have always had a knack for choruses and the effort here is excellent - with a slight hair metal edge adding to the tough riffing to create something catchy. An excellent guitar solo tops off what is a great example of commercial hard rock - and the swagger of the piece is firmly rooted in the 1970s classic rock heyday, with the song likely to become a live staple as a result. Dirty Mind slows the pace somewhat, but it still rocks pretty hard - instead going for a much bluesier sound. Whilst the first track channelled Free somewhat, this song is much more American sounding. The main riff is quite Aerosmith-inspired, whilst the sparse bass playing adds a strong counter groove as the raw drumming sets the pace. LaBelle shines in such an environment and his raw verse vocals are full of character - whilst a more involved chorus injects a soulful side with some harmony vocals and some additional guitar layers. Due to the slower pace the subtle funkiness of Smolian's bass playing, the song is another with plenty of groove. Dirty Honey have always nailed that side of classic rock and this track is no different - with the bass playing coming to the fore during Notto's fluid solo to ensure that the overall strut is retained.

After three varied harder rock songs, the album then slows down with Roam - the first ballad here. Dirty Honey have done ballads before, but there are a few examples here which show that they have focused on this side of their sound a bit more this time. The band's previous ballads are more harder rocking affairs, but Roam is much more subtle - with a shuffling drum groove, gentle guitar chords, and a Hammond organ backing. Despite his grit, LaBelle can also pull off ballads really well. His emotional delivery during this piece, particularly during the chorus, is impressive - and the soulful harmony vocals used elsewhere are also utilised during the choruses here, with wordless harmonies adding to the organ to create a great bed for LaBelle's heartfelt crooning. Notto delivers an aching solo, too, which is fitting given the song's slower pace - and it is really the only significant guitar moment in the song, which generally sees a more textured, chord-based approach utilised. Get a Little High is much more of a hard rocker, with the early work of The Black Crowes channelled here. It is not a jammy piece, but the Shake Your Money Maker sound is referenced - with a strutting riff kicking the album back into a higher gear following the previous ballad. As has been the case previously, as the song progresses some subtle slide guitar accents are added to the mix - but generally this is a punchy hard rocker with a tight main riff driving everything and a gritty LaBelle vocal which is easy to latch onto. Another of the album's best choruses is found here, too, which takes on a slightly bigger overall sound when compared to the rest of the song. The band have really gone for that aforementioned soulful approach in quite a big way here - and the chorus of this song is very uplifting with strong harmony vocals and an up-tempo groove thanks to some busy bass playing. The album's most stripped back song follows, meaning that Get a Little High is bookended by two ballads - as Coming Home (Ballad of the Shire) is a delicate acoustic piece. Notto and Smolian team up on the acoustic guitars here, over which LaBelle sings in a surprisingly full bodied way. He does not sing as delicately as might be expected, but he is not exactly going all out. He dominates the piece as a result, though, with the snaking acoustic guitar melodies just a backing for his expressive vocal delivery. The song never really grows in stature, although some simple percussion is added into the mix as it moves along, whilst a light keyboard backing also adds a little atmospheric depth. These additions are very low key, though, and do not take anything away from the core vocal and guitar arrangement - allowing the song to be a genuine slow-burner. The band get back to their riffing ways, though, on the following title track - and it is another song which feels like a bit of a hark back to their previous work. It is a no-nonsense hard rock track which has a hair metal commerciality to it - but the riffing is very much rooted again in Aerosmith and the blues. Notto is a great modern guitar hero, but his playing is a bit more understated than might be expected. I like that about him, though. It would be easy for him to show off at every opportunity, but he lets his riffing and the overall arrangements speak for themselves - whilst giving it his all when he solos, with one his best and speediest appearing here. Given the energy of the song, this shredded effort fits nicely - and it is a welcome kick following the acoustic tones of the previous number.

Satisfied is more of a mid-paced, groovy track - and it feels very much led by Bean. His drum beat here is surprisingly busy and, given the sparse riffing from Notto, the verses are very much characterised by the heavy shuffle laid down. This allows the song to have a raw, old-school sound - but it is a track which does develop as it moves along, with each verse getting a bit more involved as each evolves. Notto's riffing does get a bit more pronounced, but the song is still very groove-based, and the chorus is bit more 'produced' overall with more harmony vocals and more of a keyboard backing. Ride On is the last of the songs here which sounds like a real throwback to the previous album. It was premiered on tour earlier in the year and I remember enjoying it at the time - so it fits nicely on this album as a shorter rocker before two lengthier closing pieces. It opens in unbridled fashion, with some busy lead guitar playing - before another tight riff takes over, sounding like many of the band's old favourites. It is one of the shortest pieces here so it does not develop in a significant way, but it does not need to. It is a great example of the band's trademark, riff-heavy sound - with a great raspy LaBelle vocal which brings a simple, yet anthemic, chorus to life. The album's last two songs are a bit longer and more involved, with You Make It All Right the final ballad here. Like Roam, the song is generally based around some simple guitar chords and LaBelle's emotional vocals - but there is a larger sound here, with much more of an organ presence along with some shuffling from the rhythm section. The overall arrangement is looser, though, which allows for a bit more stretching out from the band. This is a track which sees a lot more from Notto and he regularly takes the opportunity to throw in a bluesy lead over the simple chords. Guitar leads sit between each part of the song - with his main solo being his most emotional on the album, and channels Slash tone-wise which is a bit of a surprise. The organ is busier, too, with proper organ melodies injected rather than just atmospheric swells - which allows the piece to feel fuller and more arranged than the other ballads here, showing the band's development as songwriters over the past couple of years. Rebel Son brings the album to a close, then, with the relatively lengthy rocker taking on a more expansive sound. The progressive tinge of Led Zeppelin is certainly on display here, but the core Dirty Honey sound is very much evident - with a spacey Notto riff driving everything, whilst the groove from the bass helps LaBelle's vocals to pop. The song is a rocker, with the riffing and hard-hitting drumming sounding big, but there is certainly a more atmospheric approach taken - and the song feels bigger arrangement-wise than anything else here. The constant keyboard presence helps and the piece just feels more cinematic overall - with more soulful vocals bulking out the chorus and the occasional guitar lead cutting through. Additional percussion adds to the song's grooves, whilst piano is added to the fray towards the end - leading to a false ending as the song seems to fade out, before the piano returns in a big way and the final couple of minutes morph into a proper Black Crowes-esque jam with the boogie piano underpinning everything. Notto lays down some excellent guitar leads here whilst LaBelle ad-libs vocally - and the song comes to a smouldering and busy close, letting the band really cut loose as the song ends. Overall, then, this is an album that shows a clear development from the band's debut. The band's core sound is very much intact, but there is a lot more variety here - and the maturity on show is encouraging. It took a few listens to fully appreciate, but the songwriting here is strong and the melodies throughout do stick in the brain after a while. Those expecting a repeat of the first album may feel initially disappointed, but the development of the band on show is welcome - and I am already looking forward to seeing them live again next year.

The album was released on 3rd November 2023 via Dirt Records. Below is the band's promotional video for Won't Take Me Alive.

Serenity's 'Nemesis AD' - Album Review

The last couple of years have been great for both symphonic and power metal. For a while both genres looked to have burnt themselves out, with both also having become bloated with many imitators of the relevant big hitters, but I have reviewed quite a few albums from both genres recently - and the quality has generally been high. It perhaps helps that my personal interest in both genres has increased again of late, but nevertheless the quality of the numerous recent releases has been enough to hold my interest - as, given the amount of music out there, it certainly would have dipped again if not sustained. 2024 looks to be shaping up for another good year for the aforementioned genres, with both Sonata Arctica and Nightwish looking to release albums, but 2023 has one last slab of power metal for me to cover - with the eighth album from Austria's Serenity, Nemesis AD, dropping last month. It is hard to believe that Serenity have now released eight albums. Like so many bands who deserve better things, they always feel like young up-and-comers - but having debuted back in 2007 with Words Untold & Dreams Unlived they are very much scene veterans at this point. I have had a bit of an up-and-down relationship with the band over the years, but pretty much everything they have put out I have enjoyed. I am not sure that they have ever fulfilled their potential of being Kamelot's successors - but they came close in 2011 with the excellent Death & Legacy, only for keyboardist and songwriter Mario Hirzinger to leave the band. With guitarist Thomas Buchberger also out a few years later, that early songwriting trio (which was completed by frontman Georg Neuhauser) was no more. The Serenity of the past eight years has been something of a different beast, then, but the band kicked on - and released a few more pretty strong albums, culminating in 2020's The Last Knight (which I reviewed here). The band's more recent albums have felt a bit heavier overall in my opinion, with a stronger guitar focus wrapped up within the symphonic/power metal sounds which have featured since the beginning. Nemesis AD feels slightly different, then, and it seems to hark back to the band's early more than continue on the recent sound established on The Last Knight and its immediate predecessors. The difference is not night and day, as Serenity's evolution was gradual, but Nemesis AD certainly feels more lush and less riffy than the last few albums. This coincides with Marco Pastorino (Secret Sphere; Virtual Symmetry; Temperance; Wonders; Fallen Sanctuary) joining the band as a second guitarist - bringing the band's line-up back up to a five-piece for the first time since 2015. Nemesis AD is the first Serenity album to feature two guitarists, though, but it is not the first to feature some involvement from Pastorino - as he co-wrote some of the songs on The Last Knight and also has written with Neuhauser as a part of Fallen Sanctuary. It is perhaps strange that Nemesis AD is less riffy and in-your-face than the band's other recent works given the additional guitarist present - but the overall change is a welcome one, particularly for those who really like the band's early work and more symphonic sounds in general.

As is typical the album opens with a scene-setter, Memoriae Alberti Dureri, which, for fans of symphonic and power metal, will feel familiar. It seems to be a rule that such albums open in a lush fashion - but the choirs do set the tone for what will follow, and the piece acts as an extended intro to The Fall of Man. The first song proper, then, showcases that older sound previously mentioned - and it also sees Neuhauser duetting with Roy Khan (Conception; Kamelot). Given the similarity of some of Serenity's work with Kamelot's older sound, having Khan on board certainly sees the band giving a knowing wink to those comparisons. The two singers play off each other well, though, and it is great to hear Khan in any context given his previous long hiatus from music. Elsewhere, though, big guitar leads open up the song - whilst the fast double bass drums of Andreas Schipflinger create an old-school power metal sound early on. Much of the song is quite mid-paced, though. The soaring lead guitars resurface occasionally, but generally the verses are more low key - with Fabio D'Amore's pulsing bass and some twinkling piano providing the bed for Neuhauser and Khan's voices. The chorus is more full-bodied, then, with a crunchier guitar backing and some emotional strings; with the two singers duetting well in harmony. It very much harks back to the Death & Legacy side of Serenity - as well as the early days of the Khan-era of Kamelot. It is a bombastic track, but it retains a darker side thanks to Khan's deeper vocal delivery, and it is full of soaring power metal moments such as a shredded guitar solo and plenty of up-tempo drumming. Ritter, Tod und Teufel (Knightfall) follows and the song opens with some organ melodies - over which Schipflinger's drums soon crash and the piece morphs into a mid-paced rocker with stabbing guitar rhythms and pulsing orchestral stabs. Pastorino and long-time guitarist Chris Hermsdörfer create a strong rhythmic backing here, but the strings and keyboards tend to dominate - creating another old-school symphonic power metal anthem. The pulsing main melodic hook sticks in the brain from the off, but the verses here have more weight than those of the previous song with more crunching rhythms - keeping up the heaviness throughout. The chorus is very heroic here and it goes for the anthemic style which Neuhauser has always excelled at. Serenity were always more overtly power metal than Kamelot and their choruses showcase that - with this one being very mid-2000s in sound, despite the gothic strings. Another shredded guitar solo adds depth and the track is sure to become a live staple going forward thanks to its huge hooks and accessible sound. Soldiers Under the Cross opens more slowly, with Neuhauser singing against a gentle string backing for quite an extended period. Despite this, though, the vocal melodies and the overall arrangement is a stripped back version of what is to follow - and the song later grows from this beginning, with creeping guitar riffing building on the retained strings. The slower pace allows for a more emotional vocal from Neuhauser, who gets plenty of space within the mix to shine, with later renditions of the chorus, which are heavier than the opening version, benefitting from the still relatively stripped back sound. Somewhat a ballad, then, the piece is less bombastic than the opening cuts - but there is still some guitar weight here, as well as another melodic solo.

Reflections (of AD) is the album's longest song, at just over eight minutes in length, and also one of the longest songs of the band's catalogue. Serenity do not tend to write long songs and, considering that this album is relatively short for a symphonic/power metal album, this one ends up taking up quite a significant chunk of the album. It really feels like the intended centrepiece, then, and thankfully it is another strong effort. Early Serenity flirted with some more progressive metal touches and this song revisits some of those vibes - whilst staying true to the album's core sound. There are a few different movements here and it grows from humble beginnings - which see Neuhauser singing against a gentle backdrop which the song proper grows from. Mid-paced riffy sections sit nicely alongside a fast-paced chorus which is driven by plenty of double bass drumming - but overall the song is just full of lush orchestrations which are very easy on the ear. Piano melodies and the dense strings dominate, even during the heavier sections, which, again, showcases the slight shift in overall tone on this album. There is a part of the song which also sounds like someone other than Neuhauser sings. D'Amore has acted as a co-lead vocalist occasionally, and Pastorino is an accomplished frontman in his own right, so it could well be one of them - but the brief section does not immediately jump out as being by either. It may just be Neuhauser pushing himself, but either way the change in tone adds some additional diversity. A lengthy instrumental section also helps this, with the album's most explosive guitar solo coming later in the piece against some furious riffing and drumming. Sun of Justice another up-tempo power metal anthem, with a hooky string motif and fast-paced drums from Schipflinger. There are moodier sections, such as the early parts of each verse which very much channel Kamelot's trademark sound, but these brief flirtations just add depth - as the song tends to race off at a fair pace, with some weightier guitar riffing and Neuhauser's vocals leading the charge. It is another song that really showcases what a great singer he is. His tone is very pleasing and has always been more sing-song than Khan, which has helped to separate Serenity from Kamelot despite the comparisons, and the chorus here is one of the album's best - and, again, I would not be surprised to see the song become a live favourite as a result. Nemesis opens with some Eastern-tinged melodies, but any thoughts of the track being something more atmospheric and snaking are soon dismissed - as the track is another up-tempo and anthemic piece, albeit with a heavier overall sound. The chorus is very typical of the rest of the album, with lots of double bass drumming and a strong string backing, but elsewhere the guitars are much crunchier. The verses feel heavier than much of the rest of the album, with the strings sitting more in the background, whilst a few chunkier lead-based sections add a different overall tone. There is a more atmospheric section later on, which has some distant bagpipes before a murky bridge section takes over, but this is a brief change of pace - and the song is soon back to galloping away at breakneck speed.

The End of Babylon reins in the pace somewhat and the track is much more gothic and atmospheric overall. The mid-paced track is based around a weighty drum groove, around which some tough guitar stabs and distant piano melodies weave - and Neuhauser takes the opportunity to use his lower register a bit more. The track is much less bombastic than many of the others here, then, with the gothic choirs dictating the pace. This change of tack is welcome, though, as it helps the album to feel a bit more varied overall. I like the all-out power metal assault of many of the songs here, but I also like the more atmospheric approach taken on The End of Babylon. The creeping vibe is strong and the song feels heavier for it - with the deliberate chorus hitting hard thanks to the slower pace and the ever-present choir. Another great guitar solo showcases the virtuoso side of the band, too, but the melodies are such so that they fit in nicely with the track's darker tones. Crowned by an Angel is another slower track and it has the vibe of a power ballad despite sounding a bit more bombastic than one in truth. The song opens with piano and Neuhauser's voice and the verses tend to return to this sound - despite it being built on as the song progresses. It never feels quite as stripped back again, then, but the pace remains on the slower side - and Neuhauser certainly goes for a more emotional approach throughout, with the strings perfectly complimenting him during a more expansive chorus section. Considering that the album does not really have an out-and-out ballad, this slower track is welcome. It certainly allows for a more emotional approach throughout but there is still plenty of bombast thanks to the big string arrangement and Neuhauser's excellent melodies. There is plenty of strong lead guitar work throughout, too, with another excellent solo present and the closing section is also filled with emotional playing. The album then comes to a close with The Sky Is Our Limit, which is more of a dramatic and mid-paced piece overall. It feels packed with drama thanks to its dynamic arrangement which features quite a lot of piano and strings - as well as plenty of guitar heft throughout. This song is perhaps more similar in tone to some of the band's other recent albums, with the mid-paced and somewhat heavier sound different to that of the album's core power metal pace. As the song closes out the album, though, this different path works well - and it helps to create some drama as the album ends. Neuhauser sounds excellent as always, as he brings the heroic chorus to life, and the bombastic song brings the strong album to a fitting close with plenty of symphonic excellence. I have enjoyed all of Serenity's output, but I think this album is the one I have enjoyed the most for a while - even though The Last Knight got quite a bit of attention around the time it was released. I like the old-school sound here and the more melodic and overt power metal approach is welcome - with each song here being memorable. The album's shorter length allows each piece to shine a little brighter, too, and I am looking forward to hearing some of these songs live when I see the band in February.

The album was released on 3rd November 2023 via Napalm Records. Below is the band's promotional video for Ritter, Tod und Teufel (Knightfall).

Angra's 'Cycles of Pain' - Album Review

Now fully entrenched in their third era, the Brazilian progressive/power metal band Angra are arguably as strong now as they ever have been. Whilst some will point towards the early period when they were fronted by the late Andre Matos as the glory years and others will favour Edu Falaschi's harder-hitting era - but I really think that the current line-up of the band is my favourite configuration of the five-piece yet. For a band that has a pretty lengthy and diverse catalogue, it is probably quite rare for my favourite release from such a band to be their last album - but 2018's Ømni (which I reviewed here) is, in my opinion, their masterpiece. This is probably not a view shared to many, but everything that is great about the band from a songwriting and melodic perspective is exhibited throughout Ømni. It feels tight, yet the songs' arrangements are diverse, and the amount of memorable choruses packed onto the album makes it one that I kept coming back to for a long time following its release. It even featured in my Albums of 2018 list, coming in at number 2 - behind only Orphaned Land's Unsung Prophets & Dead Messiahs. Whilst the Fabio Lione era of Angra began in reality with 2015's Secret Garden (which I also reviewed here), I felt that Lione never truly flourished in the frontman role until Ømni. Lione helped to co-write much of Ømni, whereas his writing contributions were less prominent on Secret Garden - and the 2015 album also saw guitarist Rafael Bittencourt step up as a vocalist and take on quite a significant chunk of that album's lead vocals - which has not happened in a significant way since. This means that Secret Garden stands alone as a bit of an outlier in the band's catalogue. I listened to it a lot at the time, but Ømni for me was the real deal - and Lione breathed fresh life into Angra in my opinion. It was also the band's first album without guitarist Kiko Loureiro, now ex-Megadeth, and with Marcelo Barbosa in his place. When I reviewed Ømni I thought that Loureiro was still technically a part of Angra - but recent years have proved that to not be the case. He contributed to one song on Ømni, but since then Barbosa's role in the band has grown further - and he is very much Bittencourt's guitar partner at this point. Five years on from Ømni, then, it was certainly time for something new - so I lapped up Cycles of Pain when it dropped last month. The second album with the band's current line-up, Cycles of Pain is the first release without any involvement at all from Loureiro - and it also continues the development of the Lione era. Where Ømni was concise and packed full of hooks, Cycles of Pain leans much more into the band's progressive influences. This is a technical and varied album which rewards repeated listens - but does not soar in the same way that Ømni did. As such, I have not connected with the band's tenth album as much as I had hoped given how much I enjoyed Ømni, but the two albums are very different in style - which is fitting given how Angra's sound has developed from their 1991 genesis to now. This album also sees the band work with producer Dennis Ward for the first time since 2006's Aurora Consurgens - which may have also played a part in the overall direction taken.

Following the short introduction piece Cyclus Doloris, which sets a slow-burning tone with its organ melodies and choral vocals, the album kicks off proper with the hard-hitting Ride into the Storm - opening with a rhythmic riff and some excellent drumming from Bruno Valverde. This opening riff showcases the overall heaviness which the album goes for, but the soaring guitar lead section which takes over is very much classic power metal in tone. There are lots of classic progressive and power metal tropes to be found here - and Ride into the Storm is one of the album's most instant pieces. It very much harks back to the glory days of the mid-2000s power metal scene, but there is a heaviness throughout which that scene often lacked. The keyboards are generally toned down, providing an atmospheric backing, whilst the riffing is much tougher - with both Bittencourt and Barbosa cutting through the mix nicely. Lione, who turns in a fantastic vocal performance throughout this album, really soars here. He exhibits some different vocal styles elsewhere, but here he sounds very much within his typical range - with the fast-paced chorus soaring in classic symphonic metal fashion, whilst a busy guitar melody sits beneath him. There are certainly shades of the previous album within this song, then, but I would actually say that it harks back to the early days of the band a bit more. I could hear Matos singing this one - but there are some twists and turns such as a solo section which morphs into a slightly jazzy series of a melodies and an acoustic-led bridge section which then explodes into a flurry of double bass drum rolls and a final reprise of the chorus. Dead Man on Display showcases the band's heavier tendencies from the off. Valverde leads the way with a busy drum groove, which the dual leads of Bittencourt and Barbosa dance atop. This intro speeds up and becomes heavier as it moves along - before morphing into a crunching, mid-paced verse made up of chugging power chords and punchy drums. Lione sings in a lower register during the verses, which adds to the heavier feel, and he sounds surprisingly gritty here. In truth, Lione has always been a more diverse singer than many credit him with being - and he nails the tougher vibe present here. He does let rip a bit more during the chorus, though, which feels a bit more melodic thanks to a snaking synth lead some riffing which sounds like a modern take on some NWOBHM-esque patterns. This is a catchy moment, which breaks away from the heaviness somewhat, but a later off-kilter riff-led section and a very Dream Theater-esque solo spot with progressive drum arrangements act as changes of pace. The two-part Tide of Changes follows. The first part is short and gentle, with Felipe Andreoli's bass melodies providing a backing for Lione's floaty vocals. It sets up the main second part of the song nicely, which soon announces its presence with more of a band arrangement - but the track is still pretty dynamic. It does grow in stature and get heavier, but it also retains some ballad-esque sounds. The verses are pretty atmospheric, which allows Lione to sing in a gentle manner, whilst the choruses are tougher - albeit with a memorable string backing and a somewhat organic overall sound. Later verses are groovier, with busier drum patterns which feed into the album's progressive feel. This is exemplified late on, too, when Andreoli launches into some driving bass riffs - which then give way to a busy, yet melodic, guitar solo section.

Vida Seca, which features the vocal talents of Brazilian blues rocker Lenine, is one of the band's many efforts which leans into the music of their homeland. This has not been as prevalent in more recent years, possibly due to Lione being Italian, but Vida Seca opens with Lenine's organic vocals, sung in Portuguese, against some acoustic guitars and Brazilian percussion. The song in general is heavier, though, but these opening grooves are retained throughout. It becomes much more traditionally metal, but Valverde's drumming throughout retains the spirit of the earlier percussion - and the riffing throughout is a bit more off-kilter, despite the soaring string backing and a really melodic vocal approach from Lione. Despite the grooves and the stop-start riffing, the song is one of the hookiest here. Lione uses his grit during the verses to add to the overall power - whilst the chorus feels like some of the best moments from the previous album. The track is one of the album's stand-out cuts in my opinion, and it shows that Angra often excel when they introduce Brazilian elements into their sound. Gods of the World is another strong cut, but for different reasons. This is a track which leans into the heavier overall sound of the album - and goes for some slightly thrash-influenced riffing whilst also packing in plenty of melodies. There are also some very Dream Theater-esque moments here, such as the opening guitar lead and parts of the verses, but generally the track is more hard-driving with its thrashy riffing and Lione's full-bodied vocal performance. He really soars here, spitting out the fast-paced chorus vocals with a rarely-seen grit, whilst during other sections he feels more within his traditional wheelhouse - with the approach to guitars similar with a mix of technical riffing and almost off-hand melodic injections. The song is one of the album's anthems and I imagine it will become a live favourite going forward. The title track follows, opening with piano melodies, and the slower-burning piece acts as a welcome change of pace. It certainly has the feel of a ballad throughout, with the piano retained and Andreoli's melodic bass slides setting the tone early on. It does grow in stature, with an enjoyable drum groove and guitar depth, but really this is a piano-led ballad which has just been fleshed out with some rock arrangements. Lione channels the more operatic side of his voice here, which he unleashes during the emotional chorus to great effect, whilst a guitar solo later apes this emotional approach with a soaring instrumental section that perfectly fits into the song's symphonic and grand sound. Faithless Sanctuary also opens with Brazilian percussion, but unlike Vida Seca the song does not feel as reliant on it - with the grooves instead setting the tone for an opening guitar-led section which channels some strong neo-classical influences. This guitar flourish is packed full of character, but it is generally quite different from what follows. Whilst the song does not feel particularly Brazilian, the grooves from the intro do influence the direction of travel - and the song is very tech metal in feel. This is no djent piece, but the riffing certainly feels off-kilter throughout - and there are lots of different sections stitched together to create something progressive and expansive. The band have flirted with this elsewhere on the album, but this song sees that approach given full exposure. The song is less hooky as a result, with Lione going for a tougher vocal approach to fit in with all of the riffing, but for a heavy explosion of different guitar patterns and inventive drumming the song is a winner.

Here in the Now is more melodic overall and reins in the more explosive and overtly progressive vibes of the previous song. Opening with an expansive guitar pattern and some wordless vocal hooks, the slower track feels more cinematic than much of what has come on the album up to this point. There is a strong keyboard and string backing throughout - and it is another song which channels Dream Theater quite a bit, particularly their more floaty, melodic pieces. The approach to guitar leads here is very John Petrucci-esque and the track feels based around the vocal hooks of Lione. He has often exhibited a grittier approach throughout this album, but here he channels his smoother side - familiar to those Rhapsody fans who enjoy that band's slower material. Despite the more melodic approach taken here, though, the song still channels some progressive influences. The guitar solo section is very busy despite it being easy on the ear and the overall atmospheric depth feels more well-developed than simply a few chords from a keyboard. Generations Warriors returns to a much more overt power metal sound. It channels the vibe in which the album kicked off with Ride into the Storm - and it is another song which I could see the early iterations of the band recording. It feels quite retro in that respect then, with busy shredded guitar leads, pacy verses, and a big chorus which is packed with some high-pitched Lione vocals. Despite the diversity of this album, I like how the band have written a couple of old-school power metal anthems here. It is not a sound that they have toyed with in quite the same way for a while, with even the most anthemic pieces on the previous album feeling a bit different, so this nod to their past is welcome despite the album's general focus on more progressive sounds. As such, then, Generation Warriors is pretty uncomplicated compared to most of the other songs here. It is very much a straight ahead power metal anthem which rarely lets up pace-wise and features a lot of excellent lead guitar melodies and one of the hookiest choruses here. Lione sounds like his old self and I would not be surprised to see the song become a live staple due to its energy. The album then comes to a close with Tears of Blood - a dramatic and symphonic piece which features the operatic vocal talents of Amanda Somerville (Aina; HDK; Trillium) and piano from Juliana D'Agostini. Lione and Somerville sing the song as a duet, and the symphonic piece allows Lione to channel his more operatic side. The male vocals are quite deep so I thought it must be someone else doing them - but no-one is credited, so Lione has really pushed him self here. He used his operatic side during the early days of Rhapsody, but it is not something that he has utilised all that much of late - so hearing him lean so heavily into a more classical style is great, and he mixes well with Somerville throughout the piano-led, yet epic, anthem. The chorus is another excellent moment and the song smoulders with emotion to close out the album. Whilst I may not think that this album is quite as good as Ømni, it is certainly more diverse and my opinion of it is likely to only improve over time. It is great to hear the band sounding so inventive and progressive so deep into their career and Lione really seems to have given Angra a new lease of life in recent years. There is a lot to love here as a result and the amount of digestion required rewards repeat listens.

The album was released on 3rd November 2023 via Atomic Fire Records. Below is the band's promotional video for Ride into the Storm.

Green Lung's 'This Heathen Land' - Album Review

As I have mentioned a few times on this blog over the past couple of years, I have recently been making much more of an effort with doom. I have expanded my knowledge of doom quite significantly in recent times but there is still a lot more to learn - and I tend to be quite predictable when it comes to the type of doom that I tend to enjoy. Perhaps more so than any metal subgenre, doom is extremely broad. From the most bluesy Black Sabbath worship that makes up much of the stoner scene to death metal-adjacent bands like Draconian and Swallow the Sun, doom covers a lot of ground - and I tend to go for the more melodic bands which play the 'epic' doom sound pioneered by Candlemass and some of the heavier bands that mix gothic atmospherics and lead guitar melodies with more extreme metal influences. My latest foray into the doom metal world brings me closer to home than many of the Scandinavian examples which have dominated my listening up to this point - and to the third album from the London-based five-piece Green Lung. Entitled This Heathen Land, the band's third album is their first release for a couple of years - and also their first release on a major record label. It is also the first thing that I have heard from them - but since its release last month it has been on semi-regular rotation due to its retro sound, approach to melody, and overall atmosphere. The band are often referred to a stoner/doom band, but in truth I am not sure I agree with that description. There are certainly doomy moments throughout the album's nine songs, and guitarist Scott Black has certainly heard a few Black Sabbath albums, but to me This Heathen Land feels more like good old-fashioned classic rock with a folk edge and a raw overall atmosphere. I do get the impression from reading reviews that the sound of this album differs a little from the band's previous work, so it may be that the previous two albums and the EP which make up Green Lung's catalogue have more of a stoner sound. I am not much of a fan of stoner music, so I am pleased that there is not too much of that to be found here. Instead, most of the material here is mid-paced and up-tempo 1970s hard rock - with more taken from Deep Purple and Uriah Heep than from the traditional Black Sabbath. There are some Black Sabbath moments here, of course, but the presence of John Wright's Hammond organ is too dominant to bring Black Sabbath to mind too often. That is why Deep Purple and Uriah Heep are more apt comparisons in my opinion, As mentioned previously, too, there are also some folky moments to be found. The slower moments feel quite organic, but even some of the tougher moments channel the heavier, more organ-driven end of Jethro Tull's early output - albeit without the whimsical vocal melodies and flute which defined that band. Vocally, though, Green Lung certainly stand out. Frontman Tom Templar has been compared a bit to Ghost's Tobias Forge here, and I can see why, but Templar feels more full-bodied and unhinged here than Forge's more precise and calculated melodic approach. Tone-wise there are similarities, though, and some of Ghost's more organic and organ-driven material could well have also been an influence.

The album was mixed by Ghost collaborator Tom Dalgety, who is also credited with 'additional production', so this likely explains the few Ghostisms to be found here. I do think that the comparison has been overegged somewhat, though, as This Heathen Land is generally just a strong retro rock album. The opening Prologue sets the scene, with haunting, but matter-of-fact, spoken word bringing that fairly niche brand of 1970s folk horror films to mind. The monologue, which is also on the back of the CD case, sets the scene of England pre the influence of Christianity - and a lot of the songs here channel those pagan times. Kicking off proper, then, with The Forest Church, the muscular, mid-paced piece sets the band's stall out early on. A slow-building drum barrage from Matt Wiseman opens things up, before the first of Black's many big riffs kicks in - backed as always by Wright's organ. The songs here are generally very guitar-driven, but the importance of the keyboards should never be understated. This album is as good as it is due to the Hammond roaring as much as it does - and as this song's verse takes over the organ essentially becomes the lead instrument, backing Templar's creepy opening vocal melodies. The song is quite dynamic, then, with lighter, yet spooky, verses mixing well with a heavier chorus and plenty of reprising of that opening riff. The percussive drumming and the subtle bass playing of Joseph Ghast back the organ layers of the verses, with Black taking something of a step back. There is plenty of strong guitar playing throughout the album, so the restraint here is somewhat welcome - and it just means that the chorus hits harder when the guitars kick back in. The chorus hooks are memorable, too, and Templar's melodies stick in the brain despite his slightly strange delivery. A solo section later sees Black cut loose with some melodic playing, but it is perhaps Wright that really owns this part - with a busy organ solo which takes me right back to the 1970s. Mountain Throne builds on the heavier moments of the opening song and goes for the throat in a more overt way. This track is much more guitar-driven from the off, with a faster-paced riff setting the tone - which is often off-set by some excellent washes of organ. Whilst the opening cut was more dynamic, this track is much heavier overall - and there is little let up here in terms of energy. The riffing certainly has a strong Black Sabbath vibe here, but the pace is generally faster than is typical of doom - and the urgency gives the song an enjoyable energy. The drums crash around the riff, too, and Templar really goes for it during the verses - which feel much more full-blooded than what came before. The chorus is similarly energetic but it feels bigger still - with much more of a keyboard presence. The melodies throughout are very hooky, though, and it is one of the songs here which stood out to me from the off. I can see the track becoming a live favourite thanks to its energy and melodic chorus - and it is great to see Black cut loose again with a pretty busy and lengthy guitar solo. Fans of retro hard rock will love this one and it is the sort of song which could end up defining the band.

Maxine (Witch Queen) is similarly upbeat, but the overall vibe feels much more organic. The organ tends to drive the song, with the guitars taking on a more rhythmic approach this time. Big guitar chords fill the song's intro, but the melodies early on come from Wright's organ. The keyboard playing is busy throughout the song, then, and there are also a few moments which feature some pretty prominent bass playing to add a slightly different overall edge. Like the opening song, the verses feature relatively little guitar - but they feel more up-tempo and rocking than those found during The Forest Church. The rhythm section ensure that the overall groove remains and the energy feels pretty pulsing throughout - with Templar sounding a bit more unhinged and plenty of growl from the Hammond. The chorus features more guitar weight, though, and it is another pretty hooky moment - with some subtle gang vocals and a more theatrical approach from Templar; perhaps justifying those Ghost comparisons! Another busy solo section sees the keyboards and the guitar once again join forces - and the quirky song rocks to an up-tempo close thanks to some excellent interplay between Wright and Black. One for Sorrow returns to something more dynamic arrangement-wise and it is the first song here which genuinely sounds like doom. It is much slower than anything which has been heard on the album up to this point, with the opening heavy guitar riff taking on a sludgy tone - whilst the tolling of a bell adds some trademark doom hallmarks. The song is not relentlessly heavy, though, and the verses tend to be quite slow-burning. The drone of the drums creates a slow tempo, whilst the weaving keyboard melodies add an appropriate amount of atmosphere. This allows the chorus, which is heavier, to feel much weightier when Black's guitars kick back in. The opening riff is somewhat repurposed here, but there is also more of a keyboard presence - and Templar goes for a slightly more anthemic vocal approach despite the slower pace. Later sections of the song are much heavier overall, though, and the pace does pick up a little. A more guitar-led instrumental section certainly channels Black Sabbath from a riffing perspective, even if the keyboard melody which sits over the top of it is more progressive in nature. This leads into a heavier vocal-led section, which gives the song a bit of a last minute kick, before a slightly more unhinged version of the chorus sees the track some to an atmospheric close. Sticking with a slower pace, Song of the Stones acts as the album's ballad - and it recalls those many folk rock bands of the early 1970s, albeit with a creepy edge. Acoustic guitars and Templar's voice dominate, whilst the very rudimentary percussion brings pagan campfire gatherings to mind. Generally these simple sounds make up the verses, but the chorus is a bit more 'arranged' - with what sounds like some subtle flute melodies (Ghast is also credited with woodwind), but there are also sounds which feel more like they have come from a synth (or are the modern equivalent of the Mellotron's flute setting). Regardless of the sounds' origins, they set the tone nicely - and the track is a very organic expression of the band's core sound without all of the heaviness that is found elsewhere.

The Ancient Ways is much more typical of the album's core sound, though, and it returns to something much more hard rocking - with a guitar hero intro that mixes fat riffing with some soaring bluesy guitar leads. The mid-paced track has quite a bit of bite and this main riff certainly sets the tone. Unlike many of the songs here, the guitars are very present during the verses - so the track feels more overtly metal than some of the others. The keyboards generally take a bit more of a back seat here, although Wright's playing does still provide depth. The occasional warm synth lead and the organ backing during the chorus ensure that the band's retro sound remains intact - but generally this piece feels more muscular thanks to the ever-present guitar riffing of Black and Templar's grittier vocal delivery. Initially in place of a more typical instrumental section, though, the song does veer off in a different direction briefly - with a bass-led part introducing a bit more atmosphere overall, which Templar adds some strange, distant vocals over the top of. Black does soon launch into a guitar solo, though, but the atmospheric addition is welcome. Hunters in the Sky ups the pace and it is really only the second faster-paced track here along with the excellent Mountain Throne. This song is similar to that early cut, though, with a great headbanging riff opening things up - albeit with less of an organ presence this time. The organ still adds depth to the chorus in particular, but this is very much a song about Black's riffing - and the song is very much a no-nonsense rocker as a result. Strangely, though, it is probably the song here which experiments the most vocally. Templar really goes for it here and there are lots of harmony layers employed throughout. These have been used before, but it feels as if the band really wanted to lay down some Queen-esque choral vocals here - and this works nicely in place of the more prominent keyboards found elsewhere. The song ends up acting as a good representation of Templar's abilities, then, but Wright does not get left out - as he unleashes an organ solo late on, much to my pleasure. The album then comes to a close with the more meandering and progressive Oceans of Time. Black has written the album's music up to this point, but Oceans of Time is Wright's composition - so it is perhaps fitting that it opens slowly with a drone and the occasional synth melody. Templar soon joins in, adding his wispy vocals to the early moments, but the rest of the band soon crash in - and the track becomes more expansive, with a strong guitar backing, organ washes, and a more full-bodied vocal approach. Given the progressive leanings, the song does not stay in one place for too long. It is another pretty dynamic piece, with slower sections focusing more on atmosphere often permeating - and there are many different keyboard sounds used here aside from the more traditional organ. Lots of synth melodies inject themselves into the piece which diversifies the keyboard approach - and the guitar playing is perhaps more lead-based than is general, too, with lots of textured playing and melodies alongside a few more typical riffs. The song feels like the band stretching out a bit more, then, which is fitting considering that it closes out the album - with a final upbeat section giving way to some synths which fade to a gentle close. For a band that I did not know a huge amount about until recently, This Heathen Land has impressed. It certainly ticks a lot of the 1970s classic rock boxes which I like - but it does not feel excessively rooted in any one band's style. There is a decent amount of variety here and I can see myself coming back to it quite a bit - and I fully intend to seek out the band's other albums shortly.

The album was released on 3rd November 2023 via Nuclear Blast Records. Below is the band's promotional video for Maxine (Witch Queen).

The Struts' 'Pretty Vicious' - Album Review

As much as I have enjoyed the output from The Struts since I first saw them back in 2014, I think it is fair to say that they have also been something of a disappointment - or, perhaps more accurately, they never become the band which I hoped that they would. Seeing the band play to around 30 people in a Plymouth basement bar and have them treat it as if they were headlining Wembley Stadium set my expectations high and, in some ways, it was bound to be downhill from there. When Everybody Wants (which I reviewed here) dropped later in 2014 I played it quite a lot - but I remember part of me was disappointed that the songs as presented on the album lacked the raw power of their live counterparts. Looking back now at the CD's booklet (the original release, rather than the 2016 reissue which was clearly aimed at the American audience), it is perhaps easy to deduce why Everybody Wants was not as powerful as it could have been - and that is the sheer amount of people that were involved in it. Pop audiences are used to albums being put together by committee, with each song having multiple outside songwriters, producers, and instrumentalists - but this idea is generally anathema in the rock world. Aside from frontman Luke Spiller's snarling vocals and the riffing of guitarist Adam Slack, the rest of Everybody Wants was tweaked to within an inch of its life by an army of studio hands - which, in my opinion, cheapened it. I still enjoyed the songs, though, despite the production - but it would be four years before the band followed it up, during which time they essentially ignored their home country to relentlessly tour in America. They have relented on this somewhat more recently, but for a while their UK fanbase felt neglected and I started to loose interest. In truth, I am not sure that my interest has ever truly been regained - but I have kept up with the band's progress. 2018's YOUNG&DANGEROUS (which I reviewed here) felt a little stronger production-wise, probably thanks to bassist Jed Elliott and drummer Gethin Davies actually featuring throughout, but songwriting-wise it felt a bit weaker. The strong songs stood out, but it is not an album which I have revisited much of late due to some overly-poppy moments which, again, lacked the bite which I know the band can deliver. I have come to accept, though, that The Struts are a pop band with some rock influences rather than a genuine rock band - but 2020's Strange Days (which I reviewed here) certainly got my attention thanks to its rawer production and lack of outside interference. It was recorded during the pandemic, so perhaps this was by necessity rather than choice, but the album felt like a band finally doing things on their own terms. It was still poppy, but it felt organic and spontaneous - and I listened to it a lot, wishing that the best songs on the previous albums had been presented in such a manner. I had hoped that the band would learn from this experience, but their fourth album, Pretty Vicious, which was released last month, sees them somewhat returning to old habits. Choosing Julian Raymond, who has recently worked with Cheap Trick, to produce much of the album was not a bad decision - but yet again this album is packed with guest musicians and most of the songs here have been co-written by various anonymous pop songwriters - which is a shame to see.

There is some good stuff here, as always, but, considering the album is fairly short, I sometimes find my attention wandering. The album kicks off nicely, though, with Too Good at Raising Hell which, despite its indie rock overtones, is pretty hooky - with a brash chorus that recalls some of the band's best moments and a snaking intro guitar riff from Slack. The use of some Hammond organ throughout adds surprising depth, whilst a horn section is employed during the up-tempo chorus for dramatic effect - and Spiller's vocal hooks here feel anthemic and made for the stage. The song acted as the album's lead single, too, and it certainly drew me in. It could rock a little harder in places, and parts of the verses have that Streets-esque spoken word delivery which has never really done it for me - but the use of the organ, the powerful chorus, and Slack's strong guitar presence (including a bluesy closing solo) showcases what The Struts can do when they put their minds to it. The album is pretty front-loaded in my opinion, meaning that most of the best tracks here come early on. The title track follows and it is another pretty strong effort in my opinion - with a modern pop rock sound which also has a bit of a darker undertone. Elliott's bass drives the piece early on, whilst Slack's guitar adds chiming melodies, and Spiller adds some distant, sultry vocals over the top of this snaking set of melodies. It is not the most expansive piece here, but the production overall feels much more low-key - and the indie rock vibe actually works pretty well here. Subtle synths add depth throughout, but the groove of the rhythm section shines - and Slack's guitar playing feels a bit more cut loose as things progress, with another solo-esque section which builds on some of his melodies from earlier in the song. The chorus here exists in a couple of forms - with a more mellow version coming earlier in the song, before a more explosive harder rocking version hitting later. The song might not be as theatrical as The Struts can be, but I actually like the more paired back sound here - as it lacks some of the 'too many cooks' vibes I often get from them. I Won't Run is a track which has grown on me quite a bit since first hearing the album - and it harks back somewhat to the smoother end of the 1970s glam rock scene whilst also allowing the band to embrace their modern indie rock influences. The opening guitar tapestry feels expansive and the track overall is much more melodically-focused in my opinion. There is less of the band's trademark spike here, with Spiller embracing his love of Freddie Mercury during the verses for an emotional performance - whilst the chorus chimes with a Gaslight Anthem-esque beat thanks to some sparkling keyboard hooks against the aforementioned guitar tapestry. Another Slack guitar solo lifts the song further, too, and the song's anthemic, yet smooth, vibe is something which I would like to see the band embrace more often. I Won't Run has become one of my favourite cuts here, which is surprising given this sort of sound is not something I have ever wanted from the band.

Hands On Me, in contrast, opens slowly, with some clean guitar melodies which build up over time. Spiller soon sings over this guitar presence and the track actually feels pretty straight forward, which works in its favour in my opinion, but there is still a surprising grandeur. Hands On Me harks back to the relative simplicity of the band's previous album - albeit with a string arrangement adding some depth during later renditions of the chorus. The song does not feel all that over-produced, though, even with Slack's bombastic guitar solo section which certainly channels Queen - backed by the aforementioned strings. The way this song has been put together shows that having a bigger sound and sounding overproduced are not the same thing - and there remains a clarity here which other songs lack. Those wanting a bit more bite in the music will find plenty to enjoy in Do What You Want, a song which harks back to the spiky rock of the band's early days - albeit with a more organic sound, despite the presence of a horn section and some upbeat piano throughout. Slack's guitar riffing and the stomp of the rhythm section still drives the song, though, but the horn section adds melodic accents occasionally, particularly during the chorus, whilst the barroom piano helps to keep the piece ticking. Spiller also lets rip a bit more vocally here. In my opinion he does not go all-out enough, but this song sees him snarling a little more - with his chorus hooks in particular really jumping out of the speakers. The song seems made to be heard live and I sure that it will become a feature of the band's setlists going forward due to its energy and strong hard rock edge. Rockstar is somewhat similar, but it comes across as second best in my opinion. Despite all I said about the band and their overall approach during the opening paragraph of this review, I really like the first five songs here. For me, though, nothing else on this album matches those for quality - and Rockstar is the first piece which feels weaker. It has a decent energy throughout, which keeps it ticking, but the riffing does not feel all that memorable this time - and the chorus feels a bit suffocated by the production. This album is certainly not as over-produced as the first two - but it is more so than the last one, and this is a song which could have benefitted from a less-is-more approach in my opinion. It feels a little muddy, which is a shame, and it shows that the band have not quite yet learned when to pull it back. Remember the Name is better, and in fact opens with a great back-and-forth riff mixing Slack's guitar playing with some keyboard additions, but sadly the song never really lives up to its snappy opening. I quite like the strutting verses, which again utilise a horn section quite nicely, but the song is crying out for a huge chorus which never really comes. The chorus here falls flat for me and it feels like the band were trying to nail another big theatrical moment - but end up falling a bit short. Slack's guitar solo is fun, though, and one good thing about this album is his playing, tone, and prominence. He does some excellent stuff throughout the 11 songs here and his performances are always a positive, despite what my wider views are.

Bad Decisions is slower and opens with a sound which is hard to describe - so it is another here which could have benefitted with being less produced. Slack's guitar melodies early on are coated in effects and synths which make the song sound a bit messy - and, for me, it only starts to get it together when it drums kick in to provide some grounding. It is a shame, too, because I really like Spiller's vocal performance here. He really lets rip at times, despite the song's ballad tendencies, and he lets out a few very emotional roars here which are surprisingly primal. The song is not as hooky as it could be, though, and is let down by the overall production style which is too keyboard-heavy - turning something which could have been atmospheric and murky into something muddy and a bit confusing. Better Love is more upbeat and it is the song here which comes the closest to the opening suite in terms of quality. It might be a bit overly poppy at times, but the hooks are sharp throughout - and Slack's guitar riffing helps to add a strong rock edge, particularly as the chorus kicks in. The groove from the rhythm section is infectious, too, so there is a lot to like about the song - with the main chorus hook perhaps being one of the best individual moments on the album. I just wish that the song felt a bit more rocking overall. Again it feels a bit over-produced at times, but there is enough to like here to make it one of the album's better cuts - and it is a highlight of the album's latter half which is certainly weaker than what came before. Gimme Some Blood, despite its title, is a bit of a slow-burner. It does build towards a more mid-paced and rocking chorus - but it takes a bit of time to get there, building from a clean guitar base which Spiller sings absentmindedly over early on. The transition to the chorus works pretty well, though, and the song does feel pretty theatrical as its stomp kicks in. This is one moment here where the bigger production approach works in my opinion - and I quite like how much has been thrown at the chorus, with more horns bulking out the sound. Later verses feel a bit more involved, too, with some southern piano melodies acting as a counter to Slack's guitar lines - so, along with Better Love, Gimme Some Blood injects some quality and strong hooks into the album's closing moments. The album closes out proper with a re-titled cover of Ian Hunter's Irene Wilde, though, which is called Somebody Someday instead. I am not familiar with the original song, but I like this version for its relatively stripped back vibe. It is generally piano-driven, which allows Spiller to really shine vocally, whilst the occasional guitar lead adds depth. The production generally keeps out of the song's way this time, too, and this is how Bad Decisions should have sounded in my opinion. The instruments are not swamped in additional and unnecessary sounds - and the plaintive piece ends the album nicely - with the rhythm section joining in towards the end for some additional bombast. As can be deduced from reading this piece, I have some mixed opinions on Pretty Vicious. There are songs here that I really like, and there are others which do little for me - or feel suffocated by the various production choices made. This album does continue on some of the good work of the previous album but it does also lapse back into some old habits - and I really wish the band would find the confidence to stand on their own. I actually think Raymond was a good choice as a producer, but there was still a lot of outside involvement here which muddied the waters. This holds Pretty Vicious back for me and until the band loose the committee I will always struggle to truly love anything they do.

The album was released on 3rd November 2023 via Big Machine Records. Below is the band's promotional video for Too Good at Raising Hell.