Illumishade's 'Another Side of You' - Album Review

As much as I like a lot of the great symphonic metal bands which came to the fore during the 2000s and the 2010s, it is perhaps no bad thing that the overall genre bubble seems to have now burst. Most metal subgenres have their golden years and then become oversaturated, and I started to lose interest in the genre when it became packed full of low-effort copycats. The cream of the crop always survives, though, and I still love many of my original symphonic metal favourites - with bands like Epica arguably bigger than ever. The bursting of the genre's bubble has also meant that newer bands who tread a somewhat symphonic path need to do something different to stand out and not appear as a pastiche to what came before - and I think the Swiss five-piece Illumishade are a good example of a band doing something different. Part symphonic metal, part progressive metal, and part pop, Illumishade are hard to categorise. They are not truly a symphonic metal band, but that is it the subgenre they feel most at home in - albeit the more stripped down end of the genre alongside bands like Delain. Illumishade are much riffier than most symphonic metal bands, though, with the guitar playing of Jonas Wolf a constant presence in their music. His playing adds a more metallic and progressive flair than is typical for most stripped back symphonic metal bands - and the accessible voice of frontwoman Fabienne Erni gives the band an irresistible pop edge. Illumishade are not overly pop in the vein of bands like Amaranthe and Beast in Black, but there is an ever-present accessibility to their music despite the relative variety found within their sound. Illumishade were formed back in 2019 by Erni and Wolf - both members of the Swiss folk metal veterans Eluveitie. Illumishade sound nothing at all like Eluveitie, though, and any further comparison between the two bands is essentially meaningless. It is always great to see musicians branch out from their more established sound - and 2020's Eclyptic: Wake of Shadows (which I discussed briefly here) set out Illumishade's stall nicely. It seems that Illumishade were, at first, put together as part of Erni's studies - with Eclyptic: Wake of Shadows being the result of such activity. This perhaps explains why the album was self-released and on the short side for a band with a sound as expansive as Illumishade's - but it certainly impressed, despite it not being an album I have returned to that often. This month's Another Side of You, though, coming four years on from Eclyptic: Wake of Shadows, feels much more like a complete package. Now signed to Napalm Records, the band feel like a big budget act - and I think that Another Side of You realises the band's sound and style in a much more successful way. Joined again by bassist Yannick Urbanczik, keyboard player Mirjam Skal, and drummer Marc Friedrich, Erni and Wolf have pushed themselves again here - with the help of industry veterans like in-demand producer Joost van den Broek and Coen Janssen (Epica; Amahiru) who plays piano on the album's final song.

Despite Erni and Wolf very much being the 'names' behind the band, Another Side of You is very much a collaborative effort songwriting-wise - with everyone contributing throughout the 14 songs present. Perhaps unsurprisingly, the album opens with an atmospheric instrumental piece. Enter the Void features dense synths, atmospheric wordless vocals, and the occasional violin line - but the piece sets quite a dark tone as it progresses, which sets things up nicely for Elegy. Despite the darker tone established, though, Elegy in general feels quite upbeat. Wolf's opening riff is certainly heavy, and much more in-your-face, than is typical for symphonic metal - but Skal's keyboards add a different dimension, and when Erni starts to sing the heaviness is stripped away. Much of the verses are sung by Erni against a delicate synth backing, but Wolf does not let things lie for too long - and his riffing is never too far away, particularly during later verse renditions which feature something of a tech metal groove and plenty of drum trickery from Friedrich. What really sells the song, though, is its chorus - which is one of the album's best overall moments for me. Erni's vocal melodies here are so well worked - and they fit nicely against the riffy backing, creating a strong contrast between Wolf's fat tone and her delicate delivery. It helps that the melodies are so infectious, too, and the chorus is likely to be one of the big takeaways following a first listen to this album - even as the song descends into an almost doomy, groove metal chug later on following a brief guitar solo. Enemy is somewhat similar, but the riffing feels a little more reined in here. There is still a strong guitar presence, but the tone feels a little more muted this time - with twinkling keyboards providing a counterpoint. As such, the song feels a little more balanced perhaps, and it is one that allows the guitars and keyboards to shine. Parts of the verses are much more keyboard driven, with the help of some subtle bass playing, but a buzzing riff is never too far away - and the tight, relatively dry guitar tone opted for here cuts through the atmosphere nicely when needed. Vocally, the song is not as memorable for me - but there is still a strong chorus, despite it sounding a bit more typical of late-period symphonic metal. It is a bit more overwrought than the playful melodies of the previous song, but this suits the darker, more atmospheric approach taken - and the lengthy guitar solo also feels fitting. In the Darkness shifts things up somewhat, and opens with a bit of a power metal vibe thanks to some driving double bass drumming and a soaring guitar lead. This is another very melodic track and from the off it sticks in the brain. As such it is a real highlight. Busy piano melodies add extra depth to the flourishing intro, whilst the sweet verses certainly recall Delain at their most poppy. A strong rhythm is maintained throughout, though, despite this focus on poppier melodies - meaning that the song's driving, upbeat nature is never really lost. The chorus is based around the melody played during the song's intro, but with Erni's voice following the hook rather than Wolf's guitar. It makes for another excellent chorus, though, and Wolf still gets to shine during another big solo section which features lots of great shredded sections.

Cloudreader slows things down following three pretty hard-hitting and up-tempo pieces, but it is not exactly a ballad. Instead, the track goes down a bit more a softer rock route; with plenty of prominent piano playing and a mix of occasional riffing and melodic guitar leads from Wolf. Parts of the song feel somewhat ballad-esque, but overall it has too much of an upbeat vibe to fully qualify as one in my opinion. It is blessed with another infectious chorus, which is pretty bouncy given the softer feel overall, whilst another pretty blistering guitar solo is also included. Arrangement-wise, it also feels pretty stripped back. Whilst not exactly complex, the previous three songs have all featured a few twists and turns - but this one plays it straight, and it is over very quickly despite the melodies sticking in the brain. It contrasts nicely with the more expansive Here We Are, then, which opens with a slow-burning, mid-paced riff which injects some heaviness back into the album. This is soon stripped away again, though, as the first verse and chorus is a more atmospheric affair, with Erni's voice sitting against Skal's keyboards in a classic symphonic metal manner. This helps to set the tone, but the rest of the song is much heavier - and once Wolf's guitar kicks back in the track feels much groovier and powerful, with the chorus in particular soaring thanks to Erni's big vocal melodies and Wolf's snaking riff. A later instrumental break places a lot of emphasis on Friedrich's drum tricks, with his fills impressing in the surprising absence of a big guitar solo. Cyclone retains the heaviness of the previous song, and opens with a slow, yet heavy, riff which reminds me a little of the simpler end of Gojira's style. It certainly has that rhythmic approach, whilst incorporating some doom elements, but this nicely sets up what is another pretty epic track - which again channels some more typical symphonic metal tropes. The groovy riffing is what sets the track apart from efforts by Illumishade's peers, then, as Erni's emotional vocal delivery, which includes some somewhat creepy, effects-heavy sections, feels less sing-song than usual - with a more over-the-top approach taken, particularly during the sweeping chorus and lengthy outro section. Fairytale slows things down again, and this time the slower piece feels like a bona fide ballad. There are no sneaky riffs or up-tempo pop vibes this time, with the track being a pretty straight ahead ballad - with lots of emotional piano melodies, a ponderous drum pattern, and a very out-front Erni vocal. Musically, the band are much more restrained here. The piano is the only instrument which tends to have anything close to a lead role - with the rest of the band providing a bit of a punch behind Erni when needed. Her vocal display is excellent, though, so this low-key arrangement works well - and the song's chorus is filled with hooks, despite Wolf's emotional solo also adding some melody. Following the brief piano interlude The Horizon Awaits, Hymn returns to a poppier approach. Erni starts to sing as soon as Wolf's first guitar stab introduces the track - and the opening is based around her playful vocal hooks despite the odd knotty riff in the background. Unlike some of the album's recent tracks, though, this is a song very much built around more of a fun factor. There is less of an expansive sound this time, with Erni instead pushed to the fore. Some heaviness is created thanks to the riffing, which is welcome, but the hooky chorus really feels like the song's centrepiece - and it is another of the album's best choruses in my opinion. Wolf's guitar solo echoes this, with some John Petrucci-esque heroic, conceptual flourishes; with the song overall being another standout.

Twily feels less powerful overall, at least early on, and the song opens fairly slowly with some chiming guitar melodies - although their pace encourages a pretty pacy vocal from Erni. This opening section has something of a modern pop vibe, then, despite the lack of a big sound - but the song soon morphs again once Wolf kicks in proper. Despite his riffy additions, the song never really feels as heavy as some of the other cuts here - but it is another strong piece from a melodic perspective. It lacks some of the standout chorus melodies found elsewhere, but Erni's voice is as accessible as ever - and her melodies throughout the track remain interesting as the piece flits back and forth between poppier and heavier sections. The track feels busier and a bit more progressive than the previous cut, then, but it does not feel as expansive or as atmospheric than many of the tracks which made up the album's middle third. It is a piece which does something a bit different, then, and it helps to add to the album's overall appeal and variety. Riptide is a bit crunchier, but it is another song which goes for a strong melodic approach. It is more straight ahead than the previous song, but it feels a bit riffier and varied than some of the more overt pop metal anthems here. As such, the album's tone shifts again a little - but this is no bad thing. Despite this variety, the album feels very cohesive and Riptide perfectly fits in with the overall core sound despite it again doing a few different things. It is another piece that prides itself on a big chorus, though, so the melodies during the chorus do feel like much more of an overt hook than anything in the previous piece. Given the album's last two songs, though, this vocal-led approach works nicely - and it allows the album to have one more big chorus to latch onto before a much slower and atmospheric feel engulfs it. This is because the final two songs here are slow ballads, generally piano led, which bring the album to a slow-burning close. I am not sure that having two such tracks in a row to close things out quite works, but Hummingbird is a nice track - with strident piano melodies, emotional vocals, and symphonic flourishes which see strings and percussion adding plenty of depth. A few doomy riffs do come in towards the end of the piece, which counter nicely with the remaining piano melodies. This heavier addition is welcome, but the song always feels like a ballad despite this heavier final third - and this transitions into Verliebt. This is the song which features Janssen's piano playing, and Erni sings the track in German. Unlike the previous song, though, this last cut is a pure piano ballad. The heavier section of the previous track provides a point of contrast, then, as it is essentially just Erni and Janssen with some minimal strings for depth. Janssen's piano playing is dramatic at times, though, to up the tension - and I do think that the song ends the album well, I just think that having two quite similar songs at the end (despite the previous song's heavier moments) of the album feels like an extended coda. Both songs work well on their own, though, and I do not think that the album ends badly - it just seems a bit strange. Despite this minor matter, though, Another Side of You really is excellent. I picked up expecting to enjoy it having enjoyed the band's first album but this is a better album is almost every way. Illumishade feel like a proper band at this point rather than a side project - and with shows with Delain and Visions of Atlantis later in the year they seem to be really pushing themselves which is good to see.

The album was released on 16th February 2024 via Napalm Records. Below is the band's promotional video for Cloudreader.

Blackberry Smoke's 'Be Right Here' - Album Review

Despite being a big fan of the Atlanta-based southern/country rock five-piece Blackberry Smoke, I think it is fair to say that I have something of a mixed relationship with their catalogue. I first got into the band in 2014, not too long after their third album, 2012's The Whippoorwill, was officially released here in the UK. Southern rock tends to do pretty well in the UK, so it is perhaps surprising that it took the band until their third album to see an official release here - but ever since The Whippoorwill was available in stores here Blackberry Smoke have been popular. Their live shows here are always well attended and each album release also tends to do pretty well, too. I have seen the band live three times, with a trip to another concert of theirs planned for September, and each time has arguably been better than the last. Live, the band really rock. Their true southern rock pedigree comes alive on stage, and they power through lengthy and varied setlists night after night - treating the fans to favourites, new songs, and deep cuts alike. You are never quite sure which songs you are going to hear, but this does not really matter as every song excels on stage - with even the mellower, more country-based songs benefitting from the band's live heft. I say this as, fairly often, this is not the case with the band's studio albums. Like so many great bands, Blackberry Smoke never seem to be able to capture their live fire and energy when recording in the studio - something which I feel is quite evident on the band's newly-released eighth studio album Be Right Here. I had quite high hopes for it following hearing one of the early singles released in advance of the album dropping last week, and particularly as 2021's You Hear Georgia (which I reviewed here), to me, felt like a real return to a form after a couple of weaker albums. It was my favourite album that the band had released since The Whippoorwill and also their most rocking collection of songs since 2015's Holding All the Roses (which I reviewed here). My issue with much of the band's material since Holding All the Roses is that they just do not rock out enough for me. I enjoy the band's country side when it is used to contrast nicely with their harder rock edge, but both 2016's Like an Arrow (which I reviewed here) and 2018's Find a Light (which I also reviewed here) relied far too heavily on a more country-esque sound - with the former easily being my least favourite of the recent run. Both of the albums contain good songs, which especially come alive on stage, but they could not stand up to the excellent three albums which preceded them. The harder rock edge and the rawer production of Dave Cobb helped You Hear Georgia to really tick, then, so I had high hopes for Be Right Here - given that Cobb's services had been retained. I was disappointed, then, to find that, following an album of rockier songs, that Be Right Here largely returns to a mellower sound. Again, there are good songs here - but the album feels like a bit of a step back following the success of the previous album. As was the case on the previous album, the band were joined in the studio by touring guitarist Benji Shanks and touring percussionist Preston Holcomb (who really should just be made official band members at this point) - with sisters Sherie and Sherita Murphy again adding some additional backing vocals.

Despite my overall issues with this album, it actually gets underway pretty strongly - with the first two songs being more up my street. Opening with Dig a Hole; which includes a rare co-write for another band member other than frontman Charlie Starr, with keyboardist Brandon Still helping out; the mid-paced, shuffling rock is classic Blackberry Smoke. It never really kicks into a higher gear, but as an example of somewhat muscular southern rock with a deliberate groove and plenty of guitar riffs it works nicely. Drummer Brit Turner keeps the track on an even keel with his punchy drumming, which is augmented nicely by some percussion from Holcomb, whilst Starr's bluesy riff builds on the established groove. Occasional funky guitar additions and swells of Hammond organ are added to the mix to add some depth, but in general the arrangement is pretty simple. It is the sort of track which will certainly get heads bobbing and feet tapping live, although the groove is somewhat interrupted for the chorus - which feels a bit more expansive with more of an organ presence and the sisters' soulful backing vocals. A hard-hitting guitar solo and an electric piano-driven bridge section later add some additional variety, but the song rarely strays from its big groove - opening the album up nicely. Hammer and the Nail is another upbeat track, which opens with some busy acoustic guitar melodies - but it is not too long before the rest of the band crash in. Still's organ and boogie piano melodies are all over this track, whilst the multi-guitar approach of Starr, Shanks, and Paul Jackson sees acoustic guitar lines, bigger riffs, and slide melodies melding together to create a strong mix of sounds. The song is on the short side, at under three minutes in length, so it crams a lot into its runtime. Given the overall energy of the piece and the vibe that it seeks to create, though, this get-in-and-get-out approach works nicely. It is the sort of song that does not need to hang around for too long - with a busy guitar solo and a hooky chorus making a decent impact. Blackberry Smoke have written plenty of songs like this in the past, but this up-tempo country-tinged southern rock will never get old for me. Like It Was Yesterday is still something of a rocker, but it does not feel quite as strong as the opening couple of songs for me. It is still enjoyable, though, with its plentiful slide guitar melodies and a decent, driving groove - but there is a lack of a particularly strong chorus to really help the track pop. Songs like this on previous albums would have felt more anthemic, with the sisters adding big backing vocals during a stage-ready chorus - but this one lacks big standout hooks. There is plenty of decent guitar playing, though, with a fun guitar solo section which features plenty of old-school slide melodies - something which the band have really excelled at since bringing Shanks onboard. The song remains a decent effort, though, despite my reservations - and I imagine that it is the sort of song which would end up sounding much bigger live, as is often the case with Blackberry Smoke's songs.

Be So Lucky is weaker, though, and goes for something of a psychedelic sound which is never really capitalised on. At first it sounds as if the band are attempting to do something similar to Crimson Moon from their past, with effects-heavy guitars and a somewhat darker tone - but sadly this mood is shattered when the chorus rolls around, which is a more upbeat moment of modern country. The effects-heavy guitars are still present and sit behind Starr's vocal hooks, but the melodies just feel too upbeat for the rest of the song. Also, Still's Hammond is too low in the mix here. Songs like this require a lot more atmosphere than the band have allowed - and lots of retro keyboard sounds, with perhaps even a hint of Mellotron to really lean into a late 1960s psychedelic vibe. It shows that the band's love of country can sometimes come at the cost of a coherent and memorable song - and Be So Lucky feels like it is a track which does not know which way to turn. This is not to say that the band should never write any country songs, as they do excel at it when it is done properly - as the delicate Azalea shows. When a slower-burning piece is used on an album to act as a contrast to the rockier songs, the country side of the band really shines - and Azalea is strong. Starr's mournful vocals sit nicely against a myriad of acoustic guitar and mandolin melodies - whilst a subtle drum and percussion groove add a low key backing. This is not a big rocker, but it was never intended to be one. My overall issue with the band can be their want to add country to everything - but this piece of pure country works well on its own, and it brings out the best of Starr as a vocalist. It never really grows beyond its initial arrangement, despite a more keyboard-led section adding depth later, and the song works nicely as a mid-album change of pace. Clearly wanting to at least rock out somewhat on this album, Don't Mind if I Do then grabs the album by the throat and delivers one of the best cuts here with some old-school southern rock boogie, plenty of big riffing, and a strong chorus with the sisters adding some soulful backing vocals. Still's piano constantly fires away in the background to create that classic upbeat southern rock feel, whilst the three guitar players all chug away to create the fun song's overall rhythm. I had expected a bit more slide guitar here, but the guitar playing throughout is more traditional - with a blistering guitar solo which is more bluesy overall. This works nicely thanks to the overall groove, though, and the track is an overall highlight - and likely to become a bit live favourite going forward thanks to its energy and recognisable sound. Whatcha Know Good is a slower piece, with a mournful country vibe contrasting with the rollocking previous number. It is not a bad track, but it lacks big hooks. I like the presence that Richard Turner's bass is given during the verses, which helps the aforementioned mournful sound to shine, and the subtle slide lines which add depth - but there are no big hook that really jump out at me. I think that this is the side of the band which I like the least, as the song never really goes anywhere despite some decent ingredients.

Other Side of the Light is another acoustic-based piece, but the song feels a bit more upbeat overall. It is very much a country piece, but I like the song quite a bit. Unlike the previous number, there is a strong focus on hooks throughout. Starr's verse delivery feels quite upbeat despite the acoustic guitar backing - whilst the slide guitar accents feel like more of a genuine contrast with the vocal hooks than they did in the previous track. There is also more of a focus on harmony vocals here, too, with Jackson and the sisters adding plenty of depth. Due to all of this attention to detail, the song just feels a lot more pleasing to listen to. It also helps that it is more upbeat. Despite having the feel of a ballad, there is a Tom Petty-esque energy throughout - with the acoustic guitar melodies having something of a brashness to them, whilst the drums retain some punch and the chorus is something of an earworm. The slide playing throughout is excellent, too, and it this song shows that I do not have an in-principle objection to the band playing country - despite my wider concerns. Following a distant a cappella intro, the album's penultimate piece Little Bit Crazy becomes the last proper rocker here. Like Hammer and the Nail, it is the sort of song which Blackberry Smoke have written many times - but a hooky chorus and a great southern rock stop make it infectious. The song is almost certain to become a big live favourite going forward, thanks to Still's boogie piano melodies and a chorus which can easily be latched onto. It is a song which very much goes for a feel-good vibe over anything else. There is nothing complicated about the track at all and it is clearly written to be a fun hoedown piece live. For me, Blackberry Smoke are generally at their best when operating in such waters. They have a natural feel for upbeat numbers like this and they make the style sound so effortless. Songs like this are why I will always stick with Blackberry Smoke despite their ups and downs as I know that for every strange country track they will then knock it out of the park again with some of the best southern rock anthems of the modern day. The album then comes to a close with Barefoot Angel, a country ballad which sadly does not end the album on a high - with Azalea earlier in the album doing this sound more successfully. Barefoot Angel has more of a rocking base, thanks to a ponderous drum beat and some loud piano passages, but it all feels a bit laborious in my opinion. It is clearly supposed to be more of a downbeat track, which is fine in principle, but it just really plods along at a tedious pace without ever really getting going. Again, this is a sound which the band have done before - and it has never really worked for me previously, either. The song feels particularly slow given the upbeat, fun song which preceded it, too, and the sluggish piece is one of the album's weakest moments - and it is always a shame when an album ends poorly. Overall, then, for me, Be Right Here is a mixed bag. Where the band play to their southern rock strengths they excel but the country moments are generally weak efforts in my opinion - and they stop the album from being another great one like You Hear Georgia. The album is stronger than Like an Arrow, though, and there is still plenty to enjoy here - I just wish that there was more heft throughout.

The album was released on 16th February 2024 via 3 Legged Records. Below is the band's promotional video for Little Bit Crazy.

TesseracT - Bristol Review

Considering that I have never considered myself a 'proper' fan of the Milton Keynes-based progressive metal five-piece TesseracT, last night, in Bristol, I saw them live for the fifth time. In fairness, only one of the previous four times had been a headline show, but nevertheless they are a band whom I always seem destined to run into. I first saw the band live back in 2017 when they came to the now-demolished Hub in Plymouth as part of a UK tour - and have since seen them at the 2018 iteration of Bloodstock Open Air, opening for Bullet for My Valentine in 2021 and opening for Dream Theater in 2022. The fact that they can open for both Bullet for My Valentine and Dream Theater without feeling significantly out of place at either show goes some way to showcase the band's diverse appeal - but, despite this, TesseracT have always felt like a bit of an underground act. That seems to be changing, though, as this current, lengthy European tour has taken the band to a number of prestigious mid-sized theatres across the continent - with everything finishing up with a healthy amount of UK shows in well-loved venues. Many of the UK shows sold out, too, with the Bristol show selling out not long before the doors opened. There is clearly quite a lot of love for TesseracT in the UK, then, which is great to see - and it is heartening to see a band like TesseracT progress beyond the perennial support band and tiny club stage. It felt like they were destined to never break through that glass ceiling, but this current tour shows that assumption to be incorrect - and in recent times it does feel as if the band have pushed things to the next level. Rock and metal music in general does seem to be more popular now than it was even five or so years ago, which is great to see, but TesseracT also released their most ambitious album yet, War of Being (which I reviewed here), last year - which likely helped to boost their own popularity further. Selling out the O2 Academy in Bristol should be seen as a success no matter at what stage of their career a band is at - but it was TesseracT's largest headline crowd in the city, which makes the sell out more of an achievement. I mentioned earlier that the band cater to a diverse range of people, but TesseracT's music certainly is not for everyone. I would still not consider myself a huge fan despite enjoying War of Being a lot last year and having invested more time in their back catalogue since, but they still feel like an original and interesting band - despite the dry/tech metal/djent end of prog metal expanding significantly over the past decade or so. TesseracT have always managed to stay on the more atmospheric and melodic side of that often mechanical and monotonous sound - so there is a lot to like about their music personally. War of Being certainly felt more adventurous and varied, too, which helped.

Before TesseracT's set, though, the large crowd were treated to two quite different support acts. Up first, from Atlanta, Georgia, were The Callous Daoboys - a mathcore band whom delivered a chaotic and varied selection of songs during their 30 or so minutes on the stage. Wikipedia suggests that they are a seven-piece band, but there was only six of them in Bristol last night - with saxophonist Rich Castillo not present. It would have been interesting to hear what the saxophone would have brought to the band's sound, but with violin courtesy of Amber Christman there was already plenty of unorthodox to go around - and the band built on this with a cacophony of noise which meshed Between the Buried and Me at their heaviest, the occasional pop hook, and jazz fusion. Frontman Carson Pace largely stuck to harsh vocals, but there were lengthy clean-sung sections, too, which were generally pretty melodic and even, at times, soulful - but generally the vibe was a heavy one, with Jackie Buckalew (vocals/bass guitar) also adding plenty of deep growls, taking the lead at times. I have no history at all with mathcore, and bands like The Dillinger Escape Plan are anathema to me, but I found myself enjoying the band's set as it was just such a spectacle. I was never sure what was about to come next, so the set flew by as a result. At times some of the songs did seem to include parts which could be deemed as variety for its own sake - but in some ways I imagine that this was the point. The Callous Daoboys are not the sort of band which I will ever sit and listen to at home, as they are not for me, but I am glad that I had the chance to see them live - as they are certainly doing something different and pushing boundaries, which should always be applauded.

Up next were the German prog metal four-piece Unprocessed - a band very much rooted in the djent/tech metal scene with their eight-string guitars and angular riffing, but with perhaps more of a melodic and pop sheen than is typical. Fronted by the multi-talented Manuel Gardner Fernandes (vocals/guitar), the band smashed through around 40 minutes of diverse material with ease - with Fernandes in particular standing out due to his fluid guitar melodies and a vocal range which switched back and forth effortlessly between screams and a clean delivery. Without wishing to talk down the talents of anyone else in the band, who formed an amazingly tight unit which made the most intense of technical riffing patterns look effortless, Unprocessed clearly were put together to showcase Fernandes. All of the guitar leads and the drive of every song came from him, and I found myself really warming to the band as their set progressed - despite generally having an aversion to overly techy metal. Part of the reason why I enjoyed Unprocessed's set, though, was their focus on melody. Lots of tech metal bands do not push melodic hooks that much, but most of Unprocessed's songs had strong choruses which the crowd could latch onto - whilst the jazzy instrumental breaks were also generally pretty hooky, despite their complex make-up. The band were not wedded to their mechanical riffs and eight-string guitars, either, with some of the songs featuring a more traditional approach guitar-wise, which often led to upbeat and funky rock tracks which lacked some of the fire of the heavier material but utilised similar grooves and summery melodies. As such, it is hard to fully describe Unprocessed's sound, and not every song was for me, but I really liked the band's overall approach to songwriting, heaviness, and melody. I cannot say that I had ever really heard anything like Unprocessed before - meaning that the band are out there doing something original. I may well check out the band further going forward, as am intrigued to see what treasures their back catalogue contains.

Once the stage had been cleared, and 9:30pm rolled around, the lights went down the sound of a droning synth filled the room. The five members of TesseracT slowly took to the stage and soon launched into the lengthy and multi-layered Natural Disaster from their latest album. For the next 90 minutes the O2 Academy was filled with heavy riffs, taut atmospherics, and the soaring vocals of frontman Daniel Tompkins - who sounded as great as ever. I have said it on this blog before, but a big reason why I have often gravitated towards TesseracT is Tompkins. His voice is such a contrast to the mechanical riffing which often sits beneath it - but his screams are just as powerful, and he commanded the stage whilst the rest of the band tended to remain more in the shadows. Another new number in Echoes followed, and it was clear that the set was going to be a more forward-looking one. All five of the band's albums were represented, but the focus was certainly on War of Being and 2018's Sonder - with the first three albums only briefly referenced. It was one of the older tracks which received one of the night's biggest cheers early on, though, with the soaring Of Mind - Nocturne containing one of the evening's best choruses and grooves. The song always goes down well live, and last night was no different, but much of the rest of the set focused on heavier vibes. An early highlight for me was a rousing version of King. It featured some of Tompkins' most venomous vocals of the night - although the progressive juggernaut War of Being which followed certainly ran it close. The lengthy title track of the recent album acted as the night's centrepiece, with a couple of strong vocal refrains - as well as some interesting guitar playing from both Acle Kahney and James Monteith. Nothing which followed felt quite as expansive, but there was still plenty of good stuff to come. Smile and its atmospheric companion piece The Arrow let the heaviness slide somewhat, and allowed the band's more synth-heavy side to shine, but perhaps the big winner of this second half was the anthemic The Grey - one of the standout pieces from the new album. It was another which was greeted by a huge cheer and it is clear that the track has already become a fan-favourite. Given its big chorus and heavy, driving riffing it is easy to see why - and the more melancholic Juno which rounded out the main set ended up somewhat feeling like respite as a result. The main set had flown by, then, but there was time for a couple more - and the band decided to go right back to the beginning and play the first two parts of the lengthy Concealing Fate song cycle. Acceptance had to be restarted, though, due to some technical issue with the drums. Unprocessed had previously contended with similar issues, which was certainly a strange coincidence, but by the time the song got going proper there was plenty of action to be seen in the mosh pit - which only increased when Deception rolled around. These heavy songs acted as a great end to the night, with the groovy riffing some of the evening's fastest - and a great contrast to some of the set's more atmospheric moments. The setlist was:

Natural Disaster

Echoes

Of Mind - Nocturne

Dystopia

King

War of Being

Smile

The Arrow

Legion

The Grey

Juno

-

Concealing Fate - Part One: Acceptance

Concealing Fate - Part Two: Deception

I have enjoyed each previous TesseracT show which I have been to, but last night in Bristol felt like more of a complete performance. Being much more familiar with the band's material helped, but I also feel that War of Being has helped the band to move to the next level. It is clear that this unique band is continuing to go from strength to strength, and I have a feeling that last night's show will not be my last TesseracT live experience.

Caligula's Horse's 'Charcoal Grace' - Album Review

I have been a big progressive metal fan since I started listening to Queensrÿche and Dream Theater in the late 2000s. I have often stated that the former's 1988 release Operation: Mindcrime is my favourite album of all time, and the latter's Black Clouds & Silver Linings from 2009 really opened my eyes to what prog metal could be when it came out. Since then I have amassed quite a prog metal collection, but I tend to favour acts from the more 'traditional' end of the spectrum - if such a thing exists. As with all progressive music, prog metal is a broad church. Lots of bands have taken the genre in different directions, from the dry, mechanical riffing of Tool, through the mathematic experimentations of Between the Buried and Me, to the neo-classical and more old-school sound of Symphony X - the best examples of the genre stand alone. One side of the prog metal multi-faced object which I have not really explored all that much, though, is the prog metal sound which tends to straddle the line between prog metal and atmospheric prog rock - often with plenty of big soundscapes, more emotive vocals, and a penchant for more technical riffing. The sort of music which I am referring to is the sort which is generally created by bands like Riverside, Leprous, and even Porcupine Tree - and I have often struggled with the odd mix of sounds these bands conjure up. A band which I often threw into that group, perhaps wrongly, was the Australian act Caligula's Horse. Their artwork and various reviews which I had read suggested that they were similar to those aforementioned bands, so I did not give them much thought. At some point I did pick up a copy of 2020's Rise Radiant, presumably as it was cheap and I was feeling somewhat adventurous, but I did not actually listen to it until very recently. Something finally made me give it a go and I was really surprised by what I heard. Having read some reviews of the album since hearing it, though, I do get the impression that Rise Radiant may be something of an outlier in the band's catalogue compared to what came before. It seems to be their 'melodic' album, and saw Caligula's Horse rein in some of their more progressive tropes to instead craft an album based around big hooks and choruses. Quite a few of the songs grabbed me during my first listen, so I knew that I had previously made some wrong assumptions about the band. Rather than stick with Rise Radiant, though, I felt that I should keep things current - so I picked up the recently released Charcoal Grace, the band's sixth album, which I have been digesting over the past couple of weeks. Aside from that initial listen to Rise Radiant, Charcoal Grace has been my proper introduction to the band. It is an album that certainly sees them feeling more progressive and inventive than they were on their previous album - albeit with some of the hooks and melodic flourishes of that album retained. There is still plenty to latch onto here, then, and I still consider the album to be very melodic - and it is much more traditionally prog metal than I expected, despite shades of bands like Porcupine Tree being present occasionally.

It is the band's first album recorded as a four-piece given guitarist Adrian Goleby's departure in 2021. It is also a more collaborative effort than usual, too, with bassist Dale Prinsse and drummer Josh Griffin co-writing quite a few of the songs with founding members frontman Jim Grey and guitarist Sam Vallen - the band's usual songwriting duo. Unsurprisingly, there are some lengthy pieces here - and the album kicks off with the 10 minute The World Breathes with Me. Vallen's chiming guitar melodies slowly open the piece up in an Anathema-esque manner before sombre piano and the occasional drum fill from Griffin widen the song's initial scope. The first minute or so is based around this melancholic sound, but once Vallen's first of many big riffs kicks in the song gets going proper - and a soaring guitar lead soon roots the track in a more traditional prog metal territory despite the slightly dryer guitar tones opted for. This opening instrumental section really grabbed me from the off and it remains a favourite passage on the album. Vallen's opening solo sets the tone nicely, but Grey soon joins the fray - his delicate and effects-heavy vocals complimenting a crunching, riffy verse, which is filled out nicely by some heavy drumming. Grey reminds me a little of Haken's Ross Jennings a little at times, but he perhaps feels a little more theatrical - with hints of former The Enid frontman Joe Payne also present. Grey's emotive delivery suits the band's mix of riffing and atmospherics nicely, though, and the verses here are well grounded by his mournful singing - whilst he pushes himself somewhat more during some sections which see the sound open up a little. I think that it is fair to say that Caligula's Horse are very vocal-focused for a prog metal act. There are instrumental breaks, but Grey's delivery is just as much a part of the soundscape as everything else - and it is therefore a bit of a surprise, although a welcome one, when Vallen returns to his soaring guitar leads of the intro to deliver a fairly lengthy and melodic guitar solo. It should also be noted that many of the songs here feature additional musicians playing flute, trumpet, and stringed instruments. The real violin and cello used adds an organic depth which compliments the synths also utilised - and the band have a sound which sounds both more old-school and current at the same time. Golem, which follows, is somewhat shorter - and it feels much heavier and riffer than the opening number. The techy riff which kicks the track off is very much straight out of the modern prog metal songbook, and a somewhat simplified version of it sits below the verses which move along at a fair click - despite a more simplified drum beat. Grey even indulges in the occasional growl here and there here, too. This is not something which he does often, but the occasional moment of heaviness works well here - and the song is also blessed by a pretty soaring chorus that recalls the more accessible sound of the previous album somewhat. There is much less of a focus on soundscapes this time, too, and Vallen's guitars are essentially ever-present - giving the song a much more metallic vibe. There are shades of a djent sound in some of the riffs, but overall the song is just a great riff-led rocker and one that is made for the stage - especially with Vallen's tricky solo thrown in.

The next 24 minutes are taken up by the album's title track - a proper prog epic which is split up into four separate tracks. Most of these pieces are pretty lengthy in and of themselves, and Prey is up first - with another busy guitar intro filled with fast-paced lead work over a slower and weightier groove. Despite this heavier intro, once Grey starts to sing the pace slows quite considerably. Prinsse's bass takes on quite a prominent role, adding a fat counter to Grey's emotive vocals, whilst delicate guitar melodies and a simple drum pattern fill out the background. Given the length of the overall title track suite, though, it is clear that the band are in no hurry to rush things. Prey is something of a slow burner, with strident guitar leads occasionally cutting through the mix - and the overall riffing building in stature from that more humble beginning. The piece certainly gets heavier, then, but it feels deeper emotionally than the previous song - with ever-present synths and strings countering the dry guitar tones. This first part of the suite, too, includes perhaps the album's best chorus - with Grey showcasing his love of a more theatrical hook against a sweeping backing which sees the riffing reined in somewhat. The big guitars soon crash, though, and the song transitions slowly to A World Without - which opens with some bassy melodies and Pink Floyd-esque guitar chimes. The opening to this part of the suite slowly grows, too, with the guitar melodies becoming more pronounced - but, again, once Grey starts to sing the arrangement drops out, leaving something very simple to back him. The groove behind these early vocal moments sound almost off-the-cuff and jazzy, but this vibe does not remain for long - as soon the melodies from the aforementioned chorus are somewhat repurposed to create another pretty powerful vocal-led section with more of a chiming guitar backing. This part of the suite is much less riffy than anything else heard on the album up to this point. The band sound more expansive sound-wise here and there is not much metal at all to be heard, although there are some weightier chords dropped in towards the end - but Grey's soaring and and higher-pitched vocal delivery counters them. It is fitting, too, that A World Without essentially closes out on a big guitar solo - before moving onto the shorter Vigil. Acoustic guitars dominate here, with Vallen's organic playing and subtle piano backing all that supports Grey as he sings what seems to be the suite's central lyrical themes. The track does become somewhat more atmospheric as it moves along, but it never really explodes. Grey does sing in a more full-bodied manner in the latter stages, but this penultimate part of the suite gives the listener some respite before the final chapter Give Me Hell - which opens with Prinsse's pulsing bass before the drums crash back in and Vallen lets rip with another big solo. As the concluding piece in the suit, Give Me Hell unsurprisingly sounds bigger than what came before. Vallen's guitars feel heavier, despite a lead-based approach retained, whilst Grey sometimes sings in a somewhat deeper way to contribute to this overall darkness. He still soars elsewhere, though, and another inversion of that aforementioned chorus sees similar big hooks pour out of the speakers in an extremely emotional manner - and this final part of the title track really feels like one where the ideas utilised previously all come home to roost, mixing heavy and atmospheric perfectly. Vallen's solo is perhaps the busiest and most technical of the lot, too, which essentially closes out the whole cycle in a high-octane and dramatic manner.

Following that diverse 24 minutes of music, it is perhaps fitting that the much simpler Sails provides something of a palette cleanser. The gentle ballad is much less bombastic than anything heard on the album up to this point, with the exception of Vigil, but it is still steeped in the band's love of a dense, atmospheric sound. The song has a bit more of a floating feel, though, with moments which occasionally recall Marillion's sound of the late 1990s and early 2000s, but generally the song feels like more of a showcase for Grey's delicate vocal style. None of the instrumentalists, even Vallen, really let rip here - although there are guitar leads aplenty sitting underneath the vocal lines to provide some additional context. There is a guitar solo, though, but it feels restrained compared to Vallen's usual approach. It has somewhat been mixed into the background, so it adds more to the song's overall atmospheric feel rather than stand alone as a piece of guitar-led music. This approach works well, and the track feels like a nice break between the expansive previous suite and the two songs which remain. The Stormchaser is a more immediate piece which somewhat harks back to the Rise Radiant sound. There are less twists and turns here, with more of a vocal-driven approach making use of Grey's love of a big hook. The frantic, yet atmospheric, chorus is one that sticks in the brain from the off. It is perhaps not as anthemic as some of those featured on the last album, but it feels a bit more in-your-face than many of the choruses here are, despite the plethora of hooks present on this album. Despite the simpler arrangement, though, there are still some twists and turns here - with a couple of more left-field atmospheric sections sitting alongside the riffing and tight drum grooves which dominate - and Vallen's guitar solo feels more laid back and absent minded than usual, which leads into an intense, vocal-led closing section nicely. The album then comes to a close with the 12 minute long Mute, another excellent example of the band's core sound. It actually opens with Grey singing a cappella, though, which is different from the norm - but Griffin's drums soon crash in and another riffy intro adds some weight. Like many of the songs here, though, there is plenty of variety. There is light and shade aplenty, with the early vocal-led sections feeling very quiet - with some of Grey's trademark higher-pitched vocals and some delicate flute melodies. Heavier sections often kick in, too, and later verses feel much more mechanical, with Griffin's fast bass drum work creating tricky grooves alongside Vallen's guitar - over which Grey delivers more delicate melodies for contrast. This heaviness is welcome and once it kicks in properly the next section of the song is largely much chunkier. Vallen's riffing is given a lot more time to shine here, but there is still plenty of atmospheric depth thanks to the strings and plenty of chiming piano melodies. There are breaks in this heaviness, of course, such as when the band drop away to leave the synths and flute to hold the fort briefly, but generally this is a track which goes for a more epic sound - and Vallen's guitar solo around three quarters of the way through showcases this in a big way thanks to his cinematic note choices, before some of the album's most chaotic riffs briefly takeover for a final burst of heaviness. It is left to an emotional, but rather hard-driving, section to bring the album to a close, with the band's core sound shining as the song fades out. It is clear to me that Caligula's Horse is a band that I have slept on for far too long, and I have been really enjoying getting into this album in recent weeks. I cannot compare it to most of the back catalogue, but there is an awful lot to enjoy here - and the mix of a more atmospheric sound with tougher riffing is one that I often like. It seems that I have quite a bit of catching up to do, and I am looking forward to delving into the band's older albums in due course.

The album was released on 26th January 2024 via InsideOut Music. Below is the band's promotional video for Golem.

Dirty Honey - London Review

It is always good getting two gigs in London to line up with each other. Despite going to London quite a few times a year, each visit tends to be a fleeting one - so it is not too often that I get a chance to take it slow in the capital. I managed to do so this weekend, though, with Serenity on Sunday and Dirty Honey taking Camden by storm on the Monday it meant that I had a good chunk of the latter free to explore somewhat. It also meant that a bit of a lie in could be taken, but I was soon up, lunching in Finchley, and enjoying a rather sunny walk essentially southwards following the Northern Line to another part of the suburb. It was a good way to spend a couple of hours and it set me up nicely for the evening's entertainment at the Electric Ballroom - one of the city's most underrated venues. I have been to the venue quite a few times now, and each show has been memorable thanks to strong sound mixes and good atmospheres. Sometimes the second of two gigs on the trot can fall a little flat, particularly if the first one is a cracker - but I had a feeling that the California-based rockers Dirty Honey would not fall into that trap. Serenity's show the previous night in Tufnell Park was excellent, but I was really pumped to see Dirty Honey live again - just over a year after seeing them for the first time. I had been into the band for a couple of years beforehand, but seeing them play to a sold out Bodega in Nottingham as if they were headlining Wembley Stadium only increased my love of the four-piece and I was sure that when they returned they would be playing rooms much larger than the Bodega. With a strong and more mature second album in Can't Find the Brakes (which I reviewed here) now behind them I was right - and the Electric Ballroom seemed like an appropriate step up from The Garage (the band's last London venue). Sadly I do not think that Nottingham was included on this latest tour for comparison, but it is clear that in just over a year Dirty Honey's popularity has increased significantly. In truth, the band probably undersold themselves last time, with many of the shows selling out pretty quickly, but either way it is great to see the growth that they have undertaken and the genuine excitement that there is across the age spectrum to see an old-fashioned hard rock four-piece. The band are not especially original, but they do what they do so well - and it is great seeing older fans and teenagers equally excited for a band of Dirty Honey's ilk. I do not think that the Electric Ballroom was sold out, but the crowd the band attracted was certainly very healthy - and the place felt very full. I opted not to get a t-shirt this time as I still have one from the last tour, but the queue for the merch stall barely let up all night. The guy manning it certainly earned his keep that night. Given the large crowd, too, the atmosphere was excellent from the off. As mentioned, nights at the Electric Ballroom tend to be memorable ones - but this one felt a cut above the usual. Everyone was there to have a great time - with those around me about half way back just as into the show as those down at the front.

My only criticism was the fact that the doors opened at 7pm and the evening's sole support act, Baby Said, did not come on until 8:30pm. The wait for the action was a rather tedious one, but by the time the music started this was forgotten. Baby Said, a four-piece poppy rock band, were given around half an hour to play with - and they impressed quite a bit with their easy-going, yet somewhat punky, sound. Based around two sisters, Veronica (vocals/guitar) and Jessica Pal (vocals/bass guitar), the band rocked through quite a few short, no-nonsense songs which generally contained strong vocal hooks. Both of the sisters sang, trading lead vocals throughout, and the harmonies between them and another guitarist who's name I did not catch were impressive. Musically the songs tended to be quite simple, with brash power chord riffing and the occasional melodic lead line, but vocally there were some interesting and somewhat more complex arrangements on show - and it was generally this three-way vocal interplay which sold the songs to me. I got the impression, too, that the band were pretty new. They only currently have one song released officially, with a second single dropping at the end of this week. As such, I think that it is fair to consider them a bit of a work in progress, but they already have something about them. Their sound and songs were generally pretty upbeat and fun, and I think it is also fair to say that they already have a pretty established sound. With most of the songs being pretty short and under three minutes, I do think perhaps they should push themselves a little going forward - and perhaps come up with a couple of more involved pieces to nicely compliment the punky pop rock of their core sound. The ingredients are certainly there and the band's endearing stage presence seemed to get most of the crowd onside, too. It will be interesting to see how the band develop going forward and I will keeping an eye on their progress.

Despite Baby Said's fun showing, it was Dirty Honey whom everyone was there to see - and when the lights went down at around 9:30pm the place went wild. What followed was 90 minutes of classy, bluesy hard rock - with a significant chunk of the new album played alongside choice cuts from the band's first album, debut EP, and a couple of covers. The first part of the set was filled with punchy tracks and there was very little coming up for air. The title track of the new album kicked things off, with frontman Marc LaBelle's voice effortlessly filling the room, before a couple of older favourites in California Dreamin' and the more melodic Heartbreaker really got the crowd on side. The set was well-paced, with new and old songs mixed in nicely throughout - but if the band had any concerns about how the new songs would be received then they should not have done, as each new song was greeted as warmly as all of the old favourites. As such, there was no dip in the energy level at all, with Get a Little High and the rollicking Tied Up particularly impressing during the set's early moments. There was a slight change of pace thanks to the more groove-based Scars - a more serious piece which allowed John Notto (guitar/vocals) more of a chance to show off his bluesy side. In truth, though, most of the songs gave Notto a chance to impress with his soloing - with him and LaBelle being the modern epitome of the classic frontman/guitarist combination. Equal parts Steven Tyler and Chris Robinson, LaBelle is one of this generation's best rock frontmen. He had control over the crowd from the off with his best rockstar poses adding extra weight to sleazy tracks like Dirty Mind. An acoustic mid-section showed that the band are not all bluster, though, with the delicate Coming Home (Ballad of the Shire) seeing bassist Justin Smolian picking up an acoustic guitar - over which Notto added some delicate slide. An infectious cover of The Rolling Stones' Honky Tonk Women ensured that even the acoustic segment generated some energy, though, before the electric instruments were strapped back on for the Free-esque Don't Put Out the Fire and the band's trademark rocked up version of Prince's Let's Go Crazy. By this point the main set was slowly coming to a close, but there was still plenty more to come. The Wire ensured that there was more rocking to be done - but before that a relatively rare outing for the slower track Roam again showcased a bit of a different side to the band. A couple of longer pieces then saw the main set come to a close - with Another Last Time seeing LaBelle venture out in the crowd to sing part of the song and Notto stretching out the intro to When I'm Gone with plenty of bluesy soloing. There was time for a couple more, though, and the cheering brought the band back out for a hard rocking version of the snappy Won't Take Me Alive and an excellent night-closing version of Rolling 7s - which was stretched out quite significantly with bass, drum, and guitar solos during the intro. It was a fantastic end to a great night and as the band took their bows the crowd certainly made their appreciation heard. The setlist was:

Can't Find the Brakes

California Dreamin'

Heartbreaker

Get a Little High

Scars

Dirty Mind

Tied Up

Coming Home (Ballad of the Shire)

Honky Tonk Women [The Rolling Stones cover]

Don't Put Out the Fire

Let's Go Crazy [Price and the Revolution cover]

Roam

The Wire

Another Last Time

When I'm Gone

-

Won't Take Me Alive

Rolling 7s

I have learnt over the years not to get too excited about newer bands as so often they fail to break through into the big time - but Dirty Honey really feel like a band who could make a big name for themselves. They have everything that they need to do so, but whether they do or not remains to be seen. They have already come a long way over the past few years so I have faith that they will break through the glass ceiling - and they will really deserve it if they do. I will certainly be in attendance next time they visit the UK - which cannot come soon enough really.

Serenity - London Review

Whilst I have a lot planned throughout 2024, and no doubt there are still plans to be made, the first part of the year has been rather quiet on the gigging front. With December being quiet, too, it felt like quite a while since I had last been to a gig - yet this past weekend saw three take place over four days. I have already detailed easing myself back into live music again with Baest at The Underground in Plymouth; but the main event of the long weekend was a trip to London, which included two excellent, and different, concerts. I will discuss Dirty Honey's show at the Electric Ballroom another day, as this post will focus on the first gig of the two - which saw an evening of power metal at The Dome, topped by Austria's Serenity. I have been into Serenity for quite a while and I have been a big fan since the release of their third album, Death & Legacy, in 2011. Despite this, though, and multiple UK appearances in that time, prior to this past weekend I had only seen the band live once - and that was in 2020 when they played at The Underworld in Camden as part of a triple bill with Rage and Savage Messiah. It was one of only six shows that I got to in 2020 for obvious reasons - but Serenity were definitely the band of the night for me, despite a strong showing from Rage. With the show essentially being a triple header, albeit with Rage certainly feeling like the headliners, none of the bands had a particularly lengthy set. It made for a fun and fast-paced evening, but I would have liked to have heard more from Serenity on that night - so I had been looking forward to seeing them again ever since. It took a new album and four years for Serenity to return, but when the tour was announced last year I picked up a ticket immediately. Unsurprisingly, the band's European tour only included one UK date - which was originally scheduled to take place at the Boston Music Room, which has since been rebranded to Downstairs at the Dome, in Tufnell Park. Clearly the tickets for the show were moving pretty fast, though, as around a fortnight before it took place the gig was moved to the main room at The Dome - a venue which I had only been to once previously. It is always great seeing shows being upgraded, particularly for bands which do not have a huge presence over here. The popularity of the show, particularly given that it was on a Sunday, was likely partly down to a strong overall bill, too. Joining Serenity as special guests were the Italian power metal band Temperance, who I discovered last year when I saw them opening for Tarja. This certainly gave the night an extra draw for me - and I imagine there would have been a few in attendance who were there primarily to see Temperance. Two other bands rounded out the evening, so the night was quite a long one - but thankfully there was little time wasted with the changeovers between each band being short and organised. The venue did open slightly later than planned, though, but everything still seemed to largely run to time despite this.

Up first, then, were the German power metal act Terra Atlantica. They started their set around five minutes after the doors opened, so most people were still filing in as the strains of their opening song were filling the venue. Despite this, though, they seemed to grab the attention of most from the off. It was the band's first show in the UK and there were clearly a few of the early faces who were fans. Sound wise, the band were very traditional power metal in nature - with symphonic and folk edges. Their songs were generally pretty hooky, then, but they are the sort of band that I am not likely to significantly listen to at home. Perhaps this is a symptom of getting older, but I am starting to tire of bands, and power metal bands in particular, who have a theme and stick to it religiously - going all out in terms of costumes, lyrical themes, and artwork. Terra Atlantica clearly have a love of all things nautical, in particularly pirates, so were somewhat dressed as such and all of their songs were about such. Running Wild were singing about pirates in the 1980s, Alestorm did up-tempo 'pirate metal' years ago, and have since become a ridiculous self-parody trying to keep it going, and Visions of Atlantis' current era also indulges in a somewhat more classy take on the theme. As such, then, pirate-themed metal has been done before so another band doing it is not really necessary in my opinion. This sort of power metal is popular, though, and Terra Atlantica did receive quite a strong reception. They had some decent songs and they had a sense of fun - but I generally need my power metal to be a bit more than that these days.

In an evening dominated by power metal, the American groove metal four-piece Tulip stood out. That being said, though, I would not describe Tulip as strictly a groove metal band - as they certainly have some symphonic and electronic influences, too. Nevertheless, though, they were certainly the heaviest band of the night - and they filled the venue with techy, nu metal riffs for just over half an hour. Based around couple frontwoman Ashleigh Semkiw and Colin Parrish (vocals/guitar), the band were quite the force to be reckoned with. There were clearly a few fans in attendance and they definitely seemed like a step up overall compared to the previous band. By this point, too, the room was much fuller - and the atmosphere was starting to really settle in. Being heavier, though, Tulip did not need to do too much to win people over. There was a lot of love for the groovy riffs that the band churned out - and the poppy vocals of Semkiw certainly helped to hook people in. Parrish did add some 1990s shouted vocals at points, which added a counter to Semkiw's style, but generally the vocals were the light compared to the shade of the riffs. It probably also helped that the songs were generally very simple. The was little instrumental showboating from the band, despite a very occasional solo from Parrish, with the songs largely just being riff-fests with decent choruses. This helped to hook me in, but after a while the formula did start to strain a little. I liked the band's sound a lot, but I think that they could take it further with a bit more of a focus on instrumental breaks and lead work at times. This expansion could help take the band to the next level, but I enjoyed Tulip's set despite the formula - and I certainly will be interested to see how they progress going forward.

Special guests Temperance followed and the atmosphere level raised again following the Italian band stepping onto the stage. I have become quite a fan of them since seeing them last year, but I am not sure that their latest album, Hermitage (Daruma's Eyes - Part 2), has really gelled with me yet. It is easily the band's most ambitious album to date, so I was looking forward to hearing some of it live - and the band's nine-song set contained five tracks from it. In an evening which generally featured a good sound mix, though, I did feel that Temperance did suffer somewhat on that front. Co-lead vocalists Kristin Starkey and Michele Guaitoli both felt low in the mix, and the overall sound was quite muddy - which thankfully was not really the case for anyone else. This did impact the band's ability to make a big impression, but they nevertheless gave it their all. Opening with Daruma from the new album, the set got off to a good start - but it was perhaps the older material that got the crowd going the most - with The Last Hope in a World of Hopes going down nicely. The new material was well received, but I think that it perhaps lacks the fun-factor Temperance are known for. They clearly wanted to do something a bit different with the new album, something more symphonic and progressive, so, as such, the songs take more time to bed in. No Return really worked well, though, which was in particular a showcase for Starkey. She has more of an operatic edge to her voice than the band's previous frontwoman - and the song's epic chorus showcased this, with Guaitoli and bandleader Marco Pastorino (vocals/guitar) backing her up. The middle section of the set was dominated by the newer material, with another highlight perhaps being the heavier Into the Void - which featured some excellent playing from bassist Luca Negro. I spent a lot of the set watching him due to his acrobatic playing. He is certainly not an average power metal bassist and his playing really added a lot to the set in my opinion. Some of the best moments of the set were saved until the end, though, when some older pieces were played. Diamanti prompted a sing-along thanks to its mid-paced, melodic chorus, whilst the up-tempo and bombastic Of Jupiter and Moons highlighted the band's true power metal credentials. It was left to the slightly heavier but equally melodic Pure Life Unfolds to finish things up - and it was clear that everyone in attendance had had plenty of fun as the set came to a close. The setlist was:

Daruma

The Last Hope in a World of Hopes

No Return

A Hero Reborn

Darkness is Just a Drawing

Into the Void

Diamanti

Of Jupiter and Moons

Pure Life Unfolds

Despite having had a good time up to this point, the evening was, for me anyway, all about Serenity. I was looking forward to finally seeing the band put on a headline show - and they did not disappoint. They probably played slightly less than a full set given the three other bands on the bill, but they still played for the best part of 90 minutes - and they featured a good mix of material whilst focusing on last year's strong Nemesis AD (which I reviewed here). The set in general was very forward-looking, with only one true 'oldie', and it is always great seeing a band firmly standing behind their most recent work. Serenity have consistently put out strong albums, though, and this was on display from the off thanks to the excellent set-opening anthem The Fall of Man. Thankfully, the muddy sound which plagued Temperance was gone by the time Serenity kicked off. Frontman Georg Neuhauser's voice generally soared above the band - and the guitar leads of Pastorino, doing double duty, were also balanced right. With Chris Hermsdörfer absent, and presumably on Beyond the Black duty, the band was joined by a second guitarist unknown to me. Neuhauser did introduce him, but I did not catch his name - and he very much took on the rhythms with Pastorino doing all of the solo and lead work. This somewhat make-shift line-up did not affect the band's performance, though, and the set was very much one great song after another. The anthemic United followed the opening cut, but perhaps the first really big moment was the lead single from the new album Ritter, Tod und Teufel (Knightfall). Neuhauser encouraged plenty of singing during the number, and it become the set's first true participation event. Despite this, though, there was plenty of singing from the crowd throughout in general. Lots of die-hard Serenity fans were in the house and each of the big choruses were greeted with plenty of singing. The set also had a great sense of fun, with Neuhauser bringing out Guaitoli to help him with Souls and Sins, whilst Set the World on Fire was another big sing-along moment. As mentioned earlier, the band only played one real oldie, which came around halfway through the set. This took the form of Velatum, with its symphonic strains, before a somewhat more progressive path was later taken on Reflections (of AD) from the new album. A condensed version of the lengthy song was played, but it certainly went down well - with Pastorino also adding some vocals alongside Neuhauser. A brief acoustic set followed, which saw Neuhauser and Pastorino team up for Broken Dreams, from their Fallen Sanctuary project, as well as a great version of Soldiers Under the Cross - which allowed the show to a take a gentler turn. Serenity's music generally works well acoustically but it was soon back to the heavier sounds - and the main set came to a close with the pompous Legacy of Tudors. There was still time left for more, though, and a three-song encore followed. The bombastic and fast-paced My Kingdom Comes kicked off the encore, and this vibe was sustained with the new track Sun of Justice. It was left to the more anthemic and powerful Lionheart to round things out, though, and it was a great way to end what had been an excellent evening of melodic metal. The setlist was:

Memoriae Alberti Dureri

The Fall of Man

United

Ritter, Tod und Teufel (Knightfall)

Souls and Sins [w/ Michele Guaitoli]

Set the World on Fire

The End of Babylon

Velatum

Reflections (of AD)

Broken Dreams [Fallen Sanctuary cover]

Soldiers Under the Cross

Legacy of Tudors

-

The Last Knight

My Kingdom Comes

Sun of Justice

Lionheart

I do not tend to go to as many power metal gigs as I used to these days, but I was glad to finally get to see Serenity headline. They put on an excellent show and I will definitely go and see them again should the chance to do so arise. I came away from the show with a new Serenity shirt, too, which is always nice. The other bands were also generally very good - so the night in Tufnell Park was a success, and it was good to get back to gigging again in a big way following a couple of months without anything.

Baest - Plymouth Review

Plymouth has never really been a great city for live music - particularly in recent times. With the lack of a reputable mid-sized venue and its geographical location off the beaten path it is often ignored by touring bands big and small - so it is always great when a band makes the effort to travel down to Devon. I tend to get to around 35-40 gigs a year and a small percentage of them are in Plymouth. Given that I live around a 5 minute walk from two of the city's main small venues and around a 40 minute walk from the sole larger venue - this lack of live action is frustrating. It is something that I have grown used to, though, and I am resigned to travelling to see my favourite bands. As such, then, any sort of 'named' band making their way down to Plymouth, particularly in the rock and metal scene, should be celebrated and this is why, last night, I stepped somewhat out of my comfort zone to see the Danish death metal band Baest bring their relatively lengthy UK tour to The Underground on Mutley Plain. The Junction is generally the area's venue of choice, but occasionally the gloomier Underground is preferred. It was my first visit to the venue for a couple of years and, perhaps unsurprisingly, Baest attracted a pretty healthy crowd. Whilst certainly not a household name, the five-piece are signed to a major label (Century Media) and have been make a name for themselves in the extreme metal scene recently. I came across the band at the 2022 iteration of Bloodstock Open Air and I enjoyed their Main Stage-opening set. As regular readers of this blog will know, I am not generally a big extreme metal fan - but I have been making more effort with it recently, particularly with death metal. Baest's sound certainly ticks a lot of the boxes I like when it comes to death metal. They are not as chaotic as some, with a thick, meaty sound which recalls traditional heavy metal - just heavier and with harsh vocals. Their riff-driven and occasionally anthemic sound is a welcome one, then, even if they are likely not all that original in the grand scheme of things. I hear a lot of the classic late 1980s/early 1990s death metal scene in their sound - but this is not a bad thing in my opinion and Baest certainly do that old-fashion sort of death metal very well. This is likely why quite a few people made the effort to check them out last night. Most of the times I have been to The Underground before the turnout has been poor, but the venue was pretty full for Baest - and the atmosphere throughout the evening was pretty good. It was a very economical night, too. With the doors opening at 8pm, three bands on the bill, and everything finishing up by 11pm, there was little time for messing around - so there was very little hanging around between each act.

Up first were Human Mycosis, a death metal band from Cornwall who certainly exhibited quite a few grind influences. Grind is a bit of a step too far for me, so I have to say that I struggled with Human Mycosis quite a bit. There were some moments throughout their set which impressed, such as the occasional guitar solo and the band's overall tightness, but the material did not do all that much for me. They are also one of those death metal bands who seem to pride themselves on being grimy and unpleasant. The singer kept going on about how much he stank in between songs and, whilst I was not focusing on the lyrics, the song titles were all very much in that porn-influenced vein which some death metal bands seem to enjoy. I have always found those sort of bands somewhat distasteful so I was probably never going to warm to Human Mycosis. It took the crowd a few songs to wake up, too, but the band did go down quite well - although compared to the reception afforded to the two bands which followed I think that it is fair to say that Human Mycosis were the weakest of the night.

The Bristol-based technical death metal act Embodiment were up next and they impressed more. Despite being without their drummer due to illness, which meant that they were playing along to pre-recorded drums which was rather strange, the band powered through half an hour or so of knotty music which impressed from a guitar perspective. Finn Maxwell (guitar) certainly kept each song interesting with his riffing and shredded solos, whilst frontman Harry Smithson was certainly a very likeable Westcountry chap - even if at times his screams did not quite hit. From my exploration of the genre so far, I have quite a lot of time for the more technical/progressive end of death metal. This likely stems from my general love of prog, but I find bands like Embodiment much more interesting than the grimy and gore-obsessed bands. The riffing and song structures are just a lot more interesting - and there is usually a clinical nature to such bands which I enjoy. It is a shame, though, that the band were playing without their drummer. The pre-recorded drums gave the set perhaps a too much of a clinical sound - and live drums would have certainly spiced things up further given how technical some of the drumming would have been to witness. I would not mind seeing Embodiment live again, though, I just hope that if I do that they have their drummer up there with them.

By the time Baest took to the stage the crowd were ready for the headliners - and the Danish five-piece brought the brutality for the next hour or so with choice cuts from their catalogue. I am certainly not an expert on the band, so I was not familiar with every song played, but they impressed throughout. The band were extremely tight from the off and they sounded huge. The guitar tones used sounded thick and heavy, whilst frontman Simon Olsen's voice cut through the mix perfectly. The band were clearly having some on-stage sound issues early on, but it sounded great from the floor and they powered through these issues with ease. Tracks like the relentless Meathook Massacre had everyone in the venue banging their heads - and a couple of numbers into the set Olsen encouraged a small wall of death, which then prompted a few down at the very front to mosh for the rest of the show. The atmosphere was great from the off and it was clear that Baest's material was going down well. The mid-paced and groovy new single Colossus seemed to particularly hit the spot. I am not sure if a new album is in the offing or not but it was certainly promising of what is to come in the future for the band, whilst the much older Wormlord was faster and uncompromising. Given the size and general vibe of the venue, I got the impression that the band were perhaps not expecting too much from the show - but they seemed to be enjoying themselves, and were surprised by the size of the crowd and the overall reaction they received. They were certainly giving it their all on stage and towards the end of the set the show felt like something of a death metal party. Some of the best material was reserved until the end, too, with the lengthy and more progressive Ecclesia being something of a highlight. It was very riffy and varied, with Olsen's excellent vocals driving everything, but it also featured a great solo-based mid-section with plenty of melodic trade-offs between guitarists Lasse Revsbech and Svend Karlsson. The set then came to a close with the anthemic and simpler Necro Sapiens, the title track from the band's most recent album. Towards the end Olsen even whipped up a bit of a sing-a-long, not something too common for death metal, and the shout-along piece was a good end to what had been a fun set and a strong showing from the Danish band.

Having not been to a gig since the beginning of December, it was great to get back to going out again - and a few busy months are now about to follow with lots of good bands in my sights. Baest, and death metal in general, will never be a favourite - but they are great at what they do and they impressed quite a bit last night. They are certainly a band whom I will be keeping up with going forward and I would go and see them again if the opportunity arises.

Vitriol's 'Suffer & Become' - Album Review

I have not reviewed an awful of lot of genuine extreme metal on this blog. I listen to quite a lot of bands with extreme metal influences, but not a lot of bona fide extreme metal has historically done much for me. Over the last few years, though, this has somewhat changed. Whilst I still really struggle with most black metal, I have started to enjoy death metal a lot more - particularly the more old-school death metal bands who essentially sound like traditional heavy metal bands with a dirtier guitar tone and harsh vocals. Much of my death metal listening to date has generally been to some of the genre's big hitters - but also to bands I have caught at festivals and as support acts. I also went to my first proper death metal concert last year, when Carcass came to Exeter, and I am heading out in Plymouth next week to catch current Danish darlings Baest - whom I enjoyed at 2022's iteration of Bloodstock Open Air. I am also planning to review a few more extreme metal releases this year and, given that January was fairly quiet (although not lacking in quality) and the next tranche of new releases do not really start dropping until the middle of the month, I decided to start that intention off by covering the second album from the Oregon-based death metal band Vitriol - entitled Suffer & Become. Vitriol are certainly not a band whom I have any history with as I only discovered them a month or so ago. One of the singles put online ahead of the album's release prompted me to give them a proper go - so I have been attempting to digest this oppressive album over the past week or so. Vitriol have been around since 2013, but some of the members had previously been playing together in Those Who Lie Beneath, a defunct deathcore band who can trace their history back to 2005, prior to Vitriol's formation. It does seem, though, that Vitriol did not get off the ground proper until 2017 when their debut EP Pain Will Define Their Death was released - which was followed up by their first album To Bathe from the Throat of Cowardice in 2019. As such, then, it has five years since the band last released an album - although they did drop another EP, Antichrist, in 2021. It does seem, too, that the band has gone through quite a bit of line-up upheaval in the intervening years - with a few drummers and guitarists coming and going. As such, Suffer & Become was seemingly recorded by the band as a three-piece - with founding members and vocalists guitarist Kyle Rasmussen and bassist Adam Roethlisberger joined in the studio for the first time by drummer Matt Kilner (Iniquitous Deeds; Nithing; Gorgasm). Former guitarist Stephen Ellis is listed as a band member in the album's booklet but it gives the impression that he did not actually play on the album - and he has since been replaced by former At the Gates touring guitarist Daniel Martínez (The Offering; Atheist). Sound-wise, then, Suffer & Become is a challenging listen. It is a chaotic death metal album with very little coming up for air - with much of the material here operating at a fast pace with little room for groove. This is certainly not an entry level release, but the technical songwriting rewards repeated listens.

Despite the heaviness to come, the album actually opens quite slowly. The intro to Shame and its Afterbirth is one of the album's only melancholy moments, with discordant clean guitar melodies setting an eerie tone. Once the song kicks off proper, though, the album's core sound is established immediately. The creepy melodies are retained, though, and they sit atop the flurry of Kilner's kick drums as the song continues to build - before a blast beat gets underway and the song rushes off at break-neck speed. Blast beats and less oppressive double bass drum rolls intertwine nicely as the song progresses - whilst Rasmussen's deep growls sit just above the cacophony created by the band. Given the amount going on instrument-wise, it is a shame, then, that the album's mix is not cleaner. The album can sometimes sound quite mushy at its most chaotic - with the drums punching through clearly but the guitars and bass lacking definition. This is not uncommon for this sort of death metal, though, but it does make it hard to focus on what is going on at times. That being said, though, a lengthy instrumental section later in the song which features plenty of fast-paced soloing from Rasmussen does standout - with some atmospheric depth added by a simple keyboard arrangement. There is a little more definition here, but it would have been nice if more attention had been given to the mix - as even the guttural vocals get lost at times. The Flowers of Sadism opens with a more defined riff and it teases something of an old-school groove before Kilner's double bass drums kick in again and it becomes another pretty pacy number. Compared to the opening song, though, this track is less chaotic. There are still moments which feature blast beats, but overall the riffing feels a bit meatier - and there are moments which do manage to conjure up a bit of a groove despite the mix again not really letting the guitars breathe properly. Unfortunately, it is only really the drums and the guitar solos which ever stand out on this album. Rasmussen's guitar solos are excellent, and a welcome burst of audible technicality, but the riffing often feels suffocated despite the powerful drum sound. Kilner's performance throughout the album is impressive, although I do wish sometimes that he pulled back somewhat to allow the riffing to lead the way. There are moments in this song which could really groove with a different approach, which would have broken up the barrage somewhat. Nursing from the Mother Wound, which features a guitar solo from Steve Jansson (Unrest; Trenchrot; Crypt Sermon; Daeva), returns to the break-neck pace of the opening number - but injects a little black metal influence into the mix and increases the use of keyboards heard earlier. The song has a bit more of an atmospheric depth, then, and there are tremolo picked moments which recall the classic black metal sound. Jansson's guitar solo is busy and similar in style to those heard on the album so far - although some whammy bar tricks help it to stand out. I like the approach with the keyboards taken here and they stand out surprisingly well given the chaotic mix. There is also a bit more of a diverse vocal approach taken, too, with Roethlisberger adding occasional screams alongside Rasmussen's growls.

The Isolating Lie of Learning Another opens more slowly than anything else on the album up to this point (with the exception of the clean intro of the opening cut) and this approach is often retained throughout the song. As such, there are moments here which actually groove quite a bit - which is certainly welcome. Arrangement-wise, the song is much more dynamic, then. There are still plenty of fast-paced sections, again with blast beats, but the pace varies much more significantly here than elsewhere. This allows Rasmussen's chunky riffing to hit harder in my opinion and another varied approach featuring both of the band's founders again helps to diversify things further. Given the more varied pace and the greater emphasis on groove, the track is one of my favourite cuts here. It just feels less oppressive overall and it showcases a more interesting arrangement - which is later emphasised by a much more emotionally-charged guitar solo, which is slower than is typical here. Survival's Careening Inertia is the album's only instrumental piece, but it does help to break up the relentless pace and heaviness found elsewhere. Whilst still pretty heavy in spots, the piece does open quite slowly - with clean guitar melodies and synths setting a more relaxed tone - even if the drumming behind everything is still pretty full on. It is not too long before the song morphs into another death metal track, though, although the lack of vocals does allow the riffing to showcase itself a little more - with synth swells often acting as a counter to the riffing. There is some soloing, too, towards the end, so the song is not all that different from the norm despite the cleaner intro. Weaponized Loss maintains the keyboards which have been utilised throughout and gives them a bigger role here. Whilst not exactly giving the song a symphonic twist, it nevertheless feels more atmospheric than many of the pieces here - but there is still plenty of heaviness throughout, including more blast beats. There are a few black metal influences on display here, too, which is only enhanced by the aforementioned keyboards. Some of the guitar patterns feel a bit more black metal inspired, whilst a stronger emphasis on screamed vocals as a counterpoint also helps. There are some fun old-school death metal moments, too, though towards the end of the song which feel a bit more rock and roll in vibe. This album does not channel such a feel too often, so the song is one of the album's more varied pieces as a result. Floods of Predation returns more to the album's core sound, though, and it generally lacks the variety of the last few pieces. The keyboards do not have as much of an impact here, with the track instead being much more bludgeoning overall - with some of the album's fastest blast beats making a brief impact. As such, the song is likely the most relentless and heaviest thing on the album. There are very few deviations from this relentless approach and it makes the song one of the album's least interesting in my opinion.

Locked in Thine Frothing Wisdom is another track which exhibits some black metal influences. The opening moments of the piece certainly borrow quite a lot from that genre, with screamed vocals taking on more of a prominent role. Rasmussen's growls are also generally not quite as deep here, either. He is a pretty varied vocalist in fairness, but there are times throughout this album when his growls are so deep that they get buried in the mix. This is likely a mixing issue, but his less deep growls tend to rise to the top a bit more - and he sounds powerful throughout this track, contrasting nicely with the screams. Due to this and the black metal influence, the song feels a bit more varied overall - particularly compared to the previous number. There are some pretty strong riffs throughout which rear their heads on occasion - but sadly none of them are ever really capitalised upon. A few groovier moments would have been welcome, but overall the song's variety is still welcome. I Am Every Enemy is not as fast-paced overall and the piece is much more traditional-sounding in a death metal sense - despite a few lingering keyboard strains adding some depth. The drumming is still generally relentless throughout, but the slightly slower pace does allow the riffing to shine through a bit more - and the song feels much more brutal in that typical death metal way rather than the more oppressive, chaotic, and technical approach taken elsewhere. The difference is not monumental, but it does help to shake things up a surprising amount - nodding to the roots of the death metal genre somewhat in the process. The album then comes to a close with He Will Fight Savagely, another fast-paced track with some excellent riffing which is, again, sadly buried by the mix. Production and mixing choices are often a big part of why I struggle with a lot of extreme metal - and I feel that I would like this album a lot more if it had been mixed in a different way. There are lots of great riffs here which are just buried and so hard to make out - whereas if they were the focus there would have been a lot to hook me in. There are death metal albums which sound massive and clear, so a more muddy mix has to be deliberate production choice more often than not, but I do wonder why such a sound is seen as a good thing in extreme metal circles. This song is possibly the one here that suffers the most from this approach. It is the longest piece and it seems to be much more technical than much of the rest of the album - but all of the tricks just get buried in the mush. The vocals really suffer here, too, and it is a real shame that the album closes out with a track which, in my opinion, showcases its flaws the most. Some will like the album the way that it is, and I am aware that this is not an album made for my particular tastes, but, for me, an opportunity has been missed here to really showcase the guitar playing of Rasmussen. Some of the groovier tracks do this, and there are some excellent moments here, but the more relentless songs fall foul of a mix and a production style which seems to favour atmosphere and oppression over musical clarity. There is still plenty to enjoy here, though, for those enjoy things a little more on a chaotic side - but I also struggle with large chunks of the album. It is probably not really for me, in truth, but I am nevertheless glad to have made its acquaintance.

The album was released on 26th January 2024 via Century Media Records. Below is the band's promotional video for The Flowers of Sadism.