Karnataka - Tavistock Review

It is great to see the Welsh-based progressive rock act Karnataka so active in recent years. Karnataka's career has often consisted of bursts of creativity and activity followed by fallow periods, usually whilst the band rebuilds itself following line-up changes, but the current era may be busiest and most intense yet - potentially apart from the band's early days which I cannot speak of. Since launching the current line-up with a tour in 2022, which had been delayed for a while due to the pandemic, Karnataka have been very busy. The band's sixth album, and first of the current era, Requiem for a Dream (which I reviewed here) was released the following year - and three pretty lengthy UK tours, alongside some European headline shows and festival appearances, have followed to both promote the album and also to help to rebuild momentum following the lack of activity between the back end of 2017 and the 2022 relaunch. I have been lucky enough to catch each tour by the current line-up - as the band always seem to make a point of returning to The Wharf in Tavistock each year. The band have been playing at the venue on and off for years, going back to the original line-up, but it was not always a touring fixture. In recent years it has become such, though, and that means that, for four years in a row, I have been able to catch the band locally. I have had to travel to see the band in the past, with a couple of tips to London in recent memory, but having the band put on a local show in Devon each year is a real treat. The band's persistence seems to be paying off, too. Karnataka shows that I have been to in the past have rarely been what you would call 'full' in terms of turnout. An exception was a 2012 show in a tiny village hall in Lowdham, which I think was sold out, but otherwise, despite some decent turnouts, I have never felt the band's shows to be overly well-attended. It was only a couple of years ago that I stood in The Fleece in Bristol, and excellent venue and one which is usually busy, with around 20 other people to watch the band live. Unsurprisingly, Karnataka have not played in Bristol again since - and like many of their peers they now seem to stick to tried and tested venues, building their following across the country that way. The band's Tavistock shows have likely always made the trips down to the South West worthwhile - but last night attracted likely the largest crowd for the band I had seen at the venue. All of the seats were full, with the floor being around half full - alongside a smattering of people stood further back. It is great seeing the band's efforts paying dividends. For a band that has been around since the late 1990s, it must be disheartening to still be playing to quite small crowds at some shows - but given all of the significant line-up shifts and periods of inactivity that the band has gone through it is perhaps unsurprising that some fans have dropped off along the way or just lost touch with what the band are currently doing. It likely helps, too, that the band's line-up has been solid now for a couple of years. The last three tours, including this one, have featured the same five-piece line-up - and the current Karnataka line-up is very tight, and more than capable of delivering the newer material as well as songs from the past. Subtle setlist shake-ups each tour help, too, and with a new live album Requiem for a Night: Live in Zoetermeer hot off the press the current line-up has also now been immortalised live for all to see.

As is typical of the band's recent shows, there was no support act and the band played two sets with an interval. Whilst material from Requiem for a Dream still dominated the set, with five of the eight songs played, a good mix of older material was also included - including some songs which had not featured all that much live in the current era. There was even a rare cover included, and some recent setlist regulars were also rested, meaning that the show felt fresh despite the focus still being on the latest album. The show started off by looking to the past, though, and to 2010's The Gathering Light in particular. Songs from the album are generally included in the set, but the two that were featured this time had not been played live since the 2022 tour - with the lengthy The Serpent and the Sea and the funkier Your World kicking off the show. The former, in particular, has always been a personal favourite - so hearing it live again was a real treat. Much of the 2022 tour was undertaken without a keyboard player, so it was great hearing these songs back to full strength - with Rob Wilsher (keyboards) ensuring that the lush arrangements came across well live. From the opening keyboard melody of The Serpent and the Sea, it was clear that the set was going to be a powerful one. The sound mix was clear from the off - with the whole band in fine form. Frontwoman Sertari is able to cover the older material with ease - and she has long made The Gathering Light-era material her own. Her smooth voice felt powerful throughout the night, and the chorus of the opening number soon rang around the venue as the large crowd let it all wash over them. Your World allowed the rhythm section of founder Ian Jones (bass guitar) and newest face Jack Summerfield (drums) to whip up some funky grooves - with the upbeat and rhythmic track a welcome addition. Two new songs were included in the first set, with Say Goodbye Tomorrow up next - returning to the set following being left out last year. The smooth rocker is one that always seems to come alive more on stage than it does on the album. It may be my least favourite song on the album overall, but live it always feels more powerful - with Sertari delivering in spades. Another personal favourite was the return of Delicate Flame of Desire to the set. The album of the same name will likely always be my favourite by Karnataka, and a big reason why is its title track. It also saw Luke Machin (guitar) really come alive. Despite knowing him to be a great player, I was unsure at first whether he would be the right man for Karnataka - but over the past couple of years he has really grown into the band. He nailed the lyrical and plentiful lead guitar moments during the folky, soaring ballad. He really seems to get the core Karnataka approach now - but he still manages to include some of himself in the material with the occasional more shredded melody. His more metallic background was also allowed to shine during the heavier Forbidden Dreams - a song which has been rarely played since the last era of the band came to an end. It was great to hear the symphonic, punchy track live again - and it contrasted nicely with the lengthy and soaring Forgiven which followed. Forgiven feels like a modern Karnataka classic at this point - and it has been ever-present in the set since Sertari's first shows with the band. It is one that allows her to showcase some different sides of her voice, such as some classical-esque moments during the Latin mid-section - whilst it also contained plenty of big guitar solos for Machin. The first set then ended with a great version of Yes' Soon - with Machin's slide guitar melodies.

Following a 20 or so minute break - the band came back for the second set which was largely focused around new material. The opening number of the new album All Around the World kicked things off, which is another track that feels like a real Karnataka classic now. It is another lengthy piece, but it is packed full of melody from the off - with one of the biggest choruses on the new album. I am sure that plenty of those in attendance enjoyed singing along to the massive hooks - and it is another song which included some big guitar moments from Machin, with his solo during the song's mid-section being one of the shreddiest of the night. The more plaintive Sacrifice followed, which is another ever-present song in the set at the moment. It is another very memorable one melody-wise, but it has much more of an emotional weight throughout - and some of the symphonic moments of the song hark back to the band's previous era, whilst ensuring the the band's classic smoothness remains. Sertari always shines whenever she sings with the band, but Sacrifice often brings out one of her best performances of the night - and last night in Tavistock was no different. The only older song in the second set was the oldest of the night - harking back to 2000's The Storm. In contrast to the lengthy and atmospheric songs around it, Dreamer allowed for a shorter moment of fun. It always always been one of the catchiest and most upbeat songs in the band's catalogue - which largely sets it apart from their core sound. It often works as a good pallet cleanser live, then, and the shorter song was another which allowed the rhythm section a bit more space to do their thing - whilst Machin included some wah-drenched riffing. The main set then came to a close with the near 25 minute epic Requiem for a Dream - a song which has felt like the centrepiece of the band's sets since the new album came out. For me, it is a song which is still growing. It moves through so many different moods on its overall journey - but it covers a lot of typical Karnataka ground. Despite its length, though, it is not the most explosive when it comes to guitar playing. There are some short solos and lead-based moments, plus Machin does get a chance to use his slide later on in the piece, but it never really cuts loose as it sometimes feels it is about to - with the track being more about its overall atmosphere, mood, and the varied vocal performance of Sertari. Wilsher was busy throughout, too, with the track an atmospheric and symphonic feast. Plenty of different keyboard textures were on show throughout and it brought the main set to a powerful close - with the ending coda ringing around the venue as the band left the stage. Machin and Wilsher soon returned, though, with the former launching into a lengthy guitar solo which acted as an elongated intro to the night's final number. There were lots of emotional leads and shredded motifs on display - but the synths ensured that the solo spot morphed effortlessly into Heart of Stone, another song which had been out of the set for a few years. It is another old favourite of mine, and Sertari sang it perfectly - with the Marillion-esque closing few minutes feeling like a triumphant way in which to end the show. There were plenty of cheers as the band took their bows and it is clear that the Tavistock faithful found a lot to enjoy in the set which had just finished. The setlist was:

The Serpent and the Sea

Your World

Say Goodbye Tomorrow

Delicate Flame of Desire

Forbidden Dreams

Forgiven

Soon [Yes cover]

-

All Around the World

Sacrifice

Dreamer

Requiem for a Dream

-

Heart of Stone

Karnataka's trips to Tavistock are always welcome - but last night's was likely one of the best due to the larger turnout and a set which included some songs which had not been played live all that often in recent years. It felt well-balanced and showcased each era of the band nicely - whilst still paying a lot of attention to the new album. Jones indicated that next year would be a big year for the band touring-wise - so hopefully they will be back in Tavistock at some point. I imagine that the next album is being worked on, too, so maybe soon we will start to hear about what is next for the band.

Heavy Pettin's 'Rock Generation' - Album Review

After my many power metal-related blogs of late, it is time to return to something a bit more grounded and also to return to the UK - to Scotland to be more precise. I have largely found myself in mainland Europe recently given all of this power metal love, but something closer to home is now required. Each year I tend to cover a few albums which I did not expect to be writing about. Often these are from bands that are just not that prolific, or who have not really existed for a long time - and Rock Generation by Heavy Pettin somewhat falls into both camps. Heavy Pettin formed in Scotland back in 1981, and were somewhat a part of the NWOBHM movement. I say somewhat, as the fact that their debut album Lettin Loose came out in 1983 makes them latecomers in terms of that scene - and also because they were largely more of a melodic hard rock band than a true heavy metal band. This never stopped bands like Praying Mantis, Demon, and Saracen being seen as part of the NWOBHM movement, though, so I think that Heavy Pettin just about qualify - even if they generally sound a lot more polished and American than most of their peers. Queen's Brian May and Queen collaborator Mack produced Lettin Loose, which perhaps shows where Heavy Pettin's headspace was at the time - whilst 1985's Rock Ain't Dead looked and sounded more like a US hair metal record than anything from Saxon or Venom. In some ways, Heavy Pettin are likely the closest in vibe to Def Leppard from the original NWOBHM era, but the Sheffield band found more significantly more success, and by the time 1989's Big Bang had been released Heavy Pettin were essentially over. A couple of archive and compilation-type releases aside, the band was not heard from again until frontman Stephen Hayman and guitarist Gordon Bonnar resurrected it in 2017 with a new line-up. I saw them live in 2019 as part of a co-headline UK tour with Rock Goddess, and they impressed in a small Bristol venue which had attracted a fairly healthy crowd. At the time the band were talking about releasing new music, and an EP 4 Play dropped the following year. The four-track release was certainly decent, and it harked back to the melodic nature of the band's past, but the band never really kicked on from there. The last few years for Heavy Pettin, beyond the odd gig here and there, had seemed quite quiet, then, and I had wondered if they had quietly called it a day again, but behind the scenes they had been working on their fourth album - which culminated in Rock Generation dropping last month, 36 years after their last one. Line-up changes likely slowed the band's progress, though. Bonnar left the band a few years ago, and was replaced by Richie Dews (Dare), and bassist Jez Parry, who played on 4 Play, also left - with Dave Boyce (Samson; The Quireboys; Grand Slam) coming into replace him. As such, Hayman is now the only original, and really only long-time, member left. Returning from 4 Play, though, are guitarist Dave Aitken and drummer Mick Ivory - with the former taking the place of Bonnar as Hayman's main writing partner. In terms of sound, Rock Generation is noticeably heavier than the band's previous albums, in line with 4 Play, but the trademark melodic and slightly Americanised approach remains. Hayman's voice remains in good shape, with his melodic, slightly nasal, quality on display throughout, whilst him and Aitken have managed to write a number of songs which hark back to the past whilst allowing a more modern production job to add weight.

The album took a few listens to fully settle with me. I was a little disappointed at first, especially given how good the opening title track is, but it is an album that gets better with time - and there is a lot of good stuff here, even if the material is not as bright and upbeat as might be expected. As mentioned, though, the title track is great - and it kicks off the album in fine fashion. Paul McManus (Glasgow; Gun; La Paz) plays the drums on the opening song instead of Ivory for some reason - but otherwise the new-look Heavy Pettin showcase their weight here. Rain and thunder fill the speakers, before a slightly southern acoustic guitar melody breaks through - and the rest of the band soon crash in with some big guitar stabs. The band's heavier sound is on display from the off, then. These opening guitar and drum crashes herald the song's first verse, which mixes tough rhythm guitars with melodic clean guitar lines - over which Hayman sings. As mentioned previously, he sounds good throughout this album. He sounds older and more nasal - but his knack for a melody remains, and his voice still has a power to it. The verses are snappy and easy on the ear as a result, and in part thanks to the ever-present guitar chug, whilst the chorus takes things to the next level - harking back to the more anthemic basis of the band's core older sound. Gang vocals, plenty of harmonies, and some fists-in-the-air vocal melodies make the chorus one of the album's best - and it sticks in the brain after only a couple of listens. There is plenty of 1980s glitter to be found during the chorus, then, whilst the mix of melody and heaviness throughout the song ensures the album gets underway nicely. Faith Healer (Kill My Demons) opens with the tolling of bells and a brief spoken word section, before a groovy mid-paced riff kicks in - with the tolling bell acting as a nice accent as the riff cycles through. Whilst the last song featured a good mix of clean and distorted guitars, this song is much more riff and groove-focused throughout. The main riff is one that will really get heads moving live - and the verses are built around a slightly smoother version of it, which allows Hayman's snarling vocals to rise above it. There is a good amount of energy to the piece despite the mid-paced grooves - with Ivory's drumming feeling punchy. The chorus is another really strong effort, too, with Hayman going again for a more anthemic approach - whilst the band harmonise well with him to create some infectious hooks. A busy, shredded guitar solo later adds some more energy to the piece - and the groovy anthem is a personal favourite here. Brother Sister follows a similar pattern, with a similar groovy riff kicking the track off. The overall structure of the track is a bit different, though, with the repeated, elongated harmonised vocals delivering the song's title often surfacing throughout, expanding a chorus feel over big parts of the song, whilst the riffing is a little more sparse during the vocal-led moments. There are harder-driving moments, but there are also moments where hung chords back Hayman's voice - and the mix of riffing styles here does help the song to stand out from what has come before. A clean guitar-led bridge section also offers a brief change of pace - before it morphs into another shredded guitar solo.

Oblivion goes for a more overtly melodic feel, and the heaviness from the opening three songs is reined in somewhat - and the band harks back to their smoother 1980s sound here. Duetting with Hayman throughout is Roni Lee (Venus & The Razorblades), and her voice adds a bit of a smoothness to the verses - where she takes over during the second half of them to contrast nicely with Hayman. The two sing together during the bigger chorus, which harks back nicely to the 1980s, with plenty of big harmony vocals and some more emotive hooks. Musically, the song feels smoother and more spacious overall. A few bigger riffs are thrown in here and there, but generally there is much more of a clean guitar depth here - which helps to build on the more emotive vibe which the vocal arrangements are pushing. Whilst the song is not a ballad, as it feels too big and driving for such, it certainly channels some ballad-esque vibes at times - even if the overall package feels more melodic hard rock in scope. Mother Earth returns to a heavier feel, and the band really pick up the pace here. Much of the album up to this point has been largely mid-paced, but this song feels more energetic overall - with a snappy guitar rhythm which recalls 1980s John Sykes somewhat. The verses are powered by this juddering guitar pattern, then, which keeps everything moving - whilst Hayman snarls his way over the top of this heavier pattern. Still wanting to ensure a more melodic sheen, though, the chorus is another big one - with some of the biggest vocal arrangements on the album. The harmonies and gang vocals here are very powerful - but they sound very loud compared to the rest of the song, so much so that it makes Hayman's verse leads sound a bit too quiet. A better balance could have been struck, then, but the chorus is still a powerful effort which sticks in the brain. There is also a bit more guitar interplay between Aitken and Dews here, with some harmony guitar instrumental sections later on - before a shredded solo takes over. X-Rated feels like an attempt to conjure up a sleazy 1980s sound. Whilst Heavy Pettin always had an American influence, they never truly crossed over into sleazy territory - and this song also, just about, stays the right side of that line. There is clearly a big injection of hair metal here, though, with Hayman doing his best Vince Neil at times - whilst party gang vocals and a barrelling, bluesy guitar riff drive everything. In fact, there are guitar motifs here which remind me a bit of Poison's Nothin' But a Good Time - and that is certainly the overall vibe which is being sought here. The song feels a bit dated as a result, but the big, dumb chorus is very easy on the ear - and I can certainly see it going down well live. The song has grown on me as a result, and it does shed some of the modern heaviness heard elsewhere, which helps to shake things up. Bullets and Pills returns to something heavier and more akin to the album's core sound - although it does open a little slowly with some clean guitar melodies. Once the main, dry-sounding riff kicks in, though, the song generally sits on the groove it conjures up throughout - and there is quite a bit of energy here as a result. The opening clean guitar motif does return occasionally throughout to allow for a slightly dynamic feeling - but in the main the song is a simple, groovy hard rocker. The chorus does retain a little of the sleazy feel of the previous song, with similar harmony vocals and overall vibe, but the song is tougher thanks to the meatier riffing.

Line in the Sand also goes for a heavier sound, but there is also a murky, atmospheric feel here which has not really been present on the album up to this point. The mix of clean and distorted guitars returns from the opening song - but this is no anthem, with the track instead feeling a bit more expansive. The riffing feels heavier overall, and the clean guitar melodies have a fuzzy edge to them which creates a bit of a grungy backing. As such, the song sounds quite different to anything else here. Hayman's voice also has some effects on it during parts of the song, which gives him a menacing sound at times, whilst elsewhere the typical harmonies which are used throughout allow more of the band's core sound to shine through. There is certainly an attempt to feel a bit more modern here. I like how the band have generally straddled the line on this album between updating their sound and staying true to their roots - but this one is perhaps too modern sounding for the band, and the overall murk is a bit out of character with everything else. Live Ur Best Life, irritating title aside, is a bit more typical of the album's core sound. The overall heaviness generally is retained throughout thanks to the ever-present guitar riffing, but there are plenty of 1980s-inspired hooks here to allow the band's original era to shine through. It is not as sleazy as some of the other cuts here, but this is a song which is very clearly from a 1980s act - with the massive chorus harmonies and the bluesiness to much of the riffing showing this off throughout. After sounding a bit strange during the last song, too, Hayman is back to his usual self here. The higher-pitched, nasal approach that he tends to take is really well suited to songs such as this - and the chorus is another which has really grown on me over my repeated listens to the album since it dropped last month. The album then comes to a close with This Life, is quite similar overall to the previous song. As such, it very much showcases the album's core sound from the off - with a tough guitar riff and plenty of grit and energy throughout. Like much of the album, it is a mid-paced track with plenty of groove - and Hayman again sounds powerful throughout. In fact, there are parts of the song where he perhaps sounds his most powerful. The chorus has a real snarl to it which nicely suits his slightly aged voice - and he really soars above the harmony and gang vocals of the rest of the band here. It makes the chorus a strong moment to close the album out on, then, whilst the verses and big guitar solo section are full of power. The song does not really do anything different to what has been heard on the album up to this point, but it nicely distils the band's core sound down to a simple and memorable arrangement - and it works well as a closing statement thanks to the groove of the riffs and the strong chorus. Overall, then, Rock Generation is very much a welcome comeback from Heavy Pettin. It sounds different to what came before, but there is enough of the essence of the band's past to make the connection - and Hayman's voice is also distinctive enough to link the two eras. 4 Play hinted at what was to come but I feel the songwriting here is generally stronger, and the current Heavy Pettin line-up clearly have a lot more to offer. They are currently on tour in Europe with Uriah Heep, and will also kick off 2026 doing so - but I hope that there are some UK dates in the band's future - as I would like to see them live again and presenting some of the songs from this album alongside some old favourites.

The album was released on 24th October 2025 via Silver Lining Music. Below is the band's promotional video for Rock Generation.

Battle Beast's 'Steelbound' - Album Review

Based on much of its recent content, this blog is in danger of turning into a place of power metal worship. Over the past few months all I seem to have been doing is reviewing new power metal releases and going to see power metal bands live. This is about to change, although a review of a Sabaton concert will be coming in December, but, as I have said elsewhere recently, I have really been enjoying this latest big power metal splurge. Sometimes it is okay to listen to music that is just fun - and that is often what power metal is. Despite my rekindled love of the genre, I doubt that I will be going back to any of the overly gimmicky and novelty acts any time soon - but even the most crafted power metal is still often extremely fun. Recent Sonata Arctica and Battle Beast concerts were very much joyous occasions, then, and it is the latter whom are the focus of today's piece. The reason I recently saw Battle Beast live in Bristol was because the Finnish six-piece recently released their seventh studio album Steelbound - their first since 2022's Circus of Doom (which I reviewed here). It is the band's fourth album with their current line-up, meaning that it is also their fourth since former guitarist and principle songwriter Anton Kabanen left the band in 2015. As such, the current Battle Beast era has now eclipsed the original era in terms of releases - with the band likely viewing Steelbound as their fourth album as they have essentially left their first three albums behind. For me, too, Steelbound feels like the album where everything has truly come together for the current incarnation of the band. For my money, they roared out of the gate in 2017 with Bringer of Pain (which I reviewed here), which is a top quality power metal album, but somewhat struggled with their identity on the two follow-ups. 2019's No More Hollywood Endings (which I reviewed here) felt like a band at a crossroads. They had essentially carried on from the Kabanen-era sound, albeit somewhat smoother, with Bringer of Pain - but No More Hollywood Endings toned down the overall heaviness quite a bit and attempted to lead with a poppier, more AOR-tinged sound. Battle Beast have always had AOR-esque moments, but No More Hollywood Endings felt a little limp - although I saw the band on its subsequent tour where the songs sounded much chunkier. Circus of Doom moved things back in a heavier direction - but it never felt like a fully assured album despite it containing some strong songs. Three years on, though, and it seems that Battle Beast have decided on the sort of band that they want to be - and that is essentially the band that they always were, and relaunched themselves as on Bringer of Pain. That is, for clarity, a crunchy, riffy power metal band with strong 1980s influences - focused on the soaring and powerful vocals of frontwoman Noora Louhimo. It is interesting, too, that the songwriting of bassist Eero Sipilä dominates this new album. He wrote songs for the previous three albums, but was largely a secondary songwriter - with the Björkroth brothers dominating. They still wrote a few songs here, but Sipilä has the highest number of credits this time - and if his input has helped the band to refocus their sound somewhat then I am all for his increased involvement going forward. The result is that Steelbound is easily the band's best album since Bringer of Pain - and it may, in time, eclipse the 2017 effort.

Most of the songs here are extremely memorable, and I heard all but two of them at the recent concert. It is clear, then, that the band feel strongly that this a high-quality release - and it did not take many listens for these songs to really sink in. Funnily enough, the album's opening song, The Burning Within, was one of the two songs not played on the recent tour. Generally opening songs are played live, but for whatever reason the band decided against doing so - which is a bit strange given its overall power. The main opening riff and synth patterns, aside from the shredded guitar solo section, sound quite similar to Nightwish's Dark Chest of Wonders, though, which may have played a part - but intro aside the song does not share any other similarities with Battle Beast's fellow Finns. The snappy riff sounds quite dry, but it is quite energetic - and the verses feel hooky, with Louhimo singing in a somewhat gritty manner whilst synth stabs add additional interest. There is a decent amount of chug to these relatively mid-paced verses, then, whilst the chorus speeds things up - with more of a powerful vocal, some double bass drumming, and a bigger synth pattern. The chorus is easy on the ear, and is the first of many really hooky moments here - whilst a smooth guitar solo carries on the more melodic tones, focusing on melody over speed. Here We Are opens with some summery synths, whilst a sweet guitar lead slowly fades in - and the sugary sound harks back somewhat to the softer side of No More Hollywood Endings. Despite the similarities, though, this song feels weightier. It helps that there is a bit of a disco groove added to the band's usual AOR flirtations - which is extremely evident during the verses. Drummer Pyry Vikki adds a metallic grounding behind some synthesised beats, whilst the keyboard playing of Janne Björkroth is very present - creating the main melodies. Driving basslines and Louhimo's smooth vocals bring the song to life, whilst the guitars feel a little more restrained. They do add some weight to the background, and do break into riff at times, but this is a much more beat-driven song - with no big guitar solo. The disco edge elevates the song from the sometimes limp sounds which were on No More Hollywood Endings - and the hooks overall feel stronger, too. The album's title track follows. With a name like Steelbound, I would have expected a fast-paced power metal anthem - but instead the track is one which channels some AOR-esque tendencies. The later chorus is tougher and much more power metal in nature, especially given the shredded guitar motif which heralds its arrival, but the verses feature piano melodies throughout, Louhimo's relatively smooth delivery, and some shuffling, groovy guitar riffs. The mix of styles works well, and these expansive verses really add a cinematic edge to the album. The harder-hitting chorus remains welcome, though, with expressive synth stabs and some grittier vocals. A lengthy guitar solo section adds a lot, too, with some smooth, legato runs alongside some shredding - before a strange bridge section sees some almost nu-metal tough-guy vocals from the whole band. This mix of sounds shows that the band are feeling confident at the moment - and the variety is welcome.

Moving to a much more cinematic and dramatic sound, Twilight Cabaret mines a somewhat vaudeville vibe - whilst Janne's keyboard playing drives everything. It builds on the groovy and expansive sound of songs like Russian Roulette but arguably adds a somewhat more progressive edge thanks to the complexity of some of the keyboard melodies and the interplay between Janne's old-school piano playing, the strings, and the shuffling guitar riffs. Like Here We Are, there are also some disco-esque elements here. Synth-driven beats fill the song, the regular drumming appropriately weighty, whilst the bass playing of Sipilä adds a funky edge. Despite all of this bombast, the song still feels tough. The guitars throughout add weight, whilst the chorus is a real mid-paced power metal winner with some powerful vocal melodies and plenty of pleasing melodrama. There is even a percussive break which includes what sounds like a mix of African and steel drums - which adds another twist to the track. Returning to something a bit more traditional in terms of power metal, Last Goodbye is a much more guitar-driven piece. Despite some synths opening things up - once the chugging riffs of Joona Björkroth and Juuso Soinio kick in the song feels heavier. Janne's synths generally sit more in the background this time. They do pop in at appropriate moments, but the programmed grooves and piano flourishes of the previous handful of songs are absent this time - with verses instead driven by heavier guitars and plenty of furious drum fills from Vikki. It is nice to hear the band let their hair down a bit here and present something much more metallic. It is still a very hooky song, with a smooth chorus which does see the keyboards kick back in for effect, but it shows that they do not need all of the tricks to craft a hooky song - and sometimes a faster-paced power metal track which sticks quite rigidly to a well-worn script is sufficient. The Long Road, which is a mid-album instrumental, follows. The band used it as their intro tape live - and then played a more band-orientated version of it as part of the encore. It is very much a symphonic piece, with stirring string arrangements and distant percussion - which gets louder and more dramatic as it moves on. It does act nicely as a mid-album break - although, given that this is a short album, one was not really needed. It does feel like quite an epic intro for Blood of Heroes which follows, though, which could well be my favourite song on the album. Blood of Heroes is the most Sabaton-esque song not written by Sabaton - and the epic, mid-paced power metal anthem ups the heaviness and drama quite considerably. The first verse is quite slow-burning, but elsewhere the guitar riffing and synth overtones feel huge - and there is certainly plenty of crunch here which reminds me of Sabaton. Louhimo is one of the most powerful singers in metal when she really goes for it - and this song sees her kicking things to the next level. She sounds great during the verses, but it is the chorus which sees her at her best - where she pushes herself to the limit with some gritty, screamed moments and plenty of character. A folky instrumental section later injects a bit of Thin Lizzy thanks to some big guitar and flute melodies - whilst the guitar solo which follows is also very melodic.

From the heaviest track to the most AOR-inspired, Angel of Midnight feels like another song which perfects the sound that the band were trying on No More Hollywood Endings. There are huge melodies here, alongside some choice synth flourishes and timeless harmonies, but the AOR vibes are boosted by a weightier overall presentation. The guitars still feel quite present despite the synths dominating - and the production throughout the song just feels bigger and more spacious than the flatter sound of No More Hollywood Endings. Again, too, minor disco elements are included to add some extra juice - whilst the guitar solo is right out of the 1980s thanks to the flashy shredded melodies utilised throughout. I am glad that the band managed to get this sound to work properly on this album - and the mix of it with some excellent power metal tracks is a big reason why this seventh release is such a winner. The album's penultimate number is Riders of the Storm, the only other song apart from the opening cut that was not played live on the tour. It is another mix of big power metal and disco - with the former winning out overall. There is plenty of riffing during the song's intro, whilst the pre-chorus and chorus sections are weighty thanks to the band's guitar presence. Parts of the verses are very synth-heavy, though. The bass playing is quite funky again, which creates a strong groove, whilst synth melodies and occasional guitar leads fill the song. One of the busiest guitar solos is also included, before a fun bridge section which essentially features the chorus melodies played on the piano. It is a decent chorus, but is a sea of really strong choruses perhaps it does feel a little weak. The song is probably my least favourite here, aside from the short instrumental piece, for that reason - as it is, overall, the least interesting of the proper songs on the album. The album then comes to a close with Watch the Sky Fall, a heavier piece which returns to a much more guitar-driven sound. The opening riff and shredded guitar motifs are high-octane and hark back to the band's heavier days - although the verses are once again somewhat stripped back to allow for pulsing basslines, synth flourishes, and some of the album's punchiest drumming to shine through. There is enough big guitar riffing elsewhere, though, to ensure that the song remains pretty weighty - and there are short lead breaks throughout, showcasing that this was one of the tracks here written by Joona. This is later expanded on with a lengthy guitar solo section which is easily the longest and most high-octane of the album. This is very much a song for guitarists, then, but it helps that there is another massive chorus here which worms its way in. The song was not a favourite at first, but it has grown on me quite a bit - and it ends the album with a bang thanks to this last big chorus and the greater focus on guitar firepower. As I mentioned earlier in this piece, I feel that Steelbound is easily the band's best album since Bringer of Pain. It is a melodic, confident, and upbeat album that really solidifies the core Battle Beast sound and could really be by no-one else. It may not be as heavy overall as some would like, but there remains plenty of weight and riffing here - whilst the choruses are some of the best and easiest on the ear of this year's power metal efforts. It is great to see the band sounding so vital - and I hope that this trend continues going forward.

The album was released on 17th October 2025 via Nuclear Blast Records. Below is the band's promotional video for Twilight Cabaret.

Sabaton's 'Legends' - Album Review

I think that it is fair to say that I am currently going through a big power metal phase. I recently enjoyed gigs from Sonata Arctica, Helloween, and Battle Beast - whilst Helloween's latest album Giants & Monsters (which I reviewed here) is likely to feature in my Albums of the Year list in due course. I have also started to delve into the catalogues of power metal bands that I had previously ignored, such as Elvenking and Bloodbound, and it has been great to reintegrate myself with the genre - whilst studiously avoiding the gimmicky and rote bands that somewhat drove me away in the first place. Whilst Helloween may be the most prestigious power metal band in the world - I think that it is fair to say that Sweden's Sabaton are currently the most popular. I first came across the band properly when I saw them on tour with DragonForce back in 2009 - but I did not start paying attention until a few years later when 2012's Carolus Rex was out. I saw the band in Wolverhampton on that tour and have been a big fan ever since. As such, I have seen them live a few more times since, ranging from the tiny Hub in Plymouth to the prestigious Wembley Arena in London, and have gone through many phases where I listened to their albums regularly. Over the past couple of years, though, I have barely given the band a thought. My general move away from power metal to an extent likely fuelled this in part, but I also felt that 2022's The War to End All Wars (which I reviewed here) was one of their weakest albums - and likely their weakest aside from 2007's Metalizer, which was actually recorded in 2002 before they truly got going. Sabaton certainly have a core sound, which over the years they have stuck to pretty rigidly, and The War to End All Wars, to me anyway, just felt like a rehashing of what had come before. There remain some strong songs on the album, but overall it fell flat for me. Releasing two albums in a row about World War I, following 2019's The Great War (which I reviewed here), likely did not help, either, as The War to End All Wars just felt like a poor man's version of the previous album. There are metal fans who are less kind to Sabaton, and consider that most of their more recent albums are poor - but I never took that view. With the exception of The War to End All Wars, the band's other more recent albums are some of my most-played in their catalogue - and I do like the Sabaton core sound even if they perhaps do stick too rigidly to a core formula at times and are prone to moments of self-plagiarism. I saw the band in London in 2023, too, and it fell over a weekend which was straddled by some trouble close to home - so I certainly did not enjoy it as much as I would have otherwise done. As such, since that show, I have not listened to Sabaton much at all - but when their eleventh album Legends dropped last month I was ready to jump back on board the Sabaton train. The album coming out during my general reappreciation of power metal helped, but Sabaton generally remained a favourite even when I was less interested in the genre - and, despite an unsure first listen, Legends has already surpassed The War to End All Wars and sits nicely with the few albums that preceded it. A varying, loose theme of songs around 'legendary' military figures helps the band to move away from World War I - and, as such, there is more variety here. It helps, too, that Legends just feels a bit heavier overall. The synths and big choruses are still here, of course, but the guitars feel a little meaner this time around - and there is quite a bit of energy throughout, which keeps me coming back. It is also the band's first album since 2016's The Last Stand (which I reviewed here) to feature guitarist Thobbe Englund as a full-time band member - who returned to the band last year following Tommy Johansson's departure.

The rest of the line-up has now been in place since 2013 - meaning that there has been a fair bit of stability since the big split of 2012 which saw much of the original line-up leave. This stability has further helped to solidify the Sabaton core sound - which is very much on show during opening cut Templars. Opening with dramatic choral vocals, it is not long before a mid-paced drum groove and guitar riff kick in - with the heavy, mid-paced track creating a hypnotic feel from the off. The riffing feels chunky, harking back to Sabaton's heavier moments, whilst parts of the verses feel a bit more stripped back to allow Pär Sundström's bass playing to dominate - whilst the synths provide a cold depth and some counter-melodies, particularly during the Accept-like, rhythmic chorus. Frontman Joakim Brodén sounds as good as ever here. His verses vocals feel smooth, the storytelling lyrics as evoking as ever, whilst the chorus, backed by the aforementioned choir, feels punchy - with subtle gang vocals and some big drum hits creating a powerful, fists-in-the-air vibe. Chris Rörland's later guitar solo is full of melody, too, as he pulls back from the band's usual shredded approach to instead deliver something fluid to fit the song's tone. Upping the pace, Hordes of Khan showcases the slightly thrashy edge which Sabaton occasionally employ. Clearly Sabaton have never been a thrash band, but their guitar tones and relentless double bass drumming at times can create an edge - and this is one of those fast-paced power metal anthems which has such. The main riff is heavy, although a guitar lead is placed over the top to create some melody - whilst the verses again sometimes see the riffing drop away to leave Brodén alone against a bass and drum backing. Even these parts of the verse still feel urgent, though, as the pace never lets up - and when the guitars kick back in the song only feels more powerful. The chorus builds on such, and the pace means that it is one of the hookiest and most hard-driving here. It is up there with Sabaton choruses of the past - and the pace is sure to make the song a winner live. Both guitarists get a chance to solo here, too, and the dual shredded approach has been key to Sabaton's sound over the years. Going for a more dramatic and theatrical sound, A Tiger Among Dragons immediately goes for something a bit more expansive. Drummer Hannes Van Dahl lays down a slow-burning and percussive drum groove to open things up - over which occasional guitar and synth stabs create some early drama. These interjections are the only heaviness early on, though, as the song is a slow-burner - with Brodén singing over this groove and an added bassline as the first verse gets going. The song slowly builds, cinematically, towards its chorus, which utilises the stabs from the opening to create a bombastic and powerful moment with plenty more gang vocals and and some symphonic touches. It is another chorus which is very easy to sing along with, meaning that the track will likely be another live favourite, whilst elsewhere there is some more variety thanks to a faster riff which kicks in later to create a potent bridge section - alongside another busy guitar solo. Ensuring that a more dramatic sound is kept up with, Crossing the Rubicon returns to a more mid-paced sound, similar to how the album opened, but the bombast of the previous song is retained - with more big synths and an infectious mid-paced groove. Sabaton have always done these mid-paced songs well, and Van Dahl's drumming often adds an edge. He rarely just lays down a basic beat, with his subtle twists allowing the band's songs to have a subtle groove. This is the case here, with even the fist-pumping chorus feeling a little different from the norm due to some shuffling hi-hat work. As is typical of Sabaton's core sound, the verses are a bit more stripped back, but guitar leads are used to keep the interest up - and the chorus explodes from this base with symphonic synths and Brodén's gritty vocals. The final chorus sees a classic 1980s key change employed - a welcome trick

Returning more to a more typical mid-paced sound, with less of the bombast of the previous track, I, Emperor is much weightier thanks to a stronger guitar presence and less synths overall. The synths are still there, adding a bed to the smoother verses, but generally this feels like a much riffier song - with a big riff opening things up and subtle guitar melodies throughout the verses. There is plenty of crunch here as a result, then, and the influence that bands like Accept had on Sabaton can be heard throughout the stomping grooves of the chorus and the gruffer vocal performance that Brodén adopts here. The chorus is another hooky one, but it is not one that stood out immediately. It is a chorus that does feel a little clunky melody-wise at times, but over repeated listens it has stuck - and the weighty song has gone up in my estimations as a result. Maid of Steel ups the pace again, with the track returning to that thrash-adjacent sound that Sabaton do well at times. Keeping up the heaviness of the previous track, too, the synths are once again largely relegated to a supporting role. They make their presence felt during the hooky chorus, adding some colour, but the song's main intro and verses are just pure guitar power. The fast-paced riffing of Rörland and Englund really helps the song tick, whilst the fast footwork of Van Dahl allows that old-school thrash/speed metal sound to fester. It is fitting, too, that this fast-paced, guitar-heavy song allows both guitarists to shred. The section, which follows more of a mid-paced bridge with chunky riffing and anthemic vocals, is high-octane and fit for a heavy power metal band like Sabaton. Impaler slows the pace down somewhat, going for a hard-hitting, mid-paced sound - with Eastern-tinged guitar melodies which, very briefly, evoke Ritchie Blackmore. Sabaton have done songs with Eastern melodies before, but the main guitar leads here very much showcase that sound - whilst synth swells further fuel this vibe. The bigger use of synths and choral vocals here, particularly during the foot-stomping chorus, make this song feel less tough than the previous two - and the cinematic side of the band is more on show here. The verses feel varied and deep, with piano melodies coming through at times, whilst the sparser arrangement allows the vocals to shine - before choral vocals and the aforementioned guitar melodies fill the somewhat off-kilter chorus. Rörland's guitar solo is another which reins in the pace somewhat to instead deliver something more melodic - which is fitting given the more precise approach to guitar leads utilised elsewhere during the song. Moving on to the next song, Lightning at the Gates, it is time for a moment of negativity. Sabaton often get accused of self-plagiarism, and this is certainly a downside of sticking very rigidly to a core sound, but this is something that many bands are guilty of. As such, I do not point out when a brief passage sounds familiar to something else - but with Lightning at the Gates the similarity of the song to Hearts of Iron cannot be ignored. The two songs are almost identical - from the bombastic melodies during the synth-heavy chorus to the verses which have a strangely emotive quality for Sabaton. I do not like to be negative, especially as I do like this album a lot and it feels like a bit of a return to form following the lacklustre previous effort - but Lightning at the Gates showcases the band's lazy side. They must have realised how similar the two songs are - and Lightning at the Gates should have never made it past demo stage as a result.

Thankfully, this is the only real low point on the album, as The Duelist returns to the higher quality which generally fills the rest of the album. The mid-paced song is another guitar-heavy track - with a hypnotic and hooky main guitar riff which drives the song throughout, sitting in the background of the verses as Brodén's gritty vocals do their thing. Even the chorus, which feels a bit more bombastic thanks to a slight upping of the pace and some stabbing guitar patterns, keeps the synths to a minimum - which allows the song to sound heavier as it otherwise would. I like how the band have utilised such a bit more on this album. The synths add a lot when they are used well, but they can sometimes overpower the guitars. The decision to pull back on the synths a little here ensures that the album feels a bit heavier - and The Duelist is a song which very much benefits from that approach, with some of the snappiest and ever-present riffing on the album. The Cycle of Songs is another more cinematic and bombastic piece - and it was put together by Brodén and Jonas Kjellgren (Dellamorte; Carnal Forge; Centinex; Scar Symmetry; Ironmaster; Nekrodawn), who has worked behind the scenes with Sabaton in an engineering and mixing capacity for years at this point. Kjellgren also plays the song's guitar solo - but despite the outside help here the song is very much classic Sabaton. It is similar to I, Emperor in pace and groove - but the overall feel is much grander thanks to a big synth presence and a symphonic edge. The chorus explodes thanks to the pulsing synths and the massive choral vocals used throughout - whilst clean guitar melodies during the verses, alongside an ever-present synth bed, also help the song to feel a little different. The riffing and overall bombast is very typical of Sabaton, though, and the chorus immediately feels familiar thanks to the band's trademark rhythmic approach. Kjellgren's solo is perhaps a little different from the norm, though, his prog metal background on show during a melodic passage which is suitably cinematic. Sabaton do this bigger sound well, and The Cycle of Songs is the latest mini-epic to showcase it. The album then comes to a close with a upbeat Till Seger - which is sung in Swedish. Sabaton have done songs in Swedish before, but the musical hooks here ensure that even non-Swedish speakers can get into it. The chorus is one of the most upbeat and feel-good moments on the album. There is a real bounce to the chorus, with synths and a hooky guitar lead backing Brodén's gruff vocals - whilst Englund's guitar solo has a slight folky edge to some of the melodies to fit in nicely with the overall melodic nature of the song. There are some folky synth melodies which follow the solo, too, and the song cannot help but raise the mood as the album comes to a close. It is also notable as it is the first 'proper' song which Van Dahl is credited with co-writing. He co-wrote a slightly jokey bonus track in the past - but this song shows his creative side as a member of the band, with his up-tempo grooves a big part of why the driving song ends the album on a folky and bouncy high. Legends does not really do anything different for Sabaton's core sound, but some strong songwriting and a slightly heavier overall approach make the album an engaging listen. I hoped that they would come back strong from the weaker previous effort - and they have done so quite significantly. It is an album which is up there with The Last Stand as a very enjoyable and moreish recent Sabaton effort - with a number of songs which are destined for the stage. Sometimes that is enough, and I am pleased to be back on the Sabaton train with this album.

The album was released on 17th October 2025 via Better Noise Music. Below is the band's promotional video for Hordes of Khan.

Saxon - Bristol Review

After a couple of relatively slower weeks, which still included a couple of local shows and a trip to London, things are starting to pick up again from a gigging perspective. Last night in Bristol and a local show next weekend kickstart this next glut, but the following two long weekend periods contain three gigs each - with trips to Cardiff, Nottingham, and Bristol coming up, as well as another local night out. In fairness, with the exception of a trip to Wolverhampton just before Christmas, these two very busy weekends will essentially see 2025 come to a close as a gigging year - and, up to now, it has been another excellent one. Whilst I have ticket yet more bands off the list throughout the year, and have seen some spectacles, last night in Bristol I went to see an old faithful. Whilst there are some bands that I am happy to see once, or perhaps every few years, some bands I will try and catch on every tour. The NWOBHM band Saxon are one such act, and over the years I have seen them live quite a few times. I first saw them live in Falmouth back in 2011 - and since then I have seen them many more times all over the UK. Despite seeing the band regularly over the years, my last Saxon headline show came back in 2022 when I saw them at the excellent De Montfort Hall in Leicester. I did see the band last year, too, opening for Judas Priest - but the set was shorter than typical for Saxon - so when this latest headline tour was announced I picked up a ticket straight away. Bristol made the most sense given its proximity to home - and the refurbished Beacon is a great place to see bands live. Like the De Montfort Hall, too, it is one of those classic theatre-like venues that bands have been playing for years. Nearly every hard rock and metal tour in the 1970s and 1980s hit the Colston Hall as it was then and, unlike many of its contemporaries like the De Montfort Hall, it seems to remain a popular choice - especially since it reopened following a lengthy refurbishment. I hope the trend continues, as it has become a favourite venue of mine over the past year or so - and when classic acts like Saxon roll through it turns the clock back to the height of the NWOBHM movement when massive UK tours were the norm. This was especially the case last night, as Saxon's current UK tour is celebrating the 45th anniversary of their second, and most famous, album Wheels of Steel - one of two albums the band released in 1980. Considering how seminal Wheels of Steel is, many of its songs had not been featured in the band's setlists for years until this tour. Looking back at the Saxon shows I have been to, only the title track and 747 (Strangers in the Night) were played at every show - with Motorcycle Man also a regular inclusion. That meant that the other six songs from the nine-track album were new to me live. This is likely because Saxon have always been great at heavily featuring their latest album in their setlists, alongside shaking things up generally apart from a handful of staples. Even the big 40th anniversary show I saw in London, also in 2022, only featured the same three cuts despite the setlist largely focusing on 1980s classics. This current tour similarly focused on classics - a rarity for the band. With only three recent cuts in the setlists, this was very much a set for the old-school fan - so it should not have surprised anyone that the Beacon was packed out throughout with a loud crowd who were ready to relive their NWOBHM-era youth.

Wheels of Steel was not the only classic album that the crowd would hear in full, though, as opening the show was former Accept frontman Udo Dirkschneider and his band - who are currently celebrating the 40th anniversary of Accept's legendary fifth album Balls to the Wall. The fact that Balls to the Wall was actually released in 1983, making 2025 its 42nd anniversary should probably be overlooked - as getting an opportunity to hear such a statement album live in full is not something that comes around every day. With no backdrop or any kind of pomp, when the lights went down Dee Dammers (guitar/vocals) took to the stage - immediately launching into the mid-paced groovy riff of the album's title track. It must feel strange for Udo to open a show with a song which is generally reserved for the end - but the crowd was onside from the off as a result. With classic era Accept bassist Peter Baltes in tow, too, the presentation of the full album felt authentic - whilst the younger Dammers, Alen Brentini (guitar/vocals), and Udo's son Sven Dirkschneider (drums/vocals) formed a tight band around the two elder statesmen. Afforded around an hour, Udo and his band had plenty of time to play with - and their set included the full Balls to the Wall album alongside one other Accept favourite. The sound was pretty good from the off, even if Udo himself was a little low in the mix at times - but it was clear that his voice remains strong. His trademark rasp and occasional higher-pitched utterances sounded as good as ever - whilst the many excellent riffs of the album were served up nicely by Dammers and Brentini. Baltes' bass playing and songwriting was always key to Accept's success - and the opening of the grooving London Leatherboys showcased why. As was the case during the opening number, the second song's chorus was packed full of gang vocals from the band - which the crowd also helped out with. There were clearly plenty in attendance familiar with the album - and there was a strong atmosphere throughout Udo's set as a result. As is the case with Wheels of Steel, too, many of the songs on Balls to the Wall have not been regularly played live. As such, it was fun hearing more faster-paced tracks like Fight It Back - whilst Udo called Losing More Than You've Ever Had one of his favourites from the album. He seemed to be having a great time up on stage with his band - even acting as a support on this tour. Accept were never the biggest band here in the UK, hence their and Udo's limited trips here in recent years, but it was clear in the room that there was plenty of love for the music. Perhaps Udo will be persuaded to bring his solo band back for a tour of the UK in the not too distant future - and hearing anthems such as Turn Me On and the snappy Losers and Winners is always going to get the die-hards out for the evening. The format showcased that Accept's sound was always more diverse than perhaps it is often seen as being. The album's closing track Winter Dreams is a fairly delicate ballad which differed from the rollocking riffing found elsewhere - and it acted as a powerful penultimate number, with Udo delivering an emotive vocal and Dammers slowing down his usually speedy soloing style. The rest of the band, save for Sven, then briefly stepped off the stage - and the drummer led the crowd through a rendition of a familiar folk number, which of course led into the set's finale Fast as a Shark. There was plenty more singing from the crowd during this number - and around an hour on stage came to an end in a powerful manner. The setlist was (N.B. all of the songs below are Accept songs):

Balls to the Wall

London Leatherboys

Fight It Back

Head Over Heels

Losing More Than You've Ever Had

Love Child

Turn Me On

Losers and Winners

Guardian of the Night

Winter Dreams

Fast as a Shark

Around half an hour later, the lights went down again and the curtain which had been covering the stage dropped to reveal Saxon - who launched into the muscular Hell, Fire and Damnation right away. I have never been disappointed by Saxon live, and yesterday's show was no different. From the off, the band sounded powerful and as fired up as ever. Frontman Biff Byford was a little low in the mix early on, but this changed as the set progressed. Given his on-going cancer battle, he looked and sounded as good as ever. His voice retains the power of his youth, albeit with more grit now - whilst the rest of the band were as tight and high-octane as ever. I am not sure that I will ever quite get used to see Brian Tatler (guitar) on stage with Saxon, but he has formed a great guitar duo with fellow guitarist Doug Scarratt over the past couple of years - and the classic Saxon guitar sound remains very much intact with Tatler. The main set was split into two, with the first half containing a few newer songs alongside some classics - with Wheels of Steel following. Early on, then, the crowd were treated to plenty of big favourites. There were not too many surprises here - with anthems like Power and the Glory and Never Surrender sitting nicely alongside the thrashy newer number Sacrifice and the still brand-new Madame Guillotine, a creeping number led by Nibbs Carter (bass guitar/vocals). Perhaps the only slight curveball early on was the inclusion of Backs to the Wall from the band's 1979 debut album - largely in tribute to the band's first big tour with Motörhead which brought them to many cities, including Bristol, for the first time. Saxon crowds never let newer numbers dampen their enthusiasm, either, which is great. Sacrifice has been regularly played over the years, so was greeted like an old friend, but even Madame Guillotine kept the energy levels high - despite its creeping, classic rock-esque strut. Anyone needed a kick, though, would soon receive one in the form of Heavy Metal Thunder, which saw headbanging all around the venue - before the first part of the set came to a close with the somewhat more epic Dallas 1pm. Saxon often excel at mini-epics like this, with the song's subject matter and subtle bluesy vibes keeping a groove going. There was no break between the two halves of the set, but Byford spoke to the crowd briefly about the importance of Wheels of Steel - before the sound of motorcycles heralded the speedy Motorcycle Man. The first half of the set had been powerful, but Wheels of Steel in full took things to the never level. Many of the deeper cuts really shone, such as the boogie blues of Stand Up and Be Counted, but it was the evergreen classics 747 (Strangers in the Night) and the title track which got the crowd going the most - with both featuring sing-a-longs conducted by Byford. There was a danger that side two of the album could see the energy levels dropping, but that did not happen. A huge drum barrage from Nigel Glockler introduced the snappy and short Freeway Mad, whilst See the Light Shining felt like the precursor to those mini-epics I was talking about - which later albums would expand on. Byford rarely stopped to speak to the crowd during this portion of the night - but he did introduce a few songs in case anyone was not already familiar with the album. This seemed unnecessary, though, as everyone seemed onboard - with even the smoother Suzie Hold On not seeing a drop in energy levels, despite the song very much being the odd one out on the album. The raucous speed metal of Machine Gun saw the main set come to a fast-paced close, though, and the Bristol crowd could be heard chanting the band's name as they left the stage. A four-song encore followed, with four more classics making an appearance. Denim and Leather and the ode to Donington And the Bands Played On were both lapped up by the crowd, before some pulsing bass injected more bluesiness into the set via Strong Arm of the Law. The evening then came to a close with Princess of the Night, which kicked up the energy levels one last time - with the set overall being another triumph. The setlist was:

The Prophecy

Hell, Fire and Damnation

Power and the Glory

Sacrifice

Backs to the Wall

Never Surrender

Madame Guillotine

Heavy Metal Thunder

Dallas 1pm

Motorcycle Man

Stand Up and Be Counted

747 (Strangers in the Night)
Wheels of Steel

Freeway Mad

See the Light Shining

Street Fighting Gang

Suzie Hold On

Machine Gun

-

Denim and Leather

And the Bands Played On

Strong Arm of the Law

Princess of the Night

As I said earlier in this piece, Saxon never disappoint live. Whether playing a shorter set opening for a bigger band, supporting a new album with a setlist that reflects newer material, or playing tribute to a classic album from their past, the band always seem to get the memo. Their power never seems to waver, and they do not seem to be slowing up either. A new album is being worked on, which is likely due out next year, so that means that there is likely another Saxon tour due at some point in the near future - and I will certainly be there to witness what will be Saxon show number 10 for me.

Hollow Souls' 'Hollow Souls' - EP Review

It always feels strange to review an EP on this blog - as the format just does not seem to be that popular anymore. I likely only cover four or five EPs each year - but in this era of streaming and drip-feeding the public new singles on a more regular basis, perhaps the shortform album format serves little purpose in 2025. It is a shame, really, as I have always enjoyed a good EP. A well-structured EP can be just as important to a band's catalogue as a full-length album - and some bands, such as Queensrÿche and Helloween, got their careers underway with genre-defining EPs. The EP that I am covering today is unlikely to make as much of a mark as either of those self-titled efforts did back in the 1980s - but the debut self-titled six-track EP from new blues rock act Hollow Souls is certainly an extremely enjoyable release. Hollow Souls is the latest project from Torquay-based singer, guitarist, and songwriter Kris Barras - who has been making a name for himself as part of his self-titled band since dropping his debut album Lucky 13 back in 2016. Starting out as a blues rock artist, Barras' sound has become heavier and more modern in tone in recent years. His first three albums largely stuck to a bluesy hard rock feel - but both 2022's Death Valley Paradise (which I reviewed here) and 2024's Halo Effect (which I also reviewed here) saw Barras and his slimmed-down band move in a more post-grunge and even an alternative metal direction. There are still hints of the blues here and there, but Barras' recent albums fit more within the current British rock scene - which has become very influenced by the American radio rocks acts of the 2000s and 2010s. Barras has certainly become more popular as a result of this sound shift, and he is now pretty well-known across the UK alongside making some inroads in the rest of Europe, whilst leaving his more bluesy roots behind. Clearly still wanting to dabble in the blues, though, earlier this year he announced that he was forming a new band, Hollow Souls, which would allow him to do so. He wants his solo band to continue down their current road - but he said that Hollow Souls would allow him to return to his first love, as well as showcase some songs he had written which did not suit his current sound. Joining him on this venture are fellow solo band member, songwriter, and producer Josiah Manning, handling guitars and keyboards, alongside frontwoman Phoebe Jane - who contributed to a some of Barras' older albums as a backing singer. This trio are the core of the band - with Barras and Manning writing the songs and Jane singing them. Barras sings occasionally, too, and there are three guest singers featured on the EP - but Jane is, officially at least, the main voice. Backing this core trio is bassist Leighton Allen and drummer Joe Harris throughout - whilst four of the six songs feature guests, with one guitarist and the aforementioned singers lending their talents. I think that Barras also wanted to work with some different people and some other friends from the industry here, too, and it seems to be a project built around having a good time and exploring old sounds. I am writing this review off the back of seeing the band live at the weekend - and the show exemplified this vibe, with a setlist the covered the entire EP, older songs from Barras' canon, and some great blues/R&B covers that allowed the band to have plenty of fun.

This EP certainly is a lot of fun, but if I was to have a criticism of it it would be the overuse of guest singers. Half of the songs have guest singers - and Jane only duets with one of them. Throw in the one song that Barras sings and she only prominently sings two and a half of the songs here - which somewhat undermines her presence. I would have rather Jane dominated the EP vocally, with Barras supporting her - and I hope that if Hollow Souls ever release anything else that she is pushed to the fore a lot more. The opening song Borderline shows why, as the bluesy, southern rock-esque piece demonstrates her soulful power perfectly. American blues guitarist Jared James Nichols adds some additional lead guitar and soloing to the piece, but vocally the song is all Jane. The opening percussive chorus soon gives way to a strutting main guitar riff - over which bluesy guitar leads are laid. Given that both Barras and Nichols cut loose here, guitar leads fill the whole song. There is a lot going on here from a guitar perspective, with each of Jane's vocal lines seemingly punctuated by some flashy guitar playing. The song is packed full of character, then, but the vocals are still able to be hooky - whilst the strut and groove from the rhythm gives the song its attitude. Later renditions of the chorus are much fuller than the foot-stomping opening rendition - but each iteration feels memorable. It is easy to sing along with, and the soulful groove that it conjures up is representative of the core Hollow Souls sound as a whole. Bad Things, which follows, feels a bit tougher - but the same southern-esque strut remains throughout. Chris Tapp (The Cold Stares) handles the vocals during the verses, whilst Jane sings during the intro and the chorus. The duet approach works well in this case, but I still wish that Jane was more prominent throughout the EP. Still, Tapp's deeper vocal approach does work nicely during snappy verses which feel a bit more reined in compared to the previous song. There is a lot less guitar firepower this time, with a slinking guitar line and the groove of the rhythm section largely all that backs Tapp's voice - before the chorus explodes with a wall of Hammond organ and Janes' expressive vocals. The chorus is a good mix of smooth, soulful melodies and anthemic, punchy moments - whilst Barras' later guitar solo is pretty high-octane and full of shredded leads. I Need the Fire is a hard rocking track, but its retro vibe and prominent organ parts mean that it would not easily sit on one of Barras' more recent solo albums. It also the final song here to feature Jane singing lead vocals. She unleashes her power over the top of a barrelling verse which is built around a busy guitar and keyboard unison melody. Grooves are conjured up yet again during these fast-paced verses - whilst the chorus feels a little more cinematic overall despite a faster pace still being maintained. Manning utilises his Hammond a lot throughout this song to add a retro edge and plenty of growl - whilst the guitar riffing from Barras is old-school and groovy, which extends to another busy guitar solo. I am not sure that there is such a thing as too much Hammond organ, so hearing it so prominently here was always going to please me - and the song is an overall highlight thanks to its pace and power.

Burn It to the Ground features the British blues/roots rock singer Elles Bailey throughout - who also co-wrote the tune. She has a less overtly powerful voice than Jane, but she has a great blues grit to her delivery - which comes out during the chorus in particular. The song feels a bit more down and dirty as a result of her throatier and rawer delivery - with Barras utilising a lot of slide guitar throughout. The guitar and bass tones throughout are pretty fuzzy, too, whilst the keyboards this time feel a bit more gritty and all-enveloping. There is a retro roots rock feel to the piece, then, but Bailey delivers a strong and heartfelt vocal - with the chorus really popping. The verses are a bit more low key and percussive - but once she cuts loose during the chorus and the slide melodies really kick in the song reaches a new level. The heaviest song here is Shotgun, which is not too far removed from the sound that Barras deals in regularly these days. Jon Harvey (Monster Truck) sings throughout, and his tough, gritty vocal suits the riffy and slightly metallic, at times, piece. Despite this heaviness, the production and the groove of the rhythm section does help to set the song apart from Barras' core sound. There is definitely a southern drawl and groove throughout - whilst some growling Hammond during the chorus also ensures that the song moves away from the modern hard rock sound of Barras' recent albums. Jane adds plenty of vocals to the chorus, too, harmonising well with Harvey and adding some counter-melodies at times. The song is a powerful hard rocker, but I really feel that Jane would have done it justice. The EP then comes to a close with the soaring ballad Chasing Ghosts - the only song here that Barras sings. Despite wanting to hear more from Jane throughout this EP, I would not change this song's vocal arrangement. It was made for Barras to sing - and he has since said that it is one of his favourite songs that he has written to date. The poignant ballad is made for his emotive voice - and Barras has always written excellent ballads throughout his career. This one harks back to some of his older ballads - with a sombre piano backing alongside some atmospheric organ constantly adding depth. A mixture of electric and acoustic guitars shake things up, too, but it is Barras' excellent vocal display which really helps the song to be an overall highlight. Jane adds powerful harmonies during the chorus, which are welcome, but this is Barras' showcase - and it is fitting that he also delivers a fantastic guitar solo later on in the piece, following a bridge section that builds around Manning's piano melodies. It is easily the best guitar solo here - and the epic ballad is one of Barras' best to date, so it brings the EP to an emotive and atmospheric close. At this stage it is unclear what the future holds for Hollow Souls. Their debut tour is now done and, one last minute festival slot aside, there are no more public plans for the band. Barras is about to record his next solo album so he will likely be promoting that next year - but a recent social media post suggests that Hollow Souls will be back at some point. I hope that they are able to co-exist with Barras' growing solo career - as the two outlets provide different things. I hope, then, that this strong EP is a taste of what is to come rather than a one-off.

The self-released EP was released on 10th October 2025. Below is the band's promotional video for Borderline.

Hollow Souls - Tavistock Review

It seems to be a rule now that I will see the Torquay-based singer, guitarist, and songwriter Kris Barras live at least once a year. Despite having heard of him beforehand, it was not until 2021 that I was properly exposed to his music - when I saw the Kris Barras Band opening for Black Stone Cherry in Exeter. I pretty much became a fan that night - and since then I have seen him live a further five times, as well as enjoying both of the albums he has dropped since then. He has become a favourite due to his mix of blues and modern hard rock, his strong, often heartfelt songwriting, and his fun lives shows which mix raw hard rock power and his dry sense of humour. Last year was a big one for Barras, as he released his latest album Halo Effect (which I reviewed here) and undertook plenty of touring, both here in the UK and abroad, to promote it. I last saw him live in Exeter last December - and his 2025 has been somewhat quieter, despite a few gigs earlier in the year. Until recently, that is, as last night he finished his latest lengthy UK tour - but it was his first with his new blues rock project Hollow Souls. The Hollow Souls tour was announced earlier in the year - and last month the band released a six-track EP, which I be reviewing here soon. Barras' solo albums have gotten heavier over the years, and he has largely left the blues behind. Hollow Souls, then, is his way of getting back to his roots somewhat whilst allowing his solo career to maintain its current trajectory - as well as to work with different musicians. That being said, though, his right-hand man in Hollow Souls is Josiah Manning (guitar/keyboards/vocals) who is also his right-hand man in his solo band - but the main difference between the Kris Barras Band and Hollow Souls is the inclusion of frontwoman Phoebe Jane. Barras said that he largely wanted to focus on being a guitar player in Hollow Souls - so Jane acts as the project's main singer. Barras still sings occasionally, but this is very much Jane's vehicle from a vocal perspective - even if Barras and Manning are responsible for the songwriting. These three musicians are the core of the Hollow Souls, then, dominating the newly-released EP and they have been the focal points throughout the tour. Whilst Barras has quite a big reputation here in the UK now, I still wondered if booking a 20-date UK tour for a new project with little material of their own was a wise move. In fairness, all of the PR has made sure to note that this is a new project from Barras - but names do not always sell new bands. I would imagine that the band were a bit worried, too, but they need not have been it seems - as since the tour kicked off last month the reviews have been excellent. All over the country it seems that people have been checking out Hollow Souls live and enjoying the EP - and last night the tour came to an end in Tavistock. Barras generally either starts or ends a tour in the South West - with Torquay, Exeter, and Tavistock regular haunts of his. Despite the nasty weather, then, Tavistock's Wharf was packed out last night. A few may have stayed away due to the rain, but the hall was full from the off - which was the case with Barras last played there back in 2023. When I first got to the venue, though, the main hall had not opened - so due to the weather everyone was crammed in the bar area. Usually people sit outside, but given the pouring rain that was not on the cards - and there was a bit of a cheer when the venue's doors opened.

Kicking off the show, though, was blues guitarist Troy Redfern - who supported Hollow Souls throughout their tour. I first came across Redfern back in 2022 when he opened for The Quireboys - and I also saw him twice the following year opening for Dare. I remember enjoying his set with The Quireboys quite a bit - but since then I have never enjoyed him as much. Redfern's style and way of presenting his music has gotten more primal each time I have seen him - and the more primal the blues the less likely I am to like it. The first time I saw him he played with a full band and alternated between more traditional blues guitar playing and slide-heavy resonator guitar playing. The times with Dare he essentially stuck to the latter, and was only joined by a drummer - and this time he took that sound further by being accompanied by a drummer who only had a snare, a floor tom, and one cymbal. I am not sure that Redfern's sound could get any more primal whilst still remaining an electric rock experience. Redfern is a decent singer and a very talented guitar player, especially when using a slide, but I just find the way he chooses to present his music now difficult. I used to be known as someone who did not like the blues, which is no longer the case, but I still struggle with blues that sounds like it could have been recorded in the 1930s or 1940s. That is essentially the sound that Redfern goes for now, albeit a more rocked up version, and it is all just a bit lumped and caveman-esque for me. When you are so limited in terms of a guitar style and drum set-up, too, the songs inevitably all follow a pattern. There are only so many times I can hear a groovy, fuzzy slide lick being played over a floor tom-led beat before everything merges into one - and after a handful of Redfern's songs last night that certainly happened. The large Tavistock crowd warmed to Redfern somewhat, though, and there was a decent atmosphere during his set. Towards the end he managed to get a bit of a sing-a-long going, too. Despite my views on his increasing wish to make his music sound more old-fashioned, Redfern remains a talent - just one likely not for me. He did not outstay his welcome, though, and he warmed the crowd up nicely for what was to come.

When the lights went down later in the evening, some more old-school blues could be heard over the PA - before Manning took to the stage with Paddy Blight (bass guitar/vocals) and Chris Tilke (drums), a different rhythm section to the one that is on the EP. Manning then set the tone with some melodic, bluesy guitar playing - before Barras and Jane took to the stage, kicking off with Borderline from the EP. The bluesy, southern rock piece kicked the set off nicely. Jane's voice was immediately powerful, whilst Barras and Manning harmonised well with her. Despite sometimes taking a backseat in the set, Barras still shone as guitar player. His lengthy, bluesy solos were as good as ever - and Borderline was full of them. Manning likely played more keyboards than guitar overall - but his riffing was tight, too, and when Tilke started the iconic drum intro to Led Zeppelin's Rock and Roll the place went wild and the rollocking anthem was belted out by Jane. Setlist-wise, the show covered a lot of ground. All six of the EP's songs were played, alongside four songs from Barras' canon, and five covers. All but one of the Barras songs played were older cuts from his bluesier days - and I get the impression that the covers were ones that they had all played numerous times before in various bands. Barras had in fact done Rock and Roll at that Tavistock gig in 2023 - but other early covers included a slinky version of the old R&B classic I Don't Need No Doctor, which was surprisingly not rocked up in line with the Humble Pie version, and Jane delivering a soulful take on the blues standard Rock Me Baby - which also included a lengthy Hammond organ solo from Manning. Whilst the covers were a lot of fun, though, it was the original material which propelled the set. The six songs from the EP are all excellent, and vary from blues to hard rock. Songs like Shotgun, which Barras sang, are not too far away from Barras' current sound - but the duet Bad Things felt more soulful, despite a strong southern rock feel at times. Barras and the band proved that the blues could still rock pretty hard, and there were plenty of big riffs and shredded solos throughout, but there were also more reflective moments, too. One such moment was the smooth Tearing Me Apart from Barras' first solo album - which Jane actually sung originally. It felt right for the song to be pulled from the vaults, then, and Jane sang the bluesy ballad with ease whilst Barras added delicate melodies. She also took to the lead on Propane, another oldie, and turned it into more of an R&B-esque tune. The slightly changed arrangement worked well - and it transitioned nicely into the blues standard Stormy Monday which contained a sultry vocal and smouldering power. Sadly, though, the quieter moments of the song were ruined by some extremely loud people shouting some really quite obnoxious things at each other (they were not even arguing, just discussing extremely personal stuff that others did not need to hear extremely loudly) - which even the band seemed to notice. Thankfully they seemed to calm down after a while - but those around me felt a bit on edge for a while. The next couple songs were louder, though, with the soulful blues of Burn It to the Ground and the anthemic I Need the Fire again bringing the best out of Jane. The EP's last track, Chasing Ghosts, was also a highlight - with Barras singing the soaring ballad against a backing of electric piano, before delivering another big solo. There was not too much time left by this point, but a swampy blues take on Barras' My Parade conjured up quite a big sing-a-long, before the main set came to an end with Hail Mary - with Manning adding organ to it as he once did. There was time for one more, though, and the band came back out, with Redfern in tow, to deliver a jammed version of the blues standard Going Down, with Barras and Redfern trading guitar solos. It was a powerful end to a great set - and the crowd certainly made their feelings felt as the band left the stage. The setlist was:

Borderline

Rock and Roll [Led Zeppelin cover]

Bad Things

I Don't Need No Doctor [Ray Charles cover]

Tearing Me Apart [Kris Barras solo material]

Rock Me Baby [B.B. King cover]

Shotgun

Propane [Kris Barras solo material]

Stormy Monday [T-Bone Walker cover]

Burn It to the Ground
I Need the Fire

Chasing Ghosts

My Parade [Kris Barras solo material]

Hail Mary [Kris Barras solo material]

-

Going Down [Moloch cover w/ Troy Redfern]

It is unclear at this stage whether Hollow Souls intends to be a going concern or not. Barras said that he will be recording his next solo album in December - and he will also be on the road early next year opening for Smith/Kotzen. I would imagine headline shows to follow once the new album drops, too. Hollow Souls will likely go away for a while as a result - but I do hope that Barras returns to this blues project again one day, as it allows him to showcase a different side to his playing and in Jane the band have a great singer.

Testament's 'Para Bellum' - Album Review

Whilst many of the metal subgenres of the 1980s are now full of veteran acts that seem to have nothing to say, with the glam/hair metal scene being a key example, the thrash scene remains vital. Many newer thrash acts have taken the genre in different directions over the years but, crucially, most of the original big names are still active and creative. Metallica's last album is still fairly new, whilst Megadeth's next, albeit final, album is due out in January. Anthrax are working on something new and Kerry King picked up last year where Slayer left off with a strong debut solo release. Exodus are also working on something new, Overkill have never really taken their foot off the pedal when it comes to new albums, and when it comes to the German scene Kreator are also releasing a new album next year. These old hands have never really slowed down at all, with each and every band now having a lengthy discography - and another long-standing classic thrash act which falls into this category is Testament. The band formed back in 1983 and released their classic debut album The Legacy in 1987 - and ever since then they have remained one of the most consistent and potent thrash acts, getting heavier as they get older. I saw them live at the 2022 iteration of Bloodstock Open Air and they put some of the newer bands on the bill to shame with their power - whilst their recent run of albums is up there with Kreator's as being the best in the current thrash landscape. Before last month, though, it had been five years since Testament's last album Titans of Creation (which I reviewed here). Released during the early months of the pandemic, Titans of Creation became one of the heavier albums that I regularly returned to during that period. When I needed something fresh and angry during those long days alone it was Testament I often reached for - and seeing some of those songs performed live a couple of years later was certainly cathartic. It could well be the band's best album of recent times, alongside 2012's Dark Roots of Earth, and I have been looking forward to what would come next. Talk of the next Testament album had been abound for quite a while - but the band underwent some uncertain periods drummer-wise in recent years, as a returning Dave Lombardo replaced long-time drummer Gene Hoglan in 2022 only to leave again the following year. I got the impression at the time that Lombardo's reluctance to commit to Testament again was a frustration for the band - so they instead went out and found someone new. Chris Dovas (Seven Spires) has been the band's drummer for the past couple of years, then, having come onboard in 2023 - meaning that Testament's latest album, Para Bellum, released last month, is his first with the band. Para Bellum is the first album since 2008's The Formation of Damnation to not feature Hoglan, then, but the rest of the long-standing previous line-up return from Titans of Creation. Dovas, an intricate drummer with a prog background, has been credited by the rest of the band with giving Para Bellum its edge - and it is likely the band's heaviest album overall for quite some time. Testament have flirted with extreme metal trappings on and off for years, especially on 1997's Demonic and also on Titans of Creation to an extent, but Para Bellum doubles down on those influences at times - with guitarist and principal songwriter Eric Peterson embracing his love of black metal; whilst frontman Chuck Billy unleashes some pretty ferocious death-adjacent growls at times.

Lead guitarist Alex Skolnick and bassist Steve Di Giorgio round out the line-up here - meaning that there are three classic-era members and one long-time member present here alongside new face Dovas. One of the heaviest songs here actually kicks things off, with the black metal-inspired For the Love of Pain being a ferocious way to kickstart a thrash record. Peterson's opening riff is as chunky as ever, presenting a slightly faster than mid-paced groove early on - although Dovas' drumming beneath this riff gives a faster overall impression. Testament have often been at the chunkier and groovier end of thrash, and there are riffs here that certainly give that impression - but there are also more traditional thrash patterns and blast beats here to up the pace. Billy's vocals here feel really heavy. His growls are generally death metal-esque in tone, whilst still containing plenty of his usual grit, whilst Peterson adds a lot of black metal-esque screams in the background. There are occasional moments where he takes the lead, too, with fast-paced black metal moments adding some discordant leads and riffs to the track, but generally he sings in the background to spookily harmonise with Billy. The song feels a little unsettling at times as a result, then, but the transitions between the typical thrashier sections and the black metal moments work well. There is a lack of big lead guitar or solo moments during the song, but clean guitar melodies often add depth between the scraping black metal riffing - whilst it is the vocal diversity that gives the song its melody and variety, despite a handful of more melodic guitar moments mixed into the background. In some ways, the song might be the most 'different' here, so opening with it seems a little strange - but its pace and power works well to kick things off. Lead single Infanticide A.I. is perhaps more typical of the core Testament sound. Peterson lays down an early solo over some percussive drumming from Dovas - but once the verse kicks in that long-standing Testament sound is very much front and centre. There are some extreme metal-adjacent riffs, too, such as a tremolo pattern which later forms part of the chorus, but the verse is very much thrash 101 - albeit with the chunkiness which Testament are known for. Billy sings in his more typical, more melodic manner here - and his voice has lost none of its power over the years. He powers over the riffing, although in the chorus he does add some of his death growls occasionally to accent the otherwise more melodic vocals used elsewhere. The chorus is a hooky one, and it sticks in the brain from the off. I can see the song working well live as a result - and Skolnick later throws in his first solo on the album, which is busy and varied given his love of jazz. Reining in the pace of the opening couple of numbers, Shadow People is another classic-sounding Testament song. Whilst Infanticide A.I. was perhaps at the fastest end of the band's core sound, Shadow People sits in that sweet spot between thrash and groove that Testament have always done so well. Metallica's influence on Testament can always be heard through songs like this, and the chunky riffing of Peterson whips up plenty of powerful headbanging grooves here - whilst Dovas' drumming is a bit more straight forward this time, despite some busier pre-chorus moments and some extended double bass trickery during a later bridge section that feels haunting thanks to clean guitar melodies and Billy's semi-whispered vocals. Skolnick's soloing is once again busy, and the backing to his shredded leads is maybe the most chaotic musically the song gets. It certainly feels more hectic than anything else here - with chunky riffing which characterises the rest of the song soon kicking back in.

Meant to Be slows things down further as it is the album's sole ballad. Whilst the album was being put together, the band announced that Nightwish's Floor Jansen was going to contribute to a ballad on it - but then later said that she dropped out when the news was made public before she had agreed to do it. The whole situation seemed quite strange, as that does not seem like something to get all that upset about - but then again Jansen did do an interview being quite critical of Nightwish's last album just before it came out, so she does seem to be in quite a caustic mood of late. Regardless, Meant to Be works well as it is without her - and as far as thrash ballads goes it ticks a lot of classic boxes. Again, the Metallica influence can be heard throughout. In fact, the verses here really do feel like a mash-up of Fade to Black and Nothing Else Matters, almost to the point of parody, but Billy's melodic vocals still manage to sell the song - whilst the repeated use of dual lead guitar melodies throughout does help to shake things up. Acoustic guitar and strings add depth at times, especially during the verses, and the song's length is increased with some acoustic-led bridge sections and an epic guitar solo from Skolnick which moves away from his usual shredded style to lay down something suitably emotional and bluesy. High Noon gets back to a more typical sound for the band. Opening with Billy's voice alone, the track then gets underway as chunky thrash track - with Billy largely utilising the growlier end of his voice. Peterson adds some of his black metal shrieks to this song too, but they are generally mixed into the background to act as harmonies. There are fewer black metal traits here this time, though, aside from the vocals - but there are some heavier moments that feel death metal-influenced, thanks to some really intense drumming, discordant guitar riffs and leads, and the mix of extreme vocal styles. The guitar solo section, which sees Peterson and Skolnick trading licks, is backed by some juddering death metal riffing and drumming - whilst a Peterson-led screamed section repeats a couple of times to feel like an additional chorus. Despite this, though, the song feels quite anthemic overall - and there are certain bits which Billy really sells that would go down well live. Witch Hunt ups the pace again, moving away from the chunky thrash of the previous song to a much heavier thrash sound which sounds much more death metal-influenced. Billy's vocal melodies are too fast-paced to be truly growled, but he sounds menacing throughout - whilst Peterson again adds some harmony screams during a few more intense moments. Whilst the song is still very much a thrash track, it just feels heavier overall. The drumming is much more extreme metal inspired overall, with Dovas never sitting still at all, whilst blast beat-led sections later on once again inject some black metal vibes which are backed by subtle strings. It is strange, then, that the guitar solo section feels more laid back - with both Skolnick and Peterson taking a more cinematic approach. Nature of the Beast has a bit more of an old-school feel. The main riff feels like something from the NWOBHM era, so there is a bit more of a classic rock strut throughout - which is aided by Billy moving away from his more extreme metal vocal style and instead going for something much more melodic. Dovas' drumming at times feels busier than the rest of the song, but the mix of vibes works well, but generally the song just feels like a bit more of a melodic antidote to some of the more intense songs found elsewhere. Billy can do melodic vocals well when he wants too, and a groovy chorus is later on easy on the ear thanks to some smoother vocal melodies - whilst occasional harmony guitar melodies also add to this vibe. The song does stick out a bit as a result on this heavy album, but the change is a welcome one overall.

Room 117 was a song which, when first listening to the album, stood out quite a lot to me. Since then it has been overtaken by other songs which I think are better - but as far as a simple, hookier thrash piece goes Room 117 is a strong addition to the album. There are shades of the previous song here, too, given Billy's more melodic vocal approach, but the riffing is much more typical mid-paced Testament in style so the song feels heavier overall. There are plenty of grooves here thanks to the more mid-paced approach and the more reined in drumming utilised this time - whilst a hooky chorus which does see Billy growling a little at times is one which easily gets stuck in the brain. Skolnick's guitar solo is another great one, too, as its starts slower before exploding into something more shredded and thrashy and Dovas lays into his double bass drums. Sometimes the simpler songs stand out for a reason - and despite all the more intense songs here there is still room for something groovy and catchy. Havana Syndrome returns to a somewhat more complex sound following two more straight ahead pieces. The song is very much a classic thrash piece at its core, but Dovas' drumming throughout adds a slightly progressive flair. Whilst Hoglan might have been more intense in his straight ahead thrash grooves during his time with Testament, I like the flair that Dovas adds to this album. His prog background is apparent in some of his drum patterns - and this song in particular feels busier and more interesting as a result of his playing. The riffing and overall vibe is very much classic Testament and classic chunky thrash, but the drumming elevates it further - and the song has been a grower since I first heard the album. A hooky chorus helps, too, though, thanks to some harmony guitar leads that sit beneath Billy's Metallica-esque vocal melodies - whilst Skolnick's guitar solo is packed full of memorable hooks. The album then comes to a close with the title track - which is a bit more lengthy than most of the other songs here, aside from Meant to Be, at six and a half minutes. It opens with quite a lengthy instrumental section which is built around some Skolnick leads and soloing - and, in fact, the song in general is packed full of soloing. No sooner is the first verse over and Peterson is already adding some more screaming leads - and each lead-based section feels nicely stretched out to allow for the soloing to really take hold. The overall feel of the song is quite epic, then, and this is expanded upon later with some shout-along chorus sections which see Billy using his gruff vocals to create an anthemic feel which differs from the more cinematic approach taken elsewhere as a result of the lengthy soloing. Despite the song feeling a bit more stretched out to allow for this extra soloing, it does not overstay its welcome. The solo sections help to break up the overall flow of the song nicely, and the returning chorus is welcome to inject some anthemic vibes back in. Overall, though, the song is very much classic Testament - just allowed to flow a bit more than usual. It ends the album on a high as a result, with both Peterson and Skolnick impressing form a guitar perspective - before a quiet, clean-guitar led outro sees the album fade out proper. Classical-inspired melodies are utilised here and they work well - with the lengthy title track coming together nicely. Overall, then, Para Bellum is another very strong album from Testament. There are plenty of big hooks throughout and the focus on some heavier sounds at times works well. Testament excel when injecting some more extreme metal vibes in my opinion and this album works as well as it does as a result. Testament are a band that just do not seem to know how to slow down - and they continue to go from strength to strength in a genre that still feels vital.

The album was released on 10th October 2025 via Nuclear Blast Records. Below is the band's promotional video for Infanticide A.I.