Opeth - London Review

The Swedish progressive metal veterans Opeth might not be a band that I listen to all that regularly, but when I am in the mood to hear their organic and retro take on the genre there is nothing else that will do. I am not sure exactly when I first started to listen to Opeth, but it would have been around the time of 2008's Watershed, the band's ninth album. I remember picking the album up on a bit of a whim, having regularly read that they were one of the key more modern prog bands to check out, and I enjoyed the album from the off without really getting drawn into the band's world. In truth, I am not sure that I will ever truly be a die-hard fan of the five-piece, but over the years since first getting Watershed I have collected all of the rest of their albums and seen them live three times - although two of those were at festivals. That being said, though, my opinion of the band continues to improve. Each listen to one of their dense and complex albums reveals something new, so I see them as something of an on-going project - which is often fruitful and enjoyable. They are a great live band, too, as I discovered at the inaugural High Voltage Festival back in 2010 and again at the 2015 iteration of Bloodstock Open Air - and I finally got to see them on their terms in 2016 when I headed up to London to catch them at Wembley Arena for what turned out to be a lengthy evening. I was not actually supposed to go to the show, as I had tickets to see Glenn Hughes on the same night - but when his tour was cancelled I opted to see Opeth instead, and the show was excellent, if not somewhat overwhelming. At that point I was not as familiar with Opeth's material as I am now, and they played a special set that included a few deep cuts - so a lot of it went over my head despite enjoying the spectacle and the musicianship. Since then I have revisited the world of Opeth fairly often - and I have been enjoying their work more than ever, particularly their last couple of albums. I missed their UK shows in 2019, so when in 2020 they announced that they were going to be undertaking a 30th anniversary tour, which included a show at London's Eventim Apollo, I decided to pick up a ticket. The 2021 show ended up getting postponed due to the COVID-19 pandemic, but it finally rolled around last night - so yesterday I headed back up to London to catch the band live for the fourth time. Given that Wembley Arena was not exactly full back in 2016, and the room had been configured in such a way so that it was about a third of its usual size, I did wonder if the Apollo was a bit ambitious for the band. Opeth are popular, but they do not generally play venues of such a size - so I was pleased when I got to the venue to see a huge queue. I had opted for a seat in the Circle, as I wanted to appreciate the complex music in comfort, and when I got into the venue I found that I had been allocated a seat that was on the same row as the one where I sat when I recently saw Marillion at the same venue. The seat afforded a good view of the stage - and I took my position ready for the show to start.

Before Opeth's set, though, the growing crowd was treated to a high-octane and off-kilter set from the Canadian thrash/progressive metal act Voivod. I have been familiar in Voivod in name only for years, so when I saw that they were going to be part of this tour I thought it would be a good opportunity to check them out. I did not really know what to expect, apart from that their sound is a bit 'out there', but I enjoyed the band's time on stage. They are often termed a thrash act, but not much of what they played yesterday sounded all that thrashy - instead the songs were weighty, groove-orientated, and quite mechanical - with the strange vocals of frontman Denis 'Snake' Bélanger sitting atop the cacophony. There were hints of thrash at times when the band picked up the pace, but there were also hints of punk, plenty of prog, and also a sound similar to some of the more modern tech metal acts like Tool. I know little of Voivod's history, but I would not be surprised to learn if much of that modern scene can be traced back to Voivod's strange sound - but many of the songs played were still memorable despite the band's overall approach. Some of the songs went over my head somewhat, especially the first handful of numbers played, but the more that the set progressed the more I found myself enjoying it. I am not sure if the latter few songs were more melodic, or whether I was just getting used to Voivod's sound, but the second half of the set definitely stood out more for me. Whilst Bélanger is a great, understated frontman, the standout player for me was Daniel 'Chewy' Mongrain (guitar/vocals). Given the band's progressive sound, and the simple make-up of the band instrumentalist-wise, the amount that was coming from Mongrain's guitar was impressive. His riffing throughout was extremely busy, but there was still a hooky side to his playing - and the few solos and lead lines that he played when taking a break from riffing showcased a more typical overall sound. Bélanger, despite having a strange voice, still had a melodic side to his voice, too. Some of the songs that were played towards the end of the set showcased this - with a track like The Prow including a big chorus that seemed to excite the crowd. It was clear that there were a few Voivod fans in attendance, too, as the band were greeted warmly throughout. Considering that the band tend to play venues like the Camden Underworld when they visit London, the large surrounds of the Apollo would have likely been new to them - but their sound filled the room, and when they brought their set to a close with a demented cover of Pink Floyd's Astronomy Domine the crowd certainly showed their appreciation. It was great finally getting to check Voivod out, and I enjoyed much of what they had to offer - so I will need to give them a proper listen in the future.

About half an hour following Voivod's set, the lights went down and Opeth took to the stage - launching immediately into the heavy, yet densely organic, Ghost of Perdition. Given that this current tour celebrates the band's 30th anniversary, Opeth made sure to cover all of their history in one evening. A special 13-song set, with one track from each of their studio albums, was put together with the help of a vote by the fanbase - meaning that setlist ended up being a good mix of real fan-favourites and a few long-requested deeper cuts. The setlist was perhaps safer than some real hardcore fans would have wanted to hear, but for me it was pretty much perfect. The songs played all flowed nicely together, too, and showcased all of the band's many sides perfectly - from the crushingly heavy to the most laid back. Ghost of Perdition is a song that really showcases Opeth's diversity, so it was a perfect way to kick the night off. The snaking riffing of Mikael Åkerfeldt (vocals/guitar) and Fredrik Åkesson (guitar/vocals) drove the song from off - and the few slower, more melodic sections allowed for brief moments of respite. The set was structured in such a way that there was a good balance of light and shade, too. There was perhaps slightly more of a focus on Åkerfeldt's clean vocals than his growls, but there was still plenty of heaviness throughout. Demon of the Fall, up next, was crushingly heavy - and the gothic track really brought the best out of new drummer Waltteri Väyrynen, who already seems to be at home in the band. His pummelling double bass patterns drove the piece, and it was one of the heaviest moments of the night. The band then moved into more psychedelic territory with Eternal Rains Will Come, which was one of my overall highlights of the night. The opening track from 2014's Pale Communion kicked off with some great guitar and keyboard interplay, but the 1970s-esque folk vocal harmonies are what really stood out for me - and the soaring guitar solo from Åkesson then took things to the next level. This break from the heaviness was short lived, though, as the band then turned the clock right back to the beginning for a rare outing of Under the Weeping Moon. The raw, extreme metal of the piece certainly made a strong impact - and the added keyboards from Joakim Svalberg added new layers to the song. I like how the band have expanded their older songs with new keyboard arrangements and they all sound better for them - but it was perhaps the next song that contained some of the set's best keyboard playing. This is because Windowpane was up next, a song drenched in mellotron which Svalberg nailed - whilst Åkerfeldt sung the song with real emotion, and laid down a number of guitar leads and solos with ease.

Harvest then had a similar vibe, although the track is much more folky in its delivery - with very memorable vocal hooks that the crowd latched onto. I should note at this point that the crowd were in fine voice and spirit throughout, and the atmosphere was excellent as a result. Each song was greeted as warmly as the last - but perhaps the biggest cheer was reserved to the mammoth Black Rose Immortal. The song from 1996's Morningrise had never been played live until this tour, and it has long been requested by the fans. At over 20 minutes in length, though, I can understand the band's previous reluctance to play it live - but this tour proved to be the perfect opportunity to do so, and even Åkerfeldt admitted to enjoying tackling it. The track generally stuck to the band's heavier side, but the intricacies of the riffing and some of the soloing throughout really impressed. It was great to hear the track live even thought it has never been a particular favourite of mine - and I am sure that it was a highlight for many. Another highlight for me, though, was what followed. Svalberg's piano intro heralded the arrival of the excellent Burden - a gorgeous rock ballad that always always impressed me. Like Windowpane, it was a real keyboard showcase. Following the initial piano melodies, Svalberg then focused on his Hammond organ - and the song was drenched in it, including a lengthy solo. It was great hearing him let rip on the organ, but the closing harmony guitar leads were just as good, too. By this point, the end was somewhat in sight - but there was still quite a bit more music to enjoy. The Moor returned to heavier territory, but it was the snarling hard rock of The Devil's Orchard that was my next standout cut. I have always been a big fan of the song, and it is one that always comes across well live. Again, the organic keyboard playing helped it to sound huge - whilst the melodic chorus really shone the spotlight on Åkerfeldt's excellent voice. The main set then came to a close with Allting Tar Slut, the last track on their most recent album. Personally I would have preferred it if the band had played the English version, All Things Will Pass, although I feel that I am probably in a minority there - but the dynamic and surprisingly weighty track proved to be a strong way to end the main set. There was not much time left at this point, so the band could not afford to mess around. A very brief step off the stage was stopped by the jazzy intro of the chunky Sorceress kicking in. Svalberg nailed the complex melodies, whilst the bass playing of Martín Méndez ensured that the piece was another highlight thanks to his grooves. The song has always been a favourite, so it was great to hear it live again, before one last burst of heaviness thanks to the ever-present Deliverance rounded out the evening in style. The heavy song allowed for one last round of headbanging - and there was even some moshing going on down in the Stalls. It was the perfect way to round out around two hours and 20 minutes of excellent prog - and I am sure that everyone went home happy, with Hammond organ ringing in their ears. The setlist was:

Ghost of Perdition

Demon of the Fall

Eternal Rains Will Come

Under the Weeping Moon

Windowpane

Harvest

Black Rose Immortal

Burden

The Moor

The Devil's Orchard

Allting Tar Slut

-

Sorceress

Deliverance

Given the setlist and the excellence of the band's performance, last night's show at the Apollo is easily my favourite of the four Opeth shows that I have now seen. I had a great vantage point to allow the music to really wash over me, and it helped that a number of my personal favourite songs were included in the set. Opeth are a band that continue to impress me, and I will definitely be making the effort to see them again in the future. Perhaps one day I will indeed be a die-hard fan, but until that point I will continue to be impressed by their creativity and retro sound.

Queensrÿche's 'Digital Noise Alliance' - Album Review

It is great when so many of your favourite bands release a new album in the same year. Every year is generally great for new music, but many of my real favourites have put out new releases in 2022 - and there is still one more big one to come for me, as Threshold are releasing a new album later this week. The subject of this piece, though, is the Seattle-based band Queensrÿche - who helped to pioneer the progressive metal genre when they formed back in 1982. I am not sure exactly when I first got into Queensrÿche, but it was likely in 2008 or 2009. I remember picking up a second hand copy of one of their compilation albums - and the rest, as they say, is history. The band's accessible, yet complex, songwriting instantly spoke to me; and before long I was citing 1988's sprawling concept album Operation: Mindcrime, the band's third full-length album, as my favourite album ever. If pushed to name my all-time favourite album now, I would likely still opt for Operation: Mindcrime - and the band are special to me for that reason. It has certainly not always been plain sailing for the band, as messy line-up changes and court battles can attest to, but the Queensrÿche of 2022 are now 10 years into their rebirth and second era - and they are perhaps sounding as good and as fired up as they ever have. Last month, the band released their sixteenth studio album Digital Noise Alliance - their fourth album since recruiting the excellent Todd La Torre as their frontman back in 2012. Whilst the band will probably never top their golden 1980s and early 1990s period, the albums that they have released since La Torre joined have all been excellent - and it has been great hearing Queensrÿche be Queensrÿche again after years in the wilderness experimenting and chasing trends. Digital Noise Alliance is the band's first album in three years, and it follows on nicely from 2019's The Verdict (which I reviewed here) - which appeared in my Top 10 Albums of 2019 list. The Verdict was a key release in the band's catalogue, as it was the first to openly not feature founding drummer Scott Rockenfield. I say 'openly' as it was revealed a few years after the fact that Rockenfield did not contribute to 2006's Operation: Mindcrime II, but The Verdict was the first Queensrÿche album released following Rockenfield's hiatus from the band which started in 2017. This hiatus has led to him leaving the band (or being fired) and another court battle looks to be looming - which I am sure is in the best interests of no-one involved. It is a shame that Rockenfield is no longer in the band, and I doubt that we will ever truly find out what happened, but they rolled on with La Torre handling the drums masterfully on The Verdict. Digital Noise Alliance, though, is the first Queensrÿche album to feature the talents of drummer Casey Grillo (Kamelot; Almah). Grillo has been touring with the band since 2017, but he is now an official member of Queensrÿche - and is even credited with co-writing two of the songs here. The album also sees the return of former guitarist Mike Stone, who last featured on 2007's covers album Take Cover, in place of Parker Lundgren - who left the band last year.

Whilst Stone did not contribute to the writing of the album, as I get the impression that a lot of the material here was written before he officially re-joined the band, the addition of Grillo alongside established songwriters La Torre, guitarist Michael Wilton, and bassist Eddie Jackson has allowed Digital Noise Alliance to take Queensrÿche off in a subtly different direction. Whilst the album is not massively different to The Verdict, or the two albums that preceded it, for me this latest Queensrÿche effort feels heavier overall - and there is lots of weight to the riffing here. Grillo is also a heavier drummer, and he is more fond of double bass patterns than Rockenfield. This is clear from the off, as the album opens with its lead single In Extremis - which is fast becoming a real favourite of mine. The song has an urgency to it, despite some swirling synths briefly setting a murky tone, and as soon as the first big guitar riff kicks in Grillo's fast footwork drives everything - with flurries of machine gun double bass playing. Queensrÿche have not morphed into a thrash act or anything like that, but there is perhaps a more aggressive edge throughout - which La Torre really leans into. His voice is naturally grittier than Geoff Tate's ever was, and this album plays to his strengths in a big way. The verses maintain that early urgency, which allows La Torre to spit out the vocals whilst guitar flourishes fill in the gaps. Subtle harmonies boost parts of his verse delivery, which creates something of a call-and-response feel at times - whilst the chorus then slows the pace somewhat and goes for a more cinematic and epic style, with walls of vocal harmonies and some synths courtesy of returning producer Chris 'Zeuss' Harris. A great guitar solo adds plenty of melody, and the clock is turned back to the 1980s as the song comes to a close with some great harmonies from Wilton and Stone. Chapters slows the pace, and goes for more of a traditional Queensrÿche sound - with expansive guitar arpeggios during the verses and some prominent bass playing from Jackson. Jackson is one of my favourite bass players in the prog metal genre, and this song is a good example why. His playing is busy, and arguably drives the song whilst the guitarists add colour and melody. More harmony guitar leads act as a throwback to the band's heyday, whilst La Torre showcases why he is the perfect fit for the band with a heartfelt chorus that is that perfect mix of expressive metal and melancholy prog that made Queensrÿche such a hit originally. Queensrÿche's best songs all have hints of murk to them, and Chapters captures that vibe perfectly. Lost in Sorrow is similar, but the overall tone throughout is somewhat cleaner - and there are definitely hints of 1990's Empire throughout. It is not as overtly commercial as much of that album's material, but songs like The Thin Line are brought to mind - with Jackson's bass again dominating whilst La Torre lays down a wistful vocal against ringing clean guitar chords. It is not as heavy as the album's opening two numbers, but the way the song builds towards the chorus is classic Queensrÿche - and the chorus is another cinematic moment with big vocal hooks and an emotional bent. The track has all the marks of a future classic, and it is one that stood out to me from the off.

Sicdeth then returns to the heavier vibes of the album's opening, and song also reminds me a little of the more aggressive sound that La Torre channelled on his excellent 2021 solo album Rejoice in the Suffering (which I reviewed here). It is not quite that heavy, but there is definitely an energy throughout Sicdeth that will get heads banging. Grillo's drumming is once again busy, with lots of double bass patterns and plenty of high-octane fills, whilst La Torre explores the gruffer side of his voice for some excellent rasping vocal lines. The song is not as hooky as some of the tracks here, but there is still plenty of melody throughout. Choruses elsewhere soar higher than Sicdeth's does, but the riffing throughout the track conjures up its own magic - and it is a great showcase for Grillo and what he brings to the current iteration of Queensrÿche. Behind the Walls, another of the album's singles, follows and it takes a more overtly progressive path. Considering the influence that Queensrÿche had on prog metal, they do not always stretch out that much - but Behind the Walls is a longer track that features a dynamic arrangement and some synths that bring to mind the sound channelled on 1986's Rage for Order. This song definitely has that strange sci-fi sound that the band's second album pioneered - but there is also a heaviness that only the modern band could have come up with. The riffing of Wilton and Stone throughout is busy, whilst the fat tones of Jackson's bass keep everything moving - locking in perfectly with Grillo's swinging grooves. La Torre makes use of the dynamic arrangement to explore his voice a little more, and his performance throughout is varied. Parts of the song are delivered very melodically, whereas the chorus showcases a more aggressive approach that ensures the simple melodies bury themselves into the brain. A great solo trade-off between Wilton and Stone adds some mid-song excitement, before the synth-heavy intro resurfaces - creating a dense bridge-like section before La Torre launches into the screeching chorus again with ease. Nocturnal Light also leans heavily into the band's more progressive side. It is not a long track, but its snaking and atypical arrangement allows it to stand out. Whilst La Torre and Wilton have probably contributed the most from a songwriting perspective since this current era got underway, Jackson is not far behind. He often collaborates with others, but he also writes songs alone - and Nocturnal Light is one of two such tunes here. His songs are always something slightly different from the norm - and it is perhaps from him that the progressive side of the band really comes from. There are big hooks here, such as during a powerful chorus, but in general the song is one that takes many twists and turns as it moves along. Jackson's bass dominates, unsurprisingly, but the guitar leads that intertwine with each other make a great sonic tapestry - whilst walls of synths add to the overall atmosphere. It is one of those songs that takes a few listens to truly appreciate, but like many of Jackson's solo compositions it stands tall thanks to its quirks and approach melody.

Out of the Black returns to something more typical for Queensrÿche, and the mix of heavy riffing and atmospheric guitar chords make for a song that covers all bases. At first, the song songs like it is going to be a hard-driving rocker - and there are moments that do follow this pattern, such as some NWOBHM-inspired riffing during parts of the verses - but the song is a really dynamic one considering that it is not particularly long. This is very much classic Queensrÿche, then, and lots of tricks that the band have used throughout their career are present here. The guitars add plenty of textures throughout, and a great harmony guitar solo again recalls the 1980s. The best part of the song for me, though, is its chorus. It is another that goes for a cinematic approach and La Torre's vocal delivery throughout is extremely heartfelt. He sings a little cleaner here, but this fits the overall mood of the song - and it is another song that has become a big favourite for me, with the little melodic twist at the end of the chorus getting me on every listen. The atmospheric side of the previous song is retained throughout Forest - which the album's ballad. Queensrÿche have had success with ballads in the past, but I am not sure that the La Torre version of the band has written one that sits alongside their best from the past. This is not a problem, as I prefer the band to operate at full-tilt anyway, but Forest may well be their best true ballad for quite some time. The song has a strong acoustic base, and it never really moves away from this - despite Grillo's percussive drumming adding plenty of interest. La Torre also explores a different side of his voice here, and his emotive performance is perfect for the acoustic-led track. Synths swirl around throughout the whole piece, too, and there is a real depth as a result. The chorus ties everything together, even if it does have a similar overall vocal arrangement to Silent Lucidity - arguably the band's most famous ballad. It works though, and Forest succeeds by paying tribute to the band's past - and the occasional burst of soaring lead guitar only ups its overall emotional pull. Realms is the second of Jackson's solo compositions, so it is unsurprising that it is another knotty track that does not always tread the expected path. Considering that a bassist wrote the song, there is a big reliance on guitar leads throughout - and the guitar playing throughout is both cutting and haunting, depending on the mood. The chorus for example, which features an excellent and multi-layered La Torre vocal, features some screaming guitar leads - whilst other parts of the song rely on textures and layers, with the synths again playing a big role. Realms is perhaps not as rhythmic and groovy as many of Jackson's songs, but his bass still plays a big role despite others perhaps shining a little brighter musically throughout.

Hold On ups the heaviness again, at least early on. The song is another classic Queensrÿche mix of light and shade, but the opening riffing is some of the heaviest and abrasive on the album - with some modern, discordant tones used briefly. This sound is something new for Queensrÿche, but it works well. It is used sparingly, though, which is perhaps wise - and much of the rest of the song stays close to familiar territory. The discordant riffing does resurface occasionally for effect, but the verses in general are more low key - with chiming clean guitar melodies and a more whimsical vocal performance. The choruses are heavier, though, and the song certainly picks up when they kick in. La Torre sings them in a manner more typical of his usual approach which gives them some bite - and this bite sticks around as the song moves forward. This is because the latter parts of the song are overall heavier and busier musically - and the closing instrumental sections is one of the album's most progressive moments. It features some great free-form drumming from Grillo, and the guitar playing throughout is busy and melodic. Queensrÿche rarely cut loose in such a manner, but it works well to close out the track - with the first half being more melodic to set up the slightly jazzy ending. The album then comes to a close with the lengthy Tormentum, another more overtly progressive piece that is cut from a similar cloth to Behind the Walls. It is heavier than Behind the Walls, though, which means that the album both opens and closes with hard-hitting tracks. The riffing is tough throughout, but there is a strong focus again on guitar leads. There are lots of little melodic twists throughout, and they compliment La Torre's urgent vocal delivery perfectly. The chorus doubles down on this hard-hitting vibe, too, with a call-and-response style used - allowing La Torre to lay down some heavy vocals which he then 'responds' to in a more traditional manner. This chorus is one that really gets under the skin after a few listens - but after a couple of iterations of it the song moves into a haunting spoken word section which then explodes into another busy instrumental workout. There are subtle jazz vibes again, especially with some of Grillo's drum fills, but on the whole the instrumental section is very prog metal in nature with a mix of chugging riffs and guitar back-and-forth between Wilton and Stone - including some excellent unison melodies. Following this lengthy instrumental section, a final vocal coda arrives, which has the feel of a triumphant closing monologue, before another guitar solo and a clean guitar-led encore bring the song, and the album, to a close. For me, there have been few bands that have experienced a creative renaissance quite like Queensrÿche. The band may only have two of its founding members left at this point, but the run of form that they are currently on is very impressive. With Digital Noise Alliance the band have added another excellent album to their recent legacy - and for me it is as good as everything that they have put out during the past decade. All of the songs here are memorable for one reason or another, and it is great to hear the band both at their heaviest and at their most progressive as the 11 songs here pass by.

The album was released on 7th October 2022 via Century Media Records. Below is the band's promotional video for In Extremis.

Freedom Call - London Review

Given that October was very busy for me gig-wise, it was actually nice to have a couple of weekends at home recently. Given the past couple of years, though, live music should never be taken for granted - and thankfully it is rare that there is not at least one gig in my near future. Following a quiet few weeks, then, it was with excitement that I headed up to London yesterday for another evening of live music - this time courtesy of the German power metal four-piece Freedom Call. I actually got into Freedom Call many years ago, when I found a copy of their third album, 2002's Eternity, at a local second hand CD market stall. I enjoyed it from the off, but it would be a while before I bought another one of their albums - and it is really only in the past month or so that I have actually completed my collection of their back catalogue. I guess I have always been a casual fan of the band, then, but they are an act that never fail to elicit a smile. They are not a band that take themselves too seriously, and their brand of power metal has always been very joyous and uplifting. They have been around since the late 1990s, too, so they can be considered a part of the big European metal boom of the 1990s that saw bands like HammerFall really set out their stall. As such, Freedom Call are very much part of that traditional sound and, despite not taking themselves too seriously, they have never been part of the overly gimmicky brand of upbeat power metal that has emerged in recent years - with its reliance on costumes and props. It was perhaps their extremely upbeat nature that made me only like rather than love them, though, but I have really been enjoying exploring their catalogue again in the run up to last night's gig. I had previously seen the band live once before, which was back in 2018. I remember picking up a few of their albums in the run up to that show, and enjoying them, but this time I wanted to go in with full knowledge of their catalogue. The last few weeks have been rather filled with upbeat power metal, then, so by the time yesterday rolled around I was very much ready to see the band again. The venue, as it was back in 2018, was The Underworld in Camden. The venue is very much the go-to London haunt for those European metal bands who can only really justify playing one UK show - so I have been there a lot over the years. It came as a surprise to me, then, that last night was my first trip to the venue this year - following three in quick succession in 2021. I have nothing planned at The Underworld for the rest of this year, either, so Freedom Call will be my one visit to the famed venue in 2022. Attendance-wise, then turnout was decent - and the venue was a bit fuller than I remember it being in 2018. It was not a sell out, but there was a healthy crowd gathered in the venue at all times - and everyone in attendance was up for a good time, which ensured that there was a strong atmosphere from the off.

Unlike some Underworld bills, which can be rather stacked, there was only one support act before Freedom Call took to the stage. It was left, then, to the Portsmouth-based five-piece Dendera to set the tone for the rest of the night, and the heavy metal act put on a stellar show that impressed the growing crowd. I remember seeing Dendera quite a few years ago now, and at the time I seem to recall thinking that they were quite sloppy and nothing special. A lot of time has passed since then, though, and last night's showing revealed that the band are a well-oiled machine with a number of hooky tracks. This was the case despite them having a stand-in drummer for the night, but the band stormed throughout a powerful set with ease that featured a lot of hard-hitting riffs from guitarists Steve Main and David Stanton, as well as some soaring chorus that brought the best out of frontman Ashley Edison. Since last seeing Dendera I had seen Edison a few times fronting Power Quest, so I was well aware of his abilities, but it was great hearing him tackle Dendera's heavier material. Some of the band's songs could be classed as power metal but in general Dendera just sound like good, old-fashioned heavy metal. There were a few modern twists, such as the occasional burst of harsh vocals from Main, but in general the songs were riff-driven, with lots of flashy solos and vocal hooks. Not being familiar with the band's material it is hard to pick out individual moments, but there were a couple of tracks that did stand out in particular. One of the hookiest songs of the set was The End of Days, which featured a great chorus, and another that stood out was the more epic Blood Red Skies - which was heavier and showcased the slight progressive edge to the band's sound that was present during some of the numbers. Given that the band have been around for a while now, too, there were quite a few in the crowd who were familiar with their songs. This meant that the band did not need to work to get the crowd going, and this helped the evening's atmosphere reach a high level early on. As such, I came away impressed by the band. I was not expecting too much given my memories of seeing them previously, but they have clearly upped their game significantly since then - and I will definitely need to give them a proper listen.

The changeover between the two bands was pretty quick, so it was not long before Freedom Call hit the stage. This is a show that had been rescheduled a couple of times due to the pandemic - and I think that it was supposed to take place in March 2020. I did not have tickets for it back then, as I think it clashed with something else, so it was good to have been able to pick up tickets along the way. It turned out to be a bit of a one-off show for the band, with much of their touring in 2022 having already happened. I am not sure how economical doing a random one-off UK show will have been for the band - but they seemed to have travelled light as I think that they were basically using all of Dendera's gear with the exception of their guitars. I am sure that this kept the costs down, and they would have been pleased to find a decent-sized and enthusiastic crowd to greet them. They opened the show with a couple of long-standing favourites. The anthemic Union of the Strong got things off to a fine start, but perhaps it was Tears of Babylon that really lit the fire under the evening. From the off, everyone in the crowd was jumping - and it was clear that Chris Bay (vocals/guitar) was not going to have to exert much effort in getting the crowd going. Every song was greeted as well as the next, and the set felt like one long party from start to finish. This show was also the band's first visit to the UK since releasing M.E.T.A.L. in 2019, so the album was given prominence in the set. Five songs from the band's latest offering were featured - which was great as in my opinion it is one of their strongest albums. The faster-paced Spirit of Daedalus was one of the newer ones that really got everyone going, and it also included a great solo from Lars Rettkowitz (guitar/vocals). Another early highlight, though, was a powerful rendition of the somewhat more symphonic Metal Invasion. The song is on the longer side for the band, and as such provided lots of opportunities for the crowd to sing along. More newer songs followed, though, including the anthemic M.E.T.A.L., which was stretched out to include some crowd participation, and my personal favourite cut from the last album The Ace of the Unicorn. This was another that featured a lot of singing thanks to its big chorus, before the grander Freedom Call was wheeled out. The self-titled song always goes down well live, and is a track that also features a lot more guitar firepower from Bay. Rettkowitz tends to handle the solos, but this one showcased Bay - which was great to see. By this point the main set was coming to a close, though. Following a brief, and altered, version of Leonard Cohen's Hallelujah, the band ended with a powerful rendition of Metal Is for Everyone - which unsurprisingly everyone sang along to before the band briefly left the stage. A three-song encore followed, which was packed with anthems. The mid-paced Warriors kicked it off, but it was the upbeat and highly-melodic Far Away and Land of Light that followed which the crowd really seemed to enjoy. The energy levels in the room shot up further here, and it was the perfect way to cap off what had been a great night of music. The setlist was:

Union of the Strong

Tears of Babylon

Spirit of Daedalus

Sail Away

Metal Invasion

M.E.T.A.L.

111 - The Number of the Angels

The Ace of the Unicorn

Freedom Call

Power & Glory

Hallelujah [Leonard Cohen cover]

Metal Is for Everyone

-

Warriors

Far Away

Land of Light

Given that Dendera also put on a great show, last night at The Underworld was very much worth the trip to London. I do not tend to get to that many power metal shows these days, so it is always nice to do so - and Freedom Call are one of those bands that always seem to be able create a strong atmosphere thanks to their feel-good music and charismatic stage presence. I would definitely make the effort to see them again, so I hope that they return to the UK in due course - perhaps following the release of their next album.

Lamb of God's 'Omens' - Album Review

When it comes to modern metal acts that have managed to gain some mainstream acceptance, Virginia's Lamb of God are one of the heaviest. Bands like Slipknot and Marilyn Manson somewhat broke into the mainstream back in the 1990s, but Lamb of God are probably the heaviest act to be genuinely big. If it was not for the over-the-shoulder attitude that books the same old festival headliners year after year, then Lamb of God would have likely headlined Download Festival here in the UK by now - and they would have deserved it. The band's mix of thrash metal, groove metal, and hardcore punk sets them apart from the pack - and Lamb of God are one of those bands which can generally be identified from within seconds of a song starting. The riffing of guitarists Mark Morton and Willie Adler is pretty distinct, whilst the throaty screams of frontman Randy Blythe deliver intelligent and thoughtful lyrics in a way perfect for the barrage of noise that he has to compete with. They are also a band which, for me at least, have been pretty consistent throughout their career. They have a signature sound at this point, but that is not to say that they have not deviated over the years. They have become less punky of late, although the influence still remains, and throughout the 2010s the band experimented with different arrangements and styles. It has not always been plain sailing for them, but they are one of the biggest metal bands in the world for a reason and I can get enjoyment from any of their albums - including those which others might not be as keen on. Following this thread, though, I think that the 2010s were not easy for the band. Morton recently ranked the band's catalogue for Revolver, and stated that 2015's VII: Sturm und Drang (which I reviewed here) is his least favourite Lamb of God album - generally due to the situation that the band found themselves in at the time. It would take them five years to produce a follow-up, during which time they parted with their founding drummer Chris Adler, but it seems that whatever was affecting the band during the last decade was well and truly put to bed with the release of their self-titled album in 2020 (which I also reviewed here). I enjoyed the band's more experimental period during the 2010s, but Lamb of God certainly felt like they had returned to doing what they do best. The riff-based, anthemic, songwriting that fuelled fan-favourite albums like 2004's Ashes of the Wake and 2006's Sacrament was back in a big way - and the sharp production of Josh Wilbur brought all of the songs to life. Wanting to capitalise on the success of Lamb of God and their rekindled creative fires, the band sought to get back into the studio quickly to knock together a follow-up - and the results of these sessions, Omens, was released last month. Omens is the band's eleventh studio album (including the two Burn the Priest releases), and it follows on perfectly from where Lamb of God left of in 2020. It is unmistakably Lamb of God from the off, but it feels perhaps more anthemic than ever - with a short runtime and punchy songs.

The band's last two albums both featured a pair of guest vocalists, too, which added a different spin to some of the songs. There are no guests here, and Omens is very much Lamb of God at their most honed. There is very little fat in the songwriting this time, and it is one of the band's most immediate releases as a result. It opens with lead single Nevermore, a powerful track which, although sounding like Lamb of God, takes the odd deviation. The opening riff is packed full of groove, despite the odd Gojira-esque chord choice to create an unsettling tone, and it, unusually, introduces Blythe through spoken word. His first few lines are delivered in this way - before he reverts to his traditional screams as the verse kicks on proper. His voice sounds as good as ever here, and the pre-chorus in particular features some particularly nasty vocal sounds - whilst the chorus is big and anthemic with some hooky vocal lines and groovy riffs. The second verse features some clean vocals in place of the spoken word of the song's opening, but they are used sparingly. I like Blythe's clean vocals, but I think that it is wise that he only brings them out every so often. They work really well here, though, and a rare guitar solo later in the track allows Morton a chance to showcase his bluesy playing - which is less shreddy than would generally be expected in metal. If Nevermore allowed itself a few twists and turns, then Vanishing is very much Lamb of God 101. It is the sort of anthemic groove metal with which the band made their name, and the riffing throughout is powerful - building from a distant guitar opening that explodes thanks to a thrashy beat from drummer Art Cruz. The pace is generally pretty fast here, showcasing the band's thrashy side, although the song does slow down as it approaches the chorus. The pre-chorus has a strong southern groove, whilst the actual chorus itself is simple - with Blythe bellowing the repeated song title with real venom. There is no solo this time, but a great riff-led breakdown showcases some brief moments of harmony - injecting a little of the Gothenburg sound into the track. To the Grave is similarly anthemic, but the thrashy side of the band is generally put to bed here - with the song instead focusing on Pantera-esque grooves throughout. The opening moments are fast, but generally the song is a powerful mid-paced anthem. Cruz's drumming conjures up the band's trademark patterns and feel with ease, whilst bass-led sections allow the spotlight to be shone on the playing of John Campbell. Parts of the verses allow the bass to briefly take the lead, and this allows the guitar riffs to hit much harder when they soon come crashing in. Tortured guitar leads are also a big part of the song, especially towards the end. There is no solo, but the latter part of the song is backed by some mournful leads - which accentuate Blythe's voice nicely - giving the track a different edge.

Ditch ups the pace again, and it somewhat reminds me of Vanishing thanks to its focus on fat riffing and a thrash feel. There are mid-paced sections here that focus on grooves, particularly the chorus which is another that is easy to latch onto, but generally the song is propelled by Cruz's relentless double bass drumming and the Bay Area riffing that dominates the frantic verses. In many ways, this is another song that is pure Lamb of God. They have written a number of songs like this over the years, but it is so memorable that the familiarity does not matter. There are definite shades of Now You've Got Something to Die For here, and there are some drum fills that remind me of that song's intro. Some of the strange guitar leads also recall that song, and it definitely feels like a bit of a touchstone - even if Ditch overall is faster and more of a thrash number. The album's title track follows, and it is one of the most instant cuts here for me. It is a pulverising mid-paced track with real classic rock swagger - and it reminds me somewhat of songs like Redneck that generally rely on big hooks and an old-school attitude rather than any real tricks. Cruz's drumming throughout is probably some of the simplest that he has ever laid down, and there is little of his usual double bass playing, which only helps to enhance the classic rock vibe of the piece. The riffing and the simple drumming is enough to create the huge grooves here - whilst the chorus features some big gang vocals that will ensure it becomes a setlist staple going forward. It does speed up somewhat as it approaches the end, but it still generally stays old-school sounding - although there is a brief moment of double bass drumming, which hits hard thanks to how sparingly it been used this time around. Gomorrah is another mid-paced track, but the classic rock vibes of the previous song have been discarded this time for a more traditional approach. Songs like Omerta are referenced here, and the track is another crawling, heavy, slow-burner like the older classic. Tracks like this are often some of the heaviest in the band's catalogue, and there are strong doom vibes throughout - especially during the verses which really do creep along. There is also more of a focus on lead guitar here. The verses have some subtle leads throughout, but a breakdown section that does up the intensity somewhat features some screeching leads which help the song to stand out. This focus on leads, the general slower pace, and another chorus that is packed full of hooks ensure that the song is another standout moment here. Ill Designs feels much more overtly-riffy, which is a strange thing to say given the band's general approach, but the song seems to feature a lot more riffs than is typical - so, as such, there is always something new to hear around the corner. It also ups the pace after a few slower pieces, and the driving nature of the song harks back to the raw sounds and overall attitude of 2009's Wrath. It is very much a piece for the guitarists, and the vocal hooks are perhaps less hooky here. That is okay, though, as the riffs very much hold the interest - and a shredded guitar solo allows Morton another chance to shine. The band do not include solos too often, but when they do they always hit the spot - and it is fitting that one was included in this riff-fest.

Grayscale is another song that places a lot of focus on the guitar playing, but this time it is balanced more strongly with vocal hooks. It is a song that very much represents everything that is good about the classic Lamb of God sound, and it is another that has the potential to become a setlist staple due to its huge chorus. I can definitely see a crowd shouting the chorus lyrics back at Blythe, whilst the opening guitar lead is distinct, full of energy, yet also melodic. It is one of those moments that will no doubt send a crowd wild when it kicks in - and the grooves throughout just make the song sound huge. There are lots of songs here that distil the band's core sound perfectly, but this one perhaps feels the most true to the albums of the early-to-mid 2000s. There are moments of real heaviness, with Cruz employing patterns akin to blast beats at times, too, and these sections help to break up the snaking, mid-paced riffing without compromising the overall anthemic nature that the band successfully whip up. Denial Mechanism then turns the clock back to the early days of the band, as the hardcore punk influence that has always crept into their songwriting is back here in a big way. The song is less than three minutes long, and it is easily the fastest and most abrasive thing here. There are no grooves at all, really, as the song just focuses on speed. Parts of the song sound thrashy, but on the whole it is just a punk track - with Blythe's screams rising above everything perfectly. There is little else that can said about the song really, as it is one that comes and goes quickly - but it makes its mark thanks to its brutal attitude and brief shredded guitar solo. Old-school Lamb of God fans will really love the track, and it is great to see the band harking back to their earliest influences for a couple of minutes. The album then comes to a close with September Song, which is arguably the antithesis to Denial Mechanism. It opens in a very organic nature, with Cruz counting the band in, before a bluesy clean guitar melody takes over for a minute or so. The opening is not as chiming as something like Vigil, but the bluesy melodies have a similar overall effect - and they return as a pre-chorus later once the song proper kicks in. The other song that September Song reminds me a bit of is King Me. That song featured an epic arrangement and strings - and this track is similar. The chorus is bulked out by a soaring orchestral arrangement, but it has been deployed in a way that does not dominate. This is not a symphonic metal track, but the strings add real depth and a grandness to the chorus - and it sits perfectly alongside the band's fat, mid-paced riffing. It is a song that allows the band to showcase a somewhat progressive side to their songwriting - and it is great that they are still willing to do so despite them not looking too fondly on their more experimental period. The song is one of the album's best thanks to this approach, and it ends things on a real high. I included the band's self-titled album in my Albums of 2020 list, and I think that Omens is overall a stronger album. Every listen reveals something new, and I love that there is a subtle diversity here whilst the band's core sound is very much retained. In time I feel that Omens will become one of my favourite Lamb of God albums, and I would not be surprised to see it appear in my Albums of the Year list come December, either, given how powerful all of the songs here are.

The album was released on 7th October 2022 via Nuclear Blast Records. Below is the band's promotional video for Nevermore.

Kings of Mercia's 'Kings of Mercia' - Album Review

As I hinted at last month whilst reviewing the debut album by A-Z (which can be read here), a new project fronted by Fates Warning's Ray Alder, I would soon be covering another Fates Warning-related side-project: Kings of Mercia. With Fates Warning seemingly now over, although no official announcement has been made regarding the matter, its key players have stepped out of the progressive metal band's shadow to work on side projects. A-Z saw Alder, and former Fates Warning drummer Mark Zonder, putting together an album that was perhaps more song-based and immediate than much of Fates Warning's work; whilst Kings of Mercia sees the band's lead guitarist and principal songwriter turning his hand to melodic rock and AOR. That man is, of course, Jim Matheos (Fates Warning; OSI; Tuesday the Sky) - the only person to appear on all of Fates Warning's albums and their driving force since the off. He has stepped outside of Fates Warning mode occasionally, notably with the spacey progressive rock group OSI and his ambient instrumental project Tuesday the Sky, but generally all of his focus throughout the years has been on his main band. Given that he has always driven Fates Warning, this is not surprising - but with the band seemingly laid to rest it seems that he wanted to turn his hand to something different. All of Matheos' projects have generally been progressive in nature, so I did a double take earlier this year when I read that he was recording an album with one of the greatest AOR singers in the business: Steve Overland (Wildlife; FM; So!; Shadowman; The Ladder; Groundbreaker; Lonerider). Overland has lent his voice to many different bands over the years, as I have just listed, as well as releasing a handful of solo albums. Despite this, though, I am only really familiar with this work with FM - which has always been his 'main' band. Those who are regular readers of this blog will know that I am a huge fan of FM, though, and part of that is down to the voice and songwriting of Overland. He is one of those rare singers who sounds as good now as he did in the 1980s, and FM remain very active - touring here in the UK often and regularly releasing new albums. I could not really imagine a world in which Matheos and Overland would meet, let alone write songs together, but according to the booklet that comes with Kings of Mercia's self-titled debut album they were introduced by famed UK music journalist Dave Ling. I am glad that the pair met, though, as Kings of Mercia is very enjoyable indeed. It is easily the most accessible album that Matheos has ever done, and it is likely the heaviest thing that Overland has been a part of - although in truth it is not that far removed from his typical style. Kings of Mercia are weightier than FM, with a focus on guitars throughout, but the overall style is similar - so much so that the album is clearly a true collaboration between the two. Filling out the band's ranks here are another Fates Warning alumnus in bassist Joey Vera (Armored Saint; Fates Warning; Seven Witches; OSI; Motor Sister; Mercyful Fate) and drumming legend Simon Phillips (801; Michael Schenker Group; Ph.D.; Toto; Protocol) - whose rock solid grooves allow the band's melodies to shine.

The album contains 10 songs, none of which outstay their welcome. As such, Kings of Mercia is a very digestible release - so those expecting something akin to Fates Warning, even the band's more accessible early 1990s period, should alter those expectations before going in. That being said, though, this is not a keyboard-driven AOR album. Matheos' guitar drives everything, but his playing throughout is very tasteful - allowing Overland's golden voice to shine. Wrecking Ball kicks things off, opening with a simple drum fill before the first of Matheos' weighty riffs comes in. The song's opening is upbeat, with the rhythm section creating a solid tempo and groove, but the guitar does most of the heavy lifting. Whilst the guitar drives everything, though, this is also a very vocal-centric release. Matheos generally lets Overland take the spotlight, which is wise considering what a powerhouse singer the latter is. The verses are simple, to allow Overland's voice to shine - whilst the chorus is much punchier, with subtle vocal harmonies and a smooth hook to die for. Most of the songs here have a big chorus that sticks in the brain, but Wrecking Ball is one of the hookiest from the off - and it is one of the album's highlights as a result. Matheos gets the chance to show off with a strong solo, too, which is melodic and bluesy - showing off a different side to his playing than usual. Humankind slows the pace down, and goes for a more of a bluesy, mid-paced hard rock approach. If the song had more of a keyboard presence, it could easily be a modern FM track - as the band's recent albums are packed full of songs like this. FM have often had a bit of a Bad Company vibe at times, and Humankind also channels that - with Overland laying down an emotionally-charged vocal that sounds bluesier than is often typical for him. Even without the keyboards, though, this song still sounds a lot like FM. If I heard it out of context I would assume it was a new FM song - which is certainly a complement given how much I tend to enjoy FM's recent work. Matheos' guitar playing is perhaps a little busier, though, especially during his solo, but overall the riffing, etc., serves the song - with another chorus that is packed with harmonies hooking the listener in. Sweet Revenge ups the heaviness somewhat, though. It maintains the previous song's mid-paced feel, but the riffing is much harder-hitting here - and the FM vibes of the previous song are swept aside. The track is much heavier as a result but it is still very hooky - and it is great to hear Overland singing against some riffing that borders on metal at times. That being said, though, parts of the song are quite low key. Vera's bass tends to dominate the verses, with the guitars adding chiming melodies, but when the chorus kicks in the heaviness really returns - and the Matheos/Overland duo is fully realised. It is one of the album's most powerful moments for me, and the leaden drumming of Phillips only makes the track sound heavier. There are some other heavier moments, too, which feature bursts of riffing, plus there are occasional lead breaks from Matheos - with the guitarist laying down some tasty, melodic leads.

Set the World on Fire maintains the heaviness of the previous song, but also ups the pace. As such, the song harks back to the album's opening track somewhat - but also really shines the spotlight on Matheos. He lays down some shredding melodies during the song's opening, which grab the listener from the off, and his playing sets the tone for everything else that is to come. The riffing throughout the song is driving, and the verses catch hold thanks to Vera's fat bass tones and some sultry vocals. As is often the case here, though, the song really comes alive with its chorus - which really powers through the speakers. Overland sings the song in a much more powerful manner than he tackles the verses - and he really belts the lyrics out, with some subtle harmonies making everything sound big. It is another song that really hooked me in from the off - and it is another album highlight as a result. There are no weak songs here in truth, but some stand out more than others - and Set the World on Fire is a winner for me. Too Far Gone slows everything down, and is a true ballad - which really allows Overland to shine. Melodic rock and AOR albums need ballads for them to feel complete, and Too Far Gone is a great addition to the album - and a change of pace from the heavier riffing that has come so far. Phillips' inventive shuffling rhythm, Vera's pulsing bass, and Matheos' acoustic guitars make a perfect bed for Overland's heartfelt vocal display - and all of the classic ballad hallmarks are present and correct. Matheos does not exclusively use his acoustic guitar, though, and he does lay down a few bluesy leads early on - which help to add depth. As the song moves on, too, it does get somewhat rockier - but it never really feels like anything other than a ballad. Crunchy guitar chords helps to bulk out the later choruses, but the overall vibe remains less full-on than what came before - with Overland front and centre. Liberate Me returns to a sound more typical of the rest of the album - although it opens with an impressive guitar workout from Matheos. He does not show off that much here, but the opening moments of this song are quite busy - before he returns to his typical riffing style to lay down a crunchy, pacy pattern which defines the rest of the song. As such, the piece has an infectious energy throughout - and the drumming of Phillips helps to give the song a kinetic feel. Overland's chorus hooks are again very memorable, too, and the snappy vocal lines easily get stuck in the brain. Some of the choruses here are more epic, but Liberate Me has a strong energy throughout which allows it to stand out - and another busy Matheos solo helps pull everything together. Nowhere Man opens with a raw guitar riff, that has a subtle southern rock-esque groove to it, but overall the song still sits within the album's typical wheelhouse. Again, that Bad Company influence that is sometimes found within FM's sound can be heard here - and the punchy grooves throughout the song give it a strong blues edge, which allows Overland to lay down a commanding vocal performance. There is perhaps a little more grit in his voice here, but he still very much continues in his usual melodic style - which allows the strident chorus to shine.

Everyday Angels is another song that slows the pace down, and it is the album's second ballad. It is similar in style to Too Far Gone, but it is perhaps even more stripped back that the earlier example. Matheos' acoustic guitars dominate throughout, whilst Phillips add some subtle percussion - and only really joins in properly on the drums once the chorus rolls around. Vera's bass is subtle, locking everything together, but again the star here is Overland. Matheos' guitar playing is generally pretty straight forward, with acoustics filling all of the gaps and the occasional clean melody accenting the vocals - so it is Overland's vocals that dominate throughout. His vocal performance here is unsurprisingly heartfelt, but it is also dynamic. He really lets rip at times, despite the song's simple arrangement - which means that the song acts a real showcase piece. If anyone was in doubt as to what a great singer Overland is, then Everyday Angels should very much convince them that there are few better melodic rock singers out there. Is It Right? then packs a bit of punch, and following the ballad the song's snappy riff hits the spot. It is another pretty simple song overall, but the main riff is infectious - and some of Vera's bass playing is on the busy side, which adds subtle melodies beneath the main riffing. The chorus is very much out of the modern FM staple, and Overland's melodic and bluesy approach brings the fast-moving chorus to life. It is another that is as strong as it is due to its pace and a couple of neat vocal melodies that set it apart from the norm. Again, there are more epic choruses here - but the hooks throughout Is It Right? are hard not to love, and another strong Matheos guitar solo ensures that some guitar excitement is injected into the piece. The album then comes to a close with Your Life, a song that very much returns to the heavier feel of some of the album's opening cuts. It is a mid-paced hard rocker, but it certainly feels bigger and more epic-sounding than much of what has come before - so it very much works as an album closer as a result. The main guitar riff from Matheos is great, and packed full of snaking attitude, whilst Phillips' drumming adds plenty of weight. Despite this, though, the song is still very hooky - even if there is perhaps not quite as much of a focus on them throughout. The chorus still features plenty of great Overland vocal hooks, but the guitar playing throughout the song generally feels to be a bit more in-your-face this time. It is a song that is very much based around its riffing and grooves, and a great bluesy guitar solo from Matheos allows him one final chance to shine - before a lengthy rendition of the final chorus swirls around and repeats to help bring the song to an end. There is a bit of a false ending, though, and following a brief pause the song kicks back in with another short section that plays off the chorus until the song comes to a close. At this stage, much like with A-Z, it is unclear whether Kings of Mercia will be a one-off collaboration or whether more is planned. I cannot see the band becoming Matheos' main project, largely due to Overland's commitments, but as a collaboration the duo have really worked well together here. I would certainly like to hear more songs co-written by the pair, so if another Kings of Mercia album was to be put together than I would very much look forward to its release - and it is always great to hear more quality modern melodic rock.

The album was released on 23rd September 2022 via Metal Blade Records. Below is the band's promotional video for Wrecking Ball.

Stratovarius' 'Survive' - Album Review

There are few bands who can claim to have been at the coalface, so to speak, when power metal as a genre was being formed in the mid to late 1980s. Helloween and Blind Guardian spring to mind as a couple of the genre's first big hitters - but perhaps the band that truly cemented the fast-paced and neo-classical sound that the European strain of power metal would often exhibit is Finland's Stratovarius. The band can trace their heritage back to 1984, but it was not until 1989 when they truly debuted with the release of their first album Fright Night. The band have had a long, and sometimes tumultuous, history, but have overcome all obstacles and have released a lot of great music along the way. Albums like 1996's Episode, 1997's Visions, and 1998's Destiny are all genuine power metal classics, and much of what came later in the genre owed a lot to this trilogy of Stratovarius releases. Whilst the band had released decent albums prior to Episode, particularly 1995's Fourth Dimension, it was the 1996 effort where the Stratovarius sound was arguably truly solidified. It was the first with the band's current keyboardist Jens Johansson - and his neo-classical duels with then-bandleader and guitarist Timo Tolkki took Stratovarius to the next level. This shredding duo, plus frontman Timo Kotipelto (who joined the band in 1994 when Tolkki decided to step back from singing), are responsible for some of power metal's most exciting moments - and the band are legends of the genre for this reason. The Stratovarius of today is a bit of a different beast, though, but they are no less powerful. Tolkki's departure in 2008 left the band without anyone who could claim to be an original member - although, in truth, Tolkki was not a founding member of the band and Stratovarius had actually been without a truly original member since founding drummer Tuomo Lassila's departure in 1995 - but Kotipelto and Johansson soldiered on, brining guitarist Matias Kupiainen on board. Since Kupiainen's appointment, Stratovarius has been going through something of a renaissance - following a handful of weaker releases at the end of the Tolkki era. They were also, for a while, extremely prolific. 2009's Polaris, 2011's Elysium, 2013's Nemesis (which I reviewed here), and 2015's Eternal (which I also reviewed here) came thick and fast, and are all very enjoyable albums - particularly Polaris and Nemesis. It seems, though, that releasing four albums in seven years rather ran the creative well dry - as the band had not released anything new since Eternal until a couple of months ago when Stratovarius released their sixteenth studio album Survive - their first in seven years. For me Eternal was easily the weakest of the band's recent run, so taking a bit of a break from writing was probably wise. I was always looking forward for what was to come next, though, and Survive sees the band back in form. It is the third album with the current line-up, and it could well be the heaviest thing that Stratovarius have ever done. The riffing throughout is much chunkier than usual, and there is a real urgency to the songwriting here - which, in my view, shines a bit of a different light onto the band's well-established sound.

Produced by Kupiainen, Survive is more riff and groove-focused than is typical for Stratovarius - but the band's melodic and upbeat sound is still very much intact. It is also more of a collaborative album from a songwriting perspective, with Kotipelto, Kupiainen, and Johansson generally credited with writing the material here - alongside collaborator Jani Liimatainen (Sonata Arctica; Altaria; Cain's Offering; The Dark Element; Insomnium). The 11-track album opens with its title track, which does not stand on ceremony at all. There is no swirling power metal scene-setter here, and following a count-in from drummer Rolf Pilve a snappy guitar riff kicks in that would not sound out of place on a melodic death metal album. The title track is one of the hardest-driving pieces here, but it soon starts to become recognisable as Stratovarius when Johansson's keyboards join the fray - adding a melodic halo around the riffing. Anyone worrying that the band have abandoned their usual approach hooks should fear not, though, as the songs are still very catchy despite the heaviness. Kotipelto still possesses a great voice, and his approach throughout the album is as anthemic as ever. He might not quite have the upper range that he used to, but his overall tone is the same - and the heavier sound allows him to operate more in his middle register, which probably brings the best out his current talents. The chorus here is as hooky as ever, with some anthemic wordless vocal refrains that will no doubt go down well live - whilst Kupiainen's solo is packed full of melody, although perhaps has more of a modern edge than Stratovarius' historic sound. Demand follows, and the song is more of a strident mid-paced rocker. Pilve generally stays away from his double bass drums here, with the track instead having more of a classic rock strut. The chorus is classic Stratovarius though, with lots of vocal harmonies and hooks, whilst the main guitar lead is doubled by Johansson's keyboards for some 1980s throwback harmonies. Considering that the drumming here is generally less busy, Pilve still manages to impress with a great fill-led pre-chorus section - whilst his groove-based approach elsewhere allows the song to retain its heaviness despite the throwback arrangement. Guitar and keyboard solos do up the pace somewhat, though, and the track is full of excitement and hooks as a result. Broken opens with a strange-sounding guitar and drum pattern, establishing an off-kilter groove, which Johansson then adds to with some floaty keyboard leads. This pattern essentially forms the basis for parts of the verse, which sway thanks to this tech metal-esque riffing, although this more modern approach to groove is not retained throughout the whole song - as a snappier drum beat kicks in as the chorus looms, which then explodes in trademark and cinematic fashion. There are lots of strong choruses throughout the album, but Broken's is one of the biggest thanks to the wall of synths that back Kotipelto's strident vocal delivery - and there is a slight symphonic feel throughout as a result.

With the first three songs here adopting a heavier sound, Firefly returns to something more traditional in style for Stratovarius - and the track is a snappy power metal anthem that is very typical of the sound that the band have used on their other recent releases. The overt heaviness is paired back somewhat here, and Johansson's keyboards are pushed to the fore. His synths really dominate, and some of the melodies that he lays down during the upbeat choruses add a real joyous feel to the piece. It recalls some of the more modern-sounding synths that he experimented with on Nemesis, and this is a track that could have easily sat on the 2013 album as a result. Kupiainen is less busy here, and his riffing generally provides a rhythmic backing to the piece - although a few choice leads allow the throwback power metal sound employed here to really take hold. We Are Not Alone ups the heaviness again, somewhat, and sits somewhere between the riffy nature of the opening trio and Firefly. It is the only song here co-written by bassist Lauri Porra, who has become a handy secondary songwriter for the band since his 2005 appointment, and the song is reminiscent of his other recent efforts - with a hard-driving mid-paced sound and a real focus on hooks. The verses are more stripped back than is generally typical, which allows the bass to shine, whilst the chorus soars thanks to some excellent vocal hooks and an arrangement that allows them to dominate. This song is perhaps less busy arrangement-wise than many of the others here - and that allows the hooks to really jump out. Kupiainen's guitar solo is less shred-happy, too, which really makes every note count - whilst a recurring keyboard hook ties everything together. Frozen in Time is similar in the fact that it is generally a mid-paced rocker with a sparser arrangement, but it ups the heaviness again somewhat to allow for a crunchier overall sound. The keyboards are generally less prominent this time, although they are always there providing an atmospheric depth, whilst the guitars really cut through the mix. The riffing is generally pretty straight forward, but this just allows the rhythms to dominate - and the strident mid-paced feel allows for some great fists-in-the-air moments. Kotipelto really shines here, and his vocal performance throughout is one of the album's best in my opinion. He generally sings at the upper end of his register here, which shows that he can still do so when required. This gives the song a bit of an old-school sound, and the chorus hooks here recall some of the more majestic songs of the band's past.

World on Fire ups the pace again, the the heaviness from the album's opening trio returns - although the balance between the guitars and the keyboards is more finely struck here. Kupiainen's guitars add plenty of crunch, whilst Porra's bass is higher in the mix than is typical to add real depth. They create some great headbanging riffs here, but the main melodic focus, despite the heaviness, comes from Johansson's keyboards. There are a few old-school keyboard leads throughout the song, whilst other moments are quite synth heavy that again recall the sound of 2013's Nemesis. The chorus is another that goes for a more cinematic sound, too, and there is again a bit of a symphonic edge. It is another of the album's best choruses as a result, and I can see the song becoming a live favourite thanks to the big riffing throughout and its stadium-ready hooks. For those missing the really fast-paced, neo-classical Stratovarius of the mid-1990s, Glory Days should turn heads. The opening riff is snappy and very Tolkki-esque, with Kupiainen even thinning his guitar tone for the occasion, and the song generally moves forward at a break-neck pace. Pilve lays into his drums throughout the song, whilst Kotipelto pushes himself vocally with a higher-pitched delivery at times - again recalling the band's golden period. Perhaps the song's title is a reference to this period of the band's history, but if it is not then the coincidence is uncanny. I really like the modern Stratovarius sound, but this look to their past is welcome. The interplay between Kupiaien's guitar and Johansson's keyboards is suitably old-school, too. There are lots of little dual leads here, and the guitar solo is shreddy and fast-paced. Breakaway then slows the pace down, at least early on. The album does not really have a true ballad, but Breakaway is the closest thing to one - as it opens with acoustic guitar melodies and some gentle vocals from Kotipelto. Following the fast-paced previous song, this brief moment of calm is welcome - but it does not last. The song soon kicks in properly, and it morphs into a lush, mid-paced rocker with a cinematic scope. It does not really feel like a ballad after this point, but it never becomes an out-and-out power metal track either. It still feels like a change of pace, though, and it allows for a bit of a rest from the heaviness. The chorus still soars, though, thanks to a great keyboard arrangement - and the slower-paced guitar solo from Kupiainen showcases a different side to his playing.

Before the Fall speeds things up again, and the song returns to a pace similar to that of Glory Days - but the track generally feels more modern. Kupiainen's riffing returns to something akin to that melodic death metal style referenced earlier, and the keyboards generally take a backseat. The verses feel furious as a result, but the smooth vocals allow a melodic edge to be retained - whilst the chorus is more typical in sound thanks to a bigger keyboard presence and a more epic arrangement. That being said, though, I do like the heavier sound that the song goes for. It is perhaps not as heavy as the title track, but the riffing is similar - and the verses are structured in a way that really shows it off. The instrumental mid-section is great, too, with Johansson laying down a lengthy keyboard solo - before Kupiainen takes over. The album then comes to a close with the 11 minute-plus Voice of Thunder. Stratovarius have often included a longer, more progressive piece on their albums in the past - and this is another strong effort in that category. It opens slowly, with some gentle acoustic guitar melodies and some folky vocal lines - but this is the calm before the storm, as once the song kicks in properly it morphs into a strident mid-paced rocker with some more heavy guitar riffs that are off-set by the occasional keyboard flourish. The keyboards are not always prominent, though, and away from these leads they again generally take a backseat. They come out for the choruses, though, which are more cinematic in scope, but the verses here are crunchy with a strong guitar presence and a pulsing drum groove. Given the song's length, the band allow themselves to stretch out a bit more. It is not as progressive in arrangement as some of the band's other longer songs, but ideas are given a bit more of a chance to flourish - which is welcome. Each riff is given more of a chance to shine, and there are some longer instrumental sections that focus on guitar and keyboard leads - allowing the instrumental prowess of the band to cut through. If anything, that is what the closing song achieves the most - as it is a piece that just allows everyone a bit more time in the spotlight. It closes the album out in an epic and heavy way, and it brings together many of the album's ideas in one larger whole. The album ends on a high as a result, but there are no truly weak moments here. For me, Survive is one of the strongest albums of the band's recent run - and is certainly up there with Polaris and Nemesis in terms of quality and songwriting. I hope that the album kick-starts a new era of creativity for the band following the seven-year gap between albums, as for me Stratovarius still have a lot to offer the power metal scene.

The album was released on 23rd September 2023 via earMusic. Below is the band's promotional video for World on Fire.

Virtual Symmetry's 'Virtual Symmetry' - Album Review

If there is one downside of having quite a vast rock and metal knowledge then it is the fact that it is now quite rare that I am blown away by an unknown support act. It does still happen, but generally I am at least somewhat familiar with most bands on touring rock and metal bills these days - and those bands that I am not familiar with often turn out to be nothing to write home about. There are still plenty of hidden gems out there, though, and I came across one back in September when I headed to Bristol on a Monday afternoon to catch the Swedish progressive metal act Evergrey on their recent tour. One of the two support bands on the bill did little for me, but the opening act Virtual Symmetry impressed. The Bristol show of Evergrey's tour did not exactly attract the biggest crowd, and Virtual Symmetry hit the stage about five minutes after the venue opened - which meant that they were playing to a handful of people. This did not seem to phase them, though, and they played a great set which pulled me in from the off. The Swiss-based five-piece play a very melodic brand of progressive metal. There are hints of power metal in their sound, too, but generally Virtual Symmetry are a progressive metal act - with lengthy songs, high-octane vocals, and shredded instrumental sections. Despite seemingly from Switzerland, all five of the band's members are Italian - and as a result Virtual Symmetry are very much a part of the Italian progressive/power/symphonic metal scene. There are hints of Labyrinth throughout the band's songs, but Virtual Symmetry are on the heavier side - and it is clear that the band have been influenced by many of the usual suspects in the progressive metal genre. The band were formed back in 2009 as a solo project of guitarist and principal songwriter Valerio Æsir Villa, but it would appear that Virtual Symmetry became a true 'band' in 2012 when the line-up expanded. I was not familiar with any of the musicians prior to seeing them in September, although I had heard of frontman Marco Pastorino - as he had previously been a guitarist in Secret Sphere, another Italian progressive/power metal act which are not exactly dissimilar to Virtual Symmetry. The Italians love their expansive melodic metal that is for sure, and Virtual Symmetry's newly-released self-titled third studio album is very much one that ticks all of the progressive metal boxes. Many of the songs here are on the longer side, and the album kicks off with a gargantuan 20 minute long piece. There is a lot of instrumental showboating, too. Given that Villa is the band's driving force, Virtual Symmetry are very guitar driven - which is likely why they feel heavier than some of their peers, who often focus more heavily on keyboard melodies and textures. There are still plenty of keyboards to be found here, though, courtesy of Marco Bravi - and the combination of Villa and Bravi is responsible for a lot of explosive, yet melodic, playing throughout the album's hour-plus runtime. Backing up this duo, and the soaring vocals of Pastorino, are the rhythm section of bassist Alessandro Poppale and drummer Alfonso Mocerino.

The album kicks off with the aforementioned 20 minute long song, which is also its title track. It is split into three parts: Amen, Dancing on Our Own, and Tainted by the Sky - but everything knits together perfectly to create one of the best progressive metal epics of the year. The song opens slowly with Bravi's piano melodies - which slowly get more dramatic over time. It reminds me of a slower and more classically-inspired version of the intro to Magnum's Sacred Hour, and Villa's guitar soon joins in to up the tempo. The focus then shifts, with weaving synth melodies creeping in, before the heaviness is upped in a big way - and arguably the song kicks off proper with Villa's first big guitar riff. The next few minutes are very Dream Theater-influenced, which is always a lazy comparison when it comes to progressive metal - but the riffing very much sits in that camp. Bravi's keyboards take more of a backseat here, although organ stabs and the occasional piano counter-melody back up the chunky riffing. Poppale's bass is often high in the mix, too, and as such there is a strong focus on groove throughout. This aids the band's heavier approach, and the rumbling bass sometimes allows the guitars to deviate whilst Poppale holds the fort. Pastorino is introduced a few minutes in, and he impresses from the off. Sometimes his tone reminds me a little of Tommy Karevik (in Seventh Wonder mode rather than Kamelot mode), but he is more of a high-octane singer as is typical of the Italian scene. His gentler moments have a Karevik-esque edge, though, but in general he pushes his voice further - and the occasional higher-pitched scream adds some visceral excitement to the song's more precise nature. Despite the length of the song, though, there are still plenty of hooks. There is a chorus that debuts early on that showcases some catchy vocal melodies, whilst the guitar playing is often very lyrical. One of the solo sections that opens the second part has a Steve Rothery-goes-metal feel to it, and Bravi's keyboards constantly add a melodic flair - particularly during the piano-backed moments. The Dancing on Our Own section in general is extremely melodic, with a slower pace that allows for a more expressive Pastorino vocal against a piano-driven backing. It does get heavier, though, thanks to a flashy synth solo and the presence of some meatier riffing as the song approaches its closing part - which features some more off-kilter riffing and plenty of double bass drumming. There is also one of the longest instrumental sections here, too, which features lots of back and forth between Villa and Bravi. It focuses on the former, though, and the guitar playing throughout is explosive - yet still packed with melody. Villa certainly seems to value melody throughout his songwriting, and even the lengthy instrumental sections here serve the song. The third section also features some quieter, vocal-led moments - which sees Pastorino left alone with Bravi's piano, teasing a huge closing chorus which really hits hard later - creating one of the album's most anthemic moments.

Whilst Virtual Symmetry is easily the most impressive song here, the remaining seven are certainly no slouches. They never quite live up to the majesty of the opening cut, but that is not really a surprise - and Virtual Symmetry will likely be the band's defining piece going forward. That being said, though, there is still a lot more to enjoy here. My Story Unfolds follows, and instantly ups the heaviness with a chunky opening riff that is dryer than anything heard throughout the previous song. It does not stray into tech metal territory, but there are certainly flashes of that sound throughout Villa's crunchy playing - although this sound does not really last. Bravi's keyboards soon join the fray, and the song gets a little chaotic for a while - with the four musicians all jostling for position in a powerful, and co-ordinated, way. It is one of those moments that can sound a bit messy at first, but multiple listens reveal how all of the parts fit together, and it is great hearing the rhythm grooves headbutting against the lead playing of Villa and Bravi. Much of the rest of the song is fairly straightforward, though, as it generally morphs into quite a vocal-led piece - with some excellent Pastorino vocals. He dominates the song with his commanding vocal performance - whilst the guitars chug away beneath him and the atmospheric keyboards add depth. There are instrumental-led sections, including some excellent synth leads, but generally these are used less throughout this song - as the focus is on the vocal melodies, with the soloing being more contained (in relative terms, anyway!). The Paradise of Lies then reins in some of the more overt heaviness of the previous song, and presents something that feels like a much more condensed version of the album's title track. The song opens with Bravi's piano, and it builds in a similar way to Virtual Symmetry - albeit in a much more expedient way. There are heavy riffs, of course, but they are less grinding than they were during the previous song - and there is a big focus on more cinematic sections here, with Villa's clean guitar melodies adding to a wider tapestry of sounds. There is a similar focus on big vocal hooks, though, and there is a snappy section that features some of my favourite vocal hooks here - which also seems to somewhat mirror one of the song's main guitar riffs. Guest vocals are added here too by Scream Chiummo, who's slightly grittier voice contrasts with Pastorino's during one of the verses - which adds a subtly different edge to that part of the song without taking the spotlight away from the band's frontman.

Come Alive then ups the pace, and the track opens with an up-tempo Villa riff which is backed by some synthy organ from Bravi. As should be expected, though, the song still takes a lot of twists and turns throughout, and this riff does not always represent what comes next. It is generally a more upbeat and heavier track, though, but there are moments that are more atmospheric - such as a brief opening solo section before Pastorino starts singing. The song's chorus is less in-your-face, too, with big piano melodies and an expressive vocal - but much of the rest of the song is certainly busier, with some fluid bass playing giving everything an urgency that would otherwise be missing. Butterfly Effect again opens with some piano melodies, but they are much more short-lived this time - as the song soon moves into a heavier, guitar-led movement with chugging, abrasive riffing and some of the busiest drumming on the album. This barrage of guitars and drums certainly adds an edge to the track, but like many of the pieces here it does not always accurately represent what is to come. This is because much of the song shares more in common with its brief piano intro than this busy instrumental section - as once Pastorino starts to sing the piano is back and, at least initially, this simple mix of voice and piano is all that is heard. Parts of the rest of the song are then on the gentler side, but heavier moments do inject some weight. The chorus is one such moment, with Pastorino's vocals during it feeling almost tortured at times. I am not sure why he went with such a brutal-sounding approach, but it works - calling back to the song's earlier heaviness. Fantasie di Verità, which translates to 'fantasies of truth', then follows, which is very much in the band's typical mould - and feels like a good mix of the couple of songs that followed the epic title track. Parts of the song are sung in Italian (as are a couple of others here), but most of the lyrics are still in English, and the overall sound is what is expected from the band at this point. There is less of a focus on heaviness here, though, and there are quite a few dreamy moments that make great use of keyboards - as well as Villa's clean guitar playing. There are still moments that feature big riffs, but overall the guitars are a bit more texture-driven here - which allows a more atmospheric sound to be forged, despite the occasional burst of double bass drumming and tougher riffing. The keyboards are prominent, too, as a result - and Bravi takes this opportunity to indulge in a few well-placed synth solos.

As the album later closes on a more atmospheric note, Rising, the album's penultimate song, is the band's last chance to really let their hair down. It is immediately heavier from the off, with lots of driving Villa riffing - alternating between faster patterns and more mid-paced, groovy sections. Something that sets the song apart for me, though, is the more symphonic approach to keyboards throughout. The song's opening feels grander than has been typical, and parts of the track have something of an orchestral scope thanks to the keyboard sounds used - whilst other sections are more typical with organ and synth textures. Given this mix of sounds, it is fitting then that the song is also pretty busy. Pastorino crams a lot into the track, and there are lots of compelling vocal sections here that grab hold. He seems to relish the grander backing, too, and he sounds great throughout - whilst Bravi also makes use of the more expansive arrangement for some great piano and synth solos. The album then comes to a close with the more delicate Insomnia. The piano-led track is the shortest song here, and it also acts a bit of an antidote to all of the progressive metal has that come before. Bravi's piano is the dominant instrument here, although soaring strings occasionally add some additional depth. Pastorino sings atop this gentle arrangement in his usual dramatic manner, although there is certainty a bit more of an emotional edge to his delivery here - especially during the verses. The chorus is a bit more theatrical, though, with some added percussion for weight - but the track never explodes as it seems like it might, which allows the album to come to a slow-burning close. For a band I knew nothing about a couple of months ago, Virtual Symmetry have really impressed of late. This self-titled album is certainly one of the prog releases of the year for me, and it is great how the band have managed to balanced hooky songwriting with expansive arrangements. I will certainly need to go back and check out the band's previous releases, as I am sure that there is much more to discover there - and it is great to have a new progressive metal band to follow, and I am already looking forward to seeing what they come up with next.

The album was released on 16th September 2022 via Sensory Records. Below is the band's promotional video for The Paradise of Lies.