Ad Infinitum's 'Chapter III - Downfall' - Album Review

As I have mentioned a few times on this blog over the past few months, in recent years I had somewhat moved away from power and symphonic metal. Whilst I kept up with my main favourites, my knowledge of the wider genre waned - meaning that I have missed out on some big releases in recent years, as well as entire catalogues. One such band that I was largely unaware of until recently was the Swiss symphonic metal act Ad Infinitum - which formed back in 2018 around frontwoman Melissa Bonny. Despite not being all that clued up on Ad Infinitum, I had heard of Bonny. I remember her touring with the Austrian power metal band Serenity at one point, as a guest live singer, and she has recently also done the same with Kamelot - as well as appearing on their excellent new album The Awakening (which I reviewed here). I recall that Ad Infinitum recently toured with Amaranthe, too, but it was Bonny's involvement with Kamelot that finally made me sit up take notice. Kamelot have often employed guest female singers, both live and in the studio, and they have a knack for working with the best. Considering that this was the second time that I had become aware of Bonny, as I had not heard any of the previous bands which she had been a part of, I decided it was time to properly check Ad Infinitum out. Around the time that Kamelot's new album was announced, I also noticed that Ad Infinitum were due to release one. I checked out one of the lead singles, and was immediately impressed by the band's concise, catchy sound. I pre-ordered the album, Chapter III - Downfall, and have been enjoying it quite a lot since it was released at the end of March. Unsurprisingly given its name, Chapter III - Downfall is the band's third album - following Chapter I - Monarchy in 2020 and Chapter II - Legacy in 2021. There also exists a fully acoustic version of the band's debut album, too, so Ad Infinitum have been extremely creative in a short space of time. They clearly used the COVID-19 pandemic wisely, releasing two albums during that time - and then getting out on the road when they were able to last year. I have not heard the band's previous albums, but if the quality of Chapter III - Downfall is anything to go by then I have been missing out. Whilst Ad Infinitum are certainly a symphonic metal band, they are not as bombastic as most. The string arrangements and orchestrations are ever-present, courtesy of Elias Holmlid (Dragonland), filling out the band's sound - but Ad Infinitum have a much more guitar-centric approach. The songs are generally short and to the point, with a big focus on Bonny's vocal hooks and the great guitar riffing of Adrian Thessenvitz - which at times strays into modern tech metal territory. Despite the big focus on hooks, though, the band are not as poppy as a band like Amaranthe - and there is not generally a focus on synths. Ad Infinitum certainly have their own sound, then, and they feel like a bit of a breath of fresh air when it comes to symphonic metal.

Most of the songs here are very catchy, but the album opens up with a few of its hookiest. Eternal Rains kicks things off, and it wastes no time in establishing the band's core sound. A brief symphonic flourish opens things, but a mid-paced riff soon takes over - and the song becomes a hooky, crunchy number from the off. The verses are pretty simple, with a grinding riff sitting atop a simplistic groove - but this allows Bonny to establish herself early on. She is a diverse singer and able to deliver harsh vocals, but she generally sticks to her clean voice - only using harsh vocals sparsely. The transition between the verses and chorus makes use of some briefly for effect, but in general she soars. The chorus sees her at her best, with her vocal hooks instantly lodging themselves in the brain - whilst orchestrations add depth. The great thing about this album, though, is how prominent the guitar playing is. All too often the guitar is buried on symphonic metal albums, but Thessenvitz gets plenty of opportunities to shine here - and his melodic solo adds a lot to the song with its twisting melodies. Upside Down is somewhat similar, but arguably poppier. It is a song that goes all out for hooks, and the heaviness is somewhat stripped away - to allow for a pulsing verse that makes use of some off-kilter drum grooves from Niklas Müller. Bonny's smooth hooks shine against this less involved backing, but Thessenvitz still makes his presence felt in the song. Later verses feature more riffing, and the chorus is bigger - with plenty of riffs to back to the soaring vocal hooks. The song is potentially the album's catchiest, so it is unsurprising that it was released as a single. I can see it becoming a live favourite for the band going forward - and another brief Thessenvitz solo adds a little tech metal wizardry in what is otherwise a poppy track. Seth slows the pace down from the catchier previous track, going for a more mechanical, guitar-based groove which also makes use of some Eastern-sounding strings. The guitars drive everything here, Thessenvitz's riffs grinding away throughout, but the strings and synths are also more prominent. Melodic synth stabs create a stronger symphonic sound, and the song feels a bit more typically 'symphonic metal' as a result. The synths and strings are not as lush as they could be, though, which suits the tech metal riffing found throughout. Korbinian Benedict's bass playing is also pretty prominent, which helps the song's muscular tone shine - but there are still plenty of hooks here. Bonny's chorus melodies are infectious, but they feel more cinematic in scope this time - and the song in general just feels much bigger and more involved than the hooky opening one-two punch. From the Ashes feels pacier, with some double bass drumming from Müller, but this speed is something of an illusion - as the track is generally a pretty strident mid-paced number. Thessenvitz's opening guitar lead soars, adding an early hook, whilst the verses revel in their stripped back arrangement - with Benedict's bass pushed to the fore. The bass playing drives parts of the song, whilst the guitar leads from the intro return occasionally for added depth. The chorus retains the more cinematic sound of the previous song, too, and it builds from a short synth-led section which then explodes into something more typical of the band's hooky, hard-hitting sound.

Somewhere Better goes for a similar approach, opening with some excellent guitar leads, but the tone overall feels a bit more dynamic. The intro leads and groove retains a cinematic sound, but this drops away as soon as the first verse kicks in. Much of the verse is very low key, with Bonny singing against a backing of gentle synths. Whilst there is still a pulse to these synths, the band in general are absent here - and Bonny's voice is left to shine - before the instruments do return on the build up to what is another strong chorus. The slow-burn of the verses is welcome, then, and it helps to move the band away from the simpler approaches takes elsewhere. It shows a different side to the band's songwriting, and it allows Bonny to sing in a gentler, more emotionally-charged way - before returning to something more epic for the riffier chorus. The slower pace also allows for a some spacey guitar leads from Thessenvitz - and his solo here is rather low key - injecting some old-school progressive rock vibes briefly into the album. The Underworld ups the pace again, and returns to the more mechanical riffing style which served the band so well during the early parts of the album. The heaviness returns as a result, and the pacy rocker has an urgency to it - whilst still retaining plenty of hooks. Thessenvitz's riffing here has a strong djent vibe at times, but there is still a smoothness to the overall arrangement - particularly during the chorus which shines as always thanks to its poppy melodies. It is one of the hookiest choruses here, but there is still plenty of heaviness thanks to the occasional burst of harsh vocals - which are also made use of more prominently during the verses. The mix of clean and harsh vocals adds to the overall heaviness, as does a riffy breakdown section which then explodes into another excellent guitar solo. Ravenous returns to a more cinematic sound, and opens with a big lead line which actually has some folky overtones. Ad Infinitum do not generally go in for folky sounds, and this is certainly not a folk metal song, but there is something Celtic in the track's main melody line. Not much is made of this, though, although Bonny does occasionally include the odd folky wordless vocal chant throughout the verses, with the song in general being a strong mid-paced rocker with more of a synth presence and a bit less of an overall focus on prominent riffing. This changes part-way through, though, with harsh vocals taking over and a breakdown section upping the heaviness compared to the synth-heavy verses. The song does just enough to shake up the overall formula and keep the album fresh, but the band's core sound is still very much present. Under the Burning Skies slows things down quite considerably, and opens in a gentle manner - with Bonny singing alone against some strings. Unsurprisingly her vocal delivery here feels more emotional in tone, expanding in scope as the choruses is reached - which feels more dramatic despite the string-led arrangement. The band join in after this, though, but the song retains is ballad status with the instruments adding groove rather than anything more expansive. Later chorus iterations feel much bigger, though, and the cinematic vibes of earlier songs certainly shine during this orchestral arrangement - pushing the melodies and atmosphere of the song to the fore.

Architect of Paradise returns to something more riff-based and upbeat, with Thessenvitz's snappy riffing driving everything from the off - but the verses are another moment which see a more bass-led arrangement. The prominent bass playing during the verses helps the band's overall mechanical style to shine, and the punchy drumming accentuates this. The verses are quite staccato in tone, which goes a long way to re-establish the band's tech metal credentials after the previous ballad. In some ways, this song could be the most tech metal-inspired here. Lots of the riffs are stark and djenty, with another big breakdown section going all-in for that sound - with Bonny's harsh vocals once again making an appearance. A big chorus brings the hooks, though, and the song is another good mix of pop and metal. The Serpent's Downfall is another good mix of sounds, but this time something more organic is attempted. The opening riffing is typical of the band's sound, but the verse then slips into something different - with acoustic guitars in the mix as well as a bass sound which is not as growling as it has been elsewhere. This approach, combined with symphonics which are more overt and traditional, helps to create a sound which is much grander and more 'symphonic metal' than the band generally are. The chorus is possibly the album's grandest moment, with the strings sounding huge and really adding a lot to the overall approach. The riffing is less grinding here, too, save for a breakdown section, which brings more typical symphonic metal to mind - although Thessenvitz's solo is typically busy, adding his tech metal approach to the lusher overall track. New Dawn retains the acoustic guitars of the previous song, and opens in an atypical manner, before a slower soaring guitar lead kicks in. The song is another with ballad-esque vibes, although this track certainly soars higher than Under the Burning Skies - with a more dynamic arrangement present. The first verse is acoustic-led, maintaining the opening's organic nature, whilst the chorus is tougher - with big riffing and some heroic Bonny vocals. The song is very bright-sounding, and this is helped by the more organic approach taken. Occasional piano notes add colour, whilst a slow-burning guitar solo later sits against a pulsing synth backing - before exploding into something busier when the band crash in. This leads nicely into closing number Legends, which opens with some spoken word courtesy of Chrigel Glanzmann (Eluveitie). The song builds on the bright sounds of the previous song - but goes for a more typical symphonic metal sound with plenty of soaring strings and lots of excellent guitar leads. There is less of a mechanical sound here, with the riffing overall feeling warmer - whilst Müller's busy footwork creates some great power metal rhythms. Befitting the rest of the album, the closing chorus is another winner - and it feels massive thanks to the string arrangement. The strings in general are huge here, but they are stripped away for one last breakdown section - before returning for the last chorus to close out the album. Overall, this easily-digestible album has been getting a lot of love from me over the past month or so - and with the amount of hooks it is easy to see why. Sometimes symphonic metal can feel a bit bloated, but the sleek approach taken here allows the hooks to shine. There are more progressive bands out there, but for something more melodic and riff-based then Ad Infinitum are ones to watch out for - and I will certainly be going back and picking up the rest of their albums.

The album was released on 31st March 2023 via Napalm Records. Below is the band's promotional video for Upside Down.

Night Demon's 'Outsider' - Album Review

I find it fascinating that, more than 40 years after it first hit, the NWOBHM movement is still having a significant influence on metal today. I am not talking about its indirect influence, tracing the threads back from modern bands until they reach the NWOBHM - but the very direct influence that the genre has been having on a rather large scene of newer bands playing metal in a manner very similar to that of the great and small of the original NWOBHM movement in the early 1980s. This recent movement of traditional metal has been on-going for sometime really, emerging with bands like White Wizzard in the late 2000s, but the scene seems to be flourishing currently - particularly in America. In truth, and to my shame, I am not all that clued up on it. It is likely that there are many excellent bands that I am not aware of, but one that I am familiar with is California's Night Demon. The three-piece have been active since 2011, and released and EP and two studio albums between 2013 and 2017 - establishing themselves as one of the leading lights in this new metal scene along the way. For whatever reason, though, Night Demon became fairly quiet on the studio front after the release of 2017's Darkness Remains. I am not sure what put the brakes on the band releasing new material, but it may have had something to do with the reactivation of Cirith Ungol in 2016. Jarvis Leatherby, Night Demon's frontman and bass player, has been a member of the reactivated Cirith Ungol since 2016 - so it could be that Cirith Ungol's activity somewhat led to Night Demon taking a back seat. The COVID-19 pandemic likely did not help either, but 2020 actually saw some activity from Night Demon - who released a few stand-alone singles throughout the year, and this mix of originals, covers, and live recordings were compiled as part of the Year of the Demon collection released last year. With a new record label behind them, it seemed that the time was right for Night Demon's third album - and this was finally released last month, six years after the release of Darkness Remains. Whilst I like Night Demon, I would not call myself an expert on them. I like both of their previous albums, but their latest release Outsider does seem to have attempted something different. For one thing, Outsider is a concept album - telling the story of a gravedigger named Johnny. The album's booklet contains the whole story, told track-by-track, whilst it also unfolds throughout the album's eight songs and 30-odd minute run time. Outsider is a short album, then, but this is not a bad thing in my opinion. So many albums in recent years could have been improved by losing a song or two, so Outsider definitely leaves the listener wanting more. Despite the short length, though, the sound throughout the album is generally more progressive than what Night Demon have done before. There are songs here which are very much NWOBHM in style, as is to be expected, but there is also a stronger doom influence, a lot more atmosphere, and even passages which recall the vibe of bands like Mercyful Fate. As such, there is a lot to digest here - and the album's short length makes this easier. Whilst Leatherby remains the only original band member, he is once again joined here by long-time guitarist Armand John Anthony and drummer Dusty Squires - both of whom played on Darkness Remains.

The album gets underway with the largely instrumental Prelude, although Leatherby's vocals do kick in towards the end before it transitions into the album's title track. Prelude opens with a pulsing synth, before a melodic bassline joins in - creating quite a foreboding atmosphere. Simple piano chords are soon added to the mix, and the piece slowly builds up around these sounds. Synths and guitar swells add to the atmosphere, and Squires' drums are finally brought in to create a mournful beat. The piece works well to set the tone for what is to come, but when the album transitions to its title track the Night Demon fans know and love come to life. Outsider is a fast-paced track, opening with its heralding chorus, before a simpler verse kicks in - built around a pulsing bassline and some juddering power chords. Leatherby's voice is perfect for this kind of music. He is not a perfect singer, but his voice is full of character - and the chorus comes alive thanks to his anthemic delivery, with the rest of the band harmonising. The chorus sounds nice and big, then, with Squires often throwing in a busy roll to add further character. Despite the general anthemic approach taken throughout, the song takes a few twists and turns. The second verse ups the pace, with some thrashier riffing from Anthony, whilst a doomy bridge slows the pace significantly - before Anthony takes over with a melodic guitar solo. Prelude and Outsider feel like one longer song, with the atmospheric build-up and the punch of the song itself opening the album in fine fashion. Obsidian follows, opening with a snappy Anthony guitar line - which soon gives way to a riff that could have come from an early Diamond Head album. There are shades of the song Lightning to the Nations in the riff's structure and melodies, and Obsidian itself is generally a pretty speedy piece, with busy Squires drumming and plenty of guitar interest from Anthony. Leatherby's vocal approach is a bit rougher here, allowing a throatier sound to permeate the punky verses - whilst the chorus is more melodic overall thanks to Anthony's guitar hooks and some subtle vocal harmonies. It is the sort of song that is easy to latch onto, with the heroic chorus melodies swimming around the brain - and Anthony's guitar solo later provides plenty of strong hooks, too. Beyond the Grave, following the previous two more traditional pieces, opens slowly. Leatherby's bass rings out, before he launches into a busy, yet relatively slow, bassline - which is soon joined by a doomy riff. The energy of the previous two songs is absent here, with the opening verse largely leaving Leatherby's mournful voice alone against some simple synths and the occasional note from the bass. Chiming guitars join in towards the end, building towards a heavier chorus - which reprises some of the doomy riffing from earlier. Leatherby's opening bass riff resurfaces here, and Anthony's guitar playing is warm, yet relatively heavy. The later verses are never as sparse as the song's opening, but they remain relatively low key - allowing the overall atmosphere to dominate. Even the heavier moments tend to be more atmospheric - and Anthony's first solo is more bluesy in nature, before a later solo ups the pace and introduces something more typical of the band's NWOBHM roots.

Rebirth then returns to something more typical of the band's usual sound. Squires' opening hi-hats give a raw edge, whilst Anthony's opening guitar hook balances melody and sharp riffing nicely. Whilst the previous song focused more on atmosphere, Rebirth is classic NWOBHM. The verses steam along at a decent pace, creating a strong groove - whilst Leatherby's expressive vocals provide plenty of hooks. The chorus reprises Anthony's opening hooks, whilst expanding further on the vocal arrangement. The chorus feels a bit more anthemic here, with Leatherby really giving it everything he has - with his howled melodies sitting nicely atop Anthony's melodic guitar. The pace is slowed during an instrumental section, which sees a growling bassline backing a shredded guitar solo, but in general Rebirth is keeps the pace up. This can also be said about Escape from Beyond, which is likely the heaviest track here. Anthony's opening guitar riff grabs from the off, whilst Squires' drumming ups the ante somewhat - going for the throat with a punchy beat. This is maintained throughout the verses, although the riffing is paired back to allow the vocals to shine. Anthony's guitar accents are sharp, though, with the occasional drum barrage from Squires adding depth. The chorus sees the pace slow slightly, with a somewhat more epic and atmospheric approach taken. This works well, and the pace is not slowed enough to lose the overall heaviness. It just serves to make the song more interesting - with some of that Mercyful Fate influence on show here. The penultimate number A Wake slower, acting as a bit of a ballad before the closing track. Anthony's arpeggiated guitar melodies provide a melodic backing for Leatherby's voice - with his vocal delivery being pretty mournful and exposed, especially early on. The song does build somewhat as it moves on, but it always feels on the slow side - despite Squires adding some punch during the chorus. Some neo-classical guitar leads towards the end add some spice as the song transitions into The Wrath - the album's closer and the longest piece here at over seven minutes in length. It opens relatively slowly with some clean guitar melodies. Leatherby continues his mournful vocal approach from the previous song initially, but this does not last long - as a big riff soon kicks in, and the song moves up a gear. Bigger riffing tends to dominate from this point on, but the song is generally quite dynamic. It is the most progressive-sounding piece here, and it does a good job of mixing strong atmospheric sections with heavier riffing. It is the sort of song which pulls something from everything that has come before it on the album. There are speedy NWOBHM moments which are up there with some of the album's most aggressive moments, with the chorus falling into this category, whilst other sections are drenched in horror aesthetics - with plenty of keyboards adding depth. The transitions are snappy and the song feels natural whilst moving through these sections - with Anthony's fast-paced guitar solo being one of the album's best. The song ends the album on a high, and the short rollercoaster ride is one that will certainly please fans of retro metal. Whilst the album is rooted in Night Demon's influences, it does feel different from the band's previous work - and the progressive leanings are certainly welcome. There is a lot to like here, and its digestible nature makes it easy to return to.

The album was released on 17th March 2023 via Century Media Records. Below is the band's promotional video for Outsider.

Delain - London Review

So far this year on I have mentioned quite a few times how 2023 seems to be a rich year for new symphonic and power metal. I have reviewed quite a few new symphonic and power metal albums already this year - and I have also seen a few of the big names live, including Epica and Sabaton. I have always been a big fan of the genres, but I think that it is fair to say that in recent years I have been paying somewhat less attention. It has been good to really get back into the scene again recently, and this past weekend I headed back up to London for another excellent symphonic metal show. The reason for the trip up to Islington, via a Travelodge in Wimbledon, was the Dutch symphonic metal band Delain's first visit to the UK since early 2020. Delain were one of the last bands I saw live before the COVID-19 pandemic, and they rocked a packed Electric Brixton - hot on the heels of releasing sixth album Apocalypse & Chill. Much of the band's plans for that album soon fell by the wayside, though, and a year or so later their last line-up splintered - leaving only founding member and keyboardist Martijn Westerholt left in the band. I saw one of the final shows of the previous Delain era, then, and I have to say that I was really disappointed to see the band splinter in such a manner. Whilst they had undergone a number of line-up changes over the years, most of the previous line-up had been in the band for a while - and had put out a number of my favourite symphonic metal albums. I was dubious that Westerholt could successfully rebuild the band from scratch, despite his status as one of the band's core songwriters, so I was pleasantly surprised last year when Delain's current line-up released their first single. With two faces from Delain's past returning and two new ones coming aboard, the new-look Delain was pretty much recognisable as being such from the start - and when they released their seventh album Dark Waters back in February I knew that the band's sound and legacy were in safe hands. It is not easy to rebuild a band, but Westerholt was wise to bring-back long-time drummer Sander Zoer and April Rain-era guitarist Ronald Landa to ensure that some of the band's history returned with them. New frontwoman Diana Leah and bassist Ludovico Cioffi seem to have fitted into Delain like a glove, too, and Dark Waters has been getting a lot of love from me lately. When the band announced a relatively short European tour for 2023 last year, long before Dark Waters was properly announced, which included two UK shows, I snapped up a ticket for the Islington show straight away. The O2 Academy in Islington is certainly a smaller venue than Delain have tended to play in the UK of late, but I get the impression that the tour was supposed to be a bit of a lower key affair to bed in the new line-up - although it has since become the first leg of the Dark Waters tour. The tickets being under £20 certainly suggested a low key experience, but the show turned out to be anything but - with it selling out ahead of time.

With the venue opening at 6pm and a 10pm curfew, the night was a fairly early one. There was not too much time to waste, then, and there was only one support act before Delain - but the German symphonic metal band Xandria were an inspired choice. Much like Delain, Xandria have recently undergone a huge line-up change - with four new members joining founder and songwriter Marco Heubaum (guitar). Like Delain, too, Xandria have recently released a strong new album, The Wonders Still Awaiting, which is another that I have been listening to quite a lot of late. I had not previously had the opportunity to see Xandria live, so I was pleased to finally do so - and the German band did not disappoint during their 45 minutes on stage. I am not hugely versed in the band's back catalogue, although I have casually enjoyed their last handful of albums, so I was pleased that all but one of the songs played came from The Wonders Still Awaiting. The album's two big singles kicked things off, with You Will Never Be Our God getting the set off to an anthemic start. Whilst Heubaum is the main man, he generally does not demand the spotlight live. He generally seems content to riff away at the side of the stage - with new frontwoman Ambre Vourvahis taking most of the plaudits. She has a poppier voice than many of her predecessors, but that did not stop her from putting on a powerful performance - and her ability to do harsh vocals has also added an extra string to the band's bow. In fact the set opened with her harsh vocals, before the soaring hooks of You Will Never Be Our God and the somewhat more dramatic Reborn filled the O2 Academy. Rob Klawon (guitar) also enjoyed plenty of time in the spotlight thanks to his shredded solos. Xandria are often a bit more guitar-heavy than some of their peers, and most of their songs contained relatively lengthy solos - which provided something additional element to latch onto. Like the current Delain line-up, the new-look Xandria do not have a lot of shows under their belt - but it did not show. The performance was a confident one, and Vourvahis in particular seemed surprised with just how strong a reaction they received. With songs like the lengthy Two Worlds, though, and the sole older cut Nightfall, it was easy to see why - and the band rocked throughout their seven-song set. It was a shame that they were not afforded more time on stage, especially as they were the only support act, but I suppose it is better to be left wanting more! A powerful rendition of My Curse Is My Redemption saw their set close, then, and the band looked overjoyed by the cheers received as they filed off the stage. The setlist was:

You Will Never Be Our God

Reborn

Ghosts

Nightfall

Two Worlds

The Wonders Still Awaiting

My Curse Is My Redemption

Half an hour or so later the lights went down again, and the hall erupted as Delain took to the stage. It was clear that the band were not going to have to work hard to get everyone on-side - and Delain's 19-song set was a hit from the off. With a decent amount from Dark Waters, old favourites, and a couple of older deep cuts the setlist had a bit of something for everyone - but what impressed me from the start was how gelled the current Delain line-up seems to be. Leah has slipped into the role of frontwoman well already, although Landa did some of the in-between song banter to perhaps take some of the pressure off her, and the band were really tight - with Cioffi in particular being a captivating presence with his infectious singing along and his wild mane of hair (which got caught around Landa's guitar at one point). The symphonic The Cold from the latest album kicked things off, before Westerholt's synths drove the more anthemic Suckerpunch and Landa showcased his riffing capabilities on Burning Bridges. Leah had already proved herself on Dark Waters, but she also nailed the older songs - with Landa adding backing vocals here and there and Cioffi handling the occasional growls. Landa also had a couple of moments in the spotlight vocally, too, such as his original bridge section on the rarely-played Invidia and a beautiful cover of The Cranberries Cordell which came about half way through the set. Before Cordell, though, the hard-hitting newer single The Quest and the Curse had everyone fist-pumping, and the poppier April Rain won the crowd over with its soaring chorus and shredded guitar solo. There were no weak moments in the set, though, with even the relatively delicate The Hurricane coming alive on stage (as it tends to do) and the newer Underland hitting harder live than it has done so far on Dark Waters. The aforementioned Cordell provided a bit of a mid-set break, and gave Leah a rest, before she returned with Skiltron's Paolo Ribaldini in tow to lay down a handful of duets. Ribaldini contributed to Dark Waters, and is touring with Delain currently to handle many of the various guest male vocal parts in some of their songs. Two of his contributions, Beneath and Queen of Shadow, were up first - with the latter in particular standing out. It is one of my favourite cuts from the new album, and the huge chorus really came across well live. Ribaldini then stuck around for a huge version of Your Body Is a Battleground, a song which I have always wanted to hear live, and a bouncing rendition of the band's anthem The Gathering. Ribaldini helped bring these songs to life, and it was great having him on stage for a few songs. The synth-heavy Don't Let Go then injected some new energy into the crowd, before the poppy vibes were continued throughout the stadium-ready Moth to a Flame - with Leah shining in particular during the sugary chorus. Not Enough then brought the main set to a close, and the band lapped up the applause before briefly leaving the stage. Given that the curfew was looming, not much time was wasted - and a three-song encore followed quickly. The mechanical Mother Machine showcased Leah's vocal smoothness, before Ribaldini was brought out one last time for a surprise rendition of the oldie Control the Storm. The riffy song was a treat to hear again live after so long, with the evening then coming to a close with another bona fide anthem in We Are the Others. Everyone sang along, and it ended on a real high - with huge cheers again ringing around the packed room as the bows were taken. The setlist was:

The Cold

Suckerpunch

Burning Bridges

Invidia

The Quest and the Curse

April Rain

Underland

The Hurricane

Cordell [The Cranberries cover]

Beneath

Queen of Shadow

Your Body Is a Battleground

The Gathering

Don't Let Go

Moth to a Flame

Not Enough

-

Mother Machine

Control the Storm

We Are the Others

Delain have always been a great live band, and this past Saturday was no different. I have seen a few great Delain shows, so it is hard to say which is the best, but this most recent one certainly felt like a truly joyous occasion. The new line-up seem so together, and it was great to see them getting such a strong reception. No-one likes seeing bands splinter and undergo messy line-up changes, but being open-minded is usually best - and the current Delain line-up deserve all of the love which they are currently getting. Both bands went to their respective merch desks after the show, but so many people wanted to try and meet them that I decided against doing so - especially as the situation did not look that well managed meaning that a few people were likely to hog the time as often happens in those sort of situations. The show had been excellent regardless, though, and it was one those that left me feeling in a particularly good mood as I was leaving the venue.

The Answer's 'Sundowners' - Album Review

It is always a shame when loved bands appear to fade away. Until late last year, this is what appeared to have happened to the Northern Irish rockers The Answer in around 2017. Up until 2017, the band had been pretty busy since they burst onto the scene in 2006 with their debut album Rise. Rise was one of those albums that really caught hold, and the band made a big impression from the off. Sadly, though, like many hard rock acts from the 2000s, The Answer never found the fame which their output deserved. The band's fortunes should have changed in 2008 when, following the release of second album Everyday Demons, they found themselves opening for AC/DC throughout the year and into 2009. This really should have kicked the band's career up a notch, but, sadly, it did not seem to. Once the AC/DC tour was over, they was back to playing small club shows again - something which essentially continued until 2017 when, following the conclusion of the touring cycle supporting 2016's Solas (which I reviewed here), The Answer seemed to quietly fade away. Now that the band have returned, it probably not wrong to assume that the break was needed. The Answer had essentially been on the go since forming in 2000 - and released six albums between 2006 and 2016. They always seemed to be on the road, too, so I wonder if by 2017 they were somewhat burnt out. It cannot be easy toiling and seeing little reward for it, either, with the band returning to the same clubs year after year despite most of their albums being well received. Funnily enough, the one album that received somewhat more mixed reviews in general was Solas. The earthy, atmospheric, and more acoustic-based sound that characterised Solas was generally a far cry from the band's typical hard rocking blues. Having listened back to the album recently, it feels like one by a band desperate to try something new and get themselves out of a rut. I do quite like Solas, even if some of the songs do not do all that much for me - but it is comfortably my least favourite album by The Answer, largely as it lacked the swagger of the band's best work. There was very little news from the band between 2017 and last year, then, and I really did wonder if they were indeed no more. Frontman Cormac Neeson released a solo album to acclaim, which I still have not heard to my shame, whilst nothing much at all was heard from the others. This all changed last year, though, when the band announced that they were back - and would release a new album and tour in 2023. I listened to the lead single last year, but decided largely just to sit back and wait for the album to drop - so when it landed last month I was pretty excited. I saw the band live for the first time since 2015 the same weekend that it came out, too, so that weekend was very much dominated by The Answer. Perhaps unsurprisingly, Sundowners, the band's first album since Solas, returns to something more akin to their classic sound. That is not to say that the innovations made on Solas have been thrown out completely, as some of that album's rawness and earthiness remains, but Sundowners on the whole is The Answer that the fans know and love.

Despite this, though, the album on the whole is somewhat less brash - with a stronger blues edge and plenty of groove. There are a lot of memorable tracks here, but perhaps the opening title track is among the most interesting. Sundowners itself is a song which feels like The Answer, but with all of the studio polish stripped away. The fuzzy opening, which features harmonica and distorted studio chatter, sets the tone nicely - whilst guitarist Paul Mahon adds swells on a resonator. Drummer James Heatley soon starts to lay down a percussive beat, which bassist Micky Waters adds a walking groove over the top of. This rhythmic pulse generally drives the song, with Mahon adding slide accents and session keyboard player Jonny Henderson very occasionally adding some organ. Soon discarding his harmonica, Neeson starts to croon atop the groove - his vocal patterns very old-school blues. When I say old-school, I really mean it - as there are strong 1930s/1940s vibes here. The raw sound, the reliance on slide throughout (even during the riffier chorus), and the percussive groove all have that foot-stomping sound of the American south - and Neeson's raw howls and occasional harmonica bursts perfectly add to the song's atmosphere. Those expecting the album to open with a bang may be disappointed, but for me Sundowners captures the essence of The Answer perfectly. They have always been a blues band at heart - and this song sees them expressing this in its purest form. Mahon's tone throughout is perfect for the song, and the use of a resonator only enhances it. There are more rocking moments to come, but as far as a scene-setter goes the title track does its job perfectly. Lead single Blood Brother follows and this sees The Answer operating in a more typical manner. The overall rawness is retained, but Mahon's spiky guitar riff is typical of the band's older sound - with the punchy groove of the rhythm section perfectly accented by some occasional organ swells. Neeson sounds more like his usual self here, crooning in his raspy delivery perfectly, whilst the rest of the band add some subtle harmonies during a swelling pre-chorus which, briefly, allows the song to sound 'bigger'. The punchy grooves return for the chorus, though, which could well be the album's hookiest moment. It is easy to latch onto, and the song is likely to be a live staple going forward as a result. Mahon's tortured solo is a lot of fun, too, and those who favour a more direct approach will love Blood Brother's attitude. California Rust goes for a fuller sound, and is one of the songs here that could have fitted easily on one of the band's early albums. There is less rawness here, with a bigger production seeing every nook and cranny filled with organ - whilst Mahon's busy riffing drives everything. Neeson's vocal approach is more overtly-melodic here, with his verse delivery feeling more sing-song - before the whole band harmonise for the soaring, hooky chorus. There are hints of Americana here, but generally the piece is very typical of The Answer's core sound - and those who loved Rise and Everyday Demons in particular will enjoy the scope of the song, as well as Mahon's more traditional solo. This solo gives way to a more jam-led instrumental section, complete with lots of harmonica, before everything is pulled together again for a final reprise of the stage-ready chorus.

Want You to Love Me injects a bit more rawness back into the album, but the hooks of the previous song remain. The song is very strident as a result, and it treads a fine line between anthemic hard rock and dirty blues. Mahon's guitar tone is very gritty, with Waters' bass also on the rough side to help drive the song and ensure that everything sounds dirty. The organ helps on that front, too, but it is the core band that drive everything - whilst Neeson adds plenty of his trademark throat-shredding vocals atop the pulsing cacophony. Despite this commitment to a rougher sound, there are still lots of hooks here. The chorus has a snappiness about it that makes it stick in the brain - whilst a short-lived gospel-inspired section in the song's middle allows for the backing vocals to make a strong impression. Toning the rawness down somewhat, Oh Cherry then introduces some 1950s/1960s rock 'n' roll vibes to the album. It is a very retro-sounding piece which mixes the band's typical sound, especially during a rollocking chorus, and old-school pop vibes during the simple verses. Mahon's guitar motifs are very Buddy Holly-inspired here, but the song overall is tougher - largely thanks to Heatley's swinging grooves, and Neeson's impassioned vocal display. This is one of the songs on the album that really stood out to me from the off - and this mix of sounds is likely why. It sounds very typical of the band's best work, but the retro edge is a bit different from the norm - without sounding contrived. The hybrid approach works, and the faster track is one of the album's best. No Salvation is a slower song, which opens with the mournful strains of Neeson's harmonica. For a few seconds it is all that is heard, and it sets the tone nicely, before Mahon joins in with a bluesy figure which forms the basis of the rest of the song. This is the perfect song to highlight's Neeson's crooning vocal style, and he is very much the focus throughout. Mahon's slow riffing is the main musical hook, but Neeson sells the piece - with his harmonica adding colour occasionally. Waters and Heatley are more restrained here. The rhythm section is generally busy on this album, but here they simply provide a gentle backing for the guitar turnarounds and Neeson's emotional vocal delivery. No bluesy ballad is complete without a guitar solo, and Mahon's simple offering really pulls everything together - before another gospel-influenced closing section ups the pace a little. Cold Heart returns to a harder-hitting sound, but in truth the song is really just classic The Answer in style and structure. Heatley's cowbell-heavy drumming creates the groove, whilst Mahon lays a mixture of typical riffing and slide over the top of the swinging beat. Wordless vocal hooks stick to that gospel vibe which has already been referenced a couple of times - whilst a joyous chorus reminds me of the vibe of Preachin', but with a poppier edge. Neeson really sounds at his best here, and the song is a great representation of his talents. His strutting, yet melodic, performance is great - as is Mahon's solo which is more traditional and filled with bluesy phrases.

All Together is similar, and the joyful vibes of the previous song have been retained here. Some of the stomping vibes of Blood Brother have been repurposed, too, and the song is another that is led by Heatley's drums. His grooves throughout this album are crucial - and he leads the verses with his infectious beats. The guitars and bass accent him nicely during the verses, whilst the keyboards actually add some more prominent musical hooks here. The keyboards add a lot to the album overall, but this song sees them pushed to the fore during the verses - whilst the chorus is more traditionally rocking with spiky riffing and plenty of soulful backing vocals. Keeping the pace up next is Livin' on the Line, which loses some of the rawness of the previous songs for a poppier, more anthemic sound - which recalls some of the vibes the band previously explored on 2011's Revival. There is a stronger emphasis on backing vocals and harmonies here, with the verses sung in a call-and-response manner between Neeson and the rest of the band. Mahon's riffing is more all-encompassing and classic rock-inspired here, whilst the grooves of the rest of the album have generally been replaced by a more driving hard rock beat - which suits the more anthemic sound attempted. The chorus showcases this best, and it is another of the album's hookiest moments. Neeson's melodies are very much stadium-ready, and the tight vocal harmonies certainly feel like something out the 1980s. The band do not borrow from the 1980s too often, but it works well here - and the hooks are infectious. Mahon's guitar solo is lengthy and very classic rock-inspired, too, leading to one of the album's most memorable tracks overall. Get Back on It immediately returns to a rawer sound, with the 1980s vibes of the previous song no longer present. In fact, the song feels very similar overall to All Together - with a strong drum groove and some prominent organ playing. For me, though, perhaps the similarities are too great - and the fact that it follows so soon after All Together makes Get Back on It somewhat roll into one with it. The song does not hit as hard as it could do as a result, but there is still plenty of enjoy in its strutting groove and subtle use of gang vocals. The album then comes to a close with its slowest number, the more acoustic based Always Alright. Despite the old-school opening cut and No Salvation, the album has generally been pretty up-tempo and hard rocking - so the delicate nature of Always Alright is welcome. An acoustic guitar pattern forms the basis of the piece, with subtle slide accents adding colour, whilst Heatley's simple drum beat and some occasional piano notes flesh it out. Neeson is much more restrained vocally here, leaving his typical howl behind for a more emotional approach. His singing throughout the song is very heartfelt, although towards the end he starts to exhibit something more typical. This is because the closing section of the song does rock out a little more, driven by an electric piano boogie - with more soulful backing vocals enhancing a more jangly, upbeat version of what had come before, bringing the album to a sunny close. All in all, then, Sundowners is a great come back from The Answer. Whilst it may generally stick closely to the band's core sound, there's a freshness to the overall production - and the atmosphere throughout is infectious. The band are back with a bang, and I hope that it is just the start of a new era.

The album was released on 17th March 2023 via Golden Robot Records. Below is the band's promotional video for Blood Brother.

Sabaton - London Review

Slowly, but surely, all of the concerts that were delayed by the COVID-19 pandemic are being crossed off. I still have a couple left, although one of which I only bought tickets for fairly recently so the previous postponements did not actually affect me, but this past weekend in London the last big one took place - as I headed up to the OVO Arena in Wembley to catch the Swedish power metal band Sabaton bring their latest no-holds-barred tour to the UK. Unlike many other shows, though, this tour only had to be postponed once - but considering that I bought the ticket in 2021 the overall wait felt like a long one. Despite that, though, I have actually seen Sabaton live quite a few times over the years - with last Saturday being my seventh overall. I first saw the band live back in 2008, when they supported DragonForce in Truro, but I did not get into them properly for a few more years - and I saw them for the first time by choice in 2012 in Wolverhampton. Since then I have seen the band live a few more times, with the last time coming in 2019 - when Sabaton headlined the Friday night of that year's iteration of Bloodstock Open Air. They returned in 2020, just before the lockdowns, but sadly the London show, which I believe was their only UK show on the tour, clashed with something else which I already had tickets for. I was glad to get tickets this time, then, despite the wait - and it was great when yesterday finally rolled around. Each time I have seen Sabaton live their stage show has grown, and I was really looking forward to seeing what they could do on an arena stage. Some bands struggle to transition to arenas as far as the 'show' side of their performance goes, but I had every faith that Sabaton would make it work. They have always had a theatrical edge, which has only increased over time. I remember both the 2019 Bloodstock appearance, and the last headline show of theirs which I saw in 2017 at the O2 Academy in Brixton, being pretty larger-than-life - so I was expecting a Wembley Arena show to be even larger. This was all despite not being hugely taken by the band's most recent album The War to End all Wars - which came out last year. There are certainly good songs on the album, but, for me anyway, it felt a bit tired - and was nothing that any Sabaton fan had not heard before. This somewhat disappointment aside, I knew that the band would still deliver live - so it was with excitement that I headed up to London, via a Travelodge on the M4, to take in Sabaton's latest live offering. Not long before the show, too, the band announced that it had sold out. I assume that they had shifted the last few tickets on the day of the show - and it was great for the band to have had two Wembley Arena shows a in a row sell out. The 2020 show was also a sell out, but that was the band's only UK show of the tour. This Wembley show was part of a handful of UK dates and, with some of the other UK shows also selling out, it is clear that Sabaton's star is still rising. They are genuinely one of the biggest modern metal bands at this point, and seeing them pack out Wembley Arena was certainly a great sight.

Before Sabaton took to the stage, though, the large crowd was treated to sets from two support acts. I have to say that I was quite disappointed by the choice of support. Sabaton have generally toured with strong bills, but this bill seemed aimed at a broader market - which was a shame. That being said, though, I did quite enjoy the 40 minutes or so which Lordi were on stage for. Like many, I first heard of the Finnish five-piece when they took part in, and won, the Eurovision Song Contest back in 2006. I think that it is fair to say that the band never really capitalised on that fame, but, nevertheless, they have been ever-present in the rock and metal scene since. In some ways, I am surprised that it took me so long to run into Lordi - but the costume-clad rockers essentially delivered exactly what I thought they would: a fun set of decent melodic hard rock/heavy metal anthems with a good dose of both humour and 1980s-style cheese. Despite having been around for over 30 years at this point, the band took to being relegated to an opening act in their stride, and generally let the music do the talking. Frontman and bandleader Mr. Lordi was a captivating presence on the stage, especially when some demonic wings opened as part of his costume during one number, but the band as a whole were tight. Kone (guitar/vocals) particularly impressed with a number of shredded solos, whilst Hella (keyboards/vocals) added plenty of cheesy horror atmospherics. The vast majority of the songs had big, stadium-ready choruses, too, although these were not always allowed to shine thanks to a somewhat muddy sound mix. Mr. Lordi's vocals were generally audible, but they lacked the punch which I imagine that they should have - meaning that the choruses did not always land. It was easy to see what the band were aiming for sound-wise, though, and it was good to hear that things had not really changed since 2006. I remember listening to a few other Lordi songs when they won Eurovision, but I was never truly swept along. Based on their set, though, it would seem that the band have at least a few decent songs worth checking out - so I may have to do some investigating in due course. Their 40 minute set of course came a close with the Eurovision-winning anthem Hard Rock Hallelujah,  which went down well with the large crowd - and I think it is fair to say that Lordi's job of warming up the crowd had been well done.

Up next, after a 20 minute changeover, were Babymetal - the Japanese pop/metal crossover band who made a bit of a splash a few years ago when they burst onto the scene. I must admit to being pretty ignorant of Babymetal's work, nor was I particularly looking forward to seeing them. I was pretty certain that they would not be my thing at all, and within a few minutes of their set starting my suspicions were essentially confirmed. Musically, though, Babymetal had their moments. The anonymous band who backed the trio of pop singers/dancers were certainly very capable - even if the music often felt a bit stuck in the late 1990s/early 2000s. Some of the tech metal style riffing was fun, though, and the last song of the set sounded so much like an old-school DragonForce song that I thought that the band were about to do a cover. That is about as far as my enjoyment of Babymetal's set went, though. For those who do not know, Babymetal is essentially a metal version of a typical Japanese girl band, featuring girls dancing and singing and that overly 'cute' manner which is such a huge part of Japanese pop culture. I would make the argument that this kind of act just does not translate that well with Western audiences - but Babymetal have been pretty popular here in the UK for a while. I do think that their initial popularity has waned, but there still seems to be quite a bit of love for them - and the reception that they received throughout their set was pretty strong. Clearly lots in attendance enjoyed Babymetal - but they really were not for me at all. Given how poppy the band can be, there was surprisingly little vocals - with only one of the three main girls singing anything close to a significant amount. As such, much of the set was instrumental - broken up by instances of pretty screechy and unappealing vocals. It is fair to say that I will not be checking them out further, but in a way I am glad that I have seen them - and I can now have something of a meaningful opinion on them. I had essentially ignored them up to this point, and I will likely continue to do so from this point on.

Following Babymetal's set, there was a half an hour or so break whilst the crew got the stage ready for Sabaton. As has been typical of the band's shows of late, the set-up was pretty lavish. Drummer Hannes Van Dahl's kit was sat atop a tank, which is the norm for Sabaton, whilst other parts of the stage were laid out like a trench - with plenty of barbed wire. This became the setting for the next 90 or so minutes of music - although the show got off to a strange start. Part of the spoken word section of Sarajevo played over the speakers, before a huge pyro explosion cut it off. A pause was then followed by Sun Tzu Says and the band launching into their ever-present opener Ghost Division. Looking at the band's other recent setlists, this seems to be typical - but it felt like a false start, and the whole vibe was very strange for a moment or so. When Ghost Division kicked off, though, the crowd got going - and Sabaton did not have to work hard to get the energy levels within the room high. The first part of the set largely consisted of older songs, before the second portion focused on songs telling stories from the First World War - largely taken from the band's last two albums. This meant that some old favourites where wheeled out early on. The up-tempo Ghost Division set the scene as always, before the slower, more epic Bismarck saw frontman Joakim Brodén prowling the stage whilst being covered in plectrums by guitarists Chris Rörland and Tommy Johansson. Brodén took this in his stride, before Johansson impressed with a fluid solo. Not to be left out, though, Rörland shone during the bombastic The Last Stand, whilst Into the Fire turned the clock back to the band's debut album to showcase something altogether more fast. The band's older material certainly has a strong speed metal feel, and Into the Fire gave the set a kick of energy before two slower pieces, Carolus Rex (sung in Swedish) and Winged Hussars, brought the first part of the show to a close.

The second part of the show was generally more theatrical. Crew members in costume often provided something extra to look at, and there was a more liberal use of props here. Sarajevo was played properly to start this part of the show, with both Rörland and Johansson soloing during the spoken word piece, before the hammering Stormtroopers saw Brodén decked in a long coat whilst flamethrower-wielding crew members flanked the stage. A poignant and toughened version of Motörhead's ballad 1916, which Sabaton have just released a cover of, really slowed the pace, which then made the poppier Solider of Heaven feel surprisingly joyous with its big synths and driving bassline from Pär Sundström. In fact, the whole back end of the set was pretty varied, with heavy tracks like Dreadnought sitting side-by-side with the Uriah Heep-influenced The Red Baron - during which a keyboard attached to a plane was wheeled onto the stage for the Hammond organ solo. The creeping Father, a recent single, added a spooky side to the show, with a science lab brought out, before the industrial-sounding The Attack of the Dead Men built further on these vibes - with the whole band donning gas masks. Sundström then took the time to thank the crowd, and reflect on how far the band had come since their first London headline show in 2007, before introducing an epic, set-closing rendition of Christmas Truce. The symphonic ballad brought the main set to a powerful close, with the crowd lighting up the venue with their phones. There was time for a bit more, though, and the band came back out with another oldie in Primo Victoria, which of course had everyone in the crowd singing along, before the folky vibes of Swedish Pagans acted as a vehicle for a bit of extended soloing, some crowd interaction, and even a short drum barrage from Van Dahl. There was still time for one more, though, and the anthemic To Hell and Back closed the night. It has become the band's closing cut of late, and it works well as such due to its huge chorus and bouncing rhythm. It capped off a powerful set nicely, and the band then took their bows to huge cheers from the sold out room. The setlist was:

Sarajevo/Sun Tzu Says

Ghost Division

Bismarck

The Last Stand

Into the Fire

Carolus Rex

Winged Hussars

Sarajevo

Stormtroopers

1916 [Motörhead cover]

Solider of Heaven

Dreadnought

The Red Baron

Father

The Attack of the Dead Men

Christmas Truce

-

Primo Victoria

Swedish Pagans

To Hell and Back

I knew that Sabaton would pull out of all of the stops, and their London show this past weekend did not disappoint. Each Sabaton show which I have been to has been memorable for different reasons, and Saturday night will be memorable for the scale of the show. It was also great to hear quite a few songs live which had not been featured in the setlists of the previous Sabaton shows that I attended. Sabaton often shake things up like that, and this made the London show a real winner. I feel like I have seen better overall performances from the band, but as far as spectacle goes this past weekend was a real winner.

Kamelot's 'The Awakening' - Album Review

Until recently, it had been a while since we last heard anything new from the American power/symphonic metal band Kamelot. The five-piece have been pretty prolific over the years, but when their thirteenth studio album The Awakening was released last month it broke a five-year silence. I am not sure what lead to the longest gap between albums in the band's career, with The Shadow Theory (which I reviewed here) dropping in 2018, but I do wonder if they wanted to somewhat re-group and take stock following the somewhat muted overall response which The Shadow Theory received. The COVID-19 pandemic cannot have helped, but I do think that there may have been a bit of soul-searching undertaken. The Shadow Theory is a decent album but, for me, it was the band's first in a long time that felt like a bit of a disappointment. I listened to it a lot during 2018, but I have not revisited it too often since - nor did it make the cut for my 2018 Albums of the Year list. The album's strongest moments are pure Kamelot brilliance, but there are also a few songs which have not stuck with me at all. It felt like an album by a band who were desperate to diversify and, as such, some of Kamelot's trademark sound was eschewed for a heavier, somewhat more industrial feel that focused a lot on mechanical synths and grinding guitar riffs. It still felt like a Kamelot album, but the band's usual flamboyance and bombast was toned down to allow for a darker atmosphere to shine. Such a sound had been teased on 2015's Haven (which I also reviewed here), but was taken much further on The Shadow Theory. I preferred the overall balance on Haven, which felt like a band branching out after re-establishing their core sound with current frontman Tommy Karevik on 2012's Silverthorn, with The Shadow Theory instead losing some of the Kamelot magic in an attempt to branch out further. The thing is, though, that Kamelot had already done all-encompassing darkness more successfully previously. 2010's Poetry for the Poisoned, which has become the band's forgotten album due to their previous frontman Roy Khan leaving shortly after its release meaning that it was never toured properly, did darkness and a mournful atmosphere much more successfully than The Shadow Theory. Much of this was likely down to Khan's state of mind at the time, but the album's heaviness and depressing air makes it a catalogue highlight for me. The Shadow Theory fell somewhat flat in comparison, so in a way I am glad that the band took some to time to decide in which direction they wanted to move forward. As one listen to The Awakening showed, then, the direction of travel chosen was one back to a sound closer to one found on Silverthorn. The Awakening ups the bombast, and much of the overt darkness of The Shadow Theory has been stripped away. Kamelot have always had a dark edge to them, which remains, but The Awakening feels much more upbeat - with a strong focus on hooks and lush orchestrations throughout. Karevik soars vocally, bringing more of 'himself' to the melodies than he sometimes has done with Kamelot in the past, whilst Thomas Youngblood has written a lot of excellent, heroic guitar melodies which often recall the Kamelot of the mid-2000s. It is an album that hits from the off, and it is all the better for it. It is also the band's first album with drummer Alex Landenburg (Annihilator; Axxis; Luca Turilli's Rhapsody; Cyhra) - although he has been playing with Kamelot since almost the start of The Shadow Theory tour, where he replaced Johan Nunez due to injury.

As is often the case with Kamelot's albums, as well as power/symphonic metal albums more broadly, the album opens with an instrumental scene-setter. The imaginatively-titled Overture (Intro) is full of all the symphonic drama and bombastic which would be expected from the band - with Oliver Palotai's gentle piano melodies often shining through the dancing strings. Many of these melodies later form the basis of The Great Divide, which the intro segues into following a drum barrage from Landenburg. The album's more upbeat desires are apparent from the off, and the piece is one that grabs hold immediately. Landenburg's drumming is relentless and fast-paced, whilst Youngblood's guitar playing mixes crunching riffing, setting a rhythmic groove, and soaring leads - the latter shining particularly during the pre-chorus and chorus. Youngblood's performance throughout this album is his most expressive for a while. In recent years he has been more riffy, but those old-school Kamelot guitar melodies return in a big way here - and his first guitar solo is a trademark mix of shredded sections and well-phrased melodies. This album is a real melodic feast, partly due to Youngblood, but Karevik of course does his bit, too. The song's chorus really soars, with some slightly unconventional melodic choices paying off, whilst a more low-key bridge section, focused around Palotai's piano melodies, showcases Karevik's more emotional side. This up-tempo feel continues on throughout Eventide, which has a joyous feel that really harks back to some of the more power metal moments found on albums like 2003's Epica. There are darker moments, though, with a recurring mid-paced riff-led section which recalls the dramatic grooves of March of Mephisto, but generally the song soars. The chorus is another hook-laden moment, whilst the verses feel lush thanks to layers of strings. It is the sort of song that revels in its larger sound - and each part feels like it has been pushed to the max. Even Youngblood's guitar solo, which grows from a somewhat tortured-sounding beginning, feels somewhat extra - with a final reprise of that thespian chorus later exploding from another piano-led bridge. Lead single One More Flag in the Ground follows, and the song takes on a more anthemic feel - slowing the pace somewhat and going for a mid-paced stomp. Sean Tibbetts' bass playing drives everything, whilst Landenburg's staccato drumming creates a spiky rhythm. There are definitely vibes of the band's previous album here, but with a more upbeat overall feel seeping through the industrial touches and reliance on synths. Youngblood's guitars are darker-sounding here, but the crunch is off-set nicely by Karevik's poppy chorus vocal - which sounds more like something he would typically reserve for Seventh Wonder. The use of synths and some occasional electronic drum sounds recall bands like Amaranthe somewhat - but the song is not too poppy, instead revelling in its riff-led sound which suits its status as the album's fist-pumping anthem. Youngblood's shredded closing solo sees him break out of the song's rhythmic constraints successfully, too, adding a fun coda on what is, overall, a more curated experience.

Those who like Kamelot at their most dramatic and bombastic will love Opus of the Night (Ghost Requiem), which turns the clock back somewhat - recalling the later years of Khan's tenure in the band. It has been hinted by the band that the song is a sequel to the title track of 2007's Ghost Opera, and there are certainly comparisons that can be drawn between the two. Youngblood's soaring opening guitar lead is reminiscent of the 2007 classic, whilst the more symphonic sound is again similar to Ghost Opera. Palotai's orchestrations dominate throughout, whilst the heaviness is whipped up by a relentless rhythm section. Karevik slips back into some of his more overt Khan-isms during the dark verses, which allow his deeper delivery to shine - whilst the fast-paced chorus showcases him at his most natural, with the dancing strings filling the speakers. It is also the first of two songs here to feature the talents of cellist Tina Guo - who adds to the overall string arrangement throughout, before adding a brief solo part-way through. She is also present on Midsummer's Eve, which slows the pace down and presents the album's first ballad. Kamelot have generally excelled at ballads, but this is likely my favourite of their offerings for a while. There are folky overtones throughout, with strings providing an early melodic hook, whilst acoustic guitars and piano are generally the lead instruments throughout. The verses are very stripped-back, with Karevik crooning atop Palotai's rolling piano melodies, whilst the chorus is larger - seeing acoustic guitars and strings added to the mix. Despite this, though, the stars of the piece are Karevik and Palotai. Palotai's classically-trained piano melodies are a delight throughout, and Karevik's emotional delivery compliments them perfectly - and he demonstrates why he is one of the genre's best singers here. Guo's folky additions, along with Florian Janoske's violin, and the acoustic guitars give the song its identity, though, and it is a great moment of respite following the opening bombast. Such bombast immediately returns via Bloodmoon, though, and the mid-paced power metal anthem is another that really turns the clock back. Youngblood shines here, after taking a bit of a back seat during the ballad, with his opening guitar lead immediately entrenching the classic Kamelot sound on the piece. The strings and keyboards fill the gaps, but the guitar leads the charge here - as should be the case when it comes to Kamelot. Most of the songs here are full of hooks, and this is one of the songs that really jumped out to me on first listen. Youngblood's guitars constantly add drama, whilst Karevik delivers another stunning vocal throughout - particularly during the smooth, string-filled chorus. Anthemic instrumental and wordless vocal sections crop up occasionally to add a surprising twist - and the song is a real album highlight for me as a result.

NightSky ups the pace somewhat, and goes for a more rhythm approach. Youngblood's guitars are crunchier here, leaving the previous song's leads behind, and the way that they lock in with Landenburg's double bass drums and Tibbetts' bassline creates a hypnotic groove. The verses are packed with this groove, Karevik singing in the gaps between the mechanical riffing, whilst the chorus takes a surprisingly smooth approach - with soaring strings and delicate piano motifs changing tack. The transition feels a bit jarring at first, but over repeated listens the song has bedded in with me. It is one of the album's weaker moments in my opinion, but there is still a lot to love here - with the chorus sounding delightfully gothic, whilst Youngblood's guitar solo is more shred-orientated. The Looking Glass maintains a similar pace, but goes for a more overtly-melodic sound more akin to Bloodmoon. It is another stand-out track for me, and the two songs share a similar overall vibe. Instead of Youngblood's guitars providing the main melodic hook, though, this song belongs to Palotai. Despite the heavy riffing throughout, his piano provides the main melody to latch onto early on - with this chiming motif later forming the basis of the chorus. There are lots of great choruses on this album, but The Looking Glass' is one of the best. Karevik sounds great throughout it, and it sounds like he really pushed himself vocally, too. He is known for the occasional high note, but the high notes here are different from his usual approach - and they come somewhat out of the blue, adding a pleasant surprise to what is an already excellent melodic feast. The instrumental mid-section is great, too, with Youngblood and Palotai trading guitar and keyboard solos in a very old-school power metal manner. The two players have always traded licks well with each other, and this instrumental section is one of the album's best as a result of the back-and-forth approach taken. New Babylon then takes a bit of a different path, and features the vocal talents of once-regular collaborator Simone Simons (Epica) and newcomer Melissa Bonny (Ad Infinitum). Following the smoother previous song, New Babylon goes for a stomping vibe throughout - with a more overtly-symphonic metal approach. Funnily enough, given Simone's presence, the chorus has a bit of an Epica feel - but it also recalls the aforementioned March of Mephisto somewhat, as well as other Kamelot stompers such as Veritas. Karevik dominates vocally, but Simons and Bonny weave their voices around his - with the chorus sounding huge thanks to the big vocal arrangement, as well as the staccato groove created throughout. There are some faster-paced sections, too, and Youngblood occasionally lets rip with a snappy riff - whilst another guitar/keyboard duel adds to the song's rollocking nature. Bonny even adds some harsh vocals to the piece, her growls creating a dark-sounding bridge - upping the heaviness before a final reprise of the stomping chorus.

The album's second ballad Willow follows, and the piano-led piece feels more typical of Kamelot's style than the folkier Midsummer's Eve. Despite the piano dominating early on, there is much more of a typical string presence here, too. The song is much more gothic-sounding, and some of the band's darkness shines through here. This is apparent in how the song grows as it moves along. Midsummer's Eve was essentially all acoustic, but Willow grows in stature. The rest of the band soon join the fray, adding a real crunch to the slower, string-led grooves - whilst a short Youngblood solo adds to the overall emotional pull of the song. I personally prefer Midsummer's Eve due to it taking a different path, but Willow acts as a nice calm-before-the-storm of album's closing moments - despite the fact that the band have done this type of ballad more successfully in the past. Left to close out the album is My Pantheon (Forevermore), a more progressive-feeling piece that revels in darkness. This has been Kamelot's typical approach in recent years - and there are shades of Revolution and The Proud and the Broken in style here. The song still very much sounds like Kamelot, but it is perhaps less symphonic - instead going for a heavier feel. Youngblood's guitar tone is sharper here, whilst Karevik's vocal delivery feels more gothic - although a few longer higher-pitched screams add a slight 1980s edge to parts of the track. The heaviness is capped off by another harsh vocal-led section, this time courtesy of producer Sascha Paeth, and the song generally barrels along at a steady pace thanks to the multitude of riffs and a strong bass presence. The chorus remains as hooky as would be expected, though, and Youngblood shines with one last solo - before the song transitions into the closing piece Ephemera (Outro). As such, the album ends as it started - with strings and Palotai's piano. As is often the case with pieces such as this, Ephemera (Outro) feels like the credits rolling on the excellence of what came before. I do like it when Kamelot albums end on such a lull, although there is still plenty of drama thanks to the string arrangement - but it is Palotai's piano that steals the show here. It helps to reflect on the album as a whole, and, for me anyway, The Awakening is a return to form. I do like The Shadow Theory despite its flaws, but The Awakening truly feels like Kamelot - and they have still found room for the occasional experimental moment and flourish. Fans of the band will find plenty to love here, and the few nods to the band's old-school sound will excite those who have followed Kamelot for a while. I am certainly going to be getting a lot more out of this album over the coming months, but, as things stand, it is one of my favourite releases of 2023 so far.

The album was released on 17th March 2023 via Napalm Records. Below is the band's promotional video for One More Flag in the Ground.

Ice Age's 'Waves of Loss and Power' - Album Review

The US prog band Ice Age are a relatively recent discovery of mine. Like many fans of rock, metal, and progressive music, I often enjoy the videos put out by Sea of Tranquillity on their YouTube channel. One of their regular shows, In the Prog Seat, is a great source for all things prog - and a year or so ago the panel did an episode on Magna Carta Records. I was already familiar with Magna Carta Records, as I owned a few CDs which the defunct US-based prog label had put out over the years. Some of Dream Theater frontman James LaBrie's early solo albums came out on Magna Carta - as did the first few albums by the melodic prog metal act Shadow Gallery. Sea of Tranquillity's discussion turned me on to a number of other bands which had found a home on Magna Carta, though, and one of them was Ice Age. I had heard of the Swedish thrash band of the same name, but the prog band were new to me - and I found a double CD set which included their first (and, at the time, only) two albums. Sea of Tranquillity had described Ice Age's sound as like classic Styx but heavier. In my recent review of Haken's latest album Fauna (which can be read here) I said that the British band straddled the line between prog rock and prog metal. Ice Age are similar. They do have their metallic moments, but for me the band sit at the heavier end of prog rock - and focus on the bombastic and melodic side of the genre. The Styx comparison is apt, and it is clear that this is where Ice Age's love of pomp comes from. It also helps that Josh Pincus, the band's lead singer and keyboard player, has a voice which sounds quite similar to that of Dennis DeYoung. Pincus' voice ensures that the Styx comparisons stick, but Ice Age are much more prog than Styx. Styx certainly have their proggy moments, but Ice Age are an out-and-out prog band. Both 1999's The Great Divide and 2001's Liberation included plenty of lengthy songs - including some multi-part concept pieces spread across both albums. It appears that the band also released a self-titled EP in 2004, although I have also seen it called Little Bird, which seems to include shorter songs - but I cannot find much information at all about it. Discogs do not even have it listed, which would suggest that it is extremely rare. I have not heard it, but I have heard both The Great Divide and Liberation - which means that I was ready for the band's third album when it dropped last month. Ice Age split in 2004, but reformed again in 2015. Since then, the fans have been hoping for a new album - and it finally dropped last month, titled Waves of Loss and Power. Given the 22 year gap between it and Liberation, listening to Waves of Loss and Power it is as if no time at all as passed. Ice Age have stuck to their core sound here, and this will no doubt please those who have been waiting a long time for this album. Three of those who wrote and performed on the previous two albums return here, with Pincus once again joined by guitarist Jimmy Pappas and drummer Hal Aponte. Doug Odell, who joined the band in 2001 after Liberation was recorded, plays bass here in place of Arron DiCesare.

More than ever, Waves of Loss and Power focuses on the band's prog side. Five of the eight songs here are 'long' - so it is an album that needs a few listens to fully digest. There is a lot going on here, but the melodic nature of the songwriting ensures that there enough hooks to keep interest levels high. The album opens with The Needle's Eye, a hard rocking piece that really summarises Ice Age's heavier side. As previously mentioned, it really sounds like no time has passed between Liberation and now - and The Needle's Eye is as proggy and pomp-tastic as ever. It opens with a barrelling Pappas riff, which drives the song from the off, before Pincus starts to add his theatrical vocals to the piece. Pincus' keyboards are not as bombastic here as they can be, but his synths add a grandness to the song's early sections - whilst some thick bass tones create a heaviness that would otherwise be absent. There are certainly nods to Dream Theater in Pappas' riffs, but the song generally feels more hard rock than metal. There is a heaviness throughout, but Pincus' vocal style has such a flamboyant 1970s vibe to it that it is hard to consider the song an out-and-out metal piece. There is more of a classic rock strut, too, although there are moments that up the technicality. The first instrumental sections sees the keyboards take on a more prominent role, with Pincus and Pappas teaming up for some unison leads, whilst a later instrumental section includes a short, but ferocious, Hammond organ solo to further entrench the band's 1970s influences. A strong vocal hook or a shredded guitar lead is never too far away, and the track is a real tour-de-force of heaviness. There is no respite, and The Needle's Eye is the perfect re-introduction to the band after 22 years. Riverflow follows, and it is the first of three songs here which are longer than 10 minutes. If The Needle's Eye had more of a classic rock strut, then Riverflow is much more of a prog piece. The opening section alone showcases this. The song is much less tough-sounding than what came before, and the opening section has a strong keyboard presence - as well as lots of dancing guitar melodies from Pappas. As such, the piece feels much more dynamic - and those Styx comparisons shine once Pincus starts singing. Due to the stronger keyboard presence during the song, there is a theatrical feel throughout - and Pincus' bombastic delivery sits perfectly against the busy guitar and keyboard backing. It may not be a heavy song throughout, but there is still plenty of energy. There are moments of calm, with delicate guitar leads adding colour, but much of the track still rocks. Upbeat, driving piano or all-enveloping organ - keyboards often define the moods throughout Riverflow. If the guitars drove the opening song, then this is very much a keyboard-heavy piece - but Pappas still makes his presence felt with some occasional tough rhythms and plenty of soaring licks and leads. Throughout this album there is a lot of strong interplay between Pappas and Pincus - but it really shines here, despite the standout instrumental section being Pappas' lengthy guitar solo. Bombastic and proggy, Riverflow showcases a side of the band which The Needle's Eye did not - and both tunes help to set up what is to come.

At over 14 minutes, the next track Perpetual Child - Part II: Forever takes elements from both of the previous songs to create the first of two real epics here. Perpetual Child opened The Great Divide, meaning that this songs acts as its sequel. There are a few musical and lyrical reprisals throughout this belated second part - but, more importantly, the song is great representation of Ice Age's core sound. The opening guitar riffs are on the heavier side, but this is a track that moves back and forth between heavier sections and parts which are more reflective and atmospheric. Pincus' keyboards play a big role throughout, gothic strings and dark shimmers backing even the quietest of moments, whilst Pappas showcases his diversity - mixing tough riffing, jangly clean rhythms, and bluesy breaks constantly throughout. Whilst Pincus and Pappas will generally get most of the plaudits here, the rhythm section, too, deserve a lot of credit. The mix often places a lot of emphasis on Odell's bass playing, and for much of this song he is laying down the main groove - whilst the guitars and keyboards create the atmosphere. All too often in prog metal the bass is buried, but that is not the case at all here - and the mix throughout this album is excellent, allowing everything to breathe in a very 1970s-esque way. Aponte's drumming adds a lot, too. He may not be the busiest or most extreme of players, but his grooves always add a lot to the song - and he can land an explosive fill when required. There is a lot of tasteful tom work throughout this track, whilst an off-kilter beat that backs one of Pincus' flashy synth solos is a rhythmic highlight. Given the song's length, there is a lot of soloing throughout - and some of Pappas' contributions are fast and shredded. Dramatic vocal hooks are what really keep the interest levels high, though, and there are a number of memorable sections throughout - including a theatrical chorus that resurfaces often. The song's closing section revisits the original song's chorus, too, rounding out the lengthy piece in familiar fashion. Together Now is shorter, but still fairly lengthy at around eight minutes. There is a strong retro sound throughout, and again the Styx comparisons seem doubly apt here. Whilst Pincus' voice is always a focal point of the band's sound, Together Now feels much more vocally-centred. There is less focus on lengthy instrumental sections this time, at least early on, with much of the interest coming from the vocal hooks. That being said, there is still a lot of musical drama. Pincus' keyboards once again take on a prominent role, whilst heavier moments occasionally inject some pace into the song - and allow Aponte to lay into his double bass drums briefly, which is not something that he does too often. Despite the opening moments of the song being very vocal-heavy, along with the closing sections, there is a bit more of a focus on instrumentals during the mid-section. Classically-influenced piano breaks provide a different overall dimension, whilst another lengthy guitar solo from Pappas is packed full of melody.

A couple of shorter songs then follow, with All My Years going for a funkier overall feel. Spiky guitar riffing and some busy bass playing keep the song moving throughout. There is little of the diversity of the songs which have preceded it, but a shorter, more to-the-point piece is welcome following all of the previous bombast. That being said, though, there is still quite a lot going on. Parts of the verses are very rhythmic, with some busy drumming from Aponte, whilst the chorus goes for a more anthemic approach - with big backing vocal harmonies creating a different sound to what has come before. There are some simple, yet tasty, guitar leads throughout, too, showing that despite the shorter arrangement the band are still able to weave elements of their trademark sound into a song. Float Away is similarly shorter, but it feels more proggy than All My Years. If All My Years felt like an attempt to write a concise and hooky hard rocker, then Float Away feels more typical of the rest of the album - just not as expansive. Odell's bass drives everything, his playing very typical of that detailed previously, whilst the arrangement is knottier overall. Pappas' guitar playing is busier, with a number of leads and interesting licks throughout, and there is more bombast thanks to a strong keyboard presence and a powerful chorus which sticks in the brain after only a couple of listens. Of the two shorter songs, for me Float Away is the better of the two. All My Years has its moments, but Float Away is classic Ice Age - and another excellent guitar solo pulls everything together. The lengthiest is left until last, though, and the album ends with the fourth and fifth part of the To Say Goodbye suite - which previously featured on both The Great Divide and Liberation. The fourth part, Remembrance is essentially a piano intro piece, revisiting some of those classically-influenced melodies from earlier, whilst part five, Water Child, is the main event. It is the longest song here, around 10 seconds longer than Perpetual Child - Part II: Forever, and it is arguably the album's crowning achievement. It builds slowly from Remembrance, keeping the piano melodies going for a short while, but a punchy groove soon takes over - with Pincus adding to the drama with an excellent vocal performance. Whilst there are busy instrumental sections to come, the early moments are very vocal focused. I love the interplay between the deep piano melodies and Pappas' laid back guitar rhythms, and this swinging groove proves to be the basis of the song throughout. It is added to, with soaring synths and some busy drum interludes, but the groove generally remains - allowing a strong consistency to be retained. A powerful chorus provides possibly the album's strongest vocal hooks, too, and it is hard not to think of DeYoung as Pincus belts out the theatrical melodies with ease - especially given how prominent the piano playing is throughout. The piece in general feels like a real showcase for Pincus, with his piano and synth work essentially dominating throughout - with occasional guitar-led breaks to add crunch. The prominence of the piano adds to the song's overall bombast, and I think this is partly what makes the song one of my favourites here - as even as it fades out the energy levels are retained. Despite the album's hooky nature, there is a lot to take in here. I imagine I will discover more in due course, but I have loved my time with Waves of Loss and Power over the past month. It is great to see Ice Age back after so long, and I glad I got into the band when I did - as this bombastic album has been a great addition to 2023.

The album was released on 10th March 2023 via Sensory Records. Below is the band's promotional video for The Needle's Eye.