Rival Sons' 'Darkfighter' - Album Review

It is certainly fair to say that I was very late to the Rival Sons party. I had been aware of the California-based rock band for many years - and saw them live at the second and final iteration of the High Voltage Festival in London in 2011. The band played a set early in the day on the Main Stage, hot on the heels of releasing their second album Pressure & Time, but, at the time, they did little for me. With the exception of a handful of bands including The Answer, who I also saw at the same festival the previous year, I just was not that into bluesy, retro-sounding rock at the time. The throwback acts I tended to go for then were much more classic rock and glam metal based, so a whole generation of more Led Zeppelin-esque bands passed me by. Despite this, though, it was great to see the band grow in stature over the years. Rival Sons might not have been my thing, but a newer rock band getting a lot of press and building a fanbase is never a negative - and they have become pretty popular here in Europe over the years. Despite being aware of their stature, I essentially ignored all of the band's output until 2017 - when I saw them supporting Black Sabbath on the latter's farewell tour. I was not expecting much from Rival Sons, but went into their set with an open mind and ended up enjoying it. It was clear that the band had come a long way since 2011, and their sound felt more varied to me - plus they just seemed more assured on stage, complete with a keyboard player in tow to bulk out their sound. I picked up 2016's Hollow Bones, which was the band's newest album at the time, not long after seeing them - and enjoyed listening to it casually on occasion. My view on the band had changed, but I was not ready to fully take the plunge at that point. I think it was 2020, and the lockdowns, which finally persuaded me to dive in. I discovered a lot of music in 2020, largely as there was not a whole let else to do, and I finally bought the whole Rival Sons catalogue over a period of a few months and enjoyed going back through it. I would now consider myself quite a big fan of the band, although I am still certainly no expert. I need more time with all of their albums, but I am now an active follower - and have tickets to see them in London later in the year. A new album to enjoy was all that was missing, then, but last month the band released their seventh album Darkfighter - their first release since 2019's Feral Roots. Darkfighter appears to be the first of two 'linked' albums, with its companion piece Lightbringer due for release in the near future (although no date has been given as yet), and is the first Rival Sons album that I have bought on release. Sound-wise, it is not significantly different from what has come before - but, by this point, Rival Sons have established their sound and have become much more than a retro throwback. A blues rock group at heart, Rival Sons have always had an organic rawness to their songs - and there is quite a bit of soul to be found, too. The core four alongside aforementioned keyboardist Todd Ögren, who seems to possibly now be a fully-fledge Son rather than a session musician, have created another strong album with Darkfighter - which rocks pretty hard at times whilst also indulging in the occasional more progressive flourish despite its relatively short overall length.

Despite the album being typically guitar-led, opening track Mirrors actually starts with Ögren - whose organ textures create a warmth as the album slides into view. Despite this fairly gentle opening, the song soon morphs into a big hard rocker - and the arrangement is pretty dynamic, showcasing that slightly progressive flair from the off. Guitarist Scott Holiday takes over from Ögren, his off-kilter riff creating a catchy groove, whilst the rhythm section of bassist Dave Beste and drummer Michael Miley lock in perfectly with this bluesy strut. Ögren adds colour when necessary, the slab-like ends of each riffing cycle augmented by organ stabs, whilst frontman Jay Bachanan showcases his love of a soulful vocal delivery as he worms his way in between the guitar lines during the head-bobbing verses. These verses are pretty knotty, but they grab the attention right away - and the chorus which sits in between them is allowed to feel more epic as a result, building from a warm acoustic pre-chorus which explodes into something hooky, organ-drenched, and classic rock-inspired. The grooves of the rest of the song drop away during the chorus, with big power chords instead shining through. A tortured Holiday solo showcases his sometimes strange approach to lead playing, but it fits nicely within the song's dynamic arrangement - and it ensures that the album gets off to a great start. Lead single Nobody Wants to Die reins in the varied arrangement of the previous song, ups the pace, and focuses more on hooks. Rival Sons have often written no-nonsense hard rockers - and this is the latest effort in such a line of successful singles. Holiday's riffing here is more straight forward, with brash, bluesy melodies sounding nice and raw thanks to his tone - whilst the fat bass riffing of Beste drives everything and gives the song a heavier overall edge. Buchanan's vocals are right at the front of the mix, too, and this is very much a song which focuses on his strong delivery and snappy hooks. The pace of the song allows the verses to feature a rollocking vocal performance - whilst the chorus is one that grabs hold and never lets go. The song is likely to become a live favourite as a result, and the uncomplicated arrangement makes for a great single. Bird in the Hand strips the harder rock riffing of the opening two songs away, and instead somewhat goes for a more organic, acoustic based sound at times - which is smashed together with 1960s fuzz to create something that feels raw. Acoustic instruments dominate early on, despite a strong percussive stomp, but much of the song is based around a snaking guitar pattern - backed by Miley's booming drums and a hint of retro keyboards. The song still feels pretty hard rocking, then, but the overall vibe is different from the opening numbers. There is a smokiness to parts of the track, and the occasional surfacing of the intro's acoustic instruments allows the aforementioned rawness to maintain a presence, but there are still plenty of hooks - and the chorus feels a bit fuller overall thanks to a poppy Buchanan vocal which meshes perfectly against Holiday's gnarly guitar tone. Despite this mix of sounds, Bird in the Hand manages to hang together - and the song has become a favourite thanks to its mix of hooks and organic sounds.

Bright Light slows down somewhat, and expands on the acoustic elements of the previous song. Acoustic guitars are present throughout the track, adding depth, but it never really feels like a ballad - with the song instead feeling like a good mix of laid back bluesy rock and with a chorus hook that is not too dissimilar from something the Eagles might have come up with if they had more of a blues and gospel background. It is this chorus that really allows the song to shine for me. Buchanan is quite a varied singer, but his poppier edge shines here - mixing well with Ögren's organ backing and the tight mix of electric and acoustic guitars. Rival Sons might sound their best when they are operating at full-tilt, and I tend to prefer the band's harder rock efforts, but they also do this amped-up singer-songwriter sound very well. Their sense of melody suits that generally mournful sound, but they manage to inject enough of their rock sensibilities to keep interest levels high. Another slightly strange Holiday guitar solo adds an unsettling edge to parts of the song, too, and this contrasts nicely with the wistful chorus hooks. Rapture opens with a somewhat fuller sound, but it is another that ultimately is not all that much of a hard rocker. The opening riff is quite meaty, but the song in general is a varied, mid-paced bluesy piece that mixes soulful, guitar-led instrumental sections with acoustic moments that feature a rather plaintive Buchanan vocal. The verses feature a prominent drum groove, which feels like the main focal point, whilst Beste's bass snakes around in the space and Holiday adds choppy rhythms in the background. This is a strange bed for Buchanan's vocals, but it works nicely as he fits his vocal lines around the big snare hits - whilst the acoustic sections allow for additional warmth as the band step back to allow Buchanan to really shine. The song also features a more typical guitar solo from Holiday, who really cuts loose to lay down some bluesy melodies. The solo is quite brief, but it really soars - and it perfectly transitions into a heavier rendition of the previous acoustic sections, which feature some pretty raw screams from Buchanan as the song grows in stature. Those missing the harder rocking side of the band will love Guillotine, and the muscular song returns to something more akin to how the album opened. Despite this, though, the song is not exactly a snappy rocker - as its overall pace is fairly slow. Holiday channels Tony Iommi a little here, though, as his riffs have a bit of a doomy quality throughout. Black Sabbath started out as a blues band, so this heavier take on blues works - and a gritty verse grows from this riffing, with Beste's bass pulsing whilst Buchanan sings over a sparse backing. This only serves to make the riffing sound bigger when Holiday kicks back in, and other sections feature Holiday really powering through the mix - whilst Buchanan channels his inner Robert Plant and Miley unleashes some Ian Paice-esque jazzy drum rolls. This heaviness, despite the occasional acoustic-led moment, ensures that the song is another favourite of mine - and it is great hearing the band really go for it here.

There are only two songs left at this point, but both breach the six minute mark - meaning that the band have left their most expansive efforts until last. Horse's Breath is up first, which opens with buzzing keyboards that slowly loom into view - creating a strong atmosphere which suits the darker vibes that the band seem to be going for here. The keyboards still sound suitably-retro, though, and they maintain this atmospheric approach throughout - even when the rest of the band soon crash in. Holiday's main guitar riff is surprisingly hooky given how atmospheric the song is - but the melodies work well to contrast with the rest of the darkness going on around them. This riff is purely a hook, though, and does not go on to form the basis of either the verses or the chorus - with the former channelling the intro's darkness despite a slightly punky drum groove which Buchanan effortlessly croons over. Beste's bass playing is busy, whilst the guitars add a heavier depth - and Holiday does break into the main riff occasionally to break up the darkness. The chorus is similar mood-wise, but it features some of Buchanan's strongest vocal hooks on the album. They are pretty simple, but they have stuck in the brain from the off - and even before the song made a big impression on me I could remember the chorus hook clearly. There is something resigned about Buchanan's vocal delivery here, but this fits in nicely with the overall atmospheric depth of the song - and Ögren's understated keyboard work underpins everything and creates the song's unsettling overall feel as his synths crackle away. Closing out the album, Darkside sees Holiday returning to a doomy sound - and the song's main riff crashes in following the synths of the previous song fading out slowly. It gives the listener a real kick, then, but the song is another varied one overall - and the heavy riff actually gives a bit of false impression early on. Holiday briefly lets rip as the song opens, then, but the lengthy verse which follows is one of the album's most stripped back moments. Buchanan almost whispers his vocals here, and the musical backing is extremely minimal with some distant keyboards and the occasional clean guitar line all that is heard. This could not be more different from the opening riff, but the contrast works well - and when the riff reappears a little later it has a similarly powerful impact as it really jumps out of the speakers. This pattern repeats itself, albeit with the second verse feeling a little more expansive, but generally the mix of heavy, slow riffing and exposed vocals is what characterises the song - before it grows in stature towards the end with a screaming Holiday guitar solo which then morphs into a much heavier take on the song's main vocal hooks with the band really crashing away. The album somewhat ends on a bang, then, although it is left to Buchanan to properly close things out with some wordless humming. As I am still fairly new to much of Rival Sons' catalogue, it is hard to say where Darkfighter sits in the canon - but there is a lot to like here and the album says a lot in its 40 minute runtime. I like the slightly progressive leanings at times, but the rawness of the band's core sound still shines through - and the album generally feels like one by a band confident to do exactly what they want.

The album was released on 2nd June 2023 via Low Country Sound/Atlantic Records. Below is the band's promotional video for Nobody Wants to Die.

Avenged Sevenfold's 'Life Is but a Dream...' - Album Review

When it comes to modern mainstream metal bands, California's Avenged Sevenfold are one of the most successful. Whilst a relatively quiet period in recent years may have seen them drop down the overall rankings somewhat, the band nevertheless are global superstars who have released a string of albums over the years which contain a lot of memorable material. Despite being born out of mid-2000s metalcore scene, of which their second album, 2003's Waking the Fallen, is something of a posterchild for, Avenged Sevenfold have never really stuck to one thing - and I think that it is fair to say that each of the band's albums has its own identity and demonstrates a constantly-evolving approach to modern metal music. The fact that the band have been as successful as they have despite this constant desire to push forward and create something new shows how well-crafted much of their output has been. Many metalheads cannot really be called open-minded, so Avenged Sevenfold's want to follow their own path and rarely give the fans what they want should be applauded - even more so given the mainstream circles that the band have operated in for a number of years at this point. They not an underground, experimental act that few appreciate - but instead an arena-filling headliner with legions of fans worldwide. That is not to say that everyone has appreciated Avenged Sevenfold's trajectory, and there are often calls for them to return to a sound akin to Waking the Fallen, but in truth the band have not really sounded like that since - and they are a band where it can be genuinely said that each album sounds different from the last. This was especially the case when considering their last album: 2016's The Stage (which I reviewed here). Following the more stripped back and focused hard rock/old-school metal sounds of 2013's Hail to the King (which I also reviewed here), The Stage was a full on progressive metal album - moving away from accessible song structures and single-worthy material to create something much more expansive. The Stage is not an album for every occasion, then, but it is certainly an impressive piece of work. There was a lot to digest, but it is an album which I grew to like quite a bit - and it seemed to be one that the band really wanted to make. Given that relatively little has been heard from the band new material-wise since The Stage, then, I wondered how they would follow it up. The Stage was basically a surprise release, too, only announced a couple of days before it came out - but following it up has been a seven-year journey. The recording of the band's eighth album seems to have been a rather drawn out one, then, largely thanks to the pandemic. The band's latest opus was finally released last month, though, and Life Is but a Dream... finds Avenged Sevenfold feeling more experimental than ever. I am not even sure that I would call Life Is but a Dream... a progressive metal album - as it feels more 'out there' than that. It certainly feels more avant-garde than anything the band have done before, and there is a strong jazz element present throughout. The songs here mix traditional-sounding Avenged Sevenfold melodies and riffs with plenty of quite extreme left turns - with influence from acts like Frank Zappa, Mr. Bungle, and even Miles Davis permeating through a more traditional heavy metal façade.

Perhaps Avenged Sevenfold's MVP has always been lead guitarist Synyster Gates, who's distinct approach to his instrument has always elevated the band's material, but he plays more of a significant role than ever here - with the CD's booklet detailing all of the additional instruments that he played throughout the album. Much of the keyboard work heard here is courtesy of him, plus there are some occasional experiments with flute and harmonica. In fact his flute playing is featured during the album's opening song Game Over - which is likely one of the most traditional-sounding Avenged Sevenfold songs here. It opens with some delicate classical guitar melodies, backed by Mellotron, but this gentle nature does not last very long - as soon the band crash in and the song morphs into a fast-paced, somewhat punky metal anthem. Drummer Brooks Wackerman leads the charge here, his busy playing the perfect backing for frontman M. Shadows' machine gun vocal melodies, and much of the song steams ahead at a fast pace - which does actually recall the band's early days somewhat, but with a bigger overall sound. A more theatrical chorus sees the pace slowed somewhat, allowing Shadows' vocal melodies to shine - but in general the song steams ahead, with Gates occasionally taking the opportunity to really shred. The opening classical guitar melodies return later, this time with a flute accompaniment, which Shadows also sings over - and despite the general heaviness the song is extremely dynamic, which is a taste of what is to come. Mattel is somewhat similar, and opens with a relatively simple, heavy riff which is very typical of Avenged Sevenfold's core sound - and the song in general is another which is perhaps more instantly-recognisable as an Avenged Sevenfold song than some of what is to follow. The pace is slower than Game Over, and there is a strong focus on groove throughout. As such, the song harks back to the sound of the band's 2007's self-titled album somewhat - as there are strong hooks here complete with the big grooves and occasional experimental moment. Shadows sounds as good as ever vocally here, mixing the occasional harsh scream with his more typical theatrical approach - and he also shows a more restrained approach during some occasional piano breaks. The song takes a left turn, though, thanks to a 1970s-esque progressive rock keyboard solo from Gates, which is different from his usual shredded guitar expressions, which sits atop a Queen-esque layered backing - before things transition back into the established heaviness with a big scream from Shadows and some chaotic shredding. A jazzy piano expression brings the song to a close and, despite the variety already found, the band are just getting started. Nobody, which was released as a single before the album came out, is another mid-paced rocker. Big synth swells open things up, locking in nicely with Johnny Christ's bass playing to create a weighty sound, and the song soon settles on a strong groove which it never really deviates from. Arrangement-wise, then, Nobody is one of the album's simpler songs. Wackerman's busy ride work and plodding drum pattern allows for the bass and synth combo to dominate - whilst the guitars of Gates and Zacky Vengeance tend to crunch away in the background, allowing Shadows' somewhat tortured vocal delivery to really cut through the mix. Gates occasionally adds some busy guitar leads to the track, creating something of a chorus, and his note choices perfectly sync up with the drum groove - giving the song a strange, syncopated sound. Even the closing instrumental section, built around a big guitar solo, does not stray from the established groove.

We Love You returns to the somewhat punky sound featured during the album's opening song, but the fast-paced drumming feels more staccato overall - and the arrangement is much deeper this time. The song is a metal track at its core, but there is a lot going on here - and the album generally becomes more varied as it moves along. The guitars of Gates and Vengeance are pretty weighty here, the two locking together for some strident riffing - whilst Wackerman's drums either create Pantera-esque double bass patterns or stomp away in staccato rhythms whilst Shadows' fires words out of his mouth with real venom. The song feels pretty varied, then, and these vibes are constantly switched between. Synths fill many of the gaps, creating a strange atmospheric depth, whilst a faster-paced section later sees the band sounding something like Lamb of God briefly - before Gates launches into a lengthy and busy guitar solo. Slab-like riffing and a varied drum performance makes the song stand out, then, before everything drops away at the end to allow for acoustic guitars and bluesy leads to take over in yet another shift in tone. Cosmic opens with Shadows' singing, utilising his gentler approach, as clean guitar chords and subtle keyboards create a warm backing, and this vibe generally continues on throughout the song - as the band generally strip away the heaviness here and go for more of a ballad-esque approach. Despite this, though, there are strong progressive rock strains at play here. The song grows in stature early on, with the band layering in complexity behind Shadows' emotional vocal delivery - which then explodes into a lengthy guitar solo, packed with Brian May-esque tone early on before it morphs into something more chaotic and shredded. The song does get heavier here, but it still feels more rock than metal - and when Gates' solo closes the piano takes over and Shadows' starts to sing again against a mournful, piano-led section complete with a plaintive drum groove. Strange synths start to take on more of a prominence, though, soon overpowering the band and creating a pretty creepy atmosphere. This feeling then dominates the rest of the song - with Shadows singing into a vocoder to blend in perfectly with the synths. Beautiful Morning reinstates the heaviness which was generally absent from the previous song, and opens with some effects-heavy guitar chords before things morph into more of a mid-paced groove backed by some off-kilter drumming. The chugging guitar rhythms are actually pretty straight forward, with Wackerman providing much of the musical interest here with his busy performance - whilst a slow-burning, mournful chorus includes plenty of keyboard backing and hypnotic vocal melodies. There are slower moments, too, and a surprisingly jaunty, Mellotron-backed mid-section sees Shadows taking a gentler approach vocally - before Wackerman breaks the peace with his double bass drums and Gates launches into a jazzy solo. The more ponderous grooves from the song's beginning soon return, though, and the chorus is expanded on - albeit with more keyboards layered on top to create another strange atmosphere similar to how the previous song operated in its closing section. This all then drops away, leaving the piano to close things out.

Easier sees Shadows returning to his vocoder for a synth-heavy intro, but anyone thinking that the song is going to be poppy will be put in their place as huge riff soon crashes in - and this slab-like groove dominates early on. Slower sections which feature effects-heavy vocals do return occasionally, but generally the song is a slower-paced, almost doomy, piece with plenty more groove coming from Wackerman's drumming. From this point on, the album is made up of a number of shorter songs, so it is amazing how varied Easier is. The heaviness seems to dominate, but there is a lot going on instrumentally - and the piece gradually shifts into a jazzy guitar expression, with Gates taking over for the last half to solo until the piece comes to a synth-heavy close. The next three songs: G, (O)rdinary, and (D)eath; essentially make up a trilogy and all segue into one another. The suite feels like one piece of music, then, and opens with some proggy-sounding guitar leads, before Wackerman takes over with some snappy drum grooves that back the riffing perfectly. Despite the business of the riffing, which reminds me a little of the James Gang at times, the early portions of the suite are actually quite straight forward and fairly hard rocking - with the backing vocal harmonies of Taura Stinson and Brianna Mazzola only adding further to this retro edge. Transitioning into (O)rdinary, though, the suite takes a turn - and becomes much smoother. Christ's bass takes on a more prominent role, and some funky guitar stabs recall Toto somewhat. There is a bit of a yacht rock feel here generally thanks to the overall laid back grooves present and the smoothness of Christ's bass. This feeling only increases when a poppy chorus takes over and Shadows sings in a very 1970s-esque pop manner - with the effects on his voice increasing as the song moves along until he becomes part of the wider synth-based tapestry. He soon gives over to a busy instrumental section featuring poppy, jazzy melodies to provide the last upbeat hooks of the album - before (D)eath becomes mired in strings and feels like something from an old film soundtrack. The noir vibes of the song are different to anything the band have done before, with gentle horns and piano backing Shadows' swing-influenced vocal delivery whilst the orchestrations dominate. These strings get darker and more oppressive as the brief song moves along - before reaching a dramatic crescendo. The album then briefly pauses for breath, before the closing instrumental title track continues the overall film score approach. It is essentially a showcase for Gates' piano skills, and he spends the album's last few minutes laying down a pretty old-school-sounding jazz expression - with melodic and almost classical-sounding sections sitting side-by-side with busier and more atonal flourishes. In many ways, it is the perfect way to close what has been a very diverse album - which does not often really sound that much like Avenged Sevenfold. That being said, though, there is enough that links back to their various sounds over the years to help join the dots - but the variety on show here is impressive and shows a level of musicianship not previously displayed. There is a lot to like here, and not everything has clicked with me - but this is easily the band's most impressive album to date, even considering the prog leanings of The Stage. Many people will struggle with this album, but many others will find plenty to sink their teeth into here - and I have certainly appreciated the journey.

The album was released on 2nd June 2023 via Warner Records. Below is the band's promotional video for Nobody.

Sirenia's '1977' - Album Review

I am glad that I got back on the Sirenia train in 2021. I first started listening to the Norwegian gothic/symphonic metal act back in 2009, when the band's fourth album The 13th Floor came out - and kept picking up and devouring their albums up to and including the release of 2015's The Seventh Life Path (which I reviewed here). After that, though, the band somewhat dropped off my radar. I did not get either 2016's Dim Days of Dolor or 2018's Arcane Astral Aeons until much later, and it was not until the release of 2021's Riddles, Ruins & Revelations (which I also reviewed here) that I started to pay attention to the band again. Looking back, it is hard to say exactly why I stopped paying attention, but my interest in gothic/symphonic metal, along with power metal, definitely dipped a bit around that time - and I also think that perhaps I was getting a bit tired of Sirenia's formula by the time The Seventh Life Path rolled around. I always enjoyed the band's albums, but they can be quite heavy-going listens at times for what are essentially melodic metal releases - and bandleader Morten Veland's insistence on using rather cheap-sounding programmed drums also started to put me off. As such, until hearing Riddles, Ruins & Revelations, which I liked a lot, I had essentially missed out on the whole of the Emmanuelle Zoldan era of the band. Zoldan replaced former frontwoman Ailyn in 2016, and it is clear from the results of the 2021 album, as well as my still fairly limited explorations of the band's 2016 and 2018 releases, that the change was overall a beneficial one for Sirenia. I liked Ailyn, but I feel as if Zoldan is better suited for Veland's songwriting - and I also feel as if the band's focus has somewhat shifted since her arrival. The 2016 and 2018 releases certainly still maintained a lot of Sirenia's older sound, but by Riddles, Ruins & Revelations Veland had fully embraced a much poppier approach. For me, the 2021 album was a great blend of up-tempo electro-pop with the band's trademark gothic/symphonic metal sound. It was packed full of hooks, and it was an album that I listened to a lot around the time that it came out - and it could well be my most-played Sirenia album to date. The album attracted some pretty strong reviews, too, so it is clear that Veland wanted to capitalise on this success - and the band's newly-released eleventh studio album 1977 feels like an expansion of Riddles, Ruins & Revelations. The pop hooks of the 2021 album remain, and are sometimes more prevalent than they were previously. The gothic metal elements remain, too, but they have a light shined on them again a bit more brightly at times - although Veland's harsh vocals are deployed extremely sparsely. The overall core sound of the album remains poppy and rather synth-heavy, but towards the end there are a few heavier tracks which feel like something from Sirenia's past - so the balance between light and dark feels a bit more diverse this time. As usual, Veland has written and produced everything here - and he also played the vast majority of the instruments. Alongside Zoldan, both guitarist Nils Courbaron and drummer Michael Brush return from the previous album - with Courbaron handling all of the album's guitar solos.

The album opens strongly, but relatively serenely - as Deadlight starts out with some delicate piano melodies, which grow in stature against a backdrop of strings, before Zoldan begins to sing a lower key version of the later chorus. This melodic intro helps to set the tone nicely, but it is not long before the band crash in and the song becomes a mid-paced crunchy rocker. The piano remains present, particularly during reprises of the chorus, but the guitars take on more of a presence - with a good mix of crunchy chords and slightly funky rhythms throughout, whilst Brush's punchy drumming keeps everything moving. In many ways, the song is very typical of the album's core sound. The focus throughout is very much on Zoldan's vocal hooks, and she sounds as good as ever here. The classical tinge to her voice gives her a real elegance throughout - but the poppy hooks sound natural coming from her, too. The chorus is one of the album's hookiest moments as a result, and she blends with Veland's piano nicely - with the more metallic parts of the arrangement adding depth. Courbaron's first guitar solo here is quite simple, but it works well to enhance the chorus melodies in cutting fashion - and the song proves that Sirenia's current poppy approach still has legs. Wintry Heart opens in a similar manner, with a busy piano motif - but the song soon becomes a bit heavier overall as Veland crashes in with a big guitar riff which is backed by some double bass drum patterns from Brush. Tone-wise, the song is quite similar to Deadlight - but everything has been upped heaviness-wise. The pace is a little faster, too, so there is some looking back to the band's older work here. Veland's guitar riffing is on point throughout, mixing a crunching backing with hooky passages, whilst the piano and strings also remain to add that melodic depth. The strings are more prominent than the piano this time, though, which gives the song a more symphonic sound overall - which suits Zoldan's classical-tinged approach and allows the big chorus to hit in a dramatic fashion. Courbaron also lets rip a bit more here, with a busier guitar solo which comes to a end in a chaotic flurry of notes. The heavier nature of the song allows it to hit a little harder - and it is good to see that Sirenia have not totally abandoned this more riffy side. Nomadic returns to something more mid-paced, and goes for a more synth-heavy sound. A big synth melody opens things up - which is soon doubled by Veland's guitar to create a heavy, yet melodic, opening motif. The use of synths here rather than the piano of the previous songs ups the overall pop feeling that the song creates - but the guitars still pull their weight. The verses in general are very guitar-focused, with a surprisingly raw chugging riff seeing much of the synth backing drop away - but the chorus feels much bigger arrangement-wise thanks to a return of more prominent synth leads. The chorus is another hooky moment as a result, and the mix of tougher sections and poppier moments feels well balanced despite the pop hooks shining the brightest.

The Setting Darkness returns to the piano of the album's opening couple of songs, and, fittingly, the song has a bit of darker feel overall which harks back to the band's older albums. There are synths here, but they are generally colder and used in a more atmospheric manner - with the guitars generally dominating to allow the song to feel a bit heavier overall. This is another song which goes for a more symphonic approach, too, with Zoldan unleashing some subtle operatics during parts of the chorus - which feels more string-laced overall, in contrast to some of the colder synths used elsewhere. Despite the heavier tones, though, the song remains very hooky - and the pop melodies used throughout the album still manage to worm their way through the mix despite the more gothic overtones. This more gothic vibe continues on throughout A Thousand Scars, but the synths return to something more pop-focused - which creates quite a stark contrast from the off. Veland's main riff is pretty slow-paced and heavy, but the stabbing synths which back it are pretty upbeat - which does somewhat take the edge off of the song's doomy nature. I generally like the mix of pop and heaviness on Sirenia's recent albums, but I feel as if this song would have benefitted more from going down a heavier path. The main riff would have made for a great gothic set-up if it was not for the synths - and it would be great to hear Zoldan tackling something doomy. As things stand, though, the song is does not capitalise on its potential in my opinion. The verses are pretty low key, with synths and off-kilter drums backing Zoldan, but the chorus is another pretty strong one which includes some big vocal hooks. A later, more operatic bridge section changes tack, though, and it allows Zoldan to show off a different side of her voice - which would have fit perfectly alongside the doomy opening riff if it was not for the more typical meat of the song. The arrangement is a bit confused, then, which is a shame. Fading to the Deepest Black changes tack completely, though, and essentially presents as the heavier song which I wish A Thousand Scars had morphed into. There are still plenty of hooks here, but there is much more of a focus on traditional metal heaviness this time. Brush even launches into a blast beat occasionally, and this is how the song kicks off - which Veland lays down some fast-paced chugging over the top of. As such, the song feels like a love letter to Sirenia's past. The gothic tones are much more prominent here, and the synths are generally there to create atmospheric depth rather than pop hooks. Zoldan's vocal melodies are sufficient to carry the song melodically, and the arrangement is also more interesting - with a lengthy, clean guitar-driven, mid-section which features Veland's crooning clean vocals before Courbaron takes over with a shredding solo. Continuing on the clean guitar vibes, Oceans Away opens slowly with a hypnotic guitar melody which Zoldan soon begins to sing over. The song is essentially the album's ballad, and, as such, it is very atmospheric - despite building in heaviness towards an expansive chorus which sees Zoldan really let rip. This is probably the song here which sees her pushing herself vocally the most - or, at least, showing the most emotional depth. That classical training is put to good use here, and the dancing string backing and tough guitar rhythms help to create a bed for her - and the slower song feels fitting after the previous heavier number.

Dopamine picks up the pace again, and returns to something a bit poppier overall - despite a strong gothic overtone remaining. The heaviness and use of melody is probably perfectly balanced here, and the song is one of my favourites on the album as a result. If Sirenia are to continue this experiment with a poppier sound going forward - this is the sort of balance that I would like them to maintain. It includes a bit more of their classic sound than perhaps some of their other recent songs have, but is still pushes hooks to the fore. The guitars are perfectly crunchy throughout, and there is also a bit more of a focus on guitar leads than usual - with a few hooky melodies adding extra interest in between Zoldan's delivery. Brush changes things up a bit, too, and strays away from the more pounding approach taken elsewhere at times to lay into his double bass drums - before Courbaron lays down a great neo-classical guitar solo. As such, the song feels like a real band effort - and it brings the best out of everyone present with a knottier arrangement. Delirium maintains the heaviness, and also channels the band's gothic sound in a much bigger way - with both Veland's harsh vocals making their sole appearance on the album and Zoldan singing in a much more operatic manner. As such, the song feels very old-school - as Sirenia albums used to be full of tracks like this. I would have liked Veland to sing a bit more on this album, as his vocal presence is missed in my opinion, but this song presents a great duet between him and Zoldan - with him tackling the verses and her leading the charge during the chorus. The riffing and drumming are pretty busy again here, leading the song to be another heavier-sounding piece overall - with the pop synths used elsewhere being somewhat absent. Dense strings, choirs, and riffing characterise the song, then, and it is all the better for it. The last original song here is Timeless Desolation which returns to something poppier and more vocal focused - bringing the album's first few songs to mind. The rolling piano from those pieces returns, but there are also gothic strings employed to add depth. Zoldan sings in a more straight ahead manner here, too, the vocal hooks are pushed the fore again after a couple of songs which were more diverse in arrangement - and unsurprisingly the chorus is another strong moment. String melodies and tough riffing are used elsewhere, and the song is another good example of the band's more recent sound. The album then comes to a close with a cover of Tanita Tikaram's Twist in My Sobriety. Sirenia have taken to covering pop songs on their recent albums, and their arrangement of Tikaram's track works well in the context of the album. It very much sounds like something similar to the band's modern core sound - but some gothic strings add depth despite a strong synth presence to create the main pop hooks. It ends the album on a synthy, upbeat note - and the hooks are ones which stay with you after the song finishes. Overall, then, 1977 is another strong album from Sirenia. This album is perhaps more diverse than the previous one, and there is probably a bit more harking back to the band's more gothic sound now that their new core sound has been established. The mix works pretty well, but I would have liked to have heard from more Veland vocally - but fans of the band will enjoy this latest offering.

The album was released on 26th May 2023 via Napalm Records. Below is the band's promotional video for Deadlight.

Elegant Weapons' 'Horns for a Halo' - Album Review

Whilst it is always good when a new band releases their debut album after years of hard graft, I have learnt to be a bit wary of supergroups. There have certainly been some good supergroups over the years, but often they end up being a bit of a disappointment. The best bands are such because they are more than the sum of their parts, and are built upon genuine chemistry, whereas supergroups are often just about the parts - and often lack the necessary chemistry to shine. It also does not help that there are labels out there like Frontiers Records, for whom a large part of their business model relies on teaming up an ever-increasingly random selection of musicians under various names to record fairly generic-sounding albums. It was with scepticism, then, that I approached Horns for a Halo - the debut album from Elegant Weapons which was released back in May. Elegant Weapons were formed last year by guitarist Richie Faulkner (Deeds; Voodoo Six; Lauren Harris; Judas Priest), as an alternative creative outlet from his Judas Priest day job. Considering the age of the rest of the Judas Priest members, Faulkner probably realises that his days with that band are numbered. Whilst Judas Priest are not currently showing any signs of slowing down, they cannot realistically have too many years left together - so it seems that Faulkner is preparing for the day that Judas Priest retire by setting up his own band. Elegant Weapons is that band, and it appears to be very much his creation. Whilst he has become a very respected guitar player in recent years, he has never really had a band to call his own - so with Elegant Weapons he can now lead the charge and set the goals. That being said, though, Horns for a Halo is very song-based. It does not sound like a solo album released by an ego-driven guitarist, filled with endless soloing with melody and songcraft being afterthoughts, but instead like a proper hard rock/heavy metal release with a strong focus on big riffs and vocal hooks. As such, then, a few listens to Horns for a Halo saw that initial scepticism fade away - and I have been having some fun with the album over the past month or so. The fact that Faulkner brought in Ronnie Romero (Lords of Black; Rainbow; The Ferrymen; Vandenberg; Michael Schenker Group) fuelled that scepticism, too, but Romero does a great job here - and turns in one of his best vocal performances to date in my opinion. I really liked Romero when I first saw him with Rainbow back in 2016, but I started to go off him after he became the go-to singer for essentially everyone for a while - as well as his tendency to sound quite nasally. He has gone up in my estimations again more recently, though, and he has proved to be a good foil for Faulkner here - despite not contributing to the album creatively. Filling out the line-up, on the album at least, is Rex Brown (Pantera; Down; Crowbar; Kill Devil Hill) on bass and Scott Travis (Raver X; Fight; Judas Priest) on drums - although neither have been touring with the band. Bassist Davey Rimmer (Zodiac Mindwarp and the Love Reaction; Monument; Uriah Heep) and drummer Christopher Williams (War Within; Blackfoot; Accept) have been playing with Faulkner and Romero live - with the latter also credited with some additional drums and percussion on the album.

The album opens with Dead Man Walking, a strong mid-paced hard rocker which sets the tone for what is to come. The song opens with some busy guitar riffing from Faulkner, before the rest of the band crash in and the track lumbers forward with a strong drum groove and some creative riffing. Despite the grooves and pace, parts of the song actually have a bit of an atmospheric depth which may not be expected. When Romero starts singing, the song drops away a little briefly to leave him with a sparser backing - but this vibe is short lived, with the track generally being pretty hard-driving. As mentioned above, Romero sounds great here. He sounds full-bodied and powerful throughout the album, and rarely stumbles into the heavily-accented, nasally territory which he has been prone to do in the past. As such, he leads the charge here perfectly - whilst Faulkner makes his presence felt with lots of excellent riffing and a number of impressive lead breaks between the vocal lines. His lead and solo work is always tasteful, and his first of many excellent guitar solos here is packed full of melody - and it evolves nicely over a number of movements, before Romero returns for a final reprise of the simple chorus. The song is perhaps not as hooky as some of the others here, but as a strong hard rocker to kick the album off Dead Man Walking works well - and it brings the best of out of both Romero and Faulkner early on. Do or Die ups the pace, and, in my opinion, takes the album up to the next level. Faulkner's riff is very much out of the Judas Priest school, but the tone is slightly more bluesy overall - meaning that the song has more of a classic rock strut than Judas Priest's more metallic approach. That being said, though, the song is still pretty heavy. Double bass drumming drives everything, whilst Brown's bass has quite a prominence in the mix which allows it to really boom through and add an additional edge to the guitar riffing. Romero also lets rip here. He held back a little during parts of the previous song, but he goes all out here - including a few aggressive screams at times to add further depth. The chorus is very hooky, too, with the overall pace helping the snappy melodies to shine - but Romero's performance also helps the hooks to really jump out. Perhaps some subtle gang vocals would have added more punch, but in truth the chorus works well as it is - and Faulkner's later solo is busier than the one in the previous song to introduce more of a shredded approach. Another standout cut for me is Blind Leading the Blind, which is another more mid-paced track - but there is another strong classic rock strut throughout, and there is also a surprising amount of swing. This helps to set the song apart from those which have come already, and showcases that Faulkner has not wanted to just steam ahead with fast-paced metal here. If anything, Faulkner has generally indulged in his 1970s influences here, whilst also injecting a little metal when needed. This song certainly has a strong 1970s vibe despite the metallic guitar tones and occasional double bass drum patterns, but the grooves and slight atmospheric depth at times is very old-school-sounding - and the chorus is one of the album's hookiest moments thanks to a raspy and powerful Romero vocal. Working with Michael Schenker seems to have improved Romero's vocal power in my opinion, and this song shines due to his performance - as the overall riffing throughout is not as prominent as it is on many of the others due to the big focus on swing and grooves.

Ghost of You slows the pace down again, and acts as something of a ballad whilst also injecting a bluesy edge. The drumming throughout is slow, and Faulkner creates lots of textures throughout with clean guitar melodies and the occasional lead break. This approach, then, helps to create quite a lot of atmospheric depth - but this is done in quite an old-school manner. Keyboards are not used in a big way at all on this album, so the atmosphere is created by the layers of guitar - with warm, clean melodies forming the basis of the song's musical approach, whilst occasional weightier chords are used occasionally for effect. Despite this, there is still a rock edge to the piece. It does not feel like a true ballad at times, but it is certainly closer to that feel than anything else. I generally prefer this album when it rocks harder, but the atmospheric approach here does help to add a different dimension to the album - and Faulkner's bluesy leads and solos here are excellent. Bitter Pill returns to something more typical of the band's sound, with a drum barrage and a big riff kicking off another mid-paced, groovy track. The riffing here is much more doomy than anything else on the album - and there is a strong Black Sabbath influence at play here. Faulkner's riffing grinds away throughout the song to great effect, whilst an opening lead guitar break adds a brief moment of pace. The soloing here is not as slow-burning as the doomy song otherwise is, which helps to create a bit of a dynamic arrangement, but the song is general is slow and punchy - which allows Romero to really stretch out and indulge in his Ronnie James Dio influence. There is a strong Heaven and Hell/Mob Rules feel to this song at times as a result, and the chorus is another strong moment which sees a more aggressive vocal compliment a busier drum arrangement despite the slower pace. Subtle keyboards are used here occasionally for depth, particularly during a later bridge section - which then morphs into an extremely melodic guitar solo. Up next is a cover of UFO's Lights Out - which Romero is more than familiar with having sung it live with Schenker a number of times over the past couple of years. It is a song which always goes down well in my opinion, and Elegant Weapons' cover here is a strong one. It feels more metallic than the original, but it does not really do anything different arrangement wise. Romero turns in a strong vocal performance, whilst subtle organ helps to recreate the 1970s hard rock of the original. Faulkner's guitars are weightier, though, but his solo certainly channels Schenker's neo-classical approach whilst also injecting some metal shred. It is a well done cover, then, which is just heavier enough to make it fit in with the rest of the songs here. Continuing the Black Sabbath vibes of Bitter Pill, the album's title track ups the pace somewhat - whilst still retaining a bit of a doom feel. This song is not as doomy as the previous song, but there is still quite a lot of Tony Iommi's approach to riffing to be found throughout - and there is certainly more urgency here. Faulkner's riffing dominates throughout, and really drives everything, but Romero does his bit with an aggressive vocal display which perfectly suits the song's hard-driving, yet doomy, approach. The snarling chorus is brought to life by this vocal approach - and it is the attitude that keeps everything ticking here as the vocal melodies are not as strong as some of the album's other examples.

Dirty Pig ups the pace again, and returns to a punchier sound more akin to the album's early cuts. Faulkner drives everything here with a snappy, staccato riff that creates a strong identity from the off - and the punch of this riff gives the song more of a metallic edge. This album constantly straddles the line between hard rock and heavy metal - and this is a song that certainly leads more in the metal direction than a rock one - and it helps to add to the album's overall toughness. The chorus has a snarling quality thanks to Romero's vocal approach, which feels rough around the edges but it works in the context of the song's heaviness, whilst there are a lot of guitar breaks throughout, too. More than once the rest of the band pull back to essentially allow Faulkner to shred - and these melodic injections add a lot to the song overall, as they create little changes of tone to break up the endless riffing. A slower-burning bridge section adds some further doomy elements to the album, but this moment is fairly short lived and essentially builds up to another big guitar solo. White Horse opens with some rumbling organ, and the song is more keyboard-heavy than anything else here - as when Faulkner's guitar riff kicks in the organ doubles it, adding a retro depth to the song's opening. The keyboard playing is not credited in the album's booklet sadly, but the organ helps to transport the listener back to the 1970s briefly, although the song in general is a bit heavier than it might initially seem - with the album's metallic side again getting an airing here. The pace throughout is pretty varied, too. Much of the riffing here is quite slow-paced, again leaning on a doomier approach, but there are sections which speed things up quite considerably - and the song feels quite dynamic as a result. Generally the songs on this album stick to one overall vibe from the off, but White Horse is a bit more varied arrangement wise. It does not change drastically as it moves along, but the variations in pace are welcome - and it helps to add some variety to the album's back end, particularly towards the end of the song when it slows down quite considerably and becomes much more atmospheric for a brief period with a strong keyboard presence. The album then comes to an end with Downfall Rising, which again has a bit of a Black Sabbath vibe at times thanks to a slower, heavier pace and a bit of a bluesy approach. Early Black Sabbath is channelled this time, though, with a good mix of clean guitars creative depth and big, slab-like riffing bringing the weight. Generally the song sits at the heavier end of the spectrum, but there are occasional atmospheric sections to break up the riffing - which often feature whimsical bluesy guitar leads for additional melody. As the song acts as the closing moment here, it is fitting that there is a big focus placed on melody - as both the song's big chorus and main guitar solo are packed full of hooks, which mean that the melodies stick in the brain as the album comes to a close. Overall, then, Horns for a Halo is a strong album on the whole which showcases that Faulkner is certainly a strong songwriter in his own right and that he and Romero work well together. I get the impression that Faulkner intends for Elegant Weapons to be a going concern, and I am certainly interested to hear more from the band - although I imagine that whilst Judas Priest still record and tour the band's activity will be fairly sporadic.

The album was released on 26th May 2023 via Nuclear Blast Records. Below is the band's promotional video for Do or Die.

Metal Church's 'Congregation of Annihilation' - Album Review

In a just world, the California-hailing five-piece (whom have become more associated with Washington state over the years) Metal Church would be talked about in the same breath as many of the big hitters of the hard rock and metal worlds. Since forming in 1980, and particularly since releasing their heralded self-titled debut album in 1984, there is no denying the influence that they have had on both traditional heavy metal and the thrash scene which would explode later in the decade. Too fast and furious to fit nicely alongside the traditional US metal scene of the early 1980s and not really abrasive enough to truly be called thrash, Metal Church somewhat fell through the cracks. They are a well-liked band with plenty of fans, but given the quality of their original run of albums before splitting in 1996 Metal Church should really be bigger than they are. A possible reason as to why Metal Church failed to cut through in the manner deserved was the fact that they have never really been able to keep a line-up together for an extended period of time - which certainly would have cost the band some momentum in the early days. Metal Church has always been spearheaded by guitarist and principal songwriter Kurdt Vanderhoof - with many other singers, guitarists, bassists, and drummers coming and going from the band over the years. Even Vanderhoof stepped back from active duty between 1986 and 1996, although he kept working with and writing for the band behind the scenes, meaning that Metal Church is one of those bands with a long list of previous members - so it must have been hard to keep up with all the chopping and changing in the pre-internet days. Vanderhoof's songwriting has ensured that Metal Church stayed on track, though, and the band's catalogue has remained solid despite all of the line-up changes - with a host of strong albums having been released since the band returned from hiatus in 1998. The band's last album, 2018's Damned if You Do (which I reviewed here), was one of the first Metal Church albums that I heard. I do not think that it was actually the first - but it was certainly the first that I heard around the time that it came out, and it proved to be another strong entry in the band's discography. Sadly, though, things have not been plain sailing for Metal Church since Damned if You Do's release - as in 2021 news broke of the tragic death of long-time frontman Mike Howe. Whilst Howe was not Metal Church's original singer, he had been associated with the band for a long time - and was a real fan-favourite. Many wondered if Metal Church would carry on following his death, but earlier this year Vanderhoof announced that Marc Lopes (Meliah Rage; Let Us Prey; Ross the Boss) had joined the band and that Metal Church's thirteenth studio album was on the horizon. This album, in the form of Congregation of Annihilation, was released back in May - and it was clear from the off that Metal Church have overcome Howe's passing and have hit the ground running with Lopes. Congregation of Annihilation is the band's most aggressive album for sometime, and a big part of this is down to Lopes - whose unhinged and powerful vocal performance dominates.

The nine-song album is pretty concise and does not outstay its welcome. In that sense, and given Lopes' vocal delivery, the album reminds me somewhat of the band's earliest work - when David Wayne was the frontman. All of the songs here are enjoyable, but perhaps the best two kick things off - with Another Judgement Day perfectly setting the tone with a brief drum barrage and a tight riff which feels pretty pacey despite it retaining plenty of crunch. A brief guitar lead injects some traditional heavy metal flair, but in the main the song is very vocal-focused. The verses are built around a variation of the opening riff, albeit slimmed down to allows Lopes' voice to shine, whilst the chorus does not change tack significantly - but is characterised by Lopes pushing himself further and ending the vocal melodies with a high-pitched scream. This song is clearly designed to spotlight his talents, with the rest of the band taking a bit of a backseat. The grooves throughout are excellent, though, with Vanderhoof's riffs being typical of his hooky and heavy style, whilst the occasional lead guitar bursts from Rick van Zandt, contributing to his fifth Metal Church album, are busy yet tasteful. The song essentially gets to the essence of Metal Church's core sound and re-establishes it with Lopes at the helm - and those fearing that he would not fit within the band's model will certainly be pleased with the results. The album's title track follows, and it opens somewhat slowly. The first riff is pretty lumbering, and it seems as if the song is going to take more of a doom path, but things soon speed up - and the song is one which showcases why Metal Church had such a big influence on thrash. Vanderhoof and van Zandt trade riffs back and forth throughout, and the pace is kept high thanks to a strong performance from Stet Howland on the drums. The verses are snappy, then, which brings a more aggressive delivery out of Lopes - but it is the chorus where the song really shines. The chorus here is very thrashy, with some gang vocals from the band acting in a call-and-response manner with Lopes - who really lets rip with some throat-shredding screams that really showcase his personality. I really like the over-the-top approach he has taken here, and he clearly 'gets' the Metal Church spirit already. Throw in a guitar solo section which switches back and forth between Vanderhoof and van Zandt, and the song feels like a future Metal Church classic complete with plenty of hooks and a big attitude. Pick a God and Prey is up next, and it was the song which introduced the fans to the Lopes era when it was released online a few months ago. The faster pace of the previous song is retained, but the song overall feels less thrashy - and there is a strong NWOBHM influence throughout thanks to some occasional twin guitar leads and a prominent presence for long-time bassist Steve Unger. The bass really drives everything here, whilst the guitars crunch along to provide a strong rhythm - stepping forward when needed to inject some early 1980s leads into the track. Howland lays into his double bass drums here, too, and the song steams along at a decent pace - but feels tougher thanks to the crunching riffing and a somewhat more grounded vocal performance. Lopes screams less here, and instead goes for a grittier, less varied delivery on the whole - but it suits the song's overall crunch, and allows the foot-stomping chorus to shine appropriately.

Children of the Lie builds on the NWOBHM vibes of the previous song, with the opening riff feeling very Diamond Head-esque - and the overall crunch generally present in the band's sound has been somewhat toned down here. The song is still pretty heavy, but it feels less aggressive than anything on the album up to this point - with the guitar tones being somewhat more old-school sounding, and Howland's drumming being more punky and less intricate. As such, the song feels less involved than the opening few numbers, but there is a pleasing rhythm and attitude throughout. Lopes again feels somewhat more reined in here - but his more streamlined performance suits the song's more old-school sound, and he has a slightly cleaner edge to his delivery at times here which is welcome. Unger's bass is once again pretty high in the mix, which is something I have noticed about Metal Church's album's before, and he really feels integral to the band's rhythmic approach despite having two guitarists. Unger always finds space to play with, and he compliments the guitar riffing perfectly - and perhaps particularly stands out here thanks to the more toned down approach taken. Despite this, though, the song does get a bit heavier towards the end, with a raging final third which sees Lopes harshen up his voice somewhat briefly - before a more atmospheric instrumental section featuring bluesy guitar leads, a strong bassline, and simple synths brings the song to a close. Me the Nothing somewhat opens as the previous song ended, with some subtle keyboard textures and clean guitar melodies - but this vibe is relatively short lived as the song soon morphs into a lumbering mid-paced rocker which expands on the band's classic sound somewhat. The crunch that was toned down a bit somewhat on the last song returns here, but the pace is overall a lot more deliberate - and the arrangement feels a bit more dynamic. The verses mix heavy riffing and atmospheric clean guitar melodies to create a bit of a grungy feel that works well - whilst Lopes uses the slower pace to inject some real character and menace into his delivery. The chorus retains the same overall pace, but the synths from the intro return to add depth. Metal Church are not generally a keyboard-heavy band, but the synths are used to good effect here - and allow for a bit of a different sound overall, despite Lopes really letting rip during the pulsing chorus. A slow-burning dual guitar solo only further adds to the song's overall atmosphere, and the mid-paced, hard-driving song provides a welcome change of pace despite still maintaining a heavy sound. Making Monsters returns to something more typical of the band's core sound, although a brief bass-heavy intro first sets a slightly strange 1990s alterative rock tone. This vibe is short lived, though, and a faster-paced riff soon crashes in, and the song becomes another somewhat thrashy song packed full of attitude - and it is another that showcases a bit of a punk edge. The verses certainly feel pretty punky overall, with a prominent bass presence and some frantic Howland drumming. Depth is added by some chiming clean guitar chords, though, which do offset the punky vibes somewhat - but the unsettling feeling they create adds an extra dimension to the piece. The chorus is more typical, though, with a full-bodied guitar attack and plenty more vocal histrionics from Lopes. He really lets rip during parts of the chorus - and the faster pace allows his unhinged side to shine.

One of my favourite late album cuts follows, though, as Say a Prayer With 7 Bullets is a real hook-fest which sums up everything that is great about Metal Church. The main riff is another that borrows from the NWOBHM somewhat, with an upbeat hooky vibe established from the off, but there is still plenty of crunch. The song does not feel as old-school as some of the other NOWBHM-influenced songs here, and it retains the band's trademark more aggressive approach. The faster pace of the song allows the verses to really steam by, with riffs that showcase why bands like Metallica found a lot to like in Metal Church's approach, whilst the chorus builds on the NWOBHM-esque riff from the song's opening to create one of the album's hookiest moments. Lopes somewhat sings in tandem with the rhythm of the riff - and this allows for an interesting vocal melody - his voice perfectly balancing a melodic edge with aggression. As such, the chorus is one that has stuck in my brain from the off - and the song remains a real favourite despite multiple listens. Another solo section which sees both Vanderhoof and van Zandt shredding later pulls everything together - and the song really deserves to become a future live staple for the band. These Violent Thrills is somewhat similar, but the riff feels more aggressive overall - and the song feels is frantic, instead going for a steaming pace which somewhat sits between mid-pace and something more thrashy. As such, there are some pretty big grooves throughout - but the real standout performer here is Lopes. He does a great job throughout the whole album, but it feels as if he picked These Violent Thrills to really showcase his range. Some of his screams here sound like what Tim Owens might have tried during his time with Iced Earth, and the overall crunch of the song allows him to really let rip. The song is less musically-interesting than some of the other cuts here, but that only serves to highlight the vocals more - and Lopes has grasped the opportunity to show off with both hands. The album then comes to a close with All That We Destroy, a similar-sounding song overall - but this one tends to leave the NWOBHM vibes behind to go for something more hard-driving and American in tone. It is the sort of song which showcases why the band's first couple of albums were so well received back int the 1980s - as there would not have been too many genuinely heavier albums out in the wild at that point. The riffing here is snappy and muscular, but some depth is added during a chorus which goes for a slightly more atmospheric feel with some clean guitar melodies sitting behind the riffing - which means that the song is another that feels a little more dynamic than the norm. Lopes is less full-on here, but he still screams occasionally - adding a harsher edge to some of the more atmospheric moments. There are more memorable songs here, but the crunching track does well to re-establish the band's classic sound one last time before the album comes to a close - leaving listeners wanting more. Overall, then, Congregation of Annihilation is something of a triumph - and a great example of a band overcoming adversity and delivering something strong. It is great to hear the band so fired up here, and Lopes has proved to be an excellent hire. I really hope that this is the start of a prolific and successful chapter in the long history of Metal Church, as I want to hear more from this line-up going forward.

The album was released on 26th May 2023 via Reaper Entertainment. Below is the band's official lyric video for Pick a God and Prey.

Iron Maiden - Nottingham Review

Considering the amount of hard rock and heavy metal shows that I have been to over the years, and the fact that I have have seen some bands a significant number of times live, it may surprise some to learn that, prior to last night, I had only seen Iron Maiden live before once. Whilst the band are not always the heaviest touring when it comes to the UK, as they often seem to focus much more heavily on the US market than their home market (although nowhere near as egregiously as Judas Priest still does), I have certainly had more than one opportunity to see Iron Maiden live. I am not sure why I passed up on previous tours, but I finally rectified the wrong of not seeing Iron Maiden in 2017 when I caught them in Birmingham as part of the touring cycle for The Book of Souls. Despite the setlist being heavily weighted in favour of the 2015 release, I enjoyed the show a lot. I listened to The Book of Souls quite a lot around that time anyway, and generally like it when bands heavily promote their latest release live. I decided not to go and see the band on their last UK tour, which was more of a greatest hits affair, largely as I think that I already had a lot planned around the time when the shows were due to take place. Big arena shows are never the cheapest either, so it is not always possible to do everything - and I think I was also less interested in a more greatest hits-orientated set. Iron Maiden are a band whom I generally think have some great deep cuts - and their most famous songs are ones which you just cannot escape when any kind of hard rock and metal music is being played in public. As such, I would much rather see a more themed set or one that pushes a new album heavily than a set that relies on the same old standards. As such, then, when the band's latest tour was announced last year and it was revealed to have both a theme and support a new album I was all in. Whilst 2021's Senjutsu is not my favourite of Iron Maiden's recent releases, it certainly has its share of strong material, and the fact that the tour was also going to shine a light on 1986's Somewhere in Time, an album which has often been overlooked by the band over the years, the setlist promised to include some interesting deep cuts alongside some real fan-favourites. Of all the UK shows, Nottingham seemed to make the most sense - despite none of the shows falling that conveniently day-wise. I ended up tying the Nottingham show into a wider trip which included a gig in London, too, so it made for a few nice days away. The Motorpoint Arena in Nottingham is always a good place to go to, too. It is probably my favourite of the UK's indoor arenas - and the sound is generally very good there. Many of the country's big sheds have issues, but the Nottingham one has always produced good memories - and it was good to return there after a couple of years. As expected, I was sat pretty far back - but the venue is such that views of the stage are good wherever you end up sitting.

Before Iron Maiden took to the stage, though, the growing crowd was treated to a pretty lengthy set from Germany's Lord of the Lost. Prior to yesterday, Lord of the Lost were a name that I had heard periodically over the years - and I was also aware that they represented Germany in this year's Eurovision Song Contest. I did not know much else about them, so I went into their set with an open mind and actually ended up enjoying quite a lot of it. Lord of the Lost's sound mixes the catchier end of industrial metal (think Rob Zombie) with some more melodic gothic rock topes and a good dose of pop. As such, their sound is surprisingly varied - and they mixed heavier moments with some pretty big choruses during their time on stage. Frontman Chris Harms generally sung clean, with a rich deepness which brought The 69 Eyes to mind at times, but he also utilised harsh vocals from time-to-time - which other members of the band also contributed to to create big walls of more aggressive vocals. This stopped the band from being overly melodic, but there were still plenty of hooks to be found - particularly on those songs which were more keyboard driven. Gared Dirge (guitar/keyboards/percussion/vocals) certainly kept himself busy throughout the band's set - and those songs which shone the most featured his keyboard talents. The synth work throughout the set was excellent, with lots of AOR-esque synth stabs and melodies which helped to temper some of the more hard-driving riffs and barked vocals. What struck me the most, though, was just how 'together' the band sounded despite the disparate influences. It is fair to say that Lord of the Lost certainly have a distinct sound, which was evident after just a couple of numbers, but they still managed to keep things relatively fresh throughout by shifting focus somewhat - and the overall heaviness tended to rise and fall as the set moved on. I like industrial music, but I am generally pretty picky as to which industrial acts I listen to. I tend to prefer the more melodic end of the genre, and Lord of the Lost had enough of that upbeat attitude to appeal to me. This, combined with some obvious extreme metal influences, made for an enjoyable set which passed by pretty quickly. Some of the songs lacked the big hooks of some of the others, but, at their best, Lord of the Lost impressed - and they actually seemed to go down quite well with Iron Maiden's fans, whom are often hostile to anyone who supports their heroes. Perhaps the crowd were just happy to not have a band featuring the son of one of Iron Maiden's members on the bill this time - but I also think that Lord of the Lost's infectious material and strong stage presence also played a big part in their warm reception.

Despite the decent showing from Lord of the Lost, it was of course Iron Maiden that the capacity crowd was in town to see - and when the familiar strains of UFO's Doctor Doctor started to play over the venue's PA the place went wild. Sci-fi music in keeping with the themes of Somewhere in Time then filled the hall - so it was fitting that two songs from that album were played first. Caught Somewhere in Time, which had not been played live by the band since the original Somewhere in Time tour, opened the show in fine fashion - and it was clear from the off that the crowd were in for a treat. The band's live sound mix was excellent, and frontman Bruce Dickinson was on top form. He does sometimes struggle a bit these days, but he was excellent throughout the whole of the Nottingham show - and prowled the stage in his usual manner, looking like some kind of sci-fi cowboy early on. The more muscular Stranger in a Strange Land followed, and the crowd were in raptures. The song is another relatively rarely-played number, and hearing the crowd shout the chorus back at Dickinson was a powerful moment. A trilogy of numbers from Senjutsu then brought the set into the modern day. Adrian Smith (guitar/vocals) led the somewhat southern rock-tinged The Writing on the Wall, before the driving drums of Nicko McBrain propelled the relatively snappy Days of Future Past - which Dickinson later remarked had been named after The Moody Blues' song of the same name. Perhaps the highlight of this part of the show for me, though, was The Time Machine. I would not have called it one of my favourite cuts from Senjutsu previously, but it came across really well live. Songwriter Janick Gers (guitar) set the tone with a gentle acoustic guitar intro, before the mid-paced track stormed along with another powerful Dickinson vocal and plenty of guitar firepower from all three of the band's guitarists - with Gers unsurprisingly dominating. At this point, five songs into the set, only two albums had been featured, so the band then chose to branch out slightly and brought out The Prisoner - which has always been a long-time favourite Iron Maiden song of mine. Live the song felt somewhat looser than on the album, but it worked well and the chorus turned out to be another shout-along moment whilst clips from the eponymous TV series played out on the screens behind the band. This punchier number then gave way to the lengthy epic Death of the Celts - which was the first of three longer-form tracks included in the set. Of the three longer songs on Senjutsu, it is my favourite - and it was another that came across well live. The folky guitar melodies throughout injected plenty of Celtic vibes, and there was a lot more soloing - particularly this time from Dave Murray (guitar). Steve Harris (bass guitar/vocals) also made his presence felt early on with some acoustic bass playing during the atmospheric intro.

It was then time for another diversion into an album not being specifically featured on the tour, so it was turn for Can I Play with Madness to get an airing. The relatively poppy song is not always a favourite of die-hard fans, but I have always liked it - and it was a fun addition to a set which could have gotten quite bogged down had it not been so well structured. Can I Play With Madness acted as a bit of a kick of energy following the more meandering previous song - and set up the final third or so of the main set perfectly. Returning to Somewhere in Time, the faster-paced Heaven Can Wait was another big favourite. I have always liked the song, but it came alive on stage - and it featured a walk-on from band mascot Eddie who had a gun fight with Dickinson to the delight of the crowd. The tour's big surprise then followed in the form of Alexander the Great - which is song that die-hard fans of the band have been begging them to play live for years. Prior to this tour, the song had never been played live - and it looked as it if it would go un-played, but the band finally dusted it off for this themed tour. In truth, it has never really been a personal favourite of mine (if I could choose which rarely-played early epic to include it would have been To Tame a Land), but the song has reached legendary status in the band's fanbase so it was great to hear it pulled out of the vaults - and I imagine that there were many in attendance that were extremely pleased to hear it. It felt like a real event, and the song came across well live - with lots of great soloing from Smith. With much of the main set either being newly-played on this tour or rarely played in recent years, it was then left to two standards to close out the main set. The ever-present Fear of the Dark was received as warmly as ever, with plenty more singing from the crowd, before the band's self-titled song brought the main set to a raucous close. The punky energy of Iron Maiden always seems to get the crowd going, and it is another that elicits plenty of rowdy shouting-along. It also saw another appearance from Eddie, this time in samurai garb, where he duelled with Gers as the main set came to a close. There was, of course, time for a few more, though, and the three-song encore kicked off with one last epic in Hell on Earth. It was the last of the Senjutsu cuts played, and it was probably the only one that did not truly grab me. It has never been one of my favourites from the album, but I think that it has become a bit of a fan-favourite. It was still good to hear it live, despite it not being a personal favourite, but the rest of the encore was more on safe ground with the rollocking The Trooper eliciting a strong rection from the crowd - with the wordless vocal hooks filling the arena as the thousands in attendance latched onto it. It was left to one last cut from Somewhere in Time in Wasted Years to bring the show to a close - and the anthemic track perfectly wrapped the action up (as it had in 2017, too, actually) as the band took their bows to huge cheers. The setlist was:

Caught Somewhere in Time

Stranger in a Strange Land

The Writing on the Wall

Days of Future Past

The Time Machine

The Prisoner

Death of the Celts

Can I Play with Madness

Heaven Can Wait

Alexander the Great

Fear of the Dark

Iron Maiden

-

Hell on Earth

The Trooper

Wasted Years

As much as I really enjoyed the 2017 show I attended on The Book of Souls touring cycle, which also had a strong setlist, I think that last night topped it. The band were really on fire, and the Senjutsu cuts chosen really came alive on stage. I liked the focus on Somewhere in Time, too. I have always enjoyed that album a lot, and quite a few of the songs played from it had either never been played live or had not been played live for a number of years. It made the set feel special, even for someone like me who had only seen the band live once before. There were only four songs played yesterday which were played in 2017, too, which I always like when it comes to setlist construction. It is funny to think that I have now seen the band live twice and have never seen them do Run to the Hills and Hallowed Be Thy Name - but, in truth, I would have rather have seen the two interesting setlists that I have now seen than a more generic greatest hits-type set anyway.

Def Leppard/Mötley Crüe - London Review

Being a hard rock and metal fan, going to a stadium gig is a bit of a rarity - but going to two in a row is essentially unheard of. Prior to last night's fun in London, my last gig came a couple of weeks ago - when I went to Birmingham to catch Bruce Springsteen and the E Street Band put on a mammoth three-hour show at Villa Park. Sitting in the upper tiers of a stadium appears to not get old, though, as just over two weeks later I was sat in an even bigger stadium, Wembley Stadium to be exact, to enjoy two of the biggest names from the 1980s in Def Leppard and Mötley Crüe. I suppose this is how fans of acts like Taylor Swift and Harry Styles must feel! Times have changed for both Def Leppard and Mötley Crüe - as this was not the first time that I had seen the two touring together. The bands did a UK co-headline tour in 2011, and I caught them at what is now the Motorpoint Arena in Nottingham. Wembley Stadium is certainly larger than any indoor arena, so it is good to see that the bands have grown in stature again. Funnily enough, I think it was that night in Nottingham which really made me a Def Leppard fan. I had been a casual fan for a while, but went to the show largely to see Mötley Crüe. I remember Mötley Crüe's set being plagued with sound issues, though, and Def Leppard followed them by smashing it out of the park. Prior to last night, I had seen Def Leppard live twice more, and Mötley Crüe just the once - as I trekked up to Manchester to catch them 'one last time' on what was supposed to be their farewell tour in 2015. Their set was significantly better than it had been in 2011, and it was great to have a memorable experience to look back on. Mötley Crüe are certainly not a band that I listen to as much these days, but they were very important in my overall musical development - so I was sad to see them go. I have learnt not to believe musicians when they say that they are retiring, though, so I was not surprised to see them return a few years ago - only for it to be halted by the pandemic. Since kicking off their big comeback tour last year, Mötley Crüe have been touring again with Def Leppard - so once the European leg of the tour was announced I picked up a ticket. 12 years on from that original show, though, this time I was largely going for Def Leppard. The two Def Leppard shows which I saw since the 2011 one were both great, particular one in 2018 which featured 1987's Hysteria played in full, and their remarkably strong catalogue is one which I dip into regularly. I was looking forward to seeing Mötley Crüe again, too, but I had my expectations in check, given some of the reviews I had read and all of the drama surrounding the ousting of guitarist Mick Mars, but since I was mainly going to see Def Leppard and the tickets were surprisingly not hideously priced (at least for the cheap seats a long way from the stage where I sat) I was not going to get too upset if Mötley Crüe disappointed. It had been a few years since I had been to Wembley Stadium, too, so it was good to return. Like all of these big shows, it started pretty early with Mötley Crüe on at 6:45pm. Mammoth WVH opened the show, but by the time I had got over to the stadium from my hotel in the Docklands area of London, Wolfgang Van Halen had largely already finished his set - so I did not see enough of it to really comment on. I saw him last year with Alter Bridge, though, and thought that he and his band were decent without making much of a mark.

It was only around 30 minutes after Mammoth WVH finished their set that Mötley Crüe took to the stage. Considering how, literally, explosive the 2015 show had been, the band's stage show was surprisingly minimal - with them instead letting their music do the talking. By this point, too, the crowd had filled out. Despite only half of the pitch having seats on it, the wider stadium was still pretty full. It was the smallest crowd that I had seen at Wembley Stadium, though, but there were still more in attendance than could have fit in the O2 Arena or similar. Both Mötley Crüe and Def Leppard had 90 minutes to play with, and Mötley Crüe decided to essentially deliver a greatest hits set. As such, setlist-wise, the show was very similar to the previous times that I had seen them - although a couple of different tunes were included. Mötley Crüe opted for a gnarly live sound. The band are always heavier than I remember, and from the opening riff of Wild Side the four-piece (augmented by two backing singers/dancers) rocked pretty hard. The sound mix was generally pretty good, despite the typical 'boom' of stadium sound, although there were times when frontman Vince Neil was a bit buried. Speaking of Neil, though, I was generally impressed. He has come in for a lot of criticism over the years, but he sounded pretty strong throughout much of the set. He struggled with the ballads when his voice was more exposed, but during the heavier tracks he sounded pretty good. In general, too, the band were tight. Drummer Tommy Lee has always been an explosive and underrated drummer, and new guitarist John 5 has added some additional talent to the band. 5 could probably play the set in his sleep, but he nailed the overall attitude of the riffs - and injected a little more of his own style into the solos. The opening portion of the set really rocked, with the aforementioned Wild Side sitting nicely alongside Shout at the Devil and a great version of the raw Too Fast for Love from the band's first album. Don't Go Away Mad (Just Go Away) slowed the pace, but exposed the fragility of Neil's voice, but things got back on track with the pseudo-thrash of Live Wire, which was a real highlight, and a stomping rendition of Looks That Kill. It was fun to hear the newer The Dirt (Est. 1981) live, despite it relying on quite a lot of pre-recorded vocals due to Machine Gun Kelly's appearance on the track, but it did mark the start of a bit of a mid-set sag. For whatever reason, on this tour the band have decided to include a lengthy covers medley in their set - which over the last couple of shows has now gotten longer, to include a significant portion of Beastie Boys' (You Gotta) Fight for Your Right (to Party!) for no clear reason. Neil looked like a lost lamb here with many of the other band members singing - and considering that an original track was dropped to make this medley longer you have to question why. The slower Home Sweet Home followed this medley, too, which also was not too kind to Neil - but thankfully the last few songs got the set back on track. Dr. Feelgood felt more like it, before Same Ol' Situation (S.O.S.) saw plenty of singing from the crowd. Bassist Nikki Sixx was showcased during the intro of the prowling Primal Scream - and the set then came to a raucous end with the anthemic Kickstart My Heart. Despite the mid-set sag and some slower numbers which only served to highlight Neil's vocal issues, Mötley Crüe put on a raw set with their usual swagger - so a job well done. The setlist was:

Wild Side

Shout at the Devil

Too Fast for Love

Don't Go Away Mad (Just Go Away)

Live Wire

Looks That Kill

The Dirt (Est. 1981)

Guitar solo

Rock and Roll - Part 2 [Gary Glitter cover]/Smokin' in the Boys Room [Brownsville Station cover]/Helter Skelter [The Beatles cover]/Anarchy in the U.K. [Sex Pistols cover]/Blitzkrieg Bop [Ramones cover]/(You Gotta) Fight for Your Right (to Party!) [Beastie Boys cover]

Home Sweet Home

Dr. Feelgood

Same Ol' Situation (S.O.S.)

Girls, Girls, Girls

Primal Scream

Kickstart My Heart

Again, there was only around 30 minutes between sets - so it was soon time for Def Leppard to take the stage. I enjoyed Mötley Crüe, but I think it is fair to say that Def Leppard were better - both in terms of overall sound and setlist choice. They essentially also played a greatest hits set, but a few choice cuts from last year's strong Diamond Star Halos kept things interesting - and the set kept the large crowd enthralled from the off with the hard-driving riffing of Take What You Want. Frontman Joe Elliott might not have the range that he used to, but he is still a good live singer - and the harmonies from the rest of the band helped to create their trademark layered sound. Take What You Want got the set off to a strong start, and the harder rock vibe continued with Let's Get Rocked - before the more mid-paced Animal was the first of six Hysteria cuts played during the evening. 5 had included plenty of fretboard pyrotechnics during Mötley Crüe's set, but the back-and-forth between Phil Collen (guitar/vocals) and Vivian Campbell (guitar/vocals) was just as impressive. The anthemic Armageddon It featured lots of great guitar playing, and it came after a relative deep cut in Foolin' which all the die-hards around me really enjoyed. I have already mentioned the inclusion of new material, but I think it was quite brave of the band to play three new songs - even though the poppy Kick certainly went down well. So many veteran bands struggle to get people to engage with new songs - especially in a stadium context. The choice to play the new songs seemed to pay off, though. There were lots of people around me singing along to Kick, and I was glad to hear songs which were a bit different from the norm. I was pleased with the inclusion of Promises from the late 1990s, too. Although the song was a single, it is certainly not a setlist staple - but the epic chorus rung around Wembley Stadium and it received a strong reception when it came to an end. Unlike Mötley Crüe, too, Def Leppard's mid-set did not sag - despite it changing the pace. A brief semi-acoustic set saw the band gathered at the foot of the catwalk, with drummer Rick Allen behind a small drumkit, to play a couple of ballads. This Guitar was the last new track featured but the stripped-back version played worked well - before a reworked When Love & Hate Collide also impressed. This acoustic set did not outstay its welcome and it was soon time to rock again, with the glam stomp of Rocket and the soaring power ballad Bringin' On the Heartbreak getting everyone to sing along. The rumble from bassist Rick Savage then heralded the instrumental Switch 625, which featured some great guitar interplay between the two guitarists - and came to an end with a brief drum solo. By this point, though, there was not too much time left - but four more big hits were still to come. The smooth Hysteria felt like a bit of lull before the final storm, despite it being a melodic feast in its own right, but I think it is fair to say that Pour Some Sugar on Me was the song that got everyone on their feet, the duelling guitars and Collen and Campbell bringing it to life, before the mid-paced Rock of Ages and the bona fide classic Photograph closed out what was an excellent evening of live music - with the whole stadium on its feet. The setlist was:

Take What You Want

Let's Get Rocked

Animal

Foolin'

Armageddon It

Kick

Love Bites

Promises

This Guitar

When Love & Hate Collide

Rocket

Bringin' On the Heartbreak

Switch 625

Hysteria

Pour Some Sugar on Me

Rock of Ages

Photograph

It is always great seeing Def Leppard live and, for me, they were easily the band of the night at Wembley. I still enjoyed Mötley Crüe's raw set, and they whipped up plenty of excitement - but I felt that, overall, Def Leppard elicited more of a reaction from the crowd and managed to deliver a stadium-ready setlist that did not just rely on past glories. Seeing two of the 1980s biggest rock bands is always going to be a recipe for a great night out, though, and the duo of Def Leppard and Mötley Crüe did not disappoint - and certainly brought some fire to a busy London Saturday which saw the public spoilt for choice with lots of big-name events.