As much I love live music, I do have to concede that being away for four weekends in a row is not as easy as it used to be. I will continue to get to as many gigs as my budget allows, but I may need to start being even cleverer about how my trips away are structured - and I am quite looking forward to a couple of much-needed quieter weekends coming up! That being said, though, it was great to be back in London this weekend - particularly as it meant that I got to see the German power metal legends Blind Guardian live again for the first time since 2016. I saw the band in both 2015 and 2016, in what seemed to be a particularly busy period for a band known for downtime and lengthy gaps between albums, but save for the 2017 iteration of Bloodstock Open Air which I did not attend the band had not returned to the UK since. Given that there was no new album to tour in that time the lack of shows was not a surprise, but it was somewhat surprising how long it took the band to return following the release of 2022's The God Machine (which I reviewed here). In fairness, I think that the band's touring had been disrupted by the pandemic - meaning that shows around the time of the album's release and after were already dedicated to the 30th anniversary of 1992's Somewhere Far Beyond. This meant that the shows specifically for The God Machine got pushed back to allow for the Somewhere Far Beyond anniversary cycle to be finished off - so when a handful of UK shows were announced last year I picked up a ticket immediately. Whilst Blind Guardian are not one of my very favourite bands, they are a band that I have liked a lot for a long time. They are also one of the few power metal bands that are capable of playing more than one UK show on any given tour - and are also capable of filling a venue larger than The Underworld in Camden. Both of the previous Blind Guardian shows I had been to had taken place at the O2 Forum in Kentish Town - and this was where the band returned to this time. Both of the previous shows had been busy, too, and this one was no exception. I do not know if the show was sold out or not, but the venue was certainly packed - and when I turned up around half an hour before the advertised door times the queue was already snaking around the local area. I arrived at the venue following a fairly busy day travelling up from Plymouth and taking in some walks around central London - something which I do not often do. I tend to stick to less busy (and less expensive) areas, but there were a couple of places I wanted to visit - so I had a wander around Oxford Street and the surrounding area before heading up to Finchley to check into my hotel, have a bit of a rest, and then head back down to Kentish Town. The O2 Forum is a long-standing venue and it is one that I have grown to like quite a bit. I remember feeling somewhat ill there during the first of the two Blind Guardian shows previously mentioned, which coloured my view of the place for a while, but I have been there often enough over the years to make me a fan of it.
There was only one support act to warm up the large crowd, but I think that it is fair to say that the German five-piece The Night Eternal did their job well. Sound-wise, they had little in common with Blind Guardian - but the spooky vibe of the relatively traditional heavy metal act helped them to stand out and they did not immediately remind me of anyone else. In an attempt to describe their sound, though, they reminded me a little of the creepier end of the NWOBHM, with bands like Satan and Angel Witch coming to mind, mixed with some of the heavier end of bands like Fields of the Nephilim. There was certainly a strong gothic tinge to the band's music, and frontman Ricardo Baum's voice fitted that mould, but there was plenty of traditional heavy metal, too, and the mix generally worked well. The band did suffer somewhat from typical support band sound mixing in my opinion, which probably meant that some of the nuances of their music were lost, but they did seem to generate quite a decent reaction from the gathering crowd. There were a few around me who seemed to already be familiar with the band, but a few numbers in there was generally a warmth going the band's way from the crowd. This is probably, in part, due to the band's pretty original sound. I liked how they managed to have a creepy atmosphere without resorting to extreme metal trappings. There were a couple of brief moments where Baum did sing in a slightly harsher manner - but these were rare. The atmosphere instead came from a good mix of melodic guitar playing, retro tones, and Baum's off-kilter vocal performance. Not all of the band's songs hit home, but they seem like a band that would really come alive after living with their albums for a while. A few of the songs had pretty strong choruses, but overall they were more of a 'vibes' band - and I would like to give their two albums a go going forward. They seem quite hard to get, though, especially on CD. I had hoped to pick one up from the merch desk - but they were only selling vinyl. I will have to keep an eye out and try and pick up a CD in due course - as they seem like the sort of band that I could really get into given my enjoyment of the bands namechecked earlier in this paragraph.
It was only around 20 or so minutes later that Blind Guardian took to the stage. I had forgotten just how fanatical about the band that some of their fans are - so the next two hours were filled with great music and a rather intense crowd, some of whom I felt went a little over-the-top with their adoration and screaming. I am not sure how any of those doing so could actually hear the band, especially as the gig overall felt pretty quiet. I ended up taking my earplugs out after a couple of songs as I did not need them - and I wish that the band had been turned up a bit to drown out some of the strange, Beatle-esque reactions that were coming from portions of the crowd. It is always great to see people getting into a concert, but I do like to be able to hear the band over the fans! I did my best to block all this out, though, and settled into a 16-song set filled with some of the best power metal ever put to tape. The band's setlist pulled from throughout their career, with three songs from the latest album, but things kicked off with an old classic in the form of Imaginations from the Other Side. Given the song's status in the band's catalogue, it worked well as an opener. The chorus was the first of many which was sung back at the band loudly by the crowd - with frontman Hansi Kürsch sounding as gritty and powerful as ever. The sound levels did balance out somewhat, but I do wish everything had been a tad louder. I was right in front of André Olbrich (guitar/vocals), so his leads and solos rang clear, but I was missing some of the heft and riffing from Marcus Siepen (guitar/vocals). I was fairly close to the front, though, and sometimes being so close is not ideal sound-wise, but I still enjoyed the show - and it was great to be able to hear all of Olbrich's great melodic additions to the songs. Apart from the newer songs, the setlist largely stuck to live regulars. It was great to hear the thrashy Blood of the Elves from the latest album, though, and the energy levels were kept high early on thanks to Banish from Sanctuary being wheeled out for the 35th anniversary of 1989's Follow the Blind.
The set focused on the heavier end of the band's sound and given how much singing along was happening this seemed to be wise. Kürsch even acknowledged that they were going to focus on a more anthemic set due to the amount of crowd participation - and I think that, at times, the band were shocked by just how much love they were getting. There were slower moments, though. The acoustic guitars came out for the folky Skalds and Shadows and the later, ever-present, rendition of The Bards Song - In the Forest. These slower moments saw just as much singing as the faster, more anthemic parts of the set - and it seemed that whatever was chosen the crowd would lap up. A particular highlight for me was the more symphonic Secrets of the American Gods from the latest album. It is one of my favourite pieces from The God Machine and it allowed touring keyboard player Kenneth Berger a bit more of a chance to shine thanks to the song's dense arrangement. The newer songs still received huge reactions, though, as the heavier Violent Shadows later proved, but, of course, the classics really got the die-hards going - and the main set soon came to an end with the rollocking Lost in the Twilight Hall after everything else had essentially flown by. There was plenty more to come, though, and a five-song encore followed. It kicked off with the lengthy Sacred Words, with its symphonic heft and huge chorus, before the heaviness returned with the folky melodies of Time Stands Still (at the Iron Hill). The ever-present Valhalla then really whipped the crowd into raptures - and I think it was the endless singing of the song's chorus after it had ended which prompted the band to play an additional song. Looking at other setlists, Mirror Mirror has always closed the show, and drummer Frederik Ehmke had come to the front of the stage following it assuming the show was done, but Kürsch decided to play one more - and the crowd was treated to a bonus rendition of Majesty, which saw plenty more singing during the fast-paced chorus. It ended the night on a real high and the real die-hards around me likely thought they had died and gone to heaven. The setlist was:
Imaginations from the Other Side
Blood of the Elves
Nightfall
Banish from Sanctuary
The Script for My Requiem
Skalds and Shadows
This Will Never End
Secrets of the American Gods
The Bard's Song - In the Forest
Violent Shadows
Lost in the Twilight Hall
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Sacred Worlds
Time Stands Still (at the Iron Hill)
Valhalla
Mirror Mirror
Majesty
Despite the rather intense crowd, I really enjoyed catching up with Blind Guardian after eight years. Each time I have seen the band they have delivered and they are considered one of the best power metal bands going for a reason. It was great to see them in a decent venue, too, as so many of their peers are reduced to the small clubs around London. Blind Guardian's grand music befits a larger room, though, and the fact that the O2 Forum was packed out is testament to the band's efforts. I imagine that it will be a while before they return to the UK again - but I will likely be in attendance again next time, too.
Supergroups are often viewed with suspicion, and with good reason, but every so often one delivers on the promise that its stellar line-up suggests - and the American progressive metal supergroup Sons of Apollo was one such band. I did not immediately pick up the band's 2017's Psychotic Symphony (although I did briefly talk about it here) but I did get around to it eventually - and found myself spinning it quite a lot. I saw the band live in 2018, too, and it was an impressive show - with some big names in rock and metal crammed onto a small club stage and letting rip in front of a dedicated crowd of prog lovers. 2020's MMXX (which I reviewed here) was a bit of a step down from the debut in my opinion, but I still enjoyed it a lot. With the pandemic hitting not long after the touring cycle for the album started, though, MMXX somewhat faded away. The band did eventually play a few post-pandemic shows in 2022 to complete a long-postponed South American tour - but it seemed that the band had somewhat run its course by then, with bassist Billy Sheehan and drummer Mike Portnoy returning to their blues rock trio The Winery Dogs. The latter has recently, and famously, re-joined Dream Theater, too, and that essentially seemed to bring with it the official confirmation that Sons of Apollo were over - with a little bit of a war of words erupting in the press about the whole situation. Clearly looking to continue working together, though, guitarist Ron 'Bumblefoot' Thal and keyboard player Derek Sherinian soon launched their new project: Whom Gods Destroy. I would imagine that the band had been in the works for longer than the time which has passed since Portnoy re-joined Dream Theater - but Whom Gods Destroy certainly feels like the sequel band to Sons of Apollo. That is how it is being marketed in any case, but I think that there are differences between the two groups. For me, Sons of Apollo were much more of a true prog metal band. It built on Sherinian and Portnoy's time working together in Dream Theater and the organic sound of 1997's Falling into Infinity - whilst adding some modern prog metal touches. It saw Portnoy returning to the genre with which he made his name, then, but Whom Gods Destroy is a much heavier beast. There are still progressive flourishes here, but overall the band's sound is much more metallic and concise overall. It is much riffier, with Sherinian's keyboards taking on a heavier and more growling approach, whilst the grittier vocals of frontman Dino Jelusick (Trans-Siberian Orchestra; Animal Drive; Dirty Shirley; Whitesnake) only add to that sense of toughness. Throw in Yas Nomura on bass guitar and Bruno Valverde (Angra) on drums and it is fair to call Whom Gods Destroy another supergroup - although I have to say I was not familiar with Nomura prior to hearing this album. The line-up here is perhaps not as star-studded as Sons of Apollo's was, but I think the success of the former band generated a lot of excitement for Insanium - Whom Gods Destroy's first album which dropped last month. Like many I was excited for the album, but I has taken me a while to get into it. I was not all that keen on it at first - but over repeated listens I have warmed to most of it, even if I wish that there was a bit more prog bombast here.
I would still still consider Insanium to be a prog metal album, though - it just goes about things in a different way. The musicianship here is still excellent but the playing just feels somewhat more reined in overall - which is perhaps not surprising given the absence of Sheehan and Portnoy. In the Name of War kicks things off and the track is a good representation of what is to come. It opens with some busy, minor key, piano melodies from Sherinian - which morph into a gritty synth lead when Thal's guitar kicks in and the song gets going proper. What always sets Sherinian apart from other prog keyboard players is his choice of tone. He rarely goes for bright and overly-synthy tones - with more organic textures prominent throughout. His keyboards often mix well with Thal's guitar riffing here - with the song's main riff feeling fat thanks to their link-up play and the verses have a nice depth thanks to some atmospheric chords. Thal's guitar is the album's driving force, though, and this is very much a metal album in that sense. There is less of his off-kilter approach here and his riffs are generally very in-your-face - as is the case here, although they do occasionally step back to allow for a keyboard hook to shine. Jelusick has proved himself as a strong vocalist over the years, particularly on Michael Romeo's War of the Worlds, Part 2 (which I reviewed here) in 2022. He utilises a similar vocal approach here, then, with a gruffer take which further sets this band apart from Sons of Apollo. I think sometimes the gruffness can be a bit overstated, though, and his verse delivery is a bit over-the-top. He tones it down a little during a later bridge section and I would have preferred more of this more melodic approach. That being said, though, he sounds strong throughout - and the song's chorus is pretty hooky despite the heaviness, although he does also somewhat tone it down a little here. Keyboard flourishes help the chorus to stand out, too, and there are lengthy guitar and keyboard solos later on - as if to remind the listener who is leading this band. Over Again showcases Sherinian's love of an organic keyboard texture with some Hammond organ early on - but again it is the mid-paced riffing of Thal which creates the song's early groove. The use of the Hammond is welcome, though, and it helps to add some old-school hard rock to the band's modern metal sound - although the chorus very much focuses on a more modern sound, with a Pantera-esque groove and a strange vocal from Jelusick. At times it sounds like he is going for more of a harsh vocal approach without really doing so - and I am not sure that these verses really work for me. Jelusick sounds strange and the overall approach feels bit rooted in the late 1990s/early 2000s. The chorus is more typical, though, and it opens up a bit more to allow for a more organic vocal approach - which is relatively hooky. For me, though, the best part of the song is the lengthy instrumental section which opens with a shredded guitar solo from Thal which gradually transitions into a full-blown keyboard extravaganza from Sherinian. The playing from the two of them here is some of the album's most explosive - it is just a shame that the rest of the song does not do a huge amount for me. I do not like the verse approach that much - and the chorus is decent whilst not exactly being stellar.
The Decision is a longer piece, so it naturally feels a bit more progressive. It opens up with a strong groove conjured up between the guitar, bass, and drums - over which Sherinian lays down some atmospheric and soundscape-esque melodic playing. After the full-blown heaviness of the previous songs, this track's more diverse approach is welcome. Songs like this are more what I expected from Whom Gods Destroy - and I wish that the album focused on this sound more. Nomura's bass playing gets some time in the spotlight here, particularly during the more stripped back verses. His popping groove is a simplified take on how the song opened, whilst Valverde's drumming is tight and Thal takes something of a step back to deliver some chiming guitar melodies. The track builds towards its chorus, too, which is heavier - but it still retains an atmospheric approach whilst also introducing some anthemic vocal harmonies and a larger overall arrangement. Jelusick sounds a lot more natural during this song, too. He still sounds gritty, but he sounds much less forced here. The melodies flow in a more natural way, then, and I much prefer him operating like this than trying to sound like Phil Anselmo. The length of the track also allows for some more soloing and there is a great showcase for Thal here - who reins in some of the shredding of the previous songs to go for something more structured and flowing, even if his playing does speed up as it progresses. In my opinion, songs like this showcase the band's songwriting and character far more than the overly tough sound of the previous track - and I hope, if this band is to continue, that we hear more like this. Crawl opens in a pretty chaotic manner, with some busy keyboards and percussive drumming - which soon morph into a pretty fast-paced, riff-led opening with double bass drumming and a heavy tone. Like the previous song, though, the arrangement here is a bit more dynamic - which is welcome. Once Jelusick starts to sing, the verse feels a bit more atmospheric - with a busy drum groove leading the charge whilst Sherinian's atmospheric keyboards add depth. The verses grow in stature, though, and I like how the song generally retains its heaviness despite these more atmospheric diversions. The heaviness here feels more natural, too. The riffing is more rooted in prog metal, especially given Sherinian's keyboard melodies which flit in and out of the piece, and Jelusick also remains in a more natural vocal range. The use of atmosphere throughout really helps the song to sound big, too. I do not feel it is as expansive as the previous cut, but there is still a welcome diversity here - with Thal and Sherinian often adding dual melodies to spice things up.
Find My Way Back slows things down further and acts as the album's ballad. There is still a toughness to the track overall, but it is easily the gentlest of the album's nine songs - and it allows Jelusick to showcase a much smoother and more emotional vocal approach. Despite my dislike of his overly tough performances earlier in the album, I generally think he is a great singer - and songs like this show why David Coverdale brought him into Whitesnake to help out vocally. In fact there are shades of big ballads by bands like Whitesnake throughout this song - although the riffing and drum punch is generally tougher. Sherinian's keyboards add plenty of atmospheric depth, though, and the chorus is a bit of a hark back to the 1980s overall in structure and melodic construction. I could imagine Coverdale himself singing it if the 'metal' was toned down about 20% - and the slower piece is a good mid-album pause for breath which allows the band to show a more emotional side and Thal to deliver some bluesy soloing. Crucifier returns to the band's core, heavier sound - and comes roaring out of the gate with some double bass drum grooves and busy keyboard melodies which morph into massive Hammond chords. After the ballad and a couple of more dynamic pieces the relentless heaviness here is actually welcome - and it is also pleasing that there is relatively little of the forced heaviness found elsewhere. There are occasional vocal lines which have that Anselmo feel, but overall the track is hooky and groovy - benefitting from a tighter arrangement and shorter length. The verses can feel a little over-the-top at times, with some overly-gruff vocals, but the chorus is one of the album's best - with a snappy riff from Thal playing nicely off Jelusick's strong vocal hooks. There is not much prog to be found here but the song is a powerful, driving metal anthem which harks back to the 1980s just enough to give it a soaring quality. The soloing is more explosive and concise here, too, with everything seemingly hanging off the chorus - which impresses with each rendition. Keeper of the Gate goes for more of a mid-paced, groovy approach - with an opening guitar riff that flirts a little with Eastern melodies. The band have not morphed into Myrath here, but there is something Phrygian about its tone which helps the song to set itself apart from the others here. This is one of the tracks that stood out to me from the off and it has remained a favourite - likely due to the hookiness of the opening riff, which forms the basis of the song's verses, and the more melodic approach taken overall. There is none of that forced heaviness here, with Jelusick sounding more natural and powerful throughout, whilst the interesting mix of guitar riffing and off-kilter Hammond organ playing gives the song something of a modern Deep Purple feel - albeit much more metallic. Again, this is more what I expected from Whom Gods Destroy. I do like most of this album, but some of the forced heaviness throughout does strike me as unnecessary and perhaps the sign of a band trying a bit too hard to be something that they are not. Whenever they operate in more what appears to be their typical range the song in question feels more successful. This track is not even all that progressive, really, but it is well-written, hooky, and includes enough musical twists to help it to stand out - with a groovy chorus thrown in for good measure.
The album's penultimate track, Hypernova 158, is a busy instrumental piece that allows for some all-out soloing from Thal and Sherinian in particular. I expected an instrumental to be included given the players involved, but I had assumed that it might be a fairly lengthy one. This track is just over three minutes long, though, so it gets in and gets out somewhat - whilst including a lot of busy playing. Nomura and Valverde hold everything down with a consistent and driving groove, with the odd off-kilter percussive stab, whilst Nomura even gets the chance to solo a little latter on with some busy bass runs. His playing is not generally as prominent on this album as it could be, likely due to the overall heaviness of the guitar and keyboard tones, but he stands out quite a bit here - whilst the soloing from both Thal and Sherinian is a bit more proggy overall given the room to stretch out. The album then comes to an end with its title track - which is the longest piece here at around eight and a half minutes. I had expected an epic here but, again, I had expected it to be longer. This shows the more concise sound which the band have been targeting here, but Insanium does still allow for some stretching out. The opening riff certainly feels more proggy, with some strange guitar harmonics thrown in, whilst the overall arrangement feels more of a hark back to the two Sons of Apollo albums. There is less overt heaviness here than there has been elsewhere on the album - with Jelusick feeling more dynamic vocally. This is particularly evident during the song's big chorus, which might not be the hookiest here but it is one that creates a strong atmosphere that pulls the listener in. This song is also one which pushes soloing in a big way. There are lots of short bursts of lead playing from both Thal and Sherinian - and there is also a lengthy solo section later on, which is backed by a much more melancholic arrangement and bookended by some of Jelusick's most emotionally-charged vocals. The song is generally on the heavier side, but there is plenty of light and shade throughout - and I really like the slower-paced mid-section with Sherinian's smouldering keyboard solo that sits at its centre. It helps the song to sound more powerful when it kicks back in - and the closing rendition of the chorus feels massive, especially as the song then slowly moves towards a riffy, and relatively doomy, close. I think it is fair to say that this album has not hit me like I thought it would, and I prefer Sons of Apollo's albums, but Insanium has grown on me quite a bit. I think it will continue to grow on me but there are some sections of this album which feel forced - possibly in an attempt to not sound like Sons of Apollo. Where the band focus on their strengths, though, the album really hits home - and there is still a lot to like here in my opinion. Whether we hear more from this band remains to be seen, but if there is to be a second album I am hoping for more of the band's dynamic approach and less of the forced heaviness which drags parts of this album down.
The album was released on 15th March 2023 via InsideOut Music. Below is the band's promotional video for In the Name of War.
The Finnish power metal five-piece Sonata Arctica has had something of an interesting career. The band can trace their history back to 1995, but it was not until the release of their debut album Ecliptica in 1999 that they fully got going. I have often theorised that bands which knock it out of the park with their debut album often struggle somewhat later on, with a gradual build up from modest start perhaps being a more sustainable career trajectory - and I think it is fair to say that Ecliptica has perhaps been a millstone around Sonata Arctica's neck. The late 1990s and the early 2000s were arguably the peak years of the European power metal scene, and Ecliptica immediately became one of its biggest albums. Listening back now it does sound a bit rough around the edges production-wise, but many of its songs have been setlist staples ever since - and I feel like everything that the band has released since ends up being compared to Ecliptica in the end. That being said, though, the band had a strong initial run of albums, with 2004's Reckoning Night being a personal favourite, but from 2007's Unia onwards Sonata Arctica's sound started to shift. Having said all that, I do not think that Sonata Arctica has ever released a bad album. 2009's The Days of Grays is a personal favourite of mine and there has been plenty to like on all of the albums which followed it - with 2014's Pariah's Child (which I reviewed here) perhaps being the pick of the bunch. The reason I bring this up, though, is that, for many years, Sonata Arctica has tried to somewhat move away from their early sound. I personally think that some overstate how much the band's sound changed over the years, but it is true that the blistering power metal of Ecliptica was toned down over the years - with more progressive and whimsical influences replacing it. Despite this, though, everything that the band has released has certainly been identifiable as by Sonata Arctica. The band has always had a quirky side, both musically and lyrically, and this was present from the off - but in more recent times frontman and songwriter Tony Kakko has allowed his imagination to run wild. 2012's Stones Grow Her Name stands out as a particularly diverse and quirky album and even their last album, 2019's Talviyö (which I also reviewed here), tried new things despite the band being 10 albums deep at that point. I have always admired Sonata Arctica for their willingness to experiment, but others have not been so understanding. The band has resisted the fan pressure to record something more old-school ever since the release of Unia and the fact that they have had a successful career without doing so is testament to their creativity. All of this, then, makes the band's latest album Clear Cold Beyond a bit of a strange prospect. From the release of the first single First in Line, it was clear that the band were harking back to their original sound. The press release which accompanied the single suggested that their next album was essentially going return to the band's roots - and this news was greeted gladly by the fanbase. I am not sure what made the band return to their original sound, but I hope that they did not finally just bow to the pressure to do so. That being said, though, Clear Cold Beyond is not just a simple re-tread of the past. It is certainly the most 'power metal' that the band has sounded for years, but they have not thrown the baby out with the bathwater either - as there are still plenty of experimental moments and smoother sounds which recall their more recent releases here.
The aforementioned First in Line kicks the album off and it really does sound like something from the band's past. From the off Tommy Portimo lays into his double bass drums at break-neck speed and Henrik Klingenberg's neo-classical keyboard melodies cut through the mix as they did during the good old days. Not every song is a fast-paced power metal anthem but there are more than a handful here - and First in Line is certainly one of the most blistering pieces the band has released for many years. Despite the pace, though, the classic Sonata Arctica smoothness and sense of melody is intact. Warm synths sit behind the double bass drums and flashy keyboard hooks, whilst Elias Viljanen's guitar tone is a little on the warmer side. The production is not as sharp-edged as on the band's early albums, but I like how grand this album sounds overall. It is really well produced and mixed, which allows all of the instruments to shine. Klingenberg in particular stands out during this track due to his mix of keyboard textures - which range from classic power metal sparkle, via a Hammond organ, to a flashy synth solo. Viljanen's guitar solo is perhaps not as flashy as it could have been, but this is a track which seems to focus more on the keyboards throughout - whilst Kakko is also in fine voice, particularly during the smooth chorus which is packed with hooky vocal melodies. California is similar, and it kicks off with a similar feel - with Portimo's drums perhaps even faster this time, whilst Klingenberg's synths tap out the eventual chorus vocal hook. As with the previous track, though, there is still plenty of smoothness throughout - but it does feel a bit heavier overall. The keyboards play a key role throughout, but there is more of a focus on the guitars this time - with Viljanen's rhythms nicely cutting through the wall of synths, and his occasional knotty riff injects some metallic interest. As is often the case with power metal, though, the song is a big showcase for the vocals - and Kakko shines. He has always been one of the most underrated vocalists in metal in my opinion and I am not sure that there is anyone else quite like him. His idiosyncratic approach always helps Sonata Arctica to stand out - and the chorus here is a showcase for his warmth and hooky style. There are quite a few memorable choruses on this album but California's is one of the best - and it is another song with a strong old-school sound that will delight long-time fans. Shah Mat is also pretty fast but, like the previous song, it ups the heaviness somewhat further - and this is a track which reminds me a little of the somewhat more theatrical and progressive The Days of Grays. The drumming here is not quite as relentless, despite plenty of double bass drumming, but this is a track which moves the keyboards into the background during large portions of its runtime. There is still plenty of atmospheric depth throughout, but the crunch of the guitars is much more prominent with Viljanen tending to dominate throughout. Kakko even utilises some slightly harsher sounding vocals at times during the verses, which helps to add to the heavier vibe, and the track feels like a throwback to the time I got into the band properly - when they started to move away from their early sound and experimented more.
Dark Empath is much more akin to the sound the band has been following more recently, but it continues on the darkness set out in the previous track. It is much more of a mid-paced piece, with little in the way of driving double bass drumming - with Portimo instead laying down more of a mid-paced groove whilst Viljanen's guitar chords really ring out and Klingenberg's synths swirl around creating a dense atmosphere. This is a song which goes all in on the band's much more quirky sound than some of the others here - and following three faster tracks this varied piece is very much welcome. I am glad that Sonata Arctica did not just try to remake Ecliptica here. The fast power metal is welcome, but I have generally liked how the band have grown over the years - and Dark Empath could only have come from Kakko's mind. That being said, though, there are some more high-octane moments here, such as a pretty proggy keyboard solo backed by some faster drumming, which leads into a frantic vocal-led section backed by some excellent guitar leads. It is a song that never really sits still but it is still very memorable - with a dancey chorus that brings the best out of Kakko's sing-song melodic approach. Cure for Everything at first seems as if it is going to be another slower piece, but it soon speeds up and it returns to the sound of the album's opening moments. Despite the pace, though, the track has a surprising amount of smoothness. I think the reason that Reckoning Night is my favourite Sonata Arctica album is due to its mix of blistering power metal and melodic smoothness. The harshness of the early productions was gone by that point and Kakko had learnt how to be fast and atmospheric. This song emphasises that and it feels like a bit of a throwback to the 2004 release. It has a pretty big chorus but it is relatively understated in that way that Sonata Arctica can sometimes be, whilst it goes all-out guitar-wise and allows Viljanen to really let rip with a pretty lengthy solo. Many of the solos on the album up to this point have been synth solos, with the guitar taking a backseat, so it is great hearing Viljanen going for it here. Another early single was A Monster Only You Can't See, a more diverse piece which opens with acoustic guitar and snappy keyboards which make for a quirky intro as Kakko sets the tone vocally. The song is much more mid-paced overall than many of the songs on the album, but there is a playfulness throughout which really makes it stick. It is not overtly power metal, but it recalls some of the strongest moments of the band's recent career whilst throwing in lots of old-school keyboard tones as well as some proggy guitar moments to shake things up. As is often the case, though, Kakko is the star here. His vocal melodies are grand throughout, and those moments which feature lots of choral and harmony vocal arrangements really elevate the track. He often uses folk-inspired melodies to give his songs a storytelling approach and that is essentially what he does here - whilst dialling everything up to 11. It is one of the strongest pieces here in my opinion and I can see it becoming a live staple going forward. Teardrops feels a bit tougher overall, but it remains similar to the previous song pace-wise. It is less diverse, though, and instead goes for more of a guitar-based approach with prominent guitar riffing throughout and a slight gothic depth thanks to the keyboards. A few pinch harmonics add some modern metallic twists to the song and generally the song is a tougher-sounding typical Sonata Arctica mid-paced track with a bit more bite. I like the crunchier guitar tone utilised here but the track is perhaps less memorable than some of those which came before - as it lacks some of the big chorus hooks and melodic twists present elsewhere. As such, it is probably the song here which sticks the least - and it somewhat passes by without much of note.
Angel Defiled ups the pace again somewhat, but there is a heaviness throughout which really grounds the track. The folky melodies are back in force, though, with plenty of up-tempo guitar leads throughout and a pretty busy dual guitar/keyboard solo; and these really mix well with the heavier tone throughout. Kakko occasionally sings the track in a grittier way than is typical for him, but his sing-song approach is ever-present as always - with another strong chorus really pushing the song to the next level. It is not as fast and furious as some of the pieces here, but the energy levels throughout are still pretty high - and this helps the heaviness whilst retaining plenty of crunch. This has been one of the album's real sleepers in my opinion, with each listen has increased my enjoyment of the track. The Best Things slows the pace down and acts as something of ballad - but it is not a typical ballad as it still contains plenty of the band's usual quirkiness. It opens with some piano melodies, before it turns into a waltzing piece with slow-burning guitar leads, a snappy drum groove, and vocals from Kakko which feel very heartfelt. Kakko has often had a way of injecting plenty of emotion into his songs - which is impressive given how left-field his songwriting can sometimes be. There is a lot of heart in the band's material and this song showcases that - with Kakko really oozing class here vocally, whilst the guitar melodies and keyboard flourishes again tap into those folky twists whilst also adding some symphonic flair. The plodding chorus is one that really sticks in the brain after a couple of listens and I also really like the instrumental section later on which features some excellent playing from both Viljanen and Klingenberg. It is not very old-school Sonata Arctica, but I also like the new-school - so this diverse song is one which I can appreciate. The album then comes to a close with its title track, which is relatively lengthy compared to most of the other pieces here. Many of the songs here are pretty compact, which also differs from the band's other recent albums, but this one stretches things out a bit more and goes for a creeping and over-the-top approach with a huge amount of atmospheric depth. I would not say that the song is particularly progressive as it tends to stick to the same template from the off, but I quite like the vibe that it creates. Sonata Arctica do not do dense and creepy too often and this sounds like their take on doom - which is not all that doomy but given how upbeat the band often sound the creeping arrangement works quite well to close out the album. It is a world away from the fast pace of much of the album, particularly the songs early on, but I am glad to see the band continuing to shake things up and try new things - even on an album which largely harks back to the past. Sonata Arctica never shy away from a challenge and whilst I think there are stronger things here I quite like the dirge with which the album ends. I am not sure the song would stand up that well on its own, but in the context of the album it feels like the dark to much of the light which came before - and I can appreciate the song when viewed in that way. Overall, then, the album is another enjoyable slab of varied melodic metal from Sonata Arctica. The album is much more 'power metal' than has been the case for a while, particularly in the first half, but it does vary things up later on - and I like the mix of sounds from throughout the band's career. There is a lot to like here and you can always count on Sonata Arctica to never be dull.
The album was released on 8th March 2024 via Atomic Fire Records. Below is the band's promotional video for Dark Empath.
With Sylosis and Slash behind me, it was time to head back to Devon to the final gig of the three-night trek. Plymouth was not my immediate destination, though, as my quest for live music took me to Torquay for only my second ever proper visit to the seaside town. As GWR were striking, my train journey from London was a long-winded one - from London Waterloo to Totnes, where I was picked up, via Southampton Central and Exeter St David's. A more typical train journey would have been welcome, but everything ended up going to plan which was something of a surprise - and the train journey via Salisbury, Yeovil, and Honiton, among other places, was actually relatively pleasant, despite its overall length. I ended up in Totnes much earlier than planned as I had left London earlier to mitigate for potential delays which never really materialised, so I had a wander around the town's charity shops and high street for an hour or so before I was picked up and was en route to Torquay. My only previous proper experience of Torquay was seeing Steve Hackett at the Princess Theatre in 2022. I have always thought Torquay to be a bit of a strange place, but the Hackett show was enjoyable - and I was excited to return as it meant seeing the Kris Barras Band live again, this time in Barras' (vocals/guitar) home town. Despite being aware of Barras for a while, I only really got into him in 2021 - when I saw him opening for Black Stone Cherry in Exeter. Since then I have seen him a further four times, including this recent Torquay show, with each experience being excellent. He has evolved from a more typical blues rock guitarist to something more modern and hard rocking in recent years, but the shift in sound has been a relatively natural one - and his current sound is making him plenty of fans. He has been very active over the the last couple of years and this Torquay show was the first night of his latest UK tour - which is in support of his newest album Halo Effect, which drops at the end of this week. It is a shame that the show had to take place before the album came out, but Barras used the opportunity to make the show something of an album release party - and before the live music started Halo Effect was played over the venue's PA as the crowd gathered. This was the first full play of the album in public and, on first listen, it certainly seemed to be another impressive collection of songs from Barras and his band - and a strong follow up to 2022's Death Valley Paradise (which I reviewed here). The venue this time was not the Princess Theatre, but The Foundry - a nightclub which has hosted a pretty impressive selection of bands in more recent years. I was impressed by the venue, with its decent stage, large toilets, and wrap-around balcony which I decided to stand on. I do not usually opt for a balcony view, but it gave a good vantage point - and it proved to be a good place to watch the action from.
Another reason I was excited for the show was the fact that South of Salem were opening it. I have become a huge fan of the band since first seeing them last year with W.A.S.P. - and their headline show in Bristol last year was an impressive spectacle from a band so early on in their career. Promoting a new album of their own, the excellent Death of the Party (which I reviewed here), the Bournemouth-based five-piece made their 40 or so minutes on stage count with an eight-song set which focused on the latest album. They were all rather cramped on the stage, but they delivered their set with the flair and professionalism which they have oozed each of the previous couple of times I have seen them. It was the band's first time in Devon and I really hope that they will be back soon. There were plenty of South of Salem fans in attendance, though, and at times the band could have been mistaken for the headline act. There was plenty of singing along at the right moments from the crowd - as well as chants for the song the band ended up playing last. Moving back to the beginning, though, the set opened as Death of the Party does - with Vultures and Static impressing the sold out crowd. The new album is great, but Static is likely one of my favourite songs from it - and the huge chorus was nailed by frontman Joey Draper, who prowled the front of the stage and often got down into the photographers' area to mingle with those at the front. The heavier Let Us Prey saw the band turn back to their debut album, whilst the setlist centrepiece ended up being a sing-a-long version of Made to Be Mine - a more melancholic piece which featured plenty of singing from the crowd during the wordless vocal hooks of the chorus. I am not sure that the band quite expected the reception that they received, but given how much they have been putting themselves out there in recent years they deserve the rewards they are currently reaping. They did suffer a little from classic support band sound at times, but generally they still sounded powerful - even if Draper's voice was occasionally a little lost in the mix. The crowd did not seem to care, though, and the more subtle Hellbound Heart and the hard-driving, metallic Left for Dead certainly had the large crowd lapping everything up. It was perhaps the final two tracks which really hit home, though, with the big single from the debut album Cold Day in Hell also prompting plenty of singing during the chorus. The song that was being chanted for, though, was Jet Black Eyes - which ended the set. This feels like the band's new version of Cold Day in Hell - and in both songs they already have two defining anthems. I would have loved to have heard more but eight songs was all there was time for. I am sure there will plenty more opportunities to see South of Salem, though, and they certainly got the crowd fired up for what was to come. The setlist was:
Vultures
Static
Let Us Prey
Made to Be Mine
Hellbound Heart
Left for Dead
Cold Day in Hell
Jet Black Eyes
Half an hour after South of Salem's set finished the lights went down and Barras' band trooped onto the stage - launching into a something of a jam which ended up being an extended intro to Who Needs Enemies. Barras joined the band after a minute or so, and the show got off to a rollocking start with the high energy track. Barras himself was in top form throughout, and was in fine voice in particular. He seemed really fired up for the hometown show and belted out Who Needs Enemies from the off - whilst his tight band were probably the most fluid and explosive that I have seen them yet. Whilst Barras is of course the star, special mention needs to be given to Josiah Manning (guitar/keyboards/vocals) who really added a lot to show. His role in the live band has increased over the years. He has always seemed like Barras' right hand man, but he even took the solo spot in a couple of the songs this time to allow Barras to roam around the stage without his guitar - and he was also featured in a big way on keyboards later in the evening. Before that, though, the band really rocked through a number of favourites and new tracks. Overall, five songs from the upcoming Halo Effect were played - with the tough Unbreakable hitting hard early on and the more anthemic Savages seeing Barras get down and dirty with the crowd. Sandwiched between the two, though, was a personal favourite in Dead Horses - and the set just never seemed to let up early on thanks to these riffy, anthemic pieces. The more cinematic These Voices did slow the pace somewhat, though, and it was opened up by an excellent melodic bass solo from Frazer Kerslake (bass guitar/vocals) - but this more restrained vibe overall did not last given that tracks like Hourglass from the upcoming album and, in particular, Devil You Know soon were wheeled out to really rock the crowd. Barras did not have to do much to get the home town crowd on side and the atmosphere levels were high from the off. They only seemed to rise as the set progressed, though, and by the time Manning sat down behind his keyboard they reached a new level. Manning used to play keyboards in the band full-time before switching to guitar as Barras' songs became heavier. What followed was something more stripped back, though, with a delicate piano version of Wake Me When It's Over wowing the crowd - which was closed out by a lengthy and classically-inspired piano solo from Manning, with Barras leaving the stage to let him take the applause. What followed was better, though, with a lengthy guitar/piano intro heralding the aching ballad Watching Over Me - which was stretched out by Barras telling the song's story, lots of bluesy soloing (harking back to his older style), and the rest of the band joining in at the end to rock it up a bit. It was the set's high point really and what followed felt like a victory lap - with the soaring new track Fall to Fly impressing, before an elongated Ignite (Light It Up) included plenty of band interplay and some more soloing from all involved. The anthemic My Parade then saw the main set come to an end, with Barras in the crowd and conjuring up a loud sing-a-long with everyone in attendance. The set ended on a high, then, but the band were called back out for one last track - which saw Hail Mary returned to its old place as the last song of the night. The track is maybe Barras' most accomplished composition in my opinion and it is always a live highlight - and plenty would have left the venue with the chorus hook running around their heads. The setlist was:
Who Needs Enemies
Unbreakable
Dead Horses
Savages
These Voices
Hourglass
Secrets
Devil You Know
Wake Me When It's Over
Watching Over Me
Fall to Fly
Ignite (Light It Up)
My Parade
-
Hail Mary
Seeing the Kris Barras Band live is always a treat, and given his local connections it seems that he is always likely to include a Devon show in each tour. I have become a big fan over the years and I will go and see him whenever I can going forward. He really delivers live and his current harder rock direction is bringing his music to all sorts of new fans. With Halo Effect likely to arrive at my house any day now, I am really looking forward to digesting it given the strength of that first listen and hearing some of it live. It will be reviewed here in due course and I am already looking forward my next Barras show - whenever that may be.
Following Sylosis' sweaty and high-octane show at The Fleece in Bristol last Thursday, I headed back up to London for the second weekend in a row, via a delayed train thanks to on-going industrial action, for something rather grander in scale. In fact, Sylosis' show could not really have been more different than what followed - as I headed over to the OVO Arena in Wembley, via my Travelodge in Finchley, for a night wish the legendary guitarist Slash. Clearly Slash rose to fame as a member of Guns N' Roses in the late 1980s and early 1990s, but in recent years he has really established himself as a prolific and impressive solo artist - aided by Alter Bridge's Myles Kennedy on vocals and backed by The Conspirators. Whilst this solo career has been put on the back burner a few times of late due the on-going Guns N' Roses reunion, it is clear that Slash's heart is still invested in his own adventure. I am sure he is enjoying his time playing stadiums and headlining festivals again with Guns N' Roses, and I am still hoping for a new album from them one day, but it is with Kennedy and The Conspirators where he seems to be the most creative. I first saw Slash live at the 2011 iteration of the High Voltage Festival in London; and I then saw him again in 2013 - as part of the touring cycle for 2012's Apocalyptic Love, the first album he released with Kennedy and the Conspirators. I have seen him twice since with Guns N' Roses, but I had not been able to make one of his solo concerts since that 2013 night in Nottingham. He has visited the UK as part of each subsequent album's touring cycle, but for whatever reason I have not been able to make any of the shows over the years. When the band's current European tour was announced last year, then, I knew that I had to finally make the effort and go - so I picked up a ticket for the Wembley show as it tied into some other existing plans yet to be discussed. Sylosis' show came later and tied in nicely, too, so the long weekend was planned and I was really looking forward to seeing Slash and his band again for the first time in 11 years. I was excited by the prospect of seeing a set which essentially just focused on Slash's solo work, too. When I last saw him, over half the set was made up of Guns N' Roses, Slash's Snakepit, and Velvet Revolver material - but with three more albums having been released since then Slash now has more than enough material to fill a set without having to rely on old standards. That is largely what this tour has been about, then, despite the occasional hark back to the past, but it is right that Slash, Kennedy, and The Conspirators (who feel like a true rock band at this point) exhibit their ongoing collaboration in full. I imagine that this decision will have upset some of the casual fans, but they can go and see Guns N' Roses if they want to hear those songs - and let those of us who have really enjoyed Slash's solo career take in a full set of such material.
Before Slash's lengthy set, though, the growing arena crowd were treated to 30 minutes of music from Mammoth WVH - fronted by Wolfgang Van Halen. This was my third time seeing them live and I had not particularly enjoyed either of the previous sets - and my view this time was essentially unchanged. It is clear that Van Halen is both a talented singer and a talented musician, but I am not convinced that he is a talented songwriter. His band's two albums have been pretty well received, but to me they sound like they could have been released by any of the numerous and fairly bland American radio rock bands which are inexplicably popular over the pond. The problem with Mammoth VWH's material is that I just do not find it to be very memorable at all. Very few of their riffs are hooky and hard-driving; and I also find that none of their choruses explode with melody. They are not a stadium-ready band in that respect, at least in my opinion, and every time I have seen them live I have felt quite bored after hearing a couple of the songs - as everything sounds similar with no real dirt under the fingernails. Van Halen can certainly play the guitar, as a number of impressive guitar solos showed, but a guitar solo does not make for a compelling song on its own - and this set, like the others, just washed over me. Given his status and popularity, I imagine that this will not be the last time I see his band live, either. I first saw them in December 2022 with Alter Bridge and I have now already seen them three times. They are clearly being pushed in a big way, but I can only assume that I am in something of a minority - as they generally have received strong receptions whenever I have seen them. I think I just need to concede that they are not for me.
Thankfully, though, Slash does not trade in radio rock - and from 8:30pm to around 10:45pm the OVO Arena was treated to a fantastic, no-nonsense hard rock set from one of the best guitar players in the scene. With no arena trappings at all, Slash and his band just powered their way through a 22-song set with no real fanfare. Kennedy generally let the music do the talking and all of Slash's five solo albums were covered - with a couple of slight deviations from this theme allowing for the odd surprise. Early on, the bluesy, heavy riffing came thick and fast. With seven songs from 2022's 4 (which I reviewed here) included, the show kicked off with one of the best cuts from that latest platter - with The River Is Rising getting the show off to a fine start. I struggled with 4's messy production but each of the songs from it featured sounded much better live - and considering that I had missed the last two touring cycles, too, much of the set consisted of songs which I had not seen Slash do live before. The more anthemic Driving Rain was an early highlight for me, but it was the snappy Halo which really seemed to kick things up a notch. By this point most were on board - and it was great to see most around me singing along to the album tracks, and not seemingly waiting for the big hits which never came. Some of the older tracks did receive the biggest cheers, though, with the groovy Back from Cali in particular earning a strong reaction. This was also the case for the somewhat similar Actions Speak Louder Than Words a little later - which really came alive on stage. Given that 4 was opting for a live sound, it is ironic that an actual live sound made its songs tick. The track was a particular winner, with Kennedy and bassist Todd Kerns harmonising well during the rollocking chorus. Kerns was then responsible for one of the diversions - as he sang Always on the Run, a song which Slash wrote with and for Lenny Kravitz. The funky track showcased a different side of Slash's playing, and he teamed up well with Frank Sidoris (guitar/vocals) for the choppy rhythms. The set did not contain too many ballads, so the occasional slower numbers acted as great changes of pace. As such, the soaring Bent to Fly was a real highlight for me. It is one of my favourite cuts from Slash's solo catalogue, so it was great to finally hear it live, with the snappy and heavy metal-esque Avalon then bringing the mood back down to earth with a bump.
Despite what I said earlier there was one Guns N' Roses song present, but it was certainly not one for the casuals - with Kerns taking on the snarling Don't Damn Me which allowed Slash to play around with some sleazier tones. He also used the later, rawer Wicked Stone to experiment, too - this time with plenty of guitar soloing. I had expected a lengthy guitar solo at some point and it certainly was not as long as the one I remembered from the 2013 show - during which even drummer Brent Fitz looked quite bored. For me, elongated solos like this are something which should be left in the past - but Slash, being an old-school player, is certainly one to indulge on occasion. Following Wicked Stone, though, the set generally roared through to a powerful close. The gorgeous Fill My World is one of Slash's most stadium-ready pieces, and it really soared thanks to Kennedy's vocals, whilst Kerns took the lead one last time during the snarling Doctor Alibi which has become a setlist staple over the years. It was left to the big singles You're a Lie and World on Fire, the latter of which was stretched out to include more soloing and band introductions, to round out the main set - with Slash and the band receiving huge cheers as they left the stage. Following some additional equipment being set up, the band came back out for a two-song encore - which kicked off with one of the best live cover versions I have ever heard. I did not know that I needed to hear Slash covering Elton John's Rocket Man (I Think It's Going to Be a Long, Long Time) - but his subtle pedal steel alongside Fitz on the keyboards made for a smouldering version of the classic track, which Kennedy owned vocally. I really hope this version of the song gets recorded one day, perhaps on their next album, but it was an unexpected highlight of the show - but the night then closed out on more familiar ground with a barnstorming version of Anastasia. The track seems to have become Slash's anthem now and it was a fine way to end the night - with Kennedy belting out the chorus with real power and Slash's hypnotic riff and closing solo bringing the house down. The setlist was:
The River Is Rising
Driving Rain
Halo
Too Far Gone
Back from Cali
Whatever Gets You By
C'est La Vie
Actions Speak Louder Than Words
Always on the Run [Lenny Kravitz cover]
Bent to Fly
Avalon
Spirit Love
Don't Damn Me [Guns N' Roses material]
Starlight
Wicked Stone
April Fool
Fill My World
Doctor Alibi
You're a Lie
World on Fire
-
Rocket Man (I Think It's Going to Be a Long, Long Time) [Elton John cover]
Anastasia
I think it can be easy to take Slash for granted, but seeing him live in any guise always makes me remember what a true talent he is. He might have made his name with Guns N' Roses, but I think that his solo albums showcase some of his best songwriting and in Kennedy he has found a true co-writer and right hand man. I will always look forward to new material from the two and I am really pleased to have finally caught Slash and his band live again after so many years - and to have seen a set filled with so many of his best recent compositions.
As a long-time fan of the British metal band Sylosis, it has been great to have them back again in recent years. I first saw them live back in 2009, when they were part of a varied bill opening for DragonForce, but it was not until 2011 and their second album Edge of the Earth when I properly came onboard. Since then, though, I have been a big fan of the four-piece - and was sad when they seemed to go dormant not long after a UK tour in 2016 with Decapitated. The silence between 2016 and 2020 was deafening - but the release of Cycle of Suffering (which I reviewed here) in early 2020 relaunched the band. It ended up being a bit of a soft relaunch, though. An album launch show was played in London, but the pandemic hit a month or so later - which likely scuppered any plans which the band had to promote the album further. As such, then, it was last year's A Sign of Things to Come (which I also reviewed here) which ended up properly stating that Sylosis were back. Despite a handful of shows in 2022, including an excellent set at that year's iteration of Bloodstock Open Air, 2023 also saw the band back in a big way live - with a lengthy European trek opening for current UK metal scene darlings Malevolence. It was great to catch the band live again on that tour - and the new album and the plentiful activity backed up Josh Middleton's (vocals/guitar) promise that Sylosis were, indeed, back and that they would be more active than ever. Who knows what the future holds, but so far this promise is being kept. With A Sign of Things to Come still fresh, and with the success of the Malevolence tour behind them, back in December Sylosis announced their first UK tour under their own steam since 2016 - and I snapped up a ticket for the show at The Fleece in Bristol as soon as they went on sale. I am glad that I acted quickly, too, as essentially the whole tour ended up selling out. I often think that Sylosis' hiatus was likely, at least in part, down to frustrations over the band failing to ever 'break through'. They struggled to move beyond that of being a perennial support act, so this sold out headline tour will hopefully do a lot for the band's confidence - and it was great to catch them as a genuine headline act for only the second time, as their 2016 tour was billed as a co-headline affair. Given the current enthusiasm for the band and Middleton's drive to make it work again I am hoping that there will be many more opportunities to come - but it was with excitement that I headed up to Bristol on Thursday. It was the first of three gigs in three places in three days - and I was glad that the heaviest and rowdiest show was up first! The Fleece is always a great place to see bands, but I had never seen a proper heavy show there before - so I was interested to see how all the pillars and large flagstones would affect the moshers. The place can feel pretty tight when sold out, too, but this just led to a great atmosphere and I was just happy to be seeing the band play an extended set again.
Before Sylosis' set, though, the growing crowd were treated to sets from two up-and-coming British metal bands. Up first were Harbinger, a London-based band who, to me, sounded closer to deathcore than anything else - but there was also a bit of a melodic death metal influence present given their inclusion of plenty of lead guitar moments. Whilst I liked this guitar approach, and there were some pretty technical riffs and melodies scattered throughout the band's set, I struggled with the band vocally. I have never liked deathcore at all really, and this is largely down to the vocal style. The deathcore vocal style really grates on me - and it is strange as generally I am not opposed to harsh vocals. There is just something unappealing about those fast-paced, almost rapped, screams and pig-like growls that tend to be present in deathcore - and frontman Dilan Alves did stray into those territories quite often. As such, then, Harbinger are never going to be for me. That being said, though, musically I did find the band to be quite interesting at times. Joel Scott (drums) really impressed, and I thought that his playing throughout the band's set was excellent. The drums were well-tuned, and his playing was so tight and interesting. So often, especially live, drumming for this sort of music can sound mushy - but Scott's playing was clean and precise - which helped me to enjoy the band's set. I also liked the aforementioned approach to guitar playing, which was much more lead-based and shreddy than is often the case when it comes to bludgeoning and one-note deathcore. If the band focused more on the melodic death metal side of their sound then I would probably like them more - but the strong deathcore vibes vocally turned me off ultimately meaning that their half an hour or so on stage was a mixed one for me.
Up next were the London-based death metal four-piece Burner - who's set seemed to really fly by. There were elements of hardcore in the band's sound, too, but generally they just played a modern brand of death metal - with plenty of political lyrics and another great drummer in Jack Bryant whom impressed with his blast beats. The type of death metal which I tend to gravitate towards is that which is more old-school sounding, but I found myself enjoying much of Burner's set and was surprised when they announced their last song as it seemed as if they had only just started. Their last song was actually fairly lengthy, which likely made it seem like the rest of the set had been longer than it was, but it is always a good sign when a set does not seem to drag. That being said, Burner are not the sort of band whom I am ever likely to listen to in my own time - but live they sounded great. The drumming again was excellent and I thought that frontman Harry Nott was also a strong presence - and it was good to see that their songs generally dealt with interesting and thought-provoking topics, which is not always the case with extreme metal. It would have been nice to have had a bit more variation from a guitar perspective, though. More modern death metal does not seem to put much stock in leads or solos - and Nathan Harlow largely just stuck to riffs. His riffing was great, and I did appreciate the handful of murky, clean guitar intros which some of the songs had, but it would have been nice to have heard a few leads or solos to mix things up somewhat. This is typical of the genre, though, but it did mean that once each song started proper it was generally relentless from the off with little shade - and it would have been nice for a few more dynamic arrangements. It would be hard to argue that Burner did not deliver on their chosen sound, though, and they certainly impressed during their half an hour on stage.
When Sylosis kicked off the venue was rammed and the Reading-based band hit the stage with plenty of fire. Back to full strength on this tour with Alex Bailey (guitar) back following sitting out of the Malevolence tour due to the arrival of his child, the band really hit the ground running - with two tracks from the latest album kicking off a 12-song set which included half of that album, some old favourites, and a couple of deeper cuts. Despite fighting through a chest infection, Middleton sounded great vocally. He has improved as a vocalist hugely over the years, and his Bristol performance was excellent - with his screams in opener Poison for the Lost really filling the venue. He has always been a masterful guitar player, though, and his shredded solos were spot on from the off. I think, though, that Bailey is a great foil for him, though, and his role in the live band seems to have grown over the years. He now seems to handle most of the leads during the songs themselves, which allows Middleton to focus on rhythms and his singing, before stepping back to allow Middleton to solo. Children of Bodom did something similar towards the end, too, and Bailey's lead playing has likely allowed Middleton to improve as a vocalist. For the next hour or so, then, the band really impressed. The punishing Pariahs saw plenty of singing from the capacity crowd during the chorus - whilst the anthemic chorus of the groovier I Sever also featured plenty of shouting along. There was a bit of a change of pace during the more metalcore-inspired and melodic Descent - which was debuted live on this tour. It is one of the more varied pieces from the latest album, and it features a more obvious chorus hook than the band have often been known for. It was well-received by the crowd, though, before the band looked back to 2008 and their debut album Conclusion of an Age for a couple of classics in the form of The Blackest Skyline and Stained Humanity. Both have been played live pretty regularly by the band over the years, but they never fail to excite the crowd - and it was great to hear the dual guitar melodies of the latter live again. One of the set's biggest surprises, though, came in the form of Slings and Arrows - a stand-alone single which the band put out in 2012. I had not seen the band play it live before and in truth it is not a song which I am hugely familiar with - but the thrashy track was a great hark-back to that more progressive era of the band. This vibe was maintained with another fairly regular live staple in Altered States of Consciousness - from Edge of the Earth, which is likely still my favourite Sylosis album. The knotty riffing really filled the venue and, whilst the band's newer stuff feels more anthemic, I do hope that this more progressive approach is revisited at some point. Middleton has recently said that he is working on two albums currently, one of which feels like a bit of a successor to Edge of the Earth - so it sounds like his progressive side will be on display again at some point. Another surprise came in the form of Withered from the first album, which had not been played live for many years, but the rest of the set was largely as expected - with the epic A Sign of Things to Come perhaps generating the biggest sing-a-long of the night thanks to its murky verses and explosive chorus. The relatively recent single Worship Decay then pummelled the crowd - before the band's latest anthem in Deadwood brought an impressive set to a powerful and hooky close - which those in attendance really lapped up. The setlist was:
Poison for the Lost
Pariahs
I Sever
Descent
The Blackest Skyline
Stained Humanity
Slings and Arrows
Altered States of Consciousness
Withered
A Sign of Things to Come
Worship Decay
Deadwood
It was great to see an extended set from Sylosis again after many years and the sold out room generated a strong atmosphere from the off - with plenty of singing and moshing keeping the energy levels high. Given the success of both this tour and the Malevolence tour, I am really hoping that Sylosis are propelled on to bigger and better things from this point. They are a band that deserve the success and with that aforementioned news that Middleton is currently working on two albums it is safe to assume that hearing something new from Sylosis might not take as long as it has done in more recent times - and I am already looking forward to the next chapter.
It feels like a long time since I last listened to the Tunisian band Myrath in a significant way. Despite having been a fan of them for quite some time, having picked up their 2011 album Tales of the Sands around a decade or so ago, they are not a band whom I have returned to that regularly of late. The fact that they never seem to include the UK on their tours does not help, but I think also it is down to the fact that their last album, 2019's Shehili (which I reviewed here), had limited staying power with me. Reading my 2019 review back, I clearly liked Shehili enough at the time - but I do not think that I have listened to it much since that initial spree - and whenever I think of Myrath the songs which tend to spring to mind are those from 2016's excellent Legacy (which I also reviewed here) - which is likely my favourite thing that the band have done to date. Having started out as a Symphony X tribute band, the band fused European-style progressive metal with traditional North African folk music from the off - and, in my opinion, they gradually got more inventive with each release, culminating in Legacy. Listening back to 2007's Hope now, it sounds very much like a Symphony X clone - albeit with some Eastern-tinged melodies. This is no bad thing, but the addition of frontman of Zaher Zorgati after Hope's release helped to push the band further - with 2010's Desert Call and Tales of the Sands sharpening the band's sound and turning them into a unique prospect. For me, then, Legacy is where everything really came together. The album is a great mix of Symphony X's riffing and grit, the soaring majesty of Kamelot, and the mysticism and uplifting feel of traditional North African music. Shehili, looking back, was a bit of a let down following Legacy, then, but I clearly enjoyed it enough at the time. It is an album that I need to revisit, as I do not have too many memories of it now, but, for now at least, my interest has been brought back to Myrath due to the recent release of their sixth album Karma. It is the band's first album in five years and it is also their first following a rather significant line-up shift. This is because it was announced in 2022 that the band had parted ways with their keyboard player Elyes Bouchoucha, who also sang on Hope. Whilst most of Myrath's songs have generally been credited to the band songwriting-wise, I always got the impression that Bouchoucha was one of their main composers. He certainly dominated the songwriting credits on Legacy which seemed to take a more specific approach to such - so I was surprised to see him leave. Whilst he did not found the band, he certainly seemed a key player - so I wondered how they would cope without him. Whilst Bouchoucha's replacement has never been formally announced, it would appear that the band's producer since the off, Kévin Codfert (Adagio), has stepped into his shoes. Codfert has been extremely instrumental behind the scenes throughout the band's career, having produced all of their albums and has become a big songwriting contributor more recently, but Karma appears to see him become a full-time member of the band - handling all of the keyboards alongside his usual production duties. Keeping things in house certainly makes sense and the change appears to have given Myrath a bit of a shot in the arm.
Whilst I am not sure that Karma will be for everyone, I have really enjoyed it since the off. It is easily the band's most accessible album to date; and it feels as if the band looked back at Believer, Legacy's lead single, and decided to make an album essentially consisting of songs just like it. Some of the band's progressive trappings take more of backseat here - but soaring choruses and uplifting rhythms are plentiful. It does run out of steam a somewhat towards the end, but the first half of the album in particular really shines. Kicking off with To the Stars, the sound of the band is initially much more stripped back - with the dry riffing of guitarist Malek Ben Arbia and prominent bass tones of Anis Jouini opening things up. The band's lush sound is certainly present and correct throughout the album, but To the Stars is perhaps not as bombastic as is typical - but its driving tech metal rhythm and gritty vocals from Zorgati help it to hit home. There is an accessible heaviness throughout, then, but Codfert's keyboards still add plenty of Eastern melodies throughout - even if it is the guitars and the popping bass which dominate here. This is easily the most vocally-focused album from the band to date, so Zorgati is constantly in the spotlight. He is a fantastic vocalist, though, so he steps up to the plate perfectly - with an urgency during the riffing verses before slipping into soaring power metal mode during the chorus. The chorus sees the band's grander approach take on more of a role, with dancing strings and subtle choral additions - but the main bombast is saved for later. A keyboard solo injects some further Eastern melodies, but generally the track is harder edged and more riff-happy - which creates a strong contrast between the huge vocal hooks and the modern, dry riffing. The band really open things up with Into the Light, though, which could well be my favourite song here. It takes everything Believer did in 2016 and ups the ante considerably. It is jam packed full of hooks, but it never overwhelms the listener. The song takes a more symphonic approach than the opening track, with Codfert's keyboards and strings dominating - whilst the guitar riffing tends to take more of a backseat. Ben Arbia still provides a strong rhythm during the pulsing verses, though, but Zorgati steals the spotlight here - whilst Codfert also shows off with some excellent keyboard flurries which help to accent the vocal lines, particularly as the chorus is approached. There are quite a few huge choruses on this album, but Into the Light's is likely the best. The band's usual sense of drama is fully realised here, with Zorgati really pushing himself vocally as the Eastern melodies swirl around him in a theatrical manner. There is also a pretty proggy piano-led instrumental section, too, which sees Codfert laying down plenty of classically-inspired melodies against a frenetic backdrop - whilst long-time drummer Morgan Berthet clatters around his kit.
Candles Cry is more mid-paced, with snappy guitar rhythms creating a strong groove - whilst synthy strings create their usual North African melodies. The song is less bombastic than the previous track and it instead goes for a groovier approach - which gives the guitar more prominence, as well as a great emphasis on Jouini due to the occasional bass run and riff. There is still plenty of atmosphere throughout, but the keyboards are generally more subtle when they not providing the main hook, which allows the song to feel like it has more of a dynamic approach. The funky guitar riffs only add to this feel throughout and the song also includes more of a lead guitar approach later on when Ben Arbia reprises many of the synth hooks as part of a solo. The chorus is another hooky one, too, and the track is another memorable cut on the album. Let It Go ups the pace and overall attitude, as the piece has more urgency throughout despite the plethora of hooks and the diversity in the overall arrangement. Of the songs featured so far, it feels the most progressive arrangement-wise. The opening guitar and synth pattern creates an energy from the off, and this kinetic vibe is continued throughout - even as the verses take on a surprising Toto-esque feel with a prominent bassline, keyboard accents, and the odd surf rock guitar addition. An Eastern edge stops the verses from feeling pure AOR, but there are certainly shades of that here - whilst the chorus returns to the heavier opening and adds a huge vocal hook over the top of it. This kinetic intro forms a great chorus as a result of its energy and drive - plus Zorgati's vocal melodies play off the synth patterns perfectly, with a later key-changed rendition really showcasing this. A busy guitar solo from session player Pierre Danel (A Few Seasons Later; Missing Pride), who also co-wrote some of the songs here and helped out with the arrangements, adds some shredded melodies to the proggy piece - and Let It Go shows that the band can still be explosive despite the more accessible approach. Words Are Failing feels a bit slower overall and the song takes a much poppier approach - with plenty of effects on Zorgati's vocals throughout and sections which feature plenty of smooth synths and simple drum patterns. There is much less of the band's bombast throughout significant portions of the track, but there is still a heaviness when needed. The opening hook is brooding, with tough guitars and melodramatic Eastern melodies - but the verses are generally much more modern-sounding, although later renditions do feature some pretty busy bass playing. Parts of this song may be a bit sugary for those who want Myrath to sound heavier and more complex, but for me the balance between the sweet verses and the heavier chorus is well struck - and there is a frantic, shredded guitar solo later in the track which features Ben Arbia letting rip over Berthet's fast-paced drumming.
The Wheel of Time feels much more progressive, though, with many of the more accessible moments from the previous songs stripped back to present a bass-led, mid-paced, atmospheric slab of power metal with genuine groove and a tricky arrangement. There is still a huge chorus, though, which is very much in-keeping with the rest of the album but much of the song feels more old-school Myrath with plenty of emphasis placed on the rhythm section and traditional percussion - with Jouini standing out with some funky and slapping rhythms. These sections are much more atmospheric and downbeat than is typical here - so the chorus, which is pretty uplifting, acts as a contrast to the grooves and atmosphere found elsewhere. A fat, riff-led section later adds some weight - whilst a Pink Floyd esque moment with some swelling slide guitar melodies adds depth. There is a lot going on throughout the song, but it all hangs together nicely - making it one of the most interesting cuts here. Temple Walls returns more to the album's core sound, but it is the first song here which does not really grab me all that much. Where Myrath have really excelled on this album is in the chorus department. All of the best songs here are centred around soaring chorus hooks - but the chorus here does not flow all that well, despite a few of the individual hooks sounding pretty strong. None of the musical motifs are all that strong either in my opinion. There are some decent rhythmic moments, but neither the guitar riffing nor the synth melodies are that memorable - and the track fails to grab hold as a result. Ben Arbia's guitar solo is fun, though, but the track fails to live up to what came before. Child of Prophecy really gets the album back on track, though. It was the single which really got me excited for the album - and the dynamic song is a real winner. At first it seems as if the song is going to be a power ballad, and some may class it as such, but there is too much riffing here for me to truly consider it a ballad. It opens slowly, though, with Codfert's piano and Zorgati's voice setting the tone - before Ben Arbia crashes in with a slab-like riff, which defines the rest of the verse. There are plenty of string melodies and additions here, too, so there is a lot of atmosphere throughout - but the mix of the piano-led sections and the riffier moments are what the make song really tick for me. It is not all that complex, but the sense of light and shade is welcome - and there are links back to the band's more progressive past here. The chorus is another winner, too. It is perhaps not as bombastic as is expected, but I think that actually works in its favour. The song smoulders more as a result and Zorgati's emotionally-charged chorus delivery is a big part of what makes the track great - especially a later rendition which is more stripped back. It is one of the songs here which I have come back to the most since the album came out - and it is a great example of how to do a more interesting arrangement whilst still remaining hooky.
For me, though, the album does not reach such heights again - with the closing three cuts being something of a step down. The Empire is a bit denser atmosphere-wise, but its mix of Eastern melodies and some sections which sound strangely poppy in a Western sense makes for an odd combination. Production-wise, this track has really been drenched in sound. The opening guitar and bass riff is pretty memorable, but there are so many layers of synths and strings here that parts of the track feel swamped. Codfert's production is generally excellent, but I think this song is a bit of a misstep production-wise. It just feels a bit overproduced at times - with Zorgati's voice struggling to compete during the chorus. Heroes is better though, and the track just feels much more metallic overall - with a driving guitar rhythm from the off. The verses are surprisingly frantic and urgent, then, with little of the band's usual dense atmosphere and Eastern melodies. The guitars and Zorgati's voice drive everything, then, with only a subtle atmospheric approach taken - at least until the chorus crashes in and something more hooky and large-sounding takes over. The chorus is not as strong as some of the others here, but it is still pretty powerful - with some simple, soaring vocal hooks and a strong piano backing. It is my favourite song of the closing trilogy due to this melodic approach and the fact that the track conjures up plenty of energy with its riffing and overall vibe. The album then closes out with Carry On, which is more of a slow-burning atmospheric piece - with the occasional heavier section adding depth. I like the overall approach, which feels more dynamic, but I am not sure that all of the pieces here fit together that well - and the heavier sections feel quite doomy which is not generally an approach associated with Myrath. It is good that the band have tried something different here, but it lacks their usual bombastic approach. As such, the overall atmosphere feels at odds with the rest of the album - and the chorus hooks are actually a little on the annoying side after a while, especially given the strange effects on Zorgati's voice. It is my least favourite song here, which is shame as it does mean that the album closes out on a weaker moment. It is not awful, but it feels like an experiment which has not paid off - and it lacks the band's usual feel-good and soaring vibes. Despite this misstep, though, the album in general is really good. Whilst Legacy is a stronger album with a more fulfilling sound, the simplicity of the hooks here make Karma a really fun listen - and I can see the album gaining quite a bit of traction in the power metal world. I do feel like the band have shaved away some of their uniqueness here, but the hooks throughout are undeniable - and this is an album I can see myself coming back to a lot.
The album was released on 8th March 2024 via earMusic. Below is the band's promotional video for Into the Light.
