I mentioned this in my earlier review of Armored Saint's recent show in Nottingham, but last week was extremely busy. Having only had one night away from home since the end of May, last week I spent one night in Nottingham and two nights in Wales - taking in some excellent live music along the way. Armored Saint showcased why they are highly regarded veterans of the American scene on the Tuesday, whilst the Saturday saw me return to Chepstow Castle for the third time for a night of AOR and melodic rock. The Sunday was a return to something heavier, though, and, following the short train journey from Chepstow to Cardiff and a day in the Welsh capital, it was time to head to the Tramshed for a night with KK's Priest. Whilst I have seen Judas Priest three times over the years, I never saw them with founding guitarist KK Downing. I first saw the band in 2011, not longer after he dramatically left, and for many years he seemed to be retired. This changed back in 2019, though, when he joined former Manowar guitarist Ross the Boss at that year's iteration of Bloodstock Open Air to run through a few Judas Priest classics to close out Ross the Boss' set. This was Downing's first live appearance since leaving Judas Priest and it set him on the path to returning to music in a big way. He played his first full concert later that year, at KK's Steel Mill in Wolverhampton (which he owns), and in 2020 he officially launched his new band: KK's Priest. Whilst the band's name is a bit predictable, and somewhat creates one of those Wishbone Ash/Saxon situations where there are two versions of a classic band out there touring, I think Downing is just trying to cash in on his legacy rather than create a new version of Judas Priest. Given that he has been joined in this venture by frontman Tim 'Ripper' Owens, who fronted Judas Priest between 1996 and 2003, there is certainly a lot to link Downing's new band back to Judas Priest - and it seems that both it and Judas Priest are able to live happily side by side, at least for now. With two albums under their belts, KK's Priest have been busy touring over the past couple of years. They undertook a UK tour last year, but I was unable to make any of the shows sadly, so when they announced a handful of other UK shows around their performance at this year's Stonedead Festival I knew I had to make the effort. Luckily the Cardiff show slotted in alongside the aforementioned trip to Chepstow, so a weekend in Wales was planned. The venue of choice for KK's Priest was the Tramshed - which is just to the west of the main city centre and is not somewhere that I had been to recently. I had only been once previously, which was to see Y&T back in 2019, and I do not remember being that impressed with it back then. I remember that Y&T suffered from rather muddy sound - but that was not the case with this show luckily, with both of the bands on the bill having loud and pretty clear mixes. The turnout was decent, but for a weekend and given Downing's stature it could have been better. Owens voiced his displeasure for the venue's efforts in promoting the show during the band's set later, too, which was awkward - so perhaps the band felt a bit short-changed turnout-wise.
Opening the show were Tailgunner, a UK-based five-piece who I had seen earlier in the week supporting Armored Saint. I had enjoyed the band's set in Nottingham so I was looking forward to seeing them live again - and the band delivered another strong set featuring a good amount of material from their sole album Guns for Hire and some choice covers. Their setlist was essentially the same as that which was played in Nottingham, with one exception, and the band powered through their high-octane and fast-paced material with ease - which the growing crowd generally seemed to really enjoy. They garnered a strong reception in Nottingham, but I feel that the KK's Priest crowd warmed to them a little more - and the band fed off the crowd's energy to deliver a strong set. The opening salvo of Guns for Hire and White Death, which were played straight through without a break between them, got the set off to a powerful start - but it was perhaps Beast in the Night this time which struck me early on. The song is a cover, although I am not familiar with the band in question (Randy - who seem to be a bit of a long-lost 1980s Danish metal band), but it really fit in with the set nicely. It was very similar in style to the band's usual sound, albeit a bit more mid-paced perhaps, with a chorus that was easy to latch onto. I hope that the band include their version of the song on their next album, as it is a real deep cut that would not look like an obvious attempt to include something familiar, but this should take nothing away from the band's excellent original material. Warhead and New Horizons were both excellent and upped the tempo again - and sandwiched in between the two was a great battle between guitarists Zach Salvini and Rhea Thompson which saw the pair trading shredded licks back and forth around motifs from In the Hall of the Mountain King. Both guitarists are excellent, and their interplay was arguably the best thing about the band's set, but the rest of the band impressed, too, with frontman Craig Cairns delivering another excellent showing with his high-pitched delivery and commanding stage presence. The whole band really made an effort on that front, though, with lots of poses and shapes being thrown - even during the more mid-paced later duo of Revolution Scream and Crashdrive which showcased a riffier and more anthemic approach then some of the thrash-adjacent material thrown in early on. The sole difference between the two sets came at the end, with a Judas Priest cover unsurprisingly dropped and a version of Dio's Don't Talk to Strangers played instead. Don't Talk to Strangers is perhaps more dynamic and a song with more light and shade than is typical for Tailgunner, but they delivered a convincing rendition of the murky piece - with Thompson delivering a stunning solo as the set came to a close. The setlist was:
Guns for Hire White Death Beast in the Night [Randy cover] Warhead In the Hall of the Mountain King [Edvard Grieg cover] New Horizons Revolution Scream Crashdrive Don't Talk to Strangers [Dio cover]
Half an hour or so after Tailgunner's set, the lights went down and it was time for KK's Priest. Following a rather cheesy intro video which had a demonic figure introduce the band and then morphed into the intro track from the band's debut album, the five musicians took to the stage and launched into Hellfire Thunderbolt - also from the first album. The 15-song set included three songs from each of the band's two albums alongside nine songs from the Judas Priest catalogue. It is good to see that Downing is standing behind his new material in a pretty big way despite still including plenty of old favourites in the set - and early on the new songs dominated. Hellfire Thunderbolt got the set off to a strong start, but it was Strike of the Viper which really impressed. Downing looked every inch the veteran rock star, still sporting plenty of leather, but for me the performer of the night was Owens. He has sometimes been a hit and miss live performer, but there was nothing miss about his performance in Cardiff. If anything, he seems to have gotten better with age - and his endless high-pitched screams and his deeper growling delivery sounded great. He has never been the most natural frontman, either, but he spoke well with the crowd at times - generally letting the music do the talking. He nailed the chorus of Strike of the Viper, with Downing and A.J. Mills (guitar/vocals) trading lead licks back and forth. The new songs were greeted warmly by the crowd, and there was actually plenty of singing along during the numerous anthemic choruses included on the new albums, but understandably the old classics received the biggest cheers. The first old song to be played was The Ripper, which Owens understandably really got into, before the band threw in a bit of a deeper cut in Night Crawler. The Judas Priest songs played were a mixture of the expected and some lesser-played numbers. The balance was well-struck in my opinion, with only one of the real Judas Priest must-plays included - despite there certainly being some other fan-favourites throw in.
With the exception of the encore, the fist-pumping Sermons of the Sinner was the last new track played - with the remaining half of the main set made up of classics. It was great to hear the groovy and Pantera-esque Burn in Hell from the Owens era dusted off for a powerful outing - before the was a short breather in the form of Judas Priest's rendition of the ballad Diamonds & Rust. Another ballad was featured later, but generally the older numbers played were heavy ones. Another deeper cut in Hell Patrol was welcomed by the crowd, before a version of the Fleetwood Mac oldie The Green Manalishi (With the Two-Pronged Crown) allowed for plenty more soloing from Downing and Mills. The rhythm section of Tony Newton (bass guitar/vocals), who it was nice to see again after many years of not being able to see Voodoo Six live, and Sean Elg (drums) really propelled the song forward, too, and it was a good rocker before another ballad in Before the Dawn - which was given its first outing by KK's Priest in Cardiff. The slower track had the desired effect, as Diamonds & Rust had had earlier, and it was good to see the band shaking things up and not constantly relying on riffs and big screams. An obligatory run-through of Breaking the Law and an epic version of Sinner rounded out the main set - with Downing using the later as a bit of a showcase piece and injecting a big solo into the middle of it. Soloing duties were pretty equally split between him and Mills - but this song was very much his moment, and it brought the set to a powerful close despite the PA briefly cutting out during part of it! There was time for one more, though, and the band returned to their newer material for the anthemic Raise Your Fists - which was a fitting closer for what had been an epic evening of anthemic metal. The setlist was:
Incarnation
Hellfire Thunderbolt
Strike of the Viper
One More Shot at Glory
The Ripper [Judas Priest cover]
Reap the Whirlwind
Night Crawler [Judas Priest cover]
Sermons of the Sinner
Burn in Hell [Judas Priest cover]
Diamonds & Rust [Joan Baez cover]
Hell Patrol [Judas Priest cover]
The Green Manalishi (With the Two-Pronged Crown) [Fleetwood Mac cover]
Before the Dawn [Judas Priest cover]
Breaking the Law [Judas Priest cover]
Sinner [Judas Priest cover]
-
Raise Your Fists
It has been great to see Downing active again over the past few years and it was also great to finally catch KK's Priest live after missing out on their tour last year. He has amassed a great band for this latest stage of his career and Owens seems to be better than he has ever been currently. KK's Priest seems to have legs and, two albums in, the band seem fired up to keep going. Hopefully there is more to come from the five-piece and I will certainly see them live again if I get the chance to do so.
Whilst it has not become an annual tradition, summer visits to Chepstow Castle in Wales for live music have become semi-regular occurrences in my gigging calendar. Concerts have been held in the courtyard of the 11th century castle during the summer for a number of years now, under the banner of Castell Roc, and each year the organisers book a wide range of acts to cater to a variety of tastes. With many of the acts being more of the easy listening variety or tribute bands, quite a few of the evenings do not appeal to me - but every so often something which aligns with my tastes is organised, and a trip to Chepstow gets added to the calendar. In 2017 I headed to the Welsh town for the first time for a night with The Quireboys, FM, and Gun - and five years later (after a pandemic-induced two year delay) I headed back for King King and Cats in Space. Both nights were excellent, with good weather, turnouts, and atmospheres making for memorable experiences. The castle's main courtyard is well-suited for hosting concerts, too, with a slight slope meaning that everyone gets a good view of the stage and there is also plenty of space for a bar, food vendors, and toilets. Once inside the castle walls, then, the evenings there have the feeling of a mini-festival - and it is clear that the locals embrace the events, with plenty of others also travelling from far and wide. Nothing tempted me to make the trip last year, but this year included a triple bill of real magnitude for lovers of AOR and melodic rock - so it was certainly not an evening which I was going to miss. Sweden's H.E.A.T, America's Tyketto, and the UK's own Dare were the three bands to join forces for this night of melodic rock - and given the turnout it was clear that many others were also excited by the prospect. The fact that I had seen all three bands multiple times each did not put me off, either. All three bands are generally excellent live and they are bands which I will see whenever I get the chance to do so. Dare in particular I have managed to see quite a few times in recent years - and I have also seen both H.E.A.T and Tyketto within the past couple of years. In fact, I saw Dare and Tyketto together, alongside Castell Roc alumni FM, last year - in what was another memorable evening of melodic rock. This past Saturday in Chepstow had a similar feel, then, with all of the bands getting similar length sets. H.E.A.T played for around 10 minutes longer given that they were the evening's nominal headliners - but with both Tyketto and Dare playing for an hour each the fans certainly got value for their money. There was supposed to be a fourth band, who were to open the show, but they dropped off the bill. Given that there was not a lot of waiting around between the castle opening and the night finishing, squeezing in an extra band would not have been easy - and would have likely meant that the others would have had to play shorter sets. The loss of this fourth band was no bad thing, then, in my opinion - and it meant that from 7pm when the music started to 11pm when it finished there was little time wasted.
Dare opened the night and filled the first hour of the evening with their unique brand of Celtic-infused melodic rock - although there was more of a focus on their older material than their more recent albums. Generally the band's setlists are a bit more evenly balanced, but the harder-edged material generally won out - which was probably wise given the make-up of the night. Dare are not the most adventurous setlist-wise, anyway, so the setlist was essentially a condensed version of the one that they have been playing over the past couple of years. With drummer Greg Morgan now seemingly back in the band permanently, too, Dare are very much harking back to their glory days in terms of line-up - although the first few numbers played were newer. Two songs from 2022's excellent Road to Eden kicked things off, with Born in the Storm fast becoming one of the band's best songs. It is on the heavier side compared to much of their other recent work, but it is still very atmospheric - and it got the evening underway nicely with its crunchy riff and frontman Darren Wharton belting out the big chorus. Three more newer tracks followed, with Home perhaps being the pick of the bunch. Vinny Burns (guitar/vocals) has always elevated Dare beyond where they would otherwise be, and his Celtic-inspired lead playing during the track was a real treat. There were plenty singing along to the newer stuff, but it was the more classic material which the melodic rock crowd wanted to hear. One track from 1991's Blood from Stone, likely the band's heaviest album, was played - with Wings of Fire the first of a number of sing-a-longs during the set's second portion. Everything else played, with the exception of the closing number, came from 1988's Out of the Silence - an album which is held in high regard in the melodic rock world. A few minor singles came from it, and half of the album was played to fill out much of the band's 11-song set. Singles Abandon and Into the Fire also prompted plenty of singing from the crowd, as always happens whenever Dare plays live, but the highlight for me was a stunning rendition of King of Spades - played, as always, for the late Phil Lynott. Dare have played the song essentially every time that I have seen them live, but it never fails to be a highlight. I also love how Burns' closing solo morphs into part of the Thin Lizzy classic Black Rose. The lightly anthemic Return the Heart was then announced as the final song, with the wordless vocal hooks being belted out by the crowd - but given that Dare still had five minutes left by the time it finished they decided to throw in one more. After lots of chatting, which threatened derail their plans, they opted for their version of Thin Lizzy's take on Rosalie. Dare have sometimes gone out under the name Renegade with an additional guitarist in tow over the past couple of years to pay tribute to Lynott and Wharton's time in Thin Lizzy. It was a fun way to end the set, with the riffy song setting up what was to follow. The setlist was:
Born in the Storm Cradle to the Grave Home Until Wings of Fire Abandon Into the Fire
The Raindance
King of Spades/Róisín Dubh (Black Rose): A Rock Legend [Thin Lizzy cover] Return the Heart
Rosalie [Bob Seger cover]/Cowgirl Song [Thin Lizzy cover]
Following a pretty quick changeover it was time for Tyketto, who ended up being the band of the night for me. I enjoyed all three of the evening's sets, but something about Tyketto's performance just raised the overall energy levels of the night - and in frontman, and sole remaining original member, Danny Vaughn the band have one of the most underrated singers and performers out there. Like Dare, Tyketto had time for 11 songs - and the set got underway in a somewhat unconventional manner, with Harry Scott Elliott (guitar) opening the show with a bluesy guitar solo. Ged Rylands (keyboards/vocals) backed him with some atmospheric synths, but the solo turned out to be an extended intro for the bluesy, muscular Remember My Name from 2016's Reach. I had not heard the band do the song live before, and it is a bit heavier than is typical for Tyketto, but it worked well as a set-opener due to Elliott's big riffing and some occasional harmonica from Vaughn. This was the only real surprise of the set, though, with Tyketto opting to play many of their best known cuts - with all but two of the songs played coming from their first two albums. The fast-paced Meet Me in the Night and the anthemic Wings showcased the band's melodic rock sound perfectly, with tight vocal harmonies and just enough keyboards to add depth, but is was perhaps the weightier Strength in Numbers which really got the crowd going. Vaughn has lost none of his vocal talents over the years and he really belted out the song's chorus as the sun was going down - which the large crowd in the castle's courtyard shouted back at him. It is the sort of song that is made for the stage and it kicked the band up through the gears - before the acoustic-driven Reach, the only other newer cut played other than the opener, showcased their more sentimental side. Despite being a new song, Reach has become a real fan-favourite since it was released in 2016 and it is likely to be ever-present in setlists going forward. It is hard to pick out highlights in what was such a strong set, but whenever I get to hear Burning Down Inside live I always really enjoy it. It is likely my favourite Tyketto song overall due to the way it builds towards its stadium-ready chorus - and Rylands showcased what he brings to the band during the synth-heavy number. Chris Childs (bass guitar/vocals) got to show off a bit during the breakdown of the funkier Lay Your Body Down, too, with an extended bass solo. It is great that he seems to be firmly back in the band again following some time away before the pandemic, likely due to commitments with Thunder, as he always seems to give them a boost. Lay Your Body Down was another great crowd interaction moment, too, and it saw plenty of singing before a couple of more acoustic-based pieces followed. The Last Sunset in particular, though, got everyone going before the set closer, with Johnny Dee (drums/vocals) leading the crowd rhythmically whilst Vaughn sang. It was left to Forever Young to close out the set, though, with the single and anthem bringing the curtain down on an excellent hour of music that was not going to be topped. The setlist was:
Remember My Name
Meet Me in the Night
Wings
Strength in Numbers
Reach
Rescue Me
Burning Down Inside
Lay Your Body Down
Sail Away
The Last Sunset
Forever Young
The night's headliners, H.E.A.T, are certainly the biggest of the three bands on the bill internationally and those wearing their t-shirts in the crowd also significantly outnumbers those representing the other two bands. Despite this, though, I felt that H.E.A.T struggled to follow the excellence of Tyketto before them. I have seen H.E.A.T live a few times and they have always been excellent, but I did not enjoy this set as much as I have enjoyed the band live previously. Something was not quite clicking for me, which was not helped by some technical issues which Dave Dalone (guitar/vocals) seemed to be having as well as a seeming wish to drag out some of the songs for far longer than necessary. I still enjoyed the set, and frontman Kenny Leckremo certainly did his bit to get the crowd onside, but they were a bit disappointing based on previous showings. Both Dare and Tyketto had had excellent sound mixes, but H.E.A.T's was much muddier, too. This meant that their big vocal harmonies did not cut through as much as they should. The band battled through this mix, though, with the heavier and percussive Back to the Rhythm and Rock Your Body kicking off the set. Generally the band went for heavier songs, which was perhaps understandable, but the mix did not always help them - with the latter and the following cut Hollywood lacking some of their usual power. An early highlight, though, was an excellent rendition of the more cinematic Downtown. It was not a song which I had heard the band do live before, and it allowed Jona Tee (keyboards/vocals) a bit more time in the spotlight - and Leckremo sounded great during the slower, more atmospheric piece. I am not quite sure that he always suits the heavier side of the band which developed following his initial departure in 2010, but songs like Downtown he really owns. He is a powerful singer and a likeable frontman, but he perhaps lacks some of the venom of his replacement - and his habit of holding out the microphone during the choruses only really works if the mix prioritises the backing vocals. He is still growing back into the role, though, and I thought he was great when I saw the band in 2022 - I just think that, for a number of reasons, this set was not H.E.A.T at their best. Beg Beg Beg showcased this, which was stretched out for far too long with lots of attempted crowd interaction and talking. I think some of this was covering for Dalone trying to fix his guitar dropping out but nevertheless it felt rambling. A tighter set would have worked better in my opinion, but there was still plenty of great stuff to come including the early ballad Cry and a powerful version of Point of No Return which I had not heard the band do live before. Despite my criticisms, though, the crowd were certainly having a good time. Not every attempted sing-a-long quite hit home but there was clearly a lot of love for H.E.A.T in the crowd - with Living on the Run and their Eurovision song 1000 Miles both receiving big cheers later on. The end of the set was approaching by this point, but there was time for a couple more - including a raucous rendition of the riffy and metal-adjacent Dangerous Ground. It was left to A Shot at Redemption to bring the set, and indeed the whole night, to a close - and this song was also dragged out a bit with some more soloing and crowd interaction. The band really gave it their all but I have seen them do better - I just think the tech issues and having to follow an inspired Tyketto did for them this time. The setlist was:
Back to the Rhythm
Rock Your Body
Hollywood
Downtown
One by One
Beg Beg Beg
Cry
Point of No Return
Living on the Run
1000 Miles
Dangerous Ground
A Shot at Redemption
Despite my criticisms of H.E.A.T's set, which I still enjoyed I should reiterate, the trip up to Chepstow for a third time was very much worth it. All three bands put on enjoyable sets and, even though I had seen all three multiple times before, they are all bands I will make every effort to see when I am able to. Shows like this remind me why I go and see some bands over and over again - and I am already looking forward to seeing Tyketto again next month on their UK tour with Little Caesar. I may also be seeing Dare again in October if I decide to head down to Looe for the Saturday of Cornwall Rocks. It is great having so many opportunities to see bands like these live - and I hope that H.E.A.T return again soon, too, as their headline show in London in 2022 was excellent.
When a veteran band, particularly one which started in the 1960s, releases a new album the thought often crosses my mind whether or not it could end up being their last. Whilst I did not make this point at the time, I had since sometimes wondered if 2020's Whoosh! (which I reviewed here) was going to see Deep Purple gracefully bow out. The album ended with an updated version of And the Address, the opening track on 1968's Shades of Deep Purple, meaning that, in the studio at least, Deep Purple had come full circle. Given the strength of the album, too, and the two which preceded it, it would have been fitting to close out on a de facto trilogy which produced some of the band's best work for a very long time. I, of course, wanted more - but one needs to be realistic, as it only takes someone's health to take a turn or for someone to retire for everything to come to a screeching halt. Deep Purple did release a covers album, Turning to Crime, in 2021, but I do not think that anyone, including the band, see that as an 'official' album and the true follow up to Whoosh!. I have not heard it although I am aware of its general reputation - but given that it was a lockdown project for the band it is hard to get too upset about its existence. 2022 saw a major change in the band, though, with guitarist Steve Morse stepping away after 28 years to care for his wife - who has since sadly died from cancer. Given all of the line-up changes which have taken place during Deep Purple's history - it really seemed as if the last iteration of the band (Mark VIII) would be the final one. Mark VIII had been together since 2002, when keyboardist Don Airey replaced Jon Lord, and was the band's longest ever iteration - staying together for 20 years. Comparatively, not many bands are even active for 20 years, so this was an achievement in itself - but I did wonder if Morse leaving would be the catalyst for the end of Deep Purple. This was not to be the case, though, and in came Simon McBride (Sweet Savage; Snakecharmer) - a Northern Irish blues-based player who was known to both frontman Ian Gillan and Airey due to McBride having played with their respective solo bands live over the years. Despite his stints in a couple of bands, McBride is likely more known as a solo artist - and he has produced a number of bluesy solo albums over the years. He is someone I had been aware of for a while, so I had no doubts that he would fit nicely in Deep Purple - but his inclusion seems to have gone much smoother than expected. The reviews of his live performances have been universally great and he seems to have excited some who had become a bit jaded with Deep Purple. The next test would be in the studio, though, and, four years on from Whoosh!, Mark IX of the band has got underway proper with the release of =1 - the band's twenty-second album of original material. Strange title and bland artwork aside, =1 continues on the excellent work of the band's last three albums. Producer Bob Ezrin returns, who seems to be a key part of this modern Deep Purple sound, whilst McBride instantly makes his presence known with some excellent riffs and solos. Airey has essentially been the driving force in the band recently, and that largely remains the case on =1, but this latest album does feel a bit riffier than the recent previous efforts - with McBride and Airey striking up a good relationship which allows the band's three classic-era members to shine.
There are plenty of strains carried over from the previous albums, though, and this very much remains a modern Deep Purple album in terms of quirk, the overall shuffling groove present, and Gillan's odd-ball lyrics and vocal ticks. There is certainly plenty to enjoy here for fans of Whoosh! and similar; and the album kicks off with Show Me - which is a pretty good representation of what else is to come here. The song opens with some choppy guitar rhythms, interspersed with short, spidery leads, before Gillan starts to sing and the band settle into a strong grooving verse - with Airey's Hammond organ the driving force and the ever-reliable drumming of Ian Paice keeping time. The rhythm section of Paice and bassist Roger Glover often shine on this album, as they have done regularly of late, given how groove-focused it is. The bass really rumbles along nicely here, despite the Hammond stabs driving the verses, before big guitar chords and some simple harmony vocals bulk out the slightly heavier chorus. The first of many instrumental sections on this album is also found here, with Airey utilising a synth for some buzzing and fast-paced leads - which McBride trades off with for a while, before the pair team up for some lightning-fast runs. The song is a great way to kick off the album and showcase the band's modern core sound again - and it leads nicely into A Bit on the Side. A Bit on the Side feels a bit more expansive early on, with some cinematic guitar chords kicking things off, but generally this is another pretty shuffling rocker. It is much more guitar-led than the previous track, though, with Airey's keyboards taking on a lesser role. McBride and Glover chug along nicely during the verses, giving Gillan's voice a potent bed to rest on, whilst the chorus here is similar to the previous one - with subtle vocal harmonies and ringing guitar chords. Despite pulling back somewhat, Airey still gets to show off later in the track with another synth solo - which leads into a bit of a battle between his organ and Paice's drums. There are lots of twist and turns on this album, and this little drum break is a welcome one, but McBride's later guitar solo is much more expected - and he really stretches out here showing off a mix of speeds and styles. Upping the heaviness again, Sharp Shooter feels a bit of an old-school classic rocker - with a lumbering guitar riff driving everything, which is augmented nicely by the organ. This mix of an overdriven guitar and a Hammond organ has been a staple of British classic rock since the 1960s and the combination never fails to excite. McBride's riffing here varies from weighty to snappy, which gives the song a dynamic feel, whilst Gillan puts a bit more into his delivery due to the heavier vibe - and he sounds potent as a result. The chorus is hooky thanks to his potency and the aforementioned riff backing the vocals - whilst a later keyboard solo is busy and full of old-school progressive rock excitement. Those who may be unsure about checking out something new from Deep Purple should give Sharp Shooter a go as it certainly ticks a lot of those old-school boxes.
Portable Door is similar and it is another track which really harks back to the band's classic 1970s heyday - with the sheen of 1984's Perfect Strangers. The song opens with a hooky guitar lead, which is not something commonly done on the album. McBride's guitar playing here certainly channels the spirit of Ritchie Blackmore at times, in a way that it generally does not elsewhere. This song feels like a deliberate tribute to the band's past, though, so the opening lead is fitting - as is his later solo which feels more neo-classical than anything else here. Airey also lays down a roaring organ solo in the song, too, moving away from the synth leads which have dominated his solos up to this point. Everything feels retro, but in the best possible way - with the verses once again driven by some pulsing organ and the choruses drenched in lashings of the stuff. Screaming guitar accents and tough underlying riffing give the song weight - and it is another track for the sceptics to sample. Old-Fangled Thing picks up the pace. It has an urgency to it which differs from many of the more mid-paced tracks found here - with a bit of a blues-based rock and roll feel which taps into McBride's background and also some of those rock and roll covers the band used to play live. McBride throws in plenty of snappy, bluesy licks here - whilst Glover's walking bassline is right out of the 1960s. Rumbling organ keeps the song grounded in the Deep Purple cannon, though, with a venomous, rhythmic vocal-led section later on particularly benefitting from the Hammond as the song takes a heavier turn into a guitar solo. If I Were You slows the pace down following the snappier previous track - opening with some lyrical guitar leads against a string backing. It is the album's first ballad, not something which Deep Purple write regularly, but the slower piece is a welcome addition to the album - and it retains much of the core sound, though, with plenty of organ during the verses and a chorus which is a bit weightier thanks to McBride's guitar. Gillan also turns in a more varied vocal performance, too. I like how he has adapted his style to suit his aging voice, but he is rather one-note these days. He makes it work, but the more varied approach taken here is also welcome - and he injects plenty of emotion into the song even if his voice does creak under the pressure. McBride also enhances the mood further with an excellent solo, which certainly builds on his history as a bluesman. It is full of bluesy phrases and emotion - giving the song a real focal point at the same time. Pictures of You returns to some more akin to the album's core sound and the mid-paced rocker feels pretty bright thanks to McBride's power chord riffing and the halo given to it by the organ. Following a couple of different-sounding songs, though, this more traditional-sounding piece hits the spot - with one of the album's hookiest choruses showcasing Gillan's knack for a decent melody and the overall dominance of Airey on the band's sound. The organ is ever-present, despite the guitar riffing, and the Hammond is possibly the element which defines Deep Purple's sound more than anything else.
I'm Saying Nothin' segues from the previous song in a manner which is not too common for Deep Purple - with the track building on the previous one somewhat whilst taking the sound in a heavier direction. The overall pace is similar, with the song being a strutting mid-paced rocker, but the sound feels much denser overall - with the Hammond filling every gap, whilst the guitar and bass tones used are much gruffer. Glover in particular shines here. His bass is pretty high in the mix during this song and the heavier verses are given their potent edge thanks to his precise playing. The track is not as hooky as some of the others here from a vocal melody perspective, although Gillan still does his thing as only he can, but the track instead shines due to the riffier feel and the creeping Hammond which dominates. There is also another great instrumental section here which features guitar and keyboard solos being traded. McBride has some strange effects on his guitar during these solos, too, which gives them an extra edge - whilst the power of the organ needs no such thing as it rumbles through the speakers. Lazy Sod ups the pace again somewhat and the song is another which really harks back to the band's heyday. I could imagine it sitting nicely on the underappreciated and somewhat left-field Who Do We Think We Are from 1973 thanks to the bluesy riffing from McBride and the ever-present organ. It also helps that there is another hooky chorus here which really sticks in the brain. It was one of the songs to be released as a single before the album was released and I liked it from the off. It is full of all of the band's usual quirky vibes whilst injecting plenty of their old-school weight back into the sound. They sound fired up here despite the shuffling groove with Gillan in particular making the most of the rhythms to weave his lyrical melodies. There is plenty more soloing, too, with a screaming guitar solo followed by an expansive and busy keyboard solo again harking back to the 1970s. This is another song where occasional hints of Blackmore can be found in McBride's playing - which is fitting given the old-school vibe conjured up. Now You're Talkin' retains an upbeat feel, with the song upping the pace again somewhat - mixing that rock and roll feel hinted at earlier with a classic Deep Purple Hammond-led sound. Airey very channels the late Lord during the verses here, with his Hammond sound a dead-ringer for some of Lord's best work, whilst an excellent neo-classical guitar and keyboard melody utilised later in the song is very much a throwback to Blackmore and Lord. McBride and Airey have already become the perfect duo on this album, perhaps more so than with Morse previously, as this melodic break showcases - whilst Gillan seems to really come alive during this track thanks to its upbeat vibe. He even tries a bit of a scream at one point, with mixed results, but he is clearly feeling fired up - which is great to see.
No Money to Burn returns to a more mid-paced sound and after the busier couple of previous songs the more spacious arrangement here is welcome. Paice's drumming seems to drive this track, his potent and slightly jazzy playing keeping everything ticking, whilst a hypnotic guitar and keyboard riff provides the main backing for the verses. The verses feel a little stop-start, though, but this just allows the drumming to shine. Each rotation of the riff is punctuated by some of Paice's excellent drumming and this helps the overall arrangement to feel a bit different - and give Gillan a varied backdrop to sing against. The song lacks a big chorus, but it does not feel like a track that would benefit from one really - as this is one which is more about grooves and riffs. It feels heavy as a result, then, which is only expanded upon when Airey launches into his solo which feels much more gothic than usual - using some string-drenched effects to lay down some Keith Emerson-esque melodies. I'll Catch You slows things down again and acts as another ballad - with it opening in a similar manner to If I Were You earlier in the album. McBride uses some bluesy leads to open the song up with Paice laying down a simple beat behind him - but once Gillan starts to sing Airey takes over with some piano melodies. Piano is not commonly heard in Deep Purple, but it works nicely during the verses here - before the organ returns to back Gillan's emotional chorus delivery. Like the previous ballad, too, there is another strong vocal performance from Gillan here. He varies up his delivery again somewhat to create that emotional feel - and the plentiful keyboard textures from Airey also help with this. McBride delivers another strong guitar solo, too, but it is busier this time - moving away from the more emotional feel of the previous ballad to something faster paced. The album then comes to a close with Bleeding Obvious, which is a bit longer than is typical here. It is not exactly an epic, but it does feel a bit more stretched out than many of the songs here - which are generally pretty snappy and contained. The busy guitar and keyboard opening sets the tone, with McBride and Airey laying down some impressive runs and phrases, but generally the track is another pretty typical mid-paced rocker with a strong groove. It does not change the script that much, then, but it does feel that there is a bit more room for each idea to breathe - with extended soloing also included. Both McBride and Airey get extended solo spots, which is welcome, but the song does take a bit of a twist towards the end - with a piano and string led poppy section showcasing some whimsical Gillan vocals and counterpoint bass melodies. This vibe is short lived, though, with a potent riff soon kicking back in to allow the band to rock out on a groove again - which the band essentially ride out on as the album comes to a close. Given how much I have enjoyed the band's other recent releases, I expected to enjoy =1. I think that it is fair to say, though, that it exceeded expectations as each song here is memorable - especially after a few listens. It took a few spins for everything to sink in but with Deep Purple that is nothing new - and McBride has done wonders for his band. I liked Morse in Deep Purple, but McBride already feels at home - and I hope there is more to come from Mark IX.
The album was released on 19th July 2024 via earMusic. Below is the band's promotional video for Portable Door.
Given how quiet the last couple of months have been from a gigging perspective, it was great to get away from the South West earlier this week. I had not been away from home since heading up to London at the beginning of July to catch AC/DC at Wembley Stadium, and June had also been very quiet, so Tuesday's trip to Nottingham was certainly welcome. I am very much a 'little and often' person when it comes to breaks - but following an extremely busy March through May a bit of a break from the travelling was welcome. I feel refreshed now, though, and ready to get on the road again - and a night away in Nottingham kicked started what promises to be a busy week. With two nights in Wales coming up this weekend, a trip back to my second home of the East Midlands was a treat - especially I had not been back to Nottingham for over a year. I wish I could get back to the East Midlands more than I do, but the distance from the South West makes it unsustainable on a regular basis - but I like to try and get back at least once a year. I was also planning to head to Nottingham in October to see Journey but, given that their UK tour has just been cancelled, it is likely now that this recent trip will be my only one to the city this year. I made the most of it, then, getting there for around 2pm on Tuesday so as to have a decent amount of time in the afternoon to wander around - before heading to the Rescue Rooms for a 6:30pm start. Rock City will always be the city's most iconic venue, but I have always liked the smaller Rescue Rooms. I have never had a bad night there, with the bands generally sounding excellent - and Nottingham, a famed rock town, always brings it when it comes to turnout and atmosphere. The reason for the near six hour trip to Rescue Rooms this time was the American heavy metal band Armored Saint. One of those pretty straight ahead US metal bands from the 1980s which are hard to categorise (i.e. they are not heavy enough to be thrash and they are not flamboyant enough to be hair metal), I have been into Armored Saint for around a decade at this point - and had previously seen the band live twice back in 2015. In fact, I saw the band twice in two days - opening for Queensrÿche in London and again the following day at that year's iteration of Bloodstock Open Air. I met the band at Bloodstock, too, so those two days were rather Armored Saint-heavy - but since then I had not had the chance to see the band live again. They have returned to the UK since 2015 but I had never been able to make a plan work - so when they announced this latest handful of UK shows last year I snapped up a ticket for the Nottingham show. A Tuesday night is never ideal but sometimes a mid-week break is welcome - and my trains up from the South West were smooth. I had a nice wander around some of the city's shops and had a quick refresh in the hotel - before heading to the venue for what promised to a be a good night.
Before the support act took to the stage, though, I did quickly dash back into town to get some cash as the merch desk was only taking such and Armored Saint were selling shirts for £20 - which is a rarity in 2024 for a named band. After doing so and snapping up a new shirt, it was not long before the evening's sole support act Tailgunner hit the stage - with the five-piece delivering a strong and memorable performance. The UK-based metal band are certainly a throwback to the 1980s, with their spandex, hi tops, and even a perm, but they nail the sounds of that era - at least those coming from the fellow British bands like Iron Maiden and Judas Priest, with perhaps a little dash of thrash thrown in occasionally for heaviness. The band were on stage for around 45 minutes and during that time they managed to generally impress the gathering crowd - which was healthy for a Tuesday night despite it perhaps not quite being up to Nottingham's usual standards. The band have one album, Guns for Hire from 2023, with most of the set being pulled from it. The title track and the fast-paced White Death were used as an early one-two punch to wake the crowd up - with frontman Craig Cairns covering the stage to ensure that everyone was paying attention whilst guitarists Zach Salvini and Rhea Thompson traded riffs and solos back and forth. Perhaps the busiest on the stage, though, was Thomas Hewson (bass guitar/vocals) who threw all the right shapes and poses all night whilst playing some fast-paced and busy basslines. It was hard not to be drawn in by the band's enthusiasm, then, with a cover from lesser-known Danish act Randy thrown in early on - and the amount of time given over to guitar soloing around a version of the old classical piece In the Hall of the Mountain King. Despite these moments, though, it was certainly the band's original material which shined the brightest. I had heard Guns for Hire a couple of times prior to the show but I certainly was not fully familiar with it. This did not matter, though, as the band's songs are generally hooky - with riffs to latch onto a fast-paced choruses to shout along to. Revolution Scream proved this later on, which was also extended somewhat with some more soloing, whilst the punchier Crashdrive was built around a big riff and a more stadium-ready feel - building on some of the rawer nature of the NWOBHM movement which the band clearly love. By this point I think that most of the crowd were on Tailgunner's side, but should anyone have needed any further convincing they drew their set to a close with a barnstorming version of Judas Priest's Painkiller - which really tested Cairns but he delivered in a big way. It certainly got the crowd singing along and I noticed quite a few heading over to the merch after the band had finished. I will actually be seeing the band live again on Sunday in Cardiff, this time with KK's Priest, so I am looking forward to that already - although without Painkiller in the set in imagine! The setlist was:
Guns for Hire
White Death
Beast in the Night [Randy cover]
Warhead
In the Hall of the Mountain King [Edvard Grieg cover]
New Horizons
Revolution Scream
Crashdrive
Painkiller [Judas Priest cover]
Half an hour so later, and following some more Judas Priest being played over the PA, the lights went down and Armored Saint took to the stage - launching into End of the Attention Span from their most recent album. I had enjoyed both of the 2015 shows, but I was really looking forward to seeing the band as a headline act for the first time - and they did not disappoint, playing for over 90 minutes and including at least one song from each of their eight albums in a 15-song setlist. The setlist mostly featured old favourites, but some newer cuts were also played - with the aforementioned newer song getting the evening off to a fine start. From the off, too, it was clear that the band were really up for the show. Frontman John Bush was really animated, often joking with the crowd and the rest of the band, whilst the sterner Joey Vera (bass guitar/vocals) prowled the stage whilst looking every inch the veteran rock star. Despite Bush interacting well with the crowd, though, it was generally left to the music to do the talking. The shout-along Raising Fear was an early highlight, with the crowd getting stuck into the chorus nicely, before the funkier Tribal Dance saw Gonzo Sandoval (drums/vocals) laying into his drums to create a strong groove which the band really fed off. There were some deeper cuts included, such as the mid-paced and heavy The Pillar, but the set was generally made up songs that the fans would expect to hear. Jeff Duncan (guitar/vocals) filled Last Train Home with plenty of soloing, whilst the crowd again helped out during the chorus, with March of the Saint later feeling like a real anthem - with plenty more singing. The band mostly played it straight, but there were some moments which saw them stretch out somewhat. The mid-paced chugger Over the Edge featured a lengthy, bluesy intro which saw Duncan and fellow guitarist Phil Sandoval solo back and forth - and later in the set the longer Standing on the Shoulders of Giants naturally allowed the band to showcase their collective abilities with the slightly bigger arrangement and plenty more soloing. The latter part of the set also featured one of the evening's more memorable moments as, during the ballad Aftermath, Bush went for a wander into the crowd - singing much of the song from the balcony surrounded by those watching the show from that vantage point. One more newer number in Win Hands Down followed, but by this point the set was very much into classics territory. Dispensing with the encore tradition, too, the band just played straight through - with hit after hit coming late on. The riffy Can U Deliver and the anthemic Reign of Fire were really lapped up by the crowd during this final portion - before a brief break to address the crowd was followed up by the shout-along Chemical Euphoria, which particularly seemed to go down well, before the slightly thrashy Mad House brought an excellent evening to a powerful and up-tempo close. The setlist was:
End of the Attention Span
Raising Fear
Tribal Dance
The Pillar
Last Train Home
March of the Saint
Over the Edge
Left Hook from Right Field
Standing on the Shoulders of Giants
Aftermath
Win Hands Down Can U Deliver
Reign of Fire
Chemical Euphoria
Mad House
It was great to finally catch Armored Saint at one of their own shows after having been a fan for so long - and the band did not disappoint. They showed how to put on a no-nonsense night of heavy metal the old-school way, with the crowd seemingly enjoying every minute. Given that it has been four years since their last album, I am hoping that we will be hearing something new from the band in the not too distant future - and I will certainly hope to see them again next time they return to the UK.
When it comes to British heavy metal, there are few bands outside of the genuine heavyweights who are held in such high regard as the London-based four-piece Orange Goblin. They may be the country's ultimate cult band when it comes to pure heavy metal - as Orange Goblin have never exactly been world-beaters, but they are loved and respected by many for their old-school aesthetic and raw, uncompromising sound. Whilst they started out as a stoner/doom band, and are often still referred to as such, over the years they have toned down those elements of their sound somewhat - instead just morphing into pure, rock and roll-inspired, heavy metal. There is certainly plenty of both Black Sabbath and Motörhead to be found in Orange Goblin's sound - and I think that it is fair to describe them as a bit of a mix of both with some hardcore punk thrown in very occasionally. Elements of stoner and the bluesier end of doom remain, but the band have not genuinely been such for a number of years now - with their recent releases instead being lean and mean. Speaking of recent releases, though, prior to last month it had been quite a while since the band released anything new. Their last album, The Wolf Bites Back, came out in 2018 - meaning that it had been six years since we had last properly heard from the band, which was the longest gap between releases in their career. Generally they have been pretty prolific, releasing nine albums between 1997 and 2018 - but recent years have been slower for the band. The pandemic likely did not help - especially as bassist Martyn Millard essentially retired towards the end of 2020. Orange Goblin are not a band known for line-up changes - and they had essentially remained the same since they formed in 1995, with the exception of original second guitarist Pete O'Malley leaving in 2004. O'Malley was never replaced, though, with the band shrinking down to a four-piece, so Millard's retirement meant that someone new would need to be brought in for the first time in their career. Multi-instrumentalist and long-time friend of the band Harry Armstrong (Decomposed; Hangnail; End of Level Boss; The Earls of Mars; Blind River) came on board in 2021, though, and Orange Goblin have been operating as a fully-functioning unit again since. Armstrong is a veteran of the underground UK rock and metal scene, and had actually previously contributed some additional vocals to 2000's The Big Black, so I imagine he slipped in seamlessly - and I actually saw the current line-up's first ever show in 2021 at an outdoor post-pandemic mini-festival in Cornwall. I also saw them in London later that year and frontman Ben Ward announced at the show that a new album would be released soon - but it would take three years for such to actually drop, with Science, Not Fiction finally seeing the light of day last month. The band's tenth album, Science, Not Fiction feels like a natural continuation of The Wolf Bites Back, though, albeit somewhat expanded. The Wolf Bites Back is quite a short and punchy album, and that general approach is retained here, but Science, Not Fiction reins in the Motörhead-esque vibes at times to lay down some thick and fuzzy grooves. Guitarist Joe Hoare seems to be particularly on fire here and it is clear that the gap between releases and the line-up change has not had a negative impact.
Despite Orange Goblin's raw and heavy sound, Science, Not Fiction sounds fantastic. Mike Exeter's production job is big and bold - but there is great separation between all of the instruments and Ward's vocals cut through nicely. Opening number The Fire at the Centre of the Earth Is Mine is a great example of this, and the album's core sound more generally, with the mid-paced piece kicking the album off in fine fashion. Some synth-driven pulses set a spooky tone early on, but once Armstrong's busy opening bass riff kicks in the song really gets going - with Hoare soon joining in with a Black Sabbath-esque riff which forms the basis of the song going forward. The opening guitar riffing is varied, though, and there is a mini instrumental break as the song establishes itself - before drummer Chris Turner settles into a tight groove and the verses feel like a heavier version of mid-1970s Black Sabbath thanks to Ward's bellowing vocals, which sound as good as ever. Despite the band having been around since the mid-1990s, Ward sounds as good now as he did during the band's early years. He has recently given up drinking, and seems to be enjoying a new lease of healthy living, and his vital energy really drives this song - his roaring voice cutting through the bluesy riffing and the pulse from Armstrong's bass. The chorus is pretty hooky, too, with a mix of faster and slower riffing to create something anthemic - with some pretty thick grooves being laid down by Hoare during the slower sections, before he later launches into an excellent guitar solo. Lead single (Not) Rocket Science picks up the pace quite considerably, with the Motörhead-esque song harking back to the previous album in a big way and injecting quite a lot of energy into the early part of this album. Whilst Orange Goblin might be better known for their grooves and bluesy side, I tend to prefer the band when they speed things up and really go for it. There is nothing particularly fancy about songs like this, but the band can really turn up the energy when they want to. The ZZ Top-on-speed shuffle of the rhythm section is the perfect basis for Hoare's busy and up-tempo riffing, whilst an instrumental section later sees both guitar and bass solos injecting some additional fun into the song. Ward sounds great, too, though, with his machine gun vocal melodies during the verses perfectly suiting the song's energy - whilst the chorus feels like one which is certain to go down well live thanks to some easy hooks. Ascend the Negative slows the pace down again, with a strong mid-paced groove being established from the off via another big guitar riff. Unlike the first song which featured more of a varied guitar approach throughout, this song is generally one which relies on a simpler arrangement riff-wise to create an infectious groove - with bluesy guitar leads utilised occasionally to break up the pattern. Songs like this hark back to the band's early days somewhat, but the song just feels more metallic overall than the fuzzier sounds of those earlier records. There is a potency to the riffing despite the doomy aesthetic - and there are hints of bands like Corrosion of Conformity within this song's walls, especially towards the end as, after a spoken word section, the pace slows down again to present a doomy, headbanging darkness which takes over for the rest of the piece.
False Hope Diet leans on the band's stoner side in a greater manner than anything else on the album up to this point. The previous song sounded like an updated, heavier take on that sound - but False Hope Diet really could have sat on any of the band's first handful of albums easily. The guitar tones used here are much less cutting, with a bluesier, fuzzier tone used instead - with the occasional clean guitar melody used to add a psychedelic and hypnotic element overall. As such, the arrangement of this track is a little different compared to everything else which has been heard on the album to this point. There is less of a hard-driving sound, with the band instead feeling a bit more laid back despite the song still sounding huge. The riffing is potent but it feels much looser, with the bass instead providing a real grounding as it cuts through the mix. I tend to prefer the band's more recent albums, as I am not a big listener to stoner music, but I can still appreciate their older albums. This song is a fun hark back to that sound, with occasional spacey keyboards providing additional depth and Hoare's cosmic guitar solo. Cemetary Rats is much more in my wheelhouse, though. It opens with some haunting piano melodies, setting a Hammer Horror-esque tone, before a very Geezer Bulter-esque bass line takes over - creating a slow-burning groove over which Hoare lays down some off-the-cuff leads before joining properly with a riff. All of this is just the song's extended intro, though, as the song proper is another fast, barn-burning anthem - which truly gets going after the excellent intro with possibly the album's fastest and heaviest riff. This is another song with strong Motörhead vibes, but there are also shades of nastier bands like Venom here at times - particularly as Ward adopts a slightly harsher vocal style during the chorus. It is certainly not extreme metal but the band clearly wanted to really dirty things up with this track - and the fast-paced anthem is easily one of the best cuts here in my opinion. Its fast pace and Ward's throat-shredding vocal performance is sure to make the song a live favourite going forward - with both a shout-along chorus and a shredded guitar solo helping the song to stand out. The Fury of a Patient Man is another pretty up-tempo track and, unlike the previous song, it just gets going right away. There none of the build up of the previous song, then, with this shorter piece generally being another hard-driving song with Armstrong's bass leading everything whilst Ward returns to his usual gravelly bellow. Despite the song's short length and its up-tempo vibe, though, there are moments which shake up the formula. This is another song which occasionally throws in some cleaner sounding guitars and a slight psychedelic edge with some less heavy moments to shake things up - but generally the song is another headbanger that sticks to the band's core sound.
Gemini (Twins of Evil) is a bit more mid-paced than the last couple of tracks, with a fat and lumbering sound which is not too dissimilar to how Ascend the Negative sounded earlier in the album. There are shades of the band's earlier albums, then, but this is not a full return to that more psychedelic stoner sound. There is less emphasis on clean guitar breaks and atmospherics, then, although there are a few spacey guitar leads made use of in the background occasionally - but generally the guitars are tough-sounding, even if they are not as potent as they often are on this album. This is another song which feels a little more laid back, then, but it does get a bit more intense as it moves along - with some of the closing vocal lines including some pretty high-octane vocal harmonies, likely from Armstrong. This freaky closing section helps the song to stand out from some of the others here - and it is great how much subtle variety there is here despite Orange Goblin generally sticking to a winning formula. The Justice Knife picks up the pace again and the song is a hard-driving rocker with more strong Motörhead vibes and an energy which never really lets up. This is not as rollocking and as a rock and roll as some of the band's more up-tempo pieces, though, with the faster end of bands like Saint Vitus also referenced here. The guitar riffing is much doomier this time despite the pace and the bellowing of Ward is ever-present - with very few gaps between his vocal lines once he starts singing to allow for any sort of musical flourishes. Despite this, though, there is another excellent solo from Hoare - which is set just against the bass to allow the fuzzy and screaming notes to be pushed to the fore, as well as to change up the pace somewhat. Much of the rest of the song is heavier, so this solo is a welcome breather - and another slight hark back to the early days. The album then comes to a close with End of Transmission, a mid-paced piece which really lumbers thanks to a stoner riff and a pounding drum pattern from Turner. This is when the song gets going, though, as it does start off with a little guitar-led instrumental workout which features some laid back guitar leads, which are repeated again later in the song, before the aforementioned big riff kicks in. Like a few other pieces here, then, the song generally sits back on a mid-paced groove - and it is fitting that the album ends in such a way. There are a few twists and turns, though, such as a spooky clean guitar-led section later on in the track and a few vocal moments which feature some strange effects on Ward's voice. All of these tricks help the song to feel a little different from the other similar numbers here - but overall the mid-paced riffing and shout-along vocal style is very much just core Orange Goblin, so the album ends as it starts with the band doing what they do best. Given the length of time between albums, it is just great to hear Orange Goblin again - and on this album they sound fresh and really fired up. There is a lot of energy and plenty of grooves to be heard here - and the variety is surprising despite the uniform sound. There is a lot to like here and fans of the band will be pleased with this latest offering.
The album was released on 19th July 2024 via Peaceville Records. Below is the band's promotional video for The Fire at the Centre of the Earth Is Mine.
I think that it is fair to say that one of the biggest musical casualties of the COVID-19 pandemic was Anathema. The Liverpool-based progressive/alternative rock band had enjoyed a really fruitful and creative decade since a soft relaunch in 2010 with the excellent We're Here Because We're Here following a quiet few years during the late 2000s - with three more excellent albums and plenty of touring following, until a tenth anniversary tour for the aforementioned We're Here Because We're Here was cancelled after only a few shows in March 2020. This seemed to cripple the band financially and a few months later it was announced that they were no more. I caught that truncated tour in London and the band were fantastic - so their demise was cruel one. Four years on, though, we are starting to see the shoots of recovery from that series of events - as Anathema fans are being treated to two related releases this year. September will see the launch of Weather Systems, named after Anathema's 2012 album, which will likely be a continuation of Anathema's 2010s sound, but last month saw the official launch of The Radicant - a new project from Anathema's frontman Vincent Cavanagh. Despite having been the voice of Anathema since taking over from original vocalist Darren White in 1995 and being a multi-instrumentalist both live and in the studio from the start, Cavanagh was never Anathema's main creative force. He wrote plenty of songs for the band over the years, but he was somewhat 'down the list' of their songwriters - with his brother, drummer John Douglas, and original bassist Duncan Patterson (at least early on) likely ahead of him. In some ways, though, that makes The Radicant an exciting prospect. I like a lot of Cavanagh's contributions to Anathema, but often he was fleshing out and fronting others' ideas - whereas this new project really allows him to express himself. The Radicant is a pseudonym for Cavanagh so it is essentially a solo project, but it has been presented as something more than just a vehicle for music - and it seems to be more of a widespread multimedia project. It will be interesting to see what that means in practice - but the first taste of what may follow is the debut EP We Ascend. The five tracks here are a collaboration between Cavanagh and French producer Ténèbre - whom is more at home in electronica and techno circles. Unsurprisingly, then, We Ascend is very different from Anathema. There are occasional similarities, largely stemming from Cavanagh's distinctive voice, but this EP is not a rock release in any meaningful way - with electronica and ambient soundscapes dominating. It is not the sort of music that I tend to listen to, and I almost certainly would not have listened to the EP if it was not for the Anathema connection, but I have found myself enjoying it since it came out - especially after giving it a few listens.
Cavanagh and Ténèbre are essentially responsible for everything here, but there are some additional vocals throughout from Sarah Derat and Amy Wood - whilst Cavanagh's former bandmate Daniel Cardoso drums on one song. The five songs here get underway with the title track - which opens with some slow-burning percussive pulses, shimmering synths which sound like how a Mellotron might have sounded had they been invented in the 1980s, and some sombre piano. Derat's voice is actually the first voice heard, with some opening wordless vocalisations, before Cavanagh starts to sing in a slow, floaty manner which is less driven than his usual style - but his trademark emotional power is still present. The verses, if they can be called that, are largely driven by slow-moving piano melodies, whilst the pulse and synth swells add occasional depth, whilst a chorus later makes use of big vocal layers - as Cavanagh and Derat's voices merge to create something surprisingly uplifting, yet dense. Repeated themes are a big part of this EP and each song tends to stretch out one or two core ideas - with the chorus here dominating as the song moves forward, with each iteration sounding more discordant. Zero Blue [NSS Mix] picks up the pace, given that it features Cardoso's drumming, and it ends up sounding a little like a few of tracks on Anathema's final album The Optimist (which I reviewed here) from 2017 crossed with Hesitation Marks era Nine Inch Nails. Given that the song is identified as being a specific mix makes me wonder if the 'true' version is being held back for a future album - but the hypnotic rocker will delight Anathema fans and Cavanagh sounds a bit more like his old self here. The busy drumming and fuzzy synths create a slight industrial backdrop, but the piano melodies which generally permeate this EP remain - whilst Cavanagh's vocal hooks throughout are catchy, with a good mix of layered, rhythmic sections and soaring, emotional sections similar to his usual approach. Anchor initially returns to the EP's typical slow burning approach, with some crackling static effects heralding another sombre piano motif, which is the slowest and most morose so far, over which Cavanagh soon begins to sing. Structure-wise, though, the song is a bit more varied compared to the opening cut, which was similarly slow, although it feels much more overtly ballad-like at first - with the piano and vocal lines dominating. Synths and the occasional crashing sound effect are used for impact, with some of the intro's static being reused, but later a drum machine kicks in and the song morphs into something heavier overall - albeit with the sombre piano retained.
Perhaps the biggest departure for Cavanagh, though, is Wide Steppe - a lengthy piece with no lyrics which matches various synth textures with his and Wood's wordless vocals. Multiple vocal layers, with different treatments, are utilised throughout the song - and they are essentially used as lead instruments. There are choral sections, but generally the vocalisations are used in a manner in which synths would usually be used. There are synths here, too, and the vocals have certainly been mixed together with synths at times - but the mix of Cavanagh's rich voice creating a choir for Wood's siren-like notes to soar above transcends the synths for the most part even though a pulse does slowly build away in the background. The EP then comes to a close with Stowaway, which is a bit less treated than some of the other pieces here - with less of a widespread pallet of sounds. Essentially the track is made up of piano and vocals, again, but there is little else joining them early on. There are synth swells similar to those found during the title track, in what feels like coming full circle, whilst Derat also adds some subtle harmonies occasionally. A synth-driven pulse does kick in towards the end, but it is much less aggressive than the one in Anchor - with the track remaining melancholic and piano-led until the very end. It allows the EP to somewhat finish as it started, which is always welcome, and the five-song journey here showcases quite a bit of variety despite there very much being a core sound which is often revisited. There is enough of what I have always liked about Cavanagh's music here to keep me interested - even, as I said previously, due to this sort of music not being that which I usually listen to. I am certainly keen to see how The Radicant develops going forward, and there is enough here to keep me invested - as it is great to see Cavanagh being creative again.
The EP was released on 12th July 2024 via Kscope. Below is the band's promotional video for Zero Blue [NSS Mix].
The American hard rock four-piece Mr. Big are one of those bands that I like quite a bit, but I have never truly loved. I own most of their albums, which I enjoy, and I have seen them live - but I can often go for years without listening to anything by them, sometimes finding their overly quirky side a bit on-the-nose despite the fantastic musicianship within the ranks. The band formed as something of a supergroup in 1988 from the ashes of various hair and speed metal outfits - but toned things down somewhat by introducing a much more 1970s-inspired classic rock sound that was mixed with more metallic and AOR elements from the various band members' pasts. Their first three albums did pretty well, with 1991's Lean into It going platinum in their home country - and it also spawned their number one hit To Be with You. They are now something of a cult band, though, with the exception of in Japan where they are still huge. Like fellow early 1990s rockers Extreme, Mr. Big are forever cursed with having an acoustic-based ballad as their biggest hit - a song which has little in common with their core sound. That core sound is melodic, bluesy rock with some virtuoso touches - courtesy of flashy guitar and bass duo Paul Gilbert and Billy Sheehan (with the former replaced for a time by Richie Kotzen). Gilbert has been back in the band since they reunited following a break in 2009 - and the original line-up continued on until the sad death of drummer Pat Torpey from complications associated with Parkinson's disease in 2018. Torpey had not been able to tour with the band since 2014 and following his death the band finished up their remaining touring commitments and seemingly bowed out in an understated fashion. Interviews with some of the band members suggested that Mr. Big was done, but last year they announced one final world tour to act as a farewell. Whether the tour ends up being a farewell or not remains to be seen, but it does seem that the band are slowly calling it a day. To replace Torpey, Nick D'Virgilio (Spock's Beard; Big Big Train; The Fringe) was brought on board - and the band have been busy on the road throughout America, Europe, and Japan for the past year or so. Clearly wanting to cap off their career with one more album, too, the band released their tenth album Ten last month. Their first release with D'Virgilio, Ten is the band's first album since 2017's Defying Gravity (which I reviewed here) - a raw album which was much more organic compared to their usual flashier sound. Later interviews revealed that the label released the album unmastered against the band's wishes, which accounted for the strange sound, but sometimes the raw feel worked well. Ten is similar, but this time the rawness feels more deliberate - with a better overall mix. This is easily the least flashy album the band has ever done - with very little of Gilbert and Sheehan's usual flamboyance. This is a simple, punchy bluesy rock album at its core - with plenty of groove thanks to the drumming of D'Virgilio. Frontman Eric Martin rounds out the four-piece, who's voice has deteriorated quite significantly in recent years - which has been evident on the current tour. Despite this, though, he gets away with it here given the rawer sound - and he puts in a typically left-field and quirky vocal performance despite the band as a whole reining it in.
There is no standing on ceremony here. The simplicity and blues-based sound which makes up the album is apparent right from the off - with a shuffling riff kicking off opening number Good Luck Trying. Despite the bluesy grooves, though, the track has a strong kinetic energy throughout. Sheehan's bass is high in the mix, and he locks in really well with D'Virgilio to create some funk to back the shuffle, whilst Gilbert's guitars are fuzzy and full of character. It sounds retro, but the mix and production feel more modern - as there is plenty of space for every instrument to shine. Gilbert later solos with his usual finesse, even within a more blues context, whilst Martin strains vocally to reach the notes he used to reach with ease. His older voice does not sound too out of place in this raw sound, though, and the song has a snappy chorus which sits atop the aforementioned shuffling riff - whilst occasional slower sections allow grooves to build and Martin to use the lower end of his register. He is generally convincing, though, and the song is a fun way to kick off the album. Those wanting something more overtly melodic from the band should enjoy the poppier I Am You - one of the few more AOR-inspired pieces here. There is still a raw sound but the guitar tones are bit more melodic, with some clean melodies adding depth, and there is a much greater focus on Martin's vocal hooks. Generally his voice is old-school and bluesy here, utilising classic tropes, but this performance recalls the band's classic albums more - and there is a strong 1980s vibe. Despite his vocal limitations he delivers the song convincingly, even if he sounds a bit strained during the verses, and the chorus is easily the album's hookiest moment - with some subtle vocal harmonies from the band giving him a melodic backing. This is not an album which goes for AOR hooks all that often, so this song does stand out - and it is one of my favourite cuts here thanks to its focus on a little more of a sheen as well as the excellent chorus. Gilbert's guitar solo is a little more spacey, too, which helps to reinforce some of the band's quirks despite the simpler arrangements generally featured. Right Outta Here is a darker sounding piece, which opens with some atmospheric slide jerks from Gilbert whilst Sheehan's bass provides a lot of rumbling depth. These slide melodies provide some strong early hooks - but the rest of the song is not very slide-dependant. The melodies re-surface throughout occasionally to provide a reprise of the opening hooks, but generally the song is another pretty bluesy rocker - albeit with a slower pace and a more atmospheric sound thanks to Gilbert's guitar tone being a little cleaner and the prominence of Sheehan's driving bass playing. The chorus is very bluesy, too, with D'Virgilio bringing the band to a brief stop each time with a drum crash to allow Martin to briefly sing the closing lines alone - which is an old-school blues trope. Another strong guitar solo shows Gilbert's blues acumen - and the slower track is a strong addition to the album.
Sunday Morning Kinda Girl is a bit of a mix of the band's trademark melodic rock sound with the album's bluesy feel. It leans more towards the blues which dominates here, but the chorus certainly feels a bit more up-tempo with some smoother vocal melodies - again boosted by some subtle harmonies. The track feels a bit weightier than is typical, though, with Sheehan's bass once again pulsing through the mix whilst buzzing guitar riffing provides plenty of groove. There is a little bit of a Bad Company feel throughout the song, then, with a mix of blues and melodic rock harking back to the mid-1970s American rock scene (I am aware that Bad Company were a British band but they were more successful in America). Martin is no Paul Rodgers, though, but he does well here - with the chorus being nicely within his range and the rest of the band providing tight harmonies. Occasional slide bursts emphasis the band's bluesy side, but overall this track is just a strong slab of melodic hard rock - which is naturally blues-based anyway, with a chorus which is sure to stick in the brain. Who We Are slows things down and acts as the album's first ballad. The band are famous for their ballads after all, or, at least, one in particular, so slower tracks should be expected - and it mixes a laid back guitar melody with a sombre bass and drum pattern over which Martin sings in an emotional manner. His voice has always carried plenty of emotion, and this has not changed despite his limitations. He does sound a bit strained during the chorus, but he generally gets away with it - with the band harmonising well with him. D'Virgilio is a strong singer in his own right, having fronted bands in the past, so I would imagine that he has contributed quite a lot vocally to his album - and the harmonies certainly help Martin out here. His tone is still present, though, despite the straining - and fills the slower track with all of his trademark character. As Good as It Gets sounds a little more melodic and less bluesy than much of the rest of the album - as the guitar tone and patterns throughout remind me somewhat of Eddie Money's Two Tickets to Paradise. This song is much more laid back than that arena-ready anthem, though, and it never feels like it gets going properly despite some early promise. It feels as if it builds to an explosive chorus that never comes and I imagine that, in the past, the band would have been able to do something more exciting with this track. It feels like a piece which is trying to sound like their classic era somewhat - but the band do not really operate in that vein these days and it shows. What Were You Thinking rocks things up again after the ballad and the more laid back piece - and it returns to the album's bluesy core in a big way. It also has a strong old-school rock and roll feel with some Chuck Berry-esque rhythms and plenty of bluesy guitar turnarounds. Parts of the song also contain some Status Quo-esque boogie riffs and rhythms, so the track is pretty infectious as a result. It is not the catchiest vocally, but the grooves are a lot of fun. Songs like this have been written thousands of time by many different bands - but Mr. Big have put their stamp on the classic tropes here to produce something up-tempo and hard rocking despite the over-familiarity of the overall style.
Courageous is one of the songs which stood out to me from the off - and it is another which goes for a bit more of a poppy, AOR-esque sound, even within the bluesy context of the album. It slows the pace down somewhat, and it has plenty of crunch thanks to Gilbert's hard-hitting riffing, but there is space in the mix despite the toughness of both the guitars and the bass. The song has a bit of a strange feel overall, then, but I like the approach taken. There are heavy riffs at times, but there are also moments which feature cleaner guitar chords to create a more melodic feel - whilst the chorus feels a bit poppier with some brighter vocal harmonies and a sound which harks back to the band's early albums. A rhythmic, vocal-led bridge section with some surprisingly snarling vocals from Martin later leads into what is possibly Gilbert's best guitar solo on the album, too. It is longer than most of the solos here and it certainly feels busier and more akin to his trademark shredded style. Up On You is somewhat similar, but it feels much bluesier overall. There are some more melodic vocal lines used at times, but in general this is a track that sticks nicely within the album's core sound. The chorus feels a bit more old-school thanks to the vocal harmonies but the guitar riffing behind it keeps with the bluesy tones used elsewhere - and the slide-led guitar solo exemplifies this style nicely, too. The solo is another winner, opening with the aforementioned slide melodies before Gilbert really lets rip - starting off with some typical bluesy phrases before getting a bit busier and more akin to his usual style. Elsewhere, though, brasher riffing and some potent bass tones really ground the song - and it is one that has grown on me quite a bit over repeated listens to the album. It did not jump out right away, but it is probably the busiest song here from a guitar perspective - as there is a lengthy guitar-led outro which includes plenty more riffing and lead work from Gilbert. The album then comes to a close with The Frame, another slower track which acts as a bit of a ballad to round out the short album. At just over 40 minutes long, the album is the perfect length given the raw sound opted for - but The Frame feels like another song which harks back to the band's older sound a little bit. It is certainly not all that bluesy, with Gilbert instead opting for some expansive clean guitar melodies throughout - whilst the vocal melody patterns are surprisingly Queen-esque at times whilst still sounding pretty organic. Martin puts in another pretty emotional vocal performance as the slower song progresses - and the atmospheric and melodic piece is a good way to close out what is generally a pretty harder rocking album. Mr. Big have occasionally written songs like this which are quite hard to describe. It is essentially a ballad but it also has a slightly unsettling feel throughout. This helps the album to end strongly and showcases that the band still like to change things up a bit despite seeming happy in recent years to adopt a simpler songwriting approach. Overall, then, Ten is a solid album. It does nothing new really, but many of the songs here are enjoyable despite the focus on a blues-based approach and the lack of many big AOR-esque anthems. It feels like an album by a band having fun, though, and there are plenty of memorable riffs and choruses here. If it does end up being the final album, then it will not be a bad way to bow out.
The album was released on 12th July 2024 via Frontiers Records. Below is the band's promotional video for Up On You.
