Revocation's 'New Gods, New Masters' - Album Review

As I hinted at here recently, it has been quite a while since I last reviewed some proper extreme metal. After I made more of an effort to do so last year, shaking up the blog's content as a result, this year I have not really sought out extreme metal in the same way. Whilst I have reviewed plenty of heavy albums so far this year, with metalcore, melodic death metal, and doom albums all covered, much of it has been too melodic to truly be considered extreme metal - and there is nothing the purists hate more than things being called extreme metal which are not. I would not wish to upset that crowd, as I can already hear the wailing and gnashing of teeth from here. As such, it was likely October last year when I last reviewed some genuine extreme metal - with The Black Dahlia Murder's Servitude (which can be read here) the subject. Even that band are nominally a melodic death metal band, but they seem to be largely embraced by the extreme metal crowd in a way that bands like The Halo Effect and Arch Enemy, who I have both covered more recently, are not. I do not think that anyone could disagree with the assertion that the Boston-based four-piece Revocation are extreme metal, though - and their ninth studio album New Gods, New Masters, which was released last month, is the subject of today's review. Despite being able to essentially trace their history back to 2000, although they were originally known as Cryptic Warning, Revocation are pretty new to me. In fact, the only reason I started to take notice of them is that I will be seeing them live next year - as they are going to be acting as special guests to Sylosis on their upcoming European tour. I am sure that Sylosis being a touring partner for Revocation will upset the same crowd, as the Reading-based band are likely too associated with metalcore for their liking, despite them being heavily influenced by thrash, progressive, and death metal, too. Nevertheless, I am looking forward to the pairing - as I have been enjoying what I have heard from Revocation so far. I am certainly no expert, but I have checked out both 2018's The Outer Ones and 2022's Netherheaven - the two albums which preceded New Gods, New Masters. Despite generally being seen as a death metal band, and sitting at the more technical end of that spectrum, they also feel heavily influenced by thrash - and, perhaps ironically, there are some similarities that can be drawn with Sylosis' sound - despite Revocation certainly coming from a different school of thought. As such, there is a lot going on in Revocation's music. Their songs are not crushing, three minute long, blast beat-led slabs of traditional death metal - but instead they tend to be on the longer side, feature a huge amount of intricate guitar riffs and leads, alongside the throatier and thrash-adjacent vocal delivery of founder and frontman David Davidson. Davidson is the only original member left in Revocation - but he has essentially driven the band since the off. He has written much of the band's material himself - and has always acted as the lead singer and lead guitarist. Others have chipped in songwriting-wise over the years, but Revocation is Davidson's band - and he is the star of the show throughout New Gods, New Masters. Long-time drummer Ash Pearson, who has been in the band since 2015, joins Davidson again on this latest album - but the rest of the current line-up are making their debuts in the studio here. Both guitarist Harry Lannon (Cognitive) and bassist Alex Weber (Wait; Svengahli; Obscura; Evilyn; Empyrean Sanctum) came formally on board this year - although Lannon has been playing live with the band for a couple of years at this point.

The line-up changes do not really shake things up here compared to the band's last couple of albums - although a few guest vocalists do add some variety throughout. New Gods, New Masters is very much a technical death metal album with a side of thrash - but there are plenty of memorable riffs and leads here which help it to stick. Kicking off with the title track, the album pulls no punches from the off. Slow-moving, stabbing guitar riffs open the song up, with the bass high in the mix, under which percussive drumming, followed by fast double bass patterns, is thrown. There is a heaviness to this opening, but the slow-moving riffing has a epic, thrash feel - with the death metal kicking in proper once the band speed up and Davidson starts to sing. He has a great harsh vocal delivery, but he is certainly more of a screamer than a growler - which helps to enhance the band's thrash edge as well as allow for a more melodic feel alongside the guitar playing. The riffing early on, once the song really kicks in, is fast and knotty - as if Davidson and Lannon want to showcase their abilities early on. The vocals still sit nicely above this busy riffing, though, and technical drum breaks allow for some great accents. Intricate guitar leads are thrown in occasionally, with tight harmonies accenting the riffs, whilst Davidson's screams and the occasional grittier bark are full of power. The band showcase their more progressive side during a later instrumental section, though, which slows the pace down. Clean guitar melodies and discordant chords fill this section - before a lyrical guitar solo takes over, mixing traditional metal shredding and some jazzy passages. The contrast between this solo section and the driving death metal heard elsewhere is what helps this band to appeal to me - whilst some groovy riffing towards the end of the song feels more primal. Sarcophagi of the Soul opens with high-pitched and busy riff, which features some tight harmony leads - before an off-kilter verse section takes over, led by a riff which switches up the time signature somewhat. The riffing takes a while to sink in, but now I have heard the song a few times I like how jarring it sounds - and the drumming always allows for the gaps in the riff to hang nicely. The vocals still feel right when they sing across this strange cacophony - but as if it to ensure that the song still sticks with most, the band soon transition to something a bit more typical. Some of the sections here feel pretty a straight forward mix of thrash and death metal - with fast double bass drumming, chugging riffing, and a slightly more anthemic vocal delivery. The mix of the knotty sections and these more straight forward sections work nicely - whilst the guitar solo this time is more straight ahead heavy metal. The opening riff returns throughout the song, adding some more off-kilter vibes. Confines of Infinity features the first of three guest vocalists utilised throughout the album - with Travis Ryan (5/5/2000; Cattle Decapitation; Murder Construct) adding his throaty and out-of-control vocals to the song. Three guest vocalists may be a bit excessive, but guest vocalists are quite common in extreme metal - and Ryan's grindier vocals do add quite a bit to the track. Confines of Infinity is a slower and heavier track in part - with it opening with a sludgy riff that allows for some slightly deeper vocals and more of a bass presence. There is less of the band's usual flamboyance here, although the song does speed up as it progresses - launching into thrashy sections on occasion with hard-driving riffing and intense tempos. Ryan comes into his own towards the end of the song, with some unhinged vocals adding to a gnarly bridge section - that then concludes with a surprisingly laid back guitar solo over a heavy riff.

Dystopian Vermin also takes something of a step away from the album's core sound - with a great thrashy riff opening things up and Weber's bass filling in all of the gaps with some busy playing. Given the slower pace of much of the previous song, this track feels much pacier overall - but there is also something quite anthemic about it. Despite the thrashy opening riff, the rest of the song feels a touch above mid-pace - and there are shades of the most straight ahead end of Lamb of God as well as the more metallic hardcore bands here. Despite a few knotty riff and lead moments, this track feels more conventional overall. There is a lot more chugging to the riffing, which gives the vocals quite a lot of space to breathe, whilst the overall arrangement feels simpler. The song is easy to get on board with, then, and it has become a bit of a favourite thanks to this hard-driving feel and similarity to other bands that I like. The main guitar solo is still impressive, though, and it is goes on for quite a while to allow some technical motifs to sneak into the song - whilst a later closing section does up the heaviness to go for a more pummelling, Fear Factory-esque groove which works well. Despiritualized instantly feels like the album getting back to its core sound a bit more, with a slightly meandering riff opening things up, with some strong bass countermelodies, before the heaviness drops away to allow an Opeth-esque discordant clean guitar pattern to take over. This opening showcases the band's more technical side, then, but once this clean guitar section comes to a close the song gets going proper - with the band launching into an intense verse section with off-kilter drumming and inharmonious guitar melodies, giving a twist to the usual death metal approach. A chorus section later feels a bit more anthemic, with a groovy riff and more strident drumming allowing Davidson's vocals to shine - but even the accents during this chorus are busy, with bursts of double bass drumming and more discordant melodies sitting between each more anthemic moment. This is quite a common theme on the album - and as the song progresses the band double down, with some tight blast beat-led sections that include hypnotic guitar melodies and intense vocals. There is really no let up as the song moves along, then, with Davidson and Lannon constantly switching things up - with some dual lead guitar moments later on being another memorable moment. Throw in a floaty, legato guitar solo, too, and the track is extremely varied throughout. The band often like to include an instrumental on their albums, and The All Seeing is their latest effort. Guitarist Gilad Hekselman, who is known in the jazz world but has not really turned his hand to metal all that much, is featured here - and he solos during the song's outro. It is clear that Davidson has plenty of jazz in his locker, though, so Hekselman does not sound out of place here - as the track is largely a jazz metal guitar workout. Stabbing riffs and fast drumming fill the solo-less sections, but much of the song is given over to soloing - with a good mix of slower, jazzy moments and shredded sections. Discordant melodies and riffs are featured regularly here, often to break the different sections up, whilst the soloing is generally melodic. Hekselman's closing solo is the jazziest here, unsurprisingly, but the off-kilter melodies fit nicely alongside the stabbing riffing that sits beneath it.

Data Corpse gets back to a more flat out death metal sound following the jazzy excursions of the previous track - with a crushing riff opening things up. Given that the song is one of the shortest here, it is unsurprising that it feels a bit more straight forward. This is relative, of course, as there is still some busy lead guitar work here - but the vocal-led sections feature riffing which feels less busy overall, which allows the vocals to shine. This is another song which goes for a bit of a groovy approach at times, too, with a pretty big chorus which mixes Pantera-esque riffing with some excellent death metal vocals. It is one of the album's hookiest moments, and it is sure to go down well live, whilst shredded guitar leads and solos elsewhere ensure that more of a technical vibe is still felt. Revocation clearly do not always feel the need to make a song complex - and they know the value of a strong melody or groove. Cronenberged is somewhat similar, given that it is also on the shorter side, but it features Jonny Davy (Job for a Cowboy; Fleshwrought; Serpent of Gnosis) for some vocal variety. Like the last song, though, much of the riffing is quite straight forward. It is a pacy track with a strong thrash influence during the verses - even if some pre-chorus and breakdown sections feel much more akin to typical death metal. The soloing here feels much knottier, though. There are jazzier vibes again on show during the fairly lengthy guitar solo - whilst grindier death metal is on show towards the end when Davy takes over vocally with his gargling vocal style. Thrashy riffs and grind sit nicely side-by-side here - and the track is another strong one thanks to this approach. The album then comes to a close with the lengthy Buried Epoch - the longest song here at over seven minutes. It also features the final guest vocalist in Luc Lemay (Gorguts; Negativa; Pallid Veil). The song overall slows the pace down somewhat early on. It is not as slow and doomy as Confines of Infinity, but there are certainly shades of that approach during parts of the song - whilst other sections speed up to a more typical death metal pace, with busy double bass drumming and snappy riffing. Lemay is utilised during a slightly more cinematic mid-section - with his throatier voice used to aid a somewhat more atmospheric sound. This approach works well, especially as it is not overused, and he does something different to what Davidson is dong elsewhere with his barks. Given the song's length, too, the song does chop and change somewhat as it moves along. Clean guitar-led sections are thrown in occasionally to break up the heavy riffing - whilst the aforementioned cinematic section shakes up the album's core formula. Lengthy guitar solos are also thrown in as would be expected - with large portions of the track once again a big showcase for the band's ability to conjure up progressive and jazzy melodies nicely. As it is the album's longest song, there is a lot going on here - but overall everything hangs together well, and the song feels like one which pulls a lot of the album's core approaches together nicely into a cohesive whole to end on. Overall, then, New Gods, New Masters is an impressive album from Revocation. It is first by the band that I have truly digested - but I have been enjoying it since it dropped a few weeks ago. I will certainly spend more time with the other albums by the band that I have - and I am looking forward to seeing them pull some of these songs off live next year. There is quite a back catalogue to catch up on, too, so Revocation will be popping up on my iPod from time to time I am sure.

The album was released on 26th September 2025 via Metal Blade Records. Below is the band's promotional video for Dystopian Vermin.

King King - Exeter Review

When it comes to modern British blues rock, there are few better acts on the circuit currently than Scotland's King King. Whilst there is a strong blues bent to the current UK rock scene, King King come from a firmer blues background - with a soaring, classy sound which has been long-honed by its members, both in King King and in various other blues acts before the band was founded. Their blues-based sound feels much more authentic than many of the meat and potatoes, leaden bluesy hard rockers which make up a significant portion of the current UK rock scene - with songwriting and virtuosity both pillars of the band's sound. I first came across the band back in 2016 when I saw them opening for Thunder in London. I was not really struck by them at the time - but seeing them again twice in 2018, once at Steelhouse Festival and once opening for Europe, turned my head further. By the time the band's last album Maverick (which I reviewed here) was released in 2020, then, I was a big fan - and I saw the band once each in 2021, 2022, and 2023 as a result. I did not get to see them again last year, but when another big UK tour was announced for 2025 tickets were soon acquired for the Exeter date. The 2021 and 2023 shows were also in Exeter, at the Phoenix, so it is a venue that the band are well versed in by this point - and each time they rock up in Devon their fans turn out in force. King King's Exeter shows are always well-attended, then, and this is likely why the band keep coming back. By the time the tour rolled around, though, there was perhaps a slight cloud hanging over it - as it was meant to be a run of dates to promote the band's sixth studio album Light Up the Sky. The album was supposed to drop in September, but it has been delayed until some point next year. As Alan Nimmo (vocals/guitar) candidly said on stage during the night, the album is just not ready yet. He gave the impression that some of the songwriting had not even been finished - so it may be a while yet before Light Up the Sky sees the light of day. This is a shame, both for the fans and for the band, as it meant that this lengthy tour, which includes some decent-sized venues, cannot capitalise on the buzz of a new release. I suppose that just means that the band will need to do it all again when the new album is indeed ready - and another night in Exeter with this excellent band is certainly no bad thing. New album or not, though, a King King show is always a good night out. They excel in terms of catalogue depth, despite only having five albums so far, and live stagecraft - and each time I see the band they seem to get a bit better. It was with excitement, then, that I headed up to Exeter last night, and I rocked up to the Phoenix not long before the evening's sole support act took to the stage - following a bite to eat and a couple of drinks at the local Wetherspoons.

Before King King's excellent set, though, the growing crowd was treated to a set from country/blues singer-songwriter Laura Evans. Starting out her career as an actress, having been on The Basil Brush Show for many years, Evans turned her talents to music a few years ago - and has began to make a bit of a name for herself as a UK-based modern country act, with more than a hint of the blues. Joined only by Joe Hazel (guitar/percussion), Evans' set was stripped down - but it allowed her diverse vocal talents to shine. Whilst there was a strong country/blues favour to her material, alongside a couple of covers from Chris Stapleton and Bonnie Raitt, there was also plenty of modern pop to be found - especially in the lyrics and the way that the vocal melodies were constructed. Neither modern country nor pop are much my thing - but I found myself largely enjoying Evans' set even if it did get a bit samey after a while. She certainly has a powerful voice, and came across as very likeable during her time talking with the crowd - who gave her some good-natured grief for being both originally from Wales and now from Plymouth. Being backed by only one musician, though, it was hard for the songs to feel fully fleshed out. Hazel is certainly a strong guitarist, and his stripped back blues approach worked well, but the songs were likely ones with bigger arrangements than were being presented. I generally tire of acoustic acts and stripped back performances for similar reasons - as I find it hard to connect with songs which are being presented in perhaps a less interesting way than they generally would be. Acoustic or stripped back versions can work well if a song is known - but they are rarely a good introduction to a song. I do understand why support acts, especially in smaller venues, are limited to such, though. That being said, Evans' 30 or so minutes on stage did not outstay its welcome. Her voice certainly did a lot of heavy lifting, and some occasional soloing from Hazel was welcome. She also managed to bring quite a few in the crowd along for the ride - as one of her later songs conjured up a bit of a sing-a-long. Overall, then, Evans' set was enjoyable for what it was - even if what she does is not really for me.

Given that there was not much gear to clear away following Evans' set, it did not feel like too long before AC/DC's Highway to Hell was blasting out over the PA and King King took to the stage. A warm Exeter welcome greeted the band - and they soon launched into a 13-song set which included a handful of favourites, a few oldies which had not been played live for a while, and a couple of new numbers. Alan remains the band's focal point, leading the band vocally and from a guitar perspective - but I felt that his brother Stevie Nimmo (guitar/vocals) featured a bit more as a lead guitar player throughout the set this time - with Stevie's more straight ahead blues style complimenting Alan's more varied approach. Both the riffy opener More Than I Can Take and the uplifting Let Love In, played surprisingly early in the set, featured some strong guitar playing from Stevie - even though Alan still dominated. From the off, too, the sound was great. The vocals were audible, the lead guitars cut through the mix, whilst the lashings of Hammond organ from Jonny Dyke (keyboards/vocals) grounded the band's sound nicely. A lot of crowd favourites were played, with the shuffling and slightly funky Waking Up being an early highlight thanks to its big chorus - but perhaps the first real highlight was the new track Strong. Whilst Light Up the Sky may not yet be ready, a couple of the tracks which will feature on it were played - with the former being a lengthy, dense ballad with some of the best soloing of the night. The haunting chorus felt like one which will stay in the set for years to come - whilst the lengthy instrumental mid-section saw both Alan and Stevie soloing. It was the sort of epic ballad that King King do so well - and it felt like a darker version of A Long History of Love, which itself was wheeled out not long after. These two big, emotional ballads felt like the centre pieces of the set - whilst shorter, more anthemic pieces such as the golden oldie Lose Control and the other new number Cried Out for Love added some riffs and instant melodies to the evening. The latter was that strong mix of early Bad Company and 1970s David Coverdale which King King dip into from time to time - with the powerful rocker sure to become another real live favourite. I like it when the band let their hair down a bit - and it saw new drummer Jon Lodge rocking out a bit more behind his kit. Following this new cut, it was time for a couple of other rarely-played oldies to be brought back into the limelight. Alan mentioned that seeing a video of the band playing Hurricane at the aforementioned London show with Thunder persuaded him to bring it out of the vaults, and the rocker impressed the crowd, before the slowest moment of the night was reserved for the plaintive ballad Lay With Me. The last portion of the main set was reserved for favourites, though, with Alan's song about his brother You Stopped the Rain prompting quite a big sing-a-long with the Exeter crowd - before the distinctive electric piano intro of Rush Hour introduced the sprawling, atmospheric piece. It was left to I Will Not Fall to round out the main set - and, as always, the song was stretched out to include a plenty of soloing, including a lengthy blues effort from Stevie. It left the crowd wanting more - and the cheers brought the band back out for one more, with the powerful ballad Find Your Way Home impressing to round the night out. Big vocal harmonies and plenty of Hammond warmth brought the song to life - and it worked well as a set-closer despite it being a slower piece. The setlist was:

More Than I Can Take

Let Love In

Waking Up

Strong

Lose Control

A Long History of Love

Cried Out for Love

Hurricane

Lay With Me

You Stopped the Rain

Rush Hour

I Will Not Fall

-

Find Your Way Home

King King shows are always extremely enjoyable and last night in Exeter was no different. It was great to hear a number of different tracks live, despite plenty of favourites still being thrown in, and the two new songs were excellent. I am hoping that the new album, whenever it comes, will live up to the vibe of these two songs - and I am sure that when it does drop the band will be back around again to ensure that everyone gets to hear the new material.

Amorphis' 'Borderland' - Album Review

It feels like a long time since Finland's Amorphis last released an album. In truth it was only three years ago that Halo (which I reviewed here) was released, but as it dropped at the beginning of 2022 the wait has felt longer, but given that Amorphis are one of my favourite bands I was really ready for what was to come. Thankfully, though, at the end of September the band released their fifteenth studio album Borderland - and it has been played a lot on my iPod over the past week or so. One of the reasons that Amorphis are one of my favourite bands is that they are essentially unique. No other band really sounds like them, and each new Amorphis album just continues on their excellent legacy and established sound. Some may prefer them to shake things up a bit more but, given that Amorphis excel at what they do and no-one else comes close, I do not mind each new release essentially being more of the same. This is because, and is another reason why the band are one of my favourites, they just write great songs - so much so that it does not really matter that variety is perhaps lacking. The band's sound has evolved over the years, of course, from a folk-influenced death/doom sound in the early 1990s, through a folky, progressive, and sometimes more hard rock period throughout the late 1990s and early 2000s, to the band's current era - which fuses the death/doom of their early days with melodic death, folk, gothic, and progressive metal influences to create a dense and atmospheric sound which is full of light and shade, is heavy when it needs to be, and is equal parts melancholic and uplifting. It is this peerless mixing of numerous genres together which sets Amorphis apart - as well as their ability to cram all of these influences into extremely digestible and memorable songs. Principal songwriters founding guitarist Esa Holopainen and long-time keyboard player Santeri Kallio are responsible for this magic - whilst it is frontman since 2005 Tomi Joutsen whom is tasked with bringing the songs to life. I am not sure that there is a better frontman in metal who can so effortlessly switch back and forth from soaring, emotional clean vocals to venomous and earth-shattering growls so effortlessly. There are some that come close, but Joutsen's growling technique really rivals many out-and-out death metal vocalists in terms of tone and power - whilst his clean vocals would carry most bands on their own. I like what came before Joutsen joined the band, and 1994's Tales from the Thousand Lakes is an early death/doom classic, but my Amorphis sweet spot is everything from 2006's Eclipse onwards. Joutsen has made Amorphis a better band over the past 20 years - and Borderland is the ninth album to feature his talents. Sound-wise, this latest album is very much classic Amorphis - although it is perhaps a touch less heavy overall. There are still growls here, but this album feels like it is trying to be slightly more melodic and a little more floaty overall - with clean vocals tending to dominate. It is likely closest to 2011's The Beginning of Times in that regard - but, in truth, all of the recent albums are represented here in some way or another. It is the band's third album with the current line-up, too, since founding bassist Olli-Pekka Laine returned in 2017 - with other founding members guitarist Tomi Koivusaari and drummer Jan Rechberger rounding out the line-up.

Whilst Holopainen and Kallio have written all the songs here, which is not unusual despite others often chipping in, this album very much belongs to the latter. Of the 10 songs here, Kallio penned seven - with Holopainen writing the other three. This perhaps explains why the album is marginally less heavy and more atmospheric than is perhaps the norm - with big soundscapes and retro keyboard textures a big part of Borderland's appeal. Opening track The Circle showcases this overall approach nicely. Rumbling piano chords and those delay-effected guitar melodies which Amorphis often make great use of kick things off - and when Rechberger's drums join in to create heavy accents, floaty synths are also thrown in. This is very much classic Amorphis, then, but the synths are perhaps a little brighter than they often are - and that is generally something which characterises The Circle throughout. Joutsen sticks to his clean vocal delivery here, with the exception of a bridge section later on, with a good mix of a slightly more melancholic verse delivery, as a rhythmic guitar backing adds weight, and a chorus which soars. Amorphis have often written huge choruses, and there are quite a few on this album. The chorus here makes use of the opening guitar melodies and synths to create an uplifting sound - over which Joutsen's heartfelt vocals soar, with subtle harmonies making him sound bigger. A simple guitar solo and the aforementioned heavier bridge section add points of difference later on - but overall this song is just full of smooth hooks, and it does not take long to stick in the brain. The two songs which follow may well be the best cuts here, though, with the heavier Bones a real highlight. Largely growled, apart from the album's best chorus which is sung clean, Bones is a much riffier piece - and one which borrows from Eastern music with some jangling melodies throughout. Amorphis have utilised such a sound before but it often works well for them - and the verses here are a great mix of those jangly clean guitar and keyboard melodies, whilst the rhythm guitars are tough and heavy. The mid-paced song really chugs away, then, and it also showcases Joutsen's growls here for the first time in a big way. He sounds as good as ever here during the snaking verses - whilst an anthemic pre-chorus section is certain to see fists in the air when it is played live. The chorus shoots from the darkness of the rest of the song by adding a melancholic, yet hooky, passage to the heavy piece - with some of Joutsen's best vocal melodies. This chorus is sure to stick in the brain - whilst a solo section which starts off with keyboard melodies before the guitar takes over adds to the song's overall vibe. Dancing Shadow is a very upbeat track, with an almost funky overall feel at times - at least for Amorphis. There are shades of One Second-era Paradise Lost here a bit in the way the song grooves along - but the core Amorphis approach is still retained. The opening riff, which is later repurposed as a chorus, is where the funk is found - with some strong bass playing and general grooving from the rest of the band. The chorus makes more of these grooves, though, with some additional synths - whilst a call-and-response vocal approach which makes use of both clean and harsh vocals is full of hooks. The verses are a bit more low key, though, with percussive drumming, shimmering synths, and more of those delay-effected guitar leads sitting behind Joutsen's melancholic clean vocals. Fittingly, some 1980s-inspired synth melodies are later used to kick off another solo section - but the guitars soon take over to ensure that a metallic grounding is retained.

Fog to Fog opens slowly, with some dense yet folky synths, but Rechberger's driving drums kick in and the song takes over proper - launching into a massive soundscape, with a cinematic guitar lead that just evokes pictures of Finnish landscapes perfectly. This sweeping sound is nothing new for Amorphis, but it is the first example of such on this album - and following the more upbeat previous track this song reminds the listener just how powerful the band can be. Their folky side is brought out in some of the melodies here, particular during the opening guitar lead and another one during the chorus - whilst Kallio moves away from the synths somewhat to lay down some piano throughout. Sometimes the piano is more obvious, but it is often in the background - providing a surprisingly percussive grounding to some of the melodies. The approach works well, though, whilst the synths kick back in during the chorus - which is another that utilises a mix of clean and harsh vocals. Generally the song is sung clean, but the harsh accents work well during the chorus, and I also love how the second chorus transitions into a lengthy keyboard solo - which builds on the soundscape nature of the piece nicely. The Strange opens with some piano, too, but the melodies feel a little more upbeat this time - and the track feels less widescreen than the previous one, with more of a metallic approach thanks to some early double bass drumming, wordless growls, and busier guitar riffing. Whilst the verses are sung clean, there is still a heaviness to them. The drumming is somewhat tribal in feel, with busy tom work backing up the chugging and rhythm guitar patterns - with Joutsen adopting a darker tone despite singing clean. The bass is high in the mix, too, which allows the song to feel heavier - whilst a lengthy pre-chorus section features harsh vocals, upping the darkness further. The chorus is another soaring effort, though, with Joutsen's clean vocals and a mix of different keyboard textures creating a big sound - even if the double bass drumming ensures that a heaviness remains. Tempest opens in a slower manner, with delicate acoustic guitars, piano, and Joutsen's floaty vocals - with the song's opening moments really devoid of all metal. Amorphis do these organic songs so well, and the track is largely a ballad - even if it grows from this initial base. The acoustic guitars and piano remain, but as the song moves on some subtle guitar rhythms are added underneath to create a groove - whilst the rhythm section adds a grounding. These verses have a folky feel, then, whilst the chorus is a bit more sweeping thanks to another big guitar lead and Joutsen's emotive vocals. A heavier bridge section is later thrown in, though, adding a metallic sound for a brief period - including some growls. As a point of difference, this inclusion works well - but overall this song remains on the gentle side, with plenty acoustic guitar chords and piano melodies heard despite this burst of heaviness, alongside a beautiful guitar solo. Light and Shadow returns to something more typical of the core Amorphis sound, with hypnotic guitar melodies and more of a driving sound. It was the first single released from the album, but compared to those which followed it is certainly the least interesting of the pre-release tracks. It is certainly enjoyable - but it does not stand up to melodic feasts like Bones and Dancing Shadow, despite it boasting a strong melancholic chorus of its own and plenty of those classic Amorphis guitar moments. It is largely sung clean, again, although there are some growls during parts of the chorus to accent the main melodies - alongside during a brief bridge section which follows a guitar solo.

The Lantern has a bit of a doomy feel overall. Given that it is one of Holopainen's three songs, it should not be a surprise that the guitar presence is much meatier - and from the off the riffing feels a bit more forceful, whilst the opening guitar lead is slow-burning and could have sat on a number of death/doom albums without sounding out of place. It still fits the album, though. Despite this doom vibe, it is not as heavy as the band can be - although the chorus later becomes one of the album's most potent elements. This chorus, which repurposes the opening guitar motif, features some of Joutsen's grittiest harsh vocals on the album - and the slower pace, gothic keyboards, and heavier guitars allow it to be a dark moment. The verses are sung clean, though, but there is something more mournful about them overall - with the guitars weaving around Joutsen in a pleasing and suffocating manner, whilst later sections feature double bass drumming to add some potency. Some Pink Floyd-esque synth melodies are later used during a dreamy instrumental section, adding some light to the shade, but the overall weight of the chorus and the darker tones throughout ensure that the song is one of the heaviest cuts here. The album's title track follows, with ringing, distant piano melodies setting folky tone - but once the guitars kick in the vibe shifts somewhat. These piano melodies do not continue through the track as the guitars largely take over - creating a percussive chug early on and during the verses, which Joutsen sings clean. There are few big melodic lead moments during this song, which is unusual for the band. As such, the piece is more rhythmic thanks to the crunchy guitar playing - whilst the keyboards are much less present generally. There are short bursts of lead guitar during later verses, whilst the chorus also sees a few moments of such - but they just seem less important to the song's overall feel. The crunchy riffing and Joutsen's vocal performance, which is largely clean despite some growls coming during another pretty strong chorus, driving everything. It is one of those songs that takes a few listens to fully appreciate as a result, but it has certainly grown on me. The album then comes to a close with Despair, another of the band's widescreen, sweeping tracks - although it is mixed with some doomy elements. The opening is very cinematic, with plenty of big synths and some darker guitar leads - under which Rechberger uses his double bass drums to good effect. This drumming approach and a chorus which is growled with a real darkness gives the song its doomy overall vibe - whilst even the clean-sung verses are dark. Laine's bass is very high in the mix, his rumbling bassline adding a real darkness, whilst mournful vocals and slow-burning guitar melodies only add to this overall vibe - which then explodes thanks to the faster drumming of the growled chorus. Thanks to this overall sound, the song works well as an album closer. The heavier feel is welcome, too, given that this album is not as heavy as many of the band's albums - and the scope of the track, with some instrumental sections which really push the keyboard and string arrangements to the fore, is fitting for a closing statement. It is another song which has grown on me a lot as a result - and the album ends on a dark high as a result. Despite the lighter feel, Borderland is another excellent Amorphis album. There are a couple of slight twists here despite the album largely doing the band's classic sound justice - and the more melodic approach is welcome at times. It certainly feels different to the denser and heavier Halo - so it is great to see the band staying fresh despite their core sound remaining intact. Amorphis can do little wrong at this point, and Borderland will be seen by many as another excellent addition to their canon.

The album was released on 26th September 2025 via Reigning Phoenix Music. Below is the band's promotional video for Bones.

Paradise Lost's 'Ascension' - Album Review

On the metal side of things at least, I think that it is fair to say that Halifax's Paradise Lost are the UK's best gothic act. Whilst there are bigger non-metal gothic acts, when it comes to all things heavy I am of the view that Paradise Lost take the crown. Whilst some may disagree and put My Dying Bride above them, a band whom I am far less familiar with, for me Paradise Lost have been hugely consistent - and of all the gothic/doom acts, both from the UK and from abroad, they are the one I tend to come back to the most. I recently listened to all of the band's studio albums in chronological order, some of which I had not heard for quite a while, and there was very little there I disliked. A primitive debut and a couple of slightly misguided late 1990s/early 2000s albums aside, the band's lengthy discography is remarkably strong and consistent - with the recent run that they have been on since at least 2012's Tragic Idol, but maybe even before that, containing some really excellent late-career work. This has been helped, too, by the band re-embracing some of the doom elements of their early days. Tragic Idol did not really do this, but the songwriting throughout that album is strong enough that it holds its own, but from 2015's The Plague Within (which I reviewed here) onwards growls and nasty, slow-burning riffs have been back on the menu. As such, The Plague Within and 2017's Medusa (which I reviewed here) were easily the heaviest the band had sounded since the early 1990s. Since re-establishing that early doom sound again, though, the band have since sought to showcase all of their disparate sounds - fusing their various eras together. This variety is what made 2020's Obsidian (which I reviewed here), the band's most recent studio album prior to last month, such a success. Perhaps satisfied that they had managed to re-capture their doomy beginnings, Obsidian built on that template to also include some synthier tracks, with 1997's One Second referenced at times - whilst other tracks looked to the more gothic, traditional metal sounds of the band's mid-2000s output. Obsidian remains a late-career highlight for Paradise Lost as a result in my opinion - and it was an album I listened to a lot during the pandemic era. Five years is a long time between albums for Paradise Lost, but with the Obsidian touring cycle delayed for obvious reasons, the Host side-project, and a re-recording of 1993's Icon thrown in for goo measure it took the band a little while to get to writing something new - but last month saw the release of the band's seventeenth studio album Ascension. Like Obsidian, Ascension builds on the re-established doom sound of the 2015 and 2017 releases - but also throws in some other sounds. There are less of the synthy overtones this time, though, with Ascension feeling like a more bona fide metal album through and through. The recent re-recording of Icon means that some of that album's approach has bled into these new songs - but there is also plenty of 1995's Draconian Times here alongside, again, those mid-2000s releases. Frontman Nick Holmes and guitarist Greg Mackintosh are, as always, responsible for the songs here - with other mainstays guitarist Aaron Aedy and bassist Stephen Edmondson appearing on the album. Ascension is the only album on which drummer Guido Montanarini (Rhyme; Implore; Strigoi), who replaced Waltteri Väyrynen in 2022, played, though, although he did also play on the Icon re-recording, as the Italian left the band prior to the album's release to be replaced by a returning Jeff Singer.

There is still plenty of doom here, though, as the opening track Serpent on the Cross can attest. It opens slowly, though, with strings, chiming synths, and wordless female vocals - but once the guitars kick in a true doom atmosphere descends. First a sombre lead is thrown in, but the song starts proper once the first slow riff launches and Holmes unleashes a cracked growl. A version of the opening guitar melody returns, and this provides an early hook against the doom riffing. There is plenty of melody throughout this album, both vocally and from Mackintosh's lead playing, and this guitar lead resurfaces quite often throughout - and later forms something of a chorus alongside some deep growled vocals. The verses here up the pace, though, with Montanarini adding some surprisingly busy drumming. This drumming propels the verses nicely, with Holmes' growls gaining some urgency, whilst a mix of chugging riffing and guitar melodies is used to add colour. The slower chorus returns to some of those core doom elements from the song's early moments, though, whilst later on a more mid-paced section allows Mackintosh to take a lengthy guitar solo - which is a bit more fast-paced than his traditional approach. There are some technical shredded motifs here, which suit the dynamic arrangement of the song as a whole, before slowness once again descends for a final chorus reprise. With no clean vocals here, the song is a true doom metal anthem - and it kicks the album off nicely. Tyrants Serenade (shame about the missing apostrophe) also opens quite slowly, with some chiming guitar melodies - over which a big drum fill and a plectrum scrape give way to another hooky opening guitar lead. Mackintosh has been writing these guitar hooks for years, and there are plenty more of them here, but this one feels especially hooky - and it is fitting that Holmes sings clean during a chugging verse which is underpinned nicely by Edmondson's bass playing. Later verses have guitar melodies too, but this initial one is mostly driven by the bass - whilst the chorus is much tougher with classic Paradise Lost held chords, during which Holmes switches back and forth between clean and harsh vocals for effect. The core of the song is very much from the band's 2000s era albums, so more metallic in nature with a lack of a more atmospheric approach, but the occasional growls hark back to the early days - and it is a hooky piece thanks to the guitar playing and a call-and-response chorus. Salvation, again, opens slowly but this time the main guitar melody kicks in from the off - over which the song is laid. Percussive drumming sets the scene early on - and once a more uniform beat is laid down there is a stronger keyboard presence here to set more of an atmospheric tone. Holmes returns to his harsh delivery here, and the verses really crawl along at a slow pace - with leaden drumming leaving holes in the arrangement to accent the overall heaviness, only for the chorus to feel tighter thanks to a bigger lead guitar presence and a faster drum groove. Later chorus iterations expand on this formula, too, adding clean vocals to another quite percussive section to balance out the crawling doom heard elsewhere. A later bridge section following a guitar solo also recalls Draconian Times somewhat thanks to Holmes utilising his grittier clean delivery during this brief section. This song moves all over the place, then, but it does hold it together - and delivers strongly on various eras in one.

Silence Like the Grave opens with some sweeping atmospherics, but it is not long before another guitar lead fades in - albeit this one feels much faster, and the song slowly swirls around it, with synths and percussive drumming creating a dense sound before a pretty straight ahead mid-paced riff takes over. This song overall is a real throwback to the Draconian Times sound in a big way - as when the verse kicks off the guitars pair down to a faster chug, over which Holmes sings in that gruff, yet still clean, manner he utilised during that era. Given how slow much of the album has been up to this point, Silence Like the Grave feels positively energetic by comparison - with a good mix of chugging and the aforementioned mid-paced riff, whilst the faster guitar lead is repurposed during an anthemic chorus which sees Holmes switching to harsh vocals. The pace and the vocal diversity allows the song to be one of the hookiest here - and Mackintosh rightly throws in a pretty busy and fast-paced guitar solo, too, under which Montanarini lays down some double bass drumming. Lay a Wreath Upon the World generally strips back a lot of the band's big sound - and it opens gently with acoustic guitars against quite a cold, atmospheric backing. The song is an effective ballad, then, with the mournful acoustic guitar chords and occasional melody quite stark compared to the band's usual approach - whilst Holmes sings clean, almost whispered, against this simple backing. Strings slowly fade in and out, creating a surprisingly dense atmosphere, whilst delicate acoustic guitar leads add a classical-adjacent feel. The song does build up from this base - but it never really explodes. More wordless female vocals are utilised during a transitional moment, and it feels as if the song is going to really ramp up - but it does not do so really, as another acoustic-based verse continues, albeit this time with drums and electric guitar leads. Some heavier sections are utilised later on, but these are largely a backing for the wordless vocals again - whilst rumbling basslines are pushed to the fore during other sections. Diluvium returns to something more typical, though, with another guitar lead opening things up. Whilst Holmes largely uses that gruffer delivery again here, it sounds a bit like the sound of Tragic Idol mixed with Icon's vibe - thanks to a mix of slower riffing and some faster chugging sections. At first the song is quite slow - but it takes on a new lease of life when it speeds up, and Mackintosh throws in some guitar leads to act as punctuation after each of Holmes' vocal lines. These occasional faster sections always help the band's albums to feel more alive - whilst the core slow-burning nature still envelops much of the song. This is really a song for the guitarists, though, as the mix of riffing styles and the many lead guitar moments keep this track interesting. Savage Days returns somewhat to a ballad-esque sound early on, with a mix of acoustic guitars, clean guitars, and piano backing Holmes' smoother vocal delivery - but held distorted chords soon break this calmer vibe, and it is not long before the song morphs into some emotional doom. There are chiming classic gothic vibes here, with rumbling basslines and ringing clean guitar melodies adding depth, but generally this is very much classic-sounding Paradise Lost - and this slightly sparser and more emotional backing allows Holmes to really showcase his powerful clean vocal delivery.

Sirens is another slow-burner initially, with hypnotic guitar melodies opening things up as drums, synths, and guitar chords swirl around, but the track overall is more of a metallic, mid-paced chugger. This is another which harks back to Draconian Times quite a bit - with Holmes singing throughout in his gruffer clean delivery, whilst synths take more of a backseat and chugging guitars rule. The verses here are pretty fast-paced for Paradise Lost, as they create a strong, headbanging feel thanks to some tight riffing and simple drumming, whilst the riffing during the chorus has a swinging feel. There is a classic rock strut to parts of the chorus - whilst some of the leads would not sound out of place on a Swedish melodic death metal album despite the use of clean vocals throughout. There are some more melancholic moments later on, which see a more atmospheric approach taken and Holmes singing in his smoother delivery - but overall this song has some real grit to it thanks to Holmes sounding furious throughout. Generally I feel that the first half of this album is stronger than the second half - but Sirens is a song which has really jumped out at me as I have given the album more listens, and it is a real late-album highlight in my opinion thanks to its energy and riffing. Deceivers does not open slowly, so it feels quite different from many of the other songs here. Overall, it very much sticks to the classic Paradise Lost template - but there is no snaking guitar lead to set the tone, with the band launching into a pretty chunky riff and guitar pattern. This sets the tone for what is to come nicely, though, as the song is another mid-paced rocker - with busier drumming interludes and a mix of gruffer vocals during some metallic sections and harsh vocals during some doomier sections. The song is not as traditional metal in vibe as the previous one, but there are still moments of that here - with doom and gothic tones filling the gaps. Synths are used to good effect here, creating a strong atmosphere, whilst lead guitar moments are utilised less but still hit the spot when deployed. The album then comes to a close with The Precipice, which returns to a much slower overall sound. Ringing piano melodies open the song up, which are soon doubled by the guitar - and the drums create a mournful, gothic beat. Holmes sings clean here, his emotive vocals echoing through a slow-burning verse - with hanging guitar chords, piano, and subtle strings creating a dense backing. The song largely sticks to this vibe throughout - but it does morph somewhat. The pace never really ups, but there are plenty of heavier sections with harsh vocals - where bigger guitars join in. There are even sections which feature a lot of double bass drumming beneath them - but even with this approach the overall pace never feels like it changes. The mix of the faster drumming and the slower riffing works well, though, and the song has quite an epic feel throughout during these bigger sections - as well as a bit of an unnerving vibe at times. A great, closing guitar solo later capitalises on this overall feeling, too, and the album ends on a high as a result. With Ascension, then, Paradise Lost continue to look to showcase all of their different eras in one package. The band seem less bothered about fitting into a scene at this point, and the mixture of vibes here is welcome. This is another strong album from a band that has put out some of its best work in recent years - and Ascension is really no different overall despite perhaps focusing a bit more on the mid-1990s than the last album did.

The album was released on 19th September 2025 via Nuclear Blast Records. Below is the band's promotional video for Silence Like the Grave.

The 69 Eyes/South of Salem - London Review

Given that I had not been up to London for a few months, I have just got back from my second trip there in a week. I spend my birthday in the country's capital city last weekend to catch a powerful, old-school W.A.S.P. set at the Eventim Apollo - and I headed back up there yesterday, to the more modest confines of the O2 Academy in Islington, for a double header featuring both Finland's The 69 Eyes and the UK's own South of Salem. On paper, this billing was an exciting one. The 69 Eyes have long been one of the metal scene's best spooky gothic rockers - and South of Salem, whilst certainly more of a traditional hard rock act with plenty of 1980s influences, have a horror aesthetic of their own which has helped the rising stars become so beloved already here in the UK. Whilst I have seen South of Salem quite a few times during the past couple of years, I had not seen The 69 Eyes since 2011 - when I saw them in Nottingham. The Finnish five-piece have returned to the UK a few times since then, but for whatever reason I have never been able to go. When this short co-headline tour was announced earlier in the year, then, I knew that I had to get a ticket. It did not matter that I only last saw South of Salem in April, as they are one of my favourite up-and-coming UK bands at the moment - but the wait for a The 69 Eyes show made getting a ticket a no-brainer. They were perhaps the main draw for me, then, but, as I said, the pairing seemed made for each other - so I was not surprised to see some decent sized venues such as the excellent KK's Steel Mill booked. The London show made the most sense for me, though, and the O2 Academy in Islington was where I ended up last night. Perhaps not as good as some of the other venues on the tour, the strange, shopping centre-based venue is one that I have visited many times over the years. It would never rank very high on my favourite venues list, but I have nevertheless had many great nights in the rather utilitarian space - with my last visit being for Y&T last year. As expected, too, there was a decent turnout for both bands. The queue was snaking around the shopping centre when I got there - and by the time we were let in, slightly late, the room felt pretty full. I am sure that there was some space towards the rear - but down fairly close to the front where I was it felt busy. The bands' merch had to be set up in another bar area, too, as there was too much for the venue's usual merch area to cope with. So far so good, but it was soon clear that this show was not exactly what it was sold as. The tour was billed as a co-headline set-up, hence how this review is titled, and the set times posted from the previous dates showed that both bands had 75 minutes each. As such, I was looking forward to decent length sets from both - but, in London at least, the show very much felt like a The 69 Eyes headline show with South of Salem in support. South of Salem played for maybe around 50 minutes - whilst The 69 Eyes filled close to 90 minutes. I do not know what changed between the set times for the Wolverhampton show being posted earlier in the week and this tour-closing London show - but South of Salem did not feel like co-headliners, which was a shame.

Perhaps this was for the best, though, as I have to say that South of Salem's set was not up to their usual high standards. Their 2023 headline show in Bristol is one of the best I have been to by a small band for a long time - but last night felt quite flat. Much of this was not down to the band, as they battled a poor sound mix and technical issues throughout, but the setlist seemed a bit strange given the occasion, too. They also failed to really whip up a strong atmosphere. There were plenty of South of Salem shirts throughout the crowd, so I was expecting a big reaction - but such never came, and possibly this was down to the poor sound. The drums dominated everything, and one of the guitars was significantly quieter than the other one - plus I am not sure that the bass was always working, as the sound was often hollow and bassist Dee Aldwell regularly seemed to have to go off to the side to get it looked at. All of this, plus frontman Joey Draper suffering from a nasty cold, just added up to a bit of a lacklustre set. Let Us Prey always works well as a set opener, though, whilst the snaking and melodic Jet Black Eyes worked quite well coming so early in the set. There are not really any South of Salem songs that I dislike, but I think the band and I have different views as to their best cuts - particularly when it comes to a set list this where some of the crowd is unlikely to be familiar with the songs. When anthems like No Plague Like Home and Death of the Party are left out for songs like Made to Be Mine, which the crowd never really latched onto despite Draper trying to get a sing-a-long going, and Villain, the setlist was not one that really pushed the best of South of Salem onto a somewhat, at times, apathetic, crowd - although the nuances of the set were certainly lost thanks to the poor sound mix. Credit needs to go to guitarist Ed Van Egan for learning the set so quickly following the recent departure of Kodi Kasper - but sadly his guitar was the one which was very low in the mix, so some of his riffs and leads just did not land as a result. It is unclear if he is the band's new guitarist or whether he was just helping out on this tour - but he seemed to be doing a good job under the circumstances. Both Static and Bad Habits (Die Hard) are songs made for the stage, though, and the later did elicit a bit of a sing-a-long with its punchy chorus and sleazy overtones. I would not have included To the Moon and Back, either, but the Savage Garden cover seemed to go down well with sections of the crowd - even if all the set's momentum was then derailed by a non-functioning acoustic guitar for an acoustic version of Villain. This felt like a misstep given the vibe of the evening - and when it was over I was surprised by Draper saying that they did not have much time left. The synthy Hellbound Heart and the smoother Pretty Little Nightmare did get things back on track - before the band's big anthem Cold Day in Hell saw more singing, although given Van Egan's guitar was so low in the mix the song's big riff was not really audible. It brought a curate's egg of a set to an end, which disappointed given how good I know this band can be - but plenty of technical issues and a setlist which I would not have chosen for such a tour held South of Salem back. The setlist was:

Let Us Prey

Jet Black Eyes

Made to Be Mine

Static

Bad Habits (Die Hard)

To the Moon and Back [Savage Garden cover]

Villain

Hellbound Heart

Pretty Little Nightmare

Cold Day in Hell

In contrast, when The 69 Eyes hit the stage around 30 minutes later there was no doubting who the night belonged to. The sound was suddenly much clearer and the crowd came alive - and the next 90 or so minutes were filled with a 17-song set packed with many of The 69 Eyes' best-known gothic rock anthems. Despite very little in terms of a stage show, the band hit the stage with the evergreen Devils - and from that point on it was clear that the set was going to be a powerful one. The anthemic chorus saw plenty of singing from the crowd - and the energy levels rarely seemed to dip, with newer tracks greeted as warmly as many of the classics. Frontman Jyrki 69 still possesses a great voice, too. He does not seem to have aged over the years, either in terms of how he sounds or how he looks, and the rest of the band seemed to be having a great time - with Timo-Timo (guitar) just oozing cool throughout. Despite a few newer cuts played, the set was very much a best-of affair. The classics came thick and fast, then, with Feel Berlin and Betty Blue showcasing the Sister of Mercy-esque side of the band nicely - before the rumbling bass playing of Archzie drove the old Boycott tune Gotta Rock. This was a rawer effort, but generally there was a majestic smoothness to the set. Songs like The Chair and the excellent recent Death of Darkness showcased a good mix of clean and overdriven guitar playing - whilst the baritone vocals of Jyrki washed over the crowd. Melodic clean guitar passages and soaring leads from Bazie (guitar/vocals) were aplenty, then, but the band can riff away when they want to - with the juddering Perfect Skin and the anthemic Drive showing this off nicely. The latter may be another newer cut, but the crowd really went wild for it - with the big chorus being given the same treatment which Devils' had earlier in the set. Despite the band's sombre appearance, though, Jyrki took quite a few opportunities to talk to the crowd - and there was some good-natured banter between him and crowd. They may look serious, but it was clear that everyone was having a great time - with drummer Jussi 69 constantly flailing around theatrically behind his low, sprawling kit. There were not exactly many real surprises in the set, but it was still a lot of fun to hear older, slower tracks like Still Waters Run Deep and Wasting the Dawn - even if the sleazier I Love the Darkness in You and Gothic Girl were more popular with the crowd. There was a good flow to the set as a result of this mix, though, and by the time the main set came to an end with the doomy Brandon Lee the band could do no wrong. There was a surprise during the encore, though, as the band brought out former Guns N' Roses drummer Frank Ferrer, who was going to be DJing at their afterparty, to play a song with them. They teased You Could Be Mine, but that led into a powerful rendition of Alice Cooper's I'm Eighteen - which was largely played straight but given a gothic edge thanks to Jyrki's deep voice. It was a fun addition to the set, but soon Jussi was back behind his kit - and the smooth Dance d'Amour returned the set to the band at hand. With only one song left, the band rocked things up one last time with Lost Boys - and a fantastic set came to an anthemic end with plenty more singing during the melodic chorus. The setlist was:

Devils

Feel Berlin

Betty Blue

Gotta Rock [Boycott cover]

Perfect Skin

The Chair

Never Say Die

Death of Darkness

Drive

Still Waters Run Deep

I Love the Darkness in You

Wasting the Dawn

Gothic Girl

Brandon Lee

-

You Could Be Mine [Guns N' Roses cover]/I'm Eighteen [Alice Cooper cover w/ Frank Ferrer]

Dance d'Amour

Lost Boys

Despite South of Salem's set not hitting the spot as they usually do, and I hate being negative about a band I like a lot but I have to be honest in these reviews, I had a great evening in London last night. I still enjoyed seeing South of Salem again despite my issues with the set, and I found on of their plectrums on the floor as I was leaving, but The 69 Eyes were fantastic - and well worth the 14 year wait. The band were on a larger bill last time I saw them so played a shorter set, but this time they really got to showcase a good number of songs - and the classics played really shone. The band do not seem to age, nor do they seem to be slowing down - given that they hinted that new music would be released soon. I certainly will not be leaving it another 14 years to see them again.

.38 Special's 'Milestone' - Album Review

Every so often I get to talk about a new album that came as a total surprise. Sometimes these are total discoveries, new albums from bands I was previously unaware of, but more often than not they are a new release from a band that is no longer known for putting out new music. All too often, bands become far less prolific and creative as their career goes on. There are exceptions to this rule, though, with bands like Magnum and Status Quo continually putting out albums throughout their time together - but, sadly, many bands decide to stop writing anything new after their original commercial peak and seem content to be a nostalgia act for the rest of their careers. Some bands fight back from this slump, with The Doobie Brothers, Styx, and Kansas being good recent examples - but many do not. The changing music industry, with older bands struggling to adapt to the internet age, I think is a big reason for this - particularly with bands which had some decent chart success in the past. The days of big record labels, advances to record an album with, and significant PR are largely over for all but the biggest - and those bands who successfully adapted tend to be those which stay the most creative. One band that had seemingly given up on new material was the Florida-based five-piece .38 Special. The southern rockers, who were really the only such band to successfully fuse traditional southern rock with AOR in the 1980s, had a number of big-selling, charting singles and albums in the US in the 1980s - but I think that it is fair to say that their commercial peak is behind them. They remain a popular live act, particularly as part of package tours and the county fair-type circuit, but the band's glory days have long faded - and, until last month, their last album was 2004's Drivetrain, 21 years ago. It was a surprise, then, to learn earlier this year that the band were working on album number 13 - and I did not quite believe that the reports were real until Milestone dropped through my letterbox a couple of weeks ago. Much has changed in the .38 Special camp since Drivetrain - with vocalist and guitarist Don Barnes the only original member left. Keyboard player Bobby Capps and drummer Gary Moffatt have both been in the band since the 1990s, so have featured on previous albums, but Milestone sees debuts for bassist Barry Dunaway (Whiteface; Pat Travers Band; Yngwie Malmsteen's Rising Force; Saraya; Survivor) and guitarist Jerry Riggs (Riggs; Pat Travers Band) - who replaced classic-era member Larry Junstrom in 2014 and long-time member Danny Chauncey in 2019 respectively. The biggest difference here, though, is the lack of frontman and co-lead vocalist Donnie Van Zant - who retired from the band in 2013 for health reasons. Milestone is the band's first album without Van Zant, and that means that there is now not one person who has featured on all of .38 Special's albums - as Barnes was out of the band between 1987 and 1992. Whilst it is fair to say that Van Zant became side-lined the more popular the band got - as he want from being their sole lead singer, to a co-lead singer, and even to a glorified backing singer at times - his songwriting and gritty vocals were nevertheless a big part of the band's sound. The contrast between Van Zant's and Barnes' voices helped to set the band apart form other southern rockers - and with only Barnes on lead vocal duties here, save for one guest spot, the album lacks something.

Given that Van Zant is still active musically, albeit in a more low key manner, it is a shame that he could not have contributed to a couple of songs here for old times' sake - but Milestone is not a bad album despite the Van Zant-shaped hole, and Barnes does give him a shout-out in the CD's booklet. Barnes essentially drove .38 Special for years, though, and there are some classic-sounding AOR tracks here and a few harder rockers - with regular collaborator Jim Peterik (The Ides of March; Survivor; Pride of Lions) having co-written many of the songs here as well as co-producing the album. There is perhaps less traditional southern rock here, with the album leaning more towards the smooth, but the first couple of tracks are certainly more harder rocking. Kicking off with the riffy So Much So Right, a song which I can really see Van Zant singing, the album hits hard immediately. Barnes' voice is certainly a bit grittier than it used to be, so he adds an edge to the track, whilst the bluesy, slightly southern-sounding riff is instantly memorable with its snaking groove and punchy drum backing. This is largely a guitar-driven album, with Barnes and Riggs riffing away during the verses - but Capps does add some electric piano counterpoints throughout, with the chorus in particular given depth by the keyboards. Call-and-response vocal harmonies are utilised during the chorus, too, which allows the band to add some melodic counters to Barnes' main vocal melodies - whilst a brief piano break and a later guitar solo add some fire to the piece. The song does not lean into the band's southern rock sound as much as it might - but the main riff is pretty weighty, and there is a fairly organic sound here thanks to the electric piano. Van Zant would have likely added more authenticity to the piece in truth - but Barnes does a decent job here, although he shines more on later pieces. Slightly Controversial, which acted as one of the album's singles, in another pretty hard rocking piece - with Pat Monahan (Train) duetting with Barnes. I know nothing about Monahan and Train, but I know that the two bands have toured together recently - so I imagine that bringing Monahan in here was an attempt to recreate the band's duet approach of the past. The song is built around another hooky chorus, with brash, stabbing guitar riffing backing Barnes and Monahan singing together. The two singers do not sound hugely different, but there are still points of difference - and the chorus harmonies work nicely. The bluesiness of the previous song remains, too, and is especially showcased during a slow-burning guitar solo - whilst the organic approach is also retained, with electric piano again doing a lot of background lifting. Lead single All I Haven't Said returns to the band's melodic rock past, though, and Barnes really comes into his own here. This is a smooth AOR piece which recalls the band's mid-1980s sound nicely, with jangly guitars opening things up - and slow-burning verses which feature slightly southern clean guitar melodies, washes of gentle keyboards, and Barnes' plaintive vocals. He does a decent job on the rockers, but he was always better suited for songs like this - and he still maintains a pleasing tone despite his voice having aged. The emotive verses ooze out of the speakers, but it is the chorus where the song comes alive - with the opening guitar chords returning alongside some old-school vocal harmonies. Subtle Hammond organ is thrown in as the song progresses, with Capps adding some busy playing behind a later guitar solo - and the hooks throughout are certainly a pleasing throwback to .38 Special's peak.

The Main Thing is another rocker, opening with Moffatt's drumming - before the band is counted in and a pretty snarling riff kicks in, which whips up a nice groove early on. Whilst this song is more of a rocker, though, it also showcases some AOR traits. The verses are a bit smoother and more AOR in tone, whilst the chorus returns to the opening riff to create some strong, southern grooves and some really hooky vocal refrains. This was not a song which stood out to me on my first listen to the album, but over time it has become a real favourite. The mix of the band's different sides comes together nicely here - with both AOR and southern rock on display. Capps also gets to show off a lot here, with a good mix of organ and synth work - whilst snarling guitar playing from both Barnes and Riggs ensure that the track is full of energy. Later reprises of the chorus, with busy keyboard and guitar melodies underneath the vocal hooks keep the song interesting until the end - and this is another track I could have seen Van Zant singing on, perhaps taking over during the heavier choruses. Long Long Train returns to a slower, more melodic sound - and it is notable given that Barnes co-wrote it with Randy Bachman (The Guess Who; Brave Belt; Bachman-Turner Overdrive; Ironhorse) rather than Peterik. It certainly contains a lot of classic .38 Special AOR tropes from the 1980s, but there is also something of a modern country vibe at times - although this is not the prominent flavour. Acoustic guitars are ever-present here, adding depth and creating that country feel, whilst the main guitar leads which are often returned to throughout have something of a country feel as they cut through what is otherwise quite a plaintive piece. Barnes' smooth voice really suits the song, and he sounds great here, whilst the band add subtle harmonies through what is quite a smouldering chorus. There is a sadness to the track, but the guitar melodies are easy on the ear - and the chorus really gets under the skin after a couple of listens. It has become another favourite here, largely as it harks back to some of the band's older slower moments - but also thanks to some powerful lead guitar moments and a atmospheric depth thanks to Capps' keyboard playing. Looking for My Life returns to a more muscular sound, but like The Main Thing the song is a good mix of both a melodic and a riffier sound. It is not as hooky as many of the best track here, but it has certainly grown on me since I first heard it. It seems at first as if the song is going to be quite smooth, with clean guitar melodies setting an early tone during the verses - but as it moves forward it gets faster and spikier, with a punchy pre-chorus section seeing bigger drumming and guitar riffing. This culminates in a chorus which is a mix of both sounds - it sounds harder rocker overall but it is also smooth in tone. Barnes' vocals here are not the best, though, with a couple of moments sounding a little ragged - and perhaps this another song where Van Zant could have helped out a little. The guitar solo is great, though, and overall the song is solid - even if it is not one of the standout cuts here.

Making Up for Lost Time is one of the standouts, though, and, like All I Haven't Said, it sounds like a real throwback to the band's peak era. It is a great melodic rocker, with a soaring chorus that screams mid-1980s, whilst there is still a surprising dose of southern groove throughout. Despite the verses being fairly laid back, the spiky guitar riffing creates a southern rock feel throughout - whilst a later mix of 1980s clean guitar melodies and the aforementioned riffing is a big reminder of the core sound with which the band previously found so much success. It is the chorus where everything comes together, though, with one of those soaring melody lines which grabs hold from the off. Barnes still sounds great singing songs like this - and the band harmonise well with him to create a big, enveloping sound. Another big guitar solo is also welcome - and this is a song which would have likely gone down well in the 1980s as part of a super smooth album such as 1986's Strength in Numbers. The final two songs slow things down quite significantly - with Windows of Memories being a swinging ballad with plenty of acoustic guitar depth, chiming clean guitar melodies, and some piano from Capps. The swinging groove from the rhythm section does give the song a bit of an edge, though, and it does not sound like a typical slower piece as a result. This is another song which has a little bit of a modern country feel at times, too, with this groove and the acoustic guitar depth adding to such. Barnes sings the song well, his smooth tone suiting the swinging grooves nicely, whilst there are plenty of harmonies throughout to ensure that the song sounds a little bigger in places. A pretty lengthy and emotive guitar solo is later thrown in, too, and it works well to build on the song's overall vibe - and I really like how the guitar solo extends into the final chorus, with guitar leads acting as punctuation to each of Barnes' vocal lines. The album then comes to a close with the acoustic The Look - a very simple song which essentially just features Barnes' voice, some acoustic guitar, and some subtle keyboards. It is the only song here which Barnes did not write, either, as it was solely written by Peterik. It lacks much of Peterik's usual bombast as a songwriter, but Barnes' brings it to life nicely with his smooth voice. There are a couple of moments on this album where Barnes' age shows, but he shines here - which is good given how exposed his voice is throughout. I was not sure how to feel about this song at first, as ending an album with a slow number does not always work well, but The Look has grown on me in a surprising way - and given that it is quite short I think it does actually work well as an album closer. Perhaps having two slower tracks together at the end was less wise, though, so I would have perhaps moved Windows of Memories to earlier in the album - and had one of the rockers before The Look. Regardless of this, though, Milestone is a very solid album from a band that had not put anything out for 21 years - and it is an album which continues to get better each time I hear it. It is never going to rival albums like 1981's Wild-Eyed Southern Boys or 1982's Special Forces, but then it was never going to - and it is probably a stronger album than Drivetrain which I do not remember sticking with me all that much outside of a handful of songs. Whether or not this album leads to a new era of creativity for the band remains to be seen, but it is just welcome to have something new from .38 Special after so many years - and there is plenty to like within.

The album was released on 19th September 2025 via .38 Special Records. Below is the band's promotional video for All I Haven't Said.

Fury's 'Interceptor' - Album Review

It always feels good to talk about a new(ish) British metal band. There are plenty of them, of course, but the UK no longer feels like it is at the forefront metal scene - and that has been the case for many years at this point. It feels like from the 1960s to the early 1980s, what was coming out of the UK was essentially dictating the direction of rock and metal the world over - but since the end of the NWOBHM era that has not felt the case, particularly when it comes to heavy metal. The metal bands from the UK that have gained a significant amount of popularity in recent years include alternative and metal-adjacent bands like Bring Me the Horizon, Architects, and Sleep Token - whilst most traditional heavy metal from these shores tends to get overlooked. As such, I like to make the effort to cover such bands when I can - and today I will be looking at the West Midlands-based five-piece Fury. Whilst they can trace their history back to 2010, with only frontman Julian Jenkins left from those early days, the band seem to have largely solidified their line-up and activities in recent years - following an early period which was characterised by quite a few personnel changes. I saw the band at one of the first iterations of Bloodstock Open Air that I went to, back in either 2015 or 2016, and the current version of Fury looks quite different now. The band also seem to be much more active now than they did then. Perhaps I have just been paying more attention of late, so have noticed their activity more, but they always seem to be playing live - either on their own terms or opening up for a variety of established acts. I remember enjoying the band's Bloodstock set all those years ago, but I did not really start paying attention to them properly until I saw them last year opening for Firewind in London. I remember being interested to see how the band had progressed, but I end up being really impressed by their set that night - with the current line-up feeling more assured and tight than the early ones. I have still not really checked out their albums in a significant way, though. I have 2022's Born to Sin, which I have listened to a couple of times and enjoyed - but beyond that my knowledge of the band's work is limited. That is until now, that is, as on the strength of last year's set I decided to pre-order the band's fifth album Interceptor when it was announced earlier in the year. Interceptor is the band's first album since Born to Sin - and it is the first to see the band operating as a five-piece. Jenkins, long-time bassist Becky Baldwin, and long-time drummer Tom Fenn all return from the last album - but guitarist Tom Atkinson (Absolva; Vice) replaced Jake Elwell in 2023, and the year beforehand the band welcomed aboard vocalist Nyah Ifill as a permanent member. Ifill contributed backing vocals to the band's last two albums, and had toured with Fury before joining full-time - but her role in the band has increased significantly on this album, where she acts as a significant supporting vocalist throughout as well as taking the lead at times.

The vocal arrangements are a bit more interesting this time, then, but the line-up changes have not significantly altered Fury's melodic heavy metal sound. They are rooted in traditional metal but occasionally throw in some power metal, thrash metal, and even some bluesy classic rock influences - allowing for a heavy and hooky sound. This sound is on show immediately via the fast-paced and hard-hitting title track, which is one of the best cuts here. Following a tease of the song's main riff, over which a big guitar lead is laid, the song takes off at something of a gallop with barrelling riff forming the basis of what is to come - with another guitar lead adding some melody. Jenkins has a fairly smooth voice for traditional metal, but he has enough character about him to lead the line nicely - and some big gang vocals during parts of the verses add some punctation and power. Jenkins' voice is actually where some of the power metal influences can be heard - with his smoother delivery and hooky vocal melodies straight out of the European power metal scene, although there are a few moments where he does sound a little grittier overall. The chorus is one of the best here, too, with long-held backing vocal notes and a call-and-response approach which allows Jenkins and the rest of the band to sing together in a powerful manner. Fenn's driving double bass drumming during the chorus gives the song real power, too, whilst a later guitar solo sections sees Jenkins and Atkinson harmonising well together at times. The song gets the album off to a great start - and I am sure that it will be a live favourite going forward. What's It Gonna Be? is another strong cut, and it slows the pace down - going for a mid-paced groove from the off. The song's main riff, which resurfaces throughout, is a powerful and memorable one - and the song is notable in the fact that it introduces Ifill as a lead vocalist here for the first time. She harmonised well with Jenkins on the opening track, and was prominent in the gang vocals and chorus counterpoints - but here she leads the line throughout. She has a powerful voice and just goes for it here - with strong pop hooks and memorable vocal lines characterising the track. The groovy verses see her strutting her stuff in fine fashion - whilst the chorus sees a smoother approach. Her and Jenkins are actually quite similar in tone, even if she is maybe a touch more powerful, but there is enough difference to make later duets interesting. This approach characterises party anthem On the Town, though, which ups the pace again and injects a slightly sleazy approach without going over the top. Jenkins sings the first verse, whilst Ifill takes over for the second one - whilst the chorus is sung together. Fury have not gone for an overdone beauty and beast approach here, which is welcome. Instead the two vocalists just use their power to rock through the fast-paced track - with the chorus vocal harmonies benefitting from this overall approach. Musically the song is quite straight forward, with a 1980s riff driving everything - with vibes of plenty of hair metal bands on display here. A more traditional metal filter has been put on everything, though, with a closing guitar solo and plenty of wordless vocal melodies keeping the song moving.

Don't Lie to Me opens with some more wordless vocal melodies, which continue even when the rest of the band kick in. There is something bluesy and soulful about these melodies, and this is a vibe that somewhat continues throughout the track without ever dominating. This is still a hard-hitting metal song after all, but there are bluesy grooves throughout - with a strong bass presence and snaking, choppy verses which see Jenkins singing in a somewhat grittier manner, contrasting nicely with the soaring power of Ifill as she takes over for the pre-chorus. Whilst Jenkins is a smooth singer, he does feel a little gritty compared to Ifill, which helps the two singers to contrast each other nicely, but largely the two just power through with tight harmonies and big hooks - as is the case during the chorus here which sees the two sing together during another quite strutting, bluesy passage which recalls Whitesnake somewhat, despite the metallic guitar tones. In Pursuit of Destiny slows things down following four pretty hard-hitting tracks - as it opens with some percussive clean guitar melodies, over which sparse drumming adds a little bit of a groove. The track does become much fuller as it moves along, and it does start to rock out, but the quieter opening is welcome - with both Jenkins and Ifill trading subtle vocal lines in a gentler manner than is typical. Once the band gets going properly, though, they return to their usual power - and there are moments here which feel quite cinematic thanks to riffing which allows a lot of space for more wordless vocal melodies to shine. These wordless sections are quite lengthy and act as one of the main hooks here - whilst a guitar solo section later on is also quite lengthy to allow for a mix of controlled and shredded leads. The band sound a little different here, but the dynamic approach is welcome - and this feels like the sort of song they could not have done without Ifill. Can't Resist (Gimme What I Need) takes a little while to get going properly, but once another big riff kicks in there is another groove laid down - and this is another song which has some metallic Whitesnake vibes at times. The later chorus is more power metal in tone, with the heavy side of Amaranthe perhaps a touchstone here thanks to the vocal interplay, but the verses are full of slithering grooves. Ifill allows her bluesy side to shine here - and her verse vocals here are full of sultry power. As has been the case on many of the songs here, both her and Jenkins share the vocals - and there are some great call-and-response sections which see the two singing close together in a typical duet manner. An aching guitar solo set against a fast-paced drum groove later builds on this blues feel, despite the metallic filter, and the song lumbers with 1970s power as a result. Walk Away opens with some clean guitar melodies, which actually follow on from the previous song nicely. These are not light-sounding melodies, with each hit of the strings sounding powerful - but the vibe does change when Jenkins and Ifill start to sing, as the electric guitars drop away to leave acoustic guitar chords. The two sing together, harmonising constantly, against this acoustic backing - but it is not long before the opening guitar melodies come back in, alongside some percussion, and there is a bit of a Wanted Dead or Alive feel created. The chiming clean guitar adds a little bit of a cutting edge, and it is fitting when the drums crash in in a more meaningful way and a soaring guitar solo takes over. The song certainly follows many 1980s rock ballad clichés, but it does them well.

Following the ballad, the band ups the pace again with Look at Us Now - with driving double bass drumming keeping things moving from the off. There is a little of the band's thrash influence on show here, but the song remains very melodic throughout thanks to some hooky guitar lines and the big vocals of Jenkins. He tends to dominate here, although Ifill can certainly be heard in the harmonies and throughout the chorus - but the verses are largely all him. The verses also feel quite stripped back compared to the band's usual approach, too, with the drums and Baldwin's bass creating the main backing for Jenkins' fast-paced vocals. Harmony guitar leads are later used, Iron Maiden style, to create a melodic mid-section, with the bass again providing the grounding, whilst a strong chorus and a busy closing guitar solo keep the pace up. DTR returns to a slightly bluesy feel, with a high-octane John Sykes-esque riff driving the song. The slightly sleazy vibes of On the Town are returned to somewhat here, but the blues edge is greater this time - with Ifill pushing that side of her voice again, whilst Jenkins adopts a sleazier tone akin to some of the big hair metal singers of the 1980s. The two trade vocal lines during the verses, whilst the punchy chorus sees them singing together - with snappy riffing and punchy drumming creating some powerful accents to the chorus' anthemic approach. Gang vocals are utilised throughout the song, too, which adds some further power - whilst the guitar solo section is full of shredded firepower which is fitting given the song's overall vibe. The album then comes to a close with Undistilled, another slower track but one which feels a bit fuller from the start than Walk Away. It is the bluesiest song here, and there is even some Hammond organ utilised to really lean into such a sound, whilst bands like Bad Company and, again, Whitesnake are referenced here. Jenkins adds a bluesy edge to his voice here, which works quite well, but I do feel that Ifill would have likely been better taking the lead here - as her few cameos demonstrate. Despite this, though, the song still works well. More wordless vocal melodies provide some strong hooks, whilst an emotional guitar solo really builds on the song's overall vibe and takes things further. The song is a great ballad of the sort that is being attempted - and it works well as an album closer despite it being quite different to much of the material here. It does speed up somewhat as it reaches the end, too, with Ifill vamping as the band speed up and more busy guitar solos are thrown in. This showcases the band's typical metal sound a bit more than the song as a whole - so there is a metallic edge as the album closes. Overall, then, Interceptor is a strong album. Many of the songs here sink in pretty quickly - but the album did take a few goes for me to fully appreciate despite the songwriting here being pretty typical. There is a lot more classic rock here than I expected, but its inclusion is welcome - and Fury are certainly a band who deserve to be heard more widely.

The album was released on 5th September 2025 via Mighty Music/Target. Below is the band's promotional video for Interceptor.