Testament's 'Brotherhood of the Snake' - Album Review

Testament are often seen by many thrash fans as the band that should really be added to the Big 4. While Metallica, Megadeth, Slayer, and Anthrax are without question the undisputed kings of the thrash metal genre, bands like Testament and Exodus are just as influential and really deserve to receive the same level of recognition as their more famous peers. Since forming in 1983, Testament have been remarkably consistent releasing eleven studio albums without ever really diving their core fanbase. While I cannot claim to be an expert in the band's catalogue, as I even never been anything more than a casual fan of Testament, the band do not seem to attract the same divisive attitudes as bands like Metallica have had over their career. A large gap between 1999 and 2008 aside, the band have been releasing albums at a fairly regular rate - none of which seem to really attract widespread hate. In a genre with fans as notoriously narrow-minded as thrash fans, this is a remarkable achievement. Testament, like many of their contemporaries, have had their fair share of line-up changes over the years, with many talented people coming and going over the years which has probably helped to keep thing fresh. Frontman Chuck Billy and guitarist Eric Peterson have formed the core of the and since Billy's arrival in 1986 however, and have driven the band's creative direction since the band's 1987 debut album The Legacy. Peterson is highly regarded as one of the best riff writers in the genre, and Billy's reputation as a diverse vocalist - he can go from powerful melodic singing to heavier pseudo-death growls with ease - has helped Testament become one of the most respected and loved thrash bands that are still touring and recording new albums. Lead guitarist Alex Skolnick, one of the band's founding members, has been back in the band for over ten years now and continues to impress with his shredding solos. His interest in jazz music helps him to craft solos that are different from those normally found in the genre, and has been a huge asset to Testament during their classic late 1980s/early 1990s heyday and their more recent ventures. These three men have come together once again to write Brotherhood of the Snake, the band's eleventh album and first since 2012's well-received Dark Roots of Earth. Drummer Gene Hoglan has remained with the band since that album's release, and has turned in another fantastic performance here. He is one of the best modern metal drummers, and his performance throughout this album shows why he is held in such high regard. Bassist Steve DiGiorgio, who played with the band between 1998 and 2004, returned to the band in 2014 and plays on his first Testament album since 1999's fan favourite The Gathering. Sound-wise, Brotherhood of the Snake is quite similar to Dark Roots of the Earth but seems to emphasise the faster side of their player a lot more. Juan Urteaga produces instead of Andy Sneap, but the result is overall quite similar.

The album gets off to a great start with the ferocious title track, which opens with a very memorable riff that owes a lot to classic 1980s heavy metal, before a more mid-paced verse kicks in with a rolling drum pattern and some crunching power chords. Billy displays huge variety throughout the song, with the vast majority being sung in his cleaner singing style, before really letting rip in a heavy mid-section with some rumbling growls that rival anything done any many of the leading death metal vocalists out there currently. The song's chorus is faster, recapping the riff of the intro, and provides one of the first real memorable moments on the album. The Pale King, which has an accompanying video which can you see below, is definitely somewhat more accessible with a great mid-pace groove led by a rather simple guitar pattern. Billy barks his vocal lines in a classic thrash staccato way (think early James Hetfield) which will be easy to sing a long with live. Both Peterson and Skolnick get chances to solo. Peterson takes the first, shorter, one which is backed up by a strange off-kilter drum beat that emphasises the shredding perfectly. The last third or so of the song takes on a slight grungier tone, with ringing guitar chords and some dark vocal harmonies to back up Billy's surprisingly light croon. Skolnick's solo is as explosive as you would expect, sitting atop an Iron Maiden-influenced chug for maximum power. With the first two songs on the album being largely mid-paced affairs, Stronghold really races out of the blocks with a classic thrash riff backed up by Hoglan's bouncy drums. Billy is one of the few thrash singers who manages to still be clearly understood even when singing fast-paced melodies, and this song is a great example of this. Heavier, slower sections are included throughout with some growled gang vocals which is sure to go down well when played live. Seven Seals opens with a great classic heavy metal slow riff, but soon explodes into something fast and furious. This is relatively short-lived however, as it soon descends into slower territory again with a methodical verse that hits you like a sledgehammer. DiGiorgio's bass really stands out, growling through despite everything else that is going on. Not all thrash music has to be fast, and this song is a great example of Testament slowing down but still writing a really memorable song. The chorus is fantastic here, and is a real melodic feast. Billy is not all about brutality, and he can really belt out something catchy and melodic when the song calls for it. Skolnick's solo is excellent too, with lots of whammy bar tricks and strange shredded sections which offset the clinical nature of the song's overall style. Born in a Rut has possibly one of the album's best riffs, but this is soon abandoned in favour of a strange-sounding verse that has that slight grungy feel that was flirted with earlier in the album. It works well though, and Hoglan's drumming has a slight jazzy bent to it which is a world away from his usual fast-paced playing. His fast footwork is used here too, with occasional bursts of real thrash energy. There's a lengthy solo from Skolnick too, which is another part of the song that speeds up.

Anyone worrying that there was not going to be much fast thrash on here just needs to listen to Centuries of Suffering for reassurance. This is a furious song, akin to early Exodus, with a pummelling main riff and a chorus that will get the blood pumping with throat-shredding harsh vocals. Peterson shows himself to be more than just a riff-maker with a great shredding solo early on in the song, but this song belongs to Billy. The song is mostly sung at the harsher end of his vocal spectrum, and the slight bursts of black metal-esque blast beats really make this vocal choice perfect. The pace never lets up here, and it is one of the most memorable songs on the album for that reason. Black Jack is similar, and really picks up from where the previous song left off. The blast beats are back too, and are used occasionally to really darken the atmosphere. It is not as relentless as the previous song however, with slower choruses which allow for a more melodic moment in an otherwise flat-out song. I have to say though the chorus lyrics are pretty awful, with more cliché gambling references than Motörhead's Ace of Spades! Neptune's Spear gets back to the more mid-paced dominated sound that was so prevalent on the first half of the album. I feel that Testament are at their best when they slow things down a bit, as it really brings the best out of the Billy's voice, and Peterson's riffs are usually packed full of natural groove which is brought out more when the pace is slowed somewhat. Skolnick's solo is right out of the neo-classical songbook here, with some excellent licks that are packed full of melody and technical skill. The drum beat keeps changing beneath the lengthy solo too, which helps to keep it interesting. Canna-Business, despite it's awful name, is another strong song that picks up the pace from the norm with some excellent thrashy riffs and drum patterns. The drug-promoting lyrics are somewhat predictable and annoying however, and I feel this subject has been done to death by countless bands by now. The real highlight is the guitar solos though, with both of the band's players getting a chance to spread their wings with lengthy shredded lines packed full of melody. The album's closing song The Number Game is one of the album's best, with possibly some of the fasted drumming on the album. Hoglan's foot speed is often ridiculous, and he has to be one of the fastest drummers on the planet at the moment. This is evident in the song's intro, with some bursts of extreme double bass playing that would make many of those who tried to play along look like fools. The song has an anthemic quality however, with lots of backing vocals in the chanted-style chorus. The song is a great mix of the band's faster playing style and the groove which I feel is their true forte. The styles mix well together well here though, and it is a great way to round out the album. Overall, Brotherhood of the Snake is a remarkably consistent album that shows Testament are still one of the best and most relevant thrash bands around. Age certainly has not slowed them down, and this shows the band sounding as good as they ever have done.

The album was released on 28th October 2016 via Nuclear Blast Records. Below is the band's promotional video for The Pale King.

Tygers of Pan Tang's 'Tygers of Pan Tang' - Album Review

No bands defines the New Wave of British Heavy Metal (NWOBHM) movement quite like Whitley Bay's Tygers of Pan Tang. Taking inspiration for their name from a series of novels by fantasy writing Michael Moorcock, and with an array of fantastic album covers featuring dangerous-looking tigers, Tygers of Pan Tang are the quintessential NWOBHM band. While many bands from this movement disappeared as quickly as they had arrived, the Tygers actually did quite well for themselves in the early 1980s. I doubt there are many metalheads out there who would dispute the fact that the band's first four albums are metal classics. Three of these four reached the Top 40 of the Official Album Charts, and showed a band that was constantly evolving. Their 1980 debut album Wild Cat is raw, in your face, and full of energy. This is what the NWOBHM movement was all about, and Wild Cat is as good an example of that energy as you will find. Spellbound and Crazy Nights, both released in 1981, are more streamlined and melodic releases. It is these two that best define the band's sound however, and contain some true underrated metal anthems. 1982's The Cage saw the band add more keyboards and AOR sensibilities into the mix which probably helped to widen their appeal somewhat but at the cost of some of their early fans. It is still a classic album however, but it was the last as numerous line-up changes and changes in the musical landscape saw the band come to an end in 1987. The band left behind a strong legacy however, and helped to launch the career of guitarist John Sykes who went on to find greater fame with Thin Lizzy, Whitesnake, and Blue Murder after leaving the Tygers in 1982. After a successful one-off reunion at Wacken Festival in 1999, founding guitarist Robb Weir reforming the band in 2000 and has continued to record and tour ever since. He is the sole original member left in the Tygers of Pan Tang and quite a few members have come and gone since this reunion. Drummer Craig Ellis has been with Weir since the 2000 reunion however, and has become a major songwriting force in the band contributing many of the lyrics to the new songs. Frontman Jacopo Meille has been in the band for over a decade now too, and his powerful voice certainly allows him to do justice to the band's classic material. Bassist Gavin Gray is a more recent addition, having joined in 2011, but has already made his mark in the band with plenty of contributions to 2012's excellent Ambush album, which was the band's 10th studio release. The release of this new self-titled album sees the addition of guitarist Micky Crystal (DeeExpus) to the band's line-up and his songwriting skills have been used to the max on this album. This new self-produced album certainly follows on from where Ambush left off, but adds a little more variety throughout to create a dynamic album that manages to sound fresh despite being built on a solid, reliable formula.

The album gets underway with probably the album's best track, the roaring rocker Only the Brave. This song is typical of the band's sound, and would not have sounded out of place on one of the band's classic early 1980s albums. New boy Crystal makes his impression felt right away with a riff that John Sykes could have written, and Meille shows his impressive vocal chops from the off. I would argue that this is his best performance on a Tygers of Pan Tang album yet, with a good mix of styles to suit different moods. The song's chorus is extremely catchy, and sees the pace of the song slow somewhat to allow the melodies to stand out more. A flashy solo really gets the blood pumping during the latter stages of the song, before a final reprise of the chorus hits home how strong this song really is. Dust is a much more clinical song, which moves along at more of a mid-pace with a collection of similar guitar riffs. The chugging verses, punctuated by riffs that are all variations on a central theme, are powerful and show the heavier side of the band's songwriting. The chorus is one that only grips hold after repeated listens. The harmony vocals help it to stand out however, but the melodies are more subtle than you might expect. Glad Rags is a feel-good party anthem that feels quite unlike anything the band have done before. The bluesy strut of the main riff and the bass-heavy verses bring to mind early Whitesnake. The song is packed full of groove with Gray's bass taking on a prominent role while Weir and Crystal's guitars dance around with blues licks and the occasional crunching power chord. The chorus is insanely catchy, with a real Black Crowes vibe, as Meille sings with a percussive accompaniment before the rest of the band comes back in for added power. This song shows a different side to the band, one that I do not think has really been seen much in the past and it works really well. Never Give In returns to the fast-paced NWOBHM of the opening number. Ellis' double bass drumming drives the song and the main guitar riff is razor sharp. This is not a song that is packed full of catchy melodies, but instead uses it's energy and power to hit you. It is relentless, and only lets up the pace for a short section in the middle. After a rocking start to the album, The Reason Why comes along and offers listeners a bit of a breather. The murky guitar driven verses are slow and methodical, with ringing cleaning guitar melodies and mournful leads that swell around beneath Meille's vocals. Singing in his lower register does not really suit him, but he still manages to turn in a convincing vocal performance, especially when he lets rip more during the harder rocking choruses. The perfectly phrased guitar solo is the perfect fit for the darker song, and helps this tune fit into an album that is dominated by rock.

Do It Again returns to the rock, and the early 1980s sound is back in full force. It is one of the best examples of that sound that the band have done for a while, and the nostalgic lyrics really help to fit in with the overall sound. The riffing is really solid here, showcasing the bond that Weir and Crystal have already built despite their relatively new working relationship. This song sums up Tygers of Pan Tang's sound throughout their career, and would be a perfect introduction for a new listener. I Got the Music in Me is a cover of the old Kiki Dee Band song from the early 1970s, which has been covered by many artists over the years. The song suits the band's gritty hard rock sound well, with Meille's vocals taking on a more ballsy feel than usual that emphasises the bluesy part of him. While there are many more songs that Tygers of Pan Tang could probably cover better than this, it proves to be a welcome addition to the album and does not feel out of place. Starting out with some delicate acoustic playing Praying for a Miracle has the feel of a ballad while still managing to rock out occasionally. The song's verses are slower, with acoustic guitar dominating the sound, while the verses rock out more with a catchy vocal melody to help drive the song. The guitar solo is probably the song's best moment however. The album's booklet does not credit who actually plays it, but Weir or Crystal really outdo themselves here with a slow, moody piece that is perfectly phrased and suits the song's overall mood. Blood Red Sky seems to be a bit of an attempt to be the album's 'epic', and it works to an extent. There is a slight progressive bent to the songwriting, with hard rock sections mixed in with moody atmospheric sections to a good effect. The chorus is very strong too, with a great screeching vocal performance and some really muscular guitar riffing that backs everything up. Lengthier songs have never been the band's forte however, and it is their punchier, shorter songs that make more of an impact. After the short acoustic number Angel in Disguise, which again is something different for the band, comes the closing number Devil You Know. Gray's skills are once again showcased, with a great rumbling bassline that drives everything while the guitars take on a more supporting role. Again, the song is a good example of the band's classic sound with a chorus that really catches the attention with strong melodies. You even get a tiger growl at the end to finish the album off with! Overall, Tygers of Pan Tang is a great modern-sounding NWOBHM album that showcases the band's sound. I am not sure it quite reaches the heights of Ambush, but there are no real weak links here with each song being at least solidly enjoyable. With interest in this kind of music slowly on the rise again, it will be interesting to see if this album is a success for the band.

The album was released on 21st October 2016 via Mighty Music/Target. Below is the band's promotional video for Only the Brave.

Marillion - London Review

Marillion have been one of my favourite bands for many years now. If you held a gun to my head and asked me to pick one overall favourite band, Marillion would probably be my choice. The diversity in their material and the emotional impact of their songs are the main reasons they would be my choice, and they are a band I will always return to. I was initially only familiar with their 1980s output, but seeing the band at the Cambridge Rock Festival in 2008 made me listen to the band's more recent work and I have not looked back since. An acoustic show in Cornwall's Carnglaze Caverns followed in 2009, and a full electric set at the 2010 High Voltage Festival was one of the weekend's highlights. My first 'proper' headline show was a disappointment. Sheffield's dingy Corporation is not an appropriate venue for a band of Marillion's stature and popularity to play and the place was far too overcrowded. The heat and the crush ruined the night for me, despite the band putting on a great show, and reactions on the band's forum following the show showed I was not the only one with these views. This was back in 2012, so four years have passed since my last Marillion live experience. The release of their new album Fuck Everyone and Run earlier in the year brought an inevitable tour with it though, so getting tickets was a priority for me. The band's London venue of choice these days seems to the the O2 Forum in Kentish Town. This is a fairly regular haunt for me too, as it seems to be popular with the larger melodic metal bands. It is a good-sized venue, with a decent sound system to match, meaning bands always sound great there. I do find it best to stand behind the sound desk however, as views from the pit can often be quite restricted.

Before Marillion however, the growing crowd were treated to just over half an hour of music from John Wesley. Wesley was a long-time sideman for progressive rock giants Porcupine Tree and has worked with Marillion's former singer Fish in the past, so it could be argued he fits into the wider extended Marillion family! I know that Wesley's solo material is quite popular among the progressive rock fandom, but his set did little to excite me. The fact that he was performing with a backing track did not help. He sung and played lead guitar live, but had more guitars, keyboards, bass, and drums on a backing track which he played on. I know that finances can often make touring as a band difficult, but I found the set to be extremely jarring as the vast majority of it was not live. I would much rather have seen him performing an acoustic set instead. That being said, he is clearly an excellent guitarist. His solos were easily the best parts of his set, and he shone during these moments. Overall however, his songwriting just failed to resonate with me and the manner in which the set was presented was strange. Not for me I am afraid.

It was around 20 minutes after Wesley's set finished that Marillion took to the stage, and the sold out London crowd were treated to well over two hours of the band's unique progressive rock. Many lengthy epics were played during the night, with The Invisible Man starting things off. It has never been my favourite Marillion song, but something about it seemed to click this evening. Frontman Steve Hogarth originally appeared on a screen singing the first part of the song, while the electronics and snake-like bassline from Pete Trewavas (bass guitar/vocals) filled the arena. Hogarth eventually appeared, guitar in hand, and sung the rest of the song conventionally as it builds towards a screaming climax which sees the whole band firing on all cylinders. A few punchier songs followed. Steve Rothery's (guitar) hypnotic guitar melodies heralded the arrival of Power, before Sounds That Can't be Made saw the first real crowd singalong of the evening. Hogarth and Mark Kelly (keyboards/vocals) were both at the keyboards for this song, and Rothery's soaring guitar leads that surface towards the song's end were sung by the crowd long after the song ended. Fantastic Place is a personal favourite of mine, with Hogarth's mournful piano and mumbled vocals creating a unique atmosphere, before Rothery's restrained leads add real colour throughout. It is one of the band's most emotionally-charged songs for me, and it is always a joy to hear it live. The final song in this suite of shorter numbers was Sugar Mice. The only Fish-era song played, the song became a huge crowd singalong moment, with Hogarth often holding out the microphone for the crowd to take over. The song contains one of Rothery's most recognisable guitar solos too, and watching him play it live was special. The highlight of the set for me however was a complete performance of The New Kings, the third epic on the band's new album. This was something I was looking forward to hearing, and luckily it did not disappoint. The images and videos projected onto the screen behind the band added to the atmosphere and one of the biggest cheers of the night came at the end of the song. The ending, anthemic part was particularly powerful live with Hogarth's theatrics and energy really bringing the song to life. The acoustic-led rock 'n' roll of Man of a Thousand Faces was a bit of an upbeat antidote in the midst of a set that was dominated by emotionally-charged numbers. Two such songs followed to close out the main set. King was another set highlight, with pictures of many musicians and actors who succumbed to their demons projected behind the band to further the song's message. Hogarth sings the song with real passion, and it made for a really raw and open performance. Neverland, as always, brought the main set to a close and the band went off to huge cheers. A length encore section followed, with a complete performance of El Dorado from the latest album really wowing the crowd. This song has everything that is great about Marillion in a neat 15 or so minute suite. The dark F E A R section is particularly powerful, with murky guitar melodies and dark vocals from Hogarth really working their magic on the crowd. The final number of the evening was This Strange Engine, a song which really harks back to the band's early days soundwise at times with a lengthy keyboard solo from Kelly that uses some great retro sounds. Hogarth's midi cricket bat made an appearance, and the song also saw him climbing atop the speakers to sing the from on on high. The epic song ensured the evening ended on a high, and the band left to rapturous applause from the Marillion faithful. The setlist was:

The Invisible Man
Power
Sounds That Can't be Made
Fantastic Place
Living in F E A R
Sugar Mice
The New Kings - Part I: Fuck Everyone and Run
The New Kings - Part II: Russia's Locked Doors
The New Kings - Part III: A Scary Sky
The New Kings - Part IV: Why is Nothing Ever True?
Man of a Thousand Faces
King
Neverland
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El Dorado - Part I: Long-Shadowed Sun
El Dorado - Part II: The Gold
El Dorado - Part III: Demolished Lives
El Dorado - Part IV: F E A R
El Dorado - Part V: The Grandchildren of Apes
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This Strange Engine

Overall, this was a fantastic show from a band that will always be a favourite of mine. I am happy that I finally got to see a great 'proper' headline show from a band I have liked for quite some time, and this managed to wipe away those memories of being hot in Sheffield! I will not have to wait as long to see the band again too, as I managed to get a ticket for the now-sold out show at London's prestigious Royal Albert Hall next year! I already have quite a few big gigs lined up for next year, and that is something extra to look forward to!

Blackberry Smoke's 'Like an Arrow' - Album Review

While southern rock is a genre that never really progressed beyond it's 1970s heyday, Atlanta's Blackberry Smoke have been a shining light for the genre over recent years. The UK, and Europe in general, was a bit late to the party when it comes to Blackberry Smoke. The band's third album, 2012's The Whippoorwill, was finally officially distributed over here in 2014 when Earache Records, a label that found it's fame with extreme metal bands in the late 1980s and early 1990s, picked them up. While I think their first two albums are still not officially available in stores in the UK, the country really seemed to embrace Blackberry Smoke. Sales of The Whippoorwill were strong, and a UK tour later on in 2014 saw big crowds flocking to see the band up and down the country. The band's first two albums are easy enough to get hold of online, and fans readily purchased them. The first three Blackberry Smoke albums are modern southern rock classics, packed full of heartfelt songwriting that brings to mind a less-heavy version of Lynyrd Skynyrd and more refined version of the Allman Brothers Band. The band's perfect mix of hard-hitting rock and more gentle country influences made the band standout, and allowed them to appeal to a wide range of people. Wanting to capitalise on this more global success, the band's fourth album Holding all the Roses (which I reviewed here) was released early last year. It was a commercial success, reaching the Top 20 on the Official UK Album Chart, but it was musically less interesting than what came before. It was an enjoyable album, but I find myself returning to less and less as time passes. The big-name producer (Brendan O'Brien) did little to improve their sound, and I felt the more streamlined approach on Holding all the Roses actually damaged the impact of the material. After all, southern rock is meant to be a little raw and dirty-sounding! Just over 18 months later and the band are back again with their fifth album, Like an Arrow, which has been self-produced by the band this time. I thought that this might mean a return to the band's harder rocking roots, but to my disappointment the country element of their sound has been amplified further here. We in the UK will never realise just how big and popular country music is in America, as it has never had the same success here, so in some respects I can understand Blackberry Smoke's decision to push themselves more in that direction, but I have a feeling this is alienate a lot of their newer European fans. Like an Arrow is not a terrible album, and there are some really good songs to be found here, but it is definitely the band's weakest album so far and has quite a few moments are just plain bland. It has been a commercial success however, reaching number 8 in the UK album charts, but I wonder how many of those people who bought it have ended up having similar views to me?

The album starts off well with Waiting for the Thunder, a hard rock number that is worthy of their early albums. Charlie Starr's southern twang sounds as good as ever, and Brandon Still's hammond organ gives the song a great retro rock vibe. The song is a mid-paced rocker, with Starr and Paul Jackson's guitars mixing together well to play the driving, chunky riff. Still shines further with a great organ solo midway through the song, something which he has never had many opportunities to do previously, and it really helps to lift the song to the next level. A simple, but memorable chorus, is the icing on the cake. This is as rocking as the album gets however, with many of the rest of the songs emphasising the band's country side. That being said, Let it Burn is still a really solid tune. Still swaps his organ for boogie piano this time, which drives the song with jaunty melodies and rhythms. In fairness, Starr's voice is probably better suited to songs like this than the hard rockers, and he turns in a great performance here, while his fingers churn out country-infused blues guitar licks over Jackson's solid riffing. His solos is great too, and shows that country rock can still be exciting. For a country ballad, The Good Life is pretty enjoyable. Starr plays some pedal steel guitar here, which helps to amplify the band's country side, but the verses are largely uninspired. They plod along without any real attitude, but the chorus helps to rescue the song somewhat with some gorgeous vocal harmonies and pedal steel swells. The band have done this sort of song much better before however, and overall it feels somewhat flat. What Comes Naturally is a decent country blues stomp, with a suitably raw sound all held together by Still's laid back bar room piano playing. The Turner brothers, the band's rhythm section, switch to an upright bass and percussion for the song, which helps to the sparse and raw feel. Slide guitarist Benji Shanks guests on the song for some tasteful slide playing, which certainly adds a lot to song. The main problem with this song however is it sounds almost exactly the same Ain't Got the Blues from The Whippoorwill. The vocal melodies and rhythms are almost identical, and the vibe is the same. Running Through Time is bland. It is one of those songs you can hear over and over again and not be able to hum a single part of it as soon as it is over. Nothing about this song sticks, as the melodies are so generic and lazy. Some of the keyboard work is good however, with both piano and organ used throughout to good effect. The extended jammed instrumental outro fails to deliver to, with the guitar playing sadly not standout out at all. The title track is up next, and we hear a crunchy rock guitar for the first time since the opening song. The raw bluesy intro riff is strong, and the song definitely packs much more of the punch the previous few. The verses are fairly low key, with swirling keyboards and a prominent bassline, but the choruses really soar with driving hammond organ and strong harmony vocals. Like an Arrow comes in as a real breath of fresh air after three songs that fail to really excite, and shows what the band is like when they choose to rock. The sloppy, southern rock feel here is excellent, and really hits home what a great band they can be.

Picking up where the strong title track left off, Ought to Know is another enjoyable song that channels country rock legends the Eagles somewhat. The guitar work is subtly intricate, with lots of little riffs and melodies playing off each other well, and the chorus has a great smooth feel with great harmony vocals and washes of organ. The song is not a high energy number, but is just very well written and contains lots of singable melodies. The guitar solo is excellent too, and ends with Starr and Jackson harmonising well with lots of strong bluesy licks. Sunrise in Texas is the only song on the album credited as being written by the full band (Starr pretty much has the monopoly on songwriting for Blackberry Smoke these days), so I would have expected more of a hard rocker. Instead what we get is another fairly bland country ballad. I do like the way it slowly builds up however, starting with acoustic guitar chords, and slowly moving towards a more 'rock' arrangement with lots of retro organ sounds and warm electric guitars. The chorus is actually quite good, but again you just get the feeling that the band have done this before, and done it much better. Ain't Gonna Wait is an acoustic-led number, but it is one of the more interesting songs on the album. Starr plays mandolin and Still plays accordion, which helps to add some different sound into the mix, and the overall acoustic shuffle of the song is memorable. There are some great bursts of bluesy electric guitar, with a fairly lengthy solo in the middle that is packed full of feeling. Songs like this show that the band do not always have to rock to be at their best, but that creative songwriting and feeling is much more important. Workin' for a Workin' Man is the last of the album three proper rocker songs (yes, only three) and shows the band at something close to their best. It reminds me quite a lot of a modern Lynyrd Skynyrd song, with a simple big guitar riff and a good mix of rock piano and bluesy organ. The chorus is really upbeat, and shows the band firing on all cylinders with a great vocal display from Starr and some tight guitar riffing. A short, but sweet, solo adds a lot to song and it just makes you wish there were more songs like this on the album. Believe You Me is actually a fairly decent tune, but does not sound much like Blackberry Smoke! It opens with a funky-sounding riff, that owes quite a lot to bands like Chicago, and this vibe is carried on throughout. Bassist Richard Turner is the star of this song, with lots of intricate basslines to sink his teeth into, and his instrument is prominently placed in the mix to really bring the grooves out. The album's closing number, Free on the Wing, is a really nice ballad. Co-written by Still, the song is understandably keyboard driven with a bluesy piano riff driving everything. Genre legend Gregg Allman is featured here on vocals along with Starr. The pair duet on the verses and harmonise nicely on the choruses. This is easily the best ballad on the album, and manages to rank up there with some of their efforts from the past. It ensures the album ends on a high, and helps to wipe away the memories of some of the bland moments. Overall, Like an Arrow is an album that fails to live up to the high standards Blackberry Smoke have set themselves on previous works. While there are enough good songs here to make it worth owning, it lacks the spark and heart of their earlier works. I hope their next album is an improvement.

The album was released on 14th October 2016 via Earache Records. Below is the band's promotional video for Sunrise in Texas.

Eden's Curse - London Review

November 2016 I shall remember for a long time! I have not had a single weekend at home at all, as I pursued my hobby of catching as many excellent bands live as I could. I have been rather tired all month as a result, and my bank account has inevitably taken a hit, but it has all been worth it. Closing out this November marathon was Eden's Curse, a multinational melodic rock/metal band based in the UK who I have really taken to over the past couple of years. I saw the band in 2014, at the Underworld in Camden, and since then have listened to them regularly. Their fifth album Cardinal was released last month, and a short UK tour was announced to promote it which wound up in London, again at the Underworld. I got tickets for this as soon as it was announced, as they are not a band that plays live that regularly so opportunities are there to be taken! The added bonus of Sheffield-based hard rockers COP UK as one of the support bands made the decision to travel up to London for this gig an easy one. Camden's Underworld is one of my least favourite venues, and always venture there under duress. That being said, the whole venue seemed much cleaner this time around, and the toilets seem to have been totally renovated. They were truly disgusting before, and that change has really helped this place seem much better. When I return to the venue in February to catch Firewind I will not be filled with quite as much dread! Size-wise however, it is perfect for a band like Eden's Curse. The turnout for the show was not great, with probably no more than 100 people in the venue at any one time. This was a shame, but Sirenia playing in Islington probably had an affect on the crowd size, but the atmosphere was still great throughout as everyone in attendance were die-hard Eden's Curse fans.

Before Eden's Curse and COP UK's sets, the crowd was treated to a good set from progressive metal act Evolve. When the Swiss rockers hit the stage, there was barely anyone in the venue, but they gave it their all and made the most of their 30 minute stage time. Sound-wise, I found them to be similar to Jørn Lande's solo work, but with more keyboards and more progressive arrangements. The heavy mid-paced riffing and the low-register powerful vocals were present though, and the band impressed somewhat with their solid material. While lots of individual parts of their songs stood out, I did feel that the overall melodies and impact were not as strong as the band's suggests. Their is certainly a lot of potential in this band, with their vocalist and keyboard player especially standing out a great musicians, but some tighter arrangements and a greater focus on melody will certainly help them to reach the next level.

COP UK are a band I have paid for to see them as a headline act. Their excellent show in Sheffield in January got my gigging year off to a great start, and the album they launched that night, No Place for Heaven, will probably end up in my Albums of the Year list come next month. This was my fifth time seeing the band in total, and despite the short set they managed to whip up a real storm with their melodic hard rock sound that just gets better and better. Opening with The Core from the new album really sets the tone for their set, as it contains one of their best choruses yet and frontman Dale Radcliffe really gets into live. He managed to whip up quite a lot of excitement with the now-larger crowd and I am sure the band made a few new fans with this performance. Now seemingly back to a five-piece, without rhythm guitarist Andrew Mewse, this allowed Henning Wanner's (keyboards/vocals) to become more prominent in the mix. I think I actually prefer this configuration of the band, and the material benefits from a smoother overall feel as a result. Charles Staton (guitar/vocals) is more than capable of handling all of the guitar duties too, with plenty of excellent riffs and solos coming from his fingers throughout their set. My Blood, also from the new album, was the highlight of the set; before the ballad-like Love Is to Die For from the band's previous album provided some light in a set dominated with hard rocking shade. When the Edguy-like Stranger Than Fiction was played I assumed that was to be the end of the set, but they had time for one more. Journey's Separate Ways (Worlds Apart) might not have been the most obvious choice of songs for a band like COP UK to cover, but they owned it and turned it into a heavier rocker than the original, although Wanner's keyboards still dominated with that iconic intro riff! This was a triumphant set from a band that have had probably their best year to date, and I look forward to what they come up with next. The setlist was:

The Core
Body and Soul
My Blood
Love Is to Die For
Catch Me if You Can
Stranger Than Fiction
Separate Ways (Worlds Apart) [Journey cover]

A few bands would have had trouble following COP UK, but Eden's Curse are no slouches and came roaring out of the blocks and played for well over 90 minutes delivering a classy and powerful performance. Cardinal is a hard-hitting album, and Prophets of Doom proved to be an excellent opening number with Thorsten Koehne's (guitar) slightly thrashy riff and John Clelland's propelling drum pattern. Frontman Nikola Mijić has really grown into his role since the show over two years ago, and he now commands the stage. His English is much improved too, and his interactions with the crowd are on another level to the previous time. With five albums now under their belt, this show felt like a best of set, with the five songs played from the new album being given as much of a warm welcome as the old favourites. Masquerade Ball, which has one of the band's best choruses, was the highlight of the early part of the set with the heavy new number The Great Pretender coming a close second. Christian 'Chrism' Pulkkinen (keyboards/vocals) drives the song with a playful keyboard riff, and the whole song just has a great Dio vibe throughout. Being the last night of the tour, the whole evening had a great party atmosphere, with the members of the support bands often joining the crowd to sing along and enjoy the show. COP UK's Radcliffe seemed to be particularly into the set, but I am not sure where the 'I want to do a poo at Paul's house' joke came from? I assume this must be a tour in-joke, and Radcliffe seemed intent on shouting this loudly and often at the amusement of the band and crowd. 'Paul' of course is Eden's Curse founder Paul Logue (bass guitar/vocals) who led his band through a great set on what has seemed to be a very successful UK tour. There was not a bad song played all evening, with Unconditional from the new album seeing Mijić duetting with a lady called Helen Hurd who had a powerful voice to match the material given to her. Jericho, which is one of my favourites from the new album, came across really well live, with the powerful chorus really hitting home live. The main set came to an end with Unbreakable and Evil & Divine, both from the last album, and the crowd were baying for more as the band left the stage. It was not long before the band were back however, with the progressive metal of Symphony of Sin getting things back underway, before the party really stepped up a gear. A cover of AC/DC's Highway to Hell was played, with members of COP UK and Evolve joining the band on stage for a great ensemble performance. COP UK's Kev Tonge took over from Clelland on the drums towards the end, which allowed Clelland to come to the front of the stage and throw his drumsticks into the crowd. I caught one, something which I have not done for ages! With the madness of this stage invasion over, there was time for the band's classic track Angels & Demons to get an airing which ensured the show ended on a really strong note. Hurd again duetted with Mijić, and the whole band rocked to the very end. The setlist was:

Prophets of Doom
Masquerade Ball
Black Widow
The Great Pretender
Fly Away
Find My Way
Break the Silence
Unconditional [w/ Helen Hurd]
No Holy Man
Judgement Day
Jericho
Sell Your Soul
Unbreakable
Evil & Divine
-
Symphony of Sin
Highway to Hell [AC/DC cover w/ members of COP UK and Evolve]
Angels & Demons [w/ Helen Hurd]

Overall, this was a stunning gig from a band that more people really need to hear. Nothing beats a great show in a small venue where you can get right to the front with ease and where the atmosphere is as good as it was at this show. The band came out to the merchandise desk as soon as they left the stage too, so I got my copy of Cardinal signed which was a great bonus to the evening. This was one of the best small gigs I have been to in a good while, and it is shows like this that remind me why I often travel many miles to see bands play live.

Alter Bridge - Nottingham Review

As far as modern hard rock goes, there is no bigger band out there at the moment it seems than Alter Bridge. They are a band that has well and truly put the effort in, with lots of touring throughout their career, and they have released a solid discography to back this up. The band's fifth album, The Last Hero, which was released last month seems to be a culmination of everything the band have done up until this point. The more upbeat rock anthems of their early days and their darker modern material have been fused together well, to create a complete and interesting hard rock album. I first saw the band back in 2010 at the Hammersmith Apollo when they were on tour supporting AB III. Since then, the band have become an arena-filling act, and this current UK run is their third arena tour of the UK. I last saw the band in 2013, also in Nottingham, supporting the Fortress album. The Motorpoint Arena, or Capital FM Arena as it was then, was pretty full with a good few thousand people in attendance. I would say that the crowd was even bigger this time, with very few of the sections of seating curtained off, and the crowd on the floor was plentiful. It is great that a band like Alter Bridge can become an arena-filling these days, and goes against the commonly-held view in the mainstream that rock is dead. As with the vast majority of arena tours these days, Alter Bridge topped a rather extensive bill. The variety of acts on display was good, and it is the diversity of bills like this that help get people through the door.

Opening up the show was New Zealand's Like a Storm, a band who's music mostly fitted into the tried and tested post-grunge formula. They were only on stage for about half an hour, but they managed to impress me with an energetic show, despite their music being fairly generic. The songwriting was tight however, with plenty of strong vocal melodies throughout for frontman Chris Brooks to belt out for the growing crowd to enjoy. While most of the set was guitar-based, some sections of the songs used a didgeridoo which helped to showcase the band's cultural heritage and add a different vibe to a well-established rock sound. The tribal instrument added a certain dark, rumbling atmosphere to some of the songs and helped the band to stand out from the crowd. A weak and unnecessary cover of AC/DC's TNT was the low-point of the set, with their own original material sounding much more inspired and energetic. Overall, Like a Storm went down well and I imagine we will be hearing more from them in the future.

The French progressive death metal band Gojira have been on my radar for nearly ten years now, as I first saw them supporting Trivium back in 2007. They are a band I have never really got into though, as I struggle with the whole 'tech metal' scene and have always failed to find much melody in their music. I own a couple of their albums, and caught a few songs of their set at Bloodstock earlier in the year, but for various reasons the band has just never struck a chord. Things might be about to change however, as this short support set in Nottingham was fantastic! It helped that the sound for their set was pretty much perfect, with the instruments all standing out perfectly, along with Joe Duplantier's (vocals/guitar) voice. This time the band's immense riffs really stood out, as did Mario Duplantier's drumming. Bands like this need to have a great live sound, and I think that really helped me to enjoy their set. There seemed to be lots of Gojira fans in the crowd too, with lots of t-shirts around and plenty of people near me seemed to know their songs. This is clearly another band that is on the rise, and are here to stay in a big way. They really stuck out like a sore thumb on this bill however, and I wonder how Alter Bridge's more conservative fans found them? I shall have to dig out the albums of theirs that I own and listen to them again, as I might be finally starting to 'get' Gojira.

Volbeat on the other hand were fairly dull. They seem to be quite a big band these days, but I have to say that I really do not get the hype. Bills like this are a good opportunity to see bands that you would not go and see otherwise, and I went into Volbeat's set with an open mind and hoped to be impressed. While I think some of the band's riffing is excellent, I find Michael Poulsen's (vocals/guitar) voice to be quite weak and his vocal melodies very unmemorable. Their songs never seem to really amount to anything, with choruses that just do not pack a punch and very little true energy despite quite a few faster songs. They were on stage for about an hour too, so by the end of their set things were starting to drag quite a lot. I must be in a minority however, as there were plenty of people around me enjoying their set and singing along with passion. Volbeat are just not for me it would appear.

When the lights went down for Alter Bridge's set, the venue erupted. Arena shows are always great for big crowd reactions, and there was plenty of that throughout Alter Bridge's 90 minute plus show. Opening with The Writing on the Wall from the new album worked well, as it has a great sing-a-long chorus that was the first of many throughout the evening. Despite this being the The Last Hero tour, all of the band's five albums were well-represented throughout, although I am surprised that not more from the new album were played. It is hard to to argue with the choice of songs played however, as chorus after chorus and riff after riff filled the large Nottingham venue. The only song that I felt failed to excite was the clunky Farther Than the Sun, which has never been a favourite of mine. Addicted to Pain and Ghosts of Days Gone By soon erased all memories of that song away however, before the heavy Island of Fools from the new album saw quite a lot of headbanging. Alter Bridge are a very professional band, with little time in their set for crowd interaction. Myles Kennedy (vocals/guitar) took a few opportunities to talk, but they mostly let the quality of the songs fuel their performance. Guitarist Mark Tremonti stepped up to the microphone to sing the excellent Waters Rising, which also features a great guitar solo from him. I felt a bit sorry for Tremonti throughout the set however, as many of the songs chosen were ones that Kennedy takes the solo in. It did feel strange seeing one of the best modern rock guitarists relegated to a glorified rhythm player for large chunks of the set, but when he did solo he really let rip! Crows on a Wire, one of the best songs from the new album, went down really well; before Kennedy's acoustic rendition of the ballad Watch Over You saw the biggest crowd sing-a-long of the night. This generation's Free Bird, Blackbird, also really impressed with the two guitarists both having ample chance to solo. This is probably the band's defining song, and it is always a joy to hear it live. A couple of old-school songs from the band's debut album finished things off, with Open Your Eyes proving to be a strong closing statement. There was time for more of course, and the anthemic Show me a Leader from the new album went down a storm. Predictably, Rise Today was the closing number and gave everyone a last opportunity to sing and jump along with Alter Bridge. The set ended on a high, and the large crowd sounded their appreciation as the band left the stage. The setlist was:

The Writing on the Wall
Come to Life
Farther Than the Sun
Addicted to Pain
Ghosts of Days Gone By
Cry of Achilles
Island of Fools
Ties That Bind
Waters Rising
Crows on a Wire
Watch Over You
Isolation
Blackbird
Metalingus
Open Your Eyes
-
Show me a Leader
Rise Today

Overall, this was a masterful display of stadium rock from one of the modern masters of the genre. Alter Bridge continue to go from strength to strength and have the potential to become real legends of the genre. They are the classic rock band of the future, and performances like this will only help to cement this status.

Eden's Curse's 'Cardinal' - Album Review

I was pretty late to the party when it comes to Eden's Curse. It was not until around 2014 that I got into the UK-based multinational band, despite being familiar with their name for a while. The band's fourth album Symphony of Sin had been released the previous year and had heralded a new dawn for the band. The band's namesake and frontman Michael Eden left the band in 2011 after the release of the excellent Trinity album and, despite a brief flirtation with Italian singer Marco Sandron which produced the Time to Breathe single, was eventually replaced in 2013 by Serbian Nikola Mijić. Mijić made his debut with Eden's Curse on Symphony of Sin, which was less heavy than the band's previous three albums and showed more of an 1980s melodic rock/AOR influence than before. Founding members guitarist Thorsten Koehne, bassist Paul Logue, and drummer Pete Newdeck - along with newcomers Mijić and keyboardist Steve Williams - found Symphony of Sin to be a hit with the band's fanbase, and the excellent UK tour in 2014 featured a lot of it in the setlists. Eden's Curse have always been a hard band to classify. They almost perfectly straddle the line between hard rock and heavy metal without clearly being either. They are a big melting pot of influences, with elements of classic rock, AOR, power metal, and even sometimes progressive metal all thrown together to create a classy and melodic songs. Melodies are always key with Eden's Curse, with the vocals always taking prominence, and instrumental showboating kept to a minimum. That being said, Koehne always has plenty of opportunities to solo but his playing is always for the song and never outstays it's welcome. Three years on from Symphony of Sin the band have released their fifth album. Cardinal. The AOR elements that dominated Symphony of Sin remain, but combined more with some of the heavier elements the band was originally known for. As seem to be customary for the band now, this album sees some line-up changes. Newdeck left the band not long after the release of Symphony of Sin and was replaced by John Clelland (Code of Silence). He makes his debut on an Eden's Curse studio album (although his playing can be heard on the live album Live with the Curse which was recorded in 2014) along with new keyboardist Christian 'Chrism' Pulkkinen (Epicrenel; Adamantra; Simulacrum) who replaced Williams earlier this year when the latter left the band to resurrect his power metal band Power Quest (who released an EP called Face the Raven earlier this year). Both of the band's new recruits add to the band's overall sound, with Chrism standing out the most with plenty of fluid keyboard solos throughout. The keyboards generally seem much more prominent, with more noticeable leads and solos than on any other Eden's Curse album. Despite leaving the band, Newdeck, who has a great songwriting chemistry with Logue, has co-written the vast majority of the songs here as well as providing some backing vocals. This ensures that the band's core songwriting team has remained on board which means the high quality of the material here is ensured.

While Symphony of Sin opened with a lengthy piece showing the band's slightly progressive side, Cardinal opens with the power metal of Prophets of Doom, which is more reminiscent of how the band's older albums began. Koehne's tight guitar riff drives the song, while new drummer Clelland immediately makes his mark with some double bass drumming to match. Fans of the band's older sound will love this, with Mijić adding a little more bite to his vocals which make him sound a little more similar to his predecessor. Mijić sounds fantastic throughout this album, and has grown more into his role since last time. His showcases more range here, and this song is a perfect example of that with a lower register employed during the crunchy verses, before letting rip in the chorus in a call-and-response style with the choral backing vocals. Those who enjoyed the overall lighter tone of Symphony of Sin will enjoy Sell Your Soul, which has a video that can be seen below. The upbeat AOR vibe of the song is ridiculously infectious, with a bouncy guitar/keyboard riff that continues to resurface throughout, and prominent keyboards throughout providing pomp flourishes. The song's chorus is the first real sing-a-long moment of the album. A tougher mid-section provides some weight, before an instrumental workout ensues that sees Koehne and Chrism trading solo sections perfectly. The two already have a great chemisty, and the latter proves to be a great foil for the founding guitarist. With a sledgehammer of a main riff that would not have been out of place on a late-era Dio album, The Great Pretender packs a real punch as it moves along at a solid pace. Logue's bass is nice and high in the mix here, and really helps to anchor the main riff, as Chrism's main keyboard riff dances over the top (think Rainbow in the Dark but less cheesy - the Dio comparisons continue!). Another great chorus dominates the song, with Mijić's expressive vocals really shining here. This is a song that perfectly mixes the band's heavier early sound with the more overtly melodic path forged on Symphony of Sin, and shows that this mix of styles really benefits the band's sound overall. Those who want something a little heavier need look no further than Messiah Complex, which has a fast, modern Helloween sound with a slightly thrashier riff and plenty of double bass drumming. The tight verses are excellent, with Mijić's vocals (on a song he has co-written) having some real venom to them. As is with most Eden's Curse songs however, the chorus still manages to soar, with a tinkling keyboard riff that works as a great contrast to the darker guitars. The mid-song solo section is one of the album's best too, with Koehne and Chrism playing off each other perfectly with speedy and flashy lead runs. Find my Way is much more keyboard-dominated, with lots of electronics in the song's intro, before piano takes over for the verses. The song is a bit of a power ballad, but some sections of heavier riffing stop it from becoming too twee. The chorus is very theatrical, with a hint of Tobias Sammet's writing style for Avantasia, with lots of backing vocals and a good helping of melodrama. It provides a good contrast to the heavier material that has come before it, and shows a different side of the band's writing. Kingdom of Solitude is a song that definitely shows the band's love of all things Dream Theater. The riffing here is very technical, and the mix of sections that are pasted together works really well. Chrism's keyboards have plenty of chances to shine here too, with lots of stand-out riffs. This is easily the most progressive song on the album, and it packs a lot into a short space of time. While Chrism owns the main parts of the song with his glue-like keyboard playing, Koehne solos alone this time which gives him more chance to breath and stretch his wings with lots of excellent licks.

Co-written by ex-keyboardist Williams, it is unsurprising that Utopian Dreams is extremely keyboard heavy. Chrism takes this in his stride, and nails the opening riff with ease and provides a synthy halo for the rest of the song. Comparisons can be drawn to Power Quest's melodic style, Williams' songwriting style is quite recognisable, but the song has more of a grounding in hard rock than that band. The chorus is fantastic as always, with Mijić's vocals really standing out and proving what a find he was for Eden's Curse. Those who want a bit of a throwback to Symphony of Sin will love This is Our Moment. It is much lighter in tone than much of the material here, with a bouncy main riff and a subtle symphonic keyboard backing which adds real depth. It is certainly one of the album's least interesting songs however, with a chorus that never really gets going and fewer standout melodies. That being said, Chrism's lengthy keyboard solo is excellent and shows what an asset keyboards can be to rock and metal bands. Even many bands who use keyboards quite liberally rarely allow their keyboardist to solo, and this is something I would like to see more of in the genre. Rome's on Fire restores the album's quality with a great heavier song with a crunchy riff and some excellent drumming. Koehne really owns this song however, with lots of short bursts of shredding lead guitar throughout, and a fantastic little verse lick that really makes this part of the song stand out. Not to be outdone, Chrism performs something similar during the choruses which creates a link between the two parts of the song perfectly. Koehne shreds during the short solo too, with a great neo-classical theme throughout. Unconditional, which features the angelic voice of Liv Kristine (Theatre of Tragedy; Leaves' Eyes) duetting with Mijić, is the album's true ballad. Kristine's voice is so distinctive, and she joins the impressive list of vocalists to guest on an Eden's Curse album. The two voices compliment each other perfectly, and the call-and-response style brings out the best in each of them without one person dominating. Kristine tends to take centre stage in the song's chorus though, and lets her shimmering vocals just wash over the listener. Koehne's spacey guitar solo has something of John Sykes' on Whitesnake's Still of the Night about it, which fits perfectly for this more atmospheric song. Two heavier songs bring the album to a close, with Saints & Sinners up first. The lightning-fast keyboard intro again has a strong power metal vibe, but the song overall is much tougher than that with a crunching guitar line that dominates the verses, and this mood carries on throughout. Clelland's drumming is pretty heavy here too, and little bursts of double bass drumming really propel the song along. The chorus is strong too, with a great use of backing vocals to create a big sound. The album's closing number Jericho is great, and sounds a bit different to everything else on the album with a bigger symphonic feeling with orchestral keyboards throughout that overshadow everything else. Mijić's voice is smooth here, which shows another side to his singing, and the dramatic chorus is boosted by the soaring vocal ending. Overall, Cardinal is an album that showcases everything that has made Eden's Curse great in the past packaged into one album. It is probably the band's most consistent work so far, and contains some truly excellent songs. This is a band that deserves to be heard by more people, so anyone who is into good quality melodic hard rock and metal need to give this quintet a go.

The album was released on 14th October 2016 via AFM Records. Below is the band's promotional video for Sell Your Soul.