Alcatrazz's 'Born Innocent' - Album Review

Alcatrazz, despite a list of its alumni including a number of well-known and well-respected musicians, never really broke into the 1980s hard rock and metal scenes in a big way. While the band can certainly be credited with launching the careers of both Yngwie Malmsteen and Steve Vai, both of whom are now considered top-tier guitar heroes, Alcatrazz always flew somewhat under the radar. The band was formed by frontman Graham Bonnet in 1983, who was thrust into the hard rock world in 1979 when he replaced Ronnie James Dio in Ritchie Blackmore's Rainbow. The sole Rainbow album he appeared on, 1979's Down to Earth, showed that the former pop singer had the pipes to cut it in the rock arena - and Bonnet has never looked back. Joining Rainbow certainly changed Bonnet's career trajectory, but his association with Blackmore lasted only a year and by 1980 he was out of Rainbow and trying it again on his own. 1982 saw a brief flirtation with another guitar hero in the form of Michael Schenker when he appeared on the Michael Schenker Group's third album Assault Attack, but his association with MSG quickly came to a grinding halt when he drunkenly exposed himself on stage at a concert in Sheffield at the beginning of the Assault Attack tour. Clearing having had enough of playing second fiddle to established guitar heroes, Bonnet formed Alcatrazz - his own hard rock band that he could lead and be in charge of. I think it is fair to say however that, despite releasing three strong albums between 1983 and 1986, Alcatrazz probably never really worked out in the way that Bonnet planned. The band's debut album, 1983's No Parole from Rock 'n' Roll, featured a young Malmsteen who left in 1984 to form his successful solo vehicle Rising Force; and 1985's Disturbing the Peace featured a young Vai replacing the Swedish shredder who again left the following year to join up with David Lee Roth. Bonnet could not keep hold of these rising stars, and sadly the band broke up in 1987 - a year after releasing their third album Dangerous Games featuring the relatively unknown Danny Johnson. Bonnet mostly concentrated on his solo career following Alcatrazz's demise, but did resurrect the name again between 2006 and 2014 however when he toured under the name with a whole new group of musicians. This 'reunion' produced no new material however, but a one-off show that featured three of the band's five original members in 2017 prompted Bonnet to once again resurrect the Alcatrazz name last year. Joining Bonnet in the modern Alcatrazz are founding members keyboardist Jimmy Waldo (who had been playing in Bonnet's solo band for a few years prior to the reunion) and bassist Gary Shea; along with new recruits guitarist Joe Stump (The Reign of Terror; HolyHell; Raven Lord; Tower of Babel) and drummer Mark Benquecha - the latter of whom had also been playing in Bonnet's solo band. The result of this reunion is the fourth Alcatrazz album, Born Innocent, which was released last month. Looking at the album's booklet however, I do wonder whether the album started life as a Bonnet solo album and was re-branded as an Alcatrazz album when Shea came on board part way through its making. This is not much of a band effort at all, with lots of guest musicians credited throughout. Much of the bass playing on the album was actually done by Don Van Stavern (Riot V), and there are lots of guest guitarists here too. Chris Impellitteri, the late session king Bob Kulick, and Dario Mollo all feature extensively throughout the album, both in performance and songwriting capacities, which take away from the band feel of the album - but do help to contribute to what is still a varied and enjoyable old-school hard rock album.

Anyone who is familiar with any of the previous Alcatrazz albums, along with Bonnet's work with both Rainbow and MSG, will instantly feel at home when Born Innocent kicks off with its hard rocking title track. The album is, on the whole, guitar and keyboard-based hard rock in the old-school Deep Purple/Uriah Heep vein and the title track is a perfect example of that style. Written and featuring Impellitteri; who Bonnet has worked with previously, most recently on Impellitteri's 2002 release System X; the song opens up in a flurry of notes - with Benquecha's furious double bass drumming and Impellitteri's shredded neo-classical licks. There are certainly shades of Malmsteen in Impellitteri's performance here, but overall the song sticks to a tried and tested formula. The verses hit hard, with Benquecha's pacey drumming setting the tone and Waldo's dense Hammond organ providing a halo around the whole piece. Bonnet, who has received his fair share of criticism in recent years, sounds strong throughout most of the album. There are cracks to be found, but on the whole he sounds powerful and instantly-recognisable. His soaring performance during the chorus recalls some of his MSG work of the past, and the song is a memorable opening number because of his enthusiasm. Polar Bear is similar, but it takes on more of a mid-paced crunch to recall some of the harder-hitting tracks found on Down to Earth. There are no guest guitarists here, which means that Stump actually gets to shine with some great Blackmore-esque guitar leads - as well as displaying his muscular side with a riff that locks in nicely with Van Stavern's bass and Waldo's Hammond. It is a powerful track that once again shows that Bonnet has a lot to offer vocally, while providing some great old-school sounding hard rock. Finn McCool, featuring Japanese guitarist Nozomu Wakai (Destina) who also co-wrote the track, picks up the pace and leaves the old-school hard rock sound behind somewhat. Wakai, who is more of a metal guitarist, has plenty of Firewind's Gus G. about his playing style throughout, and the song has a gritty power metal vibe as a result. Waldo's keyboards are less prominent here, with Wakai's fast-paced riffing dominating - while Benquecha crashes away behind his drum kit. One thing that is clear from the album's opening three numbers is that Bonnet still has the knack for crafting a catchy chorus; but the effort in Finn McCool might be the best of the album's early offerings. It is a powerful, melodic moment that perfectly fits with the song's more furious nature - providing a contrast to Wakai's power metal-esque riffing. We Still Remember opens slowly, but soon morphs into another mid-paced crunchy hard rocker; with guitars from D Kendall Jones. Despite the crunch throughout, this is easily the least-heavy of the song featured so far. The guitar work is quite tough, but it is somewhat mixed into the background which really allows Waldo to shine. His synths are quite prominent throughout, and there are a few lead breaks that feature him rather than a traditional guitar line. That being said however, Jones still gets to show off with another neo-classic style guitar solo part way through the piece, but in many ways this is Waldo's song with the amount of keyboard work on display.

London 1666 finally turns the spotlight back on Stump, who wrote the song with Bonnet's manager Giles Lavery. While it is nice to hear lots of different guitarists throughout the album, Stump is a talented-enough player in his own right. It is a shame that he does not truly get to shine on his first Alcatrazz album - but on the songs that he does play on he showcases his talents well. London 1666 recalls MSG songs like Desert Song and Samuari - with a heavy, brooding atmosphere and a strong Bonnet vocal. In fact, this might be the song here that features Bonnet's best performance. There is a bit more grit to his delivery here, which really suits Stump's staccato riffing and the big Hammond backing. This is ironic considering London 1666 is the only song on the album that Bonnet did not co-write. Dirty Like the City also features Stump, but the song itself was written by Vai. Vai did not contribute to the recording of the album, but responded to Bonnet reaching out with this trashy, 1980s throwback piece that easily could have sat on Disturbing the Peace. There is a bit of a hair metal feel to the song at times, but there is still plenty of weight to it too - thanks to Stump's tougher take on the riffing and the retro organ sounds. Disturbing the Peace is easily the flashiest Alcatrazz album, and Dirty Like the City certainly taps into that vibe. Vai clearly turned his internal clock back when writing the track, and as a result it feels like a long-lost Alcatrazz classic. I Am The King is a Kulick co-write, who also laid down the song's rhythm guitars, and it instantly gets back to the weight that characterises most of the songs here. The previous song was a rare deviation into flashier territory, but Kulick reinforces the modern Alcatrazz heaviness here with some metal-esque riffing. It is not one of my favourite cuts here, but on repeated listens it certainly opens up. The slow, epic chorus hits home after a few goes, and Stump's neo-classical solo is not as furious as some of the efforts here to allow each note to shine. Something That I Am Missing is similar, and is the first song here to feature Mollo - who used to be one of Frontiers Records regular songwriters and has worked with former Black Sabbath frontman Tony Martin on and off over the years. Unsurprisingly, this track is somewhat heavier than many of the other efforts here. The riffing throughout is slower and heavier, with Waldo filling in many of the gaps with some dense keyboard work. Heavier does not necessarily better however and, while the riffing and keyboard work is strong throughout, Bonnet does sound a bit strained here. While some of the songs here feature a gritty vocal from him, this song showcases his limitations somewhat. This is song is maybe just a little too heavy for his modern style, and it might have been better if it was left off the album. Paper Flags gets back to the album's core sound however and picks up the pace. Waldo co-wrote the song, so his keyboards are very prominent throughout, but Stump also shines with some simple riffing that perfectly allows the busy keyboard lines to stand out. The rhythms are tight and crunchy throughout, which allows Bonnet to sound back to his best after wobbling throughout the previous song. There is a fun guitar solo section too that is kicked off by Stump, but he is then joined by Jeff Waters (Annihilator) who adds a very different vibe. Stump's neo-classical licks clash with Waters' more typical shredding for a real meeting of the minds that works well within the overall context of the song.

The Wound is Open is another Kulick co-write, but Stump handles all of the guitars this time around. As a result, the song is quite similar to I Am The King, with a similar stomping rhythm being featured throughout. Benquecha lays down a strong groove throughout the song, while Shea's bass playing is tight and locked in. It is one of those songs that really relies on its groove throughout, as the riffing is not as interesting as in many of the other songs here. That being said, there is a strong old-school Deep Purple vibe throughout the song that works really well. Waldo's Hammond is constantly rumbling away in the background, while Bonnet wails over the top of everything like a man possessed. The cracks are not at all on show here, and he sounds as powerful as ever - with the somewhat slower pace of the song allowing him to shine. Body Beautiful is similar, but written by Stump. Clearly wanting to put his stamp on an album with so many other guitar players, the song features quite a long guitar intro before the rest of the band crash in to kick it off proper. It is also one of the few songs here to feature all five of the current Alcatrazz members and no-one else. There are not many songs on the album that can say this, and the fact that it was co-written by Stump shows what this new Alcatrazz can do without any outside input. For me, it really shows that the band do not need the help. While I am sure that Bonnet enjoyed collaborating with lots of songwriters and guitarists, if the new Alcatrazz are going to establish themselves properly they need to strike out on their own. Body Beautiful shows that they can do this, and that Stump is a perfect foil for the modern Bonnet. He is a very tasteful player, and Waldo's big keyboard presence helps to give the song a somewhat heavier sound. If Alcatrazz ever do a fifth album, I want to see more of this - and less outside help. Warth Lane is another Mollo co-write. Sadly however, it is easily the least successful song here as it contains the worst Bonnet vocal of the album. Cracks were visible during Mollo's last outing, but Bonnet's performance is poor here. The only thing I can compare it too is when someone talks when their false teeth are not in properly - but that is exactly how Bonnet sounds here. Also, some of the notes he is trying to hit here are quite high, and I think that these notes are outside of his comfortable range now. I am not sure what it is about Mollo, but he has managed to bring two pretty poor vocal performances out of Bonnet on this album - when no other guitarist has managed to do so. I think it is fair to say that the Bonnet/Mollo combination is not a good one, and Bonnet should definitely stick to Stump going forward. The album comes to a close with the slow-paced and sparse For Tony - a tribute to Bonnet's late brother. It is more of a lyrical piece with a brass and keyboard backing, and it is easily the furthest thing from hard rock on the album. It works well as closing number however, as it is a very heartfelt piece that shows Bonnet in a different light vocally. Considering how bad he sounds during Warth Lane, he sounds very powerful here - and his voice really brings out the emotion in the lyrics perfectly. The song acts a coda to what is otherwise a very hard rocking album, and it is a very effective way to finish things off. Overall, despite a couple of weaker numbers, Born Innocent is a strong an enjoyable old-school hard rock album with plenty of convincing performances throughout. While calling it a true Alcatrazz album might be something of a stretch due to the sheer number of guests featured, it showcases that Bonnet can still deliver on the hard rock front and that his modern Alcatrazz line-up is a very capable unit.

The album was released on 31st July 2020 via Silver Lining Music. Below is the band's promotional video for London 1666.

Damnation Angels' 'Fiber of Our Being' - Album Review

I have discussed the apparent dearth of British power and symphonic metal bands on this blog before, usually when I get a rare opportunity to big up a melodic metal act from these shores. Pythia, Dakesis, and Winter in Eden are three names that I can immediately think of when it comes to British power and symphonic metal; but one name that might not be quite so 'well known', even within the scene, is Damnation Angels. The four-piece act hail from Doncaster, and have been around in one shape or form since 2006. It may be their fairly low-key operation that has kept them from growing in the modest UK melodic metal scene, but they are a band that more people should certainly be aware of. I am not 100% sure when my head was turned to them but it was sometime between the release of 2012's Bringer of Light and 2015's The Valiant Fire - the band's debut and second albums respectively. I picked up Bringer of Light on a bit of a whim and I enjoyed it, but it was with The Valiant Fire where the band really came into their own. Bringer of Light is a very solid symphonic power metal album, but The Valiant Fire pretty much improved on it in every way. For a band with a very low-key profile, The Valiant Fire sounds absolutely fantastic. Bands with a much larger base of resources to draw from such as Kamelot and Blind Guardian would be ecstatic to produce an album with the sonic qualities of The Valiant Fire, and the songwriting backs it up. Some of the songs are very catchy with big hooks, while others are progressive and drenched in orchestral goodness. It is an album that anyone would be proud of creating, but sadly the band never really got the opportunity to capitalise on it. Not long before the album's release, frontman Per Fredrik Åsly (aka PelleK) left the band. As Damnation Angels had essentially recorded The Valiant Fire as a three-piece, with founding member William Graney handling everything bar the lead vocals and the drums, PelleK's departure left Damnation Angels as barely a band at all. The album received great reviews, but sadly no shows were able to be booked to support it until the following year, when the band joined Threshold on a European trek. Joining the Graney brothers (John handles the drums) on tour was bassist Nic Southwood and frontman Ignacio Rodríguez - and it is this four-piece that has made up Damnation Angels ever since. The band were great live, but the proof would be in the pudding of their next album - which has finally arrived in the form of Fiber of Our Being. Despite the five year gap between The Valiant Fire and Fiber of Our Being (why the band has used the American spelling of fibre I do not know), Damnation Angels have not missed a step at all. William Graney, who has always been the band's main songwriter as well as the co-producer and orchestral arranger of their albums, has written a bunch of songs here to rival The Valiant Fire. Fiber of Our Being soars in the way that the previous album did five years ago, and the band's new line-up has really pulled out all of the stops here. Despite William Graney still manning the helm, Fiber of Our Being is a much more band-orientated effort than the previous albums. Rodríguez, a competent musician in his own right, is credited with performing additional guitars and piano throughout the album, while a full-time bassist in the form of Southwood is present this time. Producer Scott Atkins, who has been involved in all of the band's previous albums, returns for this third effort to help the band realise their soaring and epic sound.

Something that becomes clear from repeated listens to the album is how important structure is to its success. While many great albums are simply so as they are a collection of great songs, some are great as they create a real journey for the listener. Fiber of Our Being is one of those albums, and the way the songs are presented really reinforces this. The first part of the album showcases the punchier, catchier songs that draw the listener in with accessible melodies and powerful choruses; but as the album reaches its conclusion the songs are much deeper, longer, and layered. This approach really works in the album's favour, with the songs constantly building on what has come before. More Than Human kicks the album off, and it is the first of three top-class power metal tracks in a row - each with a soaring chorus that really shows off Rodríguez's strong voice. It is also a song that sets the tone and energy from the start - there is no lengthy orchestral intro here, just a quick synth build up to the first of many big William Graney riffs. Despite being a symphonic metal band, Damnation Angels never let the orchestrations get in the way of the riffing. The guitars are always very prominent in the mix, their crunch forming the album's weight; and this style is perfectly on display during the opening song. While the verses are a little more low-key, with clean guitar melodies and rumbling bass, the choruses really kick things into overdrive with walls of guitar rhythms, soaring orchestrations, and Rodríguez's hooky vocal melodies. It is a chorus that is instantly-memorable, and is certain to draw the listener in. A lengthy guitar solo adds some progressive flair, which leads perfectly into a key-changed chorus - which is full of theatrical flavours to round out the album's opening in grand fashion. Railrunner is much more dramatic overall, as it opens with a portion of the song's stomping chorus before everything drops out to leave Rodríguez alone with dark strings for a very Kamelot-esque verse. Despite still being a very hooky song, it is a track that foreshadows some of the more progressive moments to come. The pace changes a lot throughout the track, with John Graney switching between punchy mid-paced beats and fast double-bass patterns - which helps to keep the listener guessing. In my opinion, it is on songs like this where Damnation Angels really excel. They certainly have the songwriting talents to match bands like Kamelot, who essentially pioneered this sort of metal; while still being able to have the skill to wrap up the style in an accessible and memorable way. Not every power metal act has mastered that balance, and Damnation Angels show in Railrunner that they certainly have. The album's title track is similar, but a bit more bombastic and overtly-power metal in style. The chorus showcases some of Rodríguez's best vocals on the album, with some impressive high notes included within the anthemic melodies. It was the first song that was released from the album online a few months ago, and it instantly grabbed me. I knew that the rest of the album was going to be great as soon as I heard this song, as it is another track that showcases all of the band's hallmarks in one - from the dramatic strings to William Graney's shredded guitar solo.

With these first three songs, Fiber of Our Being has already cemented itself as a strong symphonic power metal album. From this point on however, the album opens up further - with deeper, more progressive arrangements on display. Our Last Light showcases this from the off, with a gradual build up from a sombre piano-based intro setting the tone early. This is one of the album's ballads, and it allows Rodríguez to showcase a different, more gentle, side to his voice. As he sits at the piano crooning the lyrics, the orchestrations swirl around him and the band occasionally join him with a percussive backing that never overshadows the song's core piano foundation. Unsurprisingly, the song is quite an emotional moment. Rodríguez's vocals carry a lot of feeling in them, and the stripped back nature really allows him to shine. A melodic guitar solo part way through really adds to this emotional pull too; as does the slightly cinematic ending that picks up the pace a little and adds some wordless chanting to bring the ballad to a close. Rewrite the Future is more akin to the album's opening numbers, but the symphonic trappings are much more overt this time around, with layers of harmony vocals present during the staccato chorus vocal lines that open up the song and dramatic strings cutting through the mix throughout. Damnation Angels have not abandoned their love of a strong hook here, but the song as a whole feels a little deeper and more layered than the album's opening trio. This, however, only goes to show what a great songwriter and arranger William Graney is. The hooks fit seamlessly within the bombast, and Rodríguez is the man to bring these hooks to life. The chorus here is one of the album's best, which is an achievement considering how many great ones there are here, and the energy that the song creates is palpable. Sometimes I find that grooves and energy get a little buried in symphonic metal as the layers and layers of strings take centre stage; but John Graney's punchy drum performance stops this from happening and the song really sits on a powerful groove throughout which only helps the melodies to hit harder. Fractured Amygdala (the Amygdala being the part of the brain that deals with emotions) is, despite the flashes present in the preceding five songs, the album's first song that really pushes the band's progressive side to the fore. There is a lot going on here, with changes in pace and vibe occurring quite frequently throughout. Rodríguez's piano is featured again in a prominent way here, with a subtle pre-chorus section seeing the band drop out a little - only for them to power back in moments later with a hypnotic guitar arpeggio forming the basis of a slow-paced, but grand, chorus. Some of the album's heaviest moments are also found here, with John Graney laying into his double bass drums at times to back some gothic strings and tough riffing. It is a powerful song that features a bit of everything that the band have become known for, so as a result it is one of my favourite cuts here.

The final three songs continue on from the progressive previous number, with Greed and Extinction building from a slow, piano-filled start to a flat-out heavy power metal workout that features some of the fastest riffing and beats here. Despite the overtly-metallic feeling the song goes for, the progressive nature of the arrangement keeps things smooth and in-keeping with album's overall sound. Despite their guitar-centric sound Damnation Angels are still not the heaviest of power metal bands, but there are moments here that certainly recall some of Blind Guardian's more bombastic songs. The riffing here is placed right at the front of the mix, but orchestrations constantly provide soaring counter melodies - and of course Rodríguez is always there to lay down a big vocal hook. Songs such as this take a few listens to fully digest, but the arrangements eventually all make sense and the soaring vocal melodies really help to tie everything together. While the opening few songs here might be more catchy and memorable, it is songs like this that ultimately showcase the band's songwriting and arrangements in the best light. Perhaps the one to do so most overtly however is Remnants of a Dying Star, a near-thirteen minute epic that is the longest song that the band have written so far. The band have put out great epics in the past, and Remnants of a Dying Star is another very strong addition to this part of their canon. Despite the song's length, the band mostly stick to the formulas that have served them so well throughout the rest of the album - but they do not suffer in any way from being stretched out over a longer frame. The pace throughout is often very deliberate, with a mid-paced crunch being favoured, but the orchestrations and choirs certainly sound bigger here than on any of the album's other songs. This is truly a symphonic metal track, with the power metal trappings largely stripped back here to allow the orchestrations and choirs to really shine. It is easily the biggest-sounding song on the album, and there are moments that really allow the orchestral arrangements to shine - such as a piano-based part that essentially sees the whole band drop out to allow the strings and ringing piano to form a dark, gothic soundscape that gradually builds towards a muscular guitar riff. The song's length allows more focus to be placed on the instrumental side of the band than many of the others here; and some of the crunching riffs backed by the dancing strings are actually some of the highlights of the piece. It is great seeing the band stretch out a little here, with the soaring choruses still present to return to a more melodic focus when necessary. After the lengthy Remnants of a Dying Star, the album comes to something of a calming close with A Sum of Our Parts - another ballad-esque track with gorgeous vocals from Rodríguez and plenty of rolling piano. Lauren Francis adds some extra vocals to the song, her hypnotic wordless vocals mixing perfectly with the piano to become part of the overall soundscape in a very organic and original way. In some ways, the song is quite different to many of the band's others. The wordless vocals create a darkly playful vibe, but the gothic melodrama that is the band are known for is still present to allow the song to still fit nicely within the context of the album. While it might have been better to end the album with the bombast of the previous song, I can see why the band opted to place A Sum of Our Parts at the end. It still features the progressive arrangements of the album's second portion, and the slower pace allows for a gentle fade-out - which actually works well. Overall, Fiber of Our Being is another excellent album from Damnation Angels which is certainly up there in quality when compared to their previous work. In terms of pure melody however, this album certainly wins. Each song here has a big hook or chorus to really draw the listener in, and the mix of soaring power metal with more progressive touches seems to be have perfected further here as a whole. This is an album that deserves to be heard by a much greater audience, and I hope that it reaches out and finds it.

The self-released album was released on 31st July 2020. Below is the band's promotional video for A Sum of Our Parts.

Primal Fear's 'Metal Commando' - Album Review

Since forming in 1997, Germany's Primal Fear have become one of those dependable bands who can always be relied upon to deliver the goods. While the band are often seen as part of the power metal scene, in truth Primal Fear are just a good, old-fashioned heavy metal band - taking the sound forged in the early 1980s by bands like Judas Priest and Accept and turning it into a real mission statement. While this reliance on one sound does mean that all of the band's albums somewhat blend into one at times, it also means that their discography is enjoyable in a very back-to-basics way. Fans of the latest Judas Priest and Accept albums who want more of that kind of style can do a lot worse than checking out the fairly extensive Primal Fear catalogue - with their latest album Metal Commando being as good a place as any to dive in. Metal Commando is the band's thirteenth studio album, and is their first album since resigning with record label Nuclear Blast in 2018 - the label that released their first six albums between 1998 and 2005. In truth Nuclear Blast are a better home for a band like Primal Fear than Frontiers Records ever were; but the change to a more AOR-centric label back in the mid-2000s did not alter the band's sound one bit. The band have barely changed their sound since releasing their 1998 self-titled debut album, which is part of the reason why their latest album is a good starting point - despite it having one of the most generic titles and album covers in metal history. It follows hot on the heels of 2018's Apocalypse (which I reviewed here); a very solid album that I enjoyed a lot at the time of its release. As with most of the band's albums, Apocalypse contained a handful of stellar traditional metal songs - but in truth the whole album was very enjoyable. That description could really be applied to any of the band's albums, and it certainly applies to Metal Commando. Those familiar with the band certainly know what to expect going in, but I do feel that this new album may be slightly stronger than its predecessor. That is largely due to the production, which just seems to be a little bit bigger and ballsier this time around. A Primal Fear album has never sounded weak, but this one just sounds a bit fuller than the last one - which is certainly a good thing. The quality of the songwriting is probably on a par with the previous album, but the slightly better production helps to elevate the songs above the tunes that filled Apocalypse. Five of the six who worked on Apocalypse return for Metal Commando, although drummer Michael Ehré (Metalium; Firewind; Gamma Ray; The Unity) makes his debut with the band on this album having replaced Francesco Jovino last year.

The album gets underway with one of its singles, the epic-sounding I Am Alive. It is the band's more melodic and soaring numbers like this that encourage the power metal tag; but in truth the song is just good old-fashioned heavy metal with a bit more of a polished sheen. Despite the big melodies, the song is still packed full of crunchy moments. The band's three guitarists; Tom Naumann, Magnus Karlsson, and Alex Beyrodt; team up for a hard-hitting intro that mixes heavy power chords and melodic leads, while their harmony leads during the verses provide some Iron Maiden-esque melodies to counter frontman Ralf Scheepers' ageless vocals. Scheepers has always been the band's shining light and focal point and, while he does not contribute to this album anywhere near as much as he usually would from a songwriting perspective, he leads the charge admirably throughout. He sounds as good now as he did during the early 1990s when he was a member of Gamma Ray, and the song's chorus is a perfect example of his talents. He showcases some pretty high-pitched screams during the choruses, which are a great contrast to the grittier verses. Another single, Along Came the Devil, follows and it is a perfect example of the core Primal Fear sound. The slightly more polished sheen that was present during the opening number is largely replaced here by a tougher crunch throughout - and this is also reflected in Scheepers' vocal style. Those who like classic Accept will recognise their vocal hallmarks in Scheepers' delivery here, with a gritty rasp on display during the mid-paced verses; before a more anthemic approach is taken during the choruses. For me, it is the songs like this in the band's catalogue that really showcase Primal Fear at their best. Crunchy, mid-paced metal anthems with soaring choruses are what Primal Fear really excel at, and Along Came the Devil is likely to become a live favourite in the years to come. Halo sees the band pick up the pace somewhat, with Ehré's double bass drumming driving the song from the off while the guitarists lock together for a hooky harmony guitar lead. I am never sure why Primal Fear insist on having three guitarists, despite the fact that Karlsson rarely ever plays live with the band and his is never replaced by a session player, as they are a classic twin guitar heavy metal act. Having a third player does not add to the band's sound at all in my opinion, as the old-fashioned approach to harmony lead guitar playing here shows. Iron Maiden and, in particular, Thin Lizzy are being channelled here, with some folky-sounding melodies meshing perfectly with the hard-hitting rhythms coming from the rhythm section. The pace brings the power metal scene to mind, but the crunch keeps those Judas Priest and Accept comparisons relevant; ensuring the band stay close to their long-established formula.

Hear Me Calling, yet another single, slows things down again and goes for the mid-paced approach favoured by Along Came the Devil; but also injects a little bit of atmosphere. While I would not describe the song as a true ballad, the verses are certainly pretty low-key for a band like Primal Fear - with an atmospheric clean guitar backing and some pseudo-soulful vocals from Scheepers. Primal Fear are not the most dynamic of bands, but they do these moodier tracks well on the occasion that they choose to tackle them and the heavier chorus hits harder when the band launch into it as a result. It is not the strongest of the album's singles, but as a more dynamic song it works well - and it shows that Primal Fear are not always just about turning everything up to eleven. The Lost and the Forgotten is about elevens across the board however. It is one of the tracks that really stood out to me on my first listen to the album, and it remains one of my favourites even after multiple listens. It is another mid-paced crunching track, but the kinetic energy created throughout thanks to Ehré's punchy drumming and Mat Sinner's prominent, pulsing bassline really pushes it to the next level. It is one of those songs where everything falls into place. Scheepers turns in one of his best vocal performances of the album, mixing high-pitched screams and aggressive barks perfectly together when needed, and the guitarist riffing is also well-balanced - mixing crunchy riffs and soaring leads together. To me, this song would be a great introduction to Primal Fear's core sound as it perfectly captures everything that the band have been about over the years. My Name is Fear showcases the band's power metal side a little more, and at times the song recalls the guitar pyrotechnics of heavy power metal acts like Firewind. Primal Fear are certainly a 'meat and potatoes' type of band, and virtuoso displays are few are far between, but some of the guitar playing throughout this track is certainly a step up from usual. The song's intro in particular contains some knotty leads, while other parts of the track showcase the talents of new boy Ehré as he lays into his double bass drums with real venom. This is another song that would act as a great entry point for new fans, as it showcases the band's core sound while also displaying some impressive chops that Primal Fear seem to save for special occasions. I Will Be Gone is the album's ballad, and it sounds pretty different from everything else here. The metal is entirely stripped away here, with acoustic guitars and subtle keyboards instead backing Scheepers throughout. While his vocal performance is perhaps a bit over-the-top for an acoustic track, it nevertheless feels sincere and the track is very enjoyable as a result. Primal Fear have done songs like this in the past, but it is not a style that they tackle on each album. The highlight for me is the delicate classical guitar solo part way through the song. It is a very calming moment on what is otherwise a loud and hard-hitting album, and it certainly helps to provide something of a change of pace.

The album's last third is certainly no slouch compared to the strength of the material that has featured so far, but it does kick off with possible the most rote tune here - Raise Your Fists. So many metal bands have written songs called that, or something similar, over the years and metal bands singing about metal is pretty old hat now. It does not help that the song is pretty generic either, with a chugging rhythm and a chorus packed with some of the most cliché lyrics on the album. It is not a dreadful song, but it certainly stands out as one of the album's weaker moments due to the strength of many of the other songs here. I really wish bands would stop writing songs like this, as Manowar wrote enough back in the 1980s and 1990s to satisfy anyone's cravings for metal worship! Howl of the Banshee instantly sees the quality, and tempo, shoot back up again however with power metal-infused guitar riffing and some of Scheepers' best high-pitched vocals on the album. Like I Am Alive, this is a song that really showcases why the band are sometimes called a power metal act. The song's chorus is a real melodic treat, with hooks galore pouring out of the speakers - largely as a result of the strong vocal melodies. Primal Fear have been writing songs like this for years, but the formula does not seem to have grown stale yet. The band sound really fired up on this song, and in fact throughout the whole album, and it is partially that fact that makes it one of my favourite cuts here. Afterlife is similar, but with a whole lot more crunch. The soaring vocal melodies of the previous song are replaced with Scheepers' best Accept-esque approach which fit perfectly with the relentless riffing. This is a song that just never lets the energy drop throughout. It is one of the heaviest tunes here as a result and it is also one of the most intense - despite not being the fastest overall. Riff after riff are utilised here, and the use of gang vocals during the chorus, which is not a common tactic employed by the band, gives it some additional punch. The album comes to a close with the lengthy Infinity, a thirteen-plus minute epic that is the longest song the band have ever written. They have done a handful of long tracks in the past, but it is certainly not something that they approach regularly. Songs like Infinity however allow the band to stretch out a bit and showcase some more progressive influences, which largely works well. While I do think that the song could have been trimmed down a bit, on the whole it is very strong and dynamic - with lots of strong ideas thrown into the mix. The gentle intro works well, and takes the vibe established on I Will Be Gone and incorporates it into a song that uses it as a building block for heavier things. The atmospheric approach is returned to every so often, but largely Infinity is still a heavy song with a huge, anthemic chorus and some heroic lead guitar moments. Primal Fear are not a prog metal act, but these occasional longer epics showcase the band in a strong light, and Infinity certainly helps Metal Commando to finish on a high - with a surprisingly impressive piano-led orchestral section that leads into a final reprise of the song's chorus. Overall, Metal Commando is another strong release from Primal Fear that does not really add anything new to their discography but provides another hour or so of strong old-fashioned heavy metal for their fans to enjoy. It is certainly more of the same, but it is well-written, well-produced, and very enjoyable; with their fans the world over sure to the satisfied with it. 

The album was released on 24th July 2020 via Nuclear Blast Records. Below is the band's promotional video for I Am Alive.

Kansas' 'The Absence of Presence' - Album Review

With the exception of a handful of listens to 1976's Leftoverture and 1977's Point of Know Return, it was actually with 2016's The Prelude Implicit (which I reviewed here) where my journey with the American progressive rock act Kansas truly began. Despite having been a huge rock and prog fan for most of my life, Kansas for some reason alluded me somewhat. The fact that the band have never really been all that successful here in the UK was probably a factor in my lazy approach to their discography, but I also think that my initial impressions of Leftoverture also contributed to it. This will certainly come as a surprise to some, but Leftoverture has never really made a big impression on me. I have listened to the album a number of times over the years, but it has never truly clicked with me. This continues to surprise me as most Kansas fans would say that Leftoverture is one the band's best albums, but I would likely reach for 1975's Masque, 1977's Point of Know Return, or even The Prelude Implicit over it on most days. If you go back and read my review of The Prelude Implicit, you can tell that I really enjoyed the album at the time - and my opinion on it has only improved over time. For a band that had not released an album in sixteen years and were without the two main songwriters from their heyday, Kansas really knocked it out of the park on their fifteenth studio album. Clearly wanting to capitalise on the success of The Prelude Implicit; which was greeted by the band's fanbase with open arms, so much so that many of the album's songs have been played live over the past few years; Kansas returned last month with their sixteenth studio album - and thankfully it did not take them another sixteen years to get it done! The new album, The Absence of Presence, picks up exactly where The Prelude Implicit left off four years ago - and it goes for a very similar overall sound and style. Six members of the expanded seven-piece line-up that created The Prelude Implicit return on The Absence of Presence, with keyboardist Tom Brislin (Spiraling; The Sea Within), who has honed his prog credentials with Yes and Camel on session bases, having replaced David Manion in 2018. Despite being the 'new boy' Brislin has really made his mark on The Absence of Presence. He is credited with co-writing all but two of the album's songs, with another 'new boy' in the form of guitarist and producer Zak Rizvi being the album's other main creative driving force. It is amazing that The Absence of Presence, which is classic Kansas in sound and style, was largely put together by the band's two newest members. Rizvi had already made his presence felt on The Prelude Implicit, and the songwriting partnership that he has recently formed with Brislin is very impressive. Founding drummer Phil Ehart and current frontman Ronnie Platt contribute lyrically to a few of the album's songs, but otherwise everything else that you hear on this new album was written by Rizvi and Brislin - with the rest of the long-time Kansas members helping to bring their creations to life with their signature flourishes.

The album gets underway in fine fashion with the eight minute-plus title track, which is also the longest song here. The band's current line-up have perfectly invoked the classic Kansas sound of the 1970s with this song; and, in truth, on the whole album; but it is perhaps this opening track that best showcases the band's famous mix of progressive rock tendencies and soaring melodies the best. Brislin's ringing piano notes start things off, before David Ragsdale's haunting violin joins in with an aching melody that is right out of the classic Kansas songbook. Ragsdale is all over this song, with his violin taking the lead melodically during many of the piece's key moments, but that is to take nothing away from the rest of the band who really pull together to make the song such a powerful album opener. Brislin moves between piano and shimmering Mellotron throughout, while Platt, shining on his second album with the band, lays down a melodic and engaging vocal performance. Despite the song's length, there are still plenty of hooks to be found. Platt's chorus melodies are subtle, but really take hold after a few listens, and Brislin's warm synth solo about a third of the way through recalls the progressive rock heyday of the 1970s. Ragsdale's violin melodies bring the grandness of the song to life, while Rizvi and founding guitarist Rich Williams often team up for melodic soundscapes and potent rock riffs - including a mid song trade-off between themselves and Brislin's Hammond organ. As much as I enjoyed The Prelude Implicit, this song really takes the sound the band went for on that album and runs with it - improving it in a big way while also ensuring that their roots are payed tribute to. This could be the best Kansas song since the 1970s; and, although I am not anywhere near as well-versed with the band's catalogue as many others will be, I feel pretty confident in saying that. The album's lead single Throwing Mountains is similar, but reigns the progressive tendencies in a little and goes for a harder rock sound overall. Brislin favours his Hammond throughout the track, and he locks in perfectly with the guitars throughout for a Deep Purple-esque sound during the heavier moments. Ragsdale's violin once again provides grand counter-melodies to this hard rock melodrama, while Platt soars vocally during an ear-worm of a chorus. While the song is a little on the 'simpler' side being a single, this does not mean that it does not sound like classic Kansas. The band's classic sound is still on display here; largely thanks to the wall of sound approach taken by the two guitars, keyboards, and violin; and the way the band really pull together to harmonise vocally only adds to the huge sound that they are going for. Throwing Mountains might be a single, but that does not stop it from being a hard-hitting rock track - it is just packed full of memorable melodies to draw the listener in.

Jets Overhead returns more to the sweeping sounds of the title track, with a virtuoso Brislin piano intro setting the scene. Some of the tougher moments of Throwing Mountains are retained, but this is a song that is going for a grander sound - while trimming the song length down somewhat to present it in a slightly more accessible way. Williams and Rizvi's guitars are tough throughout, and they lock in perfectly with Billy Greer's growling bass, but the main melodies are often provided here by Ragsdale. I do not think that enough focus is placed on the importance of the violin to Kansas generally. Traditional guitar and keyboard leads are far less common in Kansas' sound, with the violin playing of Ragsdale, and Robby Steinhardt before him, providing many of the songs' melodic focal points. Ragsdale is all over this song, with violin leads cropping up throughout the whole thing - and a juddering solo in the song's early stages places even more emphasis on the instrument. While Kansas may not be as focused on instrumental prowess as many prog bands, they do occasionally like to let their hair down. The short instrumental piece Propulsion 1, wholly written by Brislin, allows the band a couple of minutes of all-out instrumental experimentation. Unsurprisingly Brislin dominates with his Hammond, but Ehart demonstrates what an underrated drummer he is with some fast-paced double bass drumming out of the Cozy Powell/Tommy Aldridge school. The piece acts as something of an extended intro to Memories Down the Line, another solo Brislin composition, which opens slowly with some piano and gentle Platt vocals. The song's intro contrasts perfectly with the fusion rock explosion of Propulsion 1, but it really allows Platt to showcase his excellent voice. While I am sure many fans wish that Steve Walsh was still in the band, Platt has more than demonstrated over the last few years why he deserves to front Kansas - and his emotional performance throughout this song really showcases why. The soaring ballad is the perfect showcase piece for him and, while the band still play their part to make the song sound 'big', there is certainly more room for him to breathe here. Ragsdale's sparse violin lines add to the song's emotional pull perfectly, while Brislin's piano helps to ground the song throughout. Circus of Illusion is similar to Jets Overhead; a great mix of the band's progressive influences and a harder rock edge. Platt, who wrote the song's lyrics, showcases a slightly different side of his voice throughout some of the song's tougher sections; while Rizvi and Williams play around with a few guitar tricks such as the choppy rhythms and melodies during the sparse verses. Despite only being five minutes in length, Circus of Illusion is a song that really crams a lot in. This is a truly progressive sounding song, with lots of melodies that flow together perfectly and a few changes in vibe throughout. Some parts of the song really push Greer's bass to the fore, giving it a grinding hard rock feel, while other moments - such as the chorus - go for an all-out musical theatre feel with soaring harmony vocals and dramatic keyboards.

Animals on the Roof is similar but with even more focus placed on soaring melodies. Some of the vocal lines throughout the song are very AOR inspired, recalling the John Elefante era of the band somewhat, and as a result it is one of the most instantly-memorable songs on the album. On my first listen to the album it was one of the songs that really jumped out at me, and I think that is because it has one of the best choruses here - and the prog moments are a bit less prevalent. While repeated listens have revealed the nuances of the other songs and many have now overtaken Animals on the Roof, this is still a song that I really enjoy due to its memorable melodies and its smooth presentation. Since the 1980s Kansas have always had a foot in or close to the AOR camp, and this is probably the song on the album that showcases that influence the greatest - despite Ehart really laying into his drum kit at the end for an explosive closing crescendo. Never, the album's penultimate song, is another pseudo-ballad. Focus is placed throughout on Brislin's piano and Williams' acoustic guitars but, as with Memories Down the Line, there is still the big Kansas sound present throughout. Ragsdale once again makes his presence felt with some choice violin melodies; and Rizvi's production really emphasises Ehart's drums, giving them that big 1980s gated sound as heard on many famous power ballads of that decade. A subtle guitar solo adds to the song's overall melodic pull, but it is one of those songs where everything really comes together to create something greater than its parts. The album's final song The Song the River Sang is a little on the quirky side for the band, but it still sounds like classic Kansas. It is another Brislin composition, but this time he also sings the song - his voice really feeding into the song's slightly different vibe. Kansas have often allowed members other than their lead singer to step up to the microphone, with Greer and Steinhardt making memorable vocal contributions to the band in the past, and Brislin does a great job here to bring the song to life. Ragsdale's violin contributes some Eastern-tinged melodies throughout, while Ehart's slightly erratic drumming gives the song a kinetic energy that is different from pretty much everything else here - which fits in perfectly with Brislin's vocal melodies. Being a Brislin song, it is unsurprising that his keyboards really dominate - and a lengthy, atmospheric instrumental closing section sees some great synth playing from him that really rounds out what is a fantastic song on an equally fantastic album. Overall, if you had not already guessed it, I really like The Absence of Presence. I was expecting to enjoy it after enjoying The Prelude Implicit back in 2016 but this new album has surpassed all my expectations and will probably end up in my Albums of the Year list come the end of the year. Every song here is packed full of great melodies, and it is an album that showcases more of its wonder with each successive listen.

The album was released on 17th July 2020 via InsideOut Music. Below is the band's promotional video for Throwing Mountains.

Bloody Heels' 'Ignite the Sky' - Album Review

Perhaps my many snide jabs at Frontiers Records over the years on this blog have found their way to someone with clout at the company. While, sadly, I am unlikely to be able to take any credit whatsoever for the Italian record label's slight shift in focus of late, I am nevertheless pleased that they seem to be undergoing something of a change. I have something of a love/hate relationship with Frontiers. On the one hand they have always promoted a lot of great melodic rock acts, both old and new, but on the other hand they have often put a lot of focus into their anonymous hamfisted studio projects which often prove to be nothing more than a vehicle for one or more of the label's in-house songwriters to offload some of the songs that they clearly do not want to use for their main bands. These projects have often really flooded the modern melodic rock and AOR markets, so much so that it has often been hard to see the wood for the trees. Frontiers are still putting these albums out, of course, but there does seem to have been something of a shift in focus at the company over the past year or so. There have been far less of these studio projects forced together recently, with the company instead choosing to focus on what they have been calling their 'new breed'. Frontiers have really upped their roster of new original bands in recent times, and it is great to see the label finally sinking a lot of time and effort into these bands - rather than yet another 'project' from Alessandro Del Vecchio or Erik Mårtensson. One such band to recently attract some love from Frontiers is Bloody Heels - a four piece heavy rock band from Latvia. Not many Latvian bands ever really make it outside of their home country, and I think that they are probably the first Latvian act that I have knowingly listened to. Visually, the band are very inspired by the 1980s. Pictures of the band have them sporting big hair, leather trousers, and cowboy boots; but their music is much more interesting than a pure rehash of the Sunset Strip scene of the 1980s. There are hints of glam metal in the band's sound, but Bloody Heels are much heavier than that. There are moments that almost border on metal in some of the band's songs, while others are packed with gritty stadium rock attitude, melodies, and swagger. Earlier this month the band released their second album Ignite the Sky, their first release for the label. The band's debut album Through Mystery was self-released in 2017, which I picked up not long after Frontiers announced the signing of Bloody Heels but it never really clicked with me. Ignite the Sky however is an album I have been enjoying a lot over the past couple of weeks as it is packed with diversity and interesting songs - as well as big, memorable melodies. It is the band's first release with bassist Gunner Everett, and it shows that Bloody Heels are a band with real potential.

The eleven track album opens with the hard-hitting title track; an anthemic piece that really sets the tone for what is to follow. While the band are fairly accessible from a musical perspective, there is still a lot of weight to be found. Guitarist Harry Rivers seems to be the band's real driving force, with his riffs at the centre of what makes Bloody Heels tick. A gentle clean guitar intro lulls the listener into a false sense of security however, but as soon as Rivers' chugging riff kicks in the band's core sound is established. Ignite the Sky is not the heaviest track here, but it certainly showcases the band's style nicely. Frontman Vicky White lays down a gritty, yet soulful, vocal performance throughout; with the rest of the band helping him out during the soaring hair metal-esque chorus. The album's title track is a great mix of old-school throwback vibes and modern hard rock tastes. Subtle synths add a warm halo to the track as a whole, while Rivers' shredded solo injects some additional excitement and flair. It flows nicely into the album's lead single Criminal Masterminds, which was the song that persuaded me to pick the disc up. As I mentioned earlier, the band's debut album did not really do all that much for me - but Criminal Masterminds grabbed me from the off and never let go. It is a heavy, mid-paced slab of pseudo-metal with Rivers' muscular riff driving everything while drummer Gus Hawk matches the intensity with a hard-hitting performance. Being a single, the song has a strong melodic focus - but it also perfectly showcases what the band are about. The chorus features harmony vocals straight out the 1980s, but other moments of the song actually recall modern melodic metal with tasty double bass drum fills and chugging guitar rhythms. It is a great mix of old and new, and it perfectly represents what Bloody Heels are all about while also really getting under the listener's skin. No Matter goes for a bit more of a modern sound overall, with shimming synths and guitars opening the song up while White goes for a much more laid back vocal approach. Some parts of the track go for something of an AOR approach, with subtle vocal harmonies and soaring melodies, while other moments have a strong alternative rock feeling. It is a bit of a strange song that definitely feels much less heavy than most of the others here. The mix of sounds works well however, and it shows a different side of Bloody Heels - and it allows the band to demonstrate some different influences. Sugar & Spice instantly returns to the band's default heavier mode however, with a huge Rivers riff kicking everything off - which comes to really dominate the song with its lumbering groove. There is something of Avenged Sevenfold's more accessible stadium rock side on show here, with White's vocals taking on a gravelly tone to fit in nicely with the big riffing - his tone similar to that of M. Shadows' at times. The much heavier approach taken here works well however, as it is mixed in with the catchy melodies that the band have already made their trademark for a song that hits hard but is also very memorable.

Farewell to Yesterday opens with a busy bassline from Everett, before another Avenged Sevenfold-esque riff kicks in. One thing that is instantly apparent when listening to this album, and readers should have also grasped this by now, is just how diverse and 'all over the place' this album is. Ignite the Sky is a huge melting pot of influences, and Farewell to Yesterday is a great example of that. Parts of the song are among the heaviest on the album, with Hawk's drumming bordering on extreme metal territory at times, while the chorus is pure stadium rock with 1980s harmonies and some acrobatic White vocals. In some ways, the album as a whole is quite schizophrenic. Bloody Heels have clearly gone for a 'throw everything at the wall and see what sticks' approach, and on the whole most things have certainly stuck. It makes the album a very interesting one to listen to, but it is also apparent that the band have not quite found their 'sound' yet. Black Swan displays this with yet more diversity, with an atmospheric, sparse verse bringing out a very different side of White vocally - while Rivers dispenses with his usual tough riffing to instead create strange textures with his guitars. The verses here do not really sound like anything else on the album, as they create something of a low-key ballad vibe, but the choruses are more typical of the band's sound with a tougher approach and some tight vocal harmonies. The strange atmospherics at times bring some of Alice in Chains' more low-key songs to mind, showcasing yet another influence and side to Bloody Heels' songwriting. After a couple of more experimental pieces, Stand Your Ground returns to the hard-hitting rock sound of the opening numbers. Rivers showcases some great John Sykes-esque guitar pyrotechnics throughout with some great shredded leads, while Hawk's drumming is heavy and bass drum-centric. It might not be the most melodic of the songs here, but it is packed full of attitude that makes it a fun listen. The chorus is full of gang vocals for that added punch of swagger, while White once again goes for a grittier overall vocal approach to fit in with the song's heavy riffing. Rivers however is the real star of the show here, with a diverse yet heavy approach throughout. The Sykes influence is clear throughout, especially during the solo, but the sledgehammer riffing is equally potent - with the rhythm section perfectly lock together with him to create the song's strut. Thin Line goes for a bit more of a melodic approach, with the heavy riffing paired back somewhat to allow for a summery AOR vibe at times - with mid-period Bon Jovi certainly something of a touchstone here. The verses are quite chilled, with White's smokey vocals sitting nicely against a low-key backdrop of bluesy guitar patterns and rumbling bass; while the choruses ooze 1980s stadium rock power with a simple arrangement and more subtle harmonies. It is probably the most obvious 'throwback' song on the album, but the band do the style well and it is clearly a tribute to some of their biggest influences from the 1980s.

Ignite the Sky has already packed in so many influences and vibes in its first two thirds, but the final three songs are full of yet more surprises. Silhouette is a bit of a ballad, with delicate cello melodies throughout from Erna Daugaviete, and it sounds so different from anything else on the album. Some of the other songs here have showcased a more low-key and atmospheric approach, but Silhouette really doubles down on this vibe and bases the whole song around it. There are no big riffs here at all really, instead the whole band lock their instruments together to help to create a strange, atmospheric sound - while White really goes for it vocally as he showcases the power that he can muster up when needed. A lengthy Rivers solo really builds on the emotional punch of the vocals too, proving that the old-fashioned vocalist/guitarist duo that hard rock has been built on over the years is just as vital now in 2020 as it was in 1970. Healing Waters, the album's penultimate track, is another diverse number - but it is also one of my real favourites here as it is packed full of fantastic melodies throughout. The chorus is probably my favourite on the album, and the riffing throughout is so razor sharp that the song really just powers out of the speakers. That Sykes influence is clear again in Rivers' playing here, with some of the riffs sounding like something of one of his Blue Murder albums, while White owns the strutting chorus with his husky vocal approach. What I really love about the song however is how it really changes in the middle, with an atmospheric breakdown kicking in with some soulful saxophone playing from Dagnus Rozins. It is so unexpected at first, but on repeated listens the sudden jazz explosion works really well - and only makes a final reprise of the chorus sound more powerful when it kicks in. Streets of Misery is the album's final statement and unsurprisingly it goes for a fast-paced hard rock approach to ensure that the album ends on a high-energy moment. Much of the experimentation that has been on display throughout the album is not present here, with the band instead going for the throat with a big riff, kinetic drum beats, and a strident vocal performance. It is certainly not the album's catchiest moment, but really whips up a lot of energy and helps the album to end on a high. Those who love some balls to the wall heavy rock will love the track, and it acts as a great simple closing statement to what has been quite a diverse ride. Overall, Ignite the Sky is a really strong second album from the Latvian band and, in my opinion at least, it is head and shoulders better than their debut. While there are no genuinely weak songs here, there is a bit of a lack of cohesion due to the band still trying to really nail down their core sound. Diversity is good, but at times the album does not quite hang together as the best examples of the format do. As a collection of strong songs however, the album is a triumph and I look forward to seeing where the band go from here.

The album was released on 10th July 2020 via Frontiers Records. Below is the band's promotional video for Criminal Masterminds.

New Device's 'Karöshi' - EP Review

It has been a little while since we last heard anything from New Device. The London-based four-piece have certainly been quiet of late, but the release of their third EP Karöshi earlier this months shows that the band have been busy behind the scenes. We last discussed New Device on this blog in 2017, when they celebrated their ten year anniversary by releasing the enjoyable Coming Home (which I reviewed here) - an all-acoustic EP that featured five new songs and two older songs re-worked in a gentler manner. It does not feel like three years since Coming Home, but then again the band have never been the busiest or most in-your-face on social media. New Device's live appearances are fairly rare, but their release output has always been pretty steady and consistent - and I have enjoyed everything that the band have put out over the years. It was with excitement then that I discovered last month that the band's latest EP was imminent, so I pre-ordered a copy straight away and waited eagerly for its arrival. Karöshi, which translates to something akin to 'death by overwork' in Japanese, is the band's third EP and sixth overall physical release. The band's only two studio albums, 2009's Takin' Over and 2013's Here We Stand, laid the groundwork for the New Device of today; but since then the band have largely decided to focus on EPs rather than full albums - each with their own flavour. The band's EPs form part of a series of releases using the artwork of Steve Meyer-Rassow, and I believe that Karöshi is the final of four releases to feature his talents. This project has been six years in the making, starting with the band's sole live album Takin' Over London in 2015. 2016's Devils on the Run (which I also reviewed here) and the aforementioned Coming Home complete the series and I think that New Device have found success and enjoyment with this 'little and often' release schedule. Some question the relevance of the traditional album as a musical format in the modern day, and New Device have showed that things can be done differently. While I feel that the album format is certainly very much alive and well, in the modern world they are certainly not a requirement of any band. Bands are able to get their music out to their fans in a variety of ways now, and New Device's trilogy of different-sounding EPs has certainly worked well for them. As much as I have enjoyed the other two releases in the trilogy, Karöshi is my favourite of the band's EPs yet. After modernising their sound somewhat on Devils on the Run, Karöshi at times feels like a bit of a throwback to the band's earliest work, without ever really compromising the development that they have made over the years. Karöshi is a hard-hitting piece of work, and certainly does not shy away from highlighting the heavier end of the band's sound. It is also the band's first release with bassist Lzi Hayes, who joined the ranks a couple of years ago.

Karöshi is split into two halves, with the first three tracks coming from a mostly self-produced session in a London studio and the final three songs coming from a different session that saw John Mitchell (Arena; Kino; Frost*; It Bites; Lonely Robot) and Harry Hess (Harem Scarem) employed on mixing and mastering duties respectively. In this respect, the EP feels like an old-fashioned vinyl record - with distinct flavours on each side. Interestingly, the most expansive songs are actually up first and it goes to show that the band do not need to rely on outside 'named' help to make them sound good. Burn Out the Sun is up first and it is one of the EP's strongest cuts, with a driving riff from long-time guitarist Matt Mallery kicking things off. Frontman Daniel Leigh has always been New Device's main man, but the other members of the band all rally around him and help him to bring his compositions to life. Mallery, who co-wrote the opening two numbers, shines during this hard-hitting opening track. His guitars lock in perfectly with Hayes' tight bass playing and drummer Greg 'Rozzy' Ison's precise double bass patterns - all while Leigh showcases why his is a very underrated and versatile singer with an anthemic chorus. New Device's early work was always characterised by a big stadium rock vibe, but their recent work has sought to modernise their sound somewhat. It is great to hear the band return to their roots somewhat here, and the chorus is going to be a real winner when it is played live. Lead single Wake Up follows in an equally anthemic fashion, but the stadium rock vibe of the opening number is mixed in perfectly with the more modern sound that the band has been chasing in recent years. A modern-sounding chorus at times recalls U2 dialled up to eleven, while the more laid back verses allow Hayes' bass playing to really shine. Leigh and Mallery's guitars chime throughout the song, helping to create a strong atmosphere, while the aforementioned chorus hits a little harder due to a slightly tougher arrangement. It is a soaring track that really grabs hold after only a couple of listens, and it is going to be another winner when the band get the chance to play it live. Mallery's guitar solo also fits perfectly within the cinematic, anthemic scope of the song - his tasteful leads capturing the overall vibe of the track. Open Your Arms ups the pace again somewhat after Wake Up slowed things down a little, and goes for a slightly crunchy hard rock approach that also retains a little of the atmosphere from the single. The main focus throughout the song is Leigh and his vocal melodies. His finely-crafted vocal lines are instantly catchy, and it is a song that demands to be sung along to - especially the fast-paced, yet sweet, chorus. Despite the crunching rhythms throughout, the song never feels heavy - but the chugging guitars help to give the song some weight. The balance is perfectly struck, and it caps off 'Side 1' of this EP nicely.

The EP's second half goes for a bit of a heavier overall sound. There is a noticeable difference in the guitar tone used during the later songs. This tougher sound helps the band to showcase a different side, but I actually think that their more self-produced songs are better suited to showcase the sound that they seem to want to focus on in 2020. Hell to Pay shines thanks to the heavier sound however, with Mallery's dirty guitar really driving everything - while Rozzy's potent drum patterns add some metal sensibilities at times. In some ways, the song feels like a real throwback to the band's first album. The guitar tone used here is very similar to the one found on Takin' Over, but track as a whole goes for a heavier feeling than the more anthemic approach taken eleven years ago. It is perhaps ironic that the most anthemic songs on this EP went for a more modern-sounding production style, while the songs that sound the least like the Takin' Over material go for a production style akin to that album. The mix is a little strange, but it works well still - and Hell to Pay is a great example of the band's heavier side. Bring the Stones has a similar sound, but the song is much more dynamic - with a gentle clean guitar opening and a structure that moves back and forward between 'gentle' verses and hard-hitting choruses. Mallery's guitars throughout the song very crunchy, while Leigh's slightly high-pitched voice is a perfect fit for the acrobatic chorus. The vocal melodies here are again very well crafted, and it is another song that will be stuck in your head after only a couple of listens. Despite the dynamic arrangement, the song is still very instantly memorable; and it shows that New Device are skilled at making songs that play with structure a little while still being packed full of strong melodies. The EP's closing number Kingdom of the Damned opens with possibly the release's most potent riff; and in fact the song feels like a real throwback to some of the tougher moments on the band's early releases. It is a high-octane hard rock track that never really lets the energy level drop - with Leigh's dramatic vocal performance leading the charge along with Mallery's metal-esque riffing. New Device are never truly a metal band, but they know how to hit hard when they need to - and Kingdom of the Damned is one of their most hard-hitting compositions yet. Rozzy. who has been holding the band together with Leigh since the beginning, puts in a real shift behind his drum kit here - and a mid-paced breakdown sees some of Mallery's grittiest riffing to date. It is fitting that the EP closes with its heaviest number, and it certainly leaves an impression as the disc comes to a close. Overall, Karöshi is a great sixth release from New Device and it is easily my favourite thing from the band since Here We Stand seven years ago. There are many great new hard rock bands out there, but New Device have a sound that is instantly recognisable - and this latest EP contains some of their finest compositions to date.

The EP was released on 3rd July 2020 via ND Records. Below is the band's promotional lyric video for Wake Up.

Bad Touch's 'Kiss the Sky' - Album Review

It is funny how sometimes, after not really ever clicking with you previously, a band can suddenly just hit you and make you realise how much that you had been missing out previously. This is certainly the case for me and the Norfolk-based five-piece Bad Touch - a bluesy hard rock act who have been relentless bringing their up-tempo and feel-good sound to the world for the best part of the last decade. I first came across the band back in 2013 when they opened for The Quireboys in Falmouth, Cornwall. The band did not really grab me on the night, but it seemed that I was destined to keep coming across them over the years. Further support slots with both The Answer and Skid Row did little to change my mind; but it was finally changed in 2018 when the band brought their tour in support of their third album, 2018's Shake a Leg, down to Livewire in Saltash, Cornwall. Livewire is a great youth club that I used to visit regularly as a teenager, and its main focus is around music and encouraging young people to learn instruments, form bands, and play live. Part of the building also houses a live music venue, which has hosted many local bands over the years - but also shows by well-established names including The Damned, Funeral for a Friend, and The Quireboys. The Shake a Leg tour was extensive and, clearly wanting to 'break the Cornish market', Bad Touch rocked up to Livewire. In truth however, I bought a ticket mainly to see the support act, former Heaven's Basement frontman Aaron Buchanan, but I am rarely one to leave a gig early so stuck around to give Bad Touch another go. Almost from the off, I was impressed. Whatever had been missing for me previously in Bad Touch's sound was instantly there - and I really enjoyed the band's lengthy set that included a good selection of material from all three of their albums. I soon picked up the band's catalogue, and have become something of a big fan - and even caught them live with The Quireboys again last year in Sheffield where the band delivered a short but powerful set. A new album was always going to cement my love of Bad Touch, so it was with excitement that I pre-ordered the band's fourth album Kiss the Sky when it was announced earlier in the year. I think one of the reasons that finally drew me to the band was the material on Shake a Leg, which in my opinion is much stronger than the songs found on the band's previous two albums. I have grown fond of the band's older albums now, but for me Shake a Leg is easily the best. I was hoping that Kiss the Sky would follow in Shake a Leg's footsteps, so I was pleased to hear when it dropped through my letterbox last month that lightning has indeed struck twice. A more diverse collection of songs and sounds than its predecessor, Kiss the Sky is still instantly recognisable as Bad Touch, as the five-piece have a very distinct strutting, almost funky, vibe that is not too often present in newer hard rock acts, but there is also some experimentation here. It might not be as immediate as Shake a Leg, but it is an album that rewards repeated listens as there is a lot to uncover within the album's thirteen songs.

Despite some of the experimentation to come, Kiss the Sky opens in familiar fashion with Come a Little Closer - an up-tempo, feel-good rocker that follows on nicely from the sound that dominated Shake a Leg. It is a quick-fire piece that is over in almost a blink of an eye, but the catchy chorus and strong bluesy riffing still manages to make a strong impact. Rumbling Hammond organ, courtesy of Bob Fridzema (King King), and the occasional slide guitar line recall the boogie rock end of The Quireboys' sound, which shows that those many support slots over the years have rubbed off somewhat, while frontman Stevie Westwood's powerful vocal display captures the overall vibe of the song perfectly. He is such a laid back character on stage, and that translates into his vocal style. He has power, but it all seems so effortless for him - with soul perfectly oozing from him, even during the band's more harder rocking moments. As an opening statement, Come a Little Closer really sets the tone for the album to come and showcases the band firing on all cylinders from the off. In contrast, I Get High showcases the funky end of the band somewhat. Rob Glendinning and Daniel Seekings lock in perfectly for a groovy and uplifting guitar riff, which essentially defines the whole song, while the chorus features the band's strong funk and soul influences perfectly. While Bad Touch are a hard rock band at heart, they have never been afraid to showcase other influences. R&B, funk, and soul are all present in the band's sound, and this album, perhaps more so than their previous efforts, really showcases this. The gospel-esque backing vocals during the song's chorus and Michael Bailey's busy bassline are just two examples here that push those influences to the fore, and they help to set Bad Touch apart from the other newer hard rock acts out there treading the boards. Let Go channels southern bluesy rock, with the more rocking end of The Allman Brothers Band being something of a touchstone here. Fridzema, who contributes keyboards on a session basis throughout the album, really boosts the song with his barroom piano melodies, while Seekings' tough bluesy guitar rhythms underpin everything with those southern states grooves. Despite all of these different influences on show, Bad Touch's songs never feel like a pastiche. Everything naturally comes together, and Let Go is a great example of this. The southern rock influence feels natural, helped by a great Glendinning guitar solo, and not a poor imitation. Those who prefer the harder end of the band's sound will love Strut, the album's lead single. It is based around a muscular bluesy riff that, despite its weight, contains a lot of groove, and there is plenty of opportunity throughout for lead work as Glendinning cuts loose occasionally with some tasteful licks. There is not as much of the funk and soul influences to be found here, although the chorus features some more subtle gospel-esque backing vocals that blend in perfectly with the organ, with the band instead looking back to their earlier albums and pushing their core blues-based sound back to the fore. It is a great hard rocking tune that will no doubt go down well when played live.

I've Got the Music in Me is a hard rocking cover of the Kiki Dee Band's 1974 hit, but the song's natural groove fits perfectly within Bad Touch's established sound. Those who are not familiar with the original version of the song would not assume that Bad Touch's version is a cover as it fits in perfectly with the sound established on the rest of the album; whereas those who know the original well will appreciate how Bad Touch have altered it slightly to fit in with their bluesy hard rock sound. This is certainly tougher than Dee's original, but the horn section and backing vocals used here really bring the original to mind. It is a great cover version, with the band simultaneously paying tribute to a great pop hit from the past while at the same time making it their own. Can You Save Me is the first slower number on the album, and it provides something of a respite after five up-tempo and hard rocking tunes. It is not a true ballad, but it certainly goes for a more introspective approach with low key verses and a laid back Westwood vocal display. Despite his smooth, cool demeanour, Westwood always manages to inject plenty of emotion into everything he sings. This song is a great example of his talents; as the verses showcase him taking a somewhat gentle approach to fit in with the clean guitar melodies, while the harder-hitting choruses see him upping the power to fit in perfectly with the song's natural crescendo. The album's title track follows and it is one of the overall highlights of the album for me. The album is strong front to back, but this is a particularly catchy tune - and it is also one of the hardest rocking numbers here. The main riff sounds a little like Black Stone Cherry at times, again recalling the southern rock feel from earlier in the album, but the main meat of the song sounds to me a little like early Whitesnake. The natural strut of both of those bands is present here, and a strong organ presence really helps to reinforce that old-school 1970s hard rock vibe. Bad Touch are never a heavy rock act, but they can rock out with the best of them when they want to - and this is one of the best examples of them really going for it. The chorus is ridiculously catchy and the groove is infectious, all of which help to make the song one of the album's real highlights. See You Again is almost the exact opposite, and goes for a much more heartfelt approach with delicate acoustic guitar chords and Fridzema's piano. One thing that makes this album stand out for me in comparison to the band's older work is the greater emphasis placed on keyboards this time. Their older albums have made use of them, but employing Fridzema to play all of the keyboards this time around has worked wonders - and I do wonder if the band would benefit from hiring a full-time keyboardist and taking this fuller sound further. Fridzema's playing makes songs such as this one really stand out, with his delicate piano perfectly offsetting the guitars and vocals. The gorgeous ballad was made for having this piano accompaniment, and it adds a depth that would harm the song if it was missing. Not to be outdone however, Glendinning's guitar solo is a thing of emotional beauty that caps off what is already a heartstrings tugging number. Before I Die gets back to the band's usual groovy hard sound, with a hypnotic riff featured throughout and a Hammond-drenched chorus. It is not the catchiest song on the album, so it is probably one of the few tracks here that never really makes a proper impact. It is an enjoyable number, but compared to the album's stand out moments it falls flat somewhat. It is good example of the band's older sound, but I think that Bad Touch have come on quite a way since then, meaning that it feels a little old-fashioned compared to much of the album.

Read All About It again revisits the band's southern rock influences with a strident hard rock riff and some busy bass playing. The groove this time however comes from the hard-hitting drumming of George Drewry, who I think is probably the band's unsung hero. Bad Touch are a true band however, and while Westwood and Glendinning often stand out more by default due to their vocals and solos respectively, Bad Touch is a band that is greater than the sum of its parts. The grooves and rhythms are a big part of their sound, and they come from Seekings' riffs, Bailey's snaking bass, and Drewry's rhythms. Everyone in this band locks together perfectly to allow the Bad Touch sound to really shine, and Read All About It is a great example of this togetherness. The grooves are infectious, and they are what really draws me to the band above all other things. Too Much of a Good Thing is similar too, but it is a bit of a harder rocking track that ups the pace somewhat and goes for the gospel-esque sound in a big way. The backing vocals are a big part of the song, and they fit in perfectly with the band's bluesy rock grooves. Fridzema's Hammond again really adds to the song, but the standout moment for me is Glendinning's lengthy guitar solo. He is a great guitar player but, as described above, Bad Touch are a band that always plays for the song. When he does launch into a solo it is always to benefit the song, and his playing really boosts Too Much of a Good Thing for me - and it makes it an infinitely better song as a result. Sun and the Moon is quite a dynamic piece, that switches back and forth between more laid back moments and hard rocking sections with some of the album's most potent bluesy riffing. The verses are very low key, with gentle guitar chords and Westwood's gentle vocals; but when Seekings' heavier riff kicks in the band go into overdrive. The Hammond once again makes a strong contribution, with that early Whitesnake vibe being revisited during the choruses. Fridzema even gets a chance to lay down a short, but potent, Hammond solo which is something new for the band, and another reason why they should, in my opinion, consider finding a full-time keyboardist to allow more of this instrumental interplay in the future. Kiss the Sky on the whole is a pretty rocking and groovy album, but it comes to a close on a gentle note with the delicate Something About Your Kiss. It is a largely acoustic-based number with a very low-fi production style that works really well to round out what is otherwise an expansive and big-sounding album. Bad Touch have often chosen to end their albums with ballads, and the trend seems to work well for them. This is probably their most atmospheric piece yet however, and it sounds quite different from their usual ballads. That is until the last portion of the track however when Drewry's drums crash in and Glendinning launches into a lengthy solo that lasts essentially until the song fades out while Westwood sings over the top of it. It is a powerful closing statement that builds from a swirling and delicate intro, and it showcases the confidence of the band in tackling something a bit out of the ordinary for them. Overall, Kiss the Sky is another great album from this young band who are really starting to make a name for themselves here in the UK now. With another lengthy tour planned for the UK next year, it seems that rock fans across the country really love what Bad Touch are about, and I hope that there is more like this to come from them in the future.

The album was released on 19th June 2020 via Marshall Records. Below is the band's promotional video for Strut.