Elegant Weapons' 'Horns for a Halo' - Album Review

Whilst it is always good when a new band releases their debut album after years of hard graft, I have learnt to be a bit wary of supergroups. There have certainly been some good supergroups over the years, but often they end up being a bit of a disappointment. The best bands are such because they are more than the sum of their parts, and are built upon genuine chemistry, whereas supergroups are often just about the parts - and often lack the necessary chemistry to shine. It also does not help that there are labels out there like Frontiers Records, for whom a large part of their business model relies on teaming up an ever-increasingly random selection of musicians under various names to record fairly generic-sounding albums. It was with scepticism, then, that I approached Horns for a Halo - the debut album from Elegant Weapons which was released back in May. Elegant Weapons were formed last year by guitarist Richie Faulkner (Deeds; Voodoo Six; Lauren Harris; Judas Priest), as an alternative creative outlet from his Judas Priest day job. Considering the age of the rest of the Judas Priest members, Faulkner probably realises that his days with that band are numbered. Whilst Judas Priest are not currently showing any signs of slowing down, they cannot realistically have too many years left together - so it seems that Faulkner is preparing for the day that Judas Priest retire by setting up his own band. Elegant Weapons is that band, and it appears to be very much his creation. Whilst he has become a very respected guitar player in recent years, he has never really had a band to call his own - so with Elegant Weapons he can now lead the charge and set the goals. That being said, though, Horns for a Halo is very song-based. It does not sound like a solo album released by an ego-driven guitarist, filled with endless soloing with melody and songcraft being afterthoughts, but instead like a proper hard rock/heavy metal release with a strong focus on big riffs and vocal hooks. As such, then, a few listens to Horns for a Halo saw that initial scepticism fade away - and I have been having some fun with the album over the past month or so. The fact that Faulkner brought in Ronnie Romero (Lords of Black; Rainbow; The Ferrymen; Vandenberg; Michael Schenker Group) fuelled that scepticism, too, but Romero does a great job here - and turns in one of his best vocal performances to date in my opinion. I really liked Romero when I first saw him with Rainbow back in 2016, but I started to go off him after he became the go-to singer for essentially everyone for a while - as well as his tendency to sound quite nasally. He has gone up in my estimations again more recently, though, and he has proved to be a good foil for Faulkner here - despite not contributing to the album creatively. Filling out the line-up, on the album at least, is Rex Brown (Pantera; Down; Crowbar; Kill Devil Hill) on bass and Scott Travis (Raver X; Fight; Judas Priest) on drums - although neither have been touring with the band. Bassist Davey Rimmer (Zodiac Mindwarp and the Love Reaction; Monument; Uriah Heep) and drummer Christopher Williams (War Within; Blackfoot; Accept) have been playing with Faulkner and Romero live - with the latter also credited with some additional drums and percussion on the album.

The album opens with Dead Man Walking, a strong mid-paced hard rocker which sets the tone for what is to come. The song opens with some busy guitar riffing from Faulkner, before the rest of the band crash in and the track lumbers forward with a strong drum groove and some creative riffing. Despite the grooves and pace, parts of the song actually have a bit of an atmospheric depth which may not be expected. When Romero starts singing, the song drops away a little briefly to leave him with a sparser backing - but this vibe is short lived, with the track generally being pretty hard-driving. As mentioned above, Romero sounds great here. He sounds full-bodied and powerful throughout the album, and rarely stumbles into the heavily-accented, nasally territory which he has been prone to do in the past. As such, he leads the charge here perfectly - whilst Faulkner makes his presence felt with lots of excellent riffing and a number of impressive lead breaks between the vocal lines. His lead and solo work is always tasteful, and his first of many excellent guitar solos here is packed full of melody - and it evolves nicely over a number of movements, before Romero returns for a final reprise of the simple chorus. The song is perhaps not as hooky as some of the others here, but as a strong hard rocker to kick the album off Dead Man Walking works well - and it brings the best of out of both Romero and Faulkner early on. Do or Die ups the pace, and, in my opinion, takes the album up to the next level. Faulkner's riff is very much out of the Judas Priest school, but the tone is slightly more bluesy overall - meaning that the song has more of a classic rock strut than Judas Priest's more metallic approach. That being said, though, the song is still pretty heavy. Double bass drumming drives everything, whilst Brown's bass has quite a prominence in the mix which allows it to really boom through and add an additional edge to the guitar riffing. Romero also lets rip here. He held back a little during parts of the previous song, but he goes all out here - including a few aggressive screams at times to add further depth. The chorus is very hooky, too, with the overall pace helping the snappy melodies to shine - but Romero's performance also helps the hooks to really jump out. Perhaps some subtle gang vocals would have added more punch, but in truth the chorus works well as it is - and Faulkner's later solo is busier than the one in the previous song to introduce more of a shredded approach. Another standout cut for me is Blind Leading the Blind, which is another more mid-paced track - but there is another strong classic rock strut throughout, and there is also a surprising amount of swing. This helps to set the song apart from those which have come already, and showcases that Faulkner has not wanted to just steam ahead with fast-paced metal here. If anything, Faulkner has generally indulged in his 1970s influences here, whilst also injecting a little metal when needed. This song certainly has a strong 1970s vibe despite the metallic guitar tones and occasional double bass drum patterns, but the grooves and slight atmospheric depth at times is very old-school-sounding - and the chorus is one of the album's hookiest moments thanks to a raspy and powerful Romero vocal. Working with Michael Schenker seems to have improved Romero's vocal power in my opinion, and this song shines due to his performance - as the overall riffing throughout is not as prominent as it is on many of the others due to the big focus on swing and grooves.

Ghost of You slows the pace down again, and acts as something of a ballad whilst also injecting a bluesy edge. The drumming throughout is slow, and Faulkner creates lots of textures throughout with clean guitar melodies and the occasional lead break. This approach, then, helps to create quite a lot of atmospheric depth - but this is done in quite an old-school manner. Keyboards are not used in a big way at all on this album, so the atmosphere is created by the layers of guitar - with warm, clean melodies forming the basis of the song's musical approach, whilst occasional weightier chords are used occasionally for effect. Despite this, there is still a rock edge to the piece. It does not feel like a true ballad at times, but it is certainly closer to that feel than anything else. I generally prefer this album when it rocks harder, but the atmospheric approach here does help to add a different dimension to the album - and Faulkner's bluesy leads and solos here are excellent. Bitter Pill returns to something more typical of the band's sound, with a drum barrage and a big riff kicking off another mid-paced, groovy track. The riffing here is much more doomy than anything else on the album - and there is a strong Black Sabbath influence at play here. Faulkner's riffing grinds away throughout the song to great effect, whilst an opening lead guitar break adds a brief moment of pace. The soloing here is not as slow-burning as the doomy song otherwise is, which helps to create a bit of a dynamic arrangement, but the song is general is slow and punchy - which allows Romero to really stretch out and indulge in his Ronnie James Dio influence. There is a strong Heaven and Hell/Mob Rules feel to this song at times as a result, and the chorus is another strong moment which sees a more aggressive vocal compliment a busier drum arrangement despite the slower pace. Subtle keyboards are used here occasionally for depth, particularly during a later bridge section - which then morphs into an extremely melodic guitar solo. Up next is a cover of UFO's Lights Out - which Romero is more than familiar with having sung it live with Schenker a number of times over the past couple of years. It is a song which always goes down well in my opinion, and Elegant Weapons' cover here is a strong one. It feels more metallic than the original, but it does not really do anything different arrangement wise. Romero turns in a strong vocal performance, whilst subtle organ helps to recreate the 1970s hard rock of the original. Faulkner's guitars are weightier, though, but his solo certainly channels Schenker's neo-classical approach whilst also injecting some metal shred. It is a well done cover, then, which is just heavier enough to make it fit in with the rest of the songs here. Continuing the Black Sabbath vibes of Bitter Pill, the album's title track ups the pace somewhat - whilst still retaining a bit of a doom feel. This song is not as doomy as the previous song, but there is still quite a lot of Tony Iommi's approach to riffing to be found throughout - and there is certainly more urgency here. Faulkner's riffing dominates throughout, and really drives everything, but Romero does his bit with an aggressive vocal display which perfectly suits the song's hard-driving, yet doomy, approach. The snarling chorus is brought to life by this vocal approach - and it is the attitude that keeps everything ticking here as the vocal melodies are not as strong as some of the album's other examples.

Dirty Pig ups the pace again, and returns to a punchier sound more akin to the album's early cuts. Faulkner drives everything here with a snappy, staccato riff that creates a strong identity from the off - and the punch of this riff gives the song more of a metallic edge. This album constantly straddles the line between hard rock and heavy metal - and this is a song that certainly leads more in the metal direction than a rock one - and it helps to add to the album's overall toughness. The chorus has a snarling quality thanks to Romero's vocal approach, which feels rough around the edges but it works in the context of the song's heaviness, whilst there are a lot of guitar breaks throughout, too. More than once the rest of the band pull back to essentially allow Faulkner to shred - and these melodic injections add a lot to the song overall, as they create little changes of tone to break up the endless riffing. A slower-burning bridge section adds some further doomy elements to the album, but this moment is fairly short lived and essentially builds up to another big guitar solo. White Horse opens with some rumbling organ, and the song is more keyboard-heavy than anything else here - as when Faulkner's guitar riff kicks in the organ doubles it, adding a retro depth to the song's opening. The keyboard playing is not credited in the album's booklet sadly, but the organ helps to transport the listener back to the 1970s briefly, although the song in general is a bit heavier than it might initially seem - with the album's metallic side again getting an airing here. The pace throughout is pretty varied, too. Much of the riffing here is quite slow-paced, again leaning on a doomier approach, but there are sections which speed things up quite considerably - and the song feels quite dynamic as a result. Generally the songs on this album stick to one overall vibe from the off, but White Horse is a bit more varied arrangement wise. It does not change drastically as it moves along, but the variations in pace are welcome - and it helps to add some variety to the album's back end, particularly towards the end of the song when it slows down quite considerably and becomes much more atmospheric for a brief period with a strong keyboard presence. The album then comes to an end with Downfall Rising, which again has a bit of a Black Sabbath vibe at times thanks to a slower, heavier pace and a bit of a bluesy approach. Early Black Sabbath is channelled this time, though, with a good mix of clean guitars creative depth and big, slab-like riffing bringing the weight. Generally the song sits at the heavier end of the spectrum, but there are occasional atmospheric sections to break up the riffing - which often feature whimsical bluesy guitar leads for additional melody. As the song acts as the closing moment here, it is fitting that there is a big focus placed on melody - as both the song's big chorus and main guitar solo are packed full of hooks, which mean that the melodies stick in the brain as the album comes to a close. Overall, then, Horns for a Halo is a strong album on the whole which showcases that Faulkner is certainly a strong songwriter in his own right and that he and Romero work well together. I get the impression that Faulkner intends for Elegant Weapons to be a going concern, and I am certainly interested to hear more from the band - although I imagine that whilst Judas Priest still record and tour the band's activity will be fairly sporadic.

The album was released on 26th May 2023 via Nuclear Blast Records. Below is the band's promotional video for Do or Die.

Metal Church's 'Congregation of Annihilation' - Album Review

In a just world, the California-hailing five-piece (whom have become more associated with Washington state over the years) Metal Church would be talked about in the same breath as many of the big hitters of the hard rock and metal worlds. Since forming in 1980, and particularly since releasing their heralded self-titled debut album in 1984, there is no denying the influence that they have had on both traditional heavy metal and the thrash scene which would explode later in the decade. Too fast and furious to fit nicely alongside the traditional US metal scene of the early 1980s and not really abrasive enough to truly be called thrash, Metal Church somewhat fell through the cracks. They are a well-liked band with plenty of fans, but given the quality of their original run of albums before splitting in 1996 Metal Church should really be bigger than they are. A possible reason as to why Metal Church failed to cut through in the manner deserved was the fact that they have never really been able to keep a line-up together for an extended period of time - which certainly would have cost the band some momentum in the early days. Metal Church has always been spearheaded by guitarist and principal songwriter Kurdt Vanderhoof - with many other singers, guitarists, bassists, and drummers coming and going from the band over the years. Even Vanderhoof stepped back from active duty between 1986 and 1996, although he kept working with and writing for the band behind the scenes, meaning that Metal Church is one of those bands with a long list of previous members - so it must have been hard to keep up with all the chopping and changing in the pre-internet days. Vanderhoof's songwriting has ensured that Metal Church stayed on track, though, and the band's catalogue has remained solid despite all of the line-up changes - with a host of strong albums having been released since the band returned from hiatus in 1998. The band's last album, 2018's Damned if You Do (which I reviewed here), was one of the first Metal Church albums that I heard. I do not think that it was actually the first - but it was certainly the first that I heard around the time that it came out, and it proved to be another strong entry in the band's discography. Sadly, though, things have not been plain sailing for Metal Church since Damned if You Do's release - as in 2021 news broke of the tragic death of long-time frontman Mike Howe. Whilst Howe was not Metal Church's original singer, he had been associated with the band for a long time - and was a real fan-favourite. Many wondered if Metal Church would carry on following his death, but earlier this year Vanderhoof announced that Marc Lopes (Meliah Rage; Let Us Prey; Ross the Boss) had joined the band and that Metal Church's thirteenth studio album was on the horizon. This album, in the form of Congregation of Annihilation, was released back in May - and it was clear from the off that Metal Church have overcome Howe's passing and have hit the ground running with Lopes. Congregation of Annihilation is the band's most aggressive album for sometime, and a big part of this is down to Lopes - whose unhinged and powerful vocal performance dominates.

The nine-song album is pretty concise and does not outstay its welcome. In that sense, and given Lopes' vocal delivery, the album reminds me somewhat of the band's earliest work - when David Wayne was the frontman. All of the songs here are enjoyable, but perhaps the best two kick things off - with Another Judgement Day perfectly setting the tone with a brief drum barrage and a tight riff which feels pretty pacey despite it retaining plenty of crunch. A brief guitar lead injects some traditional heavy metal flair, but in the main the song is very vocal-focused. The verses are built around a variation of the opening riff, albeit slimmed down to allows Lopes' voice to shine, whilst the chorus does not change tack significantly - but is characterised by Lopes pushing himself further and ending the vocal melodies with a high-pitched scream. This song is clearly designed to spotlight his talents, with the rest of the band taking a bit of a backseat. The grooves throughout are excellent, though, with Vanderhoof's riffs being typical of his hooky and heavy style, whilst the occasional lead guitar bursts from Rick van Zandt, contributing to his fifth Metal Church album, are busy yet tasteful. The song essentially gets to the essence of Metal Church's core sound and re-establishes it with Lopes at the helm - and those fearing that he would not fit within the band's model will certainly be pleased with the results. The album's title track follows, and it opens somewhat slowly. The first riff is pretty lumbering, and it seems as if the song is going to take more of a doom path, but things soon speed up - and the song is one which showcases why Metal Church had such a big influence on thrash. Vanderhoof and van Zandt trade riffs back and forth throughout, and the pace is kept high thanks to a strong performance from Stet Howland on the drums. The verses are snappy, then, which brings a more aggressive delivery out of Lopes - but it is the chorus where the song really shines. The chorus here is very thrashy, with some gang vocals from the band acting in a call-and-response manner with Lopes - who really lets rip with some throat-shredding screams that really showcase his personality. I really like the over-the-top approach he has taken here, and he clearly 'gets' the Metal Church spirit already. Throw in a guitar solo section which switches back and forth between Vanderhoof and van Zandt, and the song feels like a future Metal Church classic complete with plenty of hooks and a big attitude. Pick a God and Prey is up next, and it was the song which introduced the fans to the Lopes era when it was released online a few months ago. The faster pace of the previous song is retained, but the song overall feels less thrashy - and there is a strong NWOBHM influence throughout thanks to some occasional twin guitar leads and a prominent presence for long-time bassist Steve Unger. The bass really drives everything here, whilst the guitars crunch along to provide a strong rhythm - stepping forward when needed to inject some early 1980s leads into the track. Howland lays into his double bass drums here, too, and the song steams along at a decent pace - but feels tougher thanks to the crunching riffing and a somewhat more grounded vocal performance. Lopes screams less here, and instead goes for a grittier, less varied delivery on the whole - but it suits the song's overall crunch, and allows the foot-stomping chorus to shine appropriately.

Children of the Lie builds on the NWOBHM vibes of the previous song, with the opening riff feeling very Diamond Head-esque - and the overall crunch generally present in the band's sound has been somewhat toned down here. The song is still pretty heavy, but it feels less aggressive than anything on the album up to this point - with the guitar tones being somewhat more old-school sounding, and Howland's drumming being more punky and less intricate. As such, the song feels less involved than the opening few numbers, but there is a pleasing rhythm and attitude throughout. Lopes again feels somewhat more reined in here - but his more streamlined performance suits the song's more old-school sound, and he has a slightly cleaner edge to his delivery at times here which is welcome. Unger's bass is once again pretty high in the mix, which is something I have noticed about Metal Church's album's before, and he really feels integral to the band's rhythmic approach despite having two guitarists. Unger always finds space to play with, and he compliments the guitar riffing perfectly - and perhaps particularly stands out here thanks to the more toned down approach taken. Despite this, though, the song does get a bit heavier towards the end, with a raging final third which sees Lopes harshen up his voice somewhat briefly - before a more atmospheric instrumental section featuring bluesy guitar leads, a strong bassline, and simple synths brings the song to a close. Me the Nothing somewhat opens as the previous song ended, with some subtle keyboard textures and clean guitar melodies - but this vibe is relatively short lived as the song soon morphs into a lumbering mid-paced rocker which expands on the band's classic sound somewhat. The crunch that was toned down a bit somewhat on the last song returns here, but the pace is overall a lot more deliberate - and the arrangement feels a bit more dynamic. The verses mix heavy riffing and atmospheric clean guitar melodies to create a bit of a grungy feel that works well - whilst Lopes uses the slower pace to inject some real character and menace into his delivery. The chorus retains the same overall pace, but the synths from the intro return to add depth. Metal Church are not generally a keyboard-heavy band, but the synths are used to good effect here - and allow for a bit of a different sound overall, despite Lopes really letting rip during the pulsing chorus. A slow-burning dual guitar solo only further adds to the song's overall atmosphere, and the mid-paced, hard-driving song provides a welcome change of pace despite still maintaining a heavy sound. Making Monsters returns to something more typical of the band's core sound, although a brief bass-heavy intro first sets a slightly strange 1990s alterative rock tone. This vibe is short lived, though, and a faster-paced riff soon crashes in, and the song becomes another somewhat thrashy song packed full of attitude - and it is another that showcases a bit of a punk edge. The verses certainly feel pretty punky overall, with a prominent bass presence and some frantic Howland drumming. Depth is added by some chiming clean guitar chords, though, which do offset the punky vibes somewhat - but the unsettling feeling they create adds an extra dimension to the piece. The chorus is more typical, though, with a full-bodied guitar attack and plenty more vocal histrionics from Lopes. He really lets rip during parts of the chorus - and the faster pace allows his unhinged side to shine.

One of my favourite late album cuts follows, though, as Say a Prayer With 7 Bullets is a real hook-fest which sums up everything that is great about Metal Church. The main riff is another that borrows from the NWOBHM somewhat, with an upbeat hooky vibe established from the off, but there is still plenty of crunch. The song does not feel as old-school as some of the other NOWBHM-influenced songs here, and it retains the band's trademark more aggressive approach. The faster pace of the song allows the verses to really steam by, with riffs that showcase why bands like Metallica found a lot to like in Metal Church's approach, whilst the chorus builds on the NWOBHM-esque riff from the song's opening to create one of the album's hookiest moments. Lopes somewhat sings in tandem with the rhythm of the riff - and this allows for an interesting vocal melody - his voice perfectly balancing a melodic edge with aggression. As such, the chorus is one that has stuck in my brain from the off - and the song remains a real favourite despite multiple listens. Another solo section which sees both Vanderhoof and van Zandt shredding later pulls everything together - and the song really deserves to become a future live staple for the band. These Violent Thrills is somewhat similar, but the riff feels more aggressive overall - and the song feels is frantic, instead going for a steaming pace which somewhat sits between mid-pace and something more thrashy. As such, there are some pretty big grooves throughout - but the real standout performer here is Lopes. He does a great job throughout the whole album, but it feels as if he picked These Violent Thrills to really showcase his range. Some of his screams here sound like what Tim Owens might have tried during his time with Iced Earth, and the overall crunch of the song allows him to really let rip. The song is less musically-interesting than some of the other cuts here, but that only serves to highlight the vocals more - and Lopes has grasped the opportunity to show off with both hands. The album then comes to a close with All That We Destroy, a similar-sounding song overall - but this one tends to leave the NWOBHM vibes behind to go for something more hard-driving and American in tone. It is the sort of song which showcases why the band's first couple of albums were so well received back int the 1980s - as there would not have been too many genuinely heavier albums out in the wild at that point. The riffing here is snappy and muscular, but some depth is added during a chorus which goes for a slightly more atmospheric feel with some clean guitar melodies sitting behind the riffing - which means that the song is another that feels a little more dynamic than the norm. Lopes is less full-on here, but he still screams occasionally - adding a harsher edge to some of the more atmospheric moments. There are more memorable songs here, but the crunching track does well to re-establish the band's classic sound one last time before the album comes to a close - leaving listeners wanting more. Overall, then, Congregation of Annihilation is something of a triumph - and a great example of a band overcoming adversity and delivering something strong. It is great to hear the band so fired up here, and Lopes has proved to be an excellent hire. I really hope that this is the start of a prolific and successful chapter in the long history of Metal Church, as I want to hear more from this line-up going forward.

The album was released on 26th May 2023 via Reaper Entertainment. Below is the band's official lyric video for Pick a God and Prey.

Iron Maiden - Nottingham Review

Considering the amount of hard rock and heavy metal shows that I have been to over the years, and the fact that I have have seen some bands a significant number of times live, it may surprise some to learn that, prior to last night, I had only seen Iron Maiden live before once. Whilst the band are not always the heaviest touring when it comes to the UK, as they often seem to focus much more heavily on the US market than their home market (although nowhere near as egregiously as Judas Priest still does), I have certainly had more than one opportunity to see Iron Maiden live. I am not sure why I passed up on previous tours, but I finally rectified the wrong of not seeing Iron Maiden in 2017 when I caught them in Birmingham as part of the touring cycle for The Book of Souls. Despite the setlist being heavily weighted in favour of the 2015 release, I enjoyed the show a lot. I listened to The Book of Souls quite a lot around that time anyway, and generally like it when bands heavily promote their latest release live. I decided not to go and see the band on their last UK tour, which was more of a greatest hits affair, largely as I think that I already had a lot planned around the time when the shows were due to take place. Big arena shows are never the cheapest either, so it is not always possible to do everything - and I think I was also less interested in a more greatest hits-orientated set. Iron Maiden are a band whom I generally think have some great deep cuts - and their most famous songs are ones which you just cannot escape when any kind of hard rock and metal music is being played in public. As such, I would much rather see a more themed set or one that pushes a new album heavily than a set that relies on the same old standards. As such, then, when the band's latest tour was announced last year and it was revealed to have both a theme and support a new album I was all in. Whilst 2021's Senjutsu is not my favourite of Iron Maiden's recent releases, it certainly has its share of strong material, and the fact that the tour was also going to shine a light on 1986's Somewhere in Time, an album which has often been overlooked by the band over the years, the setlist promised to include some interesting deep cuts alongside some real fan-favourites. Of all the UK shows, Nottingham seemed to make the most sense - despite none of the shows falling that conveniently day-wise. I ended up tying the Nottingham show into a wider trip which included a gig in London, too, so it made for a few nice days away. The Motorpoint Arena in Nottingham is always a good place to go to, too. It is probably my favourite of the UK's indoor arenas - and the sound is generally very good there. Many of the country's big sheds have issues, but the Nottingham one has always produced good memories - and it was good to return there after a couple of years. As expected, I was sat pretty far back - but the venue is such that views of the stage are good wherever you end up sitting.

Before Iron Maiden took to the stage, though, the growing crowd was treated to a pretty lengthy set from Germany's Lord of the Lost. Prior to yesterday, Lord of the Lost were a name that I had heard periodically over the years - and I was also aware that they represented Germany in this year's Eurovision Song Contest. I did not know much else about them, so I went into their set with an open mind and actually ended up enjoying quite a lot of it. Lord of the Lost's sound mixes the catchier end of industrial metal (think Rob Zombie) with some more melodic gothic rock topes and a good dose of pop. As such, their sound is surprisingly varied - and they mixed heavier moments with some pretty big choruses during their time on stage. Frontman Chris Harms generally sung clean, with a rich deepness which brought The 69 Eyes to mind at times, but he also utilised harsh vocals from time-to-time - which other members of the band also contributed to to create big walls of more aggressive vocals. This stopped the band from being overly melodic, but there were still plenty of hooks to be found - particularly on those songs which were more keyboard driven. Gared Dirge (guitar/keyboards/percussion/vocals) certainly kept himself busy throughout the band's set - and those songs which shone the most featured his keyboard talents. The synth work throughout the set was excellent, with lots of AOR-esque synth stabs and melodies which helped to temper some of the more hard-driving riffs and barked vocals. What struck me the most, though, was just how 'together' the band sounded despite the disparate influences. It is fair to say that Lord of the Lost certainly have a distinct sound, which was evident after just a couple of numbers, but they still managed to keep things relatively fresh throughout by shifting focus somewhat - and the overall heaviness tended to rise and fall as the set moved on. I like industrial music, but I am generally pretty picky as to which industrial acts I listen to. I tend to prefer the more melodic end of the genre, and Lord of the Lost had enough of that upbeat attitude to appeal to me. This, combined with some obvious extreme metal influences, made for an enjoyable set which passed by pretty quickly. Some of the songs lacked the big hooks of some of the others, but, at their best, Lord of the Lost impressed - and they actually seemed to go down quite well with Iron Maiden's fans, whom are often hostile to anyone who supports their heroes. Perhaps the crowd were just happy to not have a band featuring the son of one of Iron Maiden's members on the bill this time - but I also think that Lord of the Lost's infectious material and strong stage presence also played a big part in their warm reception.

Despite the decent showing from Lord of the Lost, it was of course Iron Maiden that the capacity crowd was in town to see - and when the familiar strains of UFO's Doctor Doctor started to play over the venue's PA the place went wild. Sci-fi music in keeping with the themes of Somewhere in Time then filled the hall - so it was fitting that two songs from that album were played first. Caught Somewhere in Time, which had not been played live by the band since the original Somewhere in Time tour, opened the show in fine fashion - and it was clear from the off that the crowd were in for a treat. The band's live sound mix was excellent, and frontman Bruce Dickinson was on top form. He does sometimes struggle a bit these days, but he was excellent throughout the whole of the Nottingham show - and prowled the stage in his usual manner, looking like some kind of sci-fi cowboy early on. The more muscular Stranger in a Strange Land followed, and the crowd were in raptures. The song is another relatively rarely-played number, and hearing the crowd shout the chorus back at Dickinson was a powerful moment. A trilogy of numbers from Senjutsu then brought the set into the modern day. Adrian Smith (guitar/vocals) led the somewhat southern rock-tinged The Writing on the Wall, before the driving drums of Nicko McBrain propelled the relatively snappy Days of Future Past - which Dickinson later remarked had been named after The Moody Blues' song of the same name. Perhaps the highlight of this part of the show for me, though, was The Time Machine. I would not have called it one of my favourite cuts from Senjutsu previously, but it came across really well live. Songwriter Janick Gers (guitar) set the tone with a gentle acoustic guitar intro, before the mid-paced track stormed along with another powerful Dickinson vocal and plenty of guitar firepower from all three of the band's guitarists - with Gers unsurprisingly dominating. At this point, five songs into the set, only two albums had been featured, so the band then chose to branch out slightly and brought out The Prisoner - which has always been a long-time favourite Iron Maiden song of mine. Live the song felt somewhat looser than on the album, but it worked well and the chorus turned out to be another shout-along moment whilst clips from the eponymous TV series played out on the screens behind the band. This punchier number then gave way to the lengthy epic Death of the Celts - which was the first of three longer-form tracks included in the set. Of the three longer songs on Senjutsu, it is my favourite - and it was another that came across well live. The folky guitar melodies throughout injected plenty of Celtic vibes, and there was a lot more soloing - particularly this time from Dave Murray (guitar). Steve Harris (bass guitar/vocals) also made his presence felt early on with some acoustic bass playing during the atmospheric intro.

It was then time for another diversion into an album not being specifically featured on the tour, so it was turn for Can I Play with Madness to get an airing. The relatively poppy song is not always a favourite of die-hard fans, but I have always liked it - and it was a fun addition to a set which could have gotten quite bogged down had it not been so well structured. Can I Play With Madness acted as a bit of a kick of energy following the more meandering previous song - and set up the final third or so of the main set perfectly. Returning to Somewhere in Time, the faster-paced Heaven Can Wait was another big favourite. I have always liked the song, but it came alive on stage - and it featured a walk-on from band mascot Eddie who had a gun fight with Dickinson to the delight of the crowd. The tour's big surprise then followed in the form of Alexander the Great - which is song that die-hard fans of the band have been begging them to play live for years. Prior to this tour, the song had never been played live - and it looked as it if it would go un-played, but the band finally dusted it off for this themed tour. In truth, it has never really been a personal favourite of mine (if I could choose which rarely-played early epic to include it would have been To Tame a Land), but the song has reached legendary status in the band's fanbase so it was great to hear it pulled out of the vaults - and I imagine that there were many in attendance that were extremely pleased to hear it. It felt like a real event, and the song came across well live - with lots of great soloing from Smith. With much of the main set either being newly-played on this tour or rarely played in recent years, it was then left to two standards to close out the main set. The ever-present Fear of the Dark was received as warmly as ever, with plenty more singing from the crowd, before the band's self-titled song brought the main set to a raucous close. The punky energy of Iron Maiden always seems to get the crowd going, and it is another that elicits plenty of rowdy shouting-along. It also saw another appearance from Eddie, this time in samurai garb, where he duelled with Gers as the main set came to a close. There was, of course, time for a few more, though, and the three-song encore kicked off with one last epic in Hell on Earth. It was the last of the Senjutsu cuts played, and it was probably the only one that did not truly grab me. It has never been one of my favourites from the album, but I think that it has become a bit of a fan-favourite. It was still good to hear it live, despite it not being a personal favourite, but the rest of the encore was more on safe ground with the rollocking The Trooper eliciting a strong rection from the crowd - with the wordless vocal hooks filling the arena as the thousands in attendance latched onto it. It was left to one last cut from Somewhere in Time in Wasted Years to bring the show to a close - and the anthemic track perfectly wrapped the action up (as it had in 2017, too, actually) as the band took their bows to huge cheers. The setlist was:

Caught Somewhere in Time

Stranger in a Strange Land

The Writing on the Wall

Days of Future Past

The Time Machine

The Prisoner

Death of the Celts

Can I Play with Madness

Heaven Can Wait

Alexander the Great

Fear of the Dark

Iron Maiden

-

Hell on Earth

The Trooper

Wasted Years

As much as I really enjoyed the 2017 show I attended on The Book of Souls touring cycle, which also had a strong setlist, I think that last night topped it. The band were really on fire, and the Senjutsu cuts chosen really came alive on stage. I liked the focus on Somewhere in Time, too. I have always enjoyed that album a lot, and quite a few of the songs played from it had either never been played live or had not been played live for a number of years. It made the set feel special, even for someone like me who had only seen the band live once before. There were only four songs played yesterday which were played in 2017, too, which I always like when it comes to setlist construction. It is funny to think that I have now seen the band live twice and have never seen them do Run to the Hills and Hallowed Be Thy Name - but, in truth, I would have rather have seen the two interesting setlists that I have now seen than a more generic greatest hits-type set anyway.

Def Leppard/Mötley Crüe - London Review

Being a hard rock and metal fan, going to a stadium gig is a bit of a rarity - but going to two in a row is essentially unheard of. Prior to last night's fun in London, my last gig came a couple of weeks ago - when I went to Birmingham to catch Bruce Springsteen and the E Street Band put on a mammoth three-hour show at Villa Park. Sitting in the upper tiers of a stadium appears to not get old, though, as just over two weeks later I was sat in an even bigger stadium, Wembley Stadium to be exact, to enjoy two of the biggest names from the 1980s in Def Leppard and Mötley Crüe. I suppose this is how fans of acts like Taylor Swift and Harry Styles must feel! Times have changed for both Def Leppard and Mötley Crüe - as this was not the first time that I had seen the two touring together. The bands did a UK co-headline tour in 2011, and I caught them at what is now the Motorpoint Arena in Nottingham. Wembley Stadium is certainly larger than any indoor arena, so it is good to see that the bands have grown in stature again. Funnily enough, I think it was that night in Nottingham which really made me a Def Leppard fan. I had been a casual fan for a while, but went to the show largely to see Mötley Crüe. I remember Mötley Crüe's set being plagued with sound issues, though, and Def Leppard followed them by smashing it out of the park. Prior to last night, I had seen Def Leppard live twice more, and Mötley Crüe just the once - as I trekked up to Manchester to catch them 'one last time' on what was supposed to be their farewell tour in 2015. Their set was significantly better than it had been in 2011, and it was great to have a memorable experience to look back on. Mötley Crüe are certainly not a band that I listen to as much these days, but they were very important in my overall musical development - so I was sad to see them go. I have learnt not to believe musicians when they say that they are retiring, though, so I was not surprised to see them return a few years ago - only for it to be halted by the pandemic. Since kicking off their big comeback tour last year, Mötley Crüe have been touring again with Def Leppard - so once the European leg of the tour was announced I picked up a ticket. 12 years on from that original show, though, this time I was largely going for Def Leppard. The two Def Leppard shows which I saw since the 2011 one were both great, particular one in 2018 which featured 1987's Hysteria played in full, and their remarkably strong catalogue is one which I dip into regularly. I was looking forward to seeing Mötley Crüe again, too, but I had my expectations in check, given some of the reviews I had read and all of the drama surrounding the ousting of guitarist Mick Mars, but since I was mainly going to see Def Leppard and the tickets were surprisingly not hideously priced (at least for the cheap seats a long way from the stage where I sat) I was not going to get too upset if Mötley Crüe disappointed. It had been a few years since I had been to Wembley Stadium, too, so it was good to return. Like all of these big shows, it started pretty early with Mötley Crüe on at 6:45pm. Mammoth WVH opened the show, but by the time I had got over to the stadium from my hotel in the Docklands area of London, Wolfgang Van Halen had largely already finished his set - so I did not see enough of it to really comment on. I saw him last year with Alter Bridge, though, and thought that he and his band were decent without making much of a mark.

It was only around 30 minutes after Mammoth WVH finished their set that Mötley Crüe took to the stage. Considering how, literally, explosive the 2015 show had been, the band's stage show was surprisingly minimal - with them instead letting their music do the talking. By this point, too, the crowd had filled out. Despite only half of the pitch having seats on it, the wider stadium was still pretty full. It was the smallest crowd that I had seen at Wembley Stadium, though, but there were still more in attendance than could have fit in the O2 Arena or similar. Both Mötley Crüe and Def Leppard had 90 minutes to play with, and Mötley Crüe decided to essentially deliver a greatest hits set. As such, setlist-wise, the show was very similar to the previous times that I had seen them - although a couple of different tunes were included. Mötley Crüe opted for a gnarly live sound. The band are always heavier than I remember, and from the opening riff of Wild Side the four-piece (augmented by two backing singers/dancers) rocked pretty hard. The sound mix was generally pretty good, despite the typical 'boom' of stadium sound, although there were times when frontman Vince Neil was a bit buried. Speaking of Neil, though, I was generally impressed. He has come in for a lot of criticism over the years, but he sounded pretty strong throughout much of the set. He struggled with the ballads when his voice was more exposed, but during the heavier tracks he sounded pretty good. In general, too, the band were tight. Drummer Tommy Lee has always been an explosive and underrated drummer, and new guitarist John 5 has added some additional talent to the band. 5 could probably play the set in his sleep, but he nailed the overall attitude of the riffs - and injected a little more of his own style into the solos. The opening portion of the set really rocked, with the aforementioned Wild Side sitting nicely alongside Shout at the Devil and a great version of the raw Too Fast for Love from the band's first album. Don't Go Away Mad (Just Go Away) slowed the pace, but exposed the fragility of Neil's voice, but things got back on track with the pseudo-thrash of Live Wire, which was a real highlight, and a stomping rendition of Looks That Kill. It was fun to hear the newer The Dirt (Est. 1981) live, despite it relying on quite a lot of pre-recorded vocals due to Machine Gun Kelly's appearance on the track, but it did mark the start of a bit of a mid-set sag. For whatever reason, on this tour the band have decided to include a lengthy covers medley in their set - which over the last couple of shows has now gotten longer, to include a significant portion of Beastie Boys' (You Gotta) Fight for Your Right (to Party!) for no clear reason. Neil looked like a lost lamb here with many of the other band members singing - and considering that an original track was dropped to make this medley longer you have to question why. The slower Home Sweet Home followed this medley, too, which also was not too kind to Neil - but thankfully the last few songs got the set back on track. Dr. Feelgood felt more like it, before Same Ol' Situation (S.O.S.) saw plenty of singing from the crowd. Bassist Nikki Sixx was showcased during the intro of the prowling Primal Scream - and the set then came to a raucous end with the anthemic Kickstart My Heart. Despite the mid-set sag and some slower numbers which only served to highlight Neil's vocal issues, Mötley Crüe put on a raw set with their usual swagger - so a job well done. The setlist was:

Wild Side

Shout at the Devil

Too Fast for Love

Don't Go Away Mad (Just Go Away)

Live Wire

Looks That Kill

The Dirt (Est. 1981)

Guitar solo

Rock and Roll - Part 2 [Gary Glitter cover]/Smokin' in the Boys Room [Brownsville Station cover]/Helter Skelter [The Beatles cover]/Anarchy in the U.K. [Sex Pistols cover]/Blitzkrieg Bop [Ramones cover]/(You Gotta) Fight for Your Right (to Party!) [Beastie Boys cover]

Home Sweet Home

Dr. Feelgood

Same Ol' Situation (S.O.S.)

Girls, Girls, Girls

Primal Scream

Kickstart My Heart

Again, there was only around 30 minutes between sets - so it was soon time for Def Leppard to take the stage. I enjoyed Mötley Crüe, but I think it is fair to say that Def Leppard were better - both in terms of overall sound and setlist choice. They essentially also played a greatest hits set, but a few choice cuts from last year's strong Diamond Star Halos kept things interesting - and the set kept the large crowd enthralled from the off with the hard-driving riffing of Take What You Want. Frontman Joe Elliott might not have the range that he used to, but he is still a good live singer - and the harmonies from the rest of the band helped to create their trademark layered sound. Take What You Want got the set off to a strong start, and the harder rock vibe continued with Let's Get Rocked - before the more mid-paced Animal was the first of six Hysteria cuts played during the evening. 5 had included plenty of fretboard pyrotechnics during Mötley Crüe's set, but the back-and-forth between Phil Collen (guitar/vocals) and Vivian Campbell (guitar/vocals) was just as impressive. The anthemic Armageddon It featured lots of great guitar playing, and it came after a relative deep cut in Foolin' which all the die-hards around me really enjoyed. I have already mentioned the inclusion of new material, but I think it was quite brave of the band to play three new songs - even though the poppy Kick certainly went down well. So many veteran bands struggle to get people to engage with new songs - especially in a stadium context. The choice to play the new songs seemed to pay off, though. There were lots of people around me singing along to Kick, and I was glad to hear songs which were a bit different from the norm. I was pleased with the inclusion of Promises from the late 1990s, too. Although the song was a single, it is certainly not a setlist staple - but the epic chorus rung around Wembley Stadium and it received a strong reception when it came to an end. Unlike Mötley Crüe, too, Def Leppard's mid-set did not sag - despite it changing the pace. A brief semi-acoustic set saw the band gathered at the foot of the catwalk, with drummer Rick Allen behind a small drumkit, to play a couple of ballads. This Guitar was the last new track featured but the stripped-back version played worked well - before a reworked When Love & Hate Collide also impressed. This acoustic set did not outstay its welcome and it was soon time to rock again, with the glam stomp of Rocket and the soaring power ballad Bringin' On the Heartbreak getting everyone to sing along. The rumble from bassist Rick Savage then heralded the instrumental Switch 625, which featured some great guitar interplay between the two guitarists - and came to an end with a brief drum solo. By this point, though, there was not too much time left - but four more big hits were still to come. The smooth Hysteria felt like a bit of lull before the final storm, despite it being a melodic feast in its own right, but I think it is fair to say that Pour Some Sugar on Me was the song that got everyone on their feet, the duelling guitars and Collen and Campbell bringing it to life, before the mid-paced Rock of Ages and the bona fide classic Photograph closed out what was an excellent evening of live music - with the whole stadium on its feet. The setlist was:

Take What You Want

Let's Get Rocked

Animal

Foolin'

Armageddon It

Kick

Love Bites

Promises

This Guitar

When Love & Hate Collide

Rocket

Bringin' On the Heartbreak

Switch 625

Hysteria

Pour Some Sugar on Me

Rock of Ages

Photograph

It is always great seeing Def Leppard live and, for me, they were easily the band of the night at Wembley. I still enjoyed Mötley Crüe's raw set, and they whipped up plenty of excitement - but I felt that, overall, Def Leppard elicited more of a reaction from the crowd and managed to deliver a stadium-ready setlist that did not just rely on past glories. Seeing two of the 1980s biggest rock bands is always going to be a recipe for a great night out, though, and the duo of Def Leppard and Mötley Crüe did not disappoint - and certainly brought some fire to a busy London Saturday which saw the public spoilt for choice with lots of big-name events.

Arjen Lucassen's Supersonic Revolution's 'Golden Age of Music' - Album Review

Considering how many progressive and power metal albums and concerts I have covered on this blog over the years, one name that has rarely been mentioned here is Arjen Anthony Lucassen. Considering how prolific Lucassen has been with his various projects over the years, and how much I generally like his output, I am quite surprised that I have never really written about him or his work here. Whilst I am certainly not familiar with everything he has ever done, I have heard most of the Ayreon and Star One albums as well as a handful of some of his other more one-off projects. I think that the main reason for not covering him before is the fact that the majority of his albums tend to be mammoth undertakings which I just cannot dedicate a lot of time to listening to. I have enjoyed all of the Ayreon albums that I have heard, but they all tend to be sprawling, lengthy, complex concept albums - and they are just not albums that I tend to listen to that often, despite enjoying them and the majority of musicians and singers which collaborate with Lucassen on them. This extends to Star One, too, and I have always found Star One generally to be pretty similar to Ayreon - despite Star One typically being on the heavier side and Ayreon straddling the line between prog rock and prog metal more finely. Over the years, too, I have also enjoyed Guilt Machine's sole album On This Perfect Day from 2009, which was more of an overt and atmospheric progressive rock release, and the folky and more organic The Diary by The Gentle Storm from 2015. I am also quite a big fan of the gothic/prog metal act Stream of Passion, which Lucassen helped form in 2005 and whom later grew into a fully-fledged band without his involvement. As such then, despite the lack of coverage here, I am a pretty big fan of Lucassen and his work - so writing about an album of his does somewhat feel long overdue. It is perhaps fitting, then, that I have chosen his latest project as my first review of his work - and, in my opinion, this latest offering does do something a bit different from anything he has done before. Lucassen's new band, Supersonic Revolution, is a five-piece in the classic rock style - and that is exactly the type of music which they play. Lucassen's prog leanings do not really appear here at all, and Golden Age of Music, Supersonic Revolution's debut album, clearly plays tribute to a number of Lucassen's classic rock influences from the 1970s. Deep Purple and Uriah Heep seem to be the main touchstones here, but there is also influence taken from 1970s glam rock bands like Slade and Sweet. A good comparison to make is actually to the newer retro rockers Cats in Space - albeit heavier and much more Deep Purple-influenced. Supersonic Revolution retain Lucassen's signature crunch and approach to melody, but play no-nonsense hard rock with big melodies, plenty of Hammond organ, and some excellent lead guitar work. Despite writing most of the songs as usual, Lucassen has contented himself with bass duties here, and he has been joined by frontman John Cuijpers (Praying Mantis), guitarist Timo Somers (Vengeance; Delain; Carthagods), keyboard player Joost van den Broek (Sun Caged; After Forever), and drummer Koen Herfst (I Chaos; Dew-Scented; HDK; Vandenberg) - all of whom have collaborated with Lucassen in the past.

Despite this classic rock approach taken, I still think Golden Age of Music sounds like a Lucassen album. He just has an approach to songwriting that stands out a mile off, but he has toned down the prog here to go for an all-out hard rock sound. Before really kicking off, though, the album gets underway with the short keyboard-led instrumental SR Prelude. The organ work from van den Broek here builds, in the neo-classical style, towards the album's first proper song - and it signals how important the keyboards are going to be to what follows. van den Broek really shines throughout this album, and the instrumental intro showcases him nicely - before The Glamattack crashes in and the album gets underway proper. The hard-hitting Deep Purple-esque sound of the album is established from the off, but the song definitely feels more modern despite the influences on display. There is still a strong metal attitude present throughout the song (and, indeed, much of the album), largely thanks to Herfst's powerful drumming and the grit in Cuijpers' voice, but there is enough of a retro edge to allow the influences to shine. Somers' approach to his guitar playing here is generally a bit more modern, too, with pinch harmonics and shredded licks often eschewing a more bluesy approach - but the Hammond organ roots everything in the past. This mix of sounds works well, though, and it gives the album a unique feel - and The Glamattack is a perfect representation of the band's ethos. The opening riff is hard-driving, with a strong organ backing, whilst the verses are a bit more melodic to allow Cuijpers to shine. Praying Mantis fans will already be aware of his excellent voice, but he pushes himself more here - and the difference between the more melodic verses and the more metallic chorus showcases his range. The chorus is very catchy despite its fast pace and serious attitude, and it shows how well Lucassen has leaned into his influences here and still managed to showcase a bit of his core sound. It is not all about the vocals, though, and a blistering instrumental sections sees Somers and van den Broek trading solos and licks back-and-forth in a manner reminiscent of a modern Ritchie Blackmore and Jon Lord. There is a quieter moment later on, which sees Cuijpers singing against a more atmospheric keyboard backing - but generally the song steams along, and it kicks off the album in fine fashion. The title track follows, and it continues on the core sound of the opening number perfectly - although it is slower and focuses a bit more on groove. It opens in busy fashion, with some explosive lead guitar playing, before a crunchy verse kicks in - driven by some groovy bass playing and plenty of Hammond swells. The song is less frantic, but it still feels pretty crunchy throughout - with Somers' more modern guitar grooves perfectly clashing with retro keyboards and the funk of the rhythm section. Cuijpers is more overtly melodic throughout, particularly during the story-telling verses, whilst the chorus hits a little harder with plenty of strong vocal harmonies and a lushness thanks to the keyboard backing. Guitar and keyboard lead passages are never too far away, either, and the song is packed with plenty of hooks as a result - and perfectly balances accessibility with a busy instrumental approach, like so many of the best bands of the 1970s.

The Rise of the Starman appears to rein in the heavier side of the band somewhat, as it builds from a keyboard intro which Somers soon solos over in a rather whimsical manner. It feels as if it is about to take a different path from the opening couple of numbers, but soon another big riff crashes in and the song morphs into another mid-paced hard rocker - although it feels more atmospheric and expansive overall. Whilst Lucassen generally has not mined his usual prog seams here, he does showcase his prog side a little occasionally - generally in scope and arrangement more than anything else. This is a song that benefits from his prog experience - as it is very busy instrumentally, and there is a lot of time dedicated to guitar and keyboard solos. They all add to the overall experience, though, and the keyboard depth throughout helps the song to feel huge - and this larger scope helps to mitigate against the guitars being a bit less crunchy overall here. This is very much a song which showcases van den Broek's organ playing, particularly as much of his time is dedicated to leads and melodies - not just swells of growling sound. This approach works well, though, even whilst Cuijpers is singing, and it helps the song to feel a little grander overall. Burn It Down returns to something much crunchier, though, and if any song here channels Deep Purple then it is this one. There are definite lyrical references to Smoke on the Water at times here, and the main keyboard riff reminds me a little of Might Just Take Your Life. Despite this, though, the song does not just sound like a poor pastiche of Deep Purple, but instead it feels like a celebration of that brand of 1970s hard rock - and the grit-filled voice of Cuijpers really adds character to the strutting, mid-paced number. He brings the song to life, particularly during the snaking chorus, whilst some more back-and-forth between Somers and van den Broek add further flourish during an instrumental section which channels both bluesy and neo-classical vibes. Despite the influences being rather blatant here, the song is executed really well - and it perfectly showcases what Lucassen was trying to achieve with this latest project. Odyssey is another piece that showcase a bit more of prog feel, and it is probably the most expansive and atmospheric here. Opening with clean guitar melodies and some spacey leads, the song builds from this slow intro - adding Hammond organ pulses as Cuijpers starts to sing. This vibe continues on for a while, with the atmosphere building slowly over the song's first couple of minutes behind Cuijpers - but soon things pick up the pace somewhat, and Somers launches into another fairly lumbering riff, complete with pinch harmonics, and the song becomes more metallic. Sparking synth leads and some off-kilter drumming take the song in a different direction briefly, but once Cuijpers starts to sing again the more expansive feeling returns - albeit with a heavier backing. The crunch helps to enhance the melodies overall, though, and the song's build feels natural despite the shift to something heavier. The vocal hooks might not be as memorable here, but Cuijpers instead sings in a manner more befitting of the song's journey - although the occasional big hook does add a sheen when needed, if the many guitar and keyboard excursions did not already do so.

They Took Us By Storm returns to something more typical of the album's core sound, and opens with some of the most overt and in-your-face Hammond organ playing here. van den Broek is given free rein during the intro, where he lays down some retro swells and roars, before the rest of the band crash in and Somers leads the charge with a riff that is packed full of groove. This is another song which perfectly mixes Somers' more modern riffing style with the retro songwriting of Lucassen, and the mid-paced bounce which is created throughout is very easy to latch onto as a result. Much of the best classic rock features strong grooves, and They Took Us By Storm is no different. Things are toned down somewhat for the verses, but they maintain the same overall rhythm, whereas the chorus is much punchier - with the Hammond of the intro returning as Cuijpers' voice is backed by walls of harmonies. A lengthy organ solo ensures that van den Broek's dominance is retained, and it brings everything together nicely. Golden Boy does tone things down somewhat, opening with a shuffling groove and some distant keyboards - whilst Cuijpers sings against this muted, but busy, backing in a more melodic manner whilst Somers grinds away on his guitar. Occasional volume swells tease a more hard rock approach, but the song tends to remain more low key despite a punchier chorus. The organ stabs keep it grounded, though, and Somers does not let rip as much here. There is still plenty of rock here, but the heaviness is not as overt - with Lucassen's prog side on show again as far as the arrangement goes. The pulsing, shuffling groove is welcome, though, and the song helps to provide a bit of a change of pace. This change of pace is maintained with Holy Holy Ground, the album's sole ballad which tones things down further and goes more an atmospheric approach that features lots of emotional guitar playing from Somers. The pulsing intro is dominated by a lengthy guitar solo, and when Cuijpers takes over vocally he continues on the atmospheric approach established. He showcases a more melodic side of his voice here, with much of the earlier grit left behind to suit the song's slower burn and the more emotional approach. The rhythm section shuffle away, yet still pack a decent punch, whilst all the depth is added by the keyboards. The verses brim with washes of organ, whilst a lengthy keyboard solo builds on many of the vocal melodies throughout. This then transitions into a screaming guitar solo, which is still packed full of emotion despite the somewhat busier approach and more cutting tone. There is a lot to like about the song, and as the album's only ballad it helps to add something different overall. Despite the influences on display here, there is still fair amount of variety, and Holy Holy Ground showcases this with its more delicate melodies and bluesier approach to guitar leads.

Fight of the Century returns to something more typical of the album, but the song is not as furious as some of the harder tracks here - instead going for a more groove-based mid-paced approach. The rhythm section once again do their bit, creating strong grooves with off-kilter drum patterns, whilst the organ again is the MVP - providing many countermelodies throughout the verses and filling the chorus with its more aggressive overall sound. In my opinion, though, the album has other songs which do this style better. There is a lot to like here, though, and the instrumental section may well be the album's best. It builds from a busy organ solo, and then explodes into Somers' most shred-happy guitar solo here - backed by some really fast double bass drumming out of nowhere. The vocal hooks are not as strong here as they are in many of the other songs, though, which means that the track does not feel as hooky overall as many of the album's best cuts. It is still a great representation of the band's core sound, though, and makes up for its lack of interesting vocal hooks with the excellent aforementioned instrumental break. The album then comes to a close with Came to Mock, Stayed to Rock, which opens with a strange acoustic guitar ditty - which is soon backed by some whimsical keyboards. The opening section of the song builds on this acoustic intro, and presents something very different and almost bluegrass-esque in tone, but the bulk of the song is more typical of the album's core sound - and it soon explodes into another relatively fast-paced piece with choppy guitar riffing, staccato keyboard stabs, and an overall vibe which feels rather jaunty and upbeat. Cuijpers' vocals hooks are appropriately snappy, nicely fitting around the pulsing grooves in true glam rock fashion, with the fast-paced chorus in particular sticking in the brain. The busy arrangement makes the most of the band's instrumental talents, too, and there is quite a lot of soloing here - including another fairly lengthy back-and-forth between Somers and van den Broek which nicely showcases the pair's chemistry. It brings the album to a busy and dynamic close, then, and once again showcases Lucassen's love of retro rock. Overall, then, Golden Age of Music is a really fun album which has allowed Lucassen to do something a bit different and pay tribute to many of his rock influences from the 1970s. His prog side does shine through sometimes, but generally this is a more up-tempo and harder rocking album - with a big focus on melodies and furious instrumental trade-offs. Given Lucassen's track record with projects not named Ayreon or Star One, I would not be surprised if this release turned out to be a one-off - but if Lucassen ever feels like he wants to write more songs in this style I would happily listen to Supersonic Revolution's second album.

The album was released on 19th May 2023 via Music Theories Recordings. Below is the band's promotional video for Golden Age of Music.

Alcatrazz's 'Take No Prisoners' - Album Review

Alcatrazz are one of those bands that have a big banner reading 'What If?' hanging over them. Despite finding an audience in the 1980s, they essentially acted as a springboard for the careers of two American guitar legends without ever making much of a mark themselves. Perhaps this turnover of guitar heroes did not help, but I would have still thought that being fronted by Graham Bonnet in his prime, fresh from Rainbow and the Michael Schenker Group, would have counted for more. It was not to be, however, and the band split in 1987 after three albums with three different guitar players. They deserved better, but then so do many bands - and Alcatrazz are just one of many good bands who never got the respect they deserved. This, though, makes the recent Alcatrazz story so interesting. Reforming in 2019, the band released their fourth album Born Innocent (which I reviewed here) the following year. Born Innocent contained a lot of strong songs, but it felt more like a Graham Bonnet Band album that was released under the Alcatrazz name given the sheer amount of guest musicians and songwriters that contributed to it. A few months later, though, Bonnet was out of Alcatrazz and another Rainbow alumnus Doogie White was in. Given that Alcatrazz always seemed to be Bonnet's band, the change was a shock - particularly given that Born Innocent had not really been a true band album. Perhaps this was part of the issue, but Bonnet seems content to be a solo artist these days anyway - and Alcatrazz has continued on under the guiding hands of founding members bassist Gary Shea and keyboardist Jimmy Waldo. Bonnet has an extremely distinctive voice, but I have been a big fan of White for a number of years - so I was keen to hear what Alcatrazz would sound like with him at the helm. I did not have to wait too long, as V (which I also reviewed here) came out towards the end of 2021 - and introduced a new-look Alcatrazz which very much played into White's more traditional hard rock and heavy metal background, as well as really letting current guitarist Joe Stump run wild. Stump had impressed on Born Innocent when he was not being forced to share the spotlight with the various guests along for the ride - but on V he really got to showcase his neo-classical talents. It was clear that he and White had struck up a strong writing partnership from the off, too, and that has continued on throughout the second Alcatrazz album of the White era, Take No Prisoners, which was released last month. Waldo and manager Giles Lavery chip in too, but generally, again, this album is the White and Stump show from a songwriting perspective - with the former laying down a number of strong vocal hooks and the latter contributing lots of big riffs and solos. There are no 'guest replacements' this time, either, as even V featured additional drummers and bass players - meaning that Take No Prisoners is a true representation of the current Alctrazz line-up. Speaking of drummers, though, it is the band's first effort with Larry Patterson (Arbitrater; Chokehold; Blaze Bayley; Iron Knights; Raven Lord) - and the journeyman New Zealander does a fine job throughout.

The retro hard rock sound of V is generally retained throughout Take No Prisoners, and the album continues the good work which the 2021 release started. Little Viper kicks things off, and opens with a riff which could have been written by Yngwie Malmsteen. Stump is clearly a big fan of the Swedish guitar hero, and channels his style throughout - but, thankfully, the songs here are much more song-based than much of Malmsteen's recent catalogue. The main riff hooks the listener in the from the off, which is soon augmented by Waldo's organ countermelodies, before White join in - delivering a slightly more atmospheric verse with aplomb. The riffing is less hard-driving during the verses, which allows the keyboards to add depth, but the song still drives along at a decent pace - particularly as it accelerates towards the chorus with plenty of double bass drumming from Patterson. The chorus sees the song's opening riff reused, and the heavier section hits hard with some strident vocal melodies which sink into the brain nicely. The hooks are very typical of White's dramatic style, and he demonstrates throughout the album why he should be held in higher regard, whilst Stump later lays down the first of many busy, yet melodic, solos. Little Viper very much sets the tone for the rest of the album, then, and is another great representation of the White/Stump writing partnership. Don't Get Mad...Get Even follows, and the song takes more of a meaty hard rock direction - with a strident opening riff packed with 1970s grooves, and everything culminates in a shout-along chorus which features the members of NWOBHM legends Girlschool adding extra depth to the gang vocals. The song is perhaps less hard-driving and neo-classical than is typical of the album's core sound, but Alcatrazz occasionally slip into a more anthemic hard rock territory, with occasional hints of 1980s stadium rock, and Don't Get Mad...Get Even is a great representation of that sound - with the main riff packed full of groove and hooks, and the chorus an instant winner (especially with Waldo's organ flourishes). It certainly channels a lot of fun throughout its meaty riffing - and it acts as a great simpler hook among the album's more neo-classical moments. Battlelines returns to the album's core sound, then, but there is more of an atmospheric depth throughout. The song is weighty, with a chugging riff that keeps it moving, but Waldo's keyboards also take on a more prominent role. Neo-classical rock/metal often has a strong keyboard presence, and Waldo's synths and organ add a lot to the mid-paced Battlelines - and act as a melodic halo to Stump's chugging riffing and occasional bursts of lead playing. Songs like this also really bring the best out of White in my opinion. His thespian edge thrives during songs such as this - and the uplifting chorus is made such by his excellent delivery, and the subtle vocal harmonies throughout add depth. Stump's guitar solo is pure Malmsteen, too, and it is also fairly lengthy - which allows him to stretch out against the song's more atmospheric backing to really make his mark.

Strangers slows things down, and opens with some clean guitar melodies from Stump - before Patterson's drums kick in, laying down a sombre beat which forms the basis of the verses. The guitars take a bit of a backseat here, with a rhythm section of Shea and Patterson creating the main base for everything, whilst Waldo's keyboards are high in the mix. The opening guitar melodies remain, but they are generally sat below the swirling synths - and this allows White's emotional vocal delivery to shine. As such, the song feels like the album's ballad, but it changes later on. The chorus is rocked up a bit, with more of a guitar presence and Waldo's Hammond organ pulses, but the overall pace remains quite slow for the most part. This allows the heavier sections to hit hard, but the song does start to race away towards the end - with a flashy keyboard solo from Waldo seeing the pace upped before the song's closing section feels more much typical of Alcatrazz's modern sound. As such, the song has a pretty dynamic arrangement, then, and I really like how it grows from its slower opening sections. Gates of Destiny, written by AOR songwriting legend Jim Peterik, is another mid-paced hard rocker - and one that sticks to the band's core sound despite it being written by Peterik. Those expecting an AOR song in the vein of Survivor will be disappointed, as the song still feels very much like the rest of the album - although perhaps the vocal melodies during the chorus are a little more overt than they otherwise would be. There are strong shades of early Rainbow here, too, which is unsurprising given White's and Stump's influences and history, but generally the crunching guitar riffs and the ever-present keyboards create a familiar-sounding bed for White to weave his magic. Waldo's keyboards create a grandness throughout, which is aided by the song's mid-paced strut - and is furthered by another lengthy guitar solo from Stump later in the piece which tunnels further into the Rainbow mine. The self-titled song which follows ups the pace again, and is driven from the off by Patterson's double bass drumming and some busy Stump guitar playing. The song very much feels like it could have fit on one of Malmsteen's early classic albums, as Stump's playing is a mix of chunky riffing and off-kilter lead work - whilst the atmospheric depth added by the keyboards is a great counter to the hard-driving drumming. As such, the song is very typical of the band's modern sound, and it channels its influences nicely. There are certainly hookier songs here, but the overall sound that it creates hits the nail on the head. I really like the atmospheric depth created throughout, which is exemplified later by Waldo's keyboard solo, and the overall pace keeps things sounding heavy. In many ways, the song perfectly showcases what great neo-classical rock/metal should sound like - and White's dramatic chorus brings everything together. Holy Roller (Love's Temple), co-written by Saxon's Nibbs Carter, is another more mid-paced piece, which opens with some stuttering riffing and drum rolls, but again is another good representation of neo-classical sounds. The balance between the guitars and the keyboards is well struck throughout, meaning that there is enough atmospheric depth without sacrificing too much weight. I do not find the song to be as memorable as some of the other cuts here, but there is still a lot to like - with the swinging chorus adding a slightly different vibe and Stump's guitar solo is another winner.

Power in Numbers is much more keyboard driven than the rest of the album - but I like the change in tone overall and it still sticks pretty closely to the album's core sound. Waldo's keyboards are important throughout the album, but generally Stump provides the main riffs. The opening sections of this song, though, are very much dominated by pulsing keyboard riffs and stabs - with the guitars providing more of a crunchy, rhythmic backing. This change in emphasis is welcome, though, and the song stands out for that reason. The keyboard riffing is very much out of the 1970s classic rock playbook - but set against a more metal backing the piece still feels nice and weighty. The keyboard dominance brings the best out of White, too, who really soars throughout the track - particularly during the headbanging chorus which crawls along at a weighty and more deliberate overall pace. Given the keyboard dominance an organ solo or something similar would have been nice, but Stump's neo-classical shred explosion is still welcome - especially as it is really his only moment in the song where he shines, which shows that he also knows when to step back somewhat. Salute the Colours also has a strong keyboard presence, but the balance between the guitars and the keyboards is much more finely-balanced again here - with the opening instrumental flourish seeing Stump and Waldo trading licks and playing in unison, before the pace slows down to a classic heavy crawl to again showcase that early Rainbow sound (with a hint of Black Sabbath, too). There is a doomy nature to the song throughout, particularly given Stump's slow-paced riffing and the horror depth which is added by Waldo's organ, but the song still contains a number of key neo-classical elements. White shines during this slow-burning, dramatic, and heavy piece - and the slightly folky melodies utilised during the verses add a slightly different dynamic. Despite this slight lightness, though song overall feels like one of the album's darkest moments - with the heaviness and brooding nature bleeding through throughout. Stump's solo feels a bit more upbeat, but it is still set against a slower backing. What is upbeat, though, is the album's closing cut Bring on the Rawk, which returns to a vibe similar to that of Don't Get Mad...Get Even with a shout-along chorus and more of an anthemic sound. The pace is much faster, though, which means that the song does not have as much of a classic rock strut - with Patterson's double bass drumming keeping everything ticking, which gives the album a real kick as it comes to a close. The riffing is busy, then, but the keyboards still provide a strong counterpoint, and White goes all-out vocally - particularly during the frantic chorus which is packed with gang vocals and a strong overall attitude. One last instrumental section sees both Waldo and Stump shredding, too, and the album comes a high-energy end - in a similar manner to how it began. Now two albums deep into the White era, it is clear that Alcatrazz are reborn and aim to be a going concern once again. With V and now Take No Prisoners, the current era is creating a strong legacy for itself already - and those who love neo-classical rock/metal and want to hear lots of great guitar solos and strong hooks will find plenty to enjoy here.

The album was released on 19th May 2023 via Silver Lining Music. Below is the band's promotional video for Battlelines.

Yes' 'Mirror to the Sky' - Album Review

Given that the British progressive rock legends Yes have not exactly been the most prolific when it has come to releasing new albums in recent years, I surprised myself in 2021 by including a new Yes album in my Albums of the Year list for that year. Whilst I have been a fan of Yes for quite a few years at this point, I had never really considered myself anything other than a casual listener of the band - but in 2021 and 2022 I gave Yes a lot more attention, largely due to the release of their last album and the fact that they played a small tour warm-up show locally to me. In many ways, though, my revisiting of Yes was long overdue. I have been a prog fan for a long time, but I have often been fairly picky as to which prog bands I explore. Yes' catalogue had only really been given a cursory exploration as a result, but over the last couple of years this changed and I filled in many of the gaps in my Yes collection after revising the classics and devouring 2021's The Quest (which I reviewed here). I had expected to enjoy The Quest on a casual level, but I did not expect it to become one of my most-played albums of 2021. Given that the band's previous album had been the rather lukewarm Heaven & Earth, I do not think that many people were expecting much from The Quest - so I think that it surprised quite a few, as it received pretty decent reviews across the board. Given how long The Quest had taken to put together, too, I do not think that anyone was expecting a follow-up to be released so quickly - but this is what happened last month when Yes dropped their 23rd studio album Mirror to the Sky. Given the pleasing reception which had greeted The Quest, I imagine that the band wanted to capitalise on this momentum and positivity and push forward with a follow-up. Unfortunately for Yes, they have one of those rather obsessively dedicated fanbases who are ultra-critical of everything that the band do - so they are probably used to reading negative reviews. The relative positivity surrounding The Quest was likely welcomed, then, so Mirror to the Sky was born. I also think that the pandemic has had an impact on some veteran bands - and has made them realise that they probably only have a few years left together. A few veteran bands seem to have been spurred on recently to record new music, and I welcome this activity from Yes - particularly given the strength of The Quest. Turning to Mirror to the Sky, in my opinion it is another strong album from the band - and it feels quite similar to The Quest overall. I do not think that this latest album is quite as strong, but it ticks all of the right boxes and contains a number of strong tracks - including a lengthy prog epic. It is the band's first album since the death of long-time drummer Alan White, so is the first to feature Jay Schellen (Hurricane; Unruly Child; World Trade; Asia; Circa) behind the drumkit. Schellen has toured with the band for a number of years, and was credited with percussion on The Quest - but Mirror to the Sky marks his first Yes release as an official band member. Like The Quest, most versions of Mirror to the Sky come with a bonus CD containing three extra songs - but this review will only cover the main album itself and the six songs it includes.

The Quest opened with one of its best songs, and Mirror to the Sky does the same. Cut from the Stars was released as a single ahead of the album's release, and the jaunty number continues the overall vibe of The Quest nicely. The album contains three longer songs and three shorter ones - with Cut from the Stars being on the shorter side. It still contains plenty of Yes-isms, though, showcasing the tightness and confidence of the current line-up. A dancing string motif opens the song, before Schellen's drums roll in - and a busy bassline from Billy Sherwood takes over, which provides the main rhythm throughout. Given that Sherwood co-wrote the song, the focus on the bass throughout is unsurprising. He has filled the late Chris Squire's shoes nicely, and his bass playing throughout this track is reminiscent of that classic Yes sound - whilst Steve Howe adds spiky guitar chords and the odd melodic flourish, and keyboardist Geoff Downes adds colour with his bank of retro keyboards. Frontman Jon Davison delivers throughout, too, his playful vocal melodies and whimsical delivery perfectly accenting Sherwood's busy bassline - as well as leading through a hooky chorus which is one of the album's key earworm moments. There are songs here which are more musically complex, but as far as hooks go Cut from the Stars ticks all the right boxes. Despite their complexity, Yes have never shied away from a pop hook - and this song is full of them. Davison and the busy bass playing provide a lot of interest throughout, but there is also a strong instrumental break, too - which sees Howe and Downes trading guitar and synth melodies back and forth in a busy, yet still melodic, fashion. This whig out closes the song, and it provides a bit of instrumental bite as the track comes to a close - prefacing what is to follow nicely. That which does follow is the longer-form All Connected, the first of two nine-plus minute songs in a row. Whilst Sherwood drove the previous song, All Connected is very much Howe's piece. Given that he is the longest-standing member of the band at this point, it is unsurprising that Howe dominates the album. He took something of a backseat during Cut from the Stars, but All Connected features a lot of his distinctive playing. The song is birthed from a subtle keyboard swell, which soon gives way to some atmospheric guitar leads from Howe - which culminate in some slide licks before Davison starts to sing. Sherwood's bass is still prominent throughout, but his playing is less busy - with his bass playing more convention in nature, despite a few little flourishes to break up the atmospheric guitar backing and more lead-based approach. Davison still manages to make himself heard above this busy mix of sounds, and the song hangs together in that classic Yes manner - with the odd more heroic vocal line and a few subtle harmonies from Sherwood filling out the sound. As hinted at, though, a guitar lead is never too far away, and Davison often steps back to allow Howe to shine. There are a few brief leads early on, but he really steps forward when the song's pace slows - and he delivers some slow-burning leads against a shimmering keyboard backing. This section then transitions into a somewhat funkier section, briefly showcasing the bass, before segueing back into the main verse/chorus melodies which largely dominate the rest of the song - save for Howe's best solo on the album up to this point, which is saved until last.

Following a really strong opening duo, then, the album does take a bit of a dip in quality with its third song Luminosity. Of the six main songs here, it is the only one that has not really clicked with me - and the lengthy song is perhaps not served well by having to follow the stronger All Connected. There are still interesting moments here, though, and the opening instrumental section is one of them - with some snappier guitar rhythms from Howe which soon give way to a more deliberately-paced section featuring pounding bass grooves, warm synths, and some wordless vocals from Davison. This then transitions into a brief piano-led moment, before the verse proper kicks in - with Davison singing warmly against a gentle backing and the odd strum of autoharp. This section does not grab me that significantly, though, but the song does build somewhat - with Downes taking on more of a presence with the occasional keyboard flourish. These sections are weightier, and include a more strident vocal delivery which does enhance the hooks - but for me much of the song is a bit lightweight and a bit pastoral for Yes. Yes have rarely been pastoral, and the laid back electric piano melodies and whimsical guitars which dominate large sections of the song lack the band's trademark bite and quirky rhythms. It is a bit pipe and slippers as a result, but there are still some good ideas to come - and when Howe takes over and launches into the lengthy guitar solo the song comes alive a little more. The solo is certainly at the more atmospheric end of Howe's playing, and lacks his usual jazz diversions, but the note phrasing and use of slide perfectly rings out against Downes' simple, shimmering keyboard backing. It is definitely a solo with a journey, and this lengthy instrumental section essentially fills the song's entire final third. The song ends on a high then, but it is a shame that all of the ideas here do not quite seem to hang together. It may well grow on me further but, as things stand, it is my least favourite track here. Living Out Their Dream is short, and gives the album a bit of a kick following the pastoral previous number. It is the album's heaviest number, and it is built around some spiky guitar chords from Howe and a driving Schellen drum groove - into which some great jazzy guitar flourishes are inserted. Despite this, the song itself is relatively straightforward. Davison and Howe sing the song as a duet, with Howe's deeper voice adding depth to Davison's higher-pitched delivery, whilst Downes' organ rumbles away behind much of the song. It is the only song here which Downes co-wrote, but it is not as keyboard-heavy as might be expected. The song's more organic approach brings the best out of his Hammond, though, and sparkling synths are used elsewhere to add hints of brightness. Another excellent Howe solo acts as a highlight here, too, and the busy instrumental section feels very different to the previous song's closing effort. Howe is much more jazz-inspired here, and the solo has plenty of bite to it as a result - with a closing keyboard flourish also adding to the song's relatively frantic nature before a fairly unexpected fade-out.

The album's epic title track follows and, at just under 14 minutes, it is the longest piece here - and also the most expansive. It opens slowly, with some acoustic guitar and piano melodies - but soon Downes' organ rumbles into view and the song really gets going. Howe's riffing here is very much out of his 1970s playbook, but soon the band veer off into proper prog territory thanks to Sherwood's bass taking over - and there is a bit of a call-and-response established between the guitar and the bass, creating hooky riffs that immediately suck you in. Howe soon solos, too, his melodic playing setting the tone over a busy backing - and the song's opening few minutes see Yes feeling the most prog that they have for a while. Once Davison starts to sing, though, things calm down somewhat - and a more acoustic backing is created. Howe again adds his vocals for depth, and the opening, sparse vocal lines feel quite slow - but this works well to allow the song to grow again from this acoustic base. Given that Howe leads the current Yes line-up, he makes great use of the song's length to stretch out. There are plenty of guitar breaks here, most of which are pretty slow-burning - at least early on. They add plenty of melody to the song, and perfectly add gaps between Davison's vocal-led sections - and they allow the vocal hooks to shine, and there are a number of repeated vocal refrains here which help to keep the song interesting despite its length. Things take something of a darker turn around halfway through, and a bigger keyboard presence takes over - with Davison sounding more mournful as the pace slows. This section soon morphs, including some rolling piano for Davison to sing atop - and also includes some jazzy incursions from Howe, as he adds some biting melodies to this more atmospheric backing. The pace soon slows further, with a slow-burning section creating more of a darkness with chattering synth breaks and swells of effects-heavy guitar - all whilst Sherwood occasionally crashes around with his snappy bass tone. This vibe continues on for quite a while, until a more upbeat acoustic guitar line takes over - and the song starts to build back up again, with dramatic strings adding essentially a purely classical section. The band soon crash back in, though, with Howe leading the jazzy charge, which leads the song through to a dramatic and harder rocking close. Given Mirror to the Sky's excursions, then, it is fitting that the song closes on a more reflective note, with the gentle Circles of Time. The song opens with Davison singing alone, before some acoustic guitars and a simple string backing join him. The song never really grows from this base, with Davison and Howe both armed with acoustic guitars to create the weaving melodies and campfire chords - whilst the strings create a delicate backing. Davison's voice is right at the front of the mix given the simple arrangement, and his higher-pitched delivery perfectly evokes to the tone of Yes singers past - and he shines against the simple backdrop. A short acoustic guitar solo is included, but the song is very much a vocal piece - and it acts well as an album closer, bringing the more expansive set of songs to an atmospheric end. This expansive nature means that there is a lot to like about this album, and Yes fans will certainly find plenty of the band's key sounds and approaches here. I prefer The Quest, but Mirror to the Sky continues to grow on me - and the prevalence of Howe's guitar soloing is certainly welcome. The band generally feel fired up here, too, and this current line-up are adding their own chapter to Yes' long legacy.

The album was released on 19th May 2023 via InsideOut Music. Below is the band's promotional video for Cut from the Stars.