It was a sad day when the Dutch six-piece Stream of Passion called it a day in 2016. As one of the many bands born out of the wider Ayreon universe, following frontwoman Marcela Bovio's appearance on 2004's The Human Equation, Stream of Passion should have probably found more success. The band did pretty well for themselves over an 11-year career that produced four studio albums and two live albums - but they never seemed to reach the heights of some of their peers. Given the links to Arjen Anthony Lucassen, who co-formed the band and co-wrote 2005's Embrace the Storm, it is hard to see why they failed to break through in a big way - but perhaps their melting pot sound held them back somewhat. Stream of Passion were always lumped in with the wider symphonic metal scene, which has seen quite a few bands succeed, but the Dutch act never really felt at home in that genre. There are certainly elements of symphonic metal to be found in Stream of Passion's sound, but the band were always more atmospheric and ethereal than bombastic and powerful - with a strong gothic streak and a subtly progressive edge. Stream of Passion's albums always took a few listens to fully appreciate, and this is possibly why they lagged behind many of the bands they were often compared with. As such, I can understand why the band called it a day. Their final show of that farewell tour, which was filmed for the Momento DVD, was performed to a packed house - but I caught the band in Bristol on the same tour and there were probably only 100 or so people in attendance. It was a shame to see, but at the same time it made the band's decision make sense. I cannot say that I followed all of the band members' projects following Stream of Passion's demise - but driving forces Bovio and bassist Johan van Stratum remained busy. van Stratum was a part of Vuur, and is currently Blind Guardian's live bassist, whilst Bovio has been a part of the supergroup MaYaN for a while at this point, battled cancer, and launched the more progressively-minded band Dark Horse White Horse - who released their self-titled EP (which I reviewed here) in 2021. I really enjoyed the EP, and I hoped that the band would kick on, but since releasing the EP they seem to have been dormant. Releasing it during the pandemic likely did not help, but perhaps the reason for the band not seeming to go anywhere was that, behind the scenes, Bovio and vas Stratum were busy putting Stream of Passion back together. The news of a couple of Dutch reunion shows was welcome, but the announcement of new music was more exciting for me. I am not sure how permanent this reunion is going to be, but the two shows have now happened - and an EP, Beautiful Warrior, has been released. Written by Bovio, van Stratum, and long-time producer Joost van den Broek, Beautiful Warrior very much picks up where A War of Our Own left off in 2014. The band's slow-burning, gothic-sounding metal is as distinct as ever, and it really sounds like they have not been away at all.
The band's long-standing line-up of Bovio, van Stratum, guitarists Stephan Schultz and Eric Hazebroek, keyboardist Jeffrey Revet, and drummer Martijn Peters returned to the stage last month - although I get the impression that the EP may have been more of an in-studio affair, with regular Ayreon world collaborator Ferry Duijsens (Vuur) credited with providing guitars and Erik van Ittersum (HDK; Phantom Elite; Kingfisher Sky; Trillium) credited with keyboard and string arrangements. It is possible that some of the band members did not have much to do with Beautiful Warrior, then, but it nevertheless retains the core Stream of Passion sound. Lead single The Hunter certainly demonstrates this, with distant piano melodies opening the song up - before a mid-paced guitar riff takes over, creating the relatively oppressive sound which Stream of Passion tend to favour. The band's heavy riffing tends to be quite dense, but this is always tempered by more delicate passages - and the song's verses focus on Bovio's excellent vocals, with a strong keyboard backing. There is a lot of excellent keyboard playing throughout the EP, and The Hunter is very keyboard-heavy. The verses do feature a strong groove thanks to the rhythm section, but the guitars are generally mixed into the background (or absent entirely) - whilst the chorus is heavier, with some punkier drumming from Peters. Bovio's vocal lines in the chorus are hooky, too, as she goes for a more anthemic approach overall rather than the more atmospheric and emotional manner in which the verses are sung. A bridge section later sees her singing some siren-like wordless vocal melodies - before a chugging riff takes over, and the song lumbers towards a final reprise of the faster-paced chorus. Tonight opens more slowly, with a doomy guitar pattern creating a stuttering groove - which is soon backed by cinematic strings. Stream of Passion's guitar riffs tend to be more rhythmic in tone, but the opening guitar pattern here has more of a 'lead' feel at times, which helps the song's slow-burning doom vibes to settle in from the off - and the sombre piano motif and string melodies create a strong counter. As with the previous song, the verses are generally more stripped back - with more of a piano dominance, whilst van Stratum's bass rumbles away. The chorus is not as anthemic as the previous song's effort, but it injects a bit more energy given the track's overall slower pace - and Bovio's hypnotic, repeated vocal lines are certainly very effective. Slow burning songs are not unusual for Stream of Passion, but the doomier vibes here do feel a little different - and it is great to hear some more pronounced guitar riffing this time, despite the usual rhythmic approach and keyboard dominance found elsewhere.
Chasing a Ghost, which is partially sung in Bovio's native Spanish, is very typical of the band's core sound - and a little more guitar-driven throughout. There are more stripped back moments, but the guitar riffing continues throughout much of the track - which gives the song a little more urgency despite its mid-paced feel. The main riff feels a little djenty, but this modern vibe is tempered by the strings - and the Spanish verses feel groovy thanks to an off-kilter drum pattern and some choppy riffing. Bovio switches to English for the chorus, which is a bit sweeter in tone. The chorus feels a bit more overtly 'symphonic metal', and a shredded guitar solo adds some additional, lyrical melodies - in a rare moment of excess for the band. The End Is the Beginning indulges in more of an overt progressive arrangement, with a diverse musical pallet evident from the off. The opening guitar motif is more lead-driven than is typical, before Eastern-tinged strings back a mid-paced, groovy riff - and this is a vibe which is retained throughout. Stream of Passion have often utilised such sounds, and the song therefore feels like another classic entry into the band's canon. The stop-start riffing is packed full of character, and keeps the song feeling kinetic despite the deliberate, mid-paced sound, whilst the diverse keyboard playing throughout adds soaring strings and rumbling piano - which particularly fill out the verses. The chorus is one of the EP's hookiest moments, too, yet it does not feel all that different from the rest of the song. The vibe is retained, but Bovio changes tack vocally - and sings in a much more pop-orientated way, which works well in contrast with the dense, progressive arrangement. Another guitar solo sees the song's more complex, knotty feel taken a step further with some melodic phrases - and the song is probably my favourite piece here thanks to the more progressive, guitar-led approach taken and the Eastern melodies. The EP then comes to a close with The Promise, which opens very slowly - with gentle piano and Bovio's distant vocals. Stream of Passion have done lots of slow, piano-led songs over the years - and they always serve to really showcase Bovio. She is a unique singer in my opinion, and much more emotional and less histrionic than many of her peers. She suits the band's sound perfectly, and she delivers during the early portions of this track - with the piano gradually getting louder, and the gentle string backing becomes more cinematic. The song builds organically, then, but it does seem like it may remain a simple piano ballad. This is not the case, though, and the rest of the band do join in around two-thirds of the way through - with another lumbering riff, slow-burning guitar lead, and doomy drum pattern. The overall vibe does not change that significantly, though, and the doomy ballad is a great way to close out the five-song EP - showcasing Bovio and the band's atmospheric sound one last time. Given that Beautiful Warrior represents the first new music from Stream of Passion in nine years, it perfectly captures what was always great and unique about the band. It is currently unclear whether the band intend to reunite on a more permeant basis or whether and recent shows and the EP were all that were ever planned - but I am glad the fans got to hear more songs from this interesting band, and I do hope that the reunion leads to more activity down the road.
The self-released EP was released on 9th September 2023. Below is the band's promotional video for The Hunter.
It is always a treat to see a band perform live in a venue which is significantly smaller than they would usually headline. A recent personal example which springs to mind was catching Yes locally at The Wharf in Tavistock as a 'dress rehearsal' for their first tour since the pandemic - but it is not something which happens often for fairly obvious reasons. Generally bands want to play at the largest venues which their pulling power dictates - but occasionally they want to get back to their roots somewhat, and book a tour in smaller rooms. This is what the Kentucky-based southern rock band Black Stone Cherry did, and yesterday I headed up to Bristol to catch them on the penultimate date of their latest UK tour at The Fleece - which is the first Bristol venue that the band headlined back in 2007 on their first ever UK tour. I was lucky to get a ticket, as they sold out instantly, but I knew I had to try and get one given the circumstances - despite perhaps no longer being as big a Black Stone Cherry fan as I once was. I still like the band a lot, but tastes change and expand - so I decided to skip the arena tour which they undertook back in January with The Darkness. I last saw Black Stone Cherry live in 2021, then, at the University of Exeter. The band rocked the Great Hall that night, and it was my first time seeing them in a number of years - with the previous show before that being the one in Birmingham in 2014 which was recorded for the Thank You: Livin' Live Birmingham, UK live album and concert film. I have not seen Black Stone Cherry live as many times as I could have, but they always seem to announce tours slightly later than other bands - meaning that I often have plans by the time their tour dates are revealed. I did consider going to the aforementioned tour earlier in the year as a result, but I decided against it given that it had not been too long since I had last seen them - and I assumed that the setlist would have been very similar. This was probably the right decision, as it meant that when the current UK tour was announced, alongside the band's latest album Screamin' at the Sky, I felt ready to see them again - particularly given the small rooms which had been booked. Bristol was actually the first place where I saw Black Stone Cherry live - as I travelled up from Plymouth back in 2009 to see them headline the city's O2 Academy with Duff McKagan's Loaded in support. I was not into the band the last time they played at The Fleece, as I think I got into them in 2008 - just before Folklore and Superstition came out. I remember missing a show at the Cavern in Exeter in 2009, so the Bristol O2 Academy show certainly felt a long time coming at the time - and with my other two live experiences coming in 2014 and 2021 there have always been pretty long gaps between each show. I was looking forward to seeing the band again despite the shorter gap this time, as I knew that they would bring their all to the sold out Fleece. Given that I had seen Karnataka play to a crowd of about 30 at the same venue a month or so ago, it was great to see the place packed out - and it was clear that everyone in attendance was really up for the show, as they probably could not believe that they were about to see a band which usually plays large theatres and arenas in the UK in somewhere like The Fleece.
There was no support act, with the doors opening at 7:30pm and the band hitting the stage at 8:30pm. There was a long queue snaking away from the venue by the time I got there, but I still managed to get a pretty good spot on the floor about a third of the way back from the stage. I had a great view of the action, then, and when the band hit the stage they played for just shy of two hours - with a short encore break the only stoppage. To celebrate the release of their latest album, they opened their 20-song set with its title track - which may contain my favourite Black Stone Cherry riff to date. The high-energy piece was a great way to kick the show off - and it was the first of three new songs played throughout the night. The set covered all of the band's albums, and was generally made up of live favourites - but there were a few deeper cuts thrown in, too. From the off, the live sound mix was great. Chris Robertson's (vocals/guitar) powered above the band, and the riffing of him and Ben Wells (guitar/vocals) was on point throughout. Given the size of venue, the excellent drumming of John Fred Young was certainly loud - but the band managed to keep up, and it was probably the best that I have ever heard them sound. The hits came thick and fast early on, with the bona fide southern rock of Blind Man hitting particularly hard - whilst Wells enjoyed using his talk box during White Trash Millionaire, which was featured much earlier in the set than usual. For me, though, some of the highlights were the newer songs. The rollocking Nervous is a great representation of the raw sound of the latest album, whilst the more dynamic Again featured plenty of singing from the capacity crowd during the quiet sections. Whilst I expected lots of audience participation, the singing from the crowd throughout was loud. I am sure this has been the case throughout the tour, but the band seem particularly happy with the reactions overall - with Again showcasing the bond between them and the audience. The set was later kicked into a higher gear when Young started the intro to Rain Wizard, and it was great to hear the band's former set-opener live again. It worked well in the middle of the set, and the slab-like riffing really filled The Fleece. A moment of respite then came with a stripped back rendition of Stay, with Robertson backed solely by Wells' guitar. This prompted plenty more singing, before the band returned to party mode with anthems such as Like I Roll and an elongated version of Cheaper to Drink Alone - which included some percussion from drum tech Jeff Boggs and a powerful drum solo from Young. The band were certainly on the home straight at this point, and the rest of the set was basically all hits. In My Blood set the tone for the rest of the main set, but it was the surprising inclusion of Maybe Someday which got everyone going. The song was making its debut on this tour, as the once setlist-regular has not been played as much in recent years. It was great to hear the drum-led piece again, before more singing filled Blame It on the Boom Boom and the main set-closing anthem Lonely Train. The band did step off the stage, but Robertson and Wells came back very quickly - and the two-song encore was generally more restrained. The Rambler followed the mode of Stay, and featured arguably the biggest sing-a-long of the night, before Peace Is Free closed things out. The rest of the band joined Robertson and Wells for the second half of the latter - and Robertson ventured out in the crowd to sing the last chorus. It was a gentle end to a powerful set, but the vibe worked well - and the atmosphere reached new heights whilst Robertson was in the crowd. The setlist was:
Screamin' at the Sky
Blind Man
White Trash Millionaire
Stir It Up [The Wailers cover]
Me and Mary Jane
Again
Nervous
Burnin'
Rain Wizard
Stay
Hell and High Water
Like I Roll
Cheaper to Drink Alone
In My Blood/Whitehouse Road [Tyler Childers cover]
Out of Pocket
Maybe Someday
Blame It on the Boom Boom
Lonely Train
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The Rambler
Peace Is Free
I said earlier in this review that I no longer listen to Black Stone Cherry as much as I once did. I still like the band a lot, but last night made me realise why I fell in love with them in the first place. Of the four Black Stone Cherry concerts that I have now been to, it was easily the best. The setlist was a great representation of the band at their most rocking, and the performance was powerful and honest - and it seemed that they were relishing the smaller environment. I have been to lots of great shows this year, but last night's was one of the best so far - and I can see myself going on quite a big Black Stone Cherry binge going forward, starting with Screamin' at the Sky which I will reviewing here in due course.
Whilst AOR and melodic rock has always been much more of an American phenomenon than a British one, the UK still has a proud, if under-appreciated, history with the genre. FM and Magnum are the most obvious bands from the UK scene who should have become household names; but others like Shy, Torino, and Tobruk (among others) also did their bit. None of these band ever did significant business outside of the UK, though, and this country's contribution to the genre is largely downplayed. Even in the relative boom which the genre has undergone in the recent years, largely thanks to Frontiers Records, the UK still features pretty rarely - with bands from Scandinavia often dominating the scene now. Ten have made a bit of a name for themselves since forming in the 1990s, but perhaps the most popular exponent of genuine AOR from the UK currently is Vega - who formed back in 2009. Whilst the band have never truly broken through, they have a strong back catalogue packed full of songs which could have been hits if released under the right conditions - and they are a great representative of what the UK can do when it comes to melodic rock. The band have been pretty prolific, too, having released seven albums between 2010 and 2021 - and last month their eighth album Battlelines came out. Battlelines is the first album of what will likely become seen as the second 'era' of Vega. Despite undergoing a few line-up changes over the years, until last year the band's core had always been made up of frontman Nick Workman and the Martin brothers - Tom on guitar/bass guitar and James on keyboards. The three wrote the vast majority of the band's catalogue as a trio, and essentially 'were' Vega - with a few members coming and going around them. Lead guitarist Marcus Thurston has been around since the second album, but drummers and rhythm guitarists have come and gone - with Workman and the Martin brothers' songs keeping Vega on track. I was shocked, then, when the Martin brothers left the band last year. It was all handled somewhat strangely, as their departure was never formally announced. I think that the brothers put out a statement somewhere, but I could never find it. I had always assumed that, in reality, Vega was their band - so to imagine Vega without them was hard. Battlelines sees Workman as the only founding member of the band left, then, but with Thurston still in tow some of Vega's past remains. Guitarist Billy Taylor and drummer Pete Newdeck are still around, with both making their debuts on 2021's Anarchy and Unity (which I reviewed here) - and the new-look five-piece Vega has been completed by bassist Mart Trail (Fury; Steve Grimmett's Grim Reaper; Aaron Buchanan and the Cult Classics). No replacement keyboard player has been sought, but on Battlelines all of the keyboards have been handled by Newdeck. In fact, he seems to have essentially become the band's main driving force alongside Workman. He co-wrote all but one of the songs here, sung backing vocals, and produced the album - alongside his main job behind the drumkit. Those who know his history with Eden's Curse and Tainted Nation will know what a great songwriter he is - and Battlelines has a somewhat different overall vibe thanks to his greater involvement.
Having said that, Battlelines is still very much recognisably Vega. The band's cinematic and quite modern take on AOR is intact, and the current line-up have stayed true to their history despite the shift in personnel. There are plenty of memorable songs here, and Heroes & Zeros gets the album off to a flying start. It is a pretty hard rocking song, opening with a strident mid-paced guitar riff which sets the tone for the rest of the album. Vega have always been at the tougher end of AOR, and Battlelines fully channels that sound - with the keyboards dialled back somewhat and the guitar playing pushed to fore. The intro riff later forms the first of many hooky choruses here, with lots of big vocal harmonies, whilst the verses are a bit more stripped back - allowing Trail's bass to snake its way through the mix whilst chiming clean guitar melodies add depth. An anthemic pre-chorus slows the pace briefly, but it is the aforementioned chorus where the song shines the brightest. Newdeck has improved the band's approach to vocal harmonies since coming on board, and his voice compliments Workman's perfectly - and the chorus sounds huge thanks to their efforts. A brief guitar solo adds some extra melody, and the song showcases that Vega still mean business. Killers is similar, but the song feels a little more urgent thanks to a heavier opening riff, and a verse guitar pattern which is quite snappy. There are moments here which border on metal at times, but the overall production and the presence of the keyboards root the song firmly in melodic rock territory - whilst Workman's powerful vocals soar effortlessly above these shuffling riffs. Many of the songs on this album took a few listens to sink in, which I often find with Vega's material despite their use of hooks, and Killers is one which opened itself up slowly. The chorus is another big moment, and it feels a bit more stadium-ready than some of the more subtle moments here - whilst the guitar solo is more of a slow-burn, as it starts against an atmospheric backing before speeding up in line with the rest of the song. The title track slows the pace somewhat, and instantly showcases the band's love of Def Leppard. There are often songs on a Vega album which channel the Sheffield band, and the aching, guitar-led intro reminds me a lot of recent Def Leppard - and the cinematic verses, which feature a big bass presence, are full of atmosphere and emotional vocals. Following two harder rocking songs, Battlelines is a welcome shift in tone - and a great example of the band's pure AOR side. Everything builds towards a big chorus, which is built around a Def Leppard-esque guitar hook, and the guitar solo section sees plenty of lyrical shredding - as well as some harmony guitar licks. Vega do this cinematic sound well, and Battlelines is another strong example of it. Love to Hate You very much screams 'single', and it is one of the album's most anthemic and immediate tracks. It is another strident hard rocker, but the keyboards are higher in the mix - whilst the liberal use of guitar leads early on sets a more melodic tone. There is a bit of an urgency to the song, which brings the best out of Workman's grittier delivery, whilst the chorus is likely the album's best thanks to stadium-ready hooks and a sparkling synth lead. The chorus melodies do remind me of another song which I cannot currently place, so it has a familiar feel, but it is very much rooted in 1980s AOR so this is unsurprising. There is still plenty of bite despite the hooks, and the guitar solo is one of the shreddiest on the album up to this point. It is the sort of song which sticks in the brain - and it is sure to become a live favourite.
Don't Let Them See You Bleed keeps the keyboards higher in the mix, and the song is less riff-driven than that which has come so far on the album. Despite some punchy guitar stabs early on, the opening musical motif is more keyboard-led - with the guitars of Thurston and Taylor creating a rhythmic base. Floating synth hooks provide counter-melodies to Workman's vocals during the verses, whilst the chorus is another good example of Vega's tougher, cinematic side. Despite the stronger keyboard presence, the song is still pretty gritty. This is no ballad, and the guitars throughout create a tough layer beneath the melodic vocals and synths. In some ways, songs like this are Vega's bread and butter. There has always been a fair amount of grit in Vega's brand of melodic rock - with the synths sounding more modern and not ripped from a Survivor album. Don't Let Them See You Bleed has all of those classic hallmarks - and it is armed with another memorable chorus which sinks its teeth in after a few listens. Embrace the Grey has a similar tone, but the song is more guitar-led overall - and the arrangement is more dynamic. Trail's bass has generally been pretty present in the mix up to this point, but Embrace the Grey gives it more of a staring role in a pulsing intro and throughout the verses - whilst a slow-burning guitar lead also adds a lot early on. The track tends to grow in stature as it moves along, with the verses getting more filled out as the chorus approaches. Gentle guitar chimes become more prominent - and the chorus is an explosion of emotion with some heartfelt vocals from both Workman and Newdeck. Big guitar leads fill the chorus, too, and these are expanded on during a later solo - which comes after a strange, heavy bridge section that includes some meaty, slow riffing. 33's and 45's returns to a more overtly-melodic sound, with the cinematic sound of the previous two songs replaced by something more akin to the hooky sound of Love to Hate You. This song is perhaps not as anthemic as that previous cut, but it is another track which feels built around its big chorus. Workman belts out the chorus with real power, and the track constantly builds towards it - with verses which again are a little stripped back and bass-led at times. The song is packed with the sort of hooks which the band have become known for over the years, and anyone who has loved any of the band's previous singles will find a lot to love here. The guitar solo section is another good one, too, and it features plenty more harmony leads from Thurston and Taylor. Speaking of Taylor, he co-wrote Into the Fire - which follows. It is the only song here which Newdeck did not co-write, and it is great to see that the band has another strong contributor in Taylor - as the ballad Into the Fire is another excellent piece. It is my favourite of the slower pieces here, and it has an epic sound to it despite the slower overall pace. The bass and some chiming piano fill the verses, whilst a shuffling groove adds a lot to a big pre-chorus - which includes another Def Leppard-esque guitar lead. Guitar leads are also made good use of during the chorus, which has some great screaming notes - adding grit to what is otherwise a slow-burning tune. The chorus is huge-sounding though, with Workman and Newdeck going overboard with the aching harmonies - whilst the melodic guitar solo only echoes this mood perfectly. The song has become one of my favourites on the album, and I look forward to hearing more compositions from Taylor going forward.
Run with Me has more of an urgency to it, and it is another very typical Vega song - with a strong use of atmospheric synths backing a hard rocking track. Newdeck's drums drive everything, whilst the bass again fills out parts of the verses. There is more of a guitar presence overall, though, and the track feels a bit meatier than some of the other more dynamic pieces. The overall speed is a big part of this, but also the guitars are much more varied - adding crunching riffing alongside more expansive and atmospheric lead playing. The keyboards are a bit more old-school, too, with a few 1980s hints in the sound - with some counter-melodies playing off the heavier guitars nicely. The chorus is another winner, and like Love to Hate You it is one of the album's best. It really bounds out of the speakers, and it is one of the album's more dramatic moments overall thanks to the strong pace. Not Enough slows the pace again, and the cinematic slow-burner opens with some aching harmony guitar leads. The song never really feels like a true ballad, but it is certainly on the slower and more emotional side of things - and it plays to Vega's strengths with a big keyboard presence and plenty of space for Workman's excellent vocals. Despite Vega's relative popularity, I am not sure that Workman really gets the respect he deserves. He has a very powerful voice, and he is not just a carbon copy of Lou Gramm or Steve Perry - which is what so many modern AOR bands tend to go for. He is very much his own man, and this epic track certainly displays why - and I think he is why Vega have managed to continue despite the loss of two of their main songwriters. His voice is a big part of what makes Vega such - and Not Enough's chorus is another big moment on an album full of them. The penultimate song here ups the pace quite considerably, as God Save the King is one of the fastest tracks here, and there is even a little bit of a punk edge to some of the riffing. The track is still very much rooted in Vega's typical melodic rock sound, but there is a quite a bit of snarl to be found - and Workman sings some of the song in a lower register than usual, which works well when combined with Newdeck's backing vocals. The chorus is hooky thanks to its pace and the strong use of guitar leads throughout - and the energy of the piece is unlike anything else on the album. It flies by as a result, and it shows a slightly different side of the band. The album then comes to a close with Gotta Be You, another Def Leppard-esque piece which features lots of Vega's key hallmarks in one song. It is another fairly up-tempo rocker, but it is more dynamic than the previous cut - although the chorus is another pretty pacy moment overall. The opening guitar lead is hooky, whilst the verses grow in stature around a big bass line - and lots of guitar patterns. The song might not be as epic as some of the others here, which is surprising considering that it is a closer, but there are still plenty of hooks to be found - and the guitar solo is a high-octane shred-fest. The song's energy and guitar presence helps to end the album on a high still, though, and Vega's latest is another strong one. Navigating big line-up changes is never easy, but I think that the band have shown that there is life after the Martin brothers - and this current line-up has taken the heavier cohesion found on Anarchy and Unity and brought it into this new era, and I hope that there is more to come from it.
The album was released on 8th September 2023 via Frontiers Records. Below is the band's promotional video for Love to Hate You.
It is quite rare these days that I go to a venue which I have not been to before. Whilst there are lots of venues across the country which I have not visited, I generally stick to the same handful for convenience reasons - plus the fact that they are well used. Somewhere which I had not been to until last night, though, was the Palace Theatre in Paignton - a seaside town on the English Riviera. Last year I went to my first ever gig in Torquay, which sits just to the north of Paignton, so it is perhaps fitting that 2023 saw my first gig in Paignton. Torquay gets a few more acts passing through than Paignton, though, and looking at the Palace Theatre's website it seems that live music is very much in the minority when it comes to its schedule of events - with plays and spoken word evenings seemingly the venue's bread and butter. With Paul Young and Doctor and the Medics playing at the venue in the near future, though, there are occasional live music events - and last night the British retro rockers Cats in Space rolled into town as part of the 2023 leg of their Kickstart the Sun tour. The band toured the album in a more conventional fashion last year, where I saw them at the much more familiar surroundings of The Wharf in Tavistock, but Cats in Space have always had big ambitions - and this year have taken their arena-worthy sound into a number of small theatres around the country. Most of the venues which the band are playing on this tour are in unusual places - and off the beaten track when it comes to the core touring circuit. The band have wanted to play on bigger stages for a while, and have also wanted to expand the 'show' side of their gigs. This theatre tour has allowed them to do that, and they have been backed by a trio of screens built inside a large model of the band's cat astronaut helmet logo. Keyboard player Andy Stewart also has his instruments mounted inside a fake baby grand piano - atop which sits a sparkling, rotating version of the aforementioned helmet logo. One lucky fan will win this prop at the end of the tour, as the band were selling raffle tickets at the merch stand - with a percentage of the proceeds going to charity. Last night's Paignton show fell about half way through the tour, so any initial production and setlist kinks would have been worked out - so I was really looking forward to catching the band live again. This tour also sees the band presented on their own without a support act. As such, they played two sets with an interval - during which the traditional theatre ice cream was wheeled out. It was an early show, too, with everything kicking off at 7:30pm. Following the drive across from Plymouth, and some dinner at the local Wetherspoons, I took my seat in the theatre. I had a great seat - essentially right in the middle of the second row. Turnout-wise, it could have been better. There was a fairly decent crowd gathered by the time the band hit the stage, and the crowd were loud and enthusiastic throughout, but I am sure that the band would have liked to see more people gathered. That is the gamble when it comes to playing in out of the way places - but, in truth, even the shows at The Wharf I have been to by the band have not been as busy as they could have been.
The lights went down at pretty much bang on 7:30pm, and for the next hour or so the crowd were treated to most of Kickstart the Sun. There were a couple of songs from the album which were not played, but the bulk of the album made up the first set - and the band really seemed fired up to present their newest material. Quite a few of the songs were played on last year's tour, but some notable omissions were included this time - although the show kicked off in familiar fashion with the lengthy King of Stars. Given the lack of a significant PA in the theatre, the band sounded excellent from the off. The sound mix throughout was very clear, which allowed frontman Damien Edwards' voice to really soar - with the harmonies from guitarist Greg Hart and bassist Jeff Brown as tight as ever. King of Stars is a real tour-de-force, and it kicked off the show in fine fashion, before the harder rock of Teenage Millionaires rocked the Paignton crowd. Like many bands, Cats in Space often sound heavier live - and the poppy single was a treat to hear live as always, with Dean Howard's (guitar/vocals) riffing driving everything whilst the band helped Edwards out with the chorus. The more dynamic Goodbye to the American Dream was the first of the new songs featured which had not been played live last year. Stewart's piano drove the piece, and it moved nicely back and forth between ballad-esque sections and the AOR of the song's chorus. Another early highlight for me was A Big Balloon - which has never been one of my favourite cuts from Kickstart the Sun. I have never disliked the song, but it is one of the album's weaker moments for me - but, despite this, I really enjoyed hearing it live. Hart swapped his Les Paul for a 12-string acoustic guitar, and the floaty song provided a bit of an early change of pace. Edwards showcased a different side to his voice during the acoustic-driven piece; and this vibe was then maintained during the piano ballad Hero - which gave everyone apart from Edwards and Stewart a little break. Cats in Space are not generally known for such stripped-back arrangements, so it was another welcome addition to what was, ultimately, a pretty varied set. Another personal favourite during the first set was Fifty-One Pillow Bed, which was also not played on last year's tour. The upbeat song is not as hard rocking as much of the band's material, but it is still packed full of hooks - and the chorus filled the venue. Despite the crowd not being as big as it could have been, each song was greeted with huge cheers - and everyone was out to have a good time. The first set flew by as a result, and the companion pieces Poke the Witch and Charlie's Ego continued on the poppy atmosphere set by the strident Fifty-One Pillow Bed. The first set then came to a close with an epic rendition of Bootleg Bandoleros, the band's longest and most complex song to date. It started slowly, with Hart playing an acoustic guitar, but it grew over time - culminating in some Boston-esque riffing (complete with trademark clapping) and a rousing chorus which saw the first set come to a triumphant and slightly progressive close.
Following a 15 or so minute break, the band came back out and played another set filled with older favourites. The setlist of the second set was largely made up of live regulars, but after the expansive first set filled with new songs it felt fitting to following this up with something of a greatest hits exercise. Too Many Gods kicked the second set off, and it was clear from this point that the crowd were ready to party after enjoying the new material earlier. Quite a few got up and danced during the second set, and the vibe was certainly one of excitement as hit after hit followed. The poppy chorus of Mr. Heartbreak took the crowd back to the beginning of the band; before a slight curveball was thrown in the form of a guitar solo section called Broken Hearted - which saw Howard delivering an emotional solo against a backing of Stewart's keyboards. This essentially acted as an extended intro to the ballad Scars, which was a fairly rare change of pace in a set which was largely upbeat. Cats in Space have always written great ballads, though, so it was great to hear the more emotional piece again - before the vibe changed again with the up-tempo and circus-inspired Marionettes. The track is one of the more interesting arrangement-wise in the band's catalogue - featuring lots of dynamic keyboard playing from Stewart on a song he co-wrote. As has been the case in recent years, too, the song morphed into the epic Atlantis at the end - which was another slight change of pace. The song starts slowly, like quite a few Cats in Space songs, but it builds towards another cinematic closing section - which featured lots more tight vocal harmonies from the band. The last part of the second set was generally up-beat though. It was fun to hear Johnny Rocket live again, as it had not been included in the set since the 2019 shows, and the ever-present Thunder in the Night prompted more to get up and dance thanks to a pounding intro from Steevi Bacon (drums) and Brown's pulsing bassline. The song is a live favourite for a reason, and the song will likely be played throughout the band's career thanks to its big chorus. The Sparks-esque The Mad Hatter's Tea Party then added some quirk back into the set, thanks to Stewart's driving piano melodies, whilst the hard-hitting pop rock of Listen to the Radio had everyone in the theatre singing along. By this point the band had been on stage for nearly two hours, but there was time for one more in the form of signature piece Greatest Story Never Told. Sung as always as duet between Edwards and Brown, the cinematic piece closed out the main set nicely - with solos from Hart and Howard bringing things to an end. Loud cheers and clapping brought the band out for a two-song encore, though, and the harder rock of Hologram Man kicked it off. The song always goes down well, again thanks to its big chorus, and it is another song that, by rights, should be featured at every show. It was left to an elongated rendition of I Fell Out of Love with Rock 'n' Roll to close out the night, which again featured lots of soloing from both Hart and Howard - with the two trading licks back and forth as the band powered through to a high-energy close. The setlist was:
Kickstart the Sun - Intro
King of Stars
Teenage Millionaires
Goodbye to the American Dream
Kickstart the Sun
A Big Balloon
Hero
1,000,000 Miles
Fifty-One Pillow Bed
Poke the Witch
Charlie's Ego
Bootleg Bandoleros
-
Too Many Gods
Timebomb
Mr. Heartache
Broken Hearted
Scars
Marionettes
Atlantis
Johnny Rocket
Thunder in the Night
The Mad Hatter's Tea Party
Listen to the Radio
Greatest Story Never Told
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Hologram Man
I Fell Out of Love with Rock 'n' Roll
Cats in Space have impressed each time that I have seen them, but last night's show was easily the best gig of theirs which I have been to to date - due to the excellent performance and the expansive setlist. It was great to hear most of the latest album live, and the second set felt like a real victory lap which the crowd really lapped up. The screens and the larger stage production was fun, too, and it is great to see that the band have ambitions to do more. Cats in Space keep getting better, and this tour seems to be have been a success so far - with the smaller Paignton crowd being the exception rather than the norm based on the photos of the other shows which I have seen. Hopefully this tour will spur the band on to even greater things, and I am already looking forward to seeing them again - whenever that may be.
When the Reading-based metal band Sylosis announced earlier in that year that they would be releasing their sixth studio album A Sign of Things to Come in September there was much rejoicing from the band's patient fanbase. Whilst it had only been three years since the release of Cycle of Suffering (which I reviewed here), which was followed by a handful of stand-alone singles, it was the content and tone of A Sign of Things to Come's announcement which caused the most excitement. A new Sylosis album is always welcome news, but within the statement the band stated that, from this point on, Sylosis would be more active than ever before. True to their word, the news of an upcoming tour with current Sheffield-based darlings Malevolence was announced not too long afterwards - and 2023 promises to be Sylosis' busiest year since 2016, which is when they last went on tour. For a while, it seemed that Sylosis were dead and buried. Whilst a hiatus was never formally announced, following that 2016 tour the band's activity was extremely limited until the release of Cycle of Suffering - and any further activity was almost immediately halted by the pandemic. There was good reason for this, of course, as Sylosis' leader Josh Middleton officially joined Architects in 2017 - and he held down the lead guitarist spot in the Brighton-based band until earlier this year, contributing to three albums in the process. During the early part of his Architects tenure, prior to Cycle of Suffering's release, Middleton seemed to want to leave Sylosis behind - or, at least, his head was in another place. It must have been hard for him in truth, as he had basically led Sylosis since they formed in 2000 and, despite a lot of excitement and positive reviews, the band had never really risen beyond being considered a 'hot prospect'. Sadly, this is a fate which befalls a lot of bands who deserve more - and given Architects' status it was understandable why he 'jumped ship'. I am not sure if Middleton's departure from Architects earlier this year and his promise that Sylosis will now be busier than ever are linked or not - but either way he seems the most enthused about Sylosis than he has done for years. Cycle of Suffering appears, in retrospect then, to have been a bit of a testing of the waters - with A Sign of Things to Come being the true 'rebirth' of the band. This is fitting, too, as the album is the most concise and hooky of the band's career. Sylosis are known for their complex sound which mixes thrash, extreme metal, metalcore, and progressive influences together - but they have arguably been moving away from this sound since 2015's Dormant Heart (which I also reviewed here), which was less complex than the two progressive juggernauts that preceded it. A Sign of Things to Come feels like the natural progression from the sound which started on Dormant Heart, then, but the songwriting still very much feels like Middleton despite the more focused arrangements. His amazing riffs and melodic solos are still here, and the vocal performance is easily his best and most diverse yet. Drummer Ali Richardson returns here from Cycle of Suffering, and the album sees the studio debut of bassist Conor Marshall - who was in the band when Cycle of Suffering was released but did not perform on the album (as Middleton essentially played everything on it apart from the drums). Long-time guitarist Alex Bailey rounds out the current band line-up - who is the only link, along with Middleton, to much of their past.
At 43 minutes long, A Sign of Things to Come really races past. There is still a lot going on within the 10 songs here despite the more concise arrangements - and opening cut Deadwood is a good example of the album's core sound. There is no slow build-up here, as the song kicks in from the off - with the first of the many big riffs. In classic modern metal style, the opening riff is left to hang in the air a little - letting the chords breathe as Richardson's drums fill in the blanks. This acts as a great intro, with a few little guitar leads adding colour, but when the band really lock in the song gets going proper - and the mid-paced verse is a mix of hard-driving grooves and the occasional metalcore guitar flourish. Richardson's ringing ride cymbal gives the song an organic side, whilst the powerful chorus provides a strong anthemic hook despite Middleton's assured harsh vocals. He may have been Sylosis' singer on most of their albums, but he very much took on the role out of necessity - but he has worked at his craft over the years, and his chorus hooks here are a great mix of harsh and anthemic. He has occasionally included clean vocal sections, too, and a short bridge here sees one of his best clean vocal deliveries to date. When the song was released online a few months ago it was clear that Sylosis were feeling leaner than ever - and it kicks off this snappy album in fine fashion. The title track follows, and a wall of cold synths set the tone before a doomy riff takes over. This riff is very much out of the Sylosis old-school, and feels like it could have appeared on one of their more progressive releases, but the tone soon changes - and sees Middleton singing clean against the opening synths, before the doomy riff kicks back in and the song grooves along at a slow place for a while. The song is very dynamic, though, and it builds from this slow-burning pattern - soon exploding into a thrashy section with a knotty guitar lead backing, before a mid-paced chorus somewhat mixes the two vibes together around another anthemic vocal hook. Those concerned that the clean vocals have become more dominant given the amount which I have already referenced them need not worry too much. This album certainly has more clean vocals than any previous Sylosis release, but Middleton's expressive harsh vocals still dominate - and I like the use of the cleans to add some colour, particularly given that Middleton has clearly been working on this clean delivery in recent years. Another melodic solo adds further colour, showcasing why Middleton is one of the best British metal guitarists today, but in general this song is more about the riffing - which is varied and heavy. Pariahs feels a bit more in-your-face. The overall pace feels a bit faster this time, and there is less of the groove-based riffing of the opening two tracks - with more of a thrash feel at times. The track does not speed away, but it has more of an urgency to it overall. There are still groovy sections, but the verses feel a little punkier with more of a straightforward riffing pattern overall - whilst marching drum-led sections, which often morph into the pounding chorus, add some groove. Cold synths are once again utilised to add depth, although this time they are mixed in with the riffing. There is little light this time, and the song is heavy from start to finish - with Middleton also making use of some of his trademark sweep-picked arpeggios during the solo section.
Poison for the Lost ups the pace again, and it is easily the fastest track on the album up to this point. Sylosis have always had a strong thrash influence, and there is plenty of that on display throughout Poison for the Lost - as well as a few riffs which definitely hark back to the origins of the metalcore genre in the mid-2000s. Sylosis have always been heavier than that, though, and this song is a good example of such - with pacy, breakneck riffing dominating, with Pantera-esque moments injecting moments of mid-paced groove. The chorus is a bit slower, and again goes for something of a more anthemic approach. Middleton really barks the vocal hooks over the the chugging chorus riff - and it adds a change of pace from the hard-driving verses which generally characterise the rest of the track. The solo section is also full of speed - with Middleton instead going for an all-out shredded flurry of notes this time, which fits in with the song's fast-paced aesthetic. Descent showcases the band's current approach perhaps better than any other song here. I am disappointed that the stand-alone single Heavy Is the Crown was not included here, as it is one of the hookiest songs that the band has ever done, but Descent treads a similar path - with a chorus which sticks in the brain from the off. The song is another mid-paced rocker - with a slower pace during some fat verses which feature a strong bass presence from Marshall. The verses are packed full of groove, with Richardson laying down a pretty straight drum beat which the crunching riffs sit atop, whilst the chorus ups the pace somewhat. Subtle guitar leads add depth, whilst Middleton sings in more of a gritty clean manner - with synths adding an extra melodic edge. The band have not done many choruses in this manner before, but it works well in the context of the hooky song. Some may consider the song a bit on the poppy side, but it is really only the chorus vocal hooks which feel that way - and the rest of the track is still very much classic Sylosis, and the song will likely become a live favourite due to its mix of grooves and hooks. Absent is much moodier, and it essentially acts as a ballad. Sylosis have done songs like this before, or at least have had substantial sections of songs which sound like this, but Absent essentially stays in this low key manner throughout - despite getting heavier later on. Middleton's clean vocals dominate here, and he sings against a wall of synths and industrial noises in an emotional manner. The song actually reminds me Nine Inch Nails the most - and the production and vocal delivery very much remind me of the cold ballads of that band's early days. The band does kick in about two-thirds of the way through, and it does get heavier - but after a few screams a mournful guitar solo takes over, and this dominates much of the rest of the track, until a few more screams see the song close out. Eye for an Eye returns to something more typical, and the heavy song hits harder following the previous atmospheric piece. There are still quite a lot of synths here, though, and the chorus is another which features prominent clean vocals. It is not as hooky as Descent's chorus, though, but there is an anthemic moment which sounds awfully similar to Trivium's Pull Harder on the Strings of Your Martyr for a brief moment. This bit is always a bit jarring, but the song in general is another good example of the album's core sound - although the stronger synth presence ensures that the previous song's industrial edge is retained, despite the groovy riffing throughout.
Judas, following a synth-led intro, is another faster track - and the band's thrash influences are very much on show again here. The chorus is more mid-paced, despite some relentless double bass drums, and slightly anthemic, but the rest of the song really goes for the throat with plenty of busy drumming and some more riffing which sounds like beefed-up metalcore patterns. Richardson really excels on this album, and the tone of his drums throughout is excellent. Like the first song, his ride playing here is great, and I love how the drums have been mixed to allow things like that to shine. Middleton has always made the point of recording drums in an organic way - and Richardson has been a great addition to the band in recent years. He locks in perfectly with Middleton and Marshall here, and the fast-paced song is full of energy thanks to this approach from the rhythm section - and Middleton's melodic solo is another prefect example of his talents as a guitarist. The song is not as anthemic as some of the others here, but the depth of the arrangement, which features some mournful synths at times despite the heaviness, gives the song a bit of a different edge - and the track is not just pure thrash. Thorns is another slower song, but it is not as sparse as Absent. At first it feels like it might be, thanks to some synths and distant acoustic guitars, but the band soon crash in - and the track becomes a lumbering semi-ballad which mixes clean guitar-led sections with doomy riffing. Middleton mixes clean and harsh vocals throughout - with the chorus showcasing a surprisingly poppy side to this voice, whilst the verses are more mournful. The verses are where the doomy side of the band shines, with occasional clean lines mixed in with gigantic roars. The riffing here is slow-burning, but it works well, and this allows the poppy chorus to feel more uplifting overall - with big synths and vocal harmonies dragging the song briefly out of the darkness. The acoustic guitars from the intro are repurposed during the bridge section, and the song is surprisingly dynamic as a result. The album then comes to a close with A Godless Throne, which kicks off with a massive riff following the slower previous song. The song is pretty fast throughout, with lots of thrash influences on show, and it is also the longest piece here at just over five minutes. It is also the song here which feels most like the band's older albums. The longer run time allows the band to stretch out a little, and there is lots of progressive chopping and changing throughout - with endless riffs knotting together to create something interesting. Thrashy sections sit side-by-side with groovier patterns - and some of Middleton's trademark lead guitar melodies are used here to add plenty of depth. The chorus is more in line with the album's core sound, though, thanks to some gritty clean vocal hooks and synths, but the rest of the song is pretty ferocious. The guitar solo is more of a slow-burn, though, but it allows Middleton to really stretch out - and it is probably his best on the album. A short, punky vocal section follows this - before another flurry of riffing then gives way to some synths which see the song fade out nicely. It is a dynamic way to the end the album, and it is great to see some of the band's old ethos shining here. Overall, then, A Sign of Things to Come is, hopefully, just that. Despite loving the band's older, knottier albums, I like how the band have reinvented themselves here without throwing the baby out with the bathwater. Some may lament the loss of the more complex arrangements, but the songwriting here is tight as anything - and the performances throughout are some of the best of the band's career. I for one am excited about this new era of the band, and I am already looking forward to seeing them live again later in the year.
The album was released on 8th September 2023 via Nuclear Blast Records. Below is the band's promotional video for Deadwood.
I feel that some albums which were released in 2020 have somewhat already become 'lost' in the catalogues of the bands which released them. Whilst there were some of us who were devouring more new music than ever during the pandemic in an attempt to stay sane, I feel that the general mood led to quite a few albums falling through the cracks - particularly for bands who tend to rely on live activity to push their message. For me, the second album from Phil Campbell and the Bastard Sons, We're the Bastards (which I reviewed here), is one such release. The album came out in the November of 2020, which was arguably part of the bleakest season of the whole pandemic, and the lack of live opportunities for the band meant that it somewhat came and went. Even when the band finally managed to get on tour a year or so later, only a handful of songs from the album were included in the setlist - with songs from 2018's The Age of Absurdity (which I briefly discussed here) and cuts from Phil's time with Motörhead dominating. In some ways, I wonder if albums like We're the Bastards are seen in a negative light by their respective bands, too. They are a reminder of times to forget and of missed opportunities - and it must have been very disheartening to put all of that effort into an album and then not be able to properly promote it. It did not help, either, that by the time the band could get on the road their original frontman Neil Starr was no longer a part of the band. Not much light was shed on Starr's departure, but I got the impression from the band's statement that he had been fired. It was a shame to see Starr go, as I thought he added a lot to the band, but it must have been hard to be the only non-family member in a band like Phil Campbell and the Bastard Sons - even as the frontman he was always the odd one out. With Starr out, then, Joel Peters (Bootyard Bandits) was in - and he was confirmed as the band's permanent singer following the 2021 UK tour which had acted as an extended audition. Peters impressed on the tour, so I was looking forward to see where the band would go with him at the front of the stage. Nearly two years later that question has been answered with the release of Kings of the Asylum earlier this month. The band's third album follows nearly three years after We're the Bastards, and it is a raucous album in manner which would be expected from Phil and the boys. We're the Bastards was probably a bit on the long side, and featured a few slower and bluesier songs, but Kings of the Asylum is pretty in-your-face from the off - and feels more like The Age of Absurdity than the previous album. Phil's riffing style is very much well-entrenched at this point - and he and Peters are joined here, as always, by his three sons: guitarist Todd Campbell, bassist Tyla Campbell, and drummer Dane Campbell.
Very little time is wasted with this album, and the opening cut Walking in Circles very much sets the tone for what is to follow. The song's main guitar riff phases in, gradually building in clarity, whilst Dane's drums soon join the fray - adding a percussive pattern early on. The song is pretty hard rocking, but the intro is not as in-your-face as it could be. I like the relatively slow build, though, and it introduces Peters well. He is not hugely different to Starr, but he probably has a bit more grit and attitude in his voice - so he fits the band's established sound perfectly. After the groovy intro, the rest of the song is faster paced - with Tyla's bass rumbling away beneath the rest of the band, whilst the Dane's driving drum beats are full of energy. The opening riff forms part of a later chorus, which has an infectious and simple vocal hook, whilst the verses are generally simple and much more chugging. The first of the album's guitar solos is busy and bluesy, too, filling the energetic song with some additional classic rock strut - and the album proves to be a winner from the off as a result. Too Much is Never Enough also packs quite the punch. It operates in a similar territory - faster than groovy mid-paced but not out-and-out fast - and it is a song which certainly showcases Phil's past with Motörhead. Generally his current band is less intense, but there are of course Motörhead-esque moments which raise their heads. The verses and the main riff here sound very Motörhead, but the chorus is more modern sounding perhaps - with a slight punk edge to Peters' fast-paced delivery. It is the main riff which makes this song for me, though, and the meaty verses are filled with classic Phil riffing - and the track is sure to be a winner if played live. Hammer and Dance ups the pace a little, and opens with a pulsing bass riff from Tyla. Dane's drums are full of early punch, but it is the bass that really sets the tone - with some phased guitars in the background to add some surprising atmospheric depth. Tyla's bass drives the whole song, but the guitars take on more prominence as the band kick in properly - and the verses are hard-driving as a result. The song is the album's fastest up to this point, and this is likely due to the prominent bass playing and the focus on tight grooves. The guitar interplay between Phil and Todd is also tight, and the interlocking riffing keeps the pacy song moving - whilst the guitar solo section sees the pace slowed somewhat, whilst bluesy motifs sit atop something more tempered. The song is very typical of what the band have done previously, and it very much sees the five musicians playing to their strengths. This is no bad thing, and the high-octane riffing is very much welcome. Strike the Match is more of a mid-paced song overall, and the slightly slower approach allows the slab-like riffing to hit home. The bass rumbles away again, pretty high in the mix, whilst a lumbering verse mixes crunchy chugs and ringing chords to create something full of character. There are a handful of really strong choruses on the album, but Strike the Match's is one of the best - with big shout-along hooks and subtle harmonies which makes Peters' voice sound huge. In truth he always sounds big, but the grooves of this song and the approach to the harmonies makes the chorus really pop - and the song is one of the overall highlights for me thanks to this mix of mid-paced groovy riffing and anthemic vocal hooks.
Schizophrenia ups the pace, and very much channels Phil's time in Motörhead in a big way. It certainly feels much more 'metal' overall, with snappy, hard-driving riffing and plenty of fast drumming from Dane. It does not do anything significantly different from what has been heard up to this point, but it is much more energetic overall - and it feels like a song really made for being played live. Peters' voice is right at the centre of the arrangement, and there is a use of gang vocals throughout to make certain lines stand out. The verses sound as big as they do thanks to these gang vocal shouts; whilst the chorus overall feels a bit groovier thanks to the great riffy backing and a few snaking vocal hooks. A breakdown section sees the heaviness drop away somewhat, and more focus placed on Tyla's snaking bass. This part acts as a slightly atmospheric break before the explosive guitar solo section - which is full of energy and shredded leads. The song is another overall highlight for me thanks to this overall mix of ingredients - and the song is another which is sure to become a live favourite. The album's title track follows, and it slows the pace quite considerably. The band have done a number of these slower, bluesier songs on their past couple of albums. I hinted earlier that We're the Bastards had a few of them, but this song is closer to something like Dark Days from The Age of Absurdity. Despite the slower pace the song is still pretty weighty, and the riffing of Phil and Todd has a slight southern rock feel at times - which only allows the bluesy edges to shine, whilst the rhythm section lock in with a slight shuffle beneath them. The song is still pretty anthemic overall, too. The chorus has a simple, rhythmic feel to it which is very easy to sing along with - and it feels like something of a rallying cry amongst the smoky vibes and strong grooves found throughout. Unsurprisingly, this extends to the guitar solo, too, which is more slow-burning here - and is filled with lots of expressive phrases. The Hunt ups the pace again, and the fast-paced piece again returns to the Motörhead well - with a main riff which could have sat nicely on any of the now-defunct band's last few albums. Dane really lays into his double bass drums here, which keep the song moving, whilst the strong bass presence adds a bit of a punky bed for the buzzsaw guitar riffing above it. Vocally the song is not the catchiest here, but the overall energy more than makes up for this - and the short song feels like a bit of a pallet cleanser following the lengthier, slow-burning song which came before. Show No Mercy returns more to the album's core sound, and sounds more like the album's first few numbers than the last handful. It is a pretty in-your-face mid-tempo rocker, which includes a pretty expressive guitar lead during the intro to add something a little different overall, and is built around another strong bass presence and lots of head-nodding tempos. The chorus is another that includes some gang vocals, although they are not as raucous as perhaps they could be. It may have worked better had the band gone all-out during the chorus and making it a real rocker - but as things stand the song is another decent mid-paced rocker in their classic style.
No Guts! No Glory! is similar, although the opening riff feels a bit slower. It seems at first, then, that the track is going to be a bit more lumbering than it actually is - as the piece is another pretty up-and-at-them mid-paced rocker with punchy drumming and snarling riffing. Gang vocals are once again used here, and they feel a bit more potent than the ones on the previous song. In some ways, then, No Guts! No Glory! feels like a more intense and more developed version of the previous song. It certainly has more grit to it, and the louder gang vocals make the song sound heavier overall. There is also a great guitar solo section which sounds like it features sections from both Phil and Todd. This certainly makes the song feel more well-rounded - and the chorus is one of those which hits home after a few listens. It is a bit of a grower, then, despite the big melodies, but it is one of the songs which has impressed more with repeated listens. Ghosts feels a bit more classic rock-inspired overall. The band's trademark crunch is still here, and the song is another mid-paced number, but it just feels a bit looser and more old-school than many of the other tracks here. The drums are less punchy, and have a bit of a swing to them at times, whilst the guitar playing relies more on big ringing chords than razor riffing. The band have done songs like this before, but it is only real example of such a sound on this album - and I like the throwback to bands like UFO and Thin Lizzy which the track seems to be attempting. There are strong blues overtones during parts of the song, and the chorus feels less punk-inspired - with Peters singing with less grit overall. I like the change of pace, and the guitar solo section, which is quite lengthy, certainly feels very 1970s thanks to the guitar tones chosen and the more lyrical approach to note choice. The album then comes to a close with Maniac, which is a return to the band's classic sound - with more than a few hints to Motörhead. Motörhead wrote a few more rock 'n' roll-inspired songs over the years - with Going to Brazil coming to mind. This is a bit like Phil Campbell and the Bastard Sons' take on that sound. There is certainly a boogie vibe throughout thanks to the bounce of the rhythm section - and the bluesy guitar leads which are utilised throughout recall the approach of the rock 'n' rollers of the 1960s. Given the profanity and attitude within the lyrics, as well as the shout-along chorus, the song feels like another one which is likely to become a big live favourite. The chorus will certainly be latched onto by crowds - and Peters' gruff voice brings it to life perfectly. The boogie vibe present throughout also means that the song acts well as an album closer. It has a finality to it, and reminds me of all of those classic 1970s live albums which ended with old rock 'n' roll covers. Maniac works in a similar manner here, and it ends the album on a fun high with some boogie grooves and a shout-along chorus. Three years on from their somewhat forgotten album, then, Phil Campbell and the Bastard Sons are back with a bang, and it feels like a bit of a rebirth after the pandemic and the ensuing line-up change. It is an album which focuses on the band's strengths, and delivers exactly what their fanbase expects of them. It is not an album which is going to surprise many, but those wanting to headbang can do worse than to check it out.
The album was released on 1st September 2023 via Nuclear Blast Records. Below is the band's promotional video for Schizophrenia.
If Robert Jon & The Wreck are 2023's main discovery, then the British/American yacht rock duo Young Gun Silver Fox were my main find of 2022. I am a member of an excellent #nowplaying-esque Facebook group - and one of its members recommended the band to me after I had posted that I had been listening to a few yacht rock classics. Yacht rock is very much rooted in a certain period (the late 1970s to the early 1980s), so finding out that it was still being made today was a real treat. I picked up a copy of 2020's Canyons off the back of the recommendation, and it is fair to say that I was hooked from the off. Over the next few months I picked up their other three albums, including last year's excellent Ticket to Shangri-La (which I reviewed here), and they were on such regular rotation on my iPod that I ended up taking them off it for fear of burning myself out. Seeing them live was the next step, but the band are more of a project so have not always been the most active when it comes to playing live. Luckily for me, though, it seems that the duo want to grow the band further - and 2023 has seen quite a bit of live activity. The band undertook their first proper UK tour earlier in the year, and I headed up to London to catch them at a sold out Lafayette in January. I had expected to have a good time, but they really impressed live. I was not sure how the band's multi-layered sound, particularly vocally, would be easily replicated live - but the live arrangements of the songs worked really well, and the Lafayette show was a real highlight of the early months of the year. The atmosphere in the sold out room was excellent from the off, and the band's feel-good music filled the newer venue - leaving no-one disappointed. Given the band's relatively sparse live activity, I did not expect that I would be seeing the band again live so soon - but a few months after the tour they announced a one-off UK show at the Electric Ballroom in Camden, which was billed as their biggest UK headline show to date. As it fell on a Saturday, I just knew that I had to get a ticket. I was not sure when my next opportunity to see the band would come, either, so tickets were snapped up right away - and another trip to London was added to 2023's calendar. Despite being a regular visitor to Camden, I have actually not been to the Electric Ballroom that many times - although my last trip came back in February. I have always enjoyed nights out there, though, but it seemed a bit grungy for Young Gun Silver Fox considering the nice surrounds of the Lafayette! Being a Saturday, too, the show was an early one. The doors opened at bang on 6pm, and everything was wrapped up by 9:45pm. I enjoy an early finish in truth, as it means that there is generally little time for hanging around during the night. The early start meant that the place took a bit of time to fill up, though, so I was a bit worried at first that the turn out was going to be poor. This proved not to be the case, though, and by the time Young Gun Silver Fox hit the stage at 8pm the place was pretty full.
Before Young Gun Silver Fox's set, though, the growing crowd was treated to 30 or so minutes of music from Emma Noble - a powerful singer who certainly seemed popular with portions of the crowd. I was unfamiliar with her work, and on paper she probably is not really my thing, but she impressed from the off. This set seemed to feature a smaller band and more stripped back arrangements than is usual for her, but the four musicians which accompanied her made a big sound for what was essentially an acoustic set - and her soulful material came across well in that format despite it perhaps lacking some of the power of the typical bigger arrangements. Noble's sound seemed to be a mix of soul, disco, and pop - all wrapped up in a bit of a yacht rock twist thanks to the liberal use of electric piano and the tight vocal harmonies. It was all very rooted in the 1970s, and she even had the afro to match, but her take on the style sounded fresh - and her vocal delivery was perhaps more 'modern' in approach. She did not sing in a particularly overwrought manner, and her more simplistic take on soul worked really well for me. There was a little bit of bite there vocally, too, which helped to add a rocky edge to the material - even in the more acoustic manner in which is was presented last night. The piano tended to be the driving force, but the rhythmic acoustic guitar playing added plenty of depth - with percussion and the occasional flute melody rounding the sound out. It helped, too, that all of the songs played were hooky. From memory, everything played had a pretty big chorus - and Noble's vocal melodies in general were just memorable. Some of the phrasing and melodies used were a bit different from the norm, but this only helped the songs to stand out further - and the vocal melodies from a couple of the band members helped to bulk out the sound. There is nowhere to hide during a more stripped back set, but the singing from all involved was great - and hearing live vocal harmonies done so well is always a treat, no matter the genre of music. It is always a good sign when you are disappointed when an unknown support act finishes their set. I would have happily listened to another couple of Noble's songs, so her and her band certainly did a good job of warming up the crowd - and I am intrigued to check her out further as I am intrigued to hear how these songs are 'supposed' to sound with her usual 10-piece backing.
Whilst Noble had received a strong reception, when Young Gun Silver Fox walked on to the stage to Rocky's famous training music the Electric Ballroom erupted. By this point the place was packed, and the large crowd were ready to for the band to smash through a 19-song set which covered all four of their studio albums. Andy Platts (vocals/keyboards) and Shawn Lee (guitar/percussion/vocals) were joined by their regular drummer Adrian Meehan (who had recently broken his right foot so had essentially re-learnt the whole set playing the bass drum with his left foot), a bassist who's name I did not catch, and a three-man horn section made up of Graeme Blevins (saxophone/flute), Tom Walsh (trumpet), and Nichol Thomson (trombone). Thomson and Walsh are regular studio collaborators with the band, and Thomson arranges the band's horns. It was great that Young Gun Silver Fox were able to be joined by their regular horn collaborators for this special show - and the seven-piece band made their full power felt from the off with the sultry, harder rocking Still Got It Goin' On. The pulse of the horns only upped the song's power, but the mix throughout the set was excellent - which meant that the intricacies of the music could be heard. Platts' voice was high in the mix, and the harmonising between him, Lee, and the bass player were on point throughout the night. The chorus of Kids showcased this, with Blevins' flute adding playful melodies, but really every song played was done so immaculately. The live versions of the songs might not be as layered as their studio counterparts, but all of the key elements are included - with Platts varied keyboard playing and the delicate guitar melodies of Lee doing much of the heavy lifting. Early on, the poppy tracks came thick and fast. The Boz Scaggs-esque West Side Jet had everyone grooving, but perhaps the first massive sing-a-long came with Rolling Back - one of the highlights of last year's album. It contains easily the poppiest chorus from the band yet, and everyone in the venue was singing along. The show had been great up to this point, but it seemed to get even more powerful afterwards.
You Can Feel It was stretched out a little to include a bit of crowd participation, whilst the more acoustic rendition of the ballad Sierra Nights benefitted from the excellent mix. It is not one of my favourites from the recent album, but the live arrangement works really well - and was rounded out by a brief flute solo. Another highlight for me was a powerful rendition of the recent single Moonshine - which Platts wrote a number of years ago with the late Rod Temperton. The setlist was essentially the same as the Lafayette show - with Moonshine being the only addition. It was a great addition, though, and the it allowed the horn section another chance to earn their stripes. Perhaps their crowning moment, though, was during an elongated version of Simple Imagination, which included extended solos from all of the players in the horn section. This turned the song into a proper wig out, and one of the few moments where those on stage really cut loose. Generally the band's songs are tight, focusing on melody, but the looser live arrangement of Simple Imagination worked well and it added a different vibe to the show. Everything that followed felt like a victory lap, and by this point there was not a huge amount of time left. The best was left until last, though, and the closing three songs from 2018's AM Waves showcased the best of Platts' and Lee's songwriting. The pulsing piano of Underdog had everyone singing along, but it was the chorus of Lenny which had the Electric Ballroom going wild - whilst the harder rocking romp of Lolita brought the main set to a close. The band did leave the stage, but they were behind the curtain for mere seconds before the cheering brought them back out for two more. The sultry Tip of the Flame was a fun addition to the set, but it was the night-closing rendition of Kingston Boogie which sent everyone home happy. The horn section added plenty of class to the track, and there was plenty of dancing going on around me during the massive chorus - which is another of the band's best. It was a great end to a fantastic set, and the huge crowd made their feelings felt as the band took their bows. The setlist was:
Still Got It Goin' On
Kids
West Side Jet
Midnight in Richmond
Long Distance Love Affair
Rolling Back
You Can Feel It
Sierra Nights
Mojo Rising
Moonshine
Baby Girl
Simple Imagination
Long Way Back
Love Guarantee
Underdog
Lenny
Lolita
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Tip of the Flame
Kingston Boogie
Getting the opportunity to see Young Gun Silver Fox twice this year has been a real treat. I am really hoping that the band keep up their recent level of live activity, and the large Electric Ballroom crowd shows that they are doing something right. From the stage the band said that when the next time that they come back to play comes around they will have a new album out, so I am already looking forward to hearing that whenever it is ready. The four albums so far have all been great, and the band are excellent live - so I will definitely be in attendance next time they tour the UK.
