Quiet Riot - London Review

Given how many bands I have managed to see live since I started going to concerts in 2006, it is actually quite rare that I see a band live for the first time these days. I have been lucky enough to see most of my favourite bands live over the years, and I have also taken punts on a few things - some of which paid off and some of which did not. It is always good to expand the list of 'bands seen', though, and sometimes an opportunity needs to be taken to see a band that does not come around too often. This was the case yesterday, then, when I headed up to London to catch a rare UK appearance by the California-based heavy/glam metal act Quiet Riot. According to setlist.fm, prior to this past weekend Quiet Riot had not played in the UK since 1984. Whilst setlist.fm is not always the most comprehensive of sources, I certainly cannot remember the band visiting the UK in recent years - and, despite finding plenty of success in the US, they have never had the biggest presence here. The band's impetuous for a rare UK visit was a headline slot at one of the Hard Rock Hell festivals, which took place on Saturday, so they clearly decided to make the most of the trip by booking a headline show in London the day after. When the show was first announced, I was on the fence about whether or not to go. I certainly like Quiet Riot, but I think it is fair to say that the current version of the band is somewhat questionable. They have had no founding members in their ranks since the death of frontman Kevin DuBrow in 2007, with the band's classic-era drummer Frankie Banali kept a version of the band going with a revolving door of singers until his death in 2020. Following Banali's death, the stewardship of Quiet Riot shifted over to Rudy Sarzo (bass guitar/vocals) - who returned to the band to pick up Banali's reins. Whilst not a founding member, Sarzo is certainly part of the classic Quiet Riot line-up of the early 1980s - and performed on many of the band's best-known songs as well as having a great career elsewhere with the likes of Ozzy Osbourne and Whitesnake. Joining Sarzo in this current iteration of Quiet Riot, then, is long-time guitarist Alex Grossi, who has been associated with the band since 2004, former Type O Negative drummer Johnny Kelly, and Love/Hate frontman Jizzy Pearl. This is certainly no classic line-up, but Kelly has had a good career - and Pearl is something of a peer and, crucially, still in fine voice. Given all of this history, though, I was originally reluctant to head up to London to see the band live - but when the Welsh glam metal act Tigertailz were added to the bill the offer looked more tempting. I had not had the chance to see Tigertailz previously, either, and they seem to potentially be winding down their live activity this year. Given that there might not be many chances left to see either band, and the fact that I managed to find somewhere affordable to stay in London, I picked up a ticket - and suddenly I was looking forward to the overall prospect. I have long learnt in my music-loving life to not be a line-up snob, so I got to the O2 Academy in Islington in good spirits despite my train journey to London arriving over 90 minutes late and the heavy rain which was drenching the capital.

The venue opened at 7pm, and by 7:30pm Tigertailz were rocking the house. The UK never really did glam metal, so Tigertailz are one of the few genuine examples of such that the UK produced - but the Cardiff-based band found some success in the early 1990s. Themselves down to one original member, Jay Pepper (guitar/vocals), the band seem to have been given a recent shot in the arm by the addition of Dendera and former Power Quest frontman Ashley Edison - who's high-pitched voice was put to good use throughout the band's 13-song set. The show was not billed as a co-headline effort, but it felt like it at times - and Tigertailz had an hour to play with and plenty of fans in attendance. I had expected the band's set to essentially take in their first two albums, so I was surprised that they opted for more of a career-spanning set. An old favourite in Young and Crazy did kick things off, but with Do It Up from the mid-2000s coming next it was clear that the band were not just pandering to the casual fans. I would consider myself a casual Tigertailz fan, so it was great to hear a few songs I was not familiar with. Edison brought Do It Up's chorus to life - with another track from the same era, One Beat of Your Heart also impressing later. There were plenty of classic Tigertailz tracks showcased, though, with the poppy chorus of Noise Leve Critical acting as the evening's first big sing-a-long, whilst the ballad Livin' Without You including some great soloing from Pepper. With Edison seemingly breathing new life into Tigertailz, it does seem strange that Pepper is thinking about calling it a day. The band have not been the most active in recent years, but I do wonder if following this tour he may change his mind. There is clearly still a lot of love for Tigertailz in the UK and Edison seems the man to take them forward - even if I was a bit sceptical when he was first announced given that he is much more of a metal singer. He has adapted to the band's sound well, though, but the heavier tracks like Wazbones felt mighty with him at the helm - and the new track You Can't Stop the Rock shows that Pepper can still write a hooky riff. By this point in the set, though, it was mostly about the classic tracks. Sick Sex, which the current line-up re-recorded, came alive with everyone singing along to the punky chorus - whilst the heaviness was kept alive with the riff-heavy Murderess. Tigertailz were often heavier than most hair metal bands, despite a few poppy singles, as Call of the Wild later showed. They certainly had a thrash side, and the fast drumming of long-time drummer Matthew Blakout really propelled that one - before another new track in A Little Bit of Rock added a bluesy edge and allowed Pepper to indulge in some heroic lead playing. It was left to hit single Love Bomb Baby to close things out, and it was another moment which saw lots of the crowd singing along. Tigertailz were certainly greeted more warmly than most support acts are - and it was great to see the Welsh band giving it their all in front of a pretty healthy London crowd. The setlist was:

Young and Crazy

Do It Up

Star Attraction

Noise Level Critical

Wazbones

Livin' Without You

One Beat of Your Heart

You Can't Stop the Rock

Sick Sex

Murderess

Call of the Wild

A Little Bit of Rock

Love Bomb Baby

Half an hour later, and following an overly long intro tape which included basically all of both Pat Travers' Snortin' Whiskey and Queen's We Will Rock You, Quiet Riot hit the stage - and for the next 80 minutes they delivered many of the band's best anthems with ease. It was very much a greatest hits set, but given the band's current line-up I expected nothing less - and given that it is likely that I will not get to see the band live again it was great just to hear the favourites. Following the long intro, the band hit the ground running with Run for Cover - one of my favourite Quiet Riot songs. The up-tempo rocker proved to be a great set opener, with Grossi's guitar driving everything and Sarzo's bass high in the mix. Having recently seen Pearl with his version of Love/Hate, I knew that his voice remains intact. He is perhaps raspier and sleazier than DuBrow ever was, but he did the songs justice. He is the right kind of singer for Quiet Riot and he has likely known those involved for a long time. He is a strong frontman, too, and clearly loves playing in the UK - sharing lots of jokes and banter with the crowd. Early on, for the most part, the hits came thick and fast. The sleazy Slick Black Cadillac certainly got the crowd going - but it was perhaps Mama Weer All Crazee Now, the first of two Slade covers played, which kicked things up a notch. The O2 Academy was not full, but there was certainly a pretty healthy crowd in for a Sunday night and there was plenty of singing during the song's chorus. There was a fair amount of singing generally, though, and the atmosphere throughout the set was pretty strong. The band were clearly enjoying themselves and did not seem to be going through the motions - and the inclusion of the newly-released I Can't Hold On showed that the set was not all about nostalgia. A song demoed by DuBrow and Grossi before the former's death, it has recently been finished up and released - and the ballad provided a brief change of pace, before the anthemic Sign of the Times returned to firmer ground. Another slower track, Love's a Bitch, then allowed for a bit more of a bluesy strut. There are ballad-esque parts to the song, but in general it was just more of a groove-fest - and Pearl really let rip during the chorus with some throat-shredding vocals. The only track that felt a bit flat was the leaden Condition Critical, which has never been a massive favourite of mine, but the song's big riff still filled the venue - and provided some primal rock before another ballad in the form of Thunderbird. Sarzo spoke to the crowd beforehand, dedicating the song to DuBrow, Banali, and Randy Rhoads - and it was poignant to reflect on how many previous members of Quiet Riot have died. It was the last slower track, too, with Party All Night and Blackout in the Red Room from Pearl's day job whipping up plenty of hard rocking excitement. As the set wended towards its close, too, there was a bit of a chance for all to show off. Sarzo took a bass solo during The Wild and the Young, whilst Grossi shredded aplenty during Let's Get Crazy - whilst also throwing in a snippet of Ozzy Osbourne's Crazy Train in a further tribute to Rhoads. By this point there was not much time left, sadly, and it was time for the second Slade cover, Cum On Feel the Noize, to rock the house. It was sung loudly by the crowd and it set the scene nicely for a set-ending rendition of Metal Health - which was easy the song of the night which featured the loudest singing. Everyone was on board by this point, and the O2 Academy rocked - bringing an evening of hair metal to a powerful close. The setlist was:

Run for Cover

Slick Black Cadillac

Mama Weer All Crazee Now [Slade cover]

I Can't Hold On

Sign of the Times

Love's a Bitch

Condition Critical

Thunderbird

Party All Night

Blackout in the Red Room [Love/Hate cover]

The Wild and the Young

Let's Get Crazy/Crazy Train [Ozzy Osbourne cover]

Cum On Feel the Noize [Slade cover]

Metal Health

Given that I had initially been reluctant to go to the show, I had a great time with both bands last night in London. Given that Quiet Riot do not visit the UK very often and Tigertailz seem to be calling it a day I doubt I will get another opportunity to see either live again - so I am very glad that I got to see both at least once. Both bands put on great shows and complimented each other well - and the decent-sized crowd likely went away happy after an evening of powerful hair metal anthems.

Mick Mars' 'The Other Side of Mars' - Album Review

There are quite a few musicians out there who we just, sadly, have never heard enough from. Some musicians are more prolific than others, but some who have had long and prestigious careers do not have as much of a back catalogue to look back on - and I think it is fair to say that one such musician is Mick Mars. Whilst the 72 year old former Mötley Crüe guitarist has Mötley Crüe's generally pretty strong back catalogue to be proud of, with albums like 1983's Shout at the Devil and 1989's Dr. Feelgood in particular standing out for me, he only really has nine albums to look back on - with nothing having been released by him since Mötley Crüe's 2008 release Saints of Los Angeles. He has done the odd collaboration over the years, co-writing and appearing on songs with acts like Crashdïet and Papa Roach, but he has never previously branched out on his own, either as a solo artist or as part of a side project, seemingly funnelling all of his creativity into Mötley Crüe's dwindling studio activities. Talk of a solo album from Mars, though, has been reported quite regularly over the past few years - particularly following Mötley Crüe's disbandment at the end of 2015. At first it looked like he was going to hook up with John Corabi, Mötley Crüe's frontman between 1992 and 1997, to record his solo album - but this plan clearly fell by the wayside. The talk of Mars' potential solo album started to be referenced in interviews so regularly but without any real update that it became one of those 'I'll believe it when I see it' albums. I had hoped that Mars would eventually record something, but given the lack of any real information I was not going to hold out much hope - but over the past year or so the interviews and information started to ramp up. Mars was, of course, involved in a lot of drama with the reformed Mötley Crüe last year - first retiring from touring due to his much-publicised health issues and then seemingly ousted from the band proper - with lawsuits between the two parties ongoing. Perhaps knowing that his time in Mötley Crüe was done, despite the band's return following their 'final' tour in 2015, spurred Mars on to finish his long-awaited solo album - and when it was officially announced a few months ago I was shocked that it was finally ready. It dropped at the end of last month, then, and I have been listening to it quite a bit since. I went into the album without any real expectations, but I enjoyed it from the off - and each subsequent listen has only improved my overall opinion. There are moments which remind me of Mötley Crüe, but this is largely confined to some of Mars' guitar riffs - as the album feels slicker, heavier, and more modern-sounding overall. Mars' riffing style is unmistakable, though, and his songwriting here is tight. He was always probably the true talent behind much of Mötley Crüe's output and this album shows that he can go it alone. His main two collaborators here are vocalist Jacob Bunton (Mars Electric; Lynam; Adler) and keyboardist Paul Taylor (Alice Cooper; Winger). Bunton and Taylor co-wrote most of the album with Mars, and Bunton sang seven of the 10 songs - with Brion Gamboa singing two and one being an instrumental. The bass was handled throughout by studio hand Chris Collier, who also mixed and mastered the album, with the drums being played by Ray Luzier (David Lee Roth; Army of Anyone; Korn; KXM).

An old-school musician, Mars has created an old-school album which is around 40 minutes long. There is very little fat here but a surprising amount of variety - with plenty of light, shade, and even a hint of the blues. The album kicks off with lead single Loyal to the Lie, a thick, riff-heavy song which is typical of the album's core sound. Cold-sounding synths pulse as the song opens, whilst Mars' first big riff slowly fades into view - before Luzier's drums crash in and the song gets going proper. The riff would have definitely not have sounded out of place on a Mötley Crüe album, but that is where the similarity ends - with the verses largely featuring a sparse arrangement thanks to Collier's big bass playing and Bunton's effects-heavy vocals. I have heard Bunton sing previously, but I have never really digested anything he has been a part of. He is not the most original singer, but he does a great job throughout this album - with his gritty delivery a perfect foil for Mars' riffing, whilst Taylor's keyboards add a depth not common in Mötley Crüe. The verses have a bit of an industrial feel, then, but the chorus is up-tempo and hooky, with plenty of big riffing, whilst Mars' shredded solo shows just how fiery his playing can still be. Arrangement-wise the song is pretty basic, but the chorus is catchy, the main riff sounds great, and the production, courtesy of Mars and veteran producer Michael Wagener, is huge. Broken on the Inside slows the overall pace, with Mars laying down a doomy, bluesy riff from the off - which Luzier soon adds a shuffling groove to. The track is much heavier than Loyal to the Lie overall and it could well be one of the heaviest things that Mars has put his name to. The song is pretty varied, too, with the verses generally being pretty slow, with Bunton delivering a very gruff vocal performance, only for the chorus to explode in a burst of speed which returns to the sound of the previous song. Bunton unleashes a couple of big, unhinged screams throughout the song, too, which only add to the overall heaviness. The mix of speeds helps the song to stand out, though, and Mars' riffing sounds as good as ever. Towards the end of the song he starts to utilise more of a lead-based approach, which then morphs into an atmospheric solo - before digital effects give the impression of the disc being scratched before the song grinds to a static halt. Alone is the album's first ballad, which opens with Taylor's piano - over which Mars soon adds some aching guitar leads. Bunton sounds great here and his vocal delivery is more varied than I had expected. He is a much more diverse and expressive singer than I gave him credit for, with the low key verses here seeing him in an emotional state - whilst Mars' guitar gently adds colour behind Collier's ringing bass and the aforementioned piano. A proper power ballad, the song ramps up towards its chorus - which sees bigger riffing taking over, before Bunton races through the gears to deliver a more full-bodied performance against the ever-present piano. I really like the song, but it feels like a missed opportunity not to include an aching, bluesy Mars guitar solo here. His lead work throughout, and the weightier riffing when needed, is great - but he never really cuts loose. I like how song-based the album is, but this song is crying out for a big solo - so it a shame that one was not included.

Killing Breed returns to a heavier sound and is the first of the two songs here sung by Gamboa. I had not heard of him before, and cannot find out much about him, but he does a good job here. I am not sure why he sings in place of Bunton, but his richer delivery does add a little variety. I do wonder if the two songs were part of a different session to the rest of the album, but Killing Breed still feels at home here despite Gamboa's presence. Mars' riffing throughout is heavy and cutting, with jagged leads dominating early on, but the song in general is quite atmospheric. Collier's bass once again provides the main drive, whilst stabbing guitar riffs add accents throughout the verses - which are also drenched in keyboards. This allows Gamboa's rich voice to shine; his deeper tones suiting the synthy and grating environment - before a much more cinematic chorus with more of a guitar backing and some piano melodies delivers something of a post-grunge feel. Mars does solo here, though, and his fairly lengthy solo is slow-burning and melodic - which suits the overall atmospheric feel of the track. Returning to Bunton and a ballad approach, Memories is the album's slowest piece. I am not even sure that Mars is featured at all here - as the song is dominated by Bunton's croon against Taylor's piano, along with some subtle strings also provided by Bunton. Bunton's emotional vocals and his subtle violin playing are great, and Taylor's piano has just enough weight to create an effective ballad - but it is strange that Mars stepped back here. He is clearly a humble and 'for the song' musician, but this is another song which really could have done with a big solo - it is his album after all! As much as I like the song, as it is very well-written and performed, it just feels strange that Mars has included a song on his debut album which he likely had very little input in - despite co-writing it. He was certainly involved in Right Side of Wrong, though, as the big riff from the off is another classic Mars-sounding pattern of notes. The riff is another which could have sat on a Mötley Crüe album, but, like the rest of the album, the song itself is pretty modern in style. I could never see Vince Neil singing this song's chorus for example, despite the chugging verses being more typical, but Bunton soars during the arena-ready chorus - with Taylor's keyboards making everything sound that bit bigger. The chorus hook and the overall heaviness makes the track one of the album's strongest cuts overall in my opinion, and a simple guitar solo adds a little flurry of extra melody. Ready to Roll opens with some sound effects and synths, but gets going proper when a staccato riffing kicks in. This riffing sets the tone for the rest of the track, which is generally a mid-paced, groovy rocker. It is probably the song here which sounds the closest in style to Mötley Crüe. Mars' guitars slash and cut through the mix perfectly, whilst the chorus reins in some of the atmospherics heard elsewhere to go for a sleazy, bluesy approach which I actually could imagine Neil singing. Bunton handles the style well, though, and the chorus is one of the most aggressive and hard rocking moments on the album - with some subtle gang vocals adding to that Mötley Crüe feel nicely.

Undone is the second song to feature Gamboa, so the track returns to the richer sounds of Killing Breed somewhat. Taylor's keyboards took a step back on the previous song, but they are back here in a big way - and the mix of Mars' heavy riffing and Taylor's piano and synths once again creates a big sound. Mars goes for a bit of a different approach guitar-wise here, too, despite a number of strong riffs. There are moments here where he adopts a much more slow-burning, lead-based approach instead, and these parts act as great bridges between the riffing found elsewhere. He still cuts his way through the mix with his massive tone, though, and a later breakdown section is very riffy - before an aching guitar solo apes the aforementioned leads to create an almost symphonic instrumental section thanks to the synth backing from Taylor. Gamboa once again sounds strong during the chorus in particular, with another cinematic approach allowing his deeper voice to shine. The last vocal-led track on the album, Ain't Going Back, is therefore Bunton's last contribution here. It is another pretty heavy, riffy track - albeit more mid-paced overall. Collier's bass sounds big as ever, helping to propel the verses along, but Mars' riffing is of course what stands out. Taylor is higher in the mix during the chorus, which again goes for a bit of a post-grunge feel, but elsewhere the guitar really shines - and the verses are potent thanks to Mars' playing. The mid-paced groove is classic Mars, but the chorus feels more modern overall - and Bunton does a great job with the chorus melodies, which are very hooky. A brief solo adds some screeching leads - but overall this track is more about big riffing and vocal hooks, and Bunton bows out on a high as a result. It is left to L.A. Noir to close out the album, then, which is a guitar-led instrumental - which is essentially Mars' big blues showcase. Collier and Luzier lay down a shuffling groove from the off, over which Mars adds an old-school rock 'n' roll riff and plenty of bluesy soloing. Given the lack of big solos throughout parts of the album, having a track dedicated to Mars' guitar playing is welcome. It is not overly long or flashy, but it nicely sums up his old-school and no-nonsense approach. His soloing style and overall tone changes as the song progresses, too, which is nice - and the instrumental feels like  a curated piece rather than a random, contextless solo. It is a nice way to close out the album - and it feels fitting, given that this is the debut solo album from a notable guitarist, that the spotlight is shone on Mars in such a way. Overall, then, I think that The Other Side of Mars is a really strong effort from Mars - and it is great that he has finally struck out on his own and done something properly outside of Mötley Crüe. It is a shame that he does not cut loose a little more, though, but, in truth, he has rarely ever been that sort of guitarist. He clearly favours songwriting over showboating - and The Other Side of Mars feels tight and well-composed, even if a bit more soloing would have been welcome. Whether we hear more from Mars remains to be seen, but I would certainly not object to hearing more from this group of musicians should Mars ever fancy writing a few more songs.

The album was released on 23rd February 2024 via 1313. Below is Mars' promotional video for Loyal to the Lie.

Amaranthe's 'The Catalyst' - Album Review

I think that it is fair to say that my relationship with the Swedish pop metal act Amaranthe has been rather up and down. I would consider myself a fan, but their catalogue has varied significantly in quality in my opinion - which is strange to say when there has been little variation in their sound and approach since the early days. Speaking of the early days, I was on board from the off. The band's self-title debut album from 2011 and 2013's The Nexus were albums I listened to an awful lot around their respective releases. Overtly poppy metal has become more popular since these two albums dropped, but there was not much else out there at the time which mixed bona fide pop with power and melodic death metal influences. Amaranthe and The Nexus still feel pretty fresh, then, with the hooky songs, fiery guitar playing, and excellent vocal interplay standing out as the band's selling points. Sadly, though, I do not think that anything which the band have put out since 2013 has been anywhere near as good. I do not actively hate any of their albums, but the three which followed The Nexus certainly felt like big steps down for different reasons - with perhaps 2016's Maximalism (which I briefly discussed here) being their weakest effort overall. The albums which sat either side of Maximalism, 2014's Massive Addictive (which I reviewed here) and 2018's Helix (which I also reviewed here), were better - but I have not returned to either very often, and the band did not impress either of the times I saw them live, too. I had somewhat written the band off, then, but I am not one to give up that easily - so I picked up 2020's Manifest (which I reviewed here) on its release. Perhaps the album's upbeat vibe was just what I needed during the pandemic, or perhaps the band had upped the game again somewhat, but I was pleasantly surprised with Manifest - and it is easily my favourite thing that the band have done since The Nexus. Despite one rather embarrassing song, the album just felt natural and fun - and it was one I returned to quite a bit throughout 2020 and 2021. It restored my faith in the band - so much so that I was actually looking forward to the release of their seventh album The Catalyst, which dropped at the end of February. The Catalyst follows another line-up change, with harsh vocalist Henrik Englund having left the band in 2022. Following some live shows with stand-ins, Mikael Sehlin (Degraded; Engel; Paralydium) was unveiled as the band's new harsh vocalist last year - joining Amaranthe's trademark three-pronged vocal attack alongside founding member Elize Ryd and Nils Molin - the latter whom performs on his third album with the band here. The rest of the band remains the same as it has since essentially the off - with guitarist Olof Mörck once again driving everything alongside Ryd. Sehlin's recruitment has not significantly changed Amaranthe - but he does seem to be utilised a bit more here than has sometimes been the case with the band's previous harsh vocalists, which gives The Catalyst a bit of a heavier feel. Englund had also been responsible for some rather silly lyrics on the last couple of albums, too, and I for one will not miss songs like GG6 or BOOM!1 going forward.

I am pleased to say, though, that The Catalyst is another very solid album from Amaranthe - picking up from where Manifest left off. The songwriting feels tight and there are quite a few tracks which jump out from the off due to their big hooks. The title track, which opens things up, is one such piece - and it is likely one of my favourite individual tracks from the band since those first two albums. Pulsing synths set the tone, hinting at the upbeat music which is to follow, but the vibe is a bit more epic and atmospheric than has often been the case with Amaranthe - so when Morten Løwe Sørensen's drums kick in and the song gradually builds around his percussive approach things feel a bit more expansive. Normal service returns as soon as Sehlin unleashes the first of his growls, though, and a chugging Mörck riff starts the song proper - and the verses see all three vocalists taking in turns, with Sehlin's ragged whispers and growls punctuating the cleans of Ryd and Molin. A sparkling synth melody helps to add extra depth, but the track is mostly a groovy power metal anthem - with an explosive poppy chorus which could be the album's best moment overall. The melodies stick in the brain from the off thanks to a dancy backing - whilst a heavier breakdown section and a winding guitar solo allow for brief changes of pace towards the end. Insatiable is more of a mid-paced track, with the driving energy of the previous track reined in to allow for a more groove-based approach. The synths feel more industrial here, with Mörck's guitar adding a Rob Zombie-esque strut as colder melodies flash out of the speakers. There is more of a mechanical and metallic tone throughout, then, but the vocal interplay is as varied as ever - albeit with a bit more of a focus on harsh vocals during the verses this time. A vocoder is also utilised during something of a breakdown later on, and this is something which is revisited a few times throughout the album. I do not recall one being used extensively on the band's previous albums, so the vocoder allows The Catalyst to stand out - but the song's chorus once again provides the main hook. Lead single Damnation Flame goes for more of a typical power metal approach with a fast harpsichord melody which whips up something of a gothic atmosphere - which is weaved nicely with the band's trademark up-tempo pop sound. This was the song which introduced Sehlin to the band's fans, but perhaps the standout vocalist here is Molin. Ryd tends to take most of the spotlight, but Molin's slightly thespian vocal approach here works nicely - and the song is a bit grander and expansive than is typical for Amaranthe, with a symphonic metal feel during the chorus and a string-led waltzy instrumental section. The hooks are still present, but the gothic trappings here are welcome and it suits the band nicely. Liberated returns to something much more typical, with a busy synth hook dominating from the off. Mörck's guitar tone is less crunchy here, with the band's melodic death metal side reined in a little. Sehlin still growls throughout, but he tends to sing against a colder synth backing - with Ryd and Molin dominating during the much more upbeat chorus. Mörck still riffs throughout the song, too, but his guitars have less bite here than they have during the previous three songs - but his solo is the longest and shreddiest on the album so far, making up for the less prominent riffing.

Re-Vision, like the opening track, opens with some flashy synths and a programmed drum groove - but the vocoder referenced earlier soon joins in and the track morphs into a proper pop anthem with snaking guitar rhythms and wordless melodies created by the vocoder. Like the previous song, Mörck's guitars are less biting here - but the groove they create is very infectious. The vocoder melodies are extremely cheesy, but I actually think that they work quite well. Thankfully the band have not over-egged them throughout the album - meaning that their leading role here feels somewhat novel. It feels very mainstream pop in nature, but Amaranthe have often included big nods to chart pop - and it has generally served them well. Sehlin's growls adds some heaviness alongside the guitar grooves, though, but this is probably the least heavy of the rockers here - with another chorus which is up there with the album's best that mixes Molin's anthemic drive with the aforementioned vocoder hooks. Interference sees Mörck's guitars back in a bigger way, although the track is not as guitar-driven as it perhaps seems. The opening is pretty organic-sounding thanks to a big riff, as is the chorus which sees some pretty high notes from Ryd and Molin, but other parts of the song are much more synth-driven - with nu metal programming backing parts of the verses which Sehlin growls in a somewhat rapped rhythm. This semi-rapped approach has been used by the band before, and I have not generally been much of a fan of it previously, but it does not sound too out of place here - perhaps as it is relatively underused. The song's chorus is so hooky, though, that it is hard to get too upset by the nu metal trappings. Amaranthe's albums tend to include at least one pretty straight ahead ballad, and Stay a Little While is The Catalyst's effort. Delicate piano melodies form the basis of the verses, whilst subtle strings add some depth. Ryd tends to dominate vocally, her poppy and floaty voice suiting the track nicely, although Molin also plays a big part. His more over-the-top delivery does tend to dominate when the two sing together, but the two singers still harmonise well. The track does get a little heavier as it moves along, but the piano dominates throughout. Mörck does add some guitar weight to later verses and renditions of the chorus - but the track never really shifts too far from its more low key arrangement. Mörck does add a pretty lengthy guitar solo, though, and it is one of his most straight ahead guitar moments on the album - as it packed full of ballad emotion and melodic leads. Ecstasy gets back to a more upbeat sound following the ballad, but it is not one of the album's heavier pieces. Spacey synths open the track up and they dominate throughout. Mörck's rhythms add weight, but this is not a piece that feels very guitar-driven at all - with Sørensen's drumming and the pulsing keyboards dominating throughout. The overall approach does not change all that much throughout, although the chorus feels much brighter - with some explosive pop hooks breaking out of the colder backing elsewhere, before a growled breakdown and a shredded guitar solo add some additional excitement. The vocoder is used again here occasionally, too, although very sparingly - but I like how its use has been sprinkled throughout the album to act as a bit of a link between a few of the different songs.

Breaking the Waves feels a bit more atmospheric overall, with much more space in the mix which really allows Ryd's excellent vocals to breathe. She is generally the singer which gets the most screentime on each album, but this song feels set up to allow her to shine - at least early on. The opening verse is rather sparse, with pulsing synths and less of a guitar focus creating something of an industrial base for her to sing over. Strings add a warmth, though, so this is not as cold-sounding as some of the songs here. The symphonic metal flourishes referenced earlier are referenced again here, too, and the song sounds a bit more cinematic than is often the case for Amaranthe. It does bulk itself out as it moves along, though, with Molin turning the second verse into more of a power metal anthem - but a more epic, slow-burning chorus moves away from the band's usual in-your-face pop approach in a way which works pretty well. Outer Dimensions very much returns to the band's core sound, though. It opens with a short segment from the later chorus, but a fast-paced Mörck riff kicks in and the track becomes another pretty up-tempo power metal anthem with sparkling synth hooks and plenty of groove from the guitars. The song is perhaps less musically interesting than some of the other tracks here, but it is certainly a vehicle for big hooks. The chorus here is another candidate for the album's best - and it feels stratospheric thanks to the big vocal harmonies throughout and the conviction of both Ryd and Molin. It is hard not to get swept along with it all thanks to the infectious hooks which are present throughout - and it is choruses like this which remind me why I fell hard for Amaranthe back in 2011 when their first album dropped. Resistance is similar, but ups the pace further - harking back to how the album opened with its title track. Mörck's guitar has much more bite here, and Sehlin has more of a presence, too, after a couple of tracks which featured less growling. There is quite a good balance between clean and harsh vocals during the verses, which allows the song to have a heavier feel. The pace only ups this heaviness, too, and the track feels pretty venomous at times - with some genuine melodic death metal vibes present. The chorus is bouncy and upbeat, too, but I think what stands out the most for me here is the hard-driving nature, the fast-paced riffing, and Sehlin's growls - with the track likely the heaviest on the album overall. The album then comes to a close with Find Life which opens slowly with buzzing synths - before a groovy riff kicks in, and the track becomes a generally mid-paced rocker. Arrangement-wise, though, it is more varied than is often the case for Amaranthe. Sørensen's drumming is more percussive than usual, with the verses built around his busy playing - whilst the synths and guitars add colour. This approach allows the vocals to shine, though, and Ryd and Molin trade lines in a natural way around this grooving drum pattern. The chorus feels bigger, with more of soaring symphonic metal vibe than something more anthemic, whilst Mörck's guitar solo is more laid back and progressive-sounding - with fluid melodies bringing the best out of him. It ends without much of a bang, too, which is strange for Amaranthe - but the more expansive song still feels like a fitting closer, particularly given that a much heavier song preceded it. The Catalyst, then, is another very enjoyable album from Amaranthe - and it is great to see that the current run of form which started with Manifest continues. I think this album may well be stronger overall than Manifest, and the title track is already one of my favourite Amaranthe cuts. It is great to see the band really trying again and I hope that there is more of this to come going forward.

The album was released on 23rd February 2024 via Nuclear Blast Records. Below is the band's promotional video for Damnation Flame.

Blaze Bayley's 'Circle of Stone' - Album Review

Just when it seemed that the Wolfsbane and former Iron Maiden frontman Blaze Bayley could not possibly suffer any more major setbacks, his well-publicised heart attack in March last year certainly proved that there are always more bumps in the road ahead. In many ways, there are few personalities in heavy metal more endearing or inspirational than Bayley. Most would have given up after just one of the many setbacks he has suffered throughout his career, particularly since launching himself as a solo artist following his departure from Iron Maiden in 1999, but he never gives in - always getting back up and pushing on. Trouble with record labels, bandmates, personal bereavements, and now his health - Bayley's spirit seems unbreakable. Many of his songs in recent years deal with the topic of overcoming adversity - and each such song of his feels more real and heartfelt than the last. His last solo album, 2021's War Within Me (which I reviewed here), perhaps dealt with such topics more than ever - with tracks like Pull Yourself Up, Warrior, and the title track all rallying cries for those struggling. It is an album which certainly seemed to resonate well with his fanbase, too, and the handful of shows I saw on the War Within Me touring cycle featured a significant amount of the album each night - and the songs were greeted as warmly as many of the pre-existing fan-favourites. Turning back to Bayley's health, though, his heart attack came out of nowhere. The news broke only a fortnight or so after I saw him live in London - and he had seemed so typically full of life and energy. There were no clues of what was to come, but come it did - and throughout much of last year Bayley was out of action, recovering from the major heart surgery which followed. His return to the stage towards the end of last year was met with much celebration, then, and it seems that he is back in rude health - and looking his best for many a year. Hopefully Bayley will keep on rocking for years to come now, and the recent news that a new solo album, Circle of Stone, was imminent was welcomed. His first album since War Within Me, not including Wolfsbane's Genius (which I reviewed here) from 2022, Circle of Stone is very typical of Bayley's recent working class, but ultimately epic, brand of heavy metal. Interviews with Bayley revealed that it was recorded and finalised just before his heart attack, so there is no reflection on that here - apart from in the liner notes. Perhaps that will come on his next album, but instead we have six stand-alone tracks and mini concept suite about regaining one's ancestry. The themes explored here are very typical for Bayley, so the album feels like a natural continuation from War Within Me. As has been the case for his past four solo albums, too, Circle of Stone was written and recorded with the British metal band Absolva - although this is the first time that rhythm guitarist Luke Appleton has been fully involved in the process. Whilst his brother Chris Appleton still wrote the bulk of the material with Bayley, Luke made some significant writing contributions here, too, with bassist Karl Schramm and drummer Martin McNee rounding out the unit.

The first part of the album is punchier than the second half and kicks off with the heavy Mind Reader. Musically it reminds me somewhat of Iron Maiden's Futureal due to its opening melodic guitar line and its pretty fast pace. It is also a short song, so it really races by - with Bayley's deep, rich voice sounding as good as ever. The chorus is perhaps not as frantic as Futureal's, but instead it goes for a more cinematic approach - typical of Bayley's modern style. The verses are faster, though, with big, ringing chords forming a great backing for Bayley's voice - before the big chorus utilises the opening guitar melody as its basis. It is very much the sort of song which should be expected from Bayley at this point, but as soon as it starts it is recognisably him. Despite his style being very much traditional heavy metal, Bayley's solo career has a distinct style which is recognisable from the off - and Mind Reader opens the album in fine fashion with plenty of hooks and a harmony guitar solo. Tears in Rain is less Iron Maiden-esque, and goes for a more riff-heavy approach. Most of Bayley's solo albums are packed full of massive riffs, and this one is no different - with Tears in Rain driven by a very 1980s-esque riff, with the occasional scorching guitar lead adding colour. Bayley sings the verses with a slight effect on his voice, which creates a distant and atmospheric sound despite the overall traditional metal feel, but this effect is absent during the chorus which gives the song the impression of opening up - with the additional guitar leads thrown in during the chorus also ensuring that a bigger sound is created. There are grander songs in Bayley's catalogue, but it is always a joy to hear Bayley sing this sort of material - as his over-the-top and slightly thespian delivery can really make a song soar. Slowing things down, Rage acts as the album's first change of pace. With subtle violin courtesy of previous collaborator Anne Bakker, the song takes a while to really open up - and at first it seems as if it is going to be a murky ballad. Bayley's mournful vocals sit nicely against clean guitar melodies and the violin early on - but the rest of the band soon crash in and the track becomes a mid-paced, yet still mournful, rocker, with a big chorus and bluesy guitar solo. It is less foot-to-the-floor than the opening two cuts, but Bayley is no stranger to such songs. In fact, it could be argued that he operates at his best in more mid-paced environments which allow his booming voice to really breathe. Rage does this, and the song's chorus is another strong moment thanks to his conviction. Despite not as varied arrangement-wise as Rage, The Year Beyond This Year maintains more of a mid-paced feel - albeit with a much stronger focus on lead guitar melodies. In some ways, the song reminds me of the sort of material Bayley was writing with the musicians he was working with on 2008's The Man Who Would Not Die and 2010's Promise and Terror, although the production utilised here is more old-school and retro-sounding - meaning that there is less of a modern metal snarl here. The endless lead guitar melodies are welcome, though, and McNee lays into his double bass drums throughout - giving the song a heavy feel despite the more organic production. The chorus is another winner, though, and it might be my favourite on the album overall. It is extremely hooky, and it contains a number of classic Bayley tropes which always make his albums fun to listen to.

Ghost in the Bottle is similar, but the approach is more old-school again - with plenty of nods to Bayley's time with Iron Maiden evident here. The guitar playing of the Appleton brothers here is very much from the classic Iron Maiden songbook, whilst the rhythm section takes more of a groove-based approach here and leaves lots of the more modern metal tropes behind - despite some double bass drum flurries here and there. The chorus is another strong moment, although I do not think that it is as strong as the chorus in the previous song. As the two songs are quite similar, Ghost in the Bottle perhaps suffers a little from following The Year Beyond This Year as it allows for close comparisons - but there is still plenty to love about the track, with the folky guitar melodies in particular standing out. Broken Man is the last of the stand-alone songs and it changes the pace again, going for much more of a ballad approach. The song opens with a simple clean guitar melody over which Bayley sings with his usual gusto. Despite the slower guitar melodies and the lack of a big arrangement, especially early on, Bayley does not really rein it in vocally. He sometimes sings ballads in a semi-whispered way, but this one he tends to approach in his typical manner - with the chorus in particular featuring a strident vocal performance. The rhythm section do join in after the first chorus, but they remain very low key - and the song only really shifts properly towards the end, when, during the guitar solo, a heaviness creeps in, giving the track a bit more punch. The last chorus section is therefore heavier, but the track still feels slow and mournful - and it overall is a great showcase for Bayley vocally. The concept suite then kicks off with The Call of the Ancestors, which features bagpipes from Vicky Kennerley. The song is a short instrumental which features folky bagpipe melodies and the occasional guitar harmony. It sets an atmospheric tone, though, and it does not feel cheesy - as sometimes bagpipes can do when used in a metal context. The piece essentially acts as an extended introduction to the album's title track - which also acted as the first single. It is a great folky metal anthem with another excellent chorus, big guitar melodies, and guest vocals from Niklas Stålvind (Wolf; The Doomsday Kingdom) - who's snarling voice contrasts nicely with Bayley's richer approach. Bayley sings most of the song, but Stålvind takes part of each verse and duets with Bayley in the chorus - and the two play off each other well. They are different enough singers to create a fun contrast, and the rollocking folk metal anthem feels like a great backing for their duet. The chorus rivals The Year Beyond This Year for being the album's best due to their tight harmonies - and the lengthy guitar solo section is packed full of memorable licks and the occasional more bluesy flourish.

Absence is more of a typical Bayley metal anthem, with a driving, flourish throughout and less of a reliance of big guitar leads. The song does open with some melodic leads, though, but in general this is more of a riffy piece - which whips up a strong pace from the off. As such, the piece feels heavier overall than the previous track. The title track was chunky and more mid-paced, but this one moves at higher speeds, with plenty of double bass drumming from McNee and guitar riffing which might feel thrashy if the production was different. Its feel very typical of Bayley's solo career on the whole - but it perhaps lacks the big chorus to really take it to the next level and make it one of the album's best. A Day of Reckoning opens slowly, with chiming clean guitars, a moody atmosphere, and some of Bayley's more mournful vocals. The track is not really another ballad, though, and instead it is a muscular mid-paced track which retains something of a mournful approach despite the crunching riffing throughout. Like the previous song, there is less of a focus on big guitar melodies here, despite a few popping up when required, with the track generally being much more focused on punchy power chords and more of a kick from the rhythm section. Like the previous song, too, I do not feel that the track is as hooky as could be. The chorus is fairly memorable, but for some reason it does not stick with me as much as I feel it should. Perhaps it is just that it does not stand up to some of the great chorus efforts found elsewhere on the album - but thankfully the next track returns to a more anthemic feel. The Path of the Righteous Man really feels like a big return to Bayley's best following a couple of somewhat weaker pieces - and again the song somewhat feels like a hark back to the style of Bayley's late 2000s/early 2010s releases, which were arguably his heaviest work. The production here is less heavy overall, but the riffing feels quite furious here - and the focus on guitar leads is also welcome. It is just a song that has a bit of everything - with a furious guitar solo section bringing the best out of the Appleton brothers and the guitar leads throughout elevating the track above the two which preceded it. The chorus is another real winner, too, and it really goes all out - possibly being the album's most epic moment. Bayley has lost none of his vocal power over the years, and hearing his delivery makes me wonder why there are still people out there who dismiss his talents based on him, essentially, not being Bruce Dickinson. The album then comes to a close with a ballad Until We Meet Again - with additional vocals from Tammy-Rae Bois and some more violin from Bakker. The song is a true ballad, with acoustic guitars and the violin all that backs the voices of Bayley and Bois - with the latter adding some lovely harmonies. Despite the song being a ballad, though, it is not just slow and mournful. There are parts which are surprisingly up-tempo and pacy, which allows Bayley to really let rip, but there are other sections which are suitably slow to create more of a typical ballad feel. He has ended his albums with slower songs before, and I think the approach works pretty well - with this acoustic piece a nice antidote to the heaviness which came before, and it particularly contrasts well with the previous track. The album ends on a high, then, and overall Circle of Stone is another strong release from Bayley. I do not think that it is as strong as War Within Me, but there is still plenty here to enjoy - and Bayley sounds as fired up and hungry as ever.

The self-released album was released on 23rd February 2024. Below is Bayley's promotional video for Circle of Stone.

Illumishade's 'Another Side of You' - Album Review

As much as I like a lot of the great symphonic metal bands which came to the fore during the 2000s and the 2010s, it is perhaps no bad thing that the overall genre bubble seems to have now burst. Most metal subgenres have their golden years and then become oversaturated, and I started to lose interest in the genre when it became packed full of low-effort copycats. The cream of the crop always survives, though, and I still love many of my original symphonic metal favourites - with bands like Epica arguably bigger than ever. The bursting of the genre's bubble has also meant that newer bands who tread a somewhat symphonic path need to do something different to stand out and not appear as a pastiche to what came before - and I think the Swiss five-piece Illumishade are a good example of a band doing something different. Part symphonic metal, part progressive metal, and part pop, Illumishade are hard to categorise. They are not truly a symphonic metal band, but that is it the subgenre they feel most at home in - albeit the more stripped down end of the genre alongside bands like Delain. Illumishade are much riffier than most symphonic metal bands, though, with the guitar playing of Jonas Wolf a constant presence in their music. His playing adds a more metallic and progressive flair than is typical for most stripped back symphonic metal bands - and the accessible voice of frontwoman Fabienne Erni gives the band an irresistible pop edge. Illumishade are not overly pop in the vein of bands like Amaranthe and Beast in Black, but there is an ever-present accessibility to their music despite the relative variety found within their sound. Illumishade were formed back in 2019 by Erni and Wolf - both members of the Swiss folk metal veterans Eluveitie. Illumishade sound nothing at all like Eluveitie, though, and any further comparison between the two bands is essentially meaningless. It is always great to see musicians branch out from their more established sound - and 2020's Eclyptic: Wake of Shadows (which I discussed briefly here) set out Illumishade's stall nicely. It seems that Illumishade were, at first, put together as part of Erni's studies - with Eclyptic: Wake of Shadows being the result of such activity. This perhaps explains why the album was self-released and on the short side for a band with a sound as expansive as Illumishade's - but it certainly impressed, despite it not being an album I have returned to that often. This month's Another Side of You, though, coming four years on from Eclyptic: Wake of Shadows, feels much more like a complete package. Now signed to Napalm Records, the band feel like a big budget act - and I think that Another Side of You realises the band's sound and style in a much more successful way. Joined again by bassist Yannick Urbanczik, keyboard player Mirjam Skal, and drummer Marc Friedrich, Erni and Wolf have pushed themselves again here - with the help of industry veterans like in-demand producer Joost van den Broek and Coen Janssen (Epica; Amahiru) who plays piano on the album's final song.

Despite Erni and Wolf very much being the 'names' behind the band, Another Side of You is very much a collaborative effort songwriting-wise - with everyone contributing throughout the 14 songs present. Perhaps unsurprisingly, the album opens with an atmospheric instrumental piece. Enter the Void features dense synths, atmospheric wordless vocals, and the occasional violin line - but the piece sets quite a dark tone as it progresses, which sets things up nicely for Elegy. Despite the darker tone established, though, Elegy in general feels quite upbeat. Wolf's opening riff is certainly heavy, and much more in-your-face, than is typical for symphonic metal - but Skal's keyboards add a different dimension, and when Erni starts to sing the heaviness is stripped away. Much of the verses are sung by Erni against a delicate synth backing, but Wolf does not let things lie for too long - and his riffing is never too far away, particularly during later verse renditions which feature something of a tech metal groove and plenty of drum trickery from Friedrich. What really sells the song, though, is its chorus - which is one of the album's best overall moments for me. Erni's vocal melodies here are so well worked - and they fit nicely against the riffy backing, creating a strong contrast between Wolf's fat tone and her delicate delivery. It helps that the melodies are so infectious, too, and the chorus is likely to be one of the big takeaways following a first listen to this album - even as the song descends into an almost doomy, groove metal chug later on following a brief guitar solo. Enemy is somewhat similar, but the riffing feels a little more reined in here. There is still a strong guitar presence, but the tone feels a little more muted this time - with twinkling keyboards providing a counterpoint. As such, the song feels a little more balanced perhaps, and it is one that allows the guitars and keyboards to shine. Parts of the verses are much more keyboard driven, with the help of some subtle bass playing, but a buzzing riff is never too far away - and the tight, relatively dry guitar tone opted for here cuts through the atmosphere nicely when needed. Vocally, the song is not as memorable for me - but there is still a strong chorus, despite it sounding a bit more typical of late-period symphonic metal. It is a bit more overwrought than the playful melodies of the previous song, but this suits the darker, more atmospheric approach taken - and the lengthy guitar solo also feels fitting. In the Darkness shifts things up somewhat, and opens with a bit of a power metal vibe thanks to some driving double bass drumming and a soaring guitar lead. This is another very melodic track and from the off it sticks in the brain. As such it is a real highlight. Busy piano melodies add extra depth to the flourishing intro, whilst the sweet verses certainly recall Delain at their most poppy. A strong rhythm is maintained throughout, though, despite this focus on poppier melodies - meaning that the song's driving, upbeat nature is never really lost. The chorus is based around the melody played during the song's intro, but with Erni's voice following the hook rather than Wolf's guitar. It makes for another excellent chorus, though, and Wolf still gets to shine during another big solo section which features lots of great shredded sections.

Cloudreader slows things down following three pretty hard-hitting and up-tempo pieces, but it is not exactly a ballad. Instead, the track goes down a bit more a softer rock route; with plenty of prominent piano playing and a mix of occasional riffing and melodic guitar leads from Wolf. Parts of the song feel somewhat ballad-esque, but overall it has too much of an upbeat vibe to fully qualify as one in my opinion. It is blessed with another infectious chorus, which is pretty bouncy given the softer feel overall, whilst another pretty blistering guitar solo is also included. Arrangement-wise, it also feels pretty stripped back. Whilst not exactly complex, the previous three songs have all featured a few twists and turns - but this one plays it straight, and it is over very quickly despite the melodies sticking in the brain. It contrasts nicely with the more expansive Here We Are, then, which opens with a slow-burning, mid-paced riff which injects some heaviness back into the album. This is soon stripped away again, though, as the first verse and chorus is a more atmospheric affair, with Erni's voice sitting against Skal's keyboards in a classic symphonic metal manner. This helps to set the tone, but the rest of the song is much heavier - and once Wolf's guitar kicks back in the track feels much groovier and powerful, with the chorus in particular soaring thanks to Erni's big vocal melodies and Wolf's snaking riff. A later instrumental break places a lot of emphasis on Friedrich's drum tricks, with his fills impressing in the surprising absence of a big guitar solo. Cyclone retains the heaviness of the previous song, and opens with a slow, yet heavy, riff which reminds me a little of the simpler end of Gojira's style. It certainly has that rhythmic approach, whilst incorporating some doom elements, but this nicely sets up what is another pretty epic track - which again channels some more typical symphonic metal tropes. The groovy riffing is what sets the track apart from efforts by Illumishade's peers, then, as Erni's emotional vocal delivery, which includes some somewhat creepy, effects-heavy sections, feels less sing-song than usual - with a more over-the-top approach taken, particularly during the sweeping chorus and lengthy outro section. Fairytale slows things down again, and this time the slower piece feels like a bona fide ballad. There are no sneaky riffs or up-tempo pop vibes this time, with the track being a pretty straight ahead ballad - with lots of emotional piano melodies, a ponderous drum pattern, and a very out-front Erni vocal. Musically, the band are much more restrained here. The piano is the only instrument which tends to have anything close to a lead role - with the rest of the band providing a bit of a punch behind Erni when needed. Her vocal display is excellent, though, so this low-key arrangement works well - and the song's chorus is filled with hooks, despite Wolf's emotional solo also adding some melody. Following the brief piano interlude The Horizon Awaits, Hymn returns to a poppier approach. Erni starts to sing as soon as Wolf's first guitar stab introduces the track - and the opening is based around her playful vocal hooks despite the odd knotty riff in the background. Unlike some of the album's recent tracks, though, this is a song very much built around more of a fun factor. There is less of an expansive sound this time, with Erni instead pushed to the fore. Some heaviness is created thanks to the riffing, which is welcome, but the hooky chorus really feels like the song's centrepiece - and it is another of the album's best choruses in my opinion. Wolf's guitar solo echoes this, with some John Petrucci-esque heroic, conceptual flourishes; with the song overall being another standout.

Twily feels less powerful overall, at least early on, and the song opens fairly slowly with some chiming guitar melodies - although their pace encourages a pretty pacy vocal from Erni. This opening section has something of a modern pop vibe, then, despite the lack of a big sound - but the song soon morphs again once Wolf kicks in proper. Despite his riffy additions, the song never really feels as heavy as some of the other cuts here - but it is another strong piece from a melodic perspective. It lacks some of the standout chorus melodies found elsewhere, but Erni's voice is as accessible as ever - and her melodies throughout the track remain interesting as the piece flits back and forth between poppier and heavier sections. The track feels busier and a bit more progressive than the previous cut, then, but it does not feel as expansive or as atmospheric than many of the tracks which made up the album's middle third. It is a piece which does something a bit different, then, and it helps to add to the album's overall appeal and variety. Riptide is a bit crunchier, but it is another song which goes for a strong melodic approach. It is more straight ahead than the previous song, but it feels a bit riffier and varied than some of the more overt pop metal anthems here. As such, the album's tone shifts again a little - but this is no bad thing. Despite this variety, the album feels very cohesive and Riptide perfectly fits in with the overall core sound despite it again doing a few different things. It is another piece that prides itself on a big chorus, though, so the melodies during the chorus do feel like much more of an overt hook than anything in the previous piece. Given the album's last two songs, though, this vocal-led approach works nicely - and it allows the album to have one more big chorus to latch onto before a much slower and atmospheric feel engulfs it. This is because the final two songs here are slow ballads, generally piano led, which bring the album to a slow-burning close. I am not sure that having two such tracks in a row to close things out quite works, but Hummingbird is a nice track - with strident piano melodies, emotional vocals, and symphonic flourishes which see strings and percussion adding plenty of depth. A few doomy riffs do come in towards the end of the piece, which counter nicely with the remaining piano melodies. This heavier addition is welcome, but the song always feels like a ballad despite this heavier final third - and this transitions into Verliebt. This is the song which features Janssen's piano playing, and Erni sings the track in German. Unlike the previous song, though, this last cut is a pure piano ballad. The heavier section of the previous track provides a point of contrast, then, as it is essentially just Erni and Janssen with some minimal strings for depth. Janssen's piano playing is dramatic at times, though, to up the tension - and I do think that the song ends the album well, I just think that having two quite similar songs at the end (despite the previous song's heavier moments) of the album feels like an extended coda. Both songs work well on their own, though, and I do not think that the album ends badly - it just seems a bit strange. Despite this minor matter, though, Another Side of You really is excellent. I picked up expecting to enjoy it having enjoyed the band's first album but this is a better album is almost every way. Illumishade feel like a proper band at this point rather than a side project - and with shows with Delain and Visions of Atlantis later in the year they seem to be really pushing themselves which is good to see.

The album was released on 16th February 2024 via Napalm Records. Below is the band's promotional video for Cloudreader.

Blackberry Smoke's 'Be Right Here' - Album Review

Despite being a big fan of the Atlanta-based southern/country rock five-piece Blackberry Smoke, I think it is fair to say that I have something of a mixed relationship with their catalogue. I first got into the band in 2014, not too long after their third album, 2012's The Whippoorwill, was officially released here in the UK. Southern rock tends to do pretty well in the UK, so it is perhaps surprising that it took the band until their third album to see an official release here - but ever since The Whippoorwill was available in stores here Blackberry Smoke have been popular. Their live shows here are always well attended and each album release also tends to do pretty well, too. I have seen the band live three times, with a trip to another concert of theirs planned for September, and each time has arguably been better than the last. Live, the band really rock. Their true southern rock pedigree comes alive on stage, and they power through lengthy and varied setlists night after night - treating the fans to favourites, new songs, and deep cuts alike. You are never quite sure which songs you are going to hear, but this does not really matter as every song excels on stage - with even the mellower, more country-based songs benefitting from the band's live heft. I say this as, fairly often, this is not the case with the band's studio albums. Like so many great bands, Blackberry Smoke never seem to be able to capture their live fire and energy when recording in the studio - something which I feel is quite evident on the band's newly-released eighth studio album Be Right Here. I had quite high hopes for it following hearing one of the early singles released in advance of the album dropping last week, and particularly as 2021's You Hear Georgia (which I reviewed here), to me, felt like a real return to a form after a couple of weaker albums. It was my favourite album that the band had released since The Whippoorwill and also their most rocking collection of songs since 2015's Holding All the Roses (which I reviewed here). My issue with much of the band's material since Holding All the Roses is that they just do not rock out enough for me. I enjoy the band's country side when it is used to contrast nicely with their harder rock edge, but both 2016's Like an Arrow (which I reviewed here) and 2018's Find a Light (which I also reviewed here) relied far too heavily on a more country-esque sound - with the former easily being my least favourite of the recent run. Both of the albums contain good songs, which especially come alive on stage, but they could not stand up to the excellent three albums which preceded them. The harder rock edge and the rawer production of Dave Cobb helped You Hear Georgia to really tick, then, so I had high hopes for Be Right Here - given that Cobb's services had been retained. I was disappointed, then, to find that, following an album of rockier songs, that Be Right Here largely returns to a mellower sound. Again, there are good songs here - but the album feels like a bit of a step back following the success of the previous album. As was the case on the previous album, the band were joined in the studio by touring guitarist Benji Shanks and touring percussionist Preston Holcomb (who really should just be made official band members at this point) - with sisters Sherie and Sherita Murphy again adding some additional backing vocals.

Despite my overall issues with this album, it actually gets underway pretty strongly - with the first two songs being more up my street. Opening with Dig a Hole; which includes a rare co-write for another band member other than frontman Charlie Starr, with keyboardist Brandon Still helping out; the mid-paced, shuffling rock is classic Blackberry Smoke. It never really kicks into a higher gear, but as an example of somewhat muscular southern rock with a deliberate groove and plenty of guitar riffs it works nicely. Drummer Brit Turner keeps the track on an even keel with his punchy drumming, which is augmented nicely by some percussion from Holcomb, whilst Starr's bluesy riff builds on the established groove. Occasional funky guitar additions and swells of Hammond organ are added to the mix to add some depth, but in general the arrangement is pretty simple. It is the sort of track which will certainly get heads bobbing and feet tapping live, although the groove is somewhat interrupted for the chorus - which feels a bit more expansive with more of an organ presence and the sisters' soulful backing vocals. A hard-hitting guitar solo and an electric piano-driven bridge section later add some additional variety, but the song rarely strays from its big groove - opening the album up nicely. Hammer and the Nail is another upbeat track, which opens with some busy acoustic guitar melodies - but it is not too long before the rest of the band crash in. Still's organ and boogie piano melodies are all over this track, whilst the multi-guitar approach of Starr, Shanks, and Paul Jackson sees acoustic guitar lines, bigger riffs, and slide melodies melding together to create a strong mix of sounds. The song is on the short side, at under three minutes in length, so it crams a lot into its runtime. Given the overall energy of the piece and the vibe that it seeks to create, though, this get-in-and-get-out approach works nicely. It is the sort of song that does not need to hang around for too long - with a busy guitar solo and a hooky chorus making a decent impact. Blackberry Smoke have written plenty of songs like this in the past, but this up-tempo country-tinged southern rock will never get old for me. Like It Was Yesterday is still something of a rocker, but it does not feel quite as strong as the opening couple of songs for me. It is still enjoyable, though, with its plentiful slide guitar melodies and a decent, driving groove - but there is a lack of a particularly strong chorus to really help the track pop. Songs like this on previous albums would have felt more anthemic, with the sisters adding big backing vocals during a stage-ready chorus - but this one lacks big standout hooks. There is plenty of decent guitar playing, though, with a fun guitar solo section which features plenty of old-school slide melodies - something which the band have really excelled at since bringing Shanks onboard. The song remains a decent effort, though, despite my reservations - and I imagine that it is the sort of song which would end up sounding much bigger live, as is often the case with Blackberry Smoke's songs.

Be So Lucky is weaker, though, and goes for something of a psychedelic sound which is never really capitalised on. At first it sounds as if the band are attempting to do something similar to Crimson Moon from their past, with effects-heavy guitars and a somewhat darker tone - but sadly this mood is shattered when the chorus rolls around, which is a more upbeat moment of modern country. The effects-heavy guitars are still present and sit behind Starr's vocal hooks, but the melodies just feel too upbeat for the rest of the song. Also, Still's Hammond is too low in the mix here. Songs like this require a lot more atmosphere than the band have allowed - and lots of retro keyboard sounds, with perhaps even a hint of Mellotron to really lean into a late 1960s psychedelic vibe. It shows that the band's love of country can sometimes come at the cost of a coherent and memorable song - and Be So Lucky feels like it is a track which does not know which way to turn. This is not to say that the band should never write any country songs, as they do excel at it when it is done properly - as the delicate Azalea shows. When a slower-burning piece is used on an album to act as a contrast to the rockier songs, the country side of the band really shines - and Azalea is strong. Starr's mournful vocals sit nicely against a myriad of acoustic guitar and mandolin melodies - whilst a subtle drum and percussion groove add a low key backing. This is not a big rocker, but it was never intended to be one. My overall issue with the band can be their want to add country to everything - but this piece of pure country works well on its own, and it brings out the best of Starr as a vocalist. It never really grows beyond its initial arrangement, despite a more keyboard-led section adding depth later, and the song works nicely as a mid-album change of pace. Clearly wanting to at least rock out somewhat on this album, Don't Mind if I Do then grabs the album by the throat and delivers one of the best cuts here with some old-school southern rock boogie, plenty of big riffing, and a strong chorus with the sisters adding some soulful backing vocals. Still's piano constantly fires away in the background to create that classic upbeat southern rock feel, whilst the three guitar players all chug away to create the fun song's overall rhythm. I had expected a bit more slide guitar here, but the guitar playing throughout is more traditional - with a blistering guitar solo which is more bluesy overall. This works nicely thanks to the overall groove, though, and the track is an overall highlight - and likely to become a bit live favourite going forward thanks to its energy and recognisable sound. Whatcha Know Good is a slower piece, with a mournful country vibe contrasting with the rollocking previous number. It is not a bad track, but it lacks big hooks. I like the presence that Richard Turner's bass is given during the verses, which helps the aforementioned mournful sound to shine, and the subtle slide lines which add depth - but there are no big hook that really jump out at me. I think that this is the side of the band which I like the least, as the song never really goes anywhere despite some decent ingredients.

Other Side of the Light is another acoustic-based piece, but the song feels a bit more upbeat overall. It is very much a country piece, but I like the song quite a bit. Unlike the previous number, there is a strong focus on hooks throughout. Starr's verse delivery feels quite upbeat despite the acoustic guitar backing - whilst the slide guitar accents feel like more of a genuine contrast with the vocal hooks than they did in the previous track. There is also more of a focus on harmony vocals here, too, with Jackson and the sisters adding plenty of depth. Due to all of this attention to detail, the song just feels a lot more pleasing to listen to. It also helps that it is more upbeat. Despite having the feel of a ballad, there is a Tom Petty-esque energy throughout - with the acoustic guitar melodies having something of a brashness to them, whilst the drums retain some punch and the chorus is something of an earworm. The slide playing throughout is excellent, too, and it this song shows that I do not have an in-principle objection to the band playing country - despite my wider concerns. Following a distant a cappella intro, the album's penultimate piece Little Bit Crazy becomes the last proper rocker here. Like Hammer and the Nail, it is the sort of song which Blackberry Smoke have written many times - but a hooky chorus and a great southern rock stop make it infectious. The song is almost certain to become a big live favourite going forward, thanks to Still's boogie piano melodies and a chorus which can easily be latched onto. It is a song which very much goes for a feel-good vibe over anything else. There is nothing complicated about the track at all and it is clearly written to be a fun hoedown piece live. For me, Blackberry Smoke are generally at their best when operating in such waters. They have a natural feel for upbeat numbers like this and they make the style sound so effortless. Songs like this are why I will always stick with Blackberry Smoke despite their ups and downs as I know that for every strange country track they will then knock it out of the park again with some of the best southern rock anthems of the modern day. The album then comes to a close with Barefoot Angel, a country ballad which sadly does not end the album on a high - with Azalea earlier in the album doing this sound more successfully. Barefoot Angel has more of a rocking base, thanks to a ponderous drum beat and some loud piano passages, but it all feels a bit laborious in my opinion. It is clearly supposed to be more of a downbeat track, which is fine in principle, but it just really plods along at a tedious pace without ever really getting going. Again, this is a sound which the band have done before - and it has never really worked for me previously, either. The song feels particularly slow given the upbeat, fun song which preceded it, too, and the sluggish piece is one of the album's weakest moments - and it is always a shame when an album ends poorly. Overall, then, for me, Be Right Here is a mixed bag. Where the band play to their southern rock strengths they excel but the country moments are generally weak efforts in my opinion - and they stop the album from being another great one like You Hear Georgia. The album is stronger than Like an Arrow, though, and there is still plenty to enjoy here - I just wish that there was more heft throughout.

The album was released on 16th February 2024 via 3 Legged Records. Below is the band's promotional video for Little Bit Crazy.

TesseracT - Bristol Review

Considering that I have never considered myself a 'proper' fan of the Milton Keynes-based progressive metal five-piece TesseracT, last night, in Bristol, I saw them live for the fifth time. In fairness, only one of the previous four times had been a headline show, but nevertheless they are a band whom I always seem destined to run into. I first saw the band live back in 2017 when they came to the now-demolished Hub in Plymouth as part of a UK tour - and have since seen them at the 2018 iteration of Bloodstock Open Air, opening for Bullet for My Valentine in 2021 and opening for Dream Theater in 2022. The fact that they can open for both Bullet for My Valentine and Dream Theater without feeling significantly out of place at either show goes some way to showcase the band's diverse appeal - but, despite this, TesseracT have always felt like a bit of an underground act. That seems to be changing, though, as this current, lengthy European tour has taken the band to a number of prestigious mid-sized theatres across the continent - with everything finishing up with a healthy amount of UK shows in well-loved venues. Many of the UK shows sold out, too, with the Bristol show selling out not long before the doors opened. There is clearly quite a lot of love for TesseracT in the UK, then, which is great to see - and it is heartening to see a band like TesseracT progress beyond the perennial support band and tiny club stage. It felt like they were destined to never break through that glass ceiling, but this current tour shows that assumption to be incorrect - and in recent times it does feel as if the band have pushed things to the next level. Rock and metal music in general does seem to be more popular now than it was even five or so years ago, which is great to see, but TesseracT also released their most ambitious album yet, War of Being (which I reviewed here), last year - which likely helped to boost their own popularity further. Selling out the O2 Academy in Bristol should be seen as a success no matter at what stage of their career a band is at - but it was TesseracT's largest headline crowd in the city, which makes the sell out more of an achievement. I mentioned earlier that the band cater to a diverse range of people, but TesseracT's music certainly is not for everyone. I would still not consider myself a huge fan despite enjoying War of Being a lot last year and having invested more time in their back catalogue since, but they still feel like an original and interesting band - despite the dry/tech metal/djent end of prog metal expanding significantly over the past decade or so. TesseracT have always managed to stay on the more atmospheric and melodic side of that often mechanical and monotonous sound - so there is a lot to like about their music personally. War of Being certainly felt more adventurous and varied, too, which helped.

Before TesseracT's set, though, the large crowd were treated to two quite different support acts. Up first, from Atlanta, Georgia, were The Callous Daoboys - a mathcore band whom delivered a chaotic and varied selection of songs during their 30 or so minutes on the stage. Wikipedia suggests that they are a seven-piece band, but there was only six of them in Bristol last night - with saxophonist Rich Castillo not present. It would have been interesting to hear what the saxophone would have brought to the band's sound, but with violin courtesy of Amber Christman there was already plenty of unorthodox to go around - and the band built on this with a cacophony of noise which meshed Between the Buried and Me at their heaviest, the occasional pop hook, and jazz fusion. Frontman Carson Pace largely stuck to harsh vocals, but there were lengthy clean-sung sections, too, which were generally pretty melodic and even, at times, soulful - but generally the vibe was a heavy one, with Jackie Buckalew (vocals/bass guitar) also adding plenty of deep growls, taking the lead at times. I have no history at all with mathcore, and bands like The Dillinger Escape Plan are anathema to me, but I found myself enjoying the band's set as it was just such a spectacle. I was never sure what was about to come next, so the set flew by as a result. At times some of the songs did seem to include parts which could be deemed as variety for its own sake - but in some ways I imagine that this was the point. The Callous Daoboys are not the sort of band which I will ever sit and listen to at home, as they are not for me, but I am glad that I had the chance to see them live - as they are certainly doing something different and pushing boundaries, which should always be applauded.

Up next were the German prog metal four-piece Unprocessed - a band very much rooted in the djent/tech metal scene with their eight-string guitars and angular riffing, but with perhaps more of a melodic and pop sheen than is typical. Fronted by the multi-talented Manuel Gardner Fernandes (vocals/guitar), the band smashed through around 40 minutes of diverse material with ease - with Fernandes in particular standing out due to his fluid guitar melodies and a vocal range which switched back and forth effortlessly between screams and a clean delivery. Without wishing to talk down the talents of anyone else in the band, who formed an amazingly tight unit which made the most intense of technical riffing patterns look effortless, Unprocessed clearly were put together to showcase Fernandes. All of the guitar leads and the drive of every song came from him, and I found myself really warming to the band as their set progressed - despite generally having an aversion to overly techy metal. Part of the reason why I enjoyed Unprocessed's set, though, was their focus on melody. Lots of tech metal bands do not push melodic hooks that much, but most of Unprocessed's songs had strong choruses which the crowd could latch onto - whilst the jazzy instrumental breaks were also generally pretty hooky, despite their complex make-up. The band were not wedded to their mechanical riffs and eight-string guitars, either, with some of the songs featuring a more traditional approach guitar-wise, which often led to upbeat and funky rock tracks which lacked some of the fire of the heavier material but utilised similar grooves and summery melodies. As such, it is hard to fully describe Unprocessed's sound, and not every song was for me, but I really liked the band's overall approach to songwriting, heaviness, and melody. I cannot say that I had ever really heard anything like Unprocessed before - meaning that the band are out there doing something original. I may well check out the band further going forward, as am intrigued to see what treasures their back catalogue contains.

Once the stage had been cleared, and 9:30pm rolled around, the lights went down the sound of a droning synth filled the room. The five members of TesseracT slowly took to the stage and soon launched into the lengthy and multi-layered Natural Disaster from their latest album. For the next 90 minutes the O2 Academy was filled with heavy riffs, taut atmospherics, and the soaring vocals of frontman Daniel Tompkins - who sounded as great as ever. I have said it on this blog before, but a big reason why I have often gravitated towards TesseracT is Tompkins. His voice is such a contrast to the mechanical riffing which often sits beneath it - but his screams are just as powerful, and he commanded the stage whilst the rest of the band tended to remain more in the shadows. Another new number in Echoes followed, and it was clear that the set was going to be a more forward-looking one. All five of the band's albums were represented, but the focus was certainly on War of Being and 2018's Sonder - with the first three albums only briefly referenced. It was one of the older tracks which received one of the night's biggest cheers early on, though, with the soaring Of Mind - Nocturne containing one of the evening's best choruses and grooves. The song always goes down well live, and last night was no different, but much of the rest of the set focused on heavier vibes. An early highlight for me was a rousing version of King. It featured some of Tompkins' most venomous vocals of the night - although the progressive juggernaut War of Being which followed certainly ran it close. The lengthy title track of the recent album acted as the night's centrepiece, with a couple of strong vocal refrains - as well as some interesting guitar playing from both Acle Kahney and James Monteith. Nothing which followed felt quite as expansive, but there was still plenty of good stuff to come. Smile and its atmospheric companion piece The Arrow let the heaviness slide somewhat, and allowed the band's more synth-heavy side to shine, but perhaps the big winner of this second half was the anthemic The Grey - one of the standout pieces from the new album. It was another which was greeted by a huge cheer and it is clear that the track has already become a fan-favourite. Given its big chorus and heavy, driving riffing it is easy to see why - and the more melancholic Juno which rounded out the main set ended up somewhat feeling like respite as a result. The main set had flown by, then, but there was time for a couple more - and the band decided to go right back to the beginning and play the first two parts of the lengthy Concealing Fate song cycle. Acceptance had to be restarted, though, due to some technical issue with the drums. Unprocessed had previously contended with similar issues, which was certainly a strange coincidence, but by the time the song got going proper there was plenty of action to be seen in the mosh pit - which only increased when Deception rolled around. These heavy songs acted as a great end to the night, with the groovy riffing some of the evening's fastest - and a great contrast to some of the set's more atmospheric moments. The setlist was:

Natural Disaster

Echoes

Of Mind - Nocturne

Dystopia

King

War of Being

Smile

The Arrow

Legion

The Grey

Juno

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Concealing Fate - Part One: Acceptance

Concealing Fate - Part Two: Deception

I have enjoyed each previous TesseracT show which I have been to, but last night in Bristol felt like more of a complete performance. Being much more familiar with the band's material helped, but I also feel that War of Being has helped the band to move to the next level. It is clear that this unique band is continuing to go from strength to strength, and I have a feeling that last night's show will not be my last TesseracT live experience.