AC/DC - London Review

I have been lucky over the years in the sense that I have been able to catch a vast number of bands live. Whilst there are still bands that I want to see which I have not been able to as of yet, with The Doobie Brothers and Steely Dan being a couple of examples, I have seen most of my favourite bands live - at least those which still exist. One band I never thought I would get the chance to see, though, were the Australian hard rock legends AC/DC. The band have played in the UK a number of times since I started paying attention to them, but they always seemed like one of those bands with unobtainable tickets. Their shows, which were often one-offs in London, always sold out instantly with rumours of high ticket prices and an enormous demand - and I have never been a big enough AC/DC fan to want to expel a lot of effort only to be disappointed. Following the conclusion of the Rock or Bust touring cycle in 2016, too, I assumed that the band were essentially over - at least as a live act. The band had finished the tour with only Angus Young (guitar/vocals) and bassist Cliff Williams left from the band's glory years - and Williams announced his retirement at the end of the tour, too, essentially signalling the end. 2020's Power Up (which I reviewed here) was something of a surprise, then. There had been rumours that the band had been working on a new album for a couple of years, but when it dropped during the pandemic it certainly cheered up a lot of rock fans - especially as it featured much of what had become seen over the past couple of decades as the band's classic line-up, albeit without the late Malcolm Young. Williams returned on bass, long-time frontman Brian Johnson seemed to overcome the health issues which forced him to miss much of the Rock or Bust tour, and estranged drummer Phil Rudd was also involved. Angus' and Malcolm's nephew Stevie Young (guitar/vocals), who had played on Rock or Bust in the latter's absence, completed the five-piece. I am not sure that anyone genuinely expected Power Up to be toured - but the album was welcomed nonetheless, and it felt like a bit of a swansong from the legendary band. It was then announced last year that the band would be one of the headliners at the huge Power Trip festival in California - which took place in October 2023. This show was the band's first since 2016, with Williams even returning to the stage, and the reviews were generally good. Rudd was absent, with Matt Laug (drums) in his place, but many hoped that more shows would follow - and when a European tour was announced earlier this year there was much excitement. With two Wembley Stadium shows included, it seemed like it was now or never for me. I ended up getting a ticket for the second night and was pleasantly surprised that it was not hideously expensive (although I did end up with a restricted side view). With Williams not touring with the band, though, and with Chris Chaney (bass guitar/vocals) in his place, it seemed like it would be the Angus and Johnson show rather than truly AC/DC - but I was nevertheless excited.

I got to Wembley Stadium around an hour or so before the action started, after having spent a rainy afternoon in East London - but thankfully the weather for the show itself was pretty decent. As mentioned before, I did not always have a great view of the stage - but mostly this did not matter too much. I watched the place slowly fill up and at around 6:30pm the evening's support band The Pretty Reckless took to the stage. I had been aware of the band for around a decade, and remember seeing the cover of their second album Going to Hell from 2014 a lot around that time, but I had not knowingly heard anything by them before. From what I imagined they would be like, they seemed like an odd fit for an AC/DC tour - but then big stadium tours often end up with odd match-ups when it comes to support acts. I was pleasantly surprised, then, to find that The Pretty Reckless were much less poppy than I had imagined - and were, in fact, a pretty hard rocking bluesy/soulful band with a bit of a post-grunge edge. I had expected everything to be about frontwoman Taylor Momsen, and in some ways it was, but Ben Phillips (guitar/vocals) also impressed with some solid riffing and more than a handful of melodic and expressive guitar solos. The Pretty Reckless are a pretty well-known band in their own right, but they are certainly not stadium fillers. Despite this, though, they really looked at home on the big stage. Momsen covered every inch of it and proved to be an excellent frontwoman - and the band's live sound was surprisingly clear for a support act at a show like this, with her voice sounding strong and the guitars having plenty of bite. They played for just under an hour, too, and I did not really find myself getting bored during that time. Some of the songs did sound quite similar, but generally there was a strong hook somewhere in each track - with the choruses mostly being pretty memorable. Some of the standout tracks for me where the opening Death by Rock and Roll, which made me sit up and take notice, and the riffy Witches Burn - both of which are from the band's latest album from 2021. Other memorable moments included the bluesier Follow Me Down, which came early on, and the heavier Going to Hell which was saved for near the end. There were clearly quite a few fans of the band in attendance, too, as they received much more of a reception than is typical for stadium openers. The place also seemed fuller than is typical for such sets, too, which suggested that more had made the effort to get to the stadium in time to see them. All of these factors added up to ensure that the evening got off to a fine start; and it is clear that The Pretty Reckless are a band I have slept on for too long.

Around 30 minutes after The Pretty Reckless' set finished the big screens flanking the stage burst into life and AC/DC took to the stage. What followed was just over two hours of raw and bluesy hard rock - with very few frills. The stage show was pretty limited compared to what the band have had previously, but this tour was clearly all about the music - and it was very much about Angus and Johnson, with the other three all huddled towards the rear of the stage. Due to where I was sat I could not see Laug at all, and I could only just about Stevie and Chaney when they walked up to their microphones to sing the backing vocals. Thankfully, though, Angus and Johnson covered the rest of the stage throughout - and made liberal use of the wings either side and the catwalk. Due to the compromised line-up and the band's advanced years, I went into the show with tempered expectations - and they were generally met or exceeded. Johnson's voice sounds like it belongs to a man who has been screeching for the band since 1980, but he sounded better than I expected, whilst Angus is still a great showman and consummate guitarist. The setlist was largely a greatest hits exercise, too, which I had no issue with given that I had not seen the band live before - but there were a few newer and deeper cuts. One slightly deeper cut, If You Want Blood (You've Got It), kicked off the show - and it very much set the tone for what was to follow. AC/DC are not known for their variety, but their core sound was very much on display throughout - with a loud and slightly rough sound mix that generally prioritised Angus' guitar playing. Each of his riffs and solos filled the stadium, then, and the atmosphere was generally excellent with everyone into the show - even those high up in the seats like me. The deeper cuts tended to come early in the set, with two new cuts in Demon Fire and Shot in the Dark, another relatively recent piece in Stiff Upper Lip, and the lesser-played album cut Have a Drink on Me all coming in the set's first half. There were still plenty of big hits, though, with Back in Black lighting up the crowd after the opening cut - whilst Thunderstruck a few songs later was the first to really get everyone on their feet. To add to the overall show, a large bell descended to the stage for Hells Bells, but Johnson did not swing from it as he used to (which, at 76, I do not blame him for) - and this was the only prop utilised until much later.

From the halfway point on, though, the hits really came thick and fast. Any pretence at mixing things up was long gone by this point - with the bouncy Shoot to Thrill seeing the band work through the gears. Despite the mix favouring Angus' guitar, Johnson was generally pretty clear, too. There were moments where he was a bit buried, but overall I could mostly hear him pretty clearly. Some songs he struggled a bit with but others he sounded pretty strong during - and he seemed to sound better the further through the set he was. The slower, dirtier blues of Sin City was a song which really suited his aging voice - as, in truth, was the stomping and heavy Dirty Deeds Done Dirty Cheap. His famous screech is not what it was, but he was still full of character - and prowled the stage in his typical manner. Angus was the focal point, though, running around like a man half his age. He does not seem to be hampered by age in any way - and his guitar playing was as cutting, bluesy, and no-nonsense as ever. He was easily the star of the show. There may be better guitarists in the world, but few are as iconic and instantly-recognisable as Angus - and he rocked through every song with real venom, including the tricky rhythms to the off-kilter Riff Raff. You Shook Me All Night Long allowed him to showcase a slightly cleaner guitar style, with the poppy song really getting the crowd going, but this was only a brief change of pace - as the barnstorming riff of Highway to Hell then prompted easily the biggest cheer of the night. Everyone was really rocking by this time, even those who had been dragged to the show by their partners, and the atmosphere was one of the best at a large-scale show I had been a part of. Nearly everyone down on the floor was jumping along and the band were locked in tightly - which only carried on during the snappy riffing of Whole Lotta Rosie and the faster-paced staccato Let There Be Rock - which also featured some of Johnson's strongest vocals of the night. This song closed out the main set, but it was stretched out with a lengthy solo from Angus which, I have to say, dragged. The first few minutes worked well, including him rising up above the crowd on a podium on the catwalk, but this part of the show went on for far too long. He is just not an interesting enough guitarist to solo for well over 10 minutes straight - and it was a strange end to the main set. Thankfully, the two-song encore restored the rock, with T.N.T. and an epic rendition of For Those About to Rock (We Salute You), complete with explosions and fireworks, bringing over two hours of music to a loud close. The setlist was:

If You Want Blood (You've Got It)

Back in Black

Demon Fire

Shot Down in Flames

Thunderstruck

Have a Drink on Me

Hells Bells

Shot in the Dark

Stiff Upper Lip

Shoot to Thrill

Sin City

Rock 'n' Roll Train

Dirty Deeds Done Dirt Cheap

High Voltage

Riff Raff

You Shook Me All Night Long

Highway to Hell

Whole Lotta Rosie

Let There Be Rock

-

T.N.T.

For Those About to Rock (We Salute You)

Whilst I am sure that this show would not have been as good as seeing AC/DC at the height of their powers, or even 15 or so years ago, I am glad that I finally got to the see the legendary band live. They have never been a real favourite of mine, but they are one of the most iconic hard rock bands going - and there are not likely to be many opportunities left to see them. This tour has not been announced as a farewell tour, but many are assuming that it will probably be the band's last - and it was a treat to get to hear so many of those classic songs live at last.

Axel Rudi Pell's 'Risen Symbol' - Album Review

A bit of a theme on this blog so far this year is new albums from long-standing veteran acts - particularly those bands which have remained consistent and prolific despite their advancing years, often putting some younger bands to shame. Saxon and Judas Priest are certainly examples of such who have released new material this year, but another musician who has also been extremely prolific over the years is the German guitarist and songwriter Axel Rudi Pell. Whilst no-one is going to say that Pell's lengthy catalogue is as good or as influential as either Saxon's or Judas Priest's - it is nevertheless packed full of strong material and there have been some genuinely excellent albums from him over the years. I am not sure that anything he has released in more recent years can genuinely be described as excellent, but Pell has become one of those comfort acts who release new albums regularly that rarely, if ever, divert from a tight and long-established core sound. Pell's core sound is very much inspired by the work of Ritchie Blackmore - and his albums have always channelled the Ronnie James Dio era of Rainbow mixed with the crunch of the European power metal scene. He has rarely strayed into the AOR years of Rainbow, with Pell's material channelling early Rainbow's gothic touches alongside the crunch of bands like Blind Guardian and Primal Fear. Blackmore Pell is not, but he is an impressive guitarist and songwriter - and wearing influences on sleeves is not necessarily a bad thing. Blackmore is not making music like this anymore in any case and Pell has a loyal following that laps up each new album when it drops. Last month, then, Pell released his latest album when Risen Symbol dropped - which is his twentieth album of original material. Throw in a couple of covers albums, a few live albums, his many ballad collections, and the albums put out by his original band Steeler - and it is clear that Pell has amassed a huge back catalogue. It picks up exactly where Lost XXIII (which I reviewed here) left off which, in turn, picked up where exactly every other Pell album prior to it had left off! There is nothing at all original about Risen Symbol, but those wanting another collection of pretty majestic and generally mid-paced rockers, featuring Pell's neo-classical guitar playing and the slightly over-the-top vocals of long-time frontman Johnny Gioeli will find plenty to enjoy in Risen Symbol. Whilst I have not heard all of Pell's albums, I have heard the majority of them and I think it is fair to say that the more recent albums lack the spark which, in fairness, many of the early ones had. Pell has certainly been treading water for years but his album generally remain enjoyable - if only for the nostalgic sound they create and the era which Pell looks to represent. This latest album is the sixth with the current line-up of Pell's band, too, with drummer Bobby Rondinelli having been in position for over a decade now. Bassist Volker Krawczak, who has played on all of Pell's albums, and long-time keyboard player Ferdy Doernberg round out the five-piece - although both of them and Rondinelli certainly play second fiddle to Gioeli and Pell himself.

As is the case with nearly all of Pell's albums, Risen Symbol gets underway with a slow-burning, gothic instrumental piece. The Resurrection (Intro) fills that role this time and the swirl of Doernberg's keyboards and some weather effects back a mournful guitar lead - but in truth all of these intro pieces on Pell's albums are essentially interchangeable. It builds up nicely to Forever Strong, though, the first song proper - and one which is surprisingly energetic. Much of Pell's output tends to be crunchy and mid-paced, especially in recent years, but Forever Strong is much heavier and faster than most of his recent material - and it certainly shows the influence of the European power metal scene on his writing. I wish he wrote more songs like this and the driving song certainly kicks the album off in fine fashion. Rondinelli delivers lots of double bass drumming throughout, which keeps the song ticking, whilst Pell's opening riff is kinetic and heavy - and it sticks in the brain nicely. As such, the song feels somewhat like a hark back to the earlier parts of Pell's career - but his core sound remains. Doernberg's keyboards add that subtle gothic background which is typical of every Pell album, with the chorus in particular benefitting from that synthetic organ sound which is commonly heard here, whilst Gioeli's raspy and loud voice suits the faster pace nicely - with him delivering the chorus convincingly. Pell's solo could perhaps be busier given the song's pace - but overall it gets things off to a fine start. Guardian Angel is much more typical - and is a mid-paced hard rocker with a strong opening riff and a pretty anthemic overall feel. It is less crunchy than some of Pell's work, but songs like this are extremely typical of his songwriting - and he often throws in a few songs which feel a little more overtly melodic and vocal-driven. The keyboards are a bit more prominent here, particularly during the verses which see the guitars drop out for a little while, whilst the chorus is one of the most overtly hooky moments on the album. The lack of the guitar crunch during parts of the verse helps the track to feel a little more dynamic than some here - and the guitar tone this time feels a little dialled back, too. The song definitely has a smoother sound overall and it is unsurprising that it was used as a single. A real low point here for me, though, is a leaden and pretty pointless cover of Led Zeppelin's Immigrant Song. The original is pretty overplayed in my opinion anyway, so I did not need Pell to nearly triple its length and turn it into a somewhat creeping power metal track that loses the original's frenetic punch. This is not the first questionable cover which Pell has included on one of his albums and it is an inclusion which drags the overall album down in my opinion. It just seems to be a vehicle for Pell to include a lengthy guitar solo, which does not fit with the song's vibe, as well as to repeat some of the vocal-led parts to make it longer. The original song was just over two minutes long and this version is just under six - and this remake should never have moved past the idea stage.

Thankfully, though, Darkest Hour gets the album back on track. It is the sort of song which we have heard many times before from Pell - but the mid-paced and crunchy hard rocker is full of the gothic atmosphere which much of Pell's best work contains. Sometimes I wonder how many more songs like this Pell can write, but this one is pretty memorable - with verses that mix a meaty chug with a strident power chord riff and a chorus that ups the keyboard presence and features some of Gioeli's strongest vocals on the album and some additional guitar leads. Gioeli as a singer can grate sometimes, and his over-the-top grit can sometimes be distracting, but when he gets the balance right he tends to sound powerful. The balance is well-struck here and the chorus is the right mix of anthemic and gothic; whilst Pell's guitar solo is pretty expressive, too, without being too busy. It is a melodic song overall, then, and it one of the highlights of the album thanks to a good mix of atmospherics and crunchy hard rock - and an ending which surprisingly ups the pace somewhat with some driving double bass drumming. Pell is no stranger to a long song and the album's centrepiece follows in Ankhaia. Given that the song is just over 10 minutes long, it is unsurprising that it opens slowly - with some wordless vocals from Gioeli against an atmospheric backdrop which set the tone for the creeping, gothic mammoth which is to follow. Blackmore's influence on Pell's songwriting is certainly best heard in songs like this - and there are shades of songs like Gates of Babylon in the arrangement and instrumentation used here. The guitar riffing mixes Eastern-tinged melodies and neo-classical runs to create a snaking groove, whilst Doernberg's keyboards take on a more prominent role throughout quite a few moments of the song - with one repeated section featuring Arabian-style keyboard flourishes over which Gioeli adds some wordless vocals. This keyboard melody is later used with a more percussive backing to set the tone for a lengthy instrumental section which, unsurprisingly, morphs into a big guitar solo. It is a multi-part solo, with a riffing interlude, which is a real slow burn - but it suits the length of the song and the overall atmosphere and arrangement. Despite the song's length and the fact that it does not deviate that far from the norm for Pell, it is actually one of the best tracks here in my opinion. It is just varied enough to allow for its length and I like the fact that it does not really have a chorus - with the melodies riffing and keyboard-led section acting as a melodic refrain instead. It feels like something of a desert trek, which is fitting, and the guitar soloing is some of Pell's best on the album. Given the slow burn and the expanse of the previous song, it is fitting, then, that Hell's on Fire is a faster track. It is not as furious as how the album kicked off with Forever Strong, but it certainly feels more energetic than the previous track - but the two songs are attempting to do different things. Pell's riffing is much more meaty here, but the keyboards of Doernberg are also a bit higher in the mix and they give the track more of a melodic sheen. There is a strong 1980s feel throughout, then, and it helps that the chorus is also pretty hooky. Given the song's title, though, the song is perhaps not as furious as it could have been. Perhaps this could have been spiced up further with some real heaviness, but the song is another strong effort as it is.

Crying in Pain opens with some swirling keyboards and a few heavy, bluesy chords and guitar leads, setting the scene for a slower song, before Gioeli starts singing against some piano flourishes from Doernberg. Whilst Ankhaia was a slower burn, it certainly was not a ballad thanks to its rocking grooves and Eastern melodies - meaning that Crying in Pain is the album's first and only true ballad. Pell has often written a lot of ballads, and has six compilation albums dedicated to them, so this album is relatively ballad-light compared to some of his releases. His ballads are all of a type, but they tend to be enjoyable - and given the lack of other such songs on this album Crying in Pain does help to provide a change of pace. It is certainly not as soaring as something like Oceans of Time for example, but it ticks all of the boxes - with a good mix of piano and Hammond organ; as well as an excellent vocal delivery from Gioeli who reins it in slightly whilst still sounding powerful. It allows Pell to lay down a pretty emotional guitar solo, too, which is generally where he is at his best in my opinion. He has never really been much of a shredder - with his slower and more lyrical solos generally being more memorable. Right on Track is another very typical mid-paced hard rocker and it basically follows the same template as Darkest Hour and Hell's on Fire. It is not a furious rocker, but instead a pretty smooth track, with enough crunch to keep the tone consistent, that has some keyboard depth and the occasional busy drum flourish from Rondinelli. Unlike those other songs, though, this one is not as memorable vocally in my opinion. The chorus is one of those which tries to stretch itself out over too many bars so fails to really stick in the brain. It just ends up feeling like an extension of the verses but with more vocal harmonies - so the song lacks that big hook which would make it stand out further. This has sometimes been a bit of a criticism of Pell's writing and partly I think why his newer albums tend to lack the spark of his earlier work. The album then comes to a close with Taken by Storm, another pretty lengthy piece which opens slowly - but soon morphs into another weighty mid-paced rocker. It feels like it could be another ballad, but instead it takes a similar route to Ankhaia with its Eastern-tinged melodies and groove-based approach. The song feels meatier overall, though, and it is more of an overt hard rocker with less space in the mix overall. The crunch of the guitars is ever present, even during an instrumental section which features some prominent Hammond playing, so it lacks the atmospheric feel of the aforementioned epic despite the slower intro. There is another quite lengthy solo from Pell, though, which is enjoyable thanks to its lyrical style but the song is another which does not do much for me vocally. Again, it lacks a big hook and it is a shame that the album ends with two such pieces. Overall, then, Risen Symbol is exactly what I expected it to be. It is another serviceable album from Pell which contains a few strong songs but also a few which fail to be memorable. The Led Zeppelin cover also drags the album down, but for fans of Pell's songwriting and guitar playing there is still plenty to enjoy here - even if everything has been heard before.

The album was released on 14th June 2024 via Steamhammer/SPV GmbH. Below is Pell's promotional video for Darkest Hour.

Evergrey's 'Theories of Emptiness' - Album Review

Given that just over a decade ago it looked as if the Swedish progressive metal band Evergrey might be about to implode, the run which they have been on since their soft relaunch in 2014 with Hymns for the Broken (which I reviewed here) has been nothing short of remarkable. The band were certainly prolific and successful prior to 2014, releasing eight albums between 1998 and 2011 - but in more recent times I have felt that they have put out some of their best work yet and they have done so with both a solidified line-up and a busy touring schedule. The band released a lot of memorable material during their early days, but I think that most fans would point to the three-album run between 2006's Monday Morning Apocalypse and 2011's Glorious Collision as somewhat of a weaker era. These three albums contain some strong songs, too, but it also saw what had become seen as the band's classic line-up slowly fragment - with founding frontman Tom Englund and long-time keyboardist Rikard Zander the only classic-era members left by the time Glorious Collision came around. With two of the then-newer members leaving the band once Glorious Collision's touring cycle came to a close it looked as if Evergrey might be on the ropes - and Englund has admitted in interviews since that the band almost called it a day. With the return of classic era guitarist Henrik Danhage and drummer Jonas Ekdahl in 2014, though, Evergrey kicked off this latest era with four-fifths of that classic line-up - with bassist Johan Niemann sticking around from the Glorious Collision era. This, then, has how Evergrey has essentially operated ever since and Hymns for the Broken has now been followed up by five further albums - the most recent of which, Theories of Emptiness, the subject of this piece, was released last month. It follows just over two years on from the dark and organic A Heartless Portrait (The Orphean Testament) (which I reviewed here) - which itself came just over a year after Escape of the Phoenix (which I also reviewed here). Evergrey had a productive pandemic, then, using the time off the road to create two excellent albums which somewhat harked back to the band's older work after a trilogy of much more modern and heavier releases. Hymns for the Broken and the two albums which followed it certainly felt stylistically similar - mixing modern, djent-inspired riffing with the band's trademark gothic and atmospheric approach. The last two albums sounded more old-school in comparison - and Theories of Emptiness sounds a bit different again. The artwork is certainly less grand than Evergrey's recent approach and the sound of the band feels a bit more stripped back - with a heavier sound again and a short (for the band) 45 minute runtime. It also marks the end of the band's current era, as it is to be their last album with Ekdahl - who has since left to focus on production and studio work. Given that he has co-produced this album, and others, perhaps he will still work with the band in such a capacity in the future - but replacing him on drums going forward is Simen Sandnes (Shining; Temic).

This album's more direct vibe is apparent from the start. There is no slow build here, with Falling from the Sun immediately kicking off with a big riff - and this heaviness and pretty aggressive nature is typical of the album. This is very much a guitar-heavy album, more so than ever. I noted that the previous album featured Zander's keyboards in a much more prominent role - but here they generally take on a more supporting role. This leads to a dryer production overall, but the songs work well in such a setting - with the verses of Falling from the Sun mixing chugging guitar rhythms and the occasional knotty, prog metal guitar lead. The riffing and lead playing is a bit busier than is sometimes the case with Evergrey, then, but everything still defers to Englund's excellent voice at all times. He is high in the mix throughout, his emotional delivery soaring above the verses despite the occasional guitar flourish. The chorus is more dense, with a melodic piano backing and much more atmosphere thanks to some subtle vocal harmonies, but generally the track is a hard-driving rocker with plenty of double bass drumming and a mechanical groove which is extremely infectious. The chorus vocal hooks only add to the song's overall appeal - with a lengthy guitar solo section, which is started by Englund and finished by Danhage, also impressing. Following the driving nature of the opening cut, Misfortune slows the pace down somewhat and goes for a much more typical arrangement - utilising keyboards and a gothic atmosphere in a more prominent way. The opening riff has a doomy feel, whilst Zander's keyboards produce a dense backing, and Niemann's bass also takes the lead during the verses - which feel quite sparse to allow Englund's vocals to shine. Despite this slower pace and a more oppressive arrangement, Evergrey's knack for uplifting and memorable melodies is present. The chorus is one of the album's most heroic moments, with subtle gang vocal shouts and wordless vocal melodies filling the speakers. It is a chorus which sticks in the brain from the first listen - and the hooky, yet dark, song is one of the album's overall highlights and a great representation of the band's core sound. To Become Someone Else is a bit more involved arrangement-wise. Delicate clean guitar melodies open the piece up, over which Englund starts to sing in the mournful manner which only he can truly deliver. The song gets heavier as it moves along, but not before some retro-sounding Hammond organ from Zander is added to the fray. This adds further depth, but a heavy, slab-like riff soon takes over and the track morphs into something different. The riffing here is some of the album's heaviest, which contrasts nicely with the slow opening, and the song generally proceeds in such a manner - with Englund's roars cutting through the dry dual guitar riffing. Cold piano melodies add depth where required and there is also a low key symphonic mid-section with strings and keyboards taking centre stage - before another grinding riff takes over to lead the final vocal-led section.

Say is another track, like Misfortune, which exhibits the band's core sound in quite a big way. Zander's keyboards are generally much more prominent here, then, with the opening guitar riff and Hammond backing actually sounding quite Deep Purple-esque. There is more of a classic rock strut than is typical during parts of the song, then, but generally this is Evergrey through and through - with the occasional hint to some of their heavier countrymen via some harmony guitar leads and melodies. Despite the song's mid-paced grooves and the overall mournful edge added by Englund's voice and the darker keyboard tones, the piece is surprisingly uplifting. Evergrey have always managed to include this feeling into their writing despite what is an overly melancholic core sound - and the chorus here is a bit of a light in the dark thanks again to some subtle vocal harmonies and some easy-on-the-ear hooks. The solo section, again featuring both guitarists, is full of melodic twists, too, even if the riffy section which follows ups the heaviness briefly. Following the mix of up-tempo and mid-paced tracks which have categorised the album up to this point, Ghost of My Hero slows the pace down quite considerably and acts as the album's only true ballad. There is a strong doom vibe throughout the song, with the opening riff, which later forms the basis of the chorus, being slow and weighty, conjuring up visions of Evergrey ballads past, whilst the verses are essentially just Englund singing against Zander's piano - with a metronomic percussion loop providing a beat. The chorus is heavier, then, but the riffing is so slow that it only really consists of a number of sustained and heavy chords - whilst the piano melodies are retained alongside a pretty soaring string arrangement. This use of strings increases as the song moves along, too, with later sections feeling much grander overall - and the second half of the track feels much more symphonic overall. It lacks a big guitar solo, though, and I never really feel that big ballads like this are complete without one. An emotional guitar solo would have really made this track a standout for me - but as things stands it falls a little short despite still being a good effort. We Are the North returns to a heavier and more anthemic sound, with the hard-driving and groovy song likely one of the catchiest things here. The opening juddering riff harks back to the djent-inspired moments of the band's recent past, but the song does not feel as tech metal-inspired as that era overall - with more of an organic feel thanks to some ringing piano notes and cold synths. As was the case with Misfortune, this is another track which makes use of gang vocals - with shouted reprises of the song's title and other short phrases acting as constant hooks throughout, whilst the chorus itself is much more aching and conventionally melodic with Englund singing in a slightly sweeter way than is typical for him. Given the song's overall heaviness, too, another multi-part solo section later provides some shredded leads - which perfectly compliment the riffing and fist-pumping vibe found elsewhere.

The Night Within sounds like something of a hark back to the more organic moments on the band's last couple of albums - particularly the more conventionally prog metal moments of Escape of the Phoenix. There is a much bigger use of bouncier and more melodic keyboards here, with an opening synth hook setting the scene earlier on against a slightly off-kilter drum groove from Ekdahl. Despite this floatier feel early on, the song is still very much rooted in the heavier core sound of the rest of the album. The guitar tones are similar to everything else here, which ups the heaviness compared to the band's 2021 album, whilst there is also quite a bit more double bass drumming here than is often the case for Evergrey. Danhage's melodic, yet frantic, guitar solo is later backed by some fast double bass drumming - but this is a nice contrast to the slightly poppier chorus which makes use of the opening synth hook to create a warm backing to Englund's smooth vocal delivery. Some industrial synths help to segue into Cold Dreams - another overall highlight for me thanks to the guest vocals of Jonas Renkse (Katatonia; October Tide; Bloodbath; Wisdom of Crowds). Renkse is another singer known for his deep, melancholic delivery - but here he actually adds harsh vocals to the song, which is nothing something I can really recall Evergrey doing before. Renkse does not tend to use harsh vocals that often these days, so it is somewhat of a surprise to hear him delivering them here - but his deep death/doom growls from the early days of Katatonia work well here. He is sparsely used, but when his growls do kick in the track feels all the better for his presence - whilst Englund's daughter Salina adds some wordless ethereal vocals throughout, often teaming up nicely with Zander's keyboards. The track is a dense and doomy piece, then, but there is also a strong prog feel thanks to the varying arrangement and the different vocal styles - with Danhage's lengthy guitar solo later on also capturing some of the song's variety in its phrasing. The last of the album's traditional songs here is the mid-paced and piano-driven Our Way Through Silence. This is another track which mixes heavier sections and more melancholic passages nicely - with a heavy opening riff, albeit punctured by the piano, setting the tone, before the piano takes over in a big way for the verses. Zander has still made his presence felt here despite this album feeling more guitar-heavy, but this track sees him really taking centre stage - with the verses essentially being all him, and the chorus is also underpinned by his talents. This track is perhaps not as hooky vocally, despite a decent chorus, with the song instead feeling somewhat more cinematic thanks to the stronger keyboard presence. The last guitar solo team-up is filled with melodic playing, though, and the song overall is another strong cut - with the piano dominance helping it to stand out. The album then comes to a close with A Theory of Emptiness, a short, essentially spoken word piece set against some distant piano melodies and some atmospheric guitar swells. It sounds like something from one of Anathema's more recent albums, and it feels like it is building towards something which never quite arrives. It is a strange way to end the album in my opinion, but there is a haunting quality to it which is fitting in some respects - and it leaves an unsettling taste as the album fades to a close. Evergrey never really disappoint and Theories of Emptiness is no different. Their recent run has been stellar and the quality of the songwriting here continues that trend - with the upped heaviness and slight brevity welcome. There seems to be no stopping this band and as long as they keep on delivering the goods I will remain interested - as there is no-one else quite like them.

The album was released on 7th June 2024 via Napalm Records. Below is the band's promotional video for Falling from the Sun.

Bon Jovi's 'Forever' - Album Review

Quite often on this blog I champion veteran acts that still regularly put out new albums. Just this year already we have had albums from Magnum, Saxon, and Judas Priest - all of whom have been treading the boards for many years - and it never ceases to amaze me how some bands and artists manage to keep sounding creative and vital well into their twilight years whilst others are content to trot out the same 15 setlist staples live year after year. Whilst there are plenty of older bands that do fall into the former category, there are plenty more that do not - but I live in hope that some of them will find some enthusiasm and follow the lead of The Rolling Stones and their excellent 2023 release. Another band which has generally been fairly prolific in their later years, though, is Bon Jovi. Unlike those aforementioned bands, though, a new Bon Jovi album is not always something to celebrate. Despite being quite a big fan of the New Jersey-based arena rockers, I am not sure that they have released anything genuinely essential since 1995's These Days. Everything up to and including These Days is pretty much classic in my eyes and the drop-off since has been pretty stark. There have been good moments, though, with both 2005's Have a Nice Day and 2007's Lost Highway proving to be a bit of a mini resurgence creatively in my opinion, but much of what has followed has been pretty poor overall - with 2009's The Circle and 2016's This House Is Not for Sale (which I briefly discussed here) being the exceptions. Given that This House Is Not for Sale was actually pretty decent, despite it following the bland What About Now (which I reviewed here) from 2013 and the leftovers collection Burning Bridges from 2015, I had somewhat high hopes for 2020's 2020 (which I also reviewed here) - but it turned out to be quite possibly the band's worst album to date. Everything which has made Bon Jovi's output extremely hit and miss for nearly three decades at this point was dialled up to 11 on 2020 - including limp songwriting, the lack of any weight from the band, and a couple of pretty po-faced and egregious songs which were hastily written to address some of the big issues of the year. Bruce Springsteen Jon Bon Jovi is not and the album fell flat in my opinion. Given the lack of any meaningful input from the rest of the band, too, 2020 more than ever felt like a solo album. The line between Bon Jovi the band and Bon Jovi the man has blurred significantly over the years, particularly since Richie Sambora left the band in 2013 - with most Bon Jovi albums a product of tame producers, song doctors, and minor splashes of the old magic. As such, then, I had basically no expectations for Forever, the band's sixteenth album which dropped earlier in the month, but I am happy to report that it is significantly better than 2020 - and some of the songs here are up there with the best material from This House Is Not for Sale. It is certainly no classic, but it rights some of the wrongs of the last album - and actually rocks a little in spots. It is the band's second album as an expanded seven-piece, with long-time producer and second guitarist John Shanks and percussionist Everett Bradley still on board.

Speaking of Shanks, he is probably a big part of the reason why Bon Jovi have been so hit and miss in recent years and the band could certainly do with shaking things up production-wise, but that is not likely to happen any time soon - especially now Shanks is in the band, too. He has been responsible for some good songs, though, and the opening track here, Legendary, is one of them. It is an up-tempo, poppy single which is not hugely different from other lead-off tracks on the band's other recent albums - but it has some bite to it and the chorus is good. Opening with clean guitar melodies, the drums from Tico Torres soon crash in and a hooky wordless vocal melody takes over - providing an early hook. Once Bon Jovi starts to sing, though, the verses pair things back some what - with a subtle groove from the rhythm section, driving piano from David Bryan, and plenty of acoustic guitars. Lots has been made of Bon Jovi's declining vocal abilities over the years, but he has never sounded that weak in the studio in my opinion - despite a more nasally tone. As such, he sings well here - with a more subdued tone during the piano-driven verses, before letting rip a bit more during the hooky chorus. The chorus makes use of the wordless vocal hooks from the song's intro, too, with the rest of the band also harmonising well with Bon Jovi to give his voice more of a kick. It is a simple song overall, then, and it is screaming out for a guitar solo from Phil X, but it is a good way to kick off the album. A personal favourite here, though, is We Made It Look Easy - a more atmospheric piece which is not generally what I want from the band, but this track for some reason really works for me. It starts slowly, with a rhythmic pulse thanks to the rhythm guitars and Hugh McDonald's bass, and the verses slowly expand over a percussive groove from Torres and the keyboard warmth of Bryan - before a cinematic chorus takes over. There is U2 edge to this chorus, which I am not generally a fan of, but I really like the overall vibe of the track - with Bon Jovi's voice sitting nicely against the swirling layers of guitar and a simple synth refrain. A slightly heavier bridge adds a brief moment of toughness, but generally the track is one which sticks to a more keyboard-heavy sound which compliments Bon Jovi's aging voice - whilst some nice guitar leads close things out. Things take a heavier turn on Living Proof, which makes use of a talk box during the main riff - something which the band famously utilised during both Livin' on a Prayer and It's My Life previously. This is probably the album's toughest song overall. It is still pretty tame really in the grand scheme of things, but it is nice to hear X and Shanks laying into their guitars a bit more - with X's talk box riff being pretty memorable. This is riff is used throughout the verses to accent each vocal line, with the rhythm section adding a simple groove, whilst the chorus feels like a bit of a throwback to the band's early days - without quite tapping into that magic. A brief guitar solo also harks back to that time, but again it fails to live up to the best moment from that era. Nevertheless, though, the song is still a fun one - and the opening three cuts here have all impressed in one way or another.

The rest of the album does not benefit from such a level of consistency in my opinion, but there are still strong moments to come. Waves is not as memorable, though, especially as it feels like it is going to be another pretty big rocker - before morphing into something more low key. The opening guitar rumble feels like it is building up towards something a bit meatier - but once the verse starts Bon Jovi is essentially left alone with an acoustic guitar for a slow-burning build towards what is actually a pretty decent chorus. This chorus is not as tough as the song's opening hints at, though, and I think there was a bit of a missed opportunity here to really kick on and create something more dynamic. One thing that does make the song stand out, though, is the approach to lead guitar. Bon Jovi has seemingly wanted to largely dispense with such since Sambora's departure, presumably to not need to share the spotlight, but this song has a pretty decent guitar solo - and both the chorus and the later verses have a few tasty guitar leads. I wish there was more of this on the album overall, as X is a tremendous player who has never really had a chance to shine in the band. Seeds has a bit more of an urgency to it, but arrangement-wise is pretty similar to the band's recent core sound - which sees songs build up slowly towards a bigger chorus. The verses are not so stripped back here, though, with more of a pulse from McDonald's bass and Torres' bass drum really punches through the speakers. Bryan's keyboards add depth, but generally the groove of the rhythm section and some tick-tock guitars further contribute to the song's staccato groove - which build towards a more string-heavy chorus which slows the pace down and sets Bon Jovi's voice against an atmospheric backdrop. Later chorus renditions are a bit more up-tempo, but this is a track which generally reverses the typical arrangement - with punchier verses and a slower chorus rather than the other way around. This vibe does work nicely, though, even if the song is not one of the album's strongest moments overall. The slowest and sparsest song on the album, Kiss the Bride, follows. Written about Bon Jovi's daughter getting married, the song is unsurprisingly heartfelt - with Bryan's piano leading the way along with some subtle acoustic guitar. There have been a number of songs like this on recent Bon Jovi albums, but given the subject matter and the prominent piano playing this one stands out a bit more. I think what helps this song, too, is the fact that it is the only song like it here. There are other slower tracks on the album, but it is the only real stripped back and organic piece in this manner - and the use of slide guitar melodies during a brief instrumental bridge works nicely to add some variety. Coming half way through the album, too, it provides something of a change of pace.

Following the heartfelt ballad, the band rocks out a bit more again on The People's House - which has a funky feel and it reminds me a little of the vibe created by Keep the Faith back in 1992. Bradley's percussion is very prominent throughout this track and he is really in the spotlight here. His grooves lock in nicely with Torres' drum beat to create the song's funky and upbeat feel - whilst the driving bass playing of McDonald also adds plenty of depth. This is a song for the rhythm section, then, but some electric piano melodies from Bryan early on and some guitar layers create a varied sound. There also a pretty stinging guitar solo, at least in the context of this album, too - which helps the song's upbeat vibe to hit harder. I wish there were more solos here, so it is nicely to hear a pretty busy one during this track - and the chorus is another pretty big one with some subtle harmony vocals and a retention of the song's core, infectious groove. The song is another overall highlight in my opinion and there is plenty of life to be found here. A simple up-tempo vibe continues throughout Walls of Jericho, an acoustic-led rocker which feels like a bit of a hark back to the sound conjured up on Lost Highway. The driving acoustic guitars are always in the mix but there is also a bit more weight from the rest of the band - with Torres' drums cutting through the mix, whilst the bass is also extremely prominent overall. Clean acoustic guitar melodies occasionally join in to add some melodic variety - but generally they add slashing heavier chords in the background, particularly during another pretty strong chorus which makes use of some wordless vocal hooks. The song is pretty energetic, then, and I really like how the band allowed this song just to be a bit more of a driving piece without overcomplicating it with synths and soundscapes as has sometimes been the case on recent albums. It could have really benefitted from a guitar solo, though, and I think if X had really cut loose here it would have been one of the album's best cuts. I Wrote You a Song slows things down again, with Bon Jovi singing alone against Bryan's piano and some acoustic guitars early on - but it never feels as sparse and slow-burning as Kiss the Bride - and it is clear that the song is going to grow, which happens following the first chorus thanks to McDonald's bass snaking in and a simple drum groove. It never really builds in a big way, but it feels less heartfelt and more full-bodied than the aforementioned ballad - with Bon Jovi singing in a 'louder' way and the stronger presence of the rhythm section. Slide guitars are used again, though, and there is a brief slide solo part-way through which, again, could have been longer. It is not one of my favourite cuts here but it certainly does not feel as dull as some of the band's other such songs - which is generally a theme here.

Living in Paradise is a bit more of an up-tempo rocker and, strangely, it was co-written by Ed Sheeran. The Bon Jovi and Sheeran combination seems like a bit of an odd one, but the song sounds pretty similar to the recent Bon Jovi core sound - even if the chorus has a bit more an urgency to it, which is welcome. Generally the track is a bit of a slow-burner, as is typical, and it builds in a big way towards the chorus - which is easily the best part of the song. Apart from the chorus, though, which does have a pretty decent hook, it is just a song which fails to stick in the brain. Everything is about the chorus, but the verses feels superfluous overall - and the song is one of the weakest cuts here in my opinion. This is a shame as the decent chorus feels wasted - but it shows that a hooky chorus is not always enough to make a song a strong one. My First Guitar is better and it is a pretty varied song overall which takes a similar cinematic approach to We Made It Look Easy - and again the approach works for me. It starts out with some hypnotic acoustic melodies, which Bon Jovi sings over, and the song is another that builds towards the chorus - but it does it in a more memorable manner this time. The song is just much more varied overall, too. Bryan dominates during a later bridge section thanks to his delicate piano playing, whilst there is a bit more of a lead guitar presence here thanks to some mournful leads during the cinematic chorus and a short solo part way through. The chorus feels really big, too, thanks to the overall production and the layering of instruments throughout. It feels like an epic moment on the album despite it not being especially heavy - and a couple of tougher pre-chorus sections add some pulse between the more cinematic moments. There is also a much longer guitar solo at the end, which is nice to see finally, before the song comes to a close with an acoustic rendition of part of the chorus. The track is another overall highlight for me and the variety in the arrangement is welcome. Sadly, though, the album then comes to a close with Hollow Man - the dullest cut here. I enjoy quite a lot of this album, but Hollow Man is one of those songs which sums up a lot of the band's recent output - it just feels slow for its own sake and it is another of Bon Jovi's attempt to write a post-Nebraska heartfelt Springsteen-esque cut and falling flat whilst doing so. Springsteen's such songs always sound genuinely depressing and on the edge - whereas Bon Jovi's efforts are just dull and this sort of songwriting is just not his forte. 2020 had a number of songs like this which is why it is likely my least favourite Bon Jovi album and it is a shame that Forever had to end with something so bland an clunky. Overall, though, there is a lot to like about the album. It is certainly a big step up from 2020 and it feels similar to This House Is Not for Sale in overall quality - with a few genuine standout cuts. It is never going to rival the band's classic output but there is actually some life here - and it has been one of the year's pleasant surprises so far given how low my expectations for it were.

The album was released on 7th June 2024 via Island Records. Below is the band's promotional video for Legendary.

Collateral's 'Should've Known Better' - Album Review

I have discussed on this blog many times before how well generally the UK is currently doing when it comes to new hard rock and metal bands. Whilst it still frustrates me that many of the bands I was championing in the late 2000s and early 2010s struggled to get any attention, many of those who have followed have found an audience - with bands like Stone Broken, Those Damn Crows, and the Kris Barras Band already being pretty big hitters on the British rock scene. Those are the names which jump out to me immediately, even if I have never managed to get into Those Damn Crows, but there are plenty of others who are also doing pretty well - and one such band is Kent's Collateral. Unlike much of the current UK rock scene, which generally features bands which are either very bluesy or firmly rooted in the 1990s/2000s post-grunge sound in a big way, Collateral unashamedly hark back to the 1980s stadium rock era. Frontman Angelo Tristan has never kept his love of Bon Jovi a secret, so there is plenty of Bon Jovi in Collateral's sound, but there are other influences, too. I reviewed the band's self-titled debut album (which can be read here) back in 2020 and I described it, sound-wise, as a bit of a mix of early Bon Jovi, Richard Marx, and the Eagles. Despite the time period being aped the album did not stray into hair metal territory that often - with the band's take on arena rock being more of a smoothed-out AOR one with the occasional hint of country. I listened to Collateral quite a bit throughout 2020, and it became one of my go-to feel-good releases during that not very feel-good year. The album was released in the February, with the first pandemic lockdown starting in March - so sadly the band could not really promote it live. This could have really stalled their momentum, but Collateral seem to have overcome this massive stumbling block and have been very busy over the past couple of years. I saw the band live twice in 2022, opening for both Reckless Love and H.E.A.T, and they also released an alternative version of their debut album in 2022 called Rewired - which featured one new song and versions of the album's other songs with guests such as Jeff Scott Soto (Yngwie Malmsteen's Rising Force; Talisman; Axel Rudi Pell; Trans-Siberian Orchestra; W.E.T.; Sons of Apollo; Art of Anarchy), Danny Vaughn (Waysted; Tyketto; Snake Oil & Harmony), Joel Hoekstra (Night Ranger; Trans-Siberian Orchestra; Whitesnake; Iconic). It has taken Collateral four years to properly follow up their debut album, though, but last month they released their second album Should've Known Better - which takes the sound of the first album in a slightly heavier direction. The mix of sounds detailed previously still feels apt, but there is more of a hair metal bent this this time. Louis Malagodi has replaced Todd Winger on guitar, although the band operated as a five-piece for a time with both guitarists, and it seems that Malagodi's presence has pushed the band in a heavier direction. Sin in the City, the sole new track on Rewired, hinted at such - and Should've Known Better feels heavier overall, despite the plentiful hooks and the occasional ballad still being present.

Lead single and opening cut Glass Sky is a good example of the band's slight change of direction here. Despite much of the album still feeling very much rooted in the 1980s, this track does feel a bit more modern overall - despite the hooky gang vocals and anthemic chorus. The song opens with Malagodi's staccato guitar figure - backed by a bass drum punch from Ben Atkinson and a bass groove from Jack Bentley-Smith. This mid-paced strut makes up the basis of the song's verses, which are pretty stripped back to allow Tristan's voice to shine. He is always the band's focal point and he sounds great here, even if his smooth voice sometimes contrasts a little with the tougher guitar tones utilised this time. This balance is quite Dokken-esque, but the song in general is very much within the band's wheelhouse - albeit with the modern flair described. The atmospheric backing of the verses feels modern as does the continuation of the same groove during the chorus - even though a really hooky guitar melody is also used during the chorus to inject some additional interest. Considering how hooky the song is, though, the arrangement is a little atypical, but it works well as a kick-off track and a lead single - showcasing the difference between the band's two albums despite the overall similarities in core sound. Original Criminal is a bit more muscular, opening with a mid-paced riff that is packed full of bluesy groove - before a pretty sparse verse takes over and the song takes a bit of a dip. I like the opening riff, but the song as a whole is the album's weakest cut for me. The sparse verses worked the previous song due to the groove and the subtle synths utilised, but the verses here just feel a bit empty - and some of the vocals feel a bit crammed in syllable-wise. More of a guitar presence may have helped, as the bass is left to do most of the heavy lifting, and the track feels a little undercooked in my opinion. The chorus is pretty strong, though, with another pretty hooky guitar riff kicking in and Tristan adopting a simple, shout-along approach. The riffing here showcases that hair metal-esque approach mentioned - it is just a shame that the verses fail to live up to the rest of the riffing elsewhere. Just One of Those Days is classic Collateral, though, and it very much feels like something which could have sat on the band's first album - and it sounds all the better for it. Tristan's acoustic guitar is very prominent in the mix and the Bon Jovi vibes are very strong here - with 2007's Lost Highway in particular feeling like a touchstone. There is a country twang to the track, then, with Tristan's melodic voice really shining - whilst the big guitar chords from Malagodi are more anthemic than riffy. The guitarist comes into his own during a short, shredded solo, though, whilst the overall production just feels bigger with the acoustic guitar depth, a few choice vocal harmonies, and the subtle use of keyboards. This song shows that, despite some changes, Collateral still very much do what they do best here and those who loved the first album have little to fear.

Teenage Dreams is similar, but the overall vibe is more urgent and hard rocking. Like the previous song there are acoustic guitars added throughout for depth, with a few linking sections featuring some busy acoustic guitar melodies, but the song is more weighty and varied than the previous song - with Malagodi crashing in with some heavier riffing and chords when needed, and there are some great snaking guitar leads thrown in, too, which really help the song to shine. The chorus is perhaps not quite as good as the previous song's effort, but it is still very memorable - with Tristan's vocals mixing well with the aforementioned bluesy guitar leads at times. The ending portion of the song is much meatier, too, as, following another busy guitar solo, the riffing gets more prominent and the song feels much crunchier as it moves through a heavier-sounding instrumental section and a final big chorus reprise. Elysium is another country-esque hard rocker, but the overall sound is a bit more varied - and the verses showcase a bit more of an involved sound than is generally associated with Collateral. The interplay between Malagodi and Bentley-Smith during the verses is a little Extreme-esque at times - with the guitars adding a few funky flourishes and flashy leads whilst the bass is busy and up-front. This helps the song to stand out from the crowd and allows the band to blow off a little steam, but the chorus is very typical of the band's classic sound with more Bon Jovi influences on display. It is more urgent-sounding than anything that Bon Jovi have released for years, though, and the later instrumental section which features lots of guitar firepower from Malagodi helps to keep the song kicking along. It is not a song which jumped out to me from the off but it has become a bit of a favourite over repeated listens - and the instrumentation here is a bit different to the norm, which is welcome. On the Long Road is a big ballad and again it really feels like a song which harks back to the band's first album. Tristan sings alone with his acoustic guitar early on, with Malagodi adding the occasional guitar melody, and even when the rest of the band join in proper the song rarely strays from this initial arrangement - albeit with a rhythm section. Tristan has a great voice for songs like this and he injects a lot of genuine emotion into the piece - with the chorus in particular feeling like a heartfelt moment. It is an excellent chorus and it elevates the simple song up quite a few levels - as does the bluesy and expressive solo from Malagodi which is much more structured and poignant than the busier efforts found elsewhere. This could well be the band's best ballad yet and I imagine that it would really soar live with a crowd singing along.

A personal favourite in No Place for Love then follows. It is a song which I remember from those 2022 shows and it is one that really leans into those hair metal vibes in quite a big way - at least in its main riff and chorus. The main riff is full of lots of 1980s guitar tones and tricks, including some harmony leads, whilst the chorus, which uses the same riff, is stadium-ready with some big vocal harmonies and Tristan's confidence. The verses are a bit more sparse, especially the first one, with more of an acoustic guitar presence - but this is not an uncommon structure for songs such as this. It allows the song to ramp up towards the chorus in a big way; and this is very much a track which relies on its chorus. This is no bad thing, though, as the chorus is massive - and a later staccato rendition of it with some huge pounding drums really hits home, particularly following Malagodi's scorching solo. Game Changer is another heavier piece and it could well be the most hair metal-inspired track here. The pace is much more upbeat than anything else here and the opening riff has some screaming pinch harmonics which set the tone. The drumming and vocals are much more frantic, relatively speaking, than anything else here - and the guitars have plenty of bite, with Dokken again being a bit of a point of comparison throughout the track. Despite this more in-your-face approach, though, the song is still packed full of hooks. The pace only helps the hooks to hit home and the chorus is one of the best on the album overall thanks to the song's overall punch - and Malagodi's solo is another shredded one, before some slab-like riffing creates a heavier bridge to a final chorus reprise. The album then comes to a close with Final Stand, another pretty heavy and riffy track to close out a trilogy of such to round out the album. In some ways the song reminds me a little of Glass Sky - but without the modern flashes that were used there. The riffing here is snaking, with Doug Aldrich-esque flashes, and the song is one of the album's most muscular overall - with a bluesy weight which is not always a sound that Collateral lean into. Given the heavier vibes of the album, though, this slightly sleazier and heavier approach works nicely - and the riffing creates a strong groove throughout and later forms the basis of a rollocking chorus. Tristan's voice is not necessarily best-suited for heavier moments, but I think the balance struck on this album generally works - and he still sounds powerful throughout this track. The chorus shines, in part, thanks to his vocals - but this is a track which feels much more guitar-dominated overall and it helps the album to end on a high. Overall, then, I really like Should've Known Better. Collateral was a great jumping off point in 2020 but the band have refined their sound here and the other influences toyed with this time generally work. Despite being heavier overall there is still a lot of what made Collateral such fun present here, too, and the mix of country-tinged rockers and riffier pieces is well-balanced. Collateral are a band that deserve success and this album could well help to push them to the next level.

The album was released on 24th May 2024 via Big Shot Records. Below is the band's promotional video for Glass Sky.

Pain's 'I Am' - Album Review

Whilst I would not consider myself a big lover of industrial music, when it is fused with rock and metal it can sometimes do something for me. Even so, I do not listen to a lot of industrial rock/metal - but Nine Inch Nails are a big favourite and I also enjoy both Marilyn Manson and Rob Zombie quite a bit, despite not listening to either in a significant way in recent years. Another industrial act which I have flirted with over the years is Sweden's Pain - the one-man-band set up by Hypocrisy frontman and The Abyss studio main man Peter Tägtgren in 1996. I have never listened to Hypocrisy, but probably should do given my on-going adventures with death metal, but I am certainly familiar with Peter in a behind-the-scenes capacity - thanks to his production work with bands like Amorphis and Sabaton. I have also come into contact with Pain a couple of times over the years; as I saw them open for Nightwish in both 2009 and 2012. I listened to a couple of the band's albums in the wake of the first of those shows but they never really stuck with me - and I remember being fairly unmoved when I saw them again in 2012, thinking it was lazy that Nightwish had the same support act for two tours running (something they would later repeat with Beast in Black in 2018 and 2022). I had not given Pain much thought since 2012, then, and had not pulled those albums off the shelf for many years - but last month it was announced that the Swedish melodic death metal supergroup The Halo Effect would be undertaking a UK tour early next year and supporting them would be Pain. As I really enjoyed The Halo Effect's debut album and their set opening for Machine Head in 2022, plus the fact that one of the shows will be in Bristol, I bought a ticket when they went on sale. Given I had not kept up with Pain's output since seeing them in 2012, the prospect of seeing them again for the first time in 13 years seemed like a good reason to give them another go. Apart from those two support slots, my only other experience of the band were a handful of spins of both 2007's Psalms of Extinction and 2008's Cynic Paradise - and I do not remember that much about either album. This upcoming tour, though, will be on the back of Pain's newly-released album I Am - their ninth studio album overall and their first in eight years, following 2016's Coming Home. Pain has seemingly not been on Peter's mind recently, with his production roles expanding and Hypocrisy still a going concern, but he has returned to his punky, industrial, harder rock side once again on I Am - and I have been casually enjoying the album since it was released last month. I am not sure Pain will ever fully be for me, and their brand of industrial music is not all that creative, but they do what they do well - and Peter's rough voice suits this style of music. As has always been the case with Pain's albums, Peter is essentially responsible for everything here. He has outsourced the drums on more recent albums, though, and, as was the case on Coming Home, the drums here are courtesy of his son Sebastian Tägtgren. Sebastian has co-written two of the songs here, though, and is responsible for their instrumentation - so this album is a little more collaborative than usual.

From what I remember about my exposure to Pain over a decade ago, I Am essentially carries on the sound that Peter has been pursuing with the project for a long time. I am not expert but this album certainly seems to very much be channelling Pain's core sound - and given the length of time between albums that is perhaps no bad thing. Things kick off with I Just Dropped By (to Say Goodbye), and its crunchy guitar rhythms, pummelling drums, and synth hooks are very much what I expect from Pain. Pain are, though, generally a bit more guitar-focused than some industrial acts. Whilst there are plenty of synths throughout this album, with a lot of cold atmospheric depth and buzzing sequencers, much of the material here is guitar-led at its core - with the four-on-the-floor drum groove here driving by some snappy riffing early on, despite the verses slowing things down a little to allow Peter's voice to shine. He has never been the greatest clean singer, but his strange and treated vocal delivery suits Pain's cold and synthetic sound - and the song's chorus is pretty hooky thanks to his vocal approach and a reprise of the song's opening riff/synth hook combo. There is a lot of groove throughout, too, especially when Sebastian mixes things up drum-wise, and there are a few pretty infectious riffs here which help the track hit home. It is relatively up-tempo, too, which contrasts with the more mid-paced and somewhat mournful Don't Wake the Dead - one of the two songs here largely written by Sebastian. The opening synths are quite classically-influenced and there are generally a lot more keyboards used here in a leading role - with the guitars only really adding weight when needed. The verses, which still feature Peter's vocals, are pretty bass-heavy, with a hypnotic piano melody joining in, whilst the chorus are heavier with crunchy guitars and a bit more of a danceable groove thanks to some funky drumming and and a hooky call-and-response vocal. Despite the slower pace the song still has a kinetic energy to it - particularly later on and during the heavier choruses. Go with the Flow is much more upbeat and the colder vibes of the previous song are largely thrown aside from the off. There are some old-school sci-fi synths utilised throughout, particularly during the choruses, but generally this track is a more stripped back and groovy piece - with a simple drum groove and synth hook early on which Peter's deep vocals, before the heaviness kicks in for an more up-tempo and hard-hitting chorus. The song lacks the full band feel of some of Pain's material, but it does tend to feel heavier as it moves along - with Peter's trademark crunchy guitar sound dominating during the second half of the track. The chorus is simple but very effective thanks to its fleshed out synth arrangement and the simple arrangement is sure to make it a live favourite going forward.

Not for Sale generally feels a bit heavier and somewhat returns to the vibe of the album's opening cut - despite the slower opening as the song gradually builds over a repeating synth melody. The drumming is generally busier here, giving the song more of a percussive feel during the verses, whilst the chorus is one of the album's most memorable in my opinion. It is more mid-paced overall, and makes use of the opening synth melody, but the oppressive guitar riffing gives the chorus real weight - and Peter sings in a heavier manner, despite not slipping quite into the harsh vocal delivery of his day job. There is perhaps not as much variety here as there is during some of the other songs here, with the aforementioned synth hook being heavily relied on, but it is a fun song nevertheless. Party in My Head feels a bit less industrial overall and more of a slightly strange take on power metal - with a much cleaner keyboard melody early on which would have not sounded out of place on a Sonata Arctica album. There is just generally less of a distorted and overdriven sound here with even Peter's vocals feeling less treated - and the overall production sounding a bit more organic overall. The difference is not night and day, but the track certainly feels brighter which helps it to stand out - and it makes the feel-good chorus really jump out of the speakers. It is certainly one of the biggest anthems here, but it still very much feels like Pain despite the slightly different approach. The album's title track follows and it slows things down quite significantly - going for more of a mid-paced trudge overall. Pain do not really do ballads but there are slower moments here which go for a more mournful feel. The verses are generally sparse, with low key vocals and some effects-heavy clean guitar melodies - but the chorus is much heavier with its walls of crunchy guitars and a bigger drum presence. The overall pace does not change, though, and the song still moves at a slower pace even when it gets heavier - and it acts as a good mid-album twist given how upbeat generally everything else here is. Push the Pusher immediately returns to the album's core sound - with an upper mid-tempo groove based around a pretty metallic riff and accompanying synths. The verses are a bit more restrained, though, with more of a bass-heavy feel and the odd sparkling synth addition, but generally the song is tougher with plenty of heavy guitar riffing and the song's intro is later reprised as part of a memorable chorus. As such, then, the song is a very typical Pain anthem. Peter has been writing songs like this for years and this groovy, mid-paced vibe is what Pain do well.

The New Norm is similar, but overall the track feels a bit more up-tempo and intense - with a lengthy guitar-led intro complete with another memorable synth hook. Unlike the previous song, though, the heaviness is retained throughout. Many of the songs here see the guitars drop away somewhat during the verses, but that is not the case here - with the guitars retained throughout to create a tougher overall feel. Despite this, though, the song is one of the hookiest here from a vocal melody perspective. Peter's vocal hooks tend to be more shouted and they are memorable in a more primal sense, but the chorus here feels more melodic in a traditional sense - with sweeter vocal melodies sitting against the heavier backdrop. It does get heavier as it moves along, though, with some harsh vocals channelling Peter's day job somewhat. Revolution is the second song here written by Sebastian and it is heavier and more venomous than his earlier composition. The guitars feel a bit thrashier here and there is a good mix of faster sections and more groove-led parts which are more typical of Pain's core sound. Some of the album's heaviest moments are found in this song - and the riffing is very much of a different style than is generally the case for Pain. This helps the song to add some real variety to the album - but there are still plenty of typical Painisms here, despite the chorus feeling a bit more fast and furious than is typical. My Angel follows, which was a stand-alone single originally released in 2011 and featuring Cécile Siméone singing alongside Peter. It does not sound as if the song has been re-recorded for this album, so I am not sure why a song from 2011 has randomly been included here - but it is nice that the song has found a home. Peter generally sings despite Siméone's presence, but she adds some French lyrics and some excellent harmonies throughout - which suits the song's slow-burning crunch which returns to the ballad-esque crunch of the title track. It is a song on the slower side, then, with some piano-led sections and plenty of synths, but there is still plenty of crunch when needed. The album then comes to a close with Fair Game, a collaboration between regular studio colleague Jonas Kjellgren (Dellamorte; Carnal Forge; Centinex; Scar Symmetry; Ironmaster; Nekrodawn), which is another slower track and actually the closest thing here to a ballad despite the comments made earlier. It reins in the heaviness for the most part, despite some weight behind the chorus, and instead goes for a much more mournful and atmospheric sound - with a lot of synth varieties and a slow groove throughout that helps the album wind down. I am not sure that this sound fully suits Pain and Peter's voice, but it does help to provide some variety and as a closing number it does feel like a cool down - especially given how in-your-face much of Pain's material can be. In conclusion, then, I Am is an album which I have been enjoying and there is a lot to enjoy here for those who like their industrial a bit more guitar-heavy and metallic than it can often be. There is enough variety here to keep the album interesting and Pain's core sound is as caustic as I remember. I am glad to have reacquainted myself with the band after many years and I imagine that it will be fun to see them live again next year.

The album was released on 17th May 2024 via Nuclear Blast Records. Below is the band's promotional video for Go with the Flow.

Karnataka - Tavistock Review

After a busy March through May gig-wise, June has been quite relaxing. It has been good to catch up on some sleep and not burn the candle at both ends - but I have still made time for the odd concert, and last night I headed back out to Tavistock for the second time in less than a month to catch the Welsh progressive rock five-piece Karnataka on their latest tour. I first got into the band properly around the time that The Gathering Light album came out in 2010, but I did not get to see them live until 2012 - and by that point the band was an extremely different beast. Aside from their ethereal, atmospheric progressive tock sound, Karnataka are also known for their line-up upheaval over the years - with bassist and songwriter Ian Jones the only link between each iteration of the band. Karnataka are currently in their fourth era, fronted by Sertari, and this version of the band was debuted back in 2022 - and I caught the band on that tour, again in Tavistock. It was a rather odd experience, as the band lost their keyboard player one show into the tour and the new line-up was clearly finding their feet - but when I saw them again last year everything had fallen into place. With the new line-up now stabilised, and the excellent Requiem for a Dream album (which I reviewed here) out in the wild, Karnataka feel whole again. I caught the band twice on the Requiem for a Dream tour last year - in Tavistock yet again and at a sadly very poorly attended show in Bristol the following day - and they were excellent both times. With a new keyboard player in Rob Wilsher and a new drummer in Jack Summerfield, last year's shows were powerful and a great example of what the current line-up can do - with the whole of the latest album featured in the set alongside a handful of older favourites. I had not expected the band to undertake another UK tour so soon after the previous one, but clearly Jones and the rest of the band want to make up for the time lost between the last era of the band coming to an end in 2017 and 2022 - especially as the pandemic had stopped the current Karnataka era from kicking off when it had originally been planned to. Requiem for a Dream has received strong reviews, too, so clearly the band wanted to get out there and push it some more - with some European shows also included this time. I think that one of the Dutch shows was also filmed for a potential future live release, too, which gives us something to look forward to - but for now I will turn my attention to last night's show in Tavistock. The bar area was looking pretty sparse early on, but the driving rain was likely keeping people away until the last minute. By the time the band took to the stage, though, there was a decent-sized crowd gathered. It would have been nice to see a few more in attendance, especially on a Friday night, but it was a typical turnout for the band - and the crowd was extremely enthusiastic throughout.

Given that this was essentially the second leg of the Requiem for a Dream tour, it was good to see that the band had changed up the setlist. The new album was still heavily represented, but they chose not to play the whole things this time. Five of the eight songs were retained, though, and this gave the band an opportunity to play a few different older tracks - including one which I had not seen them do live before. The set kicked off in a fairly familiar fashion, though, with the older self-titled instrumental playing over the PA as the band took to the stage - before they joined in once it kicked in proper, with Sertari taking to the stage to sing the wordless vocal hooks. This short burst of rock set the tone nicely, before the string intro of Road to Cairo saw the set kick off proper - and the Eastern-tinged rocker was the only cut from 2015's Secrets of Angels played, as has been the case since Sertari joined the band. She delivered the song with class, though, and the sound mix was crystal clear from the off. Wilsher's keyboards were high in the mix, which allowed the atmospheric nature of the band's sound to fill the venue, whilst the guitar playing of Luke Machin (guitar/vocals) was on-point throughout. Despite his immense talents I was not sure he was the right man for Karnataka in 2022 - but he has really grown into his role since and now he fits like a glove. The cutting leads of Road to Cairo sounded great coming from his guitar, whilst Sertari added more of a floaty flavour to the vocals compared to the original. With the exception of one other song, though, the rest of the first set was filled with songs from the new album. Wilsher's opening keyboard flourish heralded the lengthy All Around the World, which is one of the showpiece cuts from the latest album. Despite its length it is very vocal-driven, and Sertari sounded excellent throughout - with Machin also laying down a pretty cutting solo later in the piece. The real treat for old-school fans came next, though, with a rare outing for Strange Behaviour. I had not seen the band do the song live before and it came across very well - with the hooky chorus and easy one for Sertarti to bring to life. The more ballad-esque Sacrifice and the atmospheric Don't Forget My Name were next - but the next true highlight was the first set-closing rendition of Forgiven. It is another of the latest album's centrepiece tracks and it moves through a number of different moods - from ballad-esque sections, through Latin choral-led moments, to some of Machin's most venomous soloing of the night.

Following a 20 minute break the band came back out for the second set - which only consisted of three songs, but given that two of them were very long this did not matter. The intro to The Gathering Light started playing over the PA before the band took the stage and they joined in when they did - with the lengthy song getting the show back underway. It has been a setlist regular over the years, but had not featured last year so it was great to hear the melodic feast live again. Sertari has a voice which allows her to handle all of the band's back catalogue perhaps more authentically than her predecessor, which is to take nothing away from Hayley Griffiths who re-interpreted the band's older songs really well, and the Celtic flavours of The Gathering Light really came alive on stage - with plenty of excellent leads from Machin again. Another treat for long-time fans then came in the form of Heaven Can Wait from 2000. Jones stated that it is was the first song which started to get the band some attention early on, with even some play on Radio 2 at the time. I had seen the band do it live before, but not for over a decade, so it was great to hear it again - as it has always been a favourite of mine from the early days. The overall arrangement was much more keyboard and vocal focused, which worked well, but the band still added some depth, especially during the slightly tougher chorus, and some of the closing guitar volume effects from Machin were very effective. Following the two older songs, though, was the gargantuan title track from Requiem for a Dream - with the next 25 minutes or so filled with the twists and turns of the band's most progressive piece. Slower moments and heavier moments sat side by side nicely, with Sertari once again the real star of the show. Whilst the song does have instrumental moments, including an excellent slide showcase for Machin and a bit of a bass-led groovy section towards the end, it is another pretty vocal-heavy piece considering how lengthy it is - and Sertari knocked it out of the park. There was also plenty for Wilsher to do with his varied textures and playing styles - and the track rounded out the main set in style, with the closing lyrics filling the room with many singing along. The band briefly left the stage following Requiem for a Dream but were called back for one last track - with another lengthy piece in Forsaken wowing the crowd. The song has essentially been ever-present in the set since The Gathering Light came out - and it has always been a guitar showcase, with Machin relishing in the song's lengthy mid-section guitar workout. Sertari and Wilsher took the spotlight either side of Machin, though, with the delicate piano ballad sections bookending the expansive guitar solo - and the track ended the show on a high, as it often has done so before. The setlist was:

Karnataka

Road to Cairo

All Around the World

Strange Behaviour

Sacrifice

Don't Forget My Name

Forgiven

-

The Gathering Light

Heaven Can Wait

Requiem for a Dream

-

Forsaken

Karnataka shows are always treats and last night in Tavistock was no different. It has been great seeing this current line-up solidify itself over the past couple of years - and Sertari and Machin in particular have gone from strength to strength in the context of Karnataka. Given this band's turbulent history it is never clear what is around the corner - but I hope that this is just the start of a long and prosperous new era for the band, and in the meantime I will look forward to the hinted-at live album which will capture this current line-up at their best no doubt.