Category: AOR

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PreHistoric Animals – The Magical Mystery Machine (Chapter Two) – Album Review

Artist: PreHistoric Animals

Album Title: The Magical Mystery Machine – Chapter 2

Label: Glassville Records

Date of Release: 25 March 2022

In a few short years, PreHistoric Animals have gone from being an unknown entity in the Mansion Of Much Metal, to a household name. Prior to Progpower 2019, I was unaware of the band and of any of their music. Admittedly, at that time, there was only one album to their name as they were still starting out on their musical journey. But still, my knowledge was precisely zip. Witnessing their performance in Baarlo the year before the pandemic changed all that; you could tell that PreHistoric Animals had something about them. And so it has proved…

…in 2020 in the midst of the world’s Covid struggles, the Swedish entity released their sophomore album, ‘The Magical Mystery Machine – Chapter 1’, a concept record detailing the exploits of two characters who are tasked with collecting the good and bad traits of the human race in order to make their way to a ‘new’ Earth as their world is dying. Fast forward 18 months and very little has changed; the world has opened up a little but still struggles with the ever-present threat of Coronavirus. Add to this, we now see Eastern Europe knee-deep in war. The reality we’re faced with isn’t great, so it’s a blessed relief that great bands continue to release new music. PreHistoric Animals are one such band, and they return with ‘The Magical Mystery Machine – Chapter 2’, a continuation of the concept that sees a return to the exploits of Cora and Jareth.

I loved ‘Chapter 1’, offering it a very positive review and rightly so in my opinion. It’s therefore great news to discover that the same four protagonists are involved with the follow-up. That means that ‘Chapter 2’ features the talents of core duo Samuel Granath (drums and keyboards) and Stefan Altzar (lead vocals, guitars, and keyboards) alongside bassist Noah Magnusson and guitarist/vocalist Daniel Magdic.

With the same personnel involved, it’s not surprising to learn that musically and stylistically, the output on ‘The Magical Mystery Machine – Chapter 2’ continues in a similar fashion to the predecessor. If you liked ‘Chapter 1’, it is almost certain that you will like ‘Chapter 2’ and its blend of progressive rock, AOR, pop, and just a hint of metallic oomph in places. However, in an effort to provide full disclosure, I must admit that it took me a lot longer to warm to the songs here though. At one point, I was contemplating whether or not I actually liked the music and began to weigh up whether or not I was disappointed.

Strangely though, like an addiction, I found myself returning to the record for spin after spin; something about the music kept pulling me in. Ultimately, the draw was simple: fantastic music. I just didn’t immediately realise it. The melodies across the nine compositions have taken longer to get under my skin this time around, but now that I am listening with acclimatised ears, I can say that, without doubt, this record is a thoroughly joyous and entertaining affair, full of the ingredients that made me fall under their spell in the first place.

Importantly, PreHistoric Animals remain difficult to compare to others. There are a million and one bands out there that try to blend prog and pop music, but no-one sounds quite like this quartet, certainly as far as I’m aware anyway. There remains a tangible and intriguing quirkiness about the band that makes the music all the more impressive. These four gents create the music that they want, and it honestly sounds like they are having a lot of fun doing it. This translates through the music, meaning that as heavy as the subject matter may become, there’s a feeling of positivity and fun that sits at the heart of the music. This is as infectious as everything else, perhaps more so in some instances.

So where do I start when looking more closely at the music on offer on this record? That’s simple as it turns out. The first ‘proper’ track, entitled ‘We Harvest The Souls Of The Brave’ encapsulates a little of everything that PreHistoric Animals are so good at. Bold electronic sounds start things off, before a chunky riff enters, providing a little of that metallic muscle I referred to earlier. But from there, the verse quietens down to allow the unmistakeable vocals of Stefan Altzar to work his magic atop a cool beat and more diverse electronic sounds. And then the chorus strikes, and when it does, it hits the mark. I cannot fathom how it wasn’t love at first listen because now I love it. It’s often the earworm that’s present in my mind at the most unusual of times.

‘I Am The Chosen One (And I Like It)’ was one of the most difficult to get to grips with initially but now, ironically, is one of my favourites. The opening rhythm feels slightly off-kilter and there are what I perceive to be a few notes that are almost discordant. However, when paired with a chorus that’s incredibly strong anyway, it only feels more epic and powerful within its setting.

There’s a dark theatrical edge to ‘Cora’s New Secret’ that makes it a striking and immersive song. It feels very proggy and whilst it may not be overly heavy, I love the fact that there’s lots of space within it. And the space is used brilliantly, with layers of synths to create a rich soundscape into which is woven a gorgeous chorus that feels a little waltz-like but with hooks that are razor sharp. Add to this a fantastic performance from Stefan Altzar, as well as an energetic lead guitar solo, and it’s another quality song.

‘Protectors Of The Universe’ begins with what can only be described as a beautifully cinematic orchestral intro, a stunning affair. And when the tinkling piano notes begin alongside a crisp beat, it underlines just how strong and clear the production is on this album. Everything can be heard perfectly, however multi-layered the compositions become, increasing the overall enjoyment of the music tenfold. On headphones or in the car, ‘The Magical Mystery Machine – Chapter 2’ feels alive and glorious.

If you’re looking for further evidence of PreHistoric Animals’ ability to deliver a cracking melody, look no further than ‘2100 (New Years Eve)’. It might sound odd, but the effects on the vocals and the chosen melodies remind me vaguely of ELO. Hopefully this is taken as the compliment it’s meant to be, as I grew up on a diet of ELO and still love the music. The ensuing lead guitar solo is less reminiscent though, as is the rather insistent beat, laid down perfectly by Sam Granath.

The final track, ‘It’s A Start, Not The End’ extends beyond the nine minute mark and is a suitably epic composition upon which to close out this album. It contains easily the heaviest riffs on ‘The Magical Mystery Machine – Chapter 2’ much to my delight, but equally, it is also one of the emotional and minimalist tracks in places. At around the 3:30 point, the lyrics say ‘…now it’s time to go’ immediately after which we’re hit with a sensationally poignant guitar solo. It’s the kind of emotional affair that brings moisture to the eye, something that I really wasn’t expecting at all. These kinds of surprises only make the music more powerful and memorable as far as I’m concerned.

If ever there was any doubt about the quality of PreHistoric Animals, ‘The Magical Mystery Machine – Chapter 2’ extinguishes it. After some initial struggles, the Swedes’ third album has really struck a chord with me. And the fact that I had to work at it, means that my enjoyment of this record is that much greater now. PreHistoric Animals are a quirky band in many respects, but they are an equally special band. They create music that is very much their own, blending progressive rock with pop as seemingly only they can. And in a reality that’s really quite depressing for many of us, the music these four musicians create is an utter joy, providing an intelligence and beauty that’s sorely lacking elsewhere currently. If you’re already a fan, then this is a no-brainer. If you’ve yet to experience PreHistoric Animals though, I implore you to rectify this as swiftly as possible by checking out and immersing yourself in the wonderful soundscapes of ‘The Magical Mystery Machine – Chapter 2’.

The Score of Much Metal: 93%

Check out my other 2022 reviews here:

Kvaen – The Great Below

Michael Romeo – War Of The Worlds, Part 2

Dark Funeral – We Are The Apocalypse

Carmeria – Advenae

Agathodaimon – The Seven

Moonlight Haze – Animus

Hellbore – Panopticon

Konvent – Call Down The Sun

Idol Of Fear – Trespasser

The Midgard Project – The Great Divide

Threads Of Fate – The Cold Embrace Of The Light

Arkaik – Labyrinth Of Hungry Ghosts

New Horizon – Gate Of The Gods

Cailleach Calling – Dreams Of Fragmentation

Tundra – A Darkening Sky

Sylvaine – Nova

Hath – All That Was Promised

Sabaton – The War To End All Wars

Kuolemanlaakso – Kuusumu

Oh Hiroshima – Myriad

Godless Truth – Godless Truth

Shape Of Despair – Return To The Void

Eight Bells – Legacy Of Ruin

Embryonic Devourment – Heresy Of The Highest Order

Serious Black – Vengeance Is Mine

Allegaeon – Damnum

HammerFall – Hammer Of Dawn

Immolation – Acts Of God

Veonity – Elements Of Power

Nightrage – Abyss Rising

Arjen Anthony Lucassen’s Star One – Revel In Time

Pure Wrath – Hymn To The Woeful Hearts

Dagoba – By Night

The Last Of Lucy – Moksha

Arð – Take Up My Bones

Embryonic Autopsy – Prophecies Of The Conjoined

The Devils Of Loudun – Escaping Eternity

Cult Of Luna – The Long Road North

WAIT – The End Of Noise

Abysmal Dawn – Nightmare Frontier

Amorphis – Halo

Nordic Giants – Sybiosis

Persefone – Metanoia

Vorga – Striving Toward Oblivion

Mystic Circle – Mystic Circle

Nasson – Scars

Burned In Effigy – Rex Mortem

Silent Skies – Nectar

Celeste – Assassine(s)

Abyssus – Death Revival

SOM – The Shape Of Everything

Ashes Of Ares – Emperors And Fools

Beriedir – AQVA

Lalu – Paint The Sky

Nocturna – Daughters Of The Night

Battle Beast – Circus Of Doom

Lee McKinney – In The Light Of Knowledge

Descent – Order Of Chaos

Aethereus – Leiden

Toundra – Hex

Ilium – Quantum Evolution Event EP

Power Paladin – With The Magic Of Windfyre Steel

Necrophagous – In Chaos Ascend

Infected Rain – Ecdysis

Wilderun – Epigone

You can also check out my other reviews from previous years right here:

2021 reviews

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Album Of The Year 2021 – Number 4

Welcome to Day 27 of my Album Of The Year 2021 Top 30 Countdown series.

No long intro today, but before I do reveal my choice at Number 4, just the usual reminder to anyone new to this series, to check out the links at the bottom of the post to find out who made the cut, from 30 down to 6, as well as my lists from previous years too, going back to 2012.

Number 4

Omnium Gatherum

“Origin”

Century Media Records

Release Date: 5 November 2021

Score Of Much Metal: 93%

First things first, I got the score for this album hideously wrong, although in fairness this was an epiphany that struck relatively recently. Every time I went to place this record in my Top 30, I held off, pushing it further and further up the list as time went on.

I owe this band a great deal. At my lowest point in 2021, when I could barely listen to any music at all, it was Omnium Gatherum that somehow shone when I half-heartedly looked through my CD collection. I put on ‘The Burning Cold’, and it transformed me. Not instantly, but over time, as I slowly came to my senses. And so, when I had the opportunity to listen to, and review ‘Origin’, I jumped at the chance.

Initially, I felt vaguely disappointed, as if some of the zip, energy, and soul of the band was missing. After all, they had lost half the band, and so you couldn’t blame the Finns if something suffered as a result. And in part, that’s why the review ‘only’ scored 93%.

If I was to review this album now, after a further six weeks, it would be up around the 95-97% mark. You see, the fact of the matter is that I have barely been able to go a day without playing ‘Origin’ since I reviewed it, with the music just getting stronger and stronger. Not only that, but the impact that the music has on me just gets more powerful too; listening to songs like the stunning ‘Fortitude’ can either elate me, or have me on the verge of tears. ‘Origin’ is therefore a bittersweet listening experience but one that makes me feel things, which I find so important.

I have said it before and I will say it again: Omnium Gatherum are the best melodic death metal band on the planet. Moreover, they are one of my favourite bands of any genre, with ‘Origin’ only further confirming this fact. I love this band.

What I wrote at the time:

“In essence, having digested ‘Origin’ as much as humanly possible over the past week or so, it means that Omnium Gatherum have decided to dial down the death metal a smidge, whilst dialling up the melody. And the increase in melody appears in many ways, from the lead guitar lines, from the keys that have always been an important element of the band’s sound, and also from what I perceive to be an increase in clean vocals. This upturn in melody is accompanied by a more measured pace overall, with fewer bursts of intense, pacey aggression, leading to a feeling that ‘Origin’ is a more gentle and serene animal than anything before it within their discography to date.

...there remains something about this band…that entrances me and pulls me back into their warm, comforting, melancholic embrace. And that something is the melody; this band can speak directly to my heart as if it’s on speed dial.

I have once again fallen for the not inconsiderable charms of Omnium Gatherum. ‘Origin’ may be even more melodic and less aggressive than ever before, but if you’re prepared to let the music get under your skin, it can definitely have the same effect on you as their previous efforts…considering the backdrop of the last couple of years, it’s remarkable that the Finns have returned at all, let alone with an album of this high quality.”

The list this year so far…

‘Honourable Mentions’

Also, if you’ve missed my lists from previous years, you can check them out here:

Album Of The Year 2021 – Number 9

Welcome to the latest post in my 2021 Album Of The Year 2021 Top 30 Countdown. I really can’t believe that I am at the Number 9 point already. It seems like only yesterday that I started compiling my list and writing the first post. But Christmas is arriving with increasing speed, so it means that I’m nearing the business end of this year’s labour of love.

I hope that many of you are long-term readers, but if you’re discovering my website or this series for the first time, please head to the foot of this post to find all the links you’ll need to familiarise yourself with the rest of this year’s list, as well as my entire lists from years gone by.

In the meantime, here’s today’s pick…

Number 9

W.E.T.

“Retransmission”

Frontiers Records

Release Date: 22 January 2021

Score Of Much Metal: 96%

It gets more and more difficult to write about W.E.T. albums because there are only so many superlatives within the English language. Every record that this incredible band has released is as good as the last, if not better. As such, W.E.T. are, in my opinion, the very best melodic hard rock band out there at the current time.

‘Retransmission’ just continues the trend. I may be a metalhead, but there’s something truly irresistible about quality melodic hard rock. The riffs, the hooks, the choruses, the swagger…what’s not to like? And W.E.T. deliver each and every one of these elements with a smooth deftness that must make other bands within the genre weep.

The core trio of keyboardist Robert Säll (Work Of Art), guitarist Erik Mårtensson (Eclipse), and vocalist Jeff Scott Soto (Talisman) are incapable of producing magic when working under the W.E.T. moniker. All three bring their ‘A’ game once again to ‘Retransmission’ and even after 11 months since it was released, I am enjoying the record as much as I did in January, possibly more so in fact.

This is such a great record and is a very worthy inclusion in the top 10 albums of 2021.

What I wrote at the time:

“W.E.T. are clearly a band that are incapable of releasing sub-par music.

The album kicks off in typical authoritative style with the lead single, ‘Big Boys Don’t Cry’. It comes out of the blocks throwing punches in the form of big, meaty riffs and a strong groove. Soto picks up where he left off last time with another timeless vocal performance, effortlessly charismatic, and full of power, belting out the lyrics with passion. The chorus is a little surprising in that it is softer than the verses, very AOR-driven, complete with acoustic guitars and vocal hooks to die for. You get the obligatory wailing lead guitar histrionics towards the end of what is a cracking opening salvo.

…if anything, I hear more with each passing spin; be it the quality of a riff, a particular lyric, or the increasing strength of a hook or melody. The fact that some of the melodies are quite insidious in their nature, means that the album is afforded the kind of longevity that isn’t always the preserve of the melodic hard rock genre.

There’s little more to say, except to tip a nod to the production which, once again, is superb, affording power, crunch and clarity to best showcase the eleven tracks on the record. As with each of the three albums before it, ‘Retransmission’ is simply a masterclass in how to write, perform, and record near-perfect melodic hard rock. As such, there is literally nothing that I can fault about it. Feel-good melodic rock has rarely felt quite this good; ‘Retransmission’ is a joy to listen to and a joy to write about.”

Read the full review here.

The list this year so far…

‘Honourable Mentions’

Also, if you’ve missed my lists from previous years, you can check them out here:

Album Of The Year 2021 – Number 17

Welcome to Day 14 of my ‘Album Of The Year 2021 Top 30 Countdown’. Thank you for all the support you’ve shown me and my endeavours throughout 2021, and during this traditional end-of-year curtain-closer.

As I near the half-way point of this year’s countdown, I’m reminded in glorious technicolour, just how great 2021 has been for music, when it could have been a complete car crash. I take my hat off to all the bands that have continued to bring us great new music when it might well have been easier to give up and disappear over the horizon. On behalf of all music fans, I thank you. That’s why this year’s list is even more important than ever before. Support your favourite artists or lose them forever.

If you felt so inclined, feel free to check out the links at the bottom of the post to find out who made my cut, from 30 down to 18, the ‘honourable mentions’ of 2021, as well as my lists from previous years too.

And with that out of the way, let’s get on with today’s show…

Number 17

Nestor

“Kids In A Ghost Town”

Nestor Prestor Music Group

Release Date: 22 October 2021

Score Of Much Metal: 95%

From the very first time I heard lead single ‘On The Run’ many, many months ago, I knew I had to feature Nestor’s debut album on manofmuchmetal.com. Despite the name of my website and my penchant of all things heavy, I have a love of melodic hard rock that can’t be dimmed. And ‘Kids In A Ghost Town’ is a perfect example of why I can never, and will never, lose my affection for this genre of music.

Inspired by the 80s and viewed by some as something of a parody band, Nestor have come from nowhere and delivered one of the melodic highlights of 2021. In a year where I have been tested to the absolute limit emotionally, ‘Kids In A Ghost Town’ came along and was able to plant a big smile on my face, whilst also offering proof as to why I will always love the 80s when it comes to music.

This album has more hooks than a Peter Pan fan convention, and a wonderfully carefree vibe, not to mention a powerful whiff of rose-tinted nostalgia. But more than anything, the music kicks serious ass. I have lost count of the amount of times I’ve listened to ‘Kids In A Ghost Town’, despite the initial difficulties I had in obtaining a copy of the record. Some albums, however, are worth fighting for, and this is one of them.

I’ve waffled on enough and I apologise…the alcohol content in my bloodstream is high as I write this. But if you have a love of melodic hard rock with a hefty 80s vibe, this is an absolute no-brainer. If this isn’t in your collection by the New Year, you’re not a true fan of the genre. End of story.

What I wrote at the time:

“‘On The Run’ is the epitome of everything that I love about 80s hard rock, and from the first time I heard it several months ago, I’ve been unable to shake my absolute adoration for it.

Musically, I have no doubt that Nestor are 100% serious; after all, music this good is not the result of taking things as a joke. ‘Kids In A Ghost Town’ is chock full of excellent music. Yes, it has been shamelessly influenced by the 1980s, and maybe they are a parody band. But who cares, when the end result is this strong? I sure as hell don’t. And you shouldn’t either.

‘Kids In A Ghost Town’ is littered with brilliant tracks, superb musicianship, and hooks that bury themselves so deep that it’s almost impossible to dislodge them.

Every song brings with it something strong and worthy of mention. Every member of the band delivers a powerful performance. Every hook, every melody, every riff, every beat – they all land a punch that impresses me so very much and begs a repeated listen as soon as humanly possible…All I care about is the way in which the music affects me. And on that score, Nestor deserve the highest of accolades because it has been quite a while since a melodic hard rock band has had such an impact upon me.”

Read the full review here.

The list this year so far…

‘Honourable Mentions’

Also, if you’ve missed my lists from previous years, you can check them out here:

Eclipse – Wired – Album Review

Artist: Eclipse

Album Title: Wired

Label: Frontiers Music

Date of Release: 8 October 2021

For a number of years now, Eclipse have been one of the biggest names in melodic hard rock circles, and one of my go-to bands when a dose of hard rocking and hook-laden music is what I need. Released around a month ago, it has taken me a while to source the music, something that has only been made possible thanks to a very kind and generous friend (you know who you are, Fluffmeister!) And even then, when playing catch-up, it has taken this long to allow ‘Wired’, the ninth album from the Swedish quartet to receive enough attention to enable a proper review that’s not rushed and half-hearted.

I’m glad that I have taken my time too, because after a first listen, I contacted the aforementioned friend to say that I wasn’t that keen on the album. His response was incredulity to the power of ten, before urging me to try again. In the intervening period, I took his advice and I can honestly say that my opinion has drastically changed. I’m still to be entirely convinced that ‘Wired’ represents their best work, as I still hold 2008’s ‘Are You Ready To Rock’ as their standard-bearer. But the fact is, the more I listen, the more enamoured I become with it, to the point where back-to-back listens have taken place on more than one occasion, and not just because I had to review the album.

Happily, the original duo of Erik Mårtensson (vocals) and guitarist Magnus Henriksson remain at the heart of everything that Eclipse do, with Mårtensson being the catalyst and ring leader. On ‘Wired’, they are joined by drummer Philip Crusner who has been onboard since 2015, and his brother, bassist Victor Crusner who most recently joined Eclipse in 2019.

Now I am well aware that melodic hard rock is a much more commercial style of music than other genres that I happen to listen to. As such, I say the following with care: with ‘Wired’, Eclipse have created an album that is a very commercial and accessible beast, with plenty of aspects that will appeal to an even wider audience than arguably ever before. Part of this has to do with the fact that the music on ‘Wired’ doesn’t solely plunder the 1980s for inspiration; there is a much more modern, contemporary feel to many of the songs that give it the more commercial edge that I hear throughout. And, if I’m honest, this may have been part of the reason why I was a little underwhelmed at the outset. I expected something, I don’t know, a little different I suppose, and ‘Wired’ threw me initially.

What’s not in doubt though, are a number of things, namely the energy, the eventual catchiness of the music once it makes its mark, and the way that the album genuinely rocks hard from beginning to end. There are a couple of slower numbers as is the way with this style of music, but for the most part, the riffs are powerful, the tempo is upbeat, and the songs are strong and infectious. It’s party time and Eclipse are the life and soul.

The opening to ‘Roses On Your Grave’ had me momentarily thinking this was a live record as the sound of a crowd ushers the first track into existence, before a slick, sleazy riff dominates. The verses allow the bass guitar to throb whilst the drums lay down a solid beat, around which Erik Mårtensson belts out his lyrics to great effect. The chorus is big and brash, featuring multiple vocals, whilst the ensuing lead guitar solo is a frantic, dirty affair. It’s a huge statement right out of the gate, one that is maintained as the hook-laden tracks continue apace thanks to the full-on pulsating grower that’s ‘Dying Breed’, the party-time hard rocking stomper that’s ‘Saturday Night (Hallelujah)’. The latter lays on the cheese rather thick, but after the melodies get to work, it’s hard not to get caught up in its infectious positivity.

Then there’s ‘Run For Cover’ that has the vaguest country vibe deep within the bowels of the song, particularly within the arena-sized chorus. It’s a swaggering affair with lots to enjoy, most notably the lyrics which are somehow a little at odds with the music, given their dark vibe. “You’d better run, run for cover, run for your life.” But it all works and culminates in a stonking hard rock song that’ll sound huge on stage, of that there’s little doubt.

By contrast, ‘Carved In Stone’ opens delicately and serenely, with a hint or more of melancholy as the acoustic guitar strums along the crooning Erik Mårtensson. As it develops, it ups the ante until it explodes with real power and intent, the first bona fide anthem on the record – that’s not to denigrate the previous songs, it’s just that this ballad-like number really lets go and delivers in spades.

A word has to be reserved for ‘Twilight’ too, because it’s one of my favourite songs despite the unexpected inclusion of a reprise of the religious hymn ‘Joyful, Joyful, We Adore Thee’ towards the death. Not sure what it sounds like? One listen to this song and you’ll recognise it, trust me. Alongside the arena-friendly ‘woah-ohs’, it’s a rousing finale to a high-power track, easily one of my favourites on the record.

Elsewhere, I love the sheer unadulterated heaviness found within the bulldozing ‘Bite The Bullet’. The rhythm brothers do a fabulous job at setting a strong beat, drums and bass working almost telepathically together. But the riffs from Henriksson are equally as striking, full of fully flexed muscle and bravado, adding to the darker tone that this song sets overall. It’s proof if it were ever required that melodic hard rock can be properly heavy without ditching the hooks. The final act is rousing and so strong that it begs repeated listens, immediately.

However, for me, the best is saved for last in the form of ‘Dead Inside’. The sound of thunder brings the song to life before a killer melody is unleashed; this is arguably the most 80s-influenced over-the-top rocker on ‘Wired’ and it is irresistible. Erik Mårtensson delivers a devastating vocal performance particularly within the rousing chorus, whilst the synths are turned up to eleven, and the melodies continue to make me weak at the knees. And therein lies the one bone I’d pick if I had to – I would have loved a couple more tracks like this that sound fresh and invigorating whilst also paying homage to the past a little more. That aside, it’s fair to say that the Mårtensson-mobile otherwise known as Eclipse, has delivered another fantastic album full of hard rocking, melodic, feel-good music. When it’s done this well, just give in to it, you’ll not regret it.

The Score of Much Metal: 90%

White Moth Black Butterfly – The Cost Of Dreaming – Album Review

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Nestor – Kids In A Ghost Town – Album Review

Artist: Nestor

Album Title: Kids In A Ghost Town

Label: Nestor Prestor Music Group

Date of Release: 22 October 2021

I have tried to get hold of a promo of this record for quite some time, even contacting the band personally in an attempt to succeed. Unfortunately, I drew a blank and were it not for a friend of mine who convinced me to suck up my hatred of Spotify, I’d still be unable to offer a review of the record. The record in question is ‘Kids In A Ghost Town’, the debut full length from Swedish melodic hard rockers, Nestor. They’ve been on my radar ever since, quite by accident, I heard the song ‘On The Run’ several months ago.

‘On The Run’ is the epitome of everything that I love about 80s hard rock, and from the first time I heard it several months ago, I’ve been unable to shake my absolute adoration for it. The verses are dominated by the incredibly powerful yet silky voice of Tobias Gustavsson, on top of some classic sounding riffs, rumbling bass, and strong drumbeats. Despite the galloping pace and hedonistic air, there’s a slightly melancholic, nostalgic vibe too that I latch on to, making the song more than just a simple 80s homage in my opinion. And then the chorus kicks in and the love is instantaneous. It’s a short-lived affair but it packs a punch, with a hook to die for, a strong AOR vibe, and infectious lyrics; I’ve been thoroughly smitten since my first listen, and I’m no less impressed several months down the line. The lead guitar solo is melodic, and the ensuing dual harmonies are spot on, nailing a perfect 80s-inspired melodic rock song.

Taking a step back for a moment, Nestor have been accused of being a novelty act, a spoof band akin to the likes of Steel Panther. That may be true, but I’m not sure that’s entirely accurate; in my opinion, the videos that accompany a couple of the songs do verge on spoof territory, but I’m firmly of the opinion that this is only to demonstrate the band’s sense of humour, adding another layer to their personalities. Musically, I have no doubt that Nestor are 100% serious; after all, music this good is not the result of taking things as a joke. ‘Kids In A Ghost Town’ is chock full of excellent music. Yes, it has been shamelessly influenced by the 1980s, and maybe they are a parody band. But who cares, when the end result is this strong? I sure as hell don’t. And you shouldn’t either.

As it turns out, Nestor was formed back in 1989 by a group of friends from a small Swedish town called Falkoping. Life and reality got in the way, but three decades later, they have returned to give their love of music one last try. I adore this story and I’m delighted to be able to offer such a positive review of ‘Kids In A Ghost Town’. It proves that dreams should never, ever be extinguished; whilst we all have breath left in our bodies, we should hold out hope that our dreams will come true.

‘Kids In A Ghost Town’ is littered with brilliant tracks, superb musicianship, and hooks that bury themselves so deep that it’s almost impossible to dislodge them. Don’t believe me? Then take ‘1989’ as another forceful example of how good this record really is. I heard the song once and was singing the chorus for weeks on end; it’s another hook-laden 80s tour-de-force with slow-burning choruses juxtaposed by nothing short of a killer chorus. And the song, just when you think it can’t get stronger, delivers that most cliched of ingredients – the key change. Yes, the song carries with it the stench of the 80s but this really isn’t a bad thing as far as I’m concerned. Did I mention just how strong the chorus is? I did? Well, read it again: the chorus on this song is one of the most goddamn infectious things I’ve heard in 2021 or for a number of years for that matter. Alongside ‘On The Run’, Nestor have two stone cold classics on their hands.

But that’s not where the magic ends, because as I’ve said already, there is quality oozing from almost every pore on this record. It shouldn’t work in 2021, but ‘Tomorrow’, featuring none other than Samantha Fox, is another winner. It’s a ballad at heart, kicking off with a delicate piano melody alongside expressive male vocals courtesy of Gustavsson. The guitar embellishments are really cool, but when Fox enters, I’m actually impressed, rather than repulsed. I didn’t realise that she could sing this well, but apparently she can and, when coupled with strong songwriting, the song is really rather brilliant.

The title track kicks off with an effervescent lead guitar lick and ensuing riff, before settling down into a fantastic up-tempo heavy rock number. Without sounding like a parrot, the chorus is a thing of beauty, with strong hooks and melodies. The poignancy is something that really hits home for me. Born in 1980, I do understand the sentiment that comes through within this track, whilst I can also appreciate some excellent performances from all corners of the band; it’s abundantly clear that the Nestor guys are all pulling together to create the strongest album possible.

Even the potentially corny and cliched ‘Perfect 10 (Eyes Like Demi Moore)’ somehow works thanks to full commitment from each of the musicians, coupled with utterly irresistible song writing. You simply cannot find fault with music that makes you smile this broadly and gets you moving wherever it is you find yourself listening to it. In my case, the dad dancing has been unleashed whilst walking the dog and frankly, I simply don’t care.

I could go on…and I will. ‘Stone Cold Eyes’ features one of the best choruses on the entire album, full of energy and a sense of fun that simply can’t be ignored. It reminds me a little of the likes of Def Leppard at their swaggering best. By contrast, ‘We Are Not Ok’ is a darker track, drenched in atmospheric synths, with yet another sublime chorus that has fought hard to win the accolade of the best on the album. And if it wasn’t for ‘On The Run’, it might well have won. Put it this way – on just about every other melodic hard rock album of the past eighteen months, this would have been the best song on any of those records. I’m not kidding.

I think you can tell how much I love this record. Every song brings with it something strong and worthy of mention. Every member of the band delivers a powerful performance. Every hook, every melody, every riff, every beat – they all land a punch that impresses me so very much and begs a repeated listen as soon as humanly possible. I don’t care whether or not Nestor are a parody band; in fact, the thought never really crossed my mind. All I care about is the way in which the music affects me. And on that score, Nestor deserve the highest of accolades because it has been quite a while since a melodic hard rock band has had such an impact upon me. If this is the kind of music that you enjoy, then prepare for Nestor to be your new favourite band. I just hope ‘Kids In A Ghost Town’ isn’t a one-off because I want to hear more music from Nestor. A lot more music, please guys.

The Score of Much Metal: 95%

White Moth Black Butterfly – The Cost Of Dreaming – Album Review

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Omnium Gatherum – Origin – Album Review

Artist: Omnium Gatherum

Album Title: Origin

Label: Century Media Records

Date of Release: 5 November 2021

It’s fitting, in many ways the latest album from Finland’s Omnium Gatherum, ‘Origin’ should be released on 5^th November, because you should expect fireworks. I wrote a review for the new Insomnium EP very recently and remarked that the two best melodic death metal bands hailed, not from Sweden where the genre originated, but from Finland. If Insomnium are one of the two, the other is Omnium Gatherum. In fact, if I had to order them, Omnium Gatherum would sit at the very top of the pile. And I’d not have to think very long or hard either.

Some of you will be well aware of my three-month hiatus over the summer this year. I won’t go into detail, but suffice to say I was in a dark place and went through a very rare period where I couldn’t face listening to music of any kind, especially new music. As I got my act together slowly, there was one band that I must thank for helping me get my mojo back and find the joy in listening to music again. And that band is Omnium Gatherum. It was to the Finns that I turned when I felt a mild interest in returning to music, a mild interest that blossomed into something more potent thanks to two albums in particular. I must have listened to ‘Beyond’ (2013) and ‘The Burning Cold’ (2018) upwards of a dozen times as I gradually emerged from my self-imposed exile. The combination of extreme metal and elegant AOR-like melodies, both uplifting and poignant at the same time stirred something within me, and with it, my bond with Omnium Gatherum became even stronger than ever before.

I am therefore delighted that the first album for several months that I am reviewing before it’s release, is ‘Origin’, the ninth album of Omnium Gatherum’s lengthening and ever-more impressive career.

It’s fair to say at this juncture, that the last couple of years have not been easy for Omnium Gatherum either. Not only have they had to navigate a safe path through the pandemic, but they have also had to negotiate some changes in the line-up. Continuing as a quintet, following the departure of guitarist and clean vocalist Joonas ‘Jope’ Koto in 2019, the band also had to replace their long-time bassist Erkki Silvennoinen around the same time. The current line-up therefore sees new bassist/clean vocalist Mikko Kivistö join up with vocalist Jukka Pelkonen, guitarist/clean vocalist Markus Vanhala, keyboardist Aapo Koivisto, and the relatively new himself drummer Atte Pesonen.

When you consider the upheaval that Omnium Gatherum have been through, you can forgive my slight air of apprehension going into this review. ‘Origin’ might be very different from previous records, it might be very similar. It might be incredible, it might be terrible. A new album shouldn’t make you feel so nervous and worried, but when it’s a band with whom I have some very special emotional ties, these feelings are entirely natural. The nerves are heightened slightly more when the band themselves proclaim that they want ‘Origin’ to be considered as the death metal version of Def Leppard’s ‘Hysteria’. I love Def Leppard, but what exactly does this mean?

In essence, having digested ‘Origin’ as much as humanly possible over the past week or so, it means that Omnium Gatherum have decided to dial down the death metal a smidge, whilst dialling up the melody. And the increase in melody appears in many ways, from the lead guitar lines, from the keys that have always been an important element of the band’s sound, and also from what I perceive to be an increase in clean vocals. This upturn in melody is accompanied by a more measured pace overall, with fewer bursts of intense, pacey aggression, leading to a feeling that ‘Origin’ is a more gentle and serene animal than anything before it within their discography to date.

At first, I felt a little unnerved and wasn’t sure if this was an album that maintained the stature of Omnium Gatherum in my eyes. As I type here and now, I’m still of the opinion that other OG albums contain a little more of their unquantifiable magic. However, there remains something about this band, even when they’re maybe not firing on all cylinders, that entrances me and pulls me back into their warm, comforting, melancholic embrace. And that something is the melody; this band can speak directly to my heart as if it’s on speed dial.

Let’s start with the couple of most familiar tracks to most of us, the opening two ‘singles’ released ahead of time, ‘Paragon’ and ‘Reckoning’.

Of all the songs on ‘Origin’, it is ‘Paragon’ that’s most in keeping with what your mind might conjure when thinking of a typical Omnium Gatherum track; bruising death metal riffs laced with synths courtesy of Aapo Koivisto alongside catchy lead guitar lines, a pulsating rhythmic backbone and the deliciously gritty gruff vocals of Jukka Pelkonen that ensures that the death metal tag is well-placed, even if blast beats are few and far between. And then, in comes the lighter chorus section, complete with clean vocals, that is like a breath of AOR fresh air, especially when built upon by exquisite lead guitar notes. It shouldn’t work, but by heavens it does, believe me.

The synth and electronics-heavy intro to ‘Reckoning’ has me grinning from the very first few notes. I make no secret of my love of proper 80s music, be it metal, rock, or occasionally pop. And this song encapsulates that feeling brilliantly. It has been, and continues to be, one of my very favourite Omnium Gatherum tracks, not just on this album, but overall. Strong words, but well earned, because the way in which double-pedal drumming and Pelkonen’s harsh vocals blends seamlessly with the most beautiful lead guitar melodies and rich 80s-inspired synths is exhilarating. It may not be as heavy as past endeavours but I love it, I absolutely love it.

Elsewhere, ‘Tempest’ is well-named as the closing section of the song in particular is the fastest, most urgent passage on the record, with the drums of Atte Pesonen setting a genuinely brisk pace upon which Vanhala unleashed a cracking lead guitar solo. And yet, despite the greater abrasiveness, the song remains smooth sounding, inviting and melodic to the core. I’m also a fan of ‘Prime’ which, after a slightly long, so-so intro (‘Emergence’) really gets the melancholy party started. It is a mid-tempo stomper that’s laced with everything for which Omnium Gatherum have become known, capped off by some of the best lead solo action anywhere on ‘Origin’.

Also worthy of extra note is the utterly morose and miserable ‘Fortitude’, which is so slow at points that it is in danger of veering into funeral doom territory were it not for the guitar accents that are solemn, but strangely inviting. It is Vanhala’s poignant lead work that helps to inject some achingly beautiful melodies into such a dark song. That and a sparing use of clean vocals make it a properly bittersweet experience.

The final composition, ‘Solemn’ is another track that lives up to its title, as it takes the listener on a melancholy ride over the course of nearly nine minutes, via various twists and turns along the way. Heavy moments where the riffs bite hard, are replaced by periods of relative calm where the bass of Mikko Kivistö plays an important role, and strong melodies elbow their way to the front to accentuate the dark, providing that much needed kiss of warmth, however bittersweet it may in fact be. And, as usual, the song is graced by a lead solo from Vanhala that sends shivers down my spine.

After a slightly sticky start, I have once again fallen for the not inconsiderable charms of Omnium Gatherum. ‘Origin’ may be even more melodic and less aggressive than ever before, but if you’re prepared to let the music get under your skin, it can definitely have the same effect on you as their previous efforts. I’m not sure at this point whether ‘Origin’ bests ‘Beyond’ or ‘The Burning Cold’, but considering the backdrop of the last couple of years, it’s remarkable that the Finns have returned at all, let alone with an album of this high quality. If the quintet can stay together and build on the foundations of ‘Origin’, I see nothing but good things for their future. Worry less about the heaviness of the music and instead give yourself over to the melody; if you do that, ‘Origin’ will not disappoint.

Oh and thanks again guys for helping pull me out of a very dark place and in the process rediscover my love of music. I couldn’t have done it without you.

The Score of Much Metal: 93%

White Moth Black Butterfly – The Cost Of Dreaming – Album Review

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Crowne – Kings In The North – Album Review

Artist: Crowne

Album Title: Kings In The North

Label: Frontiers Music

Date of Release: 18 June 2021

The sun is finally shining, it’s warm, and one might be forgiven for thinking that the summer is finally here. It has been a while coming and with the arrival of the sun, my inevitable melodic rock itch has returned. And the record of choice, following a recommendation from a kind reader of manofmuchmetal.com was this, ‘Kings In The North’ by Crowne. Nothing ventured, nothing gained.

‘Kings In The North’ is a debut album but being a release via Frontiers, it will come as absolutely no surprise that Crowne is not comprised of a bunch of young, wide-eyed innocents looking to make it in the crowded world of melodic hard rock. No, this is a band that has been afforded the dreaded ‘supergroup’ tag from the label, in that Crowne is comprised of vocalist Alexander Strandell (Art Nation), guitarist/keyboardist/producer Jona Tee (H.E.A.T.), bassist John Levén (Europe), drummer Christian Lundqvist (The Poodles). The album also features Love Magnusson (Dynazty) providing guitar solos.

Frequent readers will know how I generally feel about these affairs – they can seem great on paper but don’t always create the final product that you might hope for. In my case, I love H.E.A.T., but I’m overall less keen on the other bands that are represented. So ‘Kings In The North’ could be great, or it might be a big fat failure.

Kicking off with the title track, there’s no disputing that the album begins in great fashion. The song is everything you’d want from a melodic hard rock song; it is up-tempo, hard rocking, full of muscular bravado and swagger, with a groovy, chunky riff right out of the gate to catch your attention. Alexander Strandell delivers his vocals with energy and commitment, whilst the rhythm section lays down a solid backbone. Keys flit in and out of the song nicely and the chorus, arguably the most important aspect of any melodic hard rock song is hook-laden and destined to sound great in the live arena. There is definitely a H.E.A.T. vibe to this opening salvo, and so it’s a great start.

Can you feel the ‘but’ coming? Yup, I thought so and you’d be right. There are further great songs nestled in and amongst the remaining ten, and ‘Kings In The North’ is a very commendable affair overall. As you’d expect, it is slick, it is professional, and I like the balance between the moments that veer more towards the metal, and the moments that share more in common with AOR. But overall, I have to be honest and say that the album doesn’t wow me in the way that a W.E.T. or H.E.A.T. record tends to do. Maybe they should have called themselves C.R.O.W.N.E. instead?!

On the plus side, there’s ‘Perceval’ which is another cool song with a strong chorus, epic-sounding, ever so slightly ballad-like in the way it opens up, but retaining too many hard rock elements to be considered a full-on ballad. ‘Sheraline’ makes it three from three at the start of the album. The constant repetition of the title within the lyrics does grate a little at times, but I like the melodies a lot, whilst the guitar tone used to belt out some engaging riffs is very nice indeed.

Unfortunately from there, things take a little bit of a downward turn. ‘Unbreakable’, for example, feels a little paint-by-numbers, lacking in originality, leading to me feeling like I’ve heard it all before. I haven’t of course, but that’s the distinct impression that I get. Same with ‘One In A Million’, too.

And again elsewhere. It would be unfair of me to suggest that the musicians are going through the motions, but there are precious few times after the opening trio ofsongs where I’m listening and I’m stopped dead in my tracks by a chorus, a riff, or a vocal line. Everything is where it should be, how you’d ideally want it, aided by a good production and solid musicianship. But it all just lacks a certain amount of inspiration, at least to these ears in any case.

‘Set Me Free’ is a little more interesting, complete with keyboard solo and a greater emphasis on the synths throughout. It leads to something that feels brighter and breezier and overall, more engaging. ‘Mad World’ is the other track I’d pick out too. It feels a bit darker in tone, more cinematic with sampled sounds of the city streets. The chorus is one of the most satisfying on the album and it’s topped off by a blazing solo.

What started off so positively, has ended on a bit of a bum note I’m afraid. When done well, I love melodic hard rock – the adrenaline it provides, the hit of the feel-good factor it can deliver. As decent as Crowne are, and their debut ‘Kings In The North’ is, I find that I am a tad disappointed and as such, would only really recommend this release if you’re a diehard fan of the genre or of any of the musicians involved. Even then, you might not enjoy it quite as much as you hoped.

The Score of Much Metal: 78%

White Moth Black Butterfly – The Cost Of Dreaming – Album Review

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

W.E.T. – Retransmission – Album Review

Artist: W.E.T.

Album Title: Retransmission

Label: Frontiers Music

Date of Release: 22 January 2021

A little under three years since the release of their critically-acclaimed third release, ‘Earthrage’, the melodic hard rock ‘supergroup’ W.E.T. return with album number four, ‘Retransmission’. And, as you all know, given my soft spot for a dose of melodic hard rock, it was inevitable that this record would be centre of my radar. After all, as I’ve stated many times before, these guys are at the very top of the pile when it comes to this kind of music.

I’m sure you all know the history of the band by now. But in case you are unfamiliar, W.E.T. is comprised of Work of Art keyboardist Robert Säll (W), Eclipse guitarist Erik Mårtensson (E) and Talisman vocalist Jeff Scott Soto (T). Together, W.E.T. was born. The band is then rounded out by lead guitarist Magnus Henriksson, bassist Andreas Passmark, and drummer Robban Bäck. Since their debut release back in 20xx, they have consistently (if perhaps a little slowly) released incredibly high quality music.

And it is pleasing to report that it is business as usual with ‘Retransmission’; W.E.T. are clearly a band that are incapable of releasing sub-par music.

‘Moment Of Truth’ keeps up the intensity perfectly. After the briefest of moody synth intros, the bass takes centre stage, pulsating like the strongest of heartbeats. The riff that emerges has one foot in the 80s and the other in the modern day. It’s a skill that W.E.T. seem to be well versed at harnessing, further underlined by the vibrant, bright and breezy chorus that sits in between some deliciously chunky guitar riffs.

The acoustic guitar and piano opening to ‘The Call Of The Wild’ is stunning and full of dark drama. Somewhat unexpectedly, the song then develops into a slightly dirty, swagger-heavy affair in the verses. However, the chorus brings back the moodiness of the intro beautifully. It is really strong, with great melodies, but it is also a bit of a grower, almost disregarded at the outset. I love the effervescent lead guitar solo that ends on a gloriously epic wailing note, before transitioning into a final rendition of the chorus that then drops its pace to become even more striking as a result. What a great song.

Whenever I review a W.E.T. album, I end up completing a blow-by-blow, song-by-song write-up. Not this time though, as I want to try to be a little more succinct this time around. And, to be honest, with not one single filler to be heard, I will end up sounding like a broken record and will run out of positive adjectives along the way. It is no lie to say that I have listened to ‘Retransmission’ back-to-back upwards of six times today whist working and I am yet to get anywhere near close to tiring of the material on offer. In fact, if anything, I hear more with each passing spin; be it the quality of a riff, a particular lyric, or the increasing strength of a hook or melody. The fact that some of the melodies are quite insidious in their nature, means that the album is afforded the kind of longevity that isn’t always the preserve of the melodic hard rock genre.

From the vaguely Country-infused ‘Got To Be About Love’, to the altogether more hard-rocking ‘Beautiful Game’, each song brings its own identity to the party. And ‘party’ is a very good word because listening to ‘Retransmission’ is just that – it’s fun, it’s loud, it’s exciting, and it makes you smile and have a good time. Lockdown? What lockdown?

Naturally there are those compositions that I like so much that they deserve a special mention. On that score, I’m a sucker for the enormous ballad that’s ‘What Are You Waiting For’ simply because it has some of the sweetest melodies on the album, not to mention a believable depth and passion. I also adore ‘How Do I Know’, another slow burner that has grown in my affections to enormous proportions thanks mainly to a killer sprawling chorus and a cheeky verse melody, that’s simply irresistible once its hooks get into you.

The Score of Much Metal: 96%

Further reviews from 2021:

You can also check out my other reviews from previous years right here: