The best albums of 2022 so far – April to June

We’re halfway through 2022 already. How on Earth did that happen? It’s true what they say, that the older you get, the faster time seems to fly by.

However, the good news is that it gives me an excuse to bring you a round-up post of my favourite albums that have been released in the second quarter of the year, between April and June.

In the same way as my post for the first three months of the year (click here to read that), I have listed the releases chronologically. The task of ordering them will come at the end of the year with my mammoth ‘Album Of The Year’ countdown.

On that note, here goes…

Meshuggah

Immutable

Atomic Fire Records

Genre:

“…you hopefully get the idea just how varied and dynamic this record truly is, and why I like it more than any other Meshuggah record in their now nine-deep discography. It may be a little too long but that’s literally the only gripe I have. In every other way, it’s Meshuggah. But more than that, it’s Meshuggah at their glorious best. And that means that with ‘Immutable’, we’re in the presence of heavy metal greatness.”

Check out the full review here.

— MoMM —

Treat

Endgame

Frontiers Music

Genre: Melodic Hard Rock

“It’ll be interesting to see what others come up with over the next few months but, as it currently stands, ‘The Endgame’ is far and away the best melodic hard rock album of 2022 so far. And it’ll take an awful lot for it to be beaten, that’s for sure.”

Check out the full review here.

— MoMM —

Soledad

XIII

Independent Release

Genre: Progressive Rock/Metal

“I’m so glad I was introduced to Soledad, because the French quartet have impressed me immensely with their ambitious, bold, eclectic, and slightly eccentric musical vision…listen to ‘XIII’ and, I hope, prepare to be entertained and captivated like I have been. This is easily one of the best progressive records of 2022 so far.”

Check out the full review here.

— MoMM —

I Am The Night

While The Gods Are Sleeping

Svart Records

Genre: Melodic Black Metal

“…the album takes me back in time and fills me with an infectious nostalgia, and for all the right reasons. This album reminds me in glorious technicolour exactly why I fell for this kind of music in the first place. And it does this because it is lovingly crafted and is of an incredibly high standard throughout.”

Check out the full review here.

— MoMM —

Evergrey

A Heartless Portrait (The Orphean Testament)

Napalm Records

Genre: Progressive Metal

“‘A Heartless Portrait (The Orphean Testament)’ is anything but Evergrey’s unlucky thirteenth record. Instead, it only helps to further underline their utter dominance and superiority in my mind, and hopefully in the minds of other fans too. A companion of mine for the last few months, the music on this album has given me strength, support, and the knowledge that I am not alone on this tumultuous journey called ‘life’.”

Check out the full review here.

–MoMM–

Zero Hour

Agenda 21

Frontiers Music

Genre: Progressive Metal

“…the six songs are chock full of exemplary musicianship from guitar, bass, drums, and vocals alike, just as we would all hope and expect from a band with the reputation that they historically have. To be honest, I’m just delighted that Zero Hour are back. The fact that they bring with them such an enjoyable feast for the ears is just the icing on the cake. Welcome back gents…”

Check out the full review here.

— MoMM —

Decapitated

Cancer Culture

Nuclear Blast

Genre: Death Metal

“As extreme metal albums go, ‘Cancer Culture’ has to be up there with the very best that 2022 has had to offer so far. Everything from the slightly disturbing cover artwork to the performances, and from the production to the songs themselves, Decapitated have returned with one hell of a bang. But crucially, the bang is not only thunderous, but it is intelligent, varied, and completely engaging from start to finish.”

Check out the full review here.

— MoMM —

Lord Belial

Rapture

Hammerheart Records

Genre: Black Metal

“It may have taken 14 years to see the light of day but as far as I’m concerned, it has been more than worth the wait. I absolutely love this album and, if quality black metal is a favourite of yours, then you will too. Without doubt, with ‘Rapture’, Lord Belial have released my favourite out-and-out black metal record of the year so far.”

Check out the full review here.

— MoMM —

Kreator

Hate Über Alles

Nuclear Blast

Genre: Thrash Metal

“It really is hard to fault ‘Hate Über Alles’ when all is said and done, because Kreator have well and truly delivered the goods once again. Power, aggression, venom, and spite collide superbly with expert songwriting, memorable melody, and irresistible catchiness to produce easily one of my favourite thrash records of the past couple of years.”

Check out the full review here.

— MoMM —

Seventh Wonder

The Testament

Frontiers Music

Genre: Progressive Metal

“Ultimately, I’m just delighted that Seventh Wonder continue to write new music. The fact that they have created another excellent body of music is the icing on the cake…it is so refreshing to hear Tommy Karevik once again unshackled and able to put his own unique talent to full use. When he is in full flow, there are few better vocalists out there…But alongside him are four more supremely talented individuals…As a result, ‘The Testament’ is, quite simply, a joy to listen to from start to finish.”

Check out the full review here.

— MoMM —

Kardashev

Liminal Rite

Metal Blade Records

Genre: Deathgaze

“With ‘Liminal Rite’, American quartet Kardashev have pulled the rug out from under me and sent me reeling. I said earlier that I feel like this record is a game changer for me, and I truly mean it. I love heavy music and I also adore strong melody; Kardashev have managed to combine the two in a way that I’ve never really heard before and I am left stunned and in awe of this album.”

Check out the full review here.

— MoMM —

Charlie Griffiths

Tiktaalika

InsideOut Music

Genre: Progressive Metal

“I had a feeling that ‘Tiktaalika’ would be good, but I wasn’t banking on it being quite this good if I’m being brutally honest. There is much to enjoy about Charlie Griffith’s debut solo effort, and I keep discovering new things with each passing listen too. No doubt it’ll appeal first and foremost to lovers of the guitar and the almighty riff, but given the diversity of the material and the quality of the songs themselves, I’m certain that the appeal of ‘Tiktaalika’ will be much wider, and rightly so.”

Check out the full review here.

— MoMM —

Exocrine

The Hybrid Suns

Unique Leader Records

Genre: Technical Progressive Death Metal

“Add to the package some seriously cool cover artwork, and a production that is crystal clear without detracting from the sheer power and technicality of the music, and you’re staring at one hell of an album. I love the way that bands like Exocrine have managed to open my mind fully to the magnificence of technical and progressive extreme metal, because it is a genuine thrill ride when you get to listen to music that’s this intense, this intricate, and this memorable.”

Check out the full review here.

— MoMM —

Darkane

Inhuman Spirits

Massacre Records

Genre: Death/Thrash Metal

“…I am delighted to be able to say that ‘Inhuman Spirits’ shows that this quintet have lost none of their ability, hunger, or bite. All that remains is my now heightened ambition to see the Swedes on a stage as I’ve never had the pleasure to date. In the meantime, won’t you all please stop what you are doing and wrap your ears around ‘Inhuman Spirits’, as Darkane are well and truly back.”

Check out the full review here.

I hope you enjoyed my choices…cheers!

Fallen Sanctuary – Terranova – Album Review

Artist: Fallen Sanctuary

Album Title: Terranova

Label: AFM Records

Date of Release: 24 June 2022

On paper, this album should be a home run. I’m a massive fan of Austrian melodic metal band Serenity, in particular the vocal stylings of Georg Neuhauser which are always out of the top drawer. I also found ‘Viridian’, the 2020-released fifth full-length from Temperance to be a strong record within broadly the same genre. Therefore, putting Neuhauser and Temperance guitarist Marco Pastorino together should be a great idea.

As we all know though, these kind of bands or projects don’t always succeed and I’m afraid that I can only conclude that this is also the case here with Fallen Sanctuary’s debut release, ‘Terranova’. I had high hopes for it, but despite giving it a more than fair crack of the whip, I am very disappointed by it. I hate coming to conclusions like this; it pains me to write reviews that are less than positive. But you’re entitled to read honest reviews, so here we are.

I fully expect that there will be a large number of metalheads that will fundamentally disagree with my opinion here, so I expect ‘Terranova’, which features bassist Gabriele Gozzi, and drummer Alfonso Mocerino, will achieve a certain amount of success regardless. But if you’re on the fence, or just mildly interested in this record, hopefully this will be a helpful exercise for you.

‘Terranova’ contains just about everything you want and expect from a European melodic metal record; it is packed full of saccharine-drenched ear candy, and there’s nothing wrong with big choruses, sing-along lyrics, and hooks aplenty. There’s even a place for a few large slices of cheese too. But, here’s the problem for me: I have listened to the eleven tracks on ‘Terranova’ several times through, and nothing really sticks in my mind. I even took it out on my bicycle ride this evening and listened to it twice through. Just me, the road, my bike, and the music. But it was the same story. A couple of the songs hinted at good things and something to remember, but overall, I found the experience depressingly bland. The music is undeniably melodic, there are choruses aplenty, solos litter the album, the pace is often quick and energetic, and Neuhauser is as proficient a you’d expect with mic in hand. There’s even a foray into melodic hard rock and even acoustic territory. But…

…as far as I’m concerned, the melodies are not catchy enough, the hooks aren’t strong enough, and the whole thing feels a little run-of-the-mill. It’s perfectly decent as far as it goes, but that’s not what I want. I want to be fully entertained, my attention grabbed and not allowed to wander. But wander my mind does, and it’s so frustrating. I’d never suggest that artists of the calibre of Pastorino or Neuhauser are going through the motions here, but that’s how it feels because the album lacks the ‘wow’ factor.

Tracks like the acoustic-led ‘I Can’t Say’ show some semblance of an X-Factor, but it’s all down to the performance of Neuhauser as far as I can tell, rather than a top band performance altogether. The lead solo within ‘Trail Of Destruction’ is also noteworthy within a song that’s perhaps a little more interesting than others but beyond that, I’m struggling.

I mentioned the cheese quota earlier, and the prime example it the opening title track. The press release talks of Fallen Sanctuary’s debut being ‘socio-critical’ and that’s a great thing if done properly, and definitely a change of pace from Neuhauser’s normal historical lyrical content. Admittedly, the song sets a blistering pace with fast riffing and intense drumming, but the closing stages are ruined by a spoken word section about drug abuse. ‘Who is there to help them? Are You?’ It doesn’t sound too bad when written like this, but when it appears in the song, it’s just a little more toe-curling than I’m prepared to accept.

For once, I’m going to shut up and end the review here, rather than ramble on for another 300 words just for the sake of it. I’m fully prepared to lose a few readers as a result of this review, but it’s my honest opinion. ‘Terranova’, the debut album from Fallen Sanctuary was a good idea on paper, but the reality has delivered one of the biggest disappointments for me in 2022 so far. One for devotees of European melodic power metal only.

The Score of Much Metal: 56%

Check out my other 2022 reviews here:

Deathwhite – Grey Everlasting

Charlie Griffiths – Tiktaalika

Seven Kingdoms – Zenith

Brutta – Brutta

White Ward – False Light

Winds Of Tragedy – As Time Drifts Away

Tim Bowness – Butterfly Mind

Denouncement Pyre – Forever Burning

Truent – Through The Vale Of Earthly Torment

Wind Rose – Warfront

Kardashev – Liminal Rite

Artificial Brain -Artificial Brain

Seventh Wonder – The Testament

All Things Fallen – Shadow Way

Def Leppard – Diamond Star Halos

Lord Belial – Rapture

Buried Realm – Buried Realm

Stiriah – …Of Light

Remains Of Destruction – New Dawn

Crematory – Inglorious Darkness

IATT – Magnum Opus

Iris Divine – Mercurial

Decapitated – Cancer Culture

Bekmørk – The Path Nocturnal

Septic Flesh – Modern Primitive

Blut Aus Nord – Disharmonium – Undreamable Abysses

Drift Into Black – Earthtorn

Spheric Universe Experience – Back Home

Outshine – The Awakening

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Zero Hour – Agenda 21

Scitalis – Doomed Before Time

Morgue Supplier – Inevitability

Visions Of Atlantis – Pirates

Evergrey – A Heartless Portrait (The Orphean Testament)

OU – One

Haunter – Discarnate Ails

Aara – Triade II: Hemera

Pure Reason Revolution – Above Cirrus

Demonical – Mass Destroyer

I Am The Night – While The Gods Are Sleeping

Haunted By Silhouettes – No Man Isle

Delvoid – Swarmlife

LionSoul – A Pledge To Darkness

Watain – The Agony And Ecstasy Of Watain

Dischordia – Triptych

Dragonbreed – Necrohedron

Audrey Horne – Devil’s Bell

Vanum – Legend

Stone Broken – Revelation

Radiant – Written By Life

Skull Fist – Paid In Full

Hurakan – Via Aeturna

Incandescence – Le Coeur De L’Homme

Imminent Sonic Destruction – The Sun Will Always Set

Monuments – In Stasis

Soledad – XIII

Viande – L’abime dévore les âmes

Credic – Vermillion Oceans

Postcards From New Zealand – Burn, Witch, Burn

Darkher – The Buried Storm

Treat – The Endgame

Bjørn Riis – Everything To Everyone

Destruction – Diabolical

Et Moriemur – Tamashii No Yama

Angel Nation – Antares

Wolf – Shadowland

Denali – Denali EP

Centinex – The Pestilence EP

Meshuggah – Immutable

Chapter Of Hate – Bloodsoaked Decadence EP

Ancient Settlers – Our Last Eclipse

Tranzat – Ouh La La

Playgrounded – The Death Of Death

Father Befouled – Crowned In Veneficum

Abbath – Dread Reaver

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

2020 reviews

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Seven Kingdoms – Zenith – Album Review

Artist: Seven Kingdoms

Album Title: Zenith

Label: Distortion Music Group

Date of Release: 17 June 2022

For a few years now, I’ve been meaning to check out the band Seven Kingdoms but something has always got in the way. I’ve heard a smattering of songs here and there, but that’s about it. However, finally, in 2022, I have found the opportunity with the Floridian’s latest offering, ‘Zenith’. Somewhat shamefully, I was unaware just how long the band have been going, having started their journey back in 2007. In that time, the American band have released four full-length albums, with ‘Zenith’ being their fifth and first in five years.

Following the departure of John Tyler McDaniel from the apparently cursed bass position earlier this year, Seven Kingdoms took the decision to continue as a quartet. As such, the band is now comprised of a tight-knit, long-standing group of musicians, featuring guitarists Camden Cruz and Kevin Byrd, drummer Keith Byrd, and vocalist Sabrina Cruz. ‘Zenith’ sees the light of day following a highly successful crowdfunding campaign, but I’m convinced that this brings with it some serious pressure as fans have put their hands in their pockets and given money to the band to create a new record. I know I’d feel the pressure at any rate.

Not so much the Seven Kingdom guys though, if the end result is anything to go by. ‘Zenith’ features ten new cuts, alongside a cover of ‘I Hate Myself For Loving You’ by Joan Jett and The Blackhearts, and I cannot tell you how much I have enjoyed listening to this record. To give you a small inkling, I listened to the album front to back for the first time and immediately pressed play for a second time. What makes this even more impressive, is that the first spin began late at night. I was very bleary-eyed the next morning, but it was worth it.

Having now spent several days in its company, I can say with some certainty that the biggest strength of ‘Zenith’ is the variety found within it. Broadly speaking, Seven Kingdoms are a power metal band but in addition, I hear thrash metal, classic heavy metal, NWOBHM, and hard rock. There is plenty of melody and atmosphere too, not to mention a bit of welcome attitude that adds some swagger here and there. Everything comes together cohesively too, with the band’s identity remaining intact throughout. It all adds up to be a highly impressive and thoroughly enjoyable listening experience.

‘Zenith’ begins in powerful fashion too, courtesy of ‘Diamond Handed’. It’s an enthusiastic rocker of a song with a variety of paces from full throttle to a pounding mid-tempo that gets the head nodding appreciatively. There’s even a modern Evergrey-esque chugging riff at one point. Wailing solos, hooks galore, and a strong, memorable chorus are all present and it’s led by the impressive powerhouse vocalist Sabrina Cruz; she gives her all and she has a formidable set of lungs.

With my attention fully captured, Seven Kingdoms don’t waste it, following up the excellent opener with another catchy track in the form of ‘A Silent Remedy’. The power metal influences come to the fore here, whilst the ghost of the NWOBHM genre looms nicely over the proceedings, manifested in the guitar riffs and the harmonies, for which I have a real soft spot.

In a slight change of pace, ‘Love Dagger’ breaks out the full 80s melodic hard rock influences, with a hint of warm AOR aesthetics for good measure. It’s a fabulous track that’s great fun as well as catchy as hell, an irresistible hit of feel-good guitar-driven music that never gets old, especially the chorus, galloping rhythms, and effervescent solos.

The best news of all is that the quality that’s exhibited within the first three songs is not diluted as the album continues. In fact, ‘Zenith’ offers impressive quality and consistency throughout. I can’t think of a single track that I want to skip, or that I like less than the others. ‘Chasing The Mirage’ has a moody, but killer chorus, not to mention more NWOBHM-inspired dual guitar histrionics, galloping power, and over-the-top flamboyance.

Speaking of moody though, none of the tracks are as dark, moody, and atmospheric as the beguiling ‘Valonqar’. It opens in really brooding fashion, and continues in a similar vein throughout. Never exploding into metallic aggression as you might be expecting, instead it acts as an intriguing and magnetic vehicle to showcase Sabrina Cruz’s vocal prowess, albeit accented by a couple of lead guitar solos, a gorgeous rumbling, pulsing bass, and simple but commanding drumbeats.

‘Empty Eyes’ sees the band experimenting with some bold electronic sounds, whilst ‘Magic In The Mist’ opens with blood-and-thunder speedy power metal exuberance which largely continues throughout the song. Incidentally, it’s a great song to listen to whilst cycling uphill – trust me on that one!

The thrash influences that I mentioned earlier within the review are most keenly felt within songs such as ‘Universal Terrestrial’ which incidentally benefits from one of mu favourite choruses on this album. The thrash element continues at the outset of ‘The Water Dance’ which later segues seamlessly into a more grandiose power metal anthem thanks to the huge choral-accented section that appears later in the piece. But overall, this is easily the most varied of the songs on ‘Zenith’, meaning that it is probably my favourite of the lot.

I can take or leave the Joan Jett cover, but this aside, I really cannot fault Seven Kingdom’s new album at all. It’s catchy, fun, well-crafted, professionally executed, and highly entertaining from start to finish. And that will do me very nicely indeed. Be sure to check out ‘Zenith’ if intelligently written melodic power metal is your kind of music, because this should perfectly satisfy any cravings you have in this direction. Nicely done Seven Kingdoms, nicely done indeed.

The Score of Much Metal: 91%

Check out my other 2022 reviews here:

Brutta – Brutta

White Ward – False Light

Winds Of Tragedy – As Time Drifts Away

Tim Bowness – Butterfly Mind

Denouncement Pyre – Forever Burning

Truent – Through The Vale Of Earthly Torment

Wind Rose – Warfront

Kardashev – Liminal Rite

Artificial Brain -Artificial Brain

Seventh Wonder – The Testament

All Things Fallen – Shadow Way

Def Leppard – Diamond Star Halos

Lord Belial – Rapture

Buried Realm – Buried Realm

Stiriah – …Of Light

Remains Of Destruction – New Dawn

Crematory – Inglorious Darkness

IATT – Magnum Opus

Iris Divine – Mercurial

Decapitated – Cancer Culture

Bekmørk – The Path Nocturnal

Septic Flesh – Modern Primitive

Blut Aus Nord – Disharmonium – Undreamable Abysses

Drift Into Black – Earthtorn

Spheric Universe Experience – Back Home

Outshine – The Awakening

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Zero Hour – Agenda 21

Scitalis – Doomed Before Time

Morgue Supplier – Inevitability

Visions Of Atlantis – Pirates

Evergrey – A Heartless Portrait (The Orphean Testament)

OU – One

Haunter – Discarnate Ails

Aara – Triade II: Hemera

Pure Reason Revolution – Above Cirrus

Demonical – Mass Destroyer

I Am The Night – While The Gods Are Sleeping

Haunted By Silhouettes – No Man Isle

Delvoid – Swarmlife

LionSoul – A Pledge To Darkness

Watain – The Agony And Ecstasy Of Watain

Dischordia – Triptych

Dragonbreed – Necrohedron

Audrey Horne – Devil’s Bell

Vanum – Legend

Stone Broken – Revelation

Radiant – Written By Life

Skull Fist – Paid In Full

Hurakan – Via Aeturna

Incandescence – Le Coeur De L’Homme

Imminent Sonic Destruction – The Sun Will Always Set

Monuments – In Stasis

Soledad – XIII

Viande – L’abime dévore les âmes

Credic – Vermillion Oceans

Postcards From New Zealand – Burn, Witch, Burn

Darkher – The Buried Storm

Treat – The Endgame

Bjørn Riis – Everything To Everyone

Destruction – Diabolical

Et Moriemur – Tamashii No Yama

Angel Nation – Antares

Wolf – Shadowland

Denali – Denali EP

Centinex – The Pestilence EP

Meshuggah – Immutable

Chapter Of Hate – Bloodsoaked Decadence EP

Ancient Settlers – Our Last Eclipse

Tranzat – Ouh La La

Playgrounded – The Death Of Death

Father Befouled – Crowned In Veneficum

Abbath – Dread Reaver

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

2020 reviews

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Def Leppard – Diamond Star Halos – Album Review

Artist: Def Leppard

Album Title: Diamond Star Halos

Label: Bludgeon Riffola/Mercury Records

Date of Release: 27 May 2022

I thought long and hard before writing this review. Does the world really need yet another two-bit hack writing a review of the latest Def Leppard album? Probably not. But, in the end, I thought ‘why not?’ After all, I have been a fan of the band for my entire music-listening life and, in my days at Powerplay, I had the privilege to interview vocalist Joe Elliot around the time of the ‘Songs From The Sparkle Lounge’ album I believe. It was one of the best experiences of my life and Joe was a lovely guy, not rushing me, telling me he’d chat for as long as I wanted. Rock stars, as we all know, are not like that and it reinforced my affection for the band.

That being said, I must admit that I have not been a big fan of the Sheffield rockers for a number of years. ‘Diamond Star Halos’ is the twelfth studio album they have released over a staggering 42-year period that began the year I was born with ‘On Through The Night’. How depressing – I feel old now. The first five albums are all brilliant in different ways, with the trio of ‘Pyromania’ (1983), ‘Hysteria’ (1987), and 1992’s ‘Adrenalize’ being bona fide classics in my eyes. In actual fact, it was ‘Adrenalize’ that was my first entry point to Def Leppard, probably a couple of years after its release.

Since then, I am going to be kind and say that their output has been patchy. I never gelled with ‘Slang’ (1996), whilst ‘Euphoria’ (1999) and ‘X’ (2002) had their moments. But everything since has been very disappointing in my opinion. I will admit that I got a bit carried away with my review of ‘Songs From The Sparkle Lounge’ (2008) in the pages of Powerplay, because time has proven that it has not stood the test of time with me.

And so, in 2022, after a seven-year wait, we are presented with ‘Diamond Star Halos’. Here goes…

First off, it features no fewer than 15 tracks and spans a mighty hour. Therefore, in order to remain consistent, this is too long. As I listen, I find that it reminds me of an annoying ex that would talk and talk, never shutting up. And worse still, despite the incessant verbal diarrhea, very little of any substance passed her lips. The same is true of ‘Diamond Star Halos’, because it goes on and on, with very little in the latter stages to justify its length.

This is a shame, because there is enough within the first six songs in particular, with one big exception, to get reasonably excited about. And I will start with my favourite song from the entire album, ‘SOS Emergency’. This song. This. This is what I dearly wish Def Leppard would still sound like. Big in-your-face riffs from the off, Joe Elliot sounding like Joe Elliot at his best, layers of vocals, and a hook-laden chorus. It channels their inner ‘Hysteria’ and I make no apologies when I declare that this is how I love Def Leppard to sound. I’m well aware that many fans will be screaming at me along the lines of ‘stop living in the past’, ‘embrace the new’, or ‘you’re plain wrong, you fool’. That’s fine, but when the ‘new’ has never reached the heights of their 80s heyday as far as I’m concerned, I’ll stick with my opinion and suffer the flack. As a final comment on this, there’s a reason why Def Leppard played ‘Hysteria’ in its entirety a few years ago – it’s because it’s a killer album; we know it, and so do they.

Anyway, let’s move back to the opener to this new album, ‘Take What You Want’ because it is actually really quite good. It has an urgency about it that builds with the intro, only to unleash into a pretty decent, powerful central riff. The layers of vocals that’s archetypal Def Leppard make an appearance, and the song rips along at a fair pace, full of muscular bravado, with enough catchiness to keep me listening. The more I listen, the more I like it, and there’s even room for a brash lead solo trade-off between Phil Collen and Viv Campbell. It bodes well.

Up next is ‘Kick’ and, having initially hated the very bones of it, I now grudgingly have to admit that it’s a catchy, fun, up-tempo little bastard with hooks that burrow deep whether you want them to or not. It’s undeniably poppy and the ‘nah, nah, nah’ bits still irritate, but the guitars are front and centre and whether I like it or not, it has got the better of me.

‘Fire It Up’ and ‘Liquid Dust’ are both thoroughly decent songs too. In the case of the former, I love the wailing lead guitar squeals, the chunky bass of Rick Savage, and the chorus is an insidiously catchy beast. I’m not a fan of the vocals as much here though, as they veer a little close to spoken territory, rather than being sung. The latter has a greater atmosphere to it, and I like the slightly more chilled-out vibe, that’s tinged with a little sadness unless I’m hearing things that aren’t there.

The one big exception to the opening sequence of tracks is the utterly hideous (in my opinion) ‘This Guitar’. Featuring American singer Alison Krauss, it is an unashamed country/bluegrass song that doesn’t belong here. If I want to listen to country music, I’d panic, and then find a country record to play. But I don’t, and I certainly don’t want a Def Leppard album to feature such a song. I’m sure plenty of you will enjoy it, but nope, it’s not for me, and I will gladly never listen to it again. To compound things further, Alison Krauss features on ‘Lifeless’ too. It isn’t as toe-curling as ‘This Guitar’, but the country twang to it is not to my tastes at all.

It’s fitting that I’m in a bad mood now, because there are eight more songs on ‘Diamond Star Halos’ and there are very few of these that I really want to discuss. Not that they are bad necessarily, just that they feel a little ‘meh’ for my tastes. ‘U Rok Mi’, which should be destroyed for the unfunny deliberate misspelling alone, is one of the few exceptions, as it has a proper energy to it and feels more like a Def Leppard song than most.

‘Goodbye For Good This Time’ features some sumptuous orchestration and a gorgeous acoustic guitar solo but I’m sorry to say that it lacks the killer chorus, central melody, or genuine emotion that I expected. It does get better with repeated spins, but it still feels like an opportunity missed. ‘All We Need’ sounds like it should be on a U2 album given the intro, and the cheesy chorus that misses the mark a little. ‘Gimme A Kiss’ is a throw away song to be honest, something or nothing, and whilst there’s a definite ‘On Through The Night’ echo within the brooding closer ‘From Here To Eternity’, it has the feel of being too little, too late.

Overall, I have heard Def Leppard create worse, and so this is a step back in the right direction at times. However, the early promise of some stronger songs and palpable energy is ultimately scuppered by too many songs that are just ‘ok’, that do very little to ignite any kind of enthusiasm within me. And the country songs? Just because Robert Plant went in that direction with Alison Krauss, it doesn’t mean that Def Leppard should take the same path. The less said about them, the better quite frankly. I’m left feeling disappointed, but not altogether surprised. Take it or leave it, but here ends my personal take on ‘Diamond Star Halos’.

The Score of Much Metal: 65%

Check out my other 2022 reviews here:

Lord Belial – Rapture

Buried Realm – Buried Realm

Stiriah – …Of Light

Remains Of Destruction – New Dawn

Crematory – Inglorious Darkness

IATT – Magnum Opus

Iris Divine – Mercurial

Decapitated – Cancer Culture

Bekmørk – The Path Nocturnal

Septic Flesh – Modern Primitive

Blut Aus Nord – Disharmonium – Undreamable Abysses

Drift Into Black – Earthtorn

Spheric Universe Experience – Back Home

Outshine – The Awakening

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Zero Hour – Agenda 21

Scitalis – Doomed Before Time

Morgue Supplier – Inevitability

Visions Of Atlantis – Pirates

Evergrey – A Heartless Portrait (The Orphean Testament)

OU – One

Haunter – Discarnate Ails

Aara – Triade II: Hemera

Pure Reason Revolution – Above Cirrus

Demonical – Mass Destroyer

I Am The Night – While The Gods Are Sleeping

Haunted By Silhouettes – No Man Isle

Delvoid – Swarmlife

LionSoul – A Pledge To Darkness

Watain – The Agony And Ecstasy Of Watain

Dischordia – Triptych

Dragonbreed – Necrohedron

Audrey Horne – Devil’s Bell

Vanum – Legend

Stone Broken – Revelation

Radiant – Written By Life

Skull Fist – Paid In Full

Hurakan – Via Aeturna

Incandescence – Le Coeur De L’Homme

Imminent Sonic Destruction – The Sun Will Always Set

Monuments – In Stasis

Soledad – XIII

Viande – L’abime dévore les âmes

Credic – Vermillion Oceans

Postcards From New Zealand – Burn, Witch, Burn

Darkher – The Buried Storm

Treat – The Endgame

Bjørn Riis – Everything To Everyone

Destruction – Diabolical

Et Moriemur – Tamashii No Yama

Angel Nation – Antares

Wolf – Shadowland

Denali – Denali EP

Centinex – The Pestilence EP

Meshuggah – Immutable

Chapter Of Hate – Bloodsoaked Decadence EP

Ancient Settlers – Our Last Eclipse

Tranzat – Ouh La La

Playgrounded – The Death Of Death

Father Befouled – Crowned In Veneficum

Abbath – Dread Reaver

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

2020 reviews

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Audrey Horne – Devil’s Bell – Album Review

Artist: Audrey Horne

Album Title: Devil’s Bell

Label: Napalm Records

Date of Release: 22 April 2022

There are times when I can make no sense, and this review demonstrates such an occasion. I have known about Audrey Horne for many years, initially mistakenly disregarding them, then enjoying their brand of heavy music, before forgetting all about them again. It makes absolutely no sense; you know that, and I know that. But here we are, on the eve of the band’s seventh release during a career that has so far spanned 17 years, and this will be the very first time I have listened to one of their records fully enough to be able to offer any kind of review. The facepalm emoji was invented just for this kind of occasion.

Nevertheless, here I am, and here are Messrs Torkjell “Toschie” Rød (vocals), Arve ‘Ice Dale’ Isdal (guitars), Thomas Tofthagen (guitars), Espen Lien (bass), and Kjetil Greve (drums) with their seventh full-length release, ‘Devil’s Bell’. And, based on the music offered on this record, there seems to be no sign of Audrey Horne losing any amount of energy or enthusiasm for what they are doing, delivering another clutch of hard-rocking, melodic music for our delectation.

I may not be the greatest authority on such things given my past with the Norwegians, but my first thought when listening to ‘Devil’s Bell’ was ‘I don’t remember these guys being quite so overtly inspired by the NWOBMH scene, and classic 70s/80s heavy metal’. From what I knew about the quintet coming into this review, I was expecting some modern melodic hard rock, with hooks, riffs, and melodies aplenty. However, whilst the riffs, hooks, and melodies are all delightfully present, they are wrapped up in a seemingly darker, more brooding, NWOBHM cloak. This is not a bad thing, I’d like to point out, just that I wasn’t quite expecting it. In fact, I’m lapping this up, as much of it is great.

When I talk about the broodiness of the music, this is never more evident than in the opening moments of the album. The intro to ‘Ashes To Ashes’ is a dark affair, full of smouldering intent and takes its sweet time to build up the drama for what’s to come very nicely. The intensity builds across a couple of minutes before it falls away to be replaced by a really strong, instant hard rock riff. The unmistakeable voice of Toschie has lost none of its commanding presence, leading the band through a groovy verse and into a wonderful chorus that gets better and better with every spin. The production is great, allowing the bass of Espen Lien to work perfectly in tandem with Greve’s drums to lay down a rich and tight rhythm upon which the guitars of Ice Dale and Thomas Tofthagen deliver riff after chunky riff, and latterly, some cool duelling solos.

‘Animal’ is much more the style that I was expecting, being a full-on fast-paced hard rock affair with galloping rhythms, dominated by the bass, as well as vague punk overtones created by the attitude that comes through from both the instrumentation and the vocals. Ironically, it’s one of my least favourites too. So too is ‘Break Out’, which revels in the 80s classic metal sound, Toschie mimicking more of an Ozzy Osbourne style of singing. Much of the track is reasonably forgettable if I’m honest, but I really like the darker, more introspective vibe that’s brought to the fore in the middle and actually, it serves to enhance the enjoyment of the faster elements when they return to see out the song.

Interestingly, and surprisingly, we’re then presented with an instrumental track in the form of ‘Return To Grave Valley’. As you might expect, the musicianship is of a very high standard, the song driving along at a brisk tempo for large periods, with the guitars able to play a little more with embellishments and other ideas. Initially a throw away composition, the NOWBHM dual harmonies and solos, as well as the stomping groove from the halfway point mean that you can’t help but fall for its charms.

Easily one of the very best songs on this album is the title track. Starting out with a flurry of lead guitar extravagance, it soon launches into a Maiden-esque gallop that gets me excited, continuing with an energy and exuberance that is thoroughly infectious. And the chorus is a thing of real beauty, one of those sing-along hook-laden beasts that most of us with metal in our blood will take to our blackened hearts. But those dual harmonies, up-tempo riffs, combined with the overall playfulness of the song is equally as disarming and enjoyable. Put simply, it reminds me of a time when Iron Maiden sounded like I wanted them to sound, if that makes sense.

Elsewhere, ‘All Is Lost’ is an entertaining affair led by driving riffs, and a swagger that just works, whilst ‘Toxic Twins’ provides us with a raucous hard rock workout with another infectious chorus. ‘Devil’s Bell’ is then brought to a close by ‘From Darkness’ which, as the name implies, brings back that air of brooding darkness that I referenced earlier. It is a song that stretches beyond the seven-minute mark and contains some great guitar work, as both six-string slingers duel together and also feed off each other. I’d have liked the addition of a central, addictive chorus, but bearing in mind how good the rest of the song is, it feels a little churlish to even mention this, even if such a thing could have pushed the song into the stratosphere. As it is, my favourite part is strangely the extended instrumental outro that carries with it a bittersweet feel, both welcomingly melodic, but strangely forlorn sounding too.

It is very safe to say that I will not be forgetting Audrey Horne again, or even shoving them to the back of my mind, because they are just too good. And I knew that before diving deeply into this album. But sometimes it takes some new material to remind us of just how good a band actually is. ‘Devil’s Bell’ may be a tad darker and a touch more inspired by the NWOBHM genre than ever before, but it doesn’t stop the Norwegian powerhouse from gifting us with a very satisfying record indeed.

The Score of Much Metal: 85%

Check out my other 2022 reviews here:

Vanum – Legend

Stone Broken – Revelation

Radiant – Written By Life

Skull Fist – Paid In Full

Hurakan – Via Aeturna

Incandescence – Le Coeur De L’Homme

Imminent Sonic Destruction – The Sun Will Always Set

Monuments – In Stasis

Soledad – XIII

Viande – L’abime dévore les âmes

Credic – Vermillion Oceans

Postcards From New Zealand – Burn, Witch, Burn

Darkher – The Buried Storm

Treat – The Endgame

Bjørn Riis – Everything To Everyone

Destruction – Diabolical

Et Moriemur – Tamashii No Yama

Angel Nation – Antares

Wolf – Shadowland

Denali – Denali EP

Centinex – The Pestilence EP

Meshuggah – Immutable

Chapter Of Hate – Bloodsoaked Decadence EP

Ancient Settlers – Our Last Eclipse

Tranzat – Ouh La La

Playgrounded – The Death Of Death

Father Befouled – Crowned In Veneficum

Abbath – Dread Reaver

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

2020 reviews

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Stone Broken – Revelation – Album Review

Artist: Stone Broken

Album Title: Revelation

Label: Spinefarm

Date of Release: 22 April 2022

Do not adjust your Internet settings, I really am writing a review for a more modern hard rock album. It’s a rarity I’ll grant you, but every now and then, I’ll dip my toe in the water and see what’s going on in this particular niche. At the heart of this review is ‘Revelation’, the latest album from a band I knew literally nothing about a couple of weeks ago. The fact that they are from the UK gives me an extra incentive to check out Stone Broken too, as the quartet hail from the metropolis that’s Walsall. To be fair, it’s not a million miles away from the birthplaces of bands like Black Sabbath and Judas Priest, so perhaps I shouldn’t be so flippant, especially as I call Suffolk home.

Enough of that, though, because you’re here to find out a little more about the music that finds itself on Stone Broken’s third album in a career that’s so far lasted a good decade. Comprised of vocalist/guitarist Rich Moss, guitarist Chris Davis, bassist Kieron Conroy, and drummer Robyn Haycock, ‘Revelation’ is the fruit of several years of work, made longer and more arduous by the pandemic which struck at just the wrong time. As the accompanying press release states, though, it turned out to be a blessing in disguise because the band are happier with the final results than they thought possible.

I’ll leave it to your own judgement as to whether it’s a good or bad thing, but when listening to ‘Revelation’, I have a hard job to believe that the music comes from an English band. The music, right from the first vocals and guitar notes of ‘Black Sunrise’, has an undeniable North American sheen to it. This album is most definitely slick and polished, something that producer Dan Weller (ex-SikTh guitarist) can claim some credit for alongside the band themselves.

I can almost hear my soul shriek in despair at me, but I must admit that there are a fair few tracks on this album that I like, as well as a few others that I have grown to really like in spite of myself. So much of ‘Revelation’ could easily be heard on commercial radio, it’s that ‘mainstream’. But as I always say, ‘good music is good music’…ok, I’ve rarely said that, even though I should. But here is that classic test for me, because it is hard to deride Stone Broken too much because they have penned some quality material that I keep coming back to like a guilty pleasure. I may not always gravitate towards music like this, but I see the appeal and ‘Revelation’ is a thoroughly entertaining beast for large periods.

It all kicks off with the aforementioned ‘Black Sunrise’ and I find myself unexpectedly hooked thanks to a powerful combination that sees a cocksure hard rock swagger paired with some catchy melodies especially within the hook-laden chorus. It may have a whiff of commercialism to it, but at the same time, the guitars carry enough of a punch alongside the beefy rhythm section to ensure that Stone Broken don’t descend into what I’d refer to as ‘bland’ territory.

If you thought that the opener was catchy, just wait until you hear the immediate follow-up, ‘The Devil You Know’. It doesn’t feel quite as heavy as the opener, demonstrating more of a modern hard rock vibe with more overt electronics, but the chorus is another instant shot in the arm, impossible to ignore. The modern trappings come even more to the fore within the title track and it’s at this point that I should lose total interest, especially with the shouted ‘gang’ vocals to add to the horror. But I still quite like the song which sees the first vocal contribution from drummer Robyn Haycock, thanks to the catchy, slick songwriting. What Is happening to me?

The quality material just keeps on coming, beginning with ‘Make It Out Alive’, a song that starts as if it might be a ballad, but then offers some of the heaviest material so far with forceful, driving riffs at its heart. The verses are quieter though, more introspective affairs, and there is a ballad-like vibe to one of the most stunning choruses on the record, so my initial thoughts weren’t far off the mark. But if you want a full-on ballad, it arrives in the shape of ‘Me Without You’. I love and hate this song in equal measure because, on the one hand, it is a gorgeous piece of music complete with piano, acoustic guitars, and sensitive electronics for atmosphere. On the other hand, the central lyrics of ‘what’s the point of me without you?’ just drive a knife into my heart because they give voice to my feelings and my painful reality. Anathema, Evergrey, Katatonia…bands that I expect to reduce me to tears. But a relatively commercial-sounding hard rock band from the Midlands? I did not see that coming.

If I had one criticism at all about ‘Revelation’, it’d be that the latter stages of the album run out of steam a touch after such a tremendous start. That’s not to say that the music isn’t entertaining or poor because that’s definitely not the case. I just feel that there’s a little less magic in the second half as opposed to the electric first half. Songs like ‘Over The Line’ with its increased electronic element, or part-acoustic ‘Stronger’ are perfectly decent, but don’t light my fire in quite the same way. The latter comes too dangerously close to the dreaded Nickelback for my comfort.

However, Stone Broken are not quite done and ‘So Damn Easy’ catches my ears in all the right ways thanks to the interesting riffs, rhythms, the way it ebbs and flows effortlessly, and the duetted vocals of Moss and Haycock, the latter thoroughly impressing me whenever she appears thanks to her incredibly soft, smooth, almost ethereal delivery.

So there you have it. I have been seduced by an album that should never have crossed my path had I let my prejudices get in the way. As it is, there are a good handful of songs that have made a huge impact here, several better-than-decent songs, and one that has made a cynical, missile-aged, grown man cry. Kudos for that feat alone. All that’s left to say then, is that it doesn’t matter what kind of heavy music you consider to be your ‘thing’, you’d be foolish not to take time out of your listening schedule to give melodic hard rock band Stone Broken a chance. I did, and I haven’t regretted it for a second.

The Score of Much Metal: 88%

Check out my other 2022 reviews here:

Radiant – Written By Life

Skull Fist – Paid In Full

Hurakan – Via Aeturna

Incandescence – Le Coeur De L’Homme

Imminent Sonic Destruction – The Sun Will Always Set

Monuments – In Stasis

Soledad – XIII

Viande – L’abime dévore les âmes

Credic – Vermillion Oceans

Postcards From New Zealand – Burn, Witch, Burn

Darkher – The Buried Storm

Treat – The Endgame

Bjørn Riis – Everything To Everyone

Destruction – Diabolical

Et Moriemur – Tamashii No Yama

Angel Nation – Antares

Wolf – Shadowland

Denali – Denali EP

Centinex – The Pestilence EP

Meshuggah – Immutable

Chapter Of Hate – Bloodsoaked Decadence EP

Ancient Settlers – Our Last Eclipse

Tranzat – Ouh La La

Playgrounded – The Death Of Death

Father Befouled – Crowned In Veneficum

Abbath – Dread Reaver

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

2020 reviews

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Treat – The Endgame – Album Review

Artist: Treat

Album Title: The Endgame

Label: Frontiers Music

Date of Release: 8 April 2022

Twelve years ago, Swedish melodic hard rock band Treat made a comeback. A full eighteen years after the release of their fifth, self-titled record, the Stockholm-based quintet rose from the ashes and blew just about everyone away with their comeback album, ‘Coup De Grace’. Existing fans were delighted to be reunited with the band whilst new listeners like me were equally enamoured. ‘Coup De Grace’ was one of those albums, a rarity where the stars aligned perfectly to allow a masterpiece to emerge. Even my bitter, miserable ex loved this album, it was just that good.

Since then, Treat have released another couple of albums in the shape of 2016’s ‘Ghost Of Graceland’ and ‘Tunguska’, released in 2018. For one reason or another, I missed out on the opportunity to review them, but I have heard them, and they continued the post-hiatus renaissance nicely. And now, in 2022, the line-up that brought us ‘Coup De Grace’ is again reunited to deliver album number nine, ‘The Endgame’.

Cards on the table: in my opinion, it’d take an absolute miracle for Treat to better their tour-de-force from 2010. And after much listening and deliberation, I can only conclude that a miracle is not quite what we have on our hands here. That’s not to say that ‘The Endgame’ is not a fantastic record, because it is. However, being as honest and dispassionate as I possibly can be, it falls slightly short of ‘Coup De Grace’. And there’s one major reason for this, and it’s the fact that the second half of the album is not quite as strong as the first half. Had the quality continued from start to finish, we’d be staring down the barrel of a bona-fide classic. As it is, ‘The Endgame’ will have to make do with just being brilliant and a whole heap of fun along the way.

The Swedes come out of the blocks on fire, delivering one of their finest tracks ever in the form of ‘Freudian Slip’. Keyboardist Patrick Appelgren kicks things off with a brief, dramatic intro before the guitars of Anders ‘Gary’ Wikström take over and blow away the cobwebs. In tandem with the powerful beats of Jamie Borger and Nalle Pahlsson’s authoritative rumbling bass, it’s an imposing beginning. Lead guitar embellishments, lashings of keys, and then Robert Ernlund’s distinctive voice all add to the potent cocktail before the AOR-tinged chorus takes things up another notch. The layers of vocals are great, but the hooks are irresistible, ensuring that the song makes the biggest impact possible, setting the tone for the remainder of the album.

‘Rabbit Hole’ is a punchy, high-octane number, with a groovy swagger to it. And then it delivers an incredibly catchy chorus that hits the mark. But the best bit of the song is the point at which everything drops away and via keys, moody guitars, and Robert Ernlund’s vocals, the song takes a darker, more dramatic turn. It’s unexpected, but a classy move that adds another dimension to an already cracking track.

Up next in a monster opening to the album is ‘Sinbiosis’. The pulsing bass and chunky riffs that dominate the verse are great, but the bright, breezy hook-laden chorus is an utter delight, almost pop-like, and so much fun; at the current time, it’s this giant chorus that I find myself singing in the shower or is lodged in my head when I wake up in the morning. With the ubiquitous key change near the end, it’s a masterclass in catchy melodic rock veering into lush AOR territory.

At this point, I am beginning to sense that we’re in the presence of something truly special, and I’m not dissuaded by ‘Home Of The Brave’ either, meaning it’s four from four. The track has a definite ballad-like feel at points but it gallops along at a really nice tempo, particularly within the anthemic chorus, led by the rock solid rhythm section. There’s a vague Celtic, folky influence that I can detect coming through in the melodies and, given the track’s title, I get the feeling it’s a deliberate move, and one that works well within the confines of this song.

Make that five from five thanks to ‘Both Ends Burning’, a longer track, and a darker, moodier one too, with a surprising muscularity. It opens slowly, carefully, with acoustic guitars, layers of brooding synths, and a wonderfully rich bass sound. When it opens up fully, it is irresistible, with an immediately catchy melody interwoven with hefty riffs that keeps that slightly more menacing tone to the song. Worry not, because when I say menacing, it’s all relative; think puppy teeth rather than a rabid Rottweiler! But seriously, I like the fact that Treat like to flex their hard rock muscles occasionally and to such good effect.

The all-out ballad ‘My Parade’ brings the first half of ‘The Endgame’ to a close and regardless of whether or not you like ballads, you’ll be hard pressed to deny the brilliance of this one. The chorus is liquid gold, and impossible not to love, unless you have a heart of pure stone. I even don’t mind The Beatles-esque ‘Na Na Na Na’ vocals that make an appearance.

In the second half, however, there are a couple of missteps in my personal opinion. Firstly, I’m given the feeling that the band lose just a little energy and so the material occasionally lacks the oomph of the first half. For example, I can take or leave ‘Jesus From Hollywood’ despite the cool solo guitar intro and bold choral synth effects. The chorus doesn’t quite take off in the same way as others and even though the hooks and sing-along elements are present and correct, it feels like something is missing.

‘Magic’ is a nice enough song, with strong melodies, but I can’t shake the feeling that this has ‘boyband hit’ written all over it. I know that the likes of Westlife and Boyzone wouldn’t have the guitars so prominently positioned, but the song feels overly smooth and incredibly mainstream. That’s not necessarily a bad thing, but I’m not the greatest fan of it overall, as it’s a little too nice.

The heavily 80’s infused ‘Carolina Reaper’ sees a return to more energetic climes and it’s a marvellous shot to the arm too, whilst ‘Dark To Light’ is an altogether darker affair, full of drama and surprisingly heavy groove in the verses.

The final composition is ‘To The End Of Love’, a suitably epic and rousing song that carries with it a bittersweet vibe. On the one hand, it feels full of positivity and hope, especially in the first half. However, as it develops, I detect much more sombre overtones. And I like the way that it subtly and cleverly plays with my emotions. When it ends, I’m not sure if I feel elated, or slightly sad, especially with the use of a poignant spoken word sample at the death. And credit for this must go to the songwriting prowess of the band as it’s not an easy trick to pull off. Regardless of the emotions at play, it’s yet another melodic rock anthem, and a strong way to close out the record.

It’ll be interesting to see what others come up with over the next few months but, as it currently stands, ‘The Endgame’ is far and away the best melodic hard rock album of 2022 so far. And it’ll take an awful lot for it to be beaten, that’s for sure.

The Score of Much Metal: 94%

Check out my other 2022 reviews here:

Bjørn Riis – Everything To Everyone

Destruction – Diabolical

Et Moriemur – Tamashii No Yama

Angel Nation – Antares

Wolf – Shadowland

Denali – Denali EP

Centinex – The Pestilence EP

Meshuggah – Immutable

Chapter Of Hate – Bloodsoaked Decadence EP

Ancient Settlers – Our Last Eclipse

Tranzat – Ouh La La

Playgrounded – The Death Of Death

Father Befouled – Crowned In Veneficum

Abbath – Dread Reaver

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

2020 reviews

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Nasson – Scars – Album Review

Artist: Nasson

Album Title: Scars

Label: Frontiers Music

Date of Release:  28 January 2022

Here’s a decent little find that was originally hinted at by a follower of my website. Inevitably, given their apparent march towards world domination, this release sees the light of day through Frontiers Music, so don’t expect any nice packaging or extra value for your money here, because that ain’t happening any time soon. But I suppose, if I’m being fair, it should always be about the music first and foremost, so I’ll get off my soapbox now and concentrate on what matters most.

‘Scars’ is the debut album from Nasson Prudant, a guitarist, songwriter and producer from Chile, who has apparently come to the fore thanks to his work with the latest Chaos Magic album, ‘Furyborn’, and ‘The Miror Star’, the debut release from Sinner’s Blood. Having heard neither of these, I come at this review with no knowledge or expectation. The only reference points I have are delivered by the press release which name drops Eclipse, Pretty Maids, and Evergrey as bands that provide inspiration for Nasson’s debut solo release.

Being as fair and honest as I can, I’d have to say that these references aren’t a million miles away from the truth. The music isn’t arguably as heavy and as dark as Evergrey can be, but there are a few similarities to be heard. And there is definitely a melodic hard rock edge to some of the compositions on ‘Scars’, so the Eclipse references aren’t without some merit. However, it might be easier to just refer to Nasson’s music as very competent and enjoyable melodic heavy metal that encompasses a number of different styles across the album; everything from symphonic metal, to Gothic, and from modern metal to classic hard rock is touched upon on and, with more and more listens, it is hard to not fall for its not inconsiderable charms.

On ‘Scars’ Nasson Prudant extends beyond his normal guitar duties to handle the bass, piano, programming and vocals. From there, he is joined by drummer Rodrigo Leiva as well as female vocalist Caterina Nix to add another dimension to some of the songs. But that’s not all, because ‘Scars’ features a handful of guest artists in the form of vocalists Giu Oliver, Mizuho Lin & James Robledo (“We are the Army”), Mistheria who provides additional synths on ‘Mother Moon’, additional vocals from Alessandro del Vecchio on ‘When it Rains’, and guitarist Ignacio Torres who embellishes a trio of songs with lead solos (‘Not Today’, ‘Bringer of Sorrow’ and ‘We are the Army’)

I’m going go start my deeper dive into the music with a duo of my favourite compositions on ‘Scars’, namely ‘Mother Moon’ and ‘On The Other Side’. The former begins quietly but with a dark, foreboding edge, strong orchestration creating a dramatic cinematic introduction. The song builds nicely, to erupt with a muscular riff and a nice melody, the symphonics still an integral part of the soundscape. It’s an incredibly moody composition, a brooding affair that delivers on just about every level – it is heavy, powerful, and highly memorable thanks to some catchy hooks, embellished by a great lead guitar solo. But it’s also nicely paced and put together, with strong contrasts between light and shade. It is also a great song to demonstrate what a god singer Nasson is too. When he pleads to the heavens, it’s quite an arresting sound.

The latter, ‘On The Other Side’ is actually more of a ballad, but it’s a corker. An electronic heartbeat pulses at the start before a brief explosion of orchestration and heaviness enters. It’s gone in a blink to be replaced by a verse comprised of mainly vocals and bass, another introspective and moody affair. However, the chorus is an absolute beast, erupting in a blaze of melodic glory.

What I like about ‘Scars’ is the subtle variety on offer within the eleven tracks. Yes, the album has a general path that it follows, but Nasson isn’t afraid to mix things up a little within the framework of the music. As such, you get upbeat, hard-rocking numbers like ‘King Of Lies’ that walks the fine line between melodic metal and hard rock/AOR thanks to the layered vocals in the chorus, and fine hooks that litter the song, juxtaposed by strong, chugging riffs and no-nonsense drumming from Rodrigo Leiva. Or how about that opening riff on ‘A New Beginning’? This song is the one real time on ‘Scars’ where I can hear those Evergrey references looming large, although these are quickly expunged by a much lighter and breezy chorus than you’d typically hear from the Swedes.

That said, the opening track ‘Not Today’ does also contain the ghost of Evergrey too, but the overall symphonic embellishments are more cinematic and again, there’s a greater melodic hard rock sheen to the brash, memorable chorus that wipes away any darkness that the song may have carried at the outset.

It’s not all positive though, because there are a couple of occasions when the quality dips just a little in my personal opinion. And sadly, given the way ‘Scars’ opens, it is the closing couple of songs that fail to hit me in the same way as some of the earlier songs. ‘We Are The Army’ is one of the tracks that features a number of guests and it begins in hungry, fast fashion, coming out of the blocks in a flurry of power. But I find the ensuing chorus a little average and the more overtly modern metal trappings only serve to dial up the cheese a little too much. And the closing track, ‘Rising’ is OK, but not essential, a little too paint-by-numbers for my tastes.

Mind you, don’t let these blips discourage you from checking out this record because elsewhere there is so much quality to sink your teeth into and enjoy. For a debut release, ‘Scars’ is great; it shows without doubt what kind of talent Nasson Prudant has, both as a songwriter, but as a musician and singer too. I have listened to ‘Scars’ back-to-back on a number of separate occasions and I still don’t find myself getting bored of it as can be the case with this kind of music sometimes. Strong melodies, heaviness, sufficient variety, and a dark edge that stops it from being too saccharine, ‘Scars’ is recommended to anyone looking for a more than solid dose of melodic heavy metal.  

The Score of Much Metal: 85%

Check out my other 2022 reviews here:

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

2020 reviews

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

The Best Songs of 2021

As in years before, I wanted to round off 2021 with a quick look at some of the best individual songs that I heard during 2021.

As with my recent Top 30 series, this is a list of my personal favourite songs. They might not be the most technical, clever, or complicated songs of the year, or they might be. But it doesn’t matter. These are the ten songs that I could happily listen to time and time again, and which stood out to me the most. It may be a beautiful melody, an irresistible groove, or something unique and compelling. Whatever it is, these tracks gave me goosebumps for all the right reasons.

If you have arrived at this post without reading my Album of the Year 2020 Top 30 Countdown, feel free to check it out right here.

But now, on with the main event. In no particular order whatsoever, here goes:

Omnium Gatherum

“Reckoning”

Whilst it’s true that there’s no order to these songs, I have to jump off the fence and declare that ‘Reckoning’ might just be THE song of 2021 for me. For so many personal reasons, and because I just love the blend of beautiful melodies with the spiky aggression…take a bow, Gentlemen, this is just wonderful.

What I wrote in my review:

“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.”

–MoMM–

Ghosts Of Atlantis

“Curse Of Man”

There were a couple of other contenders, but on an album that came out of nowhere to knock me sideways, this is my personal favourite. The power and aggression is one thing, but the cinematic grandiosity and the central melodies are another altogether. This remains a shining highlight of 2021 for me.

What I wrote in my review:

“There’s no other word for it, ‘The Curse Of Man’ is anthemic. The most melodic of all eight tracks, it is also my favourite currently without doubt. Bursts of frenetic pace mean that Ghosts Of Atlantis don’t abandon their more extreme tendencies but the chorus is a thing of real dark beauty. Lush melodies, driven by a duo of vocals and elegant lead guitar notes are enhanced by clever symphonics and short bursts of drum blasts, a combination that I find irresistible. The juxtaposition between the savage and the beauty is not dissimilar to Cradle at their very best and it’s an intoxicating recipe from which I simply cannot escape. It’s a stunning track, one of the best that the year has delivered to date.”

–MoMM–

Evergrey

“Stories”

A list like this wouldn’t be complete without featuring an Evergrey song. But when their songs are this good, how could I possibly ignore them? Not possible. ‘Stories’ is the emotional rollercoaster of a song that still stands out to me on this stunning record, putting me through the emotional ringer each and every time I hear it.

What I wrote in my review:

“If you thought that was good, track three [‘Stories’] is even better – aural perfection if I may be so bold. It’s more of a slower-paced ballad, but it contains everything I love about this incredible band. For a start, Tom sounds better than ever, crooning with pure emotion across the song. The guitar solos that soar atop a delicate piano melody are equally emotional, whilst the incoming bass that replaces its six-string (or seven) cousin is stunning. Simple, effective, authoritative, it commands attention. The poignancy oozes from every pore of this track as it weaves it’s way through melancholy soundscapes rich in heart-breaking melody, accented by well-placed heavy riffs to inject the necessary metallic edge.”

–MoMM–

Nestor

“On The Run”

For a while, I was utterly obsessed with ‘On The Run’, listening to it several times a day, every day. And even now, I listen to it every time I need a pick-me-up, simply because it is a classic 80s-inspired anthem backed up by one of the most infectious choruses I’ve heard in some time.

What I wrote in my review:

“‘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.”

–MoMM–

MØL

“Serf”

The epitome of a perfect blackgaze track, in my opinion, ‘Serf’ is an amazing blend of beautiful, emotional melody, catchiness, and naked black metal spite and aggression. There are other close contenders on ‘Diorama’, but ‘Serf’ wins it, as it’s the one that puts the biggest smile on my face every time I hear it.

What I wrote in my review:

“Without a shadow of doubt however, ‘Serf’ is my favourite track on the entire album. The simple, quiet intro literally breaks my heart, but when the main body of the song kicks in, my heart is mended and filled with wonder thanks to one of the most addictive and glorious melodies I’ve heard for a long time. Flitting between harsh passages, complete with potent blast beats and fast-picked riffing, and lighter, more delicate shoegaze moments, I cannot convey is words just how wonderfully uplifting I find this song.”

–MoMM–

Gojira

“Hold On”

I’ve never been a fan of Gojira, but ‘Fortitude’ altered that, with ‘Hold On’ being one of the primary reasons. From the irresistible intro, to the heavy technicality later in the track, this is how intelligent music can really make an impact on me. Add to that the raw and honest subject matter and it’s an all-round belter of a song, one I listen to very regularly.

What I wrote in my review:

“‘Hold On’ is a beautiful composition from start to finish, with pronounced melodies throughout. The multi-layered a capella vocals that welcome the song into existence offer a sense of the dramatic whilst a relatively simple rhythmic beat emerges, allowing a gorgeous melody to unravel thanks to the interplay between guitars and vocals. When the heaviness hits, the song changes to something much more technical, with polyrhythms doing serious damage to my neck muscles. The fact that lyrically, the song looks to speak directly to anyone suffering with stress, depression, or any myriad of personal struggles, reaching out to provide a message of strength, just makes the whole song so much stronger. It touches a nerve with me, and I thank the band for it.”

–MoMM–

Orden Ogan

“It Is Over”

Good heavens, this song still gives me goosebumps all over. From those heavy opening guitar chords, via a memorable chorus, to the final, emotional sequence, I adore everything about this song. To some it may sound a little cheesy, but I disagree and simply give over to the power and emotion contained within.

What I wrote in my review:

“I feel compelled, for many reasons, to start with the final song, entitled ‘It Is Over’. To begin with, the guitar tone used for the riffs is incredible; the heaviness and the authority with which they emanate from the speakers is irresistible. Then there’s the subject matter; the more cynical of us might declare that a song which features a final broadcast to the remaining population on Earth, seconds before a meteor impact might be a little cheesy and contrived. Normally, I might agree. But every time I listen to it, I get goosebumps. The final words ‘over and out’ are met with a momentary silence and then in comes the compelling chorus to usher the song to its climactic finale. What makes the song so powerful when it could have been awful, is that epic chorus which sounds grandiose and beautifully melodic at the same time. For me, it is the strongest chorus on an album of strong choruses, meaning that I have yet another early contender for my ‘song of the year’ top ten.”

–MoMM–

Seven Spires

“In Sickness, In Health”

There were several potential picks from this album, an album that wasn’t even on my radar initially. I could have gone for longer, or more technical tracks, but I eventually went for ‘In Sickness, In Health’ because it’s just the most addictive, beautiful song overall, with strong melodies, emotion, and bucket loads of power.

What I wrote in my review:

“Speaking of wonderful melodies, I have to mention ‘In Sickness In Health’, more of a moody ballad with some subtle electronics lurking in the shadows and a chorus to end them all. It has a killer hook or six, a thoroughly emotional and spellbinding vocal performance from Cowan, as well as another graceful lead guitar solo.”

–MoMM–

Soen

“Fortune”

As with Evergrey earlier, it was almost inevitable that this list would feature a Soen track, such is the strength of the album. My personal favourite is this, the album’s immensely strong swansong, ‘Fortune’. I love the way the song builds throughout, and the fact that it offers one of the finest choruses on the record is the icing on the cake.

What I wrote in my review:

“Somewhat unbelievably, Soen may just leave the best to last in the form of the delectable ‘Fortune’. It begins with the air and grace of doom, as it lumbers forth, slow and purposeful, with a simple drum beat, resonating riffs and passionate vocals. But as it develops, it grows and blossoms. In come some of the most glorious melodies, accented by rich orchestration, topped off by an utterly irresistible chorus. The pace never really picks up, but it never needs to. The slower delivery allows more time for the melodies to hit home, acting as the perfect backdrop for Ford to wax lyrical with his six-string. Piano notes are introduced as Ekelöf hums the melody, before a devastating reprise of the chorus emerges, building in majesty and elegance all the while as the orchestration returns, bolder and richer than ever before.”

–MoMM–

A Dying Planet

“When The Skies Are Grey”

I’ve said it many times before that Jasun Tipton is one of my favourite guitarists. But this song demonstrates a group of musicians at the top of their game, killing a song that’s full of technical prowess as well as melody. And it’s bursting with melancholy emotion too, making it a truly compelling listen and worthy addition to this list.

What I wrote in my review:

“Out of the shadows emerges a simple, yet elegant and poignant melody led by clean guitar tones from Tipton, joined by the assured bass of Brian Hart. It’s gone in a heartbeat, as chunky, djent-like notes are overlaid by a striking lead guitar line, all underpinned by a sharp beat from drummer Marco Bica alongside a more muscular bass. The heaviness departs as quickly as it arrives to be replaced by a delicate, introspective, yet gorgeously rich atmospheric verse. Since the debut, Paul Adrian Villarreal has become the full-time vocalist and it’s wonderful to hear the ex-Sun Caged singer back in action and in such fine fettle. Resonant, emotional, and blessed with a great range, he is the perfect fit for the soundscapes that surround him. And those soundscapes, as evidenced within this stunning opening track ebb and flow wonderfully cohesively from rich, driving progressive metal, to bruising tech-djent, to atmospheric post rock.

“I wish I had someone to hold…sometimes I don’t care to see tomorrow…I’m broken…Society looks the other way, and doesn’t care to know your name…” With audible lyrics from Villarreal of this nature, that melancholy, dark vibe is unquestionable and unavoidable.”

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…

Number 10

Number 11

Number 12

Number 13

Number 14

Number 15

Number 16

Number 17

Number 18

Number 19

Number 20

Number 21

Number 22

Number 23

Number 24

Number 25

Number 26

Number 27

Number 28

Number 29

Number 30

‘Honourable Mentions’

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

2020

2018

2017

2016

2015

2014

2013

2012