Category: Rock

Evergrey – A Heartless Portrait (The Orphean Testament)

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

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

Evergrey – A Heartless Portrait (The Orphean Testament)

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Crematory – Inglorious Darkness – Album Review

Artist: Crematory

Album Title: Inglorious Darkness

Label: Napalm Records

Date of Release: 27 May 2022

It feels like Crematory have been around forever. They have long been a part of my musical life, having discovered them a frightening number of years ago as a teenager. The fact that they have been in existence for over thirty years and have released no fewer than 15 full-length albums in that time would certainly seem to justify this perception. And the Germans are back with their sixteenth offering, ‘Inglorious Darkness’.

Since the release of their last record, ‘Unbroken’ in 2020, Crematory have welcomed a new bassist in the form of Patrick Schmid who replaces Jason Matthias and have said goodbye to vocalist/guitarist Connie ‘Commer’ Andreszka. But do not fear, because the irrepressible lead vocalist, Gerhard ‘Felix’ Stass is still very much front and centre of the band, bringing his unmistakeable gravelly vocals to the Crematory party. Now a quintet, he is also joined by his long-standing, original colleagues Markus and Katrin Jüllich, who take care of the drums and keyboards respectively, as well as guitarist Rolf Munkes.

If you are familiar with the work of Crematory, you will not be surprised one iota by the content of ‘Inglorious Darkness’, because it follows their tried and trusted formula. It means that once you press play, you will be hit by eleven tracks of reasonably straight-forward melodic Gothic metal infused with hard rock as well as techno/electronic influences. In my review of ‘Oblivion’ back in 2018, I mused that some of Crematory’s music wouldn’t be that out of place at the Eurovision Song Contest. The fact that a couple of the songs here raise the self-same thoughts just demonstrates how little the German’s output has changed.

But is that necessarily a bad thing? After all, they are still plying their trade in an ever more difficult marketplace, and they have a devoted core of fans, so why change the formula? And I don’t mean this in a negative way in the slightest, but there is something incredibly ‘easy listening’ about this new album in particular. I must have listened to it back-to-back three or four times while working today, and I didn’t tire of it, or fervently wish I was listening to something else. I like some songs better than others it has to be said, and occasionally the music veers dangerously close to cheesy, almost parody territory (‘The Sound Of My Life’, or ‘Trümmerwelten’ for example) but that’s par for the course with this band over the years I feel. Otherwise, there’s not that much else to criticise here.

The record starts off in strong fashion with the rather excellent title track. Bathed in Gothic darkness created by lavish synths, the riffs are chunky, the rhythm section crisp and powerful, and the melodies are strong, culminating in a fantastic chorus that hits hard. Felix is as he has always been – charismatic and the deliverer of those wonderful low growls that have become so synonymous with the Crematory sound, taking me back to my teenage years instantly.

As good as the title track is, the great news is that there are songs on this record that I like even more, underlining the quality on offer here. First up is ‘Break Down The Walls’ which, despite the overt electronics and strong Goth flavour, is an undeniably catchy song with massive hooks and a chorus that never gets old. It has a swagger about it too that’s infectious, whilst Felix splits his performance between gruff growls and clean tones within the verses.

I also really enjoy the driving thrust of ‘Rest In Peace’ which then opens up into a catchy chorus, whilst the intro to ‘Until We Meet Again’ is pure drama and theatre, leading to one of the heaviest and darkest songs on the record. It also benefits from a great chorus complete with some of the most ear-catching low guitar notes that make me smile. A quasi-ballad, I like the fact that it pulls together so many facets of the Crematory sound and showcases all that’s good about this band. And then there’s the glorious ‘Not For The Innocent’ which might contain my favourite chorus of them all.

The other element to ‘Inglorious Darkness’ that requires exploration is a return to songs in their native German tongue, a facet not seen for a while, certainly not to this extent, where no fewer than four tracks are delivered in their mother tongue. It’s a positive move, even if the odd song sounds a little close to their compatriots Rammstein for comfort, albeit cloaked in a heavier sound. Just listen to the chorus of ‘Zur Hölle’ if you need any persuading on that front.

The crowning glory for the band and for long-term fans has to be the re-recording of their famous song, ‘Tears Of Time’, taken from their 1995 album ‘Illusions’. This time though, the song is given its German name, ‘Tränen der Zeit’ and is sung entirely in German. The fact that it fits relatively seamlessly within the running order of this album further underlines the consistency of this band over the years, especially bearing in mind that the original version is over a quarter of a century old now. And yet the melodies still stand up, especially the delicate piano melody to counteract the more muscular attributes of the song.

As always, the music of Crematory will not be for everyone, but they simply don’t care. And, on the strength of ‘Inglorious Darkness’, neither do I to be perfectly honest. I have had a genuinely fun time listening to this record, and I will continue to do so throughout the months to come. It might not be the most technical, the fastest, or the most original music in the world, but it is immensely enjoyable, and I have no problem with stating that ‘Inglorious Darkness’ is definitely Crematory’s strongest and most consistent offering for some time. As a result, it’s most definitely worth your time and attention.

The Score of Much Metal: 80%

Check out my other 2022 reviews here:

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

Evergrey – A Heartless Portrait (The Orphean Testament)

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Outshine – The Awakening – Album Review

Artist: Outshine

Album Title: The Awakening

Label: Rockshots Records

Date of Release: 13 May 2022

Overtly Gothic-sounding music is not normally something that I gravitate towards. Within my collection, I have plenty of material by the likes of Type O Negative and Paradise Lost, but then who doesn’t? That aside though, my quota of Goth rock/metal is pretty sparce to say the least. However, taken by the stark black and white cover artwork that adorns ‘The Awakening’, the fifth album from Outshine, and because I generally trust the music that comes from the Rockshots Records stable of late, I thought I’d give it a cursory listen at least.

Formed in Sweden in 2007, Outshine is predominantly a duo, featuring Jimmy Boman on guitars and vocals alongside bassist Niklas Ingvarsson, with other instruments performed by guests as required. They do reference Paradise Lost and Type O Negative as influences, but the press release also namechecks the likes of HIM and Sisters Of Mercy, bands with which I am far less familiar. Nevertheless, from what I do know, these are reasonable comparisons and influences to name, because the music here does have a hefty Gothic edge to it.

Predominantly, the Goth sheen comes from the vocal delivery from Boman, who has that rich, deep croon down to a tee. But that’s not all, because the music itself is generally a mid-tempo, with chunky riffs that straddle the rock and metal spheres, whilst each of the compositions is literally bathed in rich, dark, atmospheric synths and the classic tinkling of piano keys. I have to be really in the mood to enjoy this kind of thing, but there is one big ingredient in the favour of Outshine -the guitar tone. At one point of another in each of the songs, there is a note or three that is so deep, heavy, and resonant that I can’t resist it. Often it is accompanied by the rumbling bass to accentuate its heaviness and accompanied by strong atmospheres, but when it arrives, it makes me smile.

The other ingredient that works in Outshine’s favour is their ability to write songs that are catchy and melodic to a point where any misgivings seem to be a little mealy-mouthed. Not every one of the eight songs is a dead-set winner, but there is plenty enough throughout ‘The Awakening’ to ensure that my overall impression is one of positivity and enjoyment. Add to this a lyrical content that doesn’t just peddle the usual Gothic tropes, but instead explores the effect of the Covid-19 pandemic on the music industry and the effect of the ruling elite on society as a whole – it’s all just a little different, and I like that.

It helps that the first song on the album, ‘It’s All Lies’ is a bit of a belter. At over seven minutes in length, it opens with some bold synths and piano notes which take their time to resolve into the central melody of the song. The mid-era ‘Draconian Times’ Paradise Lost influences loom large, but when that guitar tone enters, I’m not really thinking of much except, ‘heck, that’s a nice sound’. From there, we get the ubiquitous synth-drenched chugging riffs whilst Boman explores thoughts about whether the media and the ruling elite can be trusted in the modern age. The closing sequence is suitably rousing and anthemic in nature too, rounding off a great opening composition.

The electronic sounds are fairly bold at the beginning of ‘Our Misery’, a shorter track that’s generally much quieter than its predecessor. There are some big riffs, but the verses are more stripped back, focusing on the vocals and melancholy atmosphere. ‘Love Is Dead’ then brings out the Type O Negative worship just a little more, with an altogether creepier tone to begin with. However, when the more opulent orchestration and piano notes kick in, followed by a strong, catchy chorus, the immediate similarities remain but are less immediate. At the end of the day, it’s just another strong, memorable composition that works to its strengths very well indeed.

Despite being a fairly consistent album in terms of quality, there are a couple of tracks that I’m less enamoured with, such as ‘Swe Hates Me’, or ‘No More Reasons’, even if the former is heavily influenced by Type O. For some reason, it just doesn’t have the same level of magic despite featuring some of the heaviest guitar notes on the album.

All is forgiven though with the introduction of the best song on ‘The Awakening’, which arrives in the shape of ‘Darkness Within’. For my money, it is the most sombre and melancholy of all the songs, which is saying a lot to be honest. It combines the misery with strong melodies, beautiful atmospheres, a killer chorus and stark lyrics, such as ‘It’ll be all over soon enough, you won’t feel a thing, this I promise you. I am the one you turned your back on’, which really have an effect on me.

In a nice moment of symmetry, the final track is another seven-minute track, ‘We Know Who You Are’, thus bookending ‘The Awakening’ with slightly longer compositions. It isn’t quite as powerful as the opener as far as I’m concerned, but I do love the final stages where you think the song has died in a sea of static, only to be resurrected via a moody orchestral section that has a vague Cradle Of Filth interlude quality to it, complete with ominous whispered vocals that see the album to a dark, uneasy end.

As I said earlier, this wouldn’t normally be high on my list of musical choices. However, because of the quality of the song writing and the performances, ‘The Awakening’ by Outshine is a really nice listen, with lots of ingredients that make it a record that I like returning to on a regular basis. It all means that if you’re partial to a spot of Gothic rock/metal, then I have no hesitation in recommending that you wrap your ears around this record at your earliest convenience.

The Score of Much Metal: 80%

Check out my other 2022 reviews here:

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Evergrey – A Heartless Portrait (The Orphean Testament)

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

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:

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

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:

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Radiant – Written By Life – Album Review

Artist: Radiant

Album Title: Written By Life

Label: Massacre Records

Date of Release: 22 April 2022

Sometimes, I feel the need to take a step back from the more vicious forms of extreme metal and mix things up with something altogether more melodic. Today, I’m doing just that with Radiant and their second full-length album entitled ‘Written By Life’. As the name suggests, this record has been inspired by the band members themselves, turning their own personal tragedies, milestones, and adventures into the songs that feature here. Each of quintet was involved, making this a truly collaborative affair. And that’s how it feels, despite Radiant being headed up by Herbie Langhans, the powerful and distinctive vocalist whose personal discography covers everyone from Firewind to Voodoo Circle, from Beyond The Bridge to Sinbreed and Seventh Avenue.

Not only did he sing on this record, but Langhans also produced and mastered ‘Written By Life’, with the mastering undertaken by the equally well-known Sasha Paeth at Gate Studio. Unsurprisingly, the music sounds strong, pulling every last ounce of strength out of the performances of guitarists Carsten Stepanowicz and Flo Gottsleben, bassist Markus Beck, and drummer Manni Spalka, not to mention himself.

Your personal perspective is likely to strongly determine your overall thoughts on this sophomore Radiant album because, if you’re looking for a solid album of well-performed, energetic melodic heavy metal with a touch of hard rock swagger at points, as well as some well-placed Euro cheese, then ‘Written By Life’ is likely to score highly with you. If you’re looking for something a little different, or off the beaten track, then you might end up being a little disappointed. Me, I’m going to get splinters because I’m sitting on the fence somewhere between the two camps. On the one hand, there’s a lot to like, but on the other, it doesn’t fully set my world alight and demand that I listen again and again. When I press play and listen, I enjoy what I hear, but I’m not compelled by the record to immediately return to the start and begin again.

If I’m honest, I’m seduced a little by the opening track, ‘Nightshift’, after which the same level of magic rarely returns within the remaining ten subsequent tracks. On it’s own, ‘Nightshift’ is glorious, a true 80s-influenced anthem of infectious up-beat intensity, with powerful melodies that lead to a hard rock/AOR-infused sing-along chorus. It is the kind of music that can turn a frown upside-down and make you smile. Complete with melodic lead guitar solos that call to mind the best harmonies of the NWOBHM movement, as well as a few flamboyant drum fills and galloping bass, it offers a bit of everything. I can’t sing the praises of this opening track highly enough.

I may be being a little harsh when I then suggest that this magic rarely makes a return appearance, certainly not to the same intensity at any rate. ‘Don’t Stop The Daydream’ is a thunderous follow-up, keeping the momentum going thanks to powerhouse rhythms and chunky riffs. However, the chorus doesn’t carry with it the same ‘stop everything’ vibe of its predecessor.

I don’t want to appear unduly unfair, so in order to focus on the positives, I’d pick out a few songs within the eleven that offer something genuinely positive. On that score, I’d have to begin with ‘Live The Adventure’ thanks mainly to the darker, more serious vibe, aside from the slightly unnecessary spoken word samples later in the song and at the very end. But regardless, the chorus is also one of the most pleasing and enjoyable for my tastes, a definite stand-out moment for sure.

Then there’s ‘Life Contagioned’ which provides a lovely hard-rocking groove and swagger that then segues into a moody bluesy verse. The chorus is the real highlight though, a real lighter-in-the-air style affair that delivers one of Langhans’ best vocal performances on the album. Here, his gravelly tones briefly disappear as he soars to the sky.

I’m not sure whether I’m hearing things, but as ‘Written By Life’ nears the end, the 70s classic rock influences appear to grow and dominate a couple of the later tracks. Whilst it’s not normally my ‘thing’, it’s hard not to grow fond of the strangely infectious chorus within ‘Twice A Week’, a song that begins intriguingly with bold string-led orchestration before acoustic guitars strum warmly.

And despite taking my time to warm to it, there’s a definite charm to the closing composition, ‘Hang Around With Friends’. The actual music itself may not light a fire under me, by lyrically, I connect to the song that’s clearly been written about these guys’ childhoods when friendship and camaraderie were the only things that mattered. Speaking as a battered and bruised adult, I love the sentiment of this song and its carefree vibe, as I think back to a similar time in my life with rose-tinted glasses. Sentimentality aside, I will concede that the chorus does eventually burrow its way in and ends the record on a genuinely fun and infectious note.

Overall, there is a lot to like about ‘Written By Life’, especially if melodic hard rock/metal is something you instinctively gravitate towards. A definite handful of songs hit the mark with me one way or the other, meaning that I derive enjoyment from listening to it. I’m just left a little frustrated with the consistency and the direction of travel here; after the first song, I was all in, excited to hear the rest of the album. But the same magic never quite returns for me, despite the best efforts of all concerned here. You may think very differently however, so I urge you to listen for yourself before passing judgement. Who knows, I’m probably in a tiny minority.

The Score of Much Metal: 78%

Check out my other 2022 reviews here:

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

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:

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Bjørn Riis – Everything To Everyone – Album Review

Artist: Bjørn Riis

Album Title: Everything To Everyone

Label: Karisma Records

Date of Release: 8 April 2022

If you are looking for an album to get the heart really pounding, the blood pumping, and those neck muscles moving, then this is not going to be the album for you. But then, many of you already knew that, didn’t you? Bjørn Riis is best-known as the co-founder and guitarist with Norwegian progressive rock band Airbag, but ‘Everything To Everyone’ is already Riis’ fourth solo full-length album. And, if you’re familiar with the music of Airbag, or any of Riis’ solo material to date, then you’ll already have a fair idea of what to expect here.

And what you get here on ‘Everything To Everyone’ is a collection of six songs that span around fifty minutes, and which provide nourishment for the soul rather than any kind of heavy attack on the senses. The music, as is Bjørn Riis’ way, will more likely put an arm around you, or feel like a warm blanket; it’s melodic, it’s progressive, and it’s also minimalist, allowing atmosphere and emotional depth into the material, making the listener think and feel things at the same time. Having surrounded myself with some uncompromising extreme metal of late, ‘Everything To Everyone’ is a welcome respite from the chaos, and I welcome its soothing tones eagerly.

Bjørn Riis himself undertakes a fair amount of the instrumentation, not to mention the entirety of the songwriting. But he’s joined by an impressive cast of guest musicians to help bring this album to fruition. Featured here are Henrik Bergan Fossum (Airbag), Kristian Hultgren (Wobbler), Simen Valldal Johannessen (Oak), Ole Michael Bjørndal (Caligonaut), Mimmi Tamba, Per Øydir, Vegard Kleftås Sleipnes and Anders Møller.

What I particularly like about ‘Everything To Everyone’ is its flow, meaning that it comes together very nicely as a whole, even though each song is very much distinct from the others. I also like the way in which Riis has provided a mix of shorter and longer songs here; sometimes an album of just longer tracks can become a little tedious or bloated. But on this record, we get the songs that extend well into double figures, but they rub shoulders with other songs that are only for or five minutes. Naturally an album like this is best enjoyed in one sitting, but there are other options for you if time is tight, or you need a quicker blast of music.

For all of the other positives within this record, there are two that stand out for me. The first is the melodic nature of the music, which aids with that feeling of familiarity and warmth, not to mention the richness of sound and the emotional aspect of the music. The second positive is Riis’ guitar playing, especially his lead solos. Often compared to David Gilmour, Riis is blessed with an ability to make the electric guitar literally sing. His notes are precise, his touch deft, and his solos have the power to hypnotise and break hearts at a hundred paces. Happily, ‘Everything To Everyone’ features both of these positives and therefore I am brought back time and again to immerse myself in the music.

Onto the tracks themselves, and there’s a lot to unpack within them, even if, on a first listen, everything feels quite smooth and simple. It’s a skill of Riis that he’s able to fool us like this, because once you get into the music, it’s surprisingly involved.

The album begins with the instrumental piece, ‘Run’, and I’m initially surprised by the energy that’s courses through it. The intro is dramatic, with a throbbing bass building up tension alongside an insistent, repetitive piano motif. From there, we’re plunged into 70s retro-rock territory which I wasn’t expecting if I’m honest. The song is actually book-ended by this vivacious 70s drive, with the middle portion much more recognisable as the work of Riis. The music falls away to almost nothing and we’re left hanging until slowly, the synths grow and an acoustic strumming enters. Gentle piano notes add another layer, as do some simple bass notes upon which a melodic acoustic guitar solo grabs me by the heart and fills me with warmth.

Up next is the eleven-minute ‘Lay Me Down’ which begins incredibly delicately. Riis sings with gentle emotion, later joined by the silky voice of Mimmi Tamba to inject something different and arresting to the composition. The soundscape is beautiful, only to give way to a heavier guitar riff to briefly punctuate the serenity effectively. Then in comes the first of many soulful, and emotional guitar leads from Riis, and I’m transported to another place – a place of stunning beauty from which I wish there was no escape. The increase in urgency leading up to the halfway mark also shows that Riis can rock out if he feels the need. The remainder of the song sees another slow burn build from minimalism to something more immersive, where Riis’ guitar is again the central focal point.

To be honest, the album doesn’t deviate too far away from this blueprint for the remaining four songs, but then you’d not really want it to, because why fix something if it isn’t broken? But far from broken, this album is dripping in understated class. I really like the swathes of synths that come out to play in the early stages of ‘Every Second Every Hour’, the longest composition on the album at over thirteen minutes in length. I like the way that it ebbs and flows with effortless grace, the acoustic guitars offering a lovely texture, alongside the layers of keys, the cleverly placed lead guitar embellishments, and Riis’ voice that is heavily effect-laden at times. Occasionally, we’re treated to a more muscular riff, but it’s the exception rather than the rule, but their inclusion adds to the drama throughout what is a gorgeous track.

A bold electronic beat is used to signal the arrival of ‘Descending’, an evocative and introspective instrumental piece that explodes with pent-up power in the second half. That leaves us with the title track to see us out, and it does so with some of the most poignant and immediate melodies on the record. The lyrics are moving, delivered by Riis and Mimmi Tamba again, giving them extra gravitas in the process. It’s a bittersweet closer in that it’s both sad and oddly uplifting at the same time, with a sense of hope lurking in the background.

All that I can say at this juncture is that ‘Everything To Everyone’ is another great body of work from Bjørn Riis, one of the most accomplished songwriters and talented guitarists currently plying their trade within the progressive rock sphere at the current time. The only criticism that could be levelled at Riis is that you already know pretty much what you’re going to hear when you press play. But when the music contains this much beauty, soul, and finesse, it’s hardly a criticism. Instead, I recommend you pour yourself a glass of wine, dim the lights and allow the magic of Bjørn Riis’ music to wash over you. You won’t regret it.

The Score of Much Metal: 90%

Check out my other 2022 reviews here:

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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