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Album Review

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Album ReviewReviews
May 16, 2023
Midnite Mitch

DevilDriver – Dealing With Demons Vol. II

DevilDriver fans know exactly what they want from an album, headbanging riffs with killer grooves that you can’t help but move to from first to last, and that’s exactly what Dez Fafara and the heavy groove lords of DevilDriver deliver with Dealing with Demons Vol. II. This marks the band’s 10th album in about 20 years, and for those of you who got into Volume I, be prepared for a harder hitting set this time around.

Straight out of the gates this album gives you that DevilDriver hit, I Have No Pity comes in hard with the groove orientated riffage over syncopated kicks, they know that’s one of their strong points, it’s one of the main reasons I love this band, it just drives the nail into the coffin and makes for a heavier track. The only thing I’ve ever had to say negatively about some of DevilDrivers tracks is that they can be so compressed in sound, that some of the riffs just have no room to breathe. I know that’s their sound and I still enjoy what they do but a couple of the tracks on here just reminded me of the way the modern metal sound is recorded and produced and I guess what I’m personally into.

Steve Evetts, who produced Dealing with Demons Vol I. and the Outlaws Til the End Vol. 1 albums is once again at the helm of this one, I mean, why would you change the goalie if he’s on fire right? The album production is very much the same as those albums but as I said at the start, these songs are written heavier than the previous album, but the mood is captured perfectly with songs like Bloodbath and Mantra. There is an element of southern style to a few of the riffs and melodies and I swear slide guitar, whether that’s been a thing since the Outlaws album, I’m not 100% sure but its wicked! The dual guitar work by Mike and Alex is incredible as always with their rhythm and lead work. Through the Depths, the first single off this album was a great choice, that chorus is catchy as hell and they released a film clip for it, Dez looks mad with white hair. My favourite off the album was a track called Bloodbath though. The riffs are dark and memorable, I couldn’t help but have this song on repeat. One of the other singles released was If Blood Is Life, and this track has that killer bouncy verse riff and big open sing along chorus that will definitely make the live setlist.

I feel with Dealing With Demons Vol. II, you aren’t necessarily getting something new per se, its more of what that do well, which is just going to add to their live element really. If you are a fan of Dez and the gents, then you know why you’re here and what you expect from a DevilDriver album. There are a few tracks that may convert some fresh minds to the cause but if you are expecting them to break their mold, then sorry. These tracks will convert to the live stage incredibly well and I’m excited to see which ones they choose to bring out, I honestly hope that Bloodbath makes the cut!

Dealing With Demons Vol. II was released on May 12 via Napalm Records, though you can order your copy today.

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Album ReviewReviews
May 10, 2023
Midnite Mitch

Cradle of Filth – Trouble and Their Double Lives

With the release of a Live album, you need to make sure that the production of each recording is top notch and that the songs were played spot on, unless there is a planned deviation from the original. Trouble and Their Double Lives, Cradle of Filth’s second Live album ever, since Live Bait for the Dead in 2002, is a compilation of live recordings spanning between 2014 – 2019, which brings you some of your favourite COF tracks live from across the globe.

The song choices for this album are a solid line up of classic Cradle of Filth, although it is missing some of my personal favourites, it’s still a great track list from start to finish. They have included Honey and Sulphur and Death of Love off Godspeed on the Devils Thunder, which I think has some amazing tracks that we never really get to hear live. Promise of Fever, off Damnation and a Day, a stand up heavy track on the Cradle spectrum makes the cut as well, another album I’d love to see more of live. The 11 minute track, Bathory Aria is placed about halfway through the album, such an incredible track and they do it well live.

Trouble and Their Double Lives starts off with one of the latest singles She Is A Fire, which is a new Cradle concoction bringing a great introduction to the next studio albums direction. For those of you who haven’t listened to it yet, it is along similar lines to the last couple of albums writing and production style. There is a cheeky second single halfway through the album Demon Prince Regent, there was a live footage video clip release alongside the album release. This track is incredibly melodic and heavy, another nice mix of a song to give further insight to the new direction. Cradle of Filth have been one of my favourite bands for the last 20 years, I have enjoyed the different approaches to each album, the concepts, the art, some of them have worked and some of them haven’t but it has always been them and I’m excited to hear what they come out with next.

Dani Filth is one of my all-time favourite front men, he wears the mantle well and in the last decade where I have seen them come out to Australia, I have seen him deal with hecklers, stage issues and poor crowd involvement and every time he has managed to turn it around. It’s good to hear some of the stage persona on this album as well as just his vocal work.

Listening to these live tracks brings back all the memories of the past shows I’ve seen. It’s great to reminisce on their shows, Nymphetamine will always make me think of watching a crowd slow dance, multiple couples, hand in hand, in the moment, dancing to gothic metal, I love being in this scene. There are tracks on here that cater to all Cradle of Filth fans, from all or most eras. Go out and get this Live album to tide you over until there is the release of a new studio album!

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Album ReviewReviews
April 25, 2023
Midnite Mitch

Enter Shikari – A Kiss For The Whole World

Its been 3 years since we ventured out into the great unknown with Rou and the gents from Enter Shikari. The Great Unknown can be an incredibly fickle thing, it can bring you to your destination quickly or you can wander, get lost and eventually rediscover yourself, which seems to be the path that Enter Shikari took. There were some doubts as to how long it could have been in between albums but with the brand-new album, A Kiss For The Whole World, a bright light has been cast in this current world of turmoil and uncertainty for everyone to look to for a piece of positivity in sound format.

Enter Shikari are one of the very few bands that I will try and listen to the lyrics before the music, being a little bit of a muso myself, I tend to gravitate to everything else first before lyrics, but these guys have always had incredible and inspiring lyrics, Rou’s messages are always worth a listen. The topics of choice for this album pass over, identities and Self-esteem or Self-worth, this is a very introspective album. Which makes sense, the time it was written was a solitary time for a lot of people, where else could you look but in?

With this record, they brought back a sense of DIY and freedom to their writing and recording process. Rou directed and produced the single video clips for (pls) set me on fire, It Hurts and Bloodshot and they went out to a farmhouse, powered off solar power, to try and rebuild themselves from the ground up. A Kiss For The Whole World is incredibly accessible to new fans, the music is light on the electronic aspect, incredibly catchy sing along choruses and rockin’ guitar riffs from start to finish. The album is only just over 30mins long, songs are straight to the point and with no real filler tracks, there are only 2 tracks that are the typical hardcore electro bounce that will be amazing in the live set for Rou to jump around to and they are the little outro filler track things they put in.

I couldn’t stop singing along after only a couple of listens of this album, all the choruses are catchy and have wicked hooks, my favourite track was Giant Pacific Octopus (I don’t know you anymore). It has such a catchy guitar and keys riff that got me right from the start. Lyrically it had me as well, dealing with the question of identity, go and check this one out! The singles for this album were a solid choice, (pls) set me on fire, It Hurts and Bloodshot, they show all the elements of the album and what to expect. Although they are great tracks, they aren’t the best off the album in my opinion, so that means you will enjoy the other songs more if you already liked them! Which is what I always hope when bands choose singles, don’t give away the best track straight up.

The new tracks from A Kiss For The Whole World will add more messages to the live performance, the introspective aspect is just another positive message for Rou to bring to the world. I was lucky enough to catch their gig at The Forum in Melbourne last year and their music translates live incredibly well, as well as their messages. The energy these guys bring out in their shows is incredibly positive and you can’t help but get into it. Stop doing your normal everyday routine, sit down, go get some sun and have a listen to this album. It pays to stop and think about something bigger than yourself from time to time and you’ve now got a perfect album to do that to.

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April 14, 2023
Casper

Overkill – Scorched

Prepare thyself world for the post ‘shitdemic’ riff ridden savagery of Overkill at their very, very finest…EVER.  

The news of an Overkill album has always been most welcome in my world, but with the coming of the twentieth offering, one feels somewhat justified in expecting something special.  What was not reasonable to expect at this stage of their career and well-established signature sound, was a groundbreaking collection of metal magnificence that sets an entirely new standard for used of the term triumphant.

From the opening solo on the title track, and the sheer brilliance that follows, the hairs elevate on the back of the neck, goosebumps appear on the epidermis, your breath is held for a moment and your heart skips a beat as the excitement of Overkill at their very best becomes apparent.

Every single element of the incredible track is sensational and delivered with all the masterful command one would expect from a four decade partnership and twenty album catalogue, but with such a delightful twist.  A blending of genres and development of the Overkill staple sound that is made manifest in a kaleidoscope of absolute metal appeal.  Goin Home takes that appeal to the next level before the placement of first single The Surgeon in the sequence reveals the true magic of this incredible album.  A beacon of delight to the Overkill faithful and a killer track in its own right but the song takes on an entirely new ‘personality’ when slicing its way in sequence through this this killer collection.  I remarked in a recent interview to Bobby that the constant success and righteous reign of Overkill as kings of thrash is testament to his masterful approach to both music and the inherent nature of the business, but with a riff ridden Overkill archetypal track The Surgeon being released as the assurance to the faithful that Overkill are as, if not more, brilliant than ever was a stroke of genius.  I still think I understated the appeal of the song.

But the same can be said of Wicked Place as the second single released from the album. Magnificent in its own right, complete with huge groove and the tow and raw, massive musical appeal establishing that Overkill is not only creating killer signature offerings, but also exploring and adventuring with diversity and sound development.  This track is brilliantly placed following the malevolent magic or Twist of the Wick it again takes on new appeal in album sequence.

Then Won’t Be Coming Back takes you in a completely new direction but firmly within the ‘feel’ of this epic metal journey, before Fever takes you gently into the realm’s melodic harmony…right up until the one minute mark when Overkill demonstrate that there will be a ebb and flow to this track. Just when you think you are comfortable the song morphs into something different again. What a groove.

Harder They Fall presents exactly as the writhing and thrashing offering you would expect from Bobby and the gang with a track of that title. Relentless and unforgiving. Expect MNS (mosh neck syndrome) from this beauty.

Know Her Name is another reminder of the vast experience and mastery of Overkill staples Bobby Blitz and DD Verni, illustrating their tremendous success in molding every band member to their characteristic sound whilst investing in the skill of each craftsman as contributing to the development of the groups never ending and tremendous appeal.  

It’s about now that you consider that with Colin Richardson mixing Scorched, just as he did for From the Underground and Below, Necroshine, Bloodletting and Killbox 13 there was a special significance to the bond reignited between Colin and Overkill.

Bag O Bones completes the collection to perfection and has one reflecting that with all the bad times that came from COVID lockdowns, the sound of Overkill was certainly not a casualty.  With time to create and recreate, perfect, and sculpt their twentieth offering, Scorched launches triumphantly from the ashes of pandemic destruction and soars gloriously and a true masterpiece, well worth the wait. 

All considered and in reflection of Overkill being the true masters of thrash, this album carries all the hallmarks of what fans of the band hold near and dear, but with so much more that is undeniably magnificent and will appeal to a wider audience than ever before.

The Overkill journey from 1980 – 2023 had culminated into the creation of a true metal masterwork as their 20th offering and a collection that should be represented in every music collection in the world. Let the glorious riffage and thrashing brilliance of Overkill spread like wildfire and scorch all in its path. 

As a parting note on cover art, it must be said that Travis Smith has done this album absolute justice and hit it out of the park yet again.

Bravura all contributors. Scorched is a monumental triumph and a thoroughly rewarding experience in every conceivable way. Ever home should have one as testament that not even COVID could stop the mighty Overkill.

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April 4, 2023
STM

P!nk – Trustfall

The musical landscape has been graced with many pop artists over the years, but few have the endurance and staying power of Alecia Beth Moore, more commonly known as P!nk. The powerhouse vocalist has proven time and time again that she can spend years on the road between albums and still manage to reinvent and reinsert herself into the musical conversation as though she never left. Just when you think she might not have more to say, she’ll quickly prove you wrong. TRUSTFALL, the singer’s ninth studio album, is a testament to this fact, and it showcases an artist who has matured while still having fun along the way.

TRUSTFALL is, in some ways, a tale of two varying paths. One path, is her ever-present pop road, which features the anthemic and uplifting songs that P!nk has become known for delivering album after album. The other path is a more folksy and ‘Americana’ a road in which P!nk has travelled more frequently in recent years. What is most impressive, however, is that she is able to navigate both worlds, finding success in each and presenting them in a way that feels interconnected.

The first track on the album, When I Get There, sets the tone for an emotional journey that explores themes of grief and love. P!nk, in a heartfelt tribute to her late father who passed away from prostate cancer in late 2021, pours her heart out in this sombre yet beautiful ballad. The piano-driven melody and P!nk’s vocals blend perfectly to create a sad yet uplifting tribute that lingers in the listener’s mind long after the track has ended.

The lyrics in the chorus are particularly touching as P!nk asks her father if there is a bar in heaven where he has a favorite chair, sitting with friends, and discussing the weather. The sentimentality of the words is apparent as P!nk longs for a sense of connection with her father, even in the afterlife.

Following the poignant opener, the album takes a sudden turn with the anthemic title track, Trustfall. The pace picks up, and the powerful energy is intense. Featuring a pulsing synth and heavy beat, this track is a stark contrast to the prior ballad. Nonetheless, it works well as it showcases the range of emotions that P!nk explores throughout the album, from grief to anger and everything in between. The contrast of these two tracks highlights the emotional waves of the album and sets the stage for a journey that promises to be both heart-wrenching and exhilarating.

A great example of this is the standout track, Turbulence.  It combines the elements of traditional rock and ambient pop, resulting in a strangely compelling sound encounter. P!nk’s passionate and inspirational vocals express a hint of sorrow in this mid-tempo ballad, as she emphasizes the idea that the difficulties of life are “just turbulence” and are only temporary.

Trustfall also features unique collaborations on the album, featuring three standout artists across different genres. One of these collaborations is with the beloved folk band, The Lumineers, on the soul-stirring track Long Way To Go. The slow and steady rhythm allows for the blending of Wesley Schultz and P!nk’s vocals which brings a depth of emotion that is sure to resonate with listeners.

The second notable collaboration on the album is with Swedish sisters First Aid Kit on the country-inspired track Kids In Love. Their harmonies are perfectly complemented by the acoustic guitar that underscores the song, giving it a rustic and nostalgic feel. The lyrics explore the longing for the simplicity and innocence of youth, and the haunting harmonies in which all three voices just melt together is truly moving.

The album’s final collaboration is with country superstar Chris Stapleton on the duet Just Say I’m Sorry. Despite its country roots, the track is surprisingly more of a ballad than a typical country song. P!nk and Stapleton’s vocals blend seamlessly, creating a sense of intimacy and raw emotion that is both powerful and heartbreaking.

In all three collaborations, P!nk shows her ability to work with different artists from various genres and create something truly unique and beautiful. Trustfall proves that she is not afraid to experiment with her sound and collaborate with others, resulting in an album that is diverse and captivating.

P!nk’s Never Gonna Not Dance Again is a shining example of her talent for crafting uplifting and anthemic pop music that motivates listeners to maintain a positive attitude in the face of difficult circumstances. The song’s lyrics, particularly the line One thing I’m never gonna do is throw away my dancing shoes, serve as a powerful call to action for any individual who may be struggling, inspiring them to keep dancing and persevering.

One of the highlights, and my personal favourite, of Trustfall is the catchy pop-punk tune Hate Me, which is a welcome surprise amidst the other tracks. With its snarling electric guitars and just-cheesy-enough lyrics, with its driving and defiant lyrics, it is infectious with a “shout-along-in-your-car” classic old school rock sound. Haters gonna hate!!!

Last Call, the acoustic-driven mid-tempo anthem, brings a refreshing shift by infusing a ’90s pop-rock vibe. The song continues the albums’ theme of positivity despite overwhelming challenges. P!nk’s lyrics, “Last call before the world ends/ Right before the avalanche/ Last call for us to make amends,” serve as a powerful reminder to seize the moment and reconcile before it’s too late. It’s as if this is the last chance to do so before everything comes crashing down.

Trustfall takes listeners on a fascinating exploration of love, grief, and personal growth. P!nk’s signature soulful vocals serving as the backbone of the album. As always, P!nk has expertly woven her personal experiences into the fabric of her music, resulting in a collection of tracks that are both relatable and inspiring.

One of the keys to P!nk’s longevity and success in the music industry is her ability to collaborate with some of the biggest names in music, giving her a versatile and contemporary sound that resonates with audiences across generations. This is evident in Trustfall, where P!nk effortlessly incorporates a range of genres and styles into her music, keeping her sound fresh and relevant.

It’s no surprise that P!nk has remained a fixture in the music industry for over two decades, thanks to her multiple hits and ever-evolving sound. With Trustfall, P!nk continues to prove that she is a force to be reckoned with, creating music that speaks to the heart of listeners everywhere

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Album ReviewReviews
March 23, 2023
Jodi Maree

August Burns Red – Death Below

For the uninitiated, August Burns Red (ABR) are a two-time Grammy nominated metalcore band from Lancaster Pennsylvania. Since their inception they have, for the most part,  been labeled a “Christian Metalcore” band. Whilst their members are indeed Christians, this in no way indicates that ABR preach , nor do they push any agenda. They are merely musicians who wish to entertain.and who pride themselves in generally promoting positivity and being positive influences.

Forming in 2003 while still in High School, drummer Matt Greiner, and guitarists Brent Rambler and John Benjamin (JB) Brubaker have been the foundation of the band, with vocalist Jake Luhrs and bassist Dustin Davidson both joining in 2006, and together they all remain to make up the current line up.

ABR have made a name for themselves as being a very melodic and atmospheric metalcore band, with some occasional progressive vibes also. Jake Luhrs, unlike many other metalcore vocalists, does not lend his vocals to both screams and clean vocals too much. His are mostly scream vocals.

The upcoming tenth studio album, titled Death Below, is due for release 24/3/2023, and features some heavy hitters in Jesse Leach ( Killswitch Engage) ,Spencer Chamberlain (Underoath), Jason Richardson ( Chelsea Grin and All That Remains) and also JT Cavey (Erra).

In fact the tracks featuring both Jesse and Spencer were some of the first to be released. Ancestry was released on November 3rd 2022, and Reckoning was released on February 22nd, both being received exceptionally well when you look at the plays across all platforms.

One thing that is apparent when listening to Death Below, is that this album seems markedly more deep, dark and personal. Given that writing for this album started right at the beginning of the global pandemic, it is not surprising that there is a vast array of heavy emotion transcending through both the lyrics and music. It was a time in the lives of our generation that was full of dread, with fear of the unknown at times becoming paralyzing for some people. Parts of the world were crippled financially, and we viewed our health, and our place in the world so much more differently than we did before.It took it’s toll on so many, yet, through music ABR have unleashed their feelings and have come through the other side with an album that is sure to be yet another success.

Opening with Premonition, this intro track lulls you in with an airy sound, with unusually clean spoken vocals and then smacks you fair in the face as it shifts seamlessly into The Cleansing. In very typical ABR fashion this is technically brilliant, with exceptionally captivating riffs, and a very likeable melody. At 7:48 minutes long, it takes you on a real  progressive sonic journey.

Ancestry, the track featuring Jesse from Killswitch Engage. is dark and heavy both lyrically and musically. It gets in your face from the get-go as it imparts on feelings of abandonment, and anger within the family. It can be interpreted to reflect many varied family situations and is sure to resonate with fans. This track is touted as being one of the darkest and most personal Jake has ever written. Definitely a highlight of the album for me.

Next up is Tightrope, with the added dimension of having Jason Richardson impart some of his touch. A moderate track of 4:14 long, it is intricate and powerful.

Leading in with a gentle and mesmerizing sound, Fool’s Gold In the Bear Trap quickly hits you with a wall of sound at 1:47 and  is unrelenting until the end.

Backfire has a really strong message within it, along the lines of being responsible for your own decisions. Don’t be influenced by others, and choosing wisely who you follow.

Revival is next, followed by Sevink, which is a 1 minute 23 second shot in the arm of hope and peace amongst all the darkness, or at least that’s how it felt to me.

Dark Divide and Deadbolt come next, both staying true to the ABR formula of searing riffs and solid breakdowns, however I personally found Deadbolt to be a little more catchy and memorable. I found myself going back to it over and again.

The Abyss is a track which  features artist JT Cavey. I found this track to have the cadence and melody of some old school thrash in parts which I really liked.

Reckoning closes out the album, featuring Spencer Chamberlain from Underoath, a band very close to the ABR boys, so it was a very natural collaboration.

All in all, Death Below is yet another feather in the cap of August Burns Red. They have consistently provided absolutely stellar music over the years, maintaining their style, their perfectly intricate musicianship and are a testament to the theory that sticking to the formula that works for you, is often times what the legions of die hard fans want to hear. They don’t vary too much from their tried and true way of doing things, and that’s ok. If you like it ,you like it. And if you don’t, then you don’t. Masses of metalcore fans across the globe love it, and that is a great reason to keep following the path that has brought them so much success to date.

Death Below is out 24/3/23, so if you like what you have heard from August Burns Red before, be sure to check it out. It’s been a long time since we saw them here in 2019, so let’s hope we can get the boys back down, as their last tour kicked some serious ass.

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March 19, 2023
Raelee Atkinson

Kamelot – The Awakening

Kamelot are an International Symphonic Power Metal Band. I say International because Founding member Thomas Youngblood is an American, as is Bassist, Sean Tibbetts, then there is German Keyboardist, Oliver Palotai, German drummer Alex Landenburg and Swedish singer, Tommy Karevik. 

Kamelot formed in 1987 by guitarist / composer Youngblood, in Tampa, Florida, USA. There have been numerous member changes throughout the years, one of the most notable is singer/songwriter Roy Khan who was in the band from 1998-2011, referred by many as ”The Khan Era”. To this day, you would be hard pressed to find a KamFan who didn't have a soft spot for Roy Khan and the contribution and legacy that Khan left with Kamelot. So in 2011 when Khan suddenly quit the band, it was some huge shoes for the relatively unknown Swedish vocalist, Karevik to fill. Tommy Karevik joined Kamelot as a fully fledged member of the band in 2012 for their 12th album (10th studio), Silverthorn.  The Awakening is Kareviks fifth Kamelot album, (fourth studio album). His other band, Swedish prog metal outfit, Seventh Wonder, released a cracking album in June 2022, The Testament,  followed by some touring, so now, it's all systems go for The Awakening album release and World Tour, starting now, in Europe. 

The last album from Kamelot was 2018’s The Shadow Theory and then during covid-struck 2020, we got the live album, I AmThe Empire. So, it's been well over four years since we've heard new music from Youngblood and co. 

The Awakening opens with the now expected, orchestral instrumental intro track, Overture – Intro, which invariably leads right into a pounding fist-to-the-face power metal track, this time it is called The Great Divide. Midway through after a smoking lead guitar solo by Youngblood, Tommys beautiful voice breaks through to sing the bridge, “… come break my bones, don't leave me dying, sticks and stones won't have me crying, even if I fall, I will keep trying, you will see my wings unfold…” the vocal laying is stunning, this leads us into the chorus and key change until the songs end. Its Kamelot is all their glorious epicness and I just bought up all the tickets for this ride. Next up is the new single, Eventide, a power metal track complete with machine gun drums and beautifully heavy guitar riffing. It has a catchy chorus and I find myself humming and singing along,“Shine your light in Eventide, Companion til all hope has died, Until life and death will reunite, Your song shall guide me through, My house of pain”. Then it's time for the first single, One More Flag In The Ground.  An anthemic song designed for fist-punching the air, “I am a soldier, I'm marching into battle, I am a warrior and this is my creed, One More Flag In The Ground.” I can easily imagine that this song is well received live, enticing the audience to sing along loudly. It's also perfect for a sporting event. A rousing and relentless anthem. The fourth track is the second single, Opus Of The Night (Ghost Requiem). This is a kind of part two to the song Ghost Opera from the 2007 album with the same name. Where some fans were divided on whether or not they liked the first single, the second was well received by most who found its harkening back to a much loved album, a lovely piece of nostalgia. This track also features cello by Tina Guo. I love this song and I sing along to the chorus,  “Rise to the queen of the symphony, watch her step into the light, Surrender your heart to the melody, She’ll sing to you the Opus of the Night”. Right at the end, Tommys breath brings a lump to my throat. Midsummer's Eve begins with a piano and strings intro, again featuring cellist Tina Guo. It has a celtic feel to it, then Karevik’s stunning voice breaks through, “Still unkissed, maiden of mist, don't let your soul go to waste, come pain, come grief, come precious relief, memories fade in the dark …”. It's a beautiful, sweet, romantic ballad that pulls at the heartstrings. The piano, violin, cello and acoustic guitar give it a “stripped down, acoustic” feel , but this is a full production track, complete with orchestration. Tommy has a real knack for putting so much emotion into his vocals, and this song is a prime example of that.  Around the 2:45 – 3:25 mark, there's a beautiful cello solo by Tina Guo that Wednesday Addams would love. And then Tommy sings us through to the luscious end. Bloodmoon begins with strings and a disco beat drum, I'm having Saturday Night Fever flashbacks until Youngbloods crunching guitars come in and we are back in metal territory. There are some catchy melodies on this track, both vocal and guitar. “I am burning the letters I wrote in my mind, To silence the voices that haunt me”. The more I listen to this song, the more it grows on me. It's kind of funky. It's a vibe.  Nightsky begins with a futuristic sounding synth that bounces from left to right. I have immersive headphones on and this sounds so cool, then the drums and bass kick in with the choir and I'm transported into the dark of night. In the second verse, Tommy sings “Even in the small-all-all-est vibrations, I am there, the whisper in your veins, To run like the river..”. The way he sings that word  “smallest” is just delicious. Next is The Looking Glass, and we are deep in power metal land now. The drums are driving the song and the guitars and bass chug. The title makes me think of Alice In Wonderland and this song definitely feels like Alice just fell through the rabbit hole and into a metal gig. Alice is in the moshpit with the white rabbit and the mad hatter and then I realise we are at the pre chorus, and it's so catchy, as Karevik sings “I'm making my way through the shallows, I'm washing the ashes away”, Youngblood plays a fantastic little guitar riff over the top of his vocals and it's like earcandy, I need more so I go back and repeat that bit a few times. Yummy!. I really love the lyrics, too. “What if the heart was never broken, How can we stand up and walk, If we never learn how to fall, and what if the truth was left unspoken, There's a way for us all, To make peace with the pain”. Wow!  New Babylon opens with choral and symphonic bombass. The kind I love. I knew I was going to enjoy this track, but I wasn't prepared for just how much.  This song features the vocal stylings of Melissa Bonny of Ad Infinitum. Ad Infinitum have a new album due to be released on March 31st, and are currently touring Europe supporting Kamelot, so Bonny is performing this and other songs with Kamelot each night.  Kamelot loves to play with the beauty and the beast concept, by twisting it on its end and having harsh vocals performed by women contrasted with the sweetness of Tommys poppier vocal style.  Ms Bonny does a stirling job on this track. This is the masterpiece song of the album. It's HUGE! It's big and bombastic, in your face, chaotic  and unapologetic. It's exhausting just listening to it, so to follow it with the power ballad, Willow is perfect. This is Kareviks lane. He has the perfect voice for a ballad, singing with deep emotion,  “Thank you for your humble grace, So motherly the love you gave me, In your care I grew to be, The man I have become”. The final song on The Awakening with lyrics is My Pantheon (Forevermore). Tommys expressive voice leading the way to power and symphony. Heavy drums and guitars juxtapose piano. “Born into violence, Our tethered souls, Keep asking questions why…”. Bonny’s clean and harsh vocals feature on this track also. The album rounds out with another instrumental, Ephemera – Outro, which I'm sure will be the song Kamelot will use to exit the stage after their performance. It's a big orchestral and choral soundscape that would fit easily on a movie soundtrack.  

I'm a KamFan, I love both Khan and Karevik’s vocal styles, and their original bands, Conception and Seventh Wonder. I also love the drummer's other project, Cyhra with Jake E. I love Epica, Amaranthe, Arch Enemy, and Ad Infinitum – in fact, all the female fronted bands who have toured with Kamelot and vocalists who have shared the stage with them during particular songs. Everything about this band is my vibe, so I've been looking forward to hearing new music from Thomas Youngblood since before the pandemic. It has definitely been a lesson in patience.  I've been excitedly awaiting the release day of The Awakening all year. Counting down three singles that have been released and finally I am hearing the album in full from Intro to Outro. I have to admit this makes me so happy. I'm bubbling with joy at hearing this album.

As with all Kamelot albums, the listener is taken away on an epic soundscape, often otherworldly by design. The choral and symphonic orchestration brings a lush atmosphere to the overall sound of the album.  Thomas Youngblood is a gifted composer and he has a real talent for finding the right players to execute his music beautifully. The production is top notch, as we've come to expect, with Sasha Paeth once again at the helm doing an incredible job of bringing it all together perfectly. I'm not an engineer or drummer, but the mix on the drums is primo. I don't know if this is because of the style of newest member, drummer Alex Landenburg, or if it is just the way they wanted it mixed this time, either way, I love it. Sean Tibbetts bass and the drums hold the power metal together and Oliver Palotai’s keyboards and Thomas Youngbloods guitar riffs fill in the missing pieces to present us with a stunning symphony.

Tommy Karavik is an amazing singer/songwriter. I've enjoyed listening to his evolution as a member of Kamelot. With each album, he seems to be injecting more and more of himself into the Kamelot soundscape. His vocal gymnastics are beyond impressive. I really love how he has respectfully adopted some of the vocal “Khan-isms” that older fans originally gravitated to. The background vocals and layering are fantastic. With The Awakening, Tommy has pulled out all the stops to take the listener on the album's emotional journey and he does it with aplomb. 

Before I had even listened to the entire album, based just on the three singles alone, I was already rating this album as one of 2023’s highlights, and now, … I stand by it.  It was totally worth the wait! And now it's on high rotation in my home. The Awakening by Kamelot is available on all streaming platforms and good music stores, released on the 17th of March through Napalm Records. 

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Album ReviewReviews
February 20, 2023
Midnite Mitch

In Flames – Forgone

Review by Mitch Charlton

Straight off the bat, this album reminded me of why I put on an In Flames album, it has all the right ingredients, heavy, diverse, bouncy, and catchy as hell, this is In Flames in true fashion. You know when you hear a track and you get that hit of nostalgia, remembering the first time you put them on and the reasons why you liked them in the first place? This is what I felt when I put this on, welcome to Forgone.

In Flames have now been around the scene for 30 odd years, I can only imagine what kind of pressure or strain that can put on creativity. There is nothing new here from them, it’s brilliantly performed riffage just like their previous albums but the biggest stand out is that it has a different energy to it. You know when you hear a track, and it just takes you back to being a teenager or whenever you first heard a band and you get that excitement? That’s what I got when listening to this. This is album number 14 for In Flames and I was just excited for this release as I was back when Come Clarity was released in 2006, and that was only from hearing the singles.

The album opener, The Beginning Of All Things That Will End, is incredible, I’ve always enjoyed their acoustic pieces and melodies, it was something different they used to do on older albums and they still do the dual guitars and melodies so elegantly, and it’ s only going to get better from here on out with Chris Broderick on guitar, damn that guy can play! Word on the street is, that he wasn’t involved too much in the overall album writing process but did sprinkle his flavour on solo’s throughout the album.

One of the singles, State of Slow Decay with its Straight Outta Gothenburg sound, just hit home. It sounds like they wrote it in a jam session with At The Gates, it has that old school melo death vibe. Anders’ vocals are the perfect mix for each scenario as always, laying down that killer melo death growl and then straight into those big chorus cleans. Listening to Pure Light of Mind, this song is an incredible song of light vs dark, it is well written and catchy as hell, a perfect example of how good Anders vocals really are.

Meet your Maker, another one of the singles released before the album drop, sounds like it comes out of Come Clarity era In Flames, I loved it, fast paced, melodic with that classic chorus hook that makes a single great! The single choice for Forgone was brilliantly chosen, I was excited to hear the rest of the album just from the energy of these first couple of tracks released.

With their upcoming shows at Knotfest, I am really keen to see and hear how these tracks go live. I can imagine songs like The Great Deceiver really getting that crowd moving with the opening riff and then into the stomping verse riff. Its been a little while since In Flames were here to bring the goods and with this new album under their belt, it’s gonna be one hell of a show!









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Album ReviewReviews
February 11, 2023
Raelee Atkinson

Delain – Dark Waters

DELAIN is a Dutch female-fronted symphonic metal band formed in 2002 and is the brainchild of former Within Temptation keyboardist, Martjin Westerholt. They have just recorded their seventh full length album. As a person who loves the Symphonic metal genre I've enjoyed the DELAIN albums in the past, Apocalypse and Chill (2020) being their standout for me.

In case you're not aware,  long story short … in February 2021 four members of the band left en masse, leaving only the original founding member, Martjin Westerholt. For the most part it seemed the split was amicable and done quietly and as classy as these situations allow.  There was some speculation as to why four members would just up and quit the band when they seemed to have finally hit their stride as a group, but most people simply figured it was just another casualty of covid and lockdowns.

In February 2021, Westerholt posted on the official DELAIN instagram account, “For the last year or so, the collaboration within the band ceased to work as well as it once had. Some of us were no longer happy with the current roles in the band. We all tried very hard to find a solution for over a year but sadly we are unable to find one. As a result we will all be going our own ways and pursuing our own endeavours”. You don't expect to hear from a band again once there's a mammoth split like that, but in June 2021, Martjin Westerholt made an announcement that DELAIN will be continuing with a new lineup and they were working on a new album.  Westerholt has brought back the original drummer and guitarist and added some new talent, most notably, new vocalist, Romanian born Italian resident, Diana Leah (Diana Orga). Leah, 32, was previously known as a Dance / Trance vocalist.  All of this considered, when I put the new DELAIN album on my list of albums I'd like to review, I did so out of curiosity. Not sure what to expect. 

On the 9th August 2022 The Quest And The Curse was released as the brand new single and music video for the brand new DELAIN, and introducing the brand new vocalist.  It was followed on November 29 by a second single, Beneath featuring singer Paolo Ribaldini. January 10th 2023 saw the third single released, Moth To A Flame. The new album, DARK WATERS, is finally released on Friday, so here’s my thoughts. 

Dark Waters begins with Hideaway Paradise, a rock tune with a pop sensibility that suits Diana's voice perfectly, it's a toe-tapper and great track to open the album, that easily leads into the epic symphonic bombass of The Quest and The Curse, with its catchy hooks that get you singing along and banging your head. The introduction of choral chanting and Diana's lilting vocals had me smiling, ahh, now this is more my vibe. Leading us straight into second single, Beneath, featuring vocals by Italian born Helsinki based, Paolo Ribaldini (Skiltron, Beast In Black, Rhapsody Of Fire) begins with an ocean soundscape setting the scene for the theme of the song then introducing crunching guitars and driving rhythm by the bass and drums. I particularly enjoy the background vocals on this track, which add to the atmosphere of the song. The last minute of the song is my favourite moment of the album. Mirror Of Night featuring Within Temptation guitarist Ruud Jolie is a heavy power ballad complete with choir backing and a piano and vocal interlude leading to a big keychange taking us through to the song's end. The drama continues as Tainted Hearts starts with drums and a choral introduction before Diana enters the song with a Sharon den Adel-esque melodyline and vocal sound. The Cold is a classic symphonic metal track. Opening with a big, full sounding orchestra and choral chanting, leading into the distorted riffy guitars and heavy drum and bass rhythm, you can feel this is epic. This soundscape is bold and lush. Ending at a modest 4:37 I could have easily listened to another minute or so of that. Next up is latest single, Moth To A Flame, a song which Diana Leah says is “a song about being addicted to a situation or a person that you know is not that good for you but you keep going back to relive the excitement or pain of that time.” It starts with Leah singing acapella, the guitar riff sounds familiar and I suddenly have Separate Ways by Journey stuck in my head. This is a very approachable up-tempo track that is classic rock 101 with catchy hooks and rhythms that will have you humming and drumming along. An obvious choice for a single. Of Queen Of Shadow, Diana says “is about someone who is living stuck in the past and can't seem to break free of it.“ Orchestral synth leads the way to catchy guitar riffs and a heavy rock sound and then the song suddenly takes a wonderful turn and becomes a duet with Paolo Ribaldini. It's like honey to my ears, so I play it again. Then it's time for Invictus opening with heavy orchestration, choral chanting and guitar chug. Leah's voice comes in low and ominous “you're heading towards your own destruction…”, ooh so this is the “dark” part of the album. Well, no, not really, however, the song progresses into a heavy track with Paolo Ribaldini and Marko Hietala’s (ex-Nightwish, Tarot, Northern Kings) throaty rasp adding some masculine texture to the vocals which really makes this track quite delicious. The album closes out with Underland another atmospheric song with choir and synth orchestration. Nice clean pop-rock style vocals. There's a cool guitar hook and chuggy riff a’la Nightwish. It's a great way to round out the album and come full circle. The fade out at the end tho, sorry, not a fan.   

DELAIN has always had this interesting dichotomy of symphonic metal juxtaposed with other genres of metal and even elements of softer rock and pop. Unlike other, similar bands in the genre who tend to stick pretty close and true to the symphonic metal borderline, DELAIN seemed to enjoy mixing things up a bit on previous albums, and this is what set them apart and made them interesting. With Dark Waters, it seems that they are staying firmly within the boundaries this time. Dare I say, playing it a bit safe? The tracks lead into each other and create a soundscape atmosphere, which is great if you're going to listen to the album from go to woah. For the purists, they will approve of this move as this album feels like there is more cohesion compared to past ones. To the ones who enjoyed that “whoa, where'd that come from” aspect in the past, you may be disappointed. For fans of previous singer, Charlotte Wessels’ vocal style and tone, rest assured, DELAIN is in safe hands with Diana Leah, who holds her own and does a stellar job of stepping in as the new vocalist. While I listened to Dark Waters, there were times I forgot that there was a new singer, it feels like a pretty seamless change of players, and with the rejoining of the original guitarist and drummer, this feels more like a revamp than a total makeover. I'm pleasantly surprised at how much this album has grown on me. If you enjoy this genre of music, or are a fan of DELAIN’s previous work then I recommend you definitely check out DELAIN – Dark Waters available on all streaming platforms from Thursday 9th February and instore and online through NAPALM RECORDS.

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