Avantasia – Here Be Dragons (Napalm Records) [Simon Black]
A new Avantasia album is for me always something to look forward to. I first came across them as late as 2015 when their special guest slot at Bloodstock was live streamed and was both bemused and blown away by the ensemble approach which took a whole raft of singers I recognised from a multitude of acts and presented them all together for 75 intense minutes.
To be clear, I don’t have a problem with that, otherwise my collection of 23 Magnum studio albums in multiple formats would be nothing short of hypocritical, and to anyone who hasn’t slavishly listened to all the precedent Avantasia records as much as I have isn’t going to notice anyway, so this is me microscopically splitting hairs for the sake of it for an album that is clearly simply knocking it out of the park, and for which a mere perfect score does not seem generous enough. 10/10This probably wasn’t the best festival for this act to break into the UK with, given the more Metal-orientated audience probably weren’t open to this Melodic Power Metal feast, but from that moment on I was completely hooked, and I’ve happily worked my way through the back catalogue long since.
What started off as a one-off studio project from Edguy’s frontman during downtime, has long since eclipsed the act that spawned it, and now Avantasia albums are a major event, and the tours continue to get bigger and better.
What started off as a one-off studio project from Edguy’s frontman during downtime, has long since eclipsed the act that spawned it, and now Avantasia albums are a major event, and the tours continue to get bigger and better.
You usually know what you are going to get with an Avantasia record, and the suspense lies in who is delivering it. With nearly every song being a duet between main man Tobias Sammet and a smorgasbord of possible talent, the mystery is always in just who he has managed to persuade to come on board this time and, perhaps more importantly, whether he has persuaded them to join the tour.
However, this album feels a bit different.
One of Sammet’s key talents is his ability to craft a song for his guest artiste that perfectly captures the essence that their fans would instantly recognise, whilst retaining the overall genre and ethos of Avantasia’s Operatic Metal roots. This time the album has a more consistent overall feel and sound, with the artists contributing to that tone consistently, rather than being totally pitched to the respective contributor’s strengths.
However, this album feels a bit different.
One of Sammet’s key talents is his ability to craft a song for his guest artiste that perfectly captures the essence that their fans would instantly recognise, whilst retaining the overall genre and ethos of Avantasia’s Operatic Metal roots. This time the album has a more consistent overall feel and sound, with the artists contributing to that tone consistently, rather than being totally pitched to the respective contributor’s strengths.
Part of that comes from the fact that those guests feel more like a permanent part of the family these days – to the point where it’s now an unusual release if it doesn’t include Michael Kiske, Bob Catley, Ronnie Atkins and Geoff Tate. That gives the release a bedrock, and Sammet a confidence to step forward and write what is clearly first and foremost an album for himself.
Joining them this time are Seven Spires’ Adrienne Cowan, H.E.A.T.’s Kenny Leckremo and Kamelot’s Tommy Karevik and Roy Khan. This probably helps with the confidence in keeping a more album-orientated tone, because with all these players firmly in the Melodic and Power Metal worlds, there isn’t the need to force a song to fit into a more left-field sub-genre groove with a fanbase less inclined towards Avantasia’s core sound.
As an album though, it took me a few spins to get the groove for myself. Normally the hook is around whoever the top billing guest is this time round, but this feels designed as an album in a way we haven’t really seen since original Metal Opera. Like a good concept album, it’s a full-on record, and needs listening to as such, gradually unveiling its depths with every spin. It stands up to them too, and for me although less immediate, is a much stronger release than 2022’s A Paranormal Evening With The Moonflower Society, which I really struggled with.
Consequently, I find myself struggling to narrow myself down to a short list of highlights (although the absolute banger Unleash The Kraken comes close), because there really is nothing that could be considered as a filler. If there’s a weakness, it’s in the Bob Catley contribution Bring On The Night – not because there is anything wrong with it (quite the reverse), but for that it feels very similar to some of his previous contributions.
Joining them this time are Seven Spires’ Adrienne Cowan, H.E.A.T.’s Kenny Leckremo and Kamelot’s Tommy Karevik and Roy Khan. This probably helps with the confidence in keeping a more album-orientated tone, because with all these players firmly in the Melodic and Power Metal worlds, there isn’t the need to force a song to fit into a more left-field sub-genre groove with a fanbase less inclined towards Avantasia’s core sound.
As an album though, it took me a few spins to get the groove for myself. Normally the hook is around whoever the top billing guest is this time round, but this feels designed as an album in a way we haven’t really seen since original Metal Opera. Like a good concept album, it’s a full-on record, and needs listening to as such, gradually unveiling its depths with every spin. It stands up to them too, and for me although less immediate, is a much stronger release than 2022’s A Paranormal Evening With The Moonflower Society, which I really struggled with.
Consequently, I find myself struggling to narrow myself down to a short list of highlights (although the absolute banger Unleash The Kraken comes close), because there really is nothing that could be considered as a filler. If there’s a weakness, it’s in the Bob Catley contribution Bring On The Night – not because there is anything wrong with it (quite the reverse), but for that it feels very similar to some of his previous contributions.
Crown Of Madness - Memories Fragmented (Transcending Obscurity Records) [Mark Young]
With a focus that is tightly fixed on the use of discord, of chord shapes that elicit feelings of tension and disharmony, Crown Of Madness have sought to lay their own path as to what death metal should sound like in 2025. Avoiding what appears to be the norm in terms of how heavy music is recorded they fashion songs that use common techniques – the rapid-fire double bass, the guttural vocals whilst using guitar lines that seem almost out of place when considered against what others are doing. I’ll be honest, it took me a while to get into this and at first, I was ready to dismiss it after the first listen but that would have been foolish on my part.
With a focus that is tightly fixed on the use of discord, of chord shapes that elicit feelings of tension and disharmony, Crown Of Madness have sought to lay their own path as to what death metal should sound like in 2025. Avoiding what appears to be the norm in terms of how heavy music is recorded they fashion songs that use common techniques – the rapid-fire double bass, the guttural vocals whilst using guitar lines that seem almost out of place when considered against what others are doing. I’ll be honest, it took me a while to get into this and at first, I was ready to dismiss it after the first listen but that would have been foolish on my part.
It starts with an instrumental opening track which didn’t offer any clue of how the next 9 songs would come in. The stabs of noise that follow with Sovereign Of Blood and Burdened, their stop start dynamic slowly got under the skin and there is a moment where you get it. They don’t fit that normal mould of death metal, with the barrage of riffs or super low vocals, instead they rely on the component parts to form a cohesive experience.
On Ashes Of Mine as an example, the drums provide that feeling of speed and movement that is so important (at least to me) and provide the foundation for the guitars to weave their spidery lines that ensnare you. They sound mint too, possessing that carefully balanced amount of grit to them too. Its incredibly measured and in doing so treats the listener with respect.
This isn’t to say that it is devoid of any grand guitar moments, the opening to When I Don’t Remember You has one of those, setting it up for the speed to be gently increased, those spider lines now spun faster whilst the drums reign percussive fire upon you. Its almost progressive in some respects and every part is built with precision.
It unfolds almost like there are two songs being played out, with the vocals and drums on one side and the guitars / bass on the other. It absolutely shouldn’t work but it does. I can’t pretend that it doesn’t infuriate me a little, probably because I’m prehistoric in terms of how I traditionally like my metal but I’ll repeat my earlier comment and say, ‘stick with it’.
Deafening then sideswipes you with a traditional opening battering of the ears, and suddenly we are in new territory, one inhabited by mad wizards who just happen to be in a band. It’s a technical marvel of rhythm and counter-rhythm, of superlative drumming and a lead break that is spot-on. Its also an instrumental and for once I’m glad because it’s a reset switch that allows for them to go a little heavier on Sea Of Fangs. Those melodic lines are still there, as well as the jangling chord stabs but with added intensity. I think if you watch this as a playthrough it would be mesmerising in the way that they just seem to bend sound to their will.
Deafening then sideswipes you with a traditional opening battering of the ears, and suddenly we are in new territory, one inhabited by mad wizards who just happen to be in a band. It’s a technical marvel of rhythm and counter-rhythm, of superlative drumming and a lead break that is spot-on. Its also an instrumental and for once I’m glad because it’s a reset switch that allows for them to go a little heavier on Sea Of Fangs. Those melodic lines are still there, as well as the jangling chord stabs but with added intensity. I think if you watch this as a playthrough it would be mesmerising in the way that they just seem to bend sound to their will.
Its technical with an emotional feel as each chord, guitar line is used with utmost efficiency and it resonates with you. Dreamless Nights No Longer hits you in exactly the same way but is no rethread. This is like watching an artist create new works that are strikingly different each time, but with using the same set of tools at their disposal. The way that they play with timings is just perfect as you cannot second guess what they are going to do at any given moment. I guess that was what the initial issue was that I had, listen to enough extreme metal you get certain cues as to what direction they are going to fall. Not on here.
Hollow Thresher provides a shortened edition of the songs before it, and still manages to squeeze a ton of stuff in there without sacrificing any of the great work that preceded it. What is great is that the overall approach espoused on Sovereign Blood stays in place for album closer The Great Design. By this point, you are either onboard or you jumped ship early on. That progressive touch is back again with some stunning work in there, and it’s something to behold that they wrap up having dropped an album that is so consistent. Depending on where you lie with your extreme metal this is either revolutionary for you or its going to annoy.
Hollow Thresher provides a shortened edition of the songs before it, and still manages to squeeze a ton of stuff in there without sacrificing any of the great work that preceded it. What is great is that the overall approach espoused on Sovereign Blood stays in place for album closer The Great Design. By this point, you are either onboard or you jumped ship early on. That progressive touch is back again with some stunning work in there, and it’s something to behold that they wrap up having dropped an album that is so consistent. Depending on where you lie with your extreme metal this is either revolutionary for you or its going to annoy.
Again, I might be behind the times and this could be common amongst death metal releases. It doesn’t feel like that, at least to me and it feels that because they have followed their own path, they have produced music that doesn’t sound like anyone else. In scoring it I’m troubled a little because it didn’t have moments of brutality or plain old audio assault that I associate with this genre. Reflecting on another listen, I’m happy that it doesn’t because its an original release, one that they should be very proud of. 9/10
Will Wilde - Blues Is Still Alive (Vizz Tone Records) [Dan Sierras]
Will Wilde returns with Blues Is Still Alive, an energized blues rock album doused with his signature harmonica style that is second to none. There is so much energy brought to this album that you’ll be grooving to it from the first note.
The opening titular track, features blues guitar legend Walter Trout handling lead guitar. And boy, do Trout and Wilde know how to intertwine their talents on their instruments. A whirlwind of electrifying harmonica and lead guitar that takes a familiar genre, but make it sound new. Followed up by the track Wild Man, Wilde keeps up the pace, with his harmonica blazing.
The backing vocals on the tracks Don’t Play With Fire, Girl’s Got Soul, and Learn How To Love courtesy of Lindsey Bonnick, Chloe Josephine, and Will’s sister Dani Wilde add some nice depth and soul to each song. And Greg Coulson on the keys stand out on the song Gypsy Woman.
Trouble Of That Girl another solid, upbeat track with Wilde showing of his harmonica skills. Stole My Love is more of a traditional slower blues track, but Wilde makes it his own with his signature harmonica style. Broken Dream Blues makes me feel like I should be in a smoky blues bar listing to this song with yet another great, slower blues track. Finally, Don’t Trust Me rounds out this standout blues album with yet another upbeat song where Wilde just amazes on his harmonica.
There’s a reason why Wilde was nominated "Instrumentalist of the Year" in the UK Blues Awards in 2024 and he definitely show a why on this album. He takes the blues to another level, and if you’re a fan of the genre (and even if you’re not) you really ought to give this album a listen. It’s a great blues-rock album. 9/10
Will Wilde returns with Blues Is Still Alive, an energized blues rock album doused with his signature harmonica style that is second to none. There is so much energy brought to this album that you’ll be grooving to it from the first note.
The opening titular track, features blues guitar legend Walter Trout handling lead guitar. And boy, do Trout and Wilde know how to intertwine their talents on their instruments. A whirlwind of electrifying harmonica and lead guitar that takes a familiar genre, but make it sound new. Followed up by the track Wild Man, Wilde keeps up the pace, with his harmonica blazing.
The backing vocals on the tracks Don’t Play With Fire, Girl’s Got Soul, and Learn How To Love courtesy of Lindsey Bonnick, Chloe Josephine, and Will’s sister Dani Wilde add some nice depth and soul to each song. And Greg Coulson on the keys stand out on the song Gypsy Woman.
Trouble Of That Girl another solid, upbeat track with Wilde showing of his harmonica skills. Stole My Love is more of a traditional slower blues track, but Wilde makes it his own with his signature harmonica style. Broken Dream Blues makes me feel like I should be in a smoky blues bar listing to this song with yet another great, slower blues track. Finally, Don’t Trust Me rounds out this standout blues album with yet another upbeat song where Wilde just amazes on his harmonica.
There’s a reason why Wilde was nominated "Instrumentalist of the Year" in the UK Blues Awards in 2024 and he definitely show a why on this album. He takes the blues to another level, and if you’re a fan of the genre (and even if you’re not) you really ought to give this album a listen. It’s a great blues-rock album. 9/10
Ironrat - Beneath It All (Argonauta Records) [Matt Bladen]
As Orange Goblin ride off into the sunset the return of Ironrat should be heralded as a way to fill the void. Both bands possess a knack for playing doom metal with a bounce to it.
Honed on live stages it's been 10 years since their debut Monument but they make a triumphant return to the studio with Beneath It All. The gap is due to some personnel changes, singer Chris called it a day for health reasons so the rest of Ironrat reconvened with restructured line up of Martin Wiseman (vocals/guitar), Wayne Hustler (guitar), Stuart Hillman (bass) and Gordon Wilkinson (drums).
So the core part of the band remains the same but Martin does a great job taking over the vocals as well. Ironrat are influenced by Orange Goblin, check out the bounce on Tip Of My Tongue. The doom riffs, harmonic guitars, and massive vocals but they also nod to the American sludgers like Mastodon (in the vocals definitely), some NOLA grooves and even grunge.
Beneath It All is only six tracks but they all capture exactly what you want a band like Ironrat to sound like, recorded as Foel Studios with Chris Fielding it's like sonic concrete, as the smoothness of the grooves harden into heavyweight doom. Burn takes you down the route of Sergeant Thunderhoof while Wasted picks up the pace again and drives into Obscene.
Ironrat are back, Beneath It All is filthy riff fuelled fun from Bradford and I'm glad they're back. 8/10
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