After nearly four decades of riding the waves of rock's ever-changing tides, FM are back with their 15th studio album Brotherhood.
Steve Overland's voice remains one of British rock's most underappreciated treasures, and on Brotherhood, he sounds revitalized, enthusiastic, and more technically proficient than he has in years. From the opening salvo of the title track, his soaring vocals cut through Jim Kirkpatrick's wall of guitars like a beacon in the storm, reminding us why FM have endured when so many of their contemporaries have fallen by the wayside.
The album opens with Do You Mean It, a statement of intent that immediately establishes the record's central themes of loyalty, perseverance, and the bonds forged through shared struggle. The rhythm section of Merv Goldsworthy on bass and Pete Jupp behind the kit provides the kind of rock-solid foundation that allows Overland and Kirkpatrick to soar, proving once again that great rock music is built on the bedrock of exceptional rhythm work. It is also worth noting that the backing vocals from Sonia Jones and Jade Morgan really are terrific additions.
One of the album's standout moments comes with Raised On The Wrong Side, a mid-tempo rocker that perfectly encapsulates everything that makes FM special with Overland's vocals riding atop a wave of perfectly constructed harmonies.
The album's emotional centrepiece might well be, Just Walk Away a powerful ballad that demonstrates FM firmly understand that the best ballads are simply great songs performed with restraint and emotional honesty. Overland's vocal performance here is particularly moving, conveying vulnerability without ever sounding weak, passion without melodrama.
Brotherhood also benefits from excellent production work that captures the band's live energy while maintaining the clarity and punch necessary for modern rock radio. The guitars have genuine bite and presence, the drums punch through the mix with authority, and Overland's vocals sit perfectly in the pocket without ever feeling buried or overly prominent. It is the sound of a band that knows exactly who they are and what they want to achieve.
The album's latter half maintains the high standard set by its opening tracks. Chasing Freedom has all the elements for the perfect weekend radio-ready drive aesthetic but with that sense of familiarity and safety that long term fans have come to expect.
What strikes me most about this album is how effortless it all sounds. This is not a band straining to recapture past glories or desperately chasing contemporary trends. Instead, FM sound like musicians who have found their groove and are simply doing what they do best—crafting melodic rock songs with genuine heart, exceptional musicianship, and an intuitive understanding of what makes a great rock record.
Brotherhood is most certainly and an album that rewards repeated listening, revealing new layers and subtleties with each encounter. In short, it is everything you could want from an FM record and more. 7/10
Insomniac - Om Moksha Ritam (Ripple Music) [Rich Piva]
I can’t imagine what it must be like to lose a band member, but what would be even more difficult would be losing a band member weeks before your debut record is coming out and have to do all the pre release stuff that goes along with a new release and try to keep it together the whole time, as much as possible at least.
This is what the guys in Insomniac decided to do in honour of their lost founder, guitarist, and friend, Mike Morris, dedicating everything to do with their debut record, Om Moksha Ritam, to him. I want to spend time on the music for the review, so I am going to focus this write up on how great the eight songs on this debut are, though even this review is dedicated to Mike.
When I spoke with Insomniac’s drummer Amos (on the Rich & Turbo Heavy Half Hour, listen and watch where you get all your favorite podcasts) he mentioned a review he read about Om Moksha Ritam that called the album “meditative metal”. I would love to give credit to who came up with that, because it is perfect. The songs are heavy, but not in a doomy clunk you over the head way. This is all about atmosphere. Swirling yet heavy guitars. Awesome vocals that occasionally head in a more chanty direction but for the most part remind me more of something on the post punk side of the house, while occasionally heading towards an early midwestern emo thing.
When I spoke with Insomniac’s drummer Amos (on the Rich & Turbo Heavy Half Hour, listen and watch where you get all your favorite podcasts) he mentioned a review he read about Om Moksha Ritam that called the album “meditative metal”. I would love to give credit to who came up with that, because it is perfect. The songs are heavy, but not in a doomy clunk you over the head way. This is all about atmosphere. Swirling yet heavy guitars. Awesome vocals that occasionally head in a more chanty direction but for the most part remind me more of something on the post punk side of the house, while occasionally heading towards an early midwestern emo thing.
Snow And Ice is such a perfect example of where you get all of the beauty in one song. While there are eight separate tracks on Om Moksha Ritam, you get the most out of this listen by ignoring the boundaries of start and stop times and just let the album play, with your eyes closed, and let it take you away. The production on this record is perfect for the vibe, and the guitar work by the late Mike Morris is some of his best work, as all he wanted to bring to the project was his psychedelic guitar stylings. Mission accomplished.
This record is pure beauty. If you like Craig Williamson’s more hypnotic and trippy stuff like Lamp Of The Universe, or want your shoegaze with more metal and spirit, or your psych to be a bit doomier and worldly, then check out Om Moksha Ritam. Words are hard here for everything to do with this record, so just go listen. Do not sleep on Insomniac. 9/10
Jord - Emellan Träden (Hammerheart Records) [Mark Young]
Jord have released what could the almost perfect accompaniment to the changing of the seasons as we bid adieu to summer and hello to the autumn. I mean we are not quite at the falling leaves stage just yet but the nights are coming in a bit and with that in mind let’s talk about Emellan Träden.
This record is pure beauty. If you like Craig Williamson’s more hypnotic and trippy stuff like Lamp Of The Universe, or want your shoegaze with more metal and spirit, or your psych to be a bit doomier and worldly, then check out Om Moksha Ritam. Words are hard here for everything to do with this record, so just go listen. Do not sleep on Insomniac. 9/10
Jord - Emellan Träden (Hammerheart Records) [Mark Young]
Jord have released what could the almost perfect accompaniment to the changing of the seasons as we bid adieu to summer and hello to the autumn. I mean we are not quite at the falling leaves stage just yet but the nights are coming in a bit and with that in mind let’s talk about Emellan Träden.
It’s the 4th release from the Swedish outfit who continue on their journey within atmospheric black metal and do it rather well. I appreciate that for some (I’m included in this) that atmospheric ‘anything’ is probably not your go to form of music and possibly find it a turn off. If I’m honest sometimes the end result doesn’t have the desired effect the artist craves, again probably because I’m not in the correct head space for it.
However, on this it lands differently. I’m not quite sure why this is the case, as what we have is nothing that you won’t have heard before in terms of this genre but it just feels different. Its opening track, Stay has an almost gentle start, but its positive in its execution. Even when the traditional Black metal rhythm kicks in it maintains that stance.
What it does do is rather than have a meaningless introduction that segues into the song, the build does it all in one go so that as it moves forward it does so in a logical and emotional manner. They effectively bring a number of ideas together and stitch them in a way that you can see the join. It builds its atmosphere as easily as drawing breath, restrained in some places, extreme in others and as it does what I hoped it would do; build to a raging end.
In 7 minutes, they have given you what I consider to be a classic opening track, one that they then follow up with Hon Kallar. It goes the other way from Stay, going with that full on assault that is standard for black metal. Given what this is, they pull back and go on full choir, backed up with a sumptuous rhythm that elevates it then bang the gas is it and we are back on that full on attack. Again, you have heard this done before but the way that it lands is imperious.
And this is the thing, and I think it’s the reason why its I’m enjoying this is because they get it, they understand that behind any atmosphere building, it also has to be a snarling, beast that grabs by the neck. Jord understand that and that is why that opening salvo is so good. It continues in this vein, from the piano led King Of The Night that utilises that softer approach aligned with a metallic sheen, especially when the guitars kick in over to Vid Muren which has that classic bm slow tempo at its start, that expands, bringing in the double bass and then the blasts.
And this is the thing, and I think it’s the reason why its I’m enjoying this is because they get it, they understand that behind any atmosphere building, it also has to be a snarling, beast that grabs by the neck. Jord understand that and that is why that opening salvo is so good. It continues in this vein, from the piano led King Of The Night that utilises that softer approach aligned with a metallic sheen, especially when the guitars kick in over to Vid Muren which has that classic bm slow tempo at its start, that expands, bringing in the double bass and then the blasts.
Its straightforward sounding without being straightforward, those little touches just changing things to make it differ. That’s the key, they don’t rely on swelling keys and then say its atmospheric. Their atmosphere comes from the songs they write, the way that they put them together and they know when to go down a particular route.
Take Den Brandgula Salen, it changes things again, the backing has a not-quite euro pop stance to it (please don’t @ me) whilst the vocals come slicing in and its actually one of my favourites on this because it ploughs forward whilst not caring a jot if it sounds like traditional black metal. The Grave And Chain follows up and returns to familiar ground, a repeated melodic line that provides the basis for the song to grow from and ultimately is the most typical sounding song here and as a result is a little lacklustre, especially if this was the closing track.
However, there is a bonus track, Bortom Tundran which goes some way to redress this. A song that is haunting and possess superb arrangement that just rises and rises with Jörgen Ström vocals that power through it and for me it is the song that should close this album.
And that is that. It is a very good album that those who don’t dig atmospheric metal will love because they get it right. 8/10
Pareidolon - The Unattainable Shore (Self Released) [Matt Bladen]
Eight years since the debut album from Canadian proggers Pareidolon was released and featured in these here pages to critical acclaim, they finally get around to releasing a follow up record.
They haven't scrimped on the content though recording 67 minutes of music for this second full length that showcases the virtuosity of all involved with this band. I'm unsure why the record has taken so long but these things happen, thankfully Pareidolon have returned with a bang, grabbing your attention straight away and proving that the debut album was no fluke.
In Distant Orbit builds brilliantly with cosmic keys and synths from Anna Katarina, the influence of Pink Floyd, Porcupine Tree and King Crimson sure fire comparisons to the cinematic scope of the band, the interplay between Katarina and guitarist Ashley Pearce is a thing of beauty, the galactic concept of this record boosted by both of their contributions, be it fluid melodies or sublime solos.
Emotional Tides (The Unattainable Shore) brings the jazzy rhythm section from Lachlan Tocher on bass, Aybars Savat on drums, the Mellotron and Moog utilised perfectly to step into that Steven Wilson/Opeth darkness, booming bass drops edging the middle into Meddle, as Lachlan moves into a bass solo and the off time, stop start main riff kicks back in until close.
Two songs of seven and the prog is very much still with Pareidolon. It's not all elongated epics and shifting time signatures, Ghost Ship is shorter and adds the Celtic flavours of Curved Air or bands in the British prog scene, the vocals of Zayda are wonderful here with a fragility and a sense of remorse that just works beautifully.
The diversity Zayda shows on this album is extremely impressive, adapting the clever storytelling lyrics of the Invasion, Part III: Return To Earth which is highly influenced by Yes while on Exhaust/Manic, there's that slightly unnerving and jarring style of distorted jazz rock that King Crimson used on 21st Century Schizoid Man.
By Voie Aerienne though you're totally prepared for a 24 minute, conceptual prog rock opera, which weaves it's way through different soundscapes as these virtuosos switch between metal, rock, jazz, electronica, ambient and lots more as they gain the same kind of musical scope as say Dream Theater do with their conceptual epics.
As they channel all the emotions that was stirred up on Voie Aerienne into the haunting final track The Ebb And Flow Of Heartache which slow burns, building into a cathartic Djent driven close. A follow up definitely worth the weight from Pareidolon, this just about as good as progressive music gets! 9/10
And that is that. It is a very good album that those who don’t dig atmospheric metal will love because they get it right. 8/10
Pareidolon - The Unattainable Shore (Self Released) [Matt Bladen]
Eight years since the debut album from Canadian proggers Pareidolon was released and featured in these here pages to critical acclaim, they finally get around to releasing a follow up record.
They haven't scrimped on the content though recording 67 minutes of music for this second full length that showcases the virtuosity of all involved with this band. I'm unsure why the record has taken so long but these things happen, thankfully Pareidolon have returned with a bang, grabbing your attention straight away and proving that the debut album was no fluke.
In Distant Orbit builds brilliantly with cosmic keys and synths from Anna Katarina, the influence of Pink Floyd, Porcupine Tree and King Crimson sure fire comparisons to the cinematic scope of the band, the interplay between Katarina and guitarist Ashley Pearce is a thing of beauty, the galactic concept of this record boosted by both of their contributions, be it fluid melodies or sublime solos.
Emotional Tides (The Unattainable Shore) brings the jazzy rhythm section from Lachlan Tocher on bass, Aybars Savat on drums, the Mellotron and Moog utilised perfectly to step into that Steven Wilson/Opeth darkness, booming bass drops edging the middle into Meddle, as Lachlan moves into a bass solo and the off time, stop start main riff kicks back in until close.
Two songs of seven and the prog is very much still with Pareidolon. It's not all elongated epics and shifting time signatures, Ghost Ship is shorter and adds the Celtic flavours of Curved Air or bands in the British prog scene, the vocals of Zayda are wonderful here with a fragility and a sense of remorse that just works beautifully.
The diversity Zayda shows on this album is extremely impressive, adapting the clever storytelling lyrics of the Invasion, Part III: Return To Earth which is highly influenced by Yes while on Exhaust/Manic, there's that slightly unnerving and jarring style of distorted jazz rock that King Crimson used on 21st Century Schizoid Man.
By Voie Aerienne though you're totally prepared for a 24 minute, conceptual prog rock opera, which weaves it's way through different soundscapes as these virtuosos switch between metal, rock, jazz, electronica, ambient and lots more as they gain the same kind of musical scope as say Dream Theater do with their conceptual epics.
As they channel all the emotions that was stirred up on Voie Aerienne into the haunting final track The Ebb And Flow Of Heartache which slow burns, building into a cathartic Djent driven close. A follow up definitely worth the weight from Pareidolon, this just about as good as progressive music gets! 9/10
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