Rival Sons – one year ago today I heard the Jay-bird sing live

Posted on December 14, 2015 by coralmccallum

A chilly Sunday evening mid-December saw me heading to Glasgow for the last gig on my calendar for 2014. The band of choice – Rival Sons at the city’s O2 ABC venue.

First on stage was Jameson, a blues influenced musician from California. He appeared a little nervous and slightly lost at first. Just one man, his guitar and his amp. At the end of the day, what more do you need? Content from his current ep “Carnivore” dominated his short set. Loved the easy laid back style of this guy. Highlight of his set was “Breathe Your Last”, the current single. Would’ve loved to hear more. Perfect start to the evening.

Next up were Swedish band Blues Pills, fronted by the beautiful and quirky Elin Larsson. I’m pretty sure she instantly won over every man in the room! They played a solid half hour set.  Some fabulous drumming on display by Andre Kvanstrom. Elin’s vocal performance was a mix of Lzzy Hale meets Janis Joplin. Loved the fact she chose to sing one track in her native tongue. Highlight of the set was “Devil Man”. Check these guys out. You won’t be disappointed.

I’m going to be honest here – I had no idea what to expect from Rival Sons. There were no clues to be gleaned by assessing the audience- it was a very mixed crowd that made up this sell out show. I had also been cautioned that Jay Buchanan’s voice was suffering a bit.

Shortly before nine, the guys from California took to the stage amid instantly appreciative cheers. The loudest of which were for guitarist Scott Holiday (or were they for his trademark moustache?)

Rival Sons opened their set with “You Want To” which was quickly followed by “Pressure and Time”. “Electric Man” was the first of six songs in the set from their current album “Great Western Valkyrie”.  With a barrage of flashing spotlight beams, Scott Holiday and bassist David Beste launched into the distinctive opening riff. Jay Buchanan, armed with a tambourine, poured his heart and soul into his vocals. His gyrations on stage have to be seen to be believed!

I’ve been trying to find appropriate words to describe Jay Buchanan’s stage presence and failing. At times, it’s as though he is undertaking a shamanic ritual rather than a vocal performance. His “dance” movements vary from being very fluid and graceful to being jerky and robotic, almost as if ever move pained him. On occasion, he looked like a marionette being controlled by a drunken puppeteer. Frequently he was reduced to his knees on stage by the powerful emotions the performance was stirring. It all felt a bit false and over the top, for my personal taste. I’m not detracting from his vocal abilities as Jay Buchanan has an incredible voice. Just sing the song with a little less amateur dramatics, please.

Scott Holiday, for me, is without doubt the star of the show. I’ve never seen a guitarist change guitar so often during a set – nor seen one who “tosses” his guitar to the guitar tech with such faith that it will be caught safely! With multiple solos throughout the set, Scott Holiday held court on stage nicely and with an air of mischief in those twinkling eyes.

Highlight of the main set was “Where I’ve Been”. After an emotional build up to the background of this song, marred by a loud mouthed Glasgow drunk, Rival Sons played a stunning rendition of this song. Yes, Jay Buchanan’s voice was suffering a tad but the extra huskiness added that je ne sais quoi to proceedings.

The main set ended with a fantastic performance of “Get What’s Coming” and the band left the stage to thunderous cheers.

A few minutes later, Rival Sons returned for their eagerly awaited encore. During “Open My Eyes”, Jay Buchanan discarded his jacket and shoes. Barefoot, he stood and delivered a stunningly beautiful performance of “Sacred Tongue”. The piece de resistance was yet to come. The incredible “Jordan” had crept back onto the set list. Awesome song. Emotional powerful performance. Loved it!

“Keep On Swinging” brought proceedings to a close for the night.

A nice touch at the very end that I really enjoyed was that Rival Sons brought out both support bands to share their final bow and the rapturous Glasgow cheers. Nicely done.

 

(previously published via PhoenixMusicOnline)

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Flashback Friday blog–one year ago today-SMKC at the SSE Hydro Glasgow

Posted on December 4, 2015 by coralmccallum

 

tagged 20The first Thursday in December marked the last UK show of the European leg of Slash featuring Myles Kennedy and the Conspirators’ (aka SMK&C) World on Fire tour. They rounded things off at the SSE Hydro, Glasgow in front of an almost capacity crowd.

First on stage were Australian band Twenty Two Hundred. They seemed to take to the stage ahead of the published time and suffered a little from a lack of audience. (A lot of fans were still only just arriving at the venue.)The sound quality wasn’t great during their short seven song set but un-deterred these guys gave a stellar performance. A band well worth checking out.

Next up were California Breed, a relatively newly formed band fronted by the legendary Glenn Hughes, of Deep Purple fame. By now, the arena was almost full and the sound quality had improved dramatically. Personally, I was a little anxious about seeing this band for two reasons. One – I haven’t really warmed to their self-titled debut album. Two- could Glenn Hughes voice still match expectations? California Breed surpassed my expectations and proved to be the ideal support band. By the climax of their nine song set, they had the Glasgow crowd well and truly on the boil for Slash. Highlights of their set were “Scars” and “Midnight Oil”. And boy can Glenn Hughes still sing! Check them out!

After a brief thirty minute interval, the house lights dimmed and raised a couple of times as the spotlights shone and the intro tape of creepy clown/funhouse music played until finally SMK&C took to the stage. They launched straight into “You’re A Lie”, promptly following this with “Nightrain” and, one of my favourites, “Halo”.

Slash just quietly gets on with the job in hand, smiling under his trademark top hat and aviator shades while effortlessly playing his Les Paul. In fact, all of them seemed relaxed and smiling and this shone through during the entire twenty one song set.

Dressed in tight black jeans and a loose fitting grey vest (swoon…) Myles Kennedy displayed exactly why he is one of the greatest rock voices around today. He delivered a stunning performance!

The vocal chores were delegated briefly to bassist Todd Dammit Kerns. His performance during Dr Alibi proved he is underrated as a vocalist. He can really deliver a tune! Watch out, Myles.  Fantastic number!

Six songs from SMK&C’s new album “World On Fire” made their way into the set. My personal favourite from these was “Beneath The Savage Sun”. Myles told the audience that he would need a little help with this one. The Glasgow choir didn’t need a second invitation!

Two other highlights of the main set harked back to Slash’s Guns N Roses days. Hearing “Rocket Queen” live for the first time was incredible and Slash’s fifteen minute solo mind-blowing. Yes, it’s a bit of an indulgence for the man in the hat but, when you play guitar like he does, it’s allowed. And who doesn’t love “Sweet Child O’ Mine”? Another fantastic performance here from Mr Kennedy.

The main set drew to a close with a rendition of Bad Company’s “Feel Like Makin’ Love” that led nicely into “Slither”, the only Velvet Revolver song of the night.

Amid appreciative cheers SMK&C returned for their encore, accompanied by Glenn Hughes and Andrew Watt from California Breed. They joined SMK&C to perform the Deep Purple classic “Burn”. Watching Myles sing alongside Glenn Hughes is a memory that will live with me and many others for a long time to come. Simply awesome!

All too soon they were bringing the evening to a close with “Paradise City”, their standard set closer. Confetti rained down on the fans, filling the hood of the guy standing in front of me and my handbag- oops. There really is no better way to end a show. An awesomely eargasmic night that truly set Glasgow, if not the World, on Fire!

 

© Coral McCallum – originally published via PhoenixMusicOnline 2014

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Bleach – Caught In A Lie EP

Posted on November 22, 2015 by coralmccallum

Bleach

Bleach are a young and up-and-coming four-piece band from Greenock, a small town on the west coast of Scotland.

Caught In A Lie is their recently released debut EP. Running to four tracks, this EP was recorded  by Soundshape Production and produced by James MacKenzie.

The Nirvana legacy runs deep and strong throughout this band, from their name through to their strong musical influences. (Add in a dose of Oasis too) Bleach describe themselves as an alternative, hard rock band but they can’t deny the grunge era influences. Not necessarily a bad thing.

Caught In A Lie opens with Blind. This opener resonates with this young band’s youth and passion for what they are doing. It’s raw. It’s full of energy. It’ll definitely catch your attention!

Tell Me Why follows on. This is the single from the EP and is perhaps the strongest performance from the band. There’s a more mature edge to this track. They are working a little tighter as a musical unit. It’s all a bit slicker. Tell Me Why is the most commercial of the four tracks, making it the ideal single choice. This one deserves all the radio air time it can get!

I’m To Blame is currently my favourite of the four tracks. Love the guitar intro. Gentle and controlled. Nice vocal control here at the start from front man Josh Cunningham. My only minor criticism  is that the drummer Adam Beaton could have displayed  a lighter touch on the hi hats as they enter the frame. Great song! Great effort!

The EP draws to  thunderous close with the heaviest and “biggest” of the four tracks All I Want. This powerful up-tempo rock song showcases the potential here. This one must be a monster when played live!

Bleach are most definitely a young band to keep an eye on for the future. Caught In A Lie is a fantastic solid display of their talents and their potential is clear for all to hear. I look forward to seeing them develop their own unique Bleach sound and for the influences of their musical icons to take a back seat. All in good time…

 8/10

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A Night With The Necromancer – Crobot at The Cathouse. Glasgow

Posted on November 15, 2015 by coralmccallum

There was a good reason I didn’t board the customary 525 to Glasgow last Thursday night. The simple fact was that the later train still got me there in plenty of time, considering the venue for the evening is a mere fifty yards from the station.

So I rebelled and caught the 543, chaperoned for the evening by Boy Child. It had been way too long!  (149 days since my last live music fix- the drought was finally over)

This was my first visit to Glasgow’s legendary Cathouse and, as I was climbing the steep stairs up to the hall, the names on the front of the treads read like a “Who’s Who” of rock history. Some big names have hauled their gear up those stairs!

First to take to the stage were Buffalo Summer. I’d seen this four piece band from Wales just over a year ago when, along with Aussie rockers Massive, they supported The Treatment. I’ll be honest, I’d been luke warm about them that night. This time round however was a different story! They’ve grown tighter as a group. Their sound seemed harder and bolder and they were oozing confidence throughout their short opening slot.

I always suspect opening for anyone in Glasgow is a tough gig but there were a few Buffalo Summer shirts on display in the crowd and these boys very quickly had the small but growing audience on side. Highlight of their set for me was Down To The River. Great song! Good solid set.

Buffalo Summer

It was all a bit DIY on the stage crew front as Buffalo Summer dismantled their set up and trotted off carrying various drums and guitars. As they moved out, Scorpion Child moved in.

Hailing from Austin, TX, Scorpion Child were a new band to me. Quite deliberately I hadn’t looked them up before the show. I wasn’t disappointed! This five piece band delivered a fabulous set. With very strong late 60’s/early 70’s influences to their music, Scorpion Child built on the energy generated by Buffalo Summer.

I have to confess that vocalist Aryn Jonathon Black’s choice of attire made me smile. He looked to have stepped straight out of a 1970’s mail order catalogue. Mr Littlewoods or Mr  Sears 1973!  That said, the “look” matched the music to perfection.  Great set! I’d go back to see these boys again.

Scorpion Child

More DIY stage crew efforts, with a couple of roadies thrown in and the small stage was swiftly turned round again.

The mighty Crobot were in the room!

Their first Scottish headline set opened in spectacular style with Legend of a Spaceborne Killer. Killer opener! Legend was swiftly followed by Skull of Geronimo. Two huge numbers to open with.  Crobot had grabbed the crowd by the ba…  😉

Their eighty minute set was split almost fifty fifty with old and new tracks. Out of the six new songs that they treated the crowd to, my favourites were Serpent Shepherd and Easy Money. All boding well for a new album due to be released next year sometime.

Highlights of the night for me were La Mano De Lucifer and Queen of the Light.  I love La Mano De Lucifer! The control and delicacy of the intro section had the crowd  held in suspense as they sang along with Brandon Yeagley then “THUMP” the rhythm machine of Jake and Paul Figueroa kicks in along with the guitar wizardry of Chris Bishop. Awesome song! Queen of the Light is as close to a ballad as these boys get. I love the atmospheric guitar work from Chris at the start and this song is perhaps Brandon at his finest.

Despite the low ceiling and an extra low central beam running the depth of the stage, Crobot delivered a passionate, fun and athletic set. All four of them were in a playful mood  up there. Watching Chris Bishop’s high speed 360 degree guitar swing trick is a sight to behold, particularly in what seemed from the rail to be a tight space. Neat trick, sir! I was equally impressed too that despite the low ceiling, Brandon managed to leap onto Chris’s shoulders for a brief spell. Sheer skill! Bassist Jake Figueroa delivers the most passionate performance. He appears to share a very intimate relationship with his bass throughout every song.

Crobot ended the night with Fly On The Wall. Awesome end to a fantastic show.

Crobot

Almost eighteen months ago I promised these boys that I’d be on the rail if they headlined a show in Glasgow. I kept that promise. In actual fact that’s the third time I’ve been on the rail to watch them play in Glasgow. I fully intend to be on that rail every time they play Glasgow!

Special thanks to Jake for passing me Brandon’s set list at the end and huge thanks to all of Crobot for signing it for me.

Hurry back, boys, and bring that new album with you!

Crobot 2

Crobot 3

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Dorje – Catalyst EP

Posted on November 11, 2015 by coralmccallum

dorje

UK rock band Dorje released their latest EP Catalyst on 6 November.

Dorje are:

Rob Chapman – vocals and guitar

Rabea Massaad – lead guitar

Dave Hollingworth – bass

Ben Minal – drums

Not yet a household name, however these guys have a huge legion of followers on You Tube, including my Boy Child, who drew them to my attention.

Dorje is a Tibetan Buddhist term meaning a representation of a thunderbolt in the form of a short double trident or sceptre, symbolising the male aspect of the spirit and held during invocations and prayers.

Catalyst runs to five tracks and some twenty-five minutes of music.

Dorje signature track Aeromancy starts the musical chemical reaction here. This track debuted in 2012 but has been taken by the throat, shaken and stirred and re-energised for 2015. There’s a prog rock vibe here. Hints of Pink Floyd perhaps?

Title track and single, Catalyst, is powerful. It’s emotional. It’s rock radio station friendly. It’s beautifully balanced. Rob Chapman’s vocal is outstanding. His enunciation is superb. His voice has developed into a very distinct style. The vocal on this track is very Josh Groban-esque. Not a name usually associated with alternative rock. Another musical influence shines bright here with strong hints of Mark Tremonti in the flawless guitar work. Love it!

All has a very soothing zen start to it. An intro that  wouldn’t be out of place on an Alter Bridge record. The listener’s ears aren’t lulled for long as this track builds to a powerful climax.

Written is perhaps my personal favourite on this EP. It’s quirky. It’s different. The start is organised musical chaos but it swiftly develops into a track sure to prove to be a “live show” anthem. Awesome chorus. Very catchy and filled with fun.

White Dove is the final track on this all too short offering from Dorje. Now here is something entirely different! Look out those Lycra/Spandex pants, back-comb that hair and dig out the hair spray. This is good solid sleazy 1970’s style rock fit for a slot at The Roxy or The Troubadour on Sunset Strip. Inspired ending to this EP.

Catalyst is truly a thunderbolt of musical genius, leaving Dorje’s growing fan base offering up prayers for more!

8.5/10

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Sevendust – Kill The Flaw

Posted on October 13, 2015 by coralmccallum

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I’ve arrived late to the Sevendust party.

I first listened to this band a couple of years ago when I stumbled across their 2008 album Chapter VII: Hope & Sorrow. (Yes, the reason for checking them out was the guest vocal appearance by a certain Mr Myles Kennedy.) Last year they captured my attention again with their largely acoustic record Time Travelers and Bonfires. It was Karma. Love it!

I’ll confess to hesitating momentarily before purchasing Kill The Flaw. There was such a lot of social media hype going on! Was this album really going to be that good? How much growling would fill the tracks?(I am no fan of growling – sorry.)

That said, I downloaded it on its Oct 2nd release date and I’ve played it and played and played it.

Kill The Flaw is Sevendust’s eleventh studio album. No mean achievement in itself.

The album opens with the lead single Thank You. Despite a gentle introduction, you are soon left in little doubt that this is classic hard and heavy alternative metal – classic Sevendust.

One of the stand out tracks off this album for me personally is Letters. It’s not as heavy as some of the others but it’s no lightweight ballad either. It showcases Lajon Witherspoon’s vocal talents and highlights the controlled talents of John Connolly and Clint Lowery on guitar. Stunning track.

Cease and Desist is awesome. Again it’s not classic Sevendust. Absolutely adore the opening section of this track. Stunning richness and warmth to the tone of Lajon’s distinctive voice. This song has a bit of everything to offer. Part hard and heavy; part ballad. A skilful blend well executed.

Chop is another stand out track. An eclectic mix of Southern influences guitar, solid bass line (good job Vince Hornsby), a powerful vocal performance again. Terrific chugging riff mid-song!

Final track Torched sends this album out in a blaze of glory. Undeniably more metalcore influenced than the other ten tracks this one contrasts starkly with some of the earlier sounds. Powerful hard and heavy. Scorching ending to this album.

If I had to single out one star of this album, it’s drummer Morgan Rose. Superb throughout!

All in all Kill The Flaw is pretty much flawless.

I may have arrived late to the party but I’m guessing I’ll be here until the bitter end. Sevendust have well and truly won me over with this one. When’s the UK tour, boys?

8/10

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Hollywood Vampires

Posted on September 29, 2015 by coralmccallum

hollywood-vampires

When you hear about a charity record by one of rock’s biggest names and one of Hollywood’s biggest stars, you tend to sit up and take note.

When the stars concerned are Alice Cooper and Johnny Depp, you REALLY take note!

Three years ago Alice and Johnny Depp got together and decided to resurrect the Hollywood Vampires – minus the alcohol content.

In the early 1970’s the original Hollywood Vampires were “a drinking man’s club”, born in the upstairs bar of the Rainbow Bar and Grill on Sunset Strip in LA. Says Alice, “To join the club, one simply had to out drink all of the members.”

Three years down the line, in tribute to many of the founding members and to raise funds for MusiCares, the Hollywood Vampires album has been unleashed on the world. Primarily an album of cover versions, this is one charity record you will want to invest in…trust me.

The record opens with a dark tale, The Last Vampire, narrated by the late great Sir Christopher Lee shortly before his death. This sets the scene beautifully for what’s to follow!

It’s nigh on impossible to single out one particular track on this record.

Guest stars turn up to play on every one of the fourteen tracks. The CD booklet reads like a “Who’s Who” of the music world. You’ll find Zak Starkey, Ringo Starr’s son on drums during My Generation. AC/DC’s Brian Johnson duets with Alice Cooper on Whole Lotta Love. Dave Grohl plays drums on One/Jump Into The Fire while Perry Farrell shares vocal chores with Alice. Come And Get It sees Sir Paul McCartney multi-guest not only on vocals but also on piano and bass. Jeepster finds Aerosmith’s Joe Perry on guitar. No celebrity charity record would be complete without a guest appearance by Slash. He joins an all-star line-up which includes Alice, Johnny Depp, Brian Johnson and Joe Perry on School’s Out/Another Brick In The Wall pt 2. Awesome stuff.

Johnny Depp plays a mean guitar on each and every track plus backing vocals on one, proving he’s more than capable of holding his own as a musician among these rock icons.

Is this the best album to be released this year? No.

Are these the best cover versions of these classic rock tracks? Probably not.

Is there talent, passion for music and a damn fine listen on here? Hell, yes!

This record’s highlight for me is the closing track, Dead Drunk Friends. It’s a poignant reflection on the inspiration behind the Hollywood Vampires.

“I’m raising my glass and tossing it back,

But I can’t remember why….

So let’s have another for all of my brothers

Who drank until they died.

My dead drunk friends.”

To those, we fans, loved and lost too young.

9/10

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credits to the owners of the images sourced via Google

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Shinedown – Threat To Survival

Posted on September 21, 2015 by coralmccallum

Shinedown

I’ve waited with bated breath for this album’s release for a long, long time.

When Shinedown released Cut The Cord as their first single from the record, I listened and thought “This is a bit different.”

I’ve been a Shinedown fan for a long time, ever since I first heard The Dream on Us And Them then the mighty Heroes in my cousin’s beat up old truck. I love these guys.

So what does Threat To Survival deliver?

There’s no denying that this record is very different to its predecessors. It is noticeably more commercial but, at the end of the day, business is business and these boys like every other band need to make music that will earn them valuable air time. Have Shinedown sold out and gone too pop/rock? The jury is still out on that one.

The album opens with Asking For It. With strong echoes of The Kaiser Chiefs, this will surely be a crowd participation anthem when the band tour this record. Huge chorus.

Cut The Cord comes next. With the schoolkid choir and Barry Kerch’s crashing drums, this is the angriest track on the record. It’s strong and powerful and different. Again, sure to be a crowd pleaser in due course.

Already though I was thinking “Has this record been written aimed solely at huge arena audiences?” Hmmm….I wonder.

There are eleven tracks on Threat To Survival but there are very few “stand out” songs among them.

It All Adds Up is instantly toe tapping with its simple, effective drum opening. Vocally this one has the warmth and richness to Brent Smith’s voice that Shinedown fans adore. However, overall, it feels too polished; too clean. I just doesn’t quite add up.

Black Cadillac is one of the highlights on the record and sounds more like you expect Shinedown to sound. There’s just a bit more of an edge to this song but this black Cadillac has been waxed to within an inch of its life.

Misfits rounds off the record. This is a beautiful ballad. Not in the same league as The Crow And The Butterfly but it’s lyrically a fantastic track. It echoes of Shinedown’s past but that warm timbre of Brent’s voice is tragically absent. What should have been the star here remains a misfit.

Throughout the album there’s glimpses of Shinedown’s brilliance and the band of old. I feel they are to be commended for trying something so radically different but it’s left me luke warm. This record isn’t trying to replicate any of its predecessors, a fact that the band have made quite clear. For me though, it has neither equalled nor bettered any of them. It’s a stratosphere away from the Sound of Madness.

There’s a line in the track How Did You Love that reads “cause castles crumble, kingdoms fall and turn into sand.” This may prove to be prophetic.

I just hope this record doesn’t prove to be a threat to Shinedown’s survival.

7/10

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Iron Maiden – The Book Of Souls

Posted on September 9, 2015 by coralmccallum

ironmaidentheookofsoulscd_

What is there left to say about Iron Maiden that’s not already been said?

It’s been five long years since their last studio album, The Final Frontier. An album I always had a sneaky feeling that was better than it had a right to be. Stunning record. Love it!

Could Iron Maiden surpass its class and brilliance with The Book of Souls?

The Book of Souls is Maiden’s 16th album in their four decade history and is their first double album.

Double albums tend to send chills down people’s spines. Can they really sustain the anticipated quality of new music over some ninety plus minutes?

The answer is a resounding “Hell, Yes!”

Opening track If Eternity Should Fail begins with a slightly spaghetti western feel to it but within seconds Bruce Dickinson has bewitched the listener. “There is the soul of a man.” “Time to speak to the shaman again.”

That was it for me – my soul was long gone and I was listening!

I could wax lyrical about each and every one of the eleven tracks but I’ll resist.

The Red And The Black is perhaps my current favourite track out of the eleven on offer. It’s of epic proportions at just shy of fourteen minutes in length but not the longest track on the record. It is the only solo Steve Harris composition on The Book of Souls. Instantly the listener’s head is nodding to the powerful and catchy riff. The “Woah” chorus alone would be enough to make this the latest in a long line history of crowd pleasing anthems. I cannot wait to hear this played live!

There’s an air poignancy to Tears Of A Clown, Iron Maiden’s own tribute to the late great Robin Williams. “He had longer to run or so the story goes. Life full of fun. Where did it go?”  A fitting tribute to his genius.

Empire Of The Clouds brings The Book of Souls to an epic conclusion. Like album opener If Eternity Should Fail, this eighteen minute heavy metal opera is written solely by Bruce Dickinson and, in true Bruce fashion, is linked back to his love of aircraft. Empire Of The Clouds tells the tragic tale of the loss of the R101 airship in October 1930, The crash caused the deaths of forty eight souls and effectively ended British airship development. There is a certain majesty to this epic song. Bruce’s delicate piano intro and accompanying strings add an air of nostalgia to proceedings. “To ride the storm they climbed aboard their silver ghost.” The steady snare drum begins to draw the listener in and you are soon consumed by this majestic metal masterpiece. Stunning!

All in all there’s no major surprises on this record. A new Iron Maiden album always comes with a certain expectation of a new sonic voyage into the unknown. This time they have exceeded all expectations and then some. Iron Maiden are stealing our hearts and our souls with this epic offering,

Have a listen if you don’t believe me but be prepared to lose your soul to Eddie forever.

10/10

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Ghost – Meliora

Posted on September 5, 2015 by coralmccallum

Ghost

Meliora is the third sacrificial offering from Sweden’s Ghost.

Hailed by some as a gimmick, Ghost, with their nameless ghouls and front man Papa Emeritus, now in his third incarnation, are anything but a gimmick.

Meliora opens with Spirit, setting an eerie, demonic atmosphere for things to come. For me, there’s a strong hint of War of the Worlds to this.

Running to ten tracks in total, Meliora is best described as an amalgam of death metal, 80’s hard rock, some corporate rock, a hint of grunge and more than a smattering of church organs.

Highlights  are From The Pinnacle To The Pit with its heavy bassline intro and hissed vocals. Love it! Cirice starts off gently – acoustic guitars, delicate hi hats, keyboard then enter the clergy in full force! Very Metallica-Slayer-esque. This is a huge anthem and is sure to prove a firm favourite with fans or should that be with the congregation?He Is draws on an entirely different influence. Strong hippy-dippy flower power at work here with some hints of Blue Oyster Cult.

Mummy Dust is perhaps the heaviest track out of the offerings with its classic chugging bass and death and death metal drum intro, again heavily Metallica/Slayer influenced, then add in the keyboards and the demonic vocal of Papa Emeritus III and this may be the best track on the album. Absolutely love it!

Devil Church adds yet another dimension. This instrumental with its soaring church organ slots in towards then end, adding a little decorum to proceedings.

Deus In Absentia brings the sermon to an end. With its metronome backing, Ghost bring this album to a soaring close.

Meliora is Latin for “the pursuit of something better”. Ghost have succeeded in their pursuit.

I love the anonymity of the ghouls and Papa Emeritus III, the quirkiness of the set-up, however if this record is the success it deserves to be, Ghost won’t be able to remain nameless ghouls for long.

9/10

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