Album & Live Reviews

There are perhaps some comparisons to be drawn between rock legend Glenn Hughes and Glasgow’s Sauchiehall Street. Both built their reputations as being something a bit different and special in days gone by before a slump in fortunes led to some years of neglect and decline. But whilst the famously long Glaswegian street is still very much in the middle of a facelift and revival attempt, the “Voice of Rock” has steadily continued to rise from the ashes of his 1970s heyday to enjoy a well-deserved late career renaissance, with arguably some of his best recordings, particularly in a solo sense, happening over the last 25 years. So, there’s something quite poetic about Hughes’ latest solo tour, The Chosen Years, rolling into a venue in Sauchiehall Street on a Saturday night. Two institutions, keen to show that they still have a lot to offer. Hughes is incredibly grateful to be in The Garage with his band. One thing the now 74-year-old has is class and a disarming humbleness, never taking his audience for granted and always ready to give his best as a thank you to those who continue to support him in the sunset years of his career. During The Chosen Years tour, Hughes wanted to celebrate his career from its beginnings with Trapeze, right up to the present day and his most recent solo album, the brilliant Chosen. With music from other bands and projects such as Deep Purple, Hughes/Thrall and Black Country Communion also ready to be thrown into the mix, there was potential for it to be a truly memorable night in Glasgow. For every rock legend approaching the final stops of their illustrious career journey, there’s a new breed of rockstar fighting to be seen and heard, ready to have their own shot at superstardom. Hotshot guitarist Sophie Lloyd is one such artist, seizing the opportunity with her support slot to continue a recent upward trajectory that has seen her release an EP and debut album, perform live shows and find time to be a touring guitarist with Machine Gun Kelly’s band. More recently, she performed at the Women’s Rugby World Cup Final at Twickenham Stadium, London in front of 82,000 people and an estimated TV audience of 5.8 million at its peak! With a band that included Marisa Rodriguez of Marisa and the Moths fame on vocals and Lloyd’s husband Chris Painter on drums, the guitarist wowed the Glasgow crowd from the outset with a mesmerising display of high energy, technical musicianship. Arriving onstage to the Top Gun theme before entering into a blistering set of hard rock that included instrumentals, originals from her own catalogue and some well-chosen covers, Lloyd showed that she is the real deal and very possibly the heir apparent to be the next true Queen of Hard Rock. She’s helping to keep our favourite music genre alive, so buy tickets to her live shows and support her music by buying her EPs, albums and merch. Sophie Lloyd isn’t just the future of rock - she’s the present! Glenn Hughes bounded onstage with an energy that matched that of much younger peers. You see, playing live onstage is where Hughes is comfortable. It’s where he truly comes alive, surrounded by positive energy that drives him to be the best he can be. Hughes believes that a much higher power put him on this Earth to spread love and peace through his music and to be honest, I think there’s something in that. Flanked by longtime guitarist and collaborator Soren Andersen and drummer Ash Sheehan, Hughes wasted no time in expelling some energy with the hard rock/funk hybrid of the high-octane ‘Soul Mover’, arguably one of the songs that started his late career renaissance 25 years ago from the album of the same name. The moody ‘Muscle and Blood’, with its memorable guitar riff intro and driving bass from the underrated 1982 Hughes/Thrall album, acted as a reminder of just how big that short-lived project could’ve been if things had worked out differently, with Hughes’ voice soaring across the venue with the power of a singer half his age. On this early promise, the Glaswegian crowd was in for a memorable night. We all love the classic songs - the songs that take us back to a special or happier time in life. But Hughes is still a recording artist, refusing to simply rely on past endeavours and that was clear on his latest solo release Chosen. So, naturally there would be some tracks from that album, the first being the hard rocking, yet funky ‘Voice in my Head’, with Hughes’ prominent bass dictating the song’s tempo. Then, of course, there’s the great music Hughes recorded with the supergroup Black Country Communion, represented by the brilliant ‘One Last Soul’, with Andersen and Sheehan channelling their inner Joe Bonamassa and Jason Bonham respectively. This song seemed to really connect with the Glasgow audience, which makes it ever more of a shame that the band didn’t tour more in Scotland, with only one show that I can remember (and I still have the t-shirt that no longer fits!). The next track was a special one for me, as ‘Can’t Stop the Flood’ was the song that really started me out on my journey to explore Glenn Hughes’ music when I heard it on the live recording Soulfully Live in the City of Angels. I was transported back to the first time I heard that album, when I had an impressive head of blonde hair and a waistline that allowed me to see my feet! Music really is a time and place thing and I thank Hughes, Andersen and Sheehan for allowing me to enjoy that little bit of nostalgia with a brilliant performance of the song. Then, it was back to the Hughes/Thrall album with the ‘First Step of Love’, an atmospheric yet driving rock song where Hughes and his bass take centre stage. Hughes transported us all the way back to the beginning, over 50 years ago, to some music by Trapeze with the funky ‘Way Back to the Bone’ (that was a pre-curser to some of the music he’d later record with Deep Purple) and the epic ‘Medusa’, that he later re-recorded with Black Country Communion. Musically, Hughes has very much moved on since his days in Trapeze but he’s still clearly very comfortable in that funk/soul groove of their music, as it’s the origins of his musical DNA. However, it couldn’t sound any different from the much darker, heavier music he created with Black Sabbath legend Tony Iommi on the Fused album in 2005, represented on this tour by ‘Grace’ and ‘Dopamine’. This album was criminally underrated on its release, possibly due to the rock and hard rock trends of the time but received a well-deserved re-release last year that has given it a new lease of life. In Glasgow, Glenn Hughes further proved the merits of that music with a powerful run through of the two muscular sounding tracks. Brilliant stuff indeed. The title track of the Chosen album is another modern, driving, polished heavy melodic rock song that transferred well into a live environment, whilst the groovy and funky ‘You are the Music’ brought some fun to proceedings, with the kind of shuffling and bopping in the crowd that Sauchiehall Street hasn’t seen since flared trousers and flowery shirts were in fashion. Hughes finished the main set with ‘Stay Free’, one of the newer Black Country Communion tracks from the band’s 2024 album, V. With time tight due to The Garage turning into “a fucking disco” (Hughes’ words!) at 10pm, Hughes couldn’t leave the stage prior to the encore. Alone with an acoustic guitar in hand, he performed an emotional and spine-tingling ‘Coast to Coast’, his voice faultless throughout before being joined again by Sorensen, Sheehan and Sophie Lloyd for the frantic finale, a barnstorming run-through of the Deep Purple classic ‘Burn’. It really was the only song that could end the set, as it still bristles with a power and energy that can blow the roof off venues, which is testament to the masterful songwriting within that version of the legendary band. It was an explosive ending to a wonderful evening of live music, in the presence of musical greatness. As I headed outside into a cold autumn evening in Glasgow, I was acutely aware that I’d just experienced something incredibly special. It was a kind of communion (not of a Black Country type!) with like-minded people, all there to celebrate the monumental career of a bona fide rock legend whose music has excited, calmed and healed in equal measure for over 50 years. Glenn Hughes is a special artist; soulful, funky, groovy… yet still the epitome of everything that is hard rock over the last half century. He is the energy and the soul of real, honest, rock n roll. He is Glenn Hughes. He is the “Voice of Rock” and as the man himself said before leaving the Glasgow stage… “music is the healer”.

The Tempilstiks new single 'Over and Over' entices the listener with a slow melodic intro before hitting you with a killer riff and beefy bass notes, reminiscent of Kyuss. With punchy lyrics and feral vocals, over and over keeps you hooked for the duration. The guitar is where this track truly shines, with intricate solos, heavy laden riffs, outstanding counter melodies and honestly, I can't wait to hear more of this. Overall, this is a strong start for The Tempilstiks, showcasing their innovative musicians and thinking outside the box. The Tempilstiks, a newly formed genre-bending 4 piece hailing from Aberdeen bring to you their first single Over and Over, prepping you for the upcoming EP early 2026.

The secret is out. Italian rockers Secret Rule do indeed rule when it comes to energetic anthemic modern metal with a slightly symphonic twist and a bit of electronica. There are few things I enjoy more in music than discovering new bands, especially if I have taken a chance on going to see an act that I had not actually even heard of before. That certainly paid off last week when I nipped into Bannermans for a fine double-bill of European metal all the way from Italy and Belgium. It turns out that, while Secret Rule are new to me and most of the other folks in the room, they are not new at all. They formed in 2014 and that’s why this is their 10th Anniversary tour and their brand-new album is called ‘X’. It is also why they deliver a polished and faultless theatre-ready performance with great songs, stage moves and crowd inter-play as part of a thoroughly entertaining show. As Edinburgh debuts go, this one was a cracker. The band are a tight four-piece, headed by guitarist / producer Andy Menario – a taller, cooler Pep Guardiola lookalike, energetic drummer Andrea Miazzetto and talented young bass-player Sofia Basili. Leading the jumps, fist pumps and singalongs is the band’s trump card Angela Di Vincenzo – a vivacious and energetic presence at the front with a great voice, a winning smile and a captivating and charming stage presence. The set opened with three stormers from ‘X’ in ‘Walking Down the Street’, ‘Silent Pain’ and ‘In the Silence’. The band made an immediate positive connection and it did not matter that the songs had not yet been released as I think all of the songs were new to the audience; at one point Angela announced that they would play one of their old favourites and asked the crowd to guess which one, but none of us could even name a single song before an Italian voice at the back correctly shouted out ‘The Song of the Universe’. As I said, it did not matter and everyone joined in very enthusiastically and the audience seemed genuinely thrilled to enjoy something new and this good. Other highlights from ‘X’ included ‘The Storm’, ‘Just a Sacrifice’ and ‘Echoes of the Earth’ and happily, advance copies of the CD were available at the merch stall after the gig. This really was a very impressive and enjoyable set – one of my favourites of the year - and I am delighted to have belatedly discovered the music of Secret Rule. It really does make you wonder just how many other brilliant bands there are in other parts of Europe. Of course, this was a double-bill and I think it was important that the gig came as a package, giving the bands the opportunity to share costs and also offer very good value indeed for the public. Solitude Within are named for a song by Evergrey and provided a contrast in styles with their more traditional symphonic / soothing emo sound. I think this was probably another first for me as I don’t recall ever seeing a Belgian band before but I do forget a lot of things these days so I can’t be sure. Unfortunately for the band, their plans were disrupted at the last minute when their stand-in drummer was unable to travel at the last moment due to visa issues. Rather than cancel, they boldly went ahead, but with a greater reliance on backing tapes than usual. I always give symphonic bands in particular a pass when it comes to backing tracks given the nature of the music and the instrumentation involved in the recorded work, but it was particularly odd to see the headliners empty drum kit on stage and nobody playing it while the drum sound came from the album tapes. The volume was particularly low, presumably due to the use of tapes, and at times it did feel like watching an old edition of Top of the Pops, but the band just about managed to pull it off. Overall, it was a “surreal but nice” experience and it was a real shame for the band as they clearly have a lot to offer. Emmelie Arents is a beguiling and willowy presence on vocals and with twin guitars, bass and live grunts, they definitely put on a show. A short eight song set allowed them to showcase songs from their two albums ‘Disappear’ (2017) and ‘When Kingdoms Fall’ (2022) and there was definitely enough there to encourage me to check out the band’s work further. The message from me after this gig is to encourage folks to take a chance on bands you don’t know, especially if they are fully road-tested and experienced artists from overseas with a string of albums behind them. Thanks to Secret Rule and Solitude Within for making the effort to come to my town – much appreciated and I hope we will see you again now that the word is out.

So with their eagerly awaited 6th album ‘Slay The Dragon’ now released after what seems an absolute age, those excellent lads ‘Blacklist Union’ have delivered some pretty cool rock n roll. This 12 track album opens up with ‘Mississippi Moonhound’ and gives you from the outset that alternative riff and rock energy we’ve grown to expect from them. I’d heard this one before having been an early release single from the album. Likewise track two ‘Up In Smoke’ was also released as a single. As I said in an earlier review of this single, its a fast paced guitar focussed blast from Raf and Dee supported by quality vocals from Tony. Great track. So what of the band, the tight lineup of Tony West (Vocals), Raf Ransom (Lead Guitar), Dee Hayes (Rhythm Guitar), Larry Harwood (Bass) and Justin Perez (Drums). There’s a strong 80’s Sunset Strip vibe about ‘Can You Heal Me’. Love the Tyler-esque vocal soul Tony brings to this one. ‘Dyin’ 4 U’ sounds great, for me this would be a cracker in a live forum has a cool swagger and gentle head bop style to it. When I heard their 5th album ‘Letters from the Psych Ward’ I immediately got a buzz from the way the band morph punk tones with hard rockin’ power chords. It’s no surprise then that Tony was raised in NY’s Bronx on a diet that included the Ramones and then in his teens moved to the West Coast, hence picking up that Sunset vibe in his writing. ‘Do it for the Song’ lurks in the dark side a bit, moody lyrics and opens up with some great guitar lines, could be set in any rock club on either side of the Atlantic. The album is produced by Christopher Johnson, recorded and engineered at East West Studios Hollywood and The Village Studios Los Angeles. Christopher definitely brings to the album a punk rock/alternative rock/guitar rock grit and vibe. ‘Free At Last’ slows the pace down to bring you a soulful mid 80’s ballad come indy rocker. Picture the night sounds of the amazonian jungle and that leads you into ‘All Hail the King’, maybe the short sound bite intro comes from Tony’s sojourn to that part of the world. Love the powerful heavy guitar swagger from ‘Horns and Halos’ that pulls you back and forward with the edgy vocals. ‘Hey Mr Superstar’ and ‘Rock N Roll Soldier’ continue that Audioslave style that leads you through most the album, it’s a cool sound that Christopher brings to the production. The penultimate track is my favourite its ‘X Marks the Spot’, showcasing the rhythms of Larry and Justin in a perfect dynamic with Raf and Dee, collectively delivering a quality tune. Although the bending tone fade out at the end was a surprise. Album closer and title track ‘Slay the Dragon’ introduces a North African/Egyptian melody in parts supporting the overriding bands style that is throughout the previous 11 tracks. So what of the bands 6th album? Well for me it improves on ‘Letters from the Psych Ward’. The album gives you a crossover between the edginess/rawness of The Ramones and the heavy rock, alternative metal drift and punchiness of Alter Bridge and Audioslave. If you like this in your rock , energetic and powerful, then check the band out.

As I walked towards the SWG3 venue for an early evening pre-show interview with Those Damn Crows singer Shane Greenhall, it occurred to me that it was just over 2 years ago, almost to the day, since I had made that same walk the last time the band were in Glasgow in October 2023. Things had changed a bit for both me and the Welsh band since our last autumn evening dalliance; I’m heavier with even less hair, albeit slightly sprightlier thanks to the wonders of arthritis medication whilst Those Damn Crows… well… they can now say they’ve had a Number 1 Album in the Official UK Album Charts following the stunning success of fourth album God Shaped Hole earlier this year. They’ve possibly trumped me with that one! After a series of smaller sold-out UK shows shortly before the album’s spring release, Shane Greenhall (vocals), Ian “Shiner” Thomas (guitar), Lloyd Wood (bass), Ronnie Huxford (drums) and David Winchurch (guitar) capitalised on their chart success with some festival shows and a European tour in the summer/early autumn that would ultimately culminate in a 10-date UK Tour with support from Canadians Autumn Kings and American James Bruner. That’s what brought us all together in Glasgow, as “The Crows” embarked on show number 4 of the UK run. With a decent number of the “Crow Family” already queuing next to the Box Office when I arrived for the interview 2 hours before doors, it was clear that the band’s fanbase had continued to grow since their last visit to Scotland’s biggest city… and that was a massive bonus for James Bruner and his band, who played to a decent sized crowd, particularly towards the second half of their set. Bruner arrived on stage wearing blue jeans and a black leather jacket, with his looks, demeanour and stage moves reminding me of a blend of early Bruce Springsteen, Freddie Mercury and Mick Jagger. Let’s be honest… you could be a mixture of much worse than three bona-fide rock legends! Strutting through an energetic set that straddled a few rock sub-genres yet remained steadfastly rock n roll, Nashville-based Bruner and his band entertained from the outset, with the main man himself removing his jacket to perform much of the set topless, reminding me of my own mid-40s ultra dad-bod challenges with the kind of lean physique that I last possessed when I was around 10 years old! As he confidently worked the Glasgow crowd, there was a definite whiff of future rockstar in the air, with Bruner ably assisted by a tight and talented live band that included the impeccably dressed bassist TJ Fink, who effortlessly sported a pair of slacks. I’d love to see them headlining a smaller Glasgow venue such as King Tut’s Wah Wah Hut or The Cathouse, as on this form, they’d take the roof off and would take great strides in securing a faithful UK fanbase. Definitely one to watch! Autumn Kings won the award for best pre-show playlist, with some top songs played loudly over the PA before they confidently strode onto the Glasgow stage. With their nu-metal looks and stage presence complemented by a large curtain backdrop of their logo, the Canadian band wasted no time in their quest to impress, kicking things off with ‘Sleep When I’m Dead’, that to my ears, was clearly influenced by the rap and clear vocal interplays of bands such as Linkin Park. This initial assessment was confirmed as being in the right ballpark when they played an excellent cover of a Linkin Park song (‘Terrified’, I believe) later in the set but in terms of covers, the oddest yet most entertaining choice was the band’s reworking of Ricky Martin’s ‘Livin’La Vida Loca’. Yup… that’s a sentence I never thought I’d type in a rock review and judging by some of the dropped jaws around me, many were equally as shocked! But it was the song that arguably opened the Scottish crowd to the huge potential in the music of Autumn Kings, with more devil horns and pumping fists appearing as the set progressed. There was even an effort at the now ubiquitous Scottish rock crowd chant of “Here we, here we, here we fucking go”, which I’ve got to be honest and say is getting a bit boring and predictable now. Let’s go back to Scottish music crowds being known for energy and atmosphere as opposed to a football-like chant… but I digress! With some newfound mid-set confidence and pizazz, Autumn Kings tied things up with ‘Aliens’, ‘Snakecharmer’, ‘Bleed It Out’ and ‘Hellbound’ that had nu-metal influences bonded together by Metallica-inspired riffing. Were Autumn Kings the right fit for a Those Damn Crows audience? Possibly not. But do they have great potential to return to the UK in the future, whether headlining smaller venues or supporting more appropriate acts? You bet! SWG3 was bursting to capacity by the time Welsh heroes Those Damn Crows took to the stage just before 9pm to a raucous Glaswegian welcome. The fact that the crowd was being galvanized by a band in a venue called The Galvanizers wasn’t lost on me! Ronnie Huxford was first to appear, playing the rock steady beat to new album track ‘Dancing With The Enemy’, with singer Shane Greenhall bounding on just in time for the first verse vocals. It was well-received and already appears to be a much-loved song, despite being new to “The Crows” arsenal of music. However, it’s always good to make sure the audience is on your side with a more well known, fan favourite early in the set and that’s exactly what happened as Wood, Thomas, Winfield and Huxford played the intro to the more frantic ‘Man on Fire’, causing much head bopping and singing of the chorus back to the band. Great start, indeed! It was back to a newer track from the God Shaped Hole album with “Surrender”, as bassist Wood prowled the stage in impossibly leg-hugging jeans, with his distinctive long blonde mane of hair being thrown back and forward on his head (fun fact… I had a great head of blonde hair before it... well… fell out!). The sound was crystal clear and well-balanced, enabling Greenhall’s faultless voice to soar across the venue and even when I removed my filter ear plugs, it wasn’t uncomfortably loud. The moodier ‘Find a Way’, with its melodic, sing-along chorus was next up and by this time, the crowd had really started to warm up as they took on the “whhoooaa” background vocals. Those Damn Crows are incredibly proud of the God Shaped Hole album and so they should be. After all, it’s not every band that manages to record a number one album! So, it was no surprise that the next five songs, one after the other, came from that record. ‘Spit and Choke’ was played with speed and ferocity, allowing plenty of room for a bit of head banging whilst the more atmospheric ‘Turn It Around’ showed just why a more commercial hard rock audience has been attracted to the band’s music. But it was the triple whammy of ‘Glass Heart’, the wonderful ‘Dreaming’ and the more serene ‘The Nigh Train’ that really highlighted the progression in songwriting within “The Crows”. These songs show a true maturity in song writing, with catchy melodic choruses, deep and meaningful lyrics and some brilliant musicianship. Even better… they fared very well in a live environment and went down a storm with the Scottish fans. Even a false start to a few songs by Greehall, with a poor woman from Yorkshire getting the blame (jokingly, of course!) couldn’t spoil the atmosphere within the venue at that point in the concert. God Shaped Hole was a number one album for a reason and that was abundantly clear in this special 10-minute section of the show. The familiar guitar intro to longtime fan-favourite ‘Who Did It’ brought proceedings back to more familiar territory, with Greenhall and Wood continuing to work the stage whilst Winchurch and Thomas remained in their usual spots stage left and right. The raucous ‘I Am’ led to Greenhall taking an opportunity to impress again with his vocals in a stripped back ‘Still’ before heading to the piano for the now much-loved piano version of ‘Blink of an Eye’ that creates a special atmosphere for the rest of the band to return to the stage and turn up the volume to finish the song. I don’t think fans would forgive Those Damn Crows if they ever removed this from their set, such is the connection between band and audience during this song. It’s very much one of their signature songs. The heaviness was upped again with ‘Go Get It’ and ‘Sin on Skin’ before the excellent ‘This Time I’m Ready’, a song about the loss of Greenhall’s father and the anger and hurt his death caused, brought a more emotional twist to proceedings. Most people have suffered loss at some point in their lives, so perhaps that’s why it connects so well with so many. Indeed, it appears to be number 4 on the Apple Music list of my most played songs of the last 5 years. I listen to a lot of music, so that’s no mean feat! The classy, sing-along, melodic ‘See You Again’ (and I hope we will!) finished the set, with Those Damn Crows leaving the stage after yet another top-notch live performance. Those Damn Crows have worked hard to get to where they now are. They didn’t achieve overnight success – they earned it by gigging up and down the country and honing and improving their songwriting with every album. The chart success of God Shaped Hole was a well-deserved reward for, as the band says, “smashing the glass ceiling” in terms of their songwriting and musicianship. They have always been a magnificent and highly energetic live act but on this showing, on a cold autumn night in Glasgow… well, this could be their best Scottish show yet. Those Damn Crows are now an arena-ready rock act, playing arena-sized rock anthems. Catch them in smaller venues whilst you can because if there’s any musical justice, these crows will be flying even higher to rock superstardom. The God Shaped Hole UK Tour continues with shows in Bristol, Plymouth, Southampton, Birmingham and London, with further shows scheduled later in the year in Belfast, Dublin and Kingston-Upon-Thames. God Shaped Hole is available in various formats through Earache Records. Listen to singer Shane Greenhall’s interview with Rockfiend on the Rockfiend social media channels.

Shane from Those Damn Crows talks to Rockfiend's Gareth about the success of the latest album, touring and what’s in the future for them. Photos by MB Photography Scotland Full review coming soon

The Scottish border town of Galashiels seems to be having a bit of a moment just now. Previously best known for Braw Lads, textiles and rugby, the recently released film sensation ‘I Swear’ is set in Gala as it is the home town of John Davidson MBE, the Tourette’s campaigner and comedic good guy who is a local hero in the Tweed Valley. Musically, legendary bassist Neil Murray of Whitesnake (and many other bands) is probably the best-known name from The Borders, but recently we’ve seen the emergence of WildFire and now also The Devil’s Forfeit – a Galashiels and Edinburgh based band who will release their debut album this Friday and celebrate with an album launch party on 1 November 2025 at The Banshee Labyrinth in Edinburgh’s Old Town. The band formed in late 2024 and they’ve been making a name for themselves with plenty of gigs around the East of Scotland, with most of the attention focused on the femme fatale persona of singer Angela Grace and her eye-catching outfits. The focus stays on Angela in the album’s opening track and lead single ‘Session’ – a salacious and sensual sleazy-blues number that opens with a whip-crack and takes things straight to the boudoir for a good seeing to! It is overtly in-your-face sexy but the other thing that’s immediately obvious is a crystal-clear production and clever vocal effects. ‘Southern Style’ brings exactly that, with some Skynyrd piano and bayou guitar sounds, but the overall feel is more Creedence than Luke Combs. The song title that initially caught my eye on the track listing was ‘Knickers’ – what, nae fur coat? It is a lacy and jaunty little piano-led bar room boogie with some fragrant saxophone and lyrics about a “dirty little girl with her knickers in a twist”. It’s a lot of fun and definitely worth a quick sniff. So, three songs in, and we’ve already had plenty of variety in the style of music on offer, and that, plus the catsuits, actually put me slightly in mind of Space Elevator, another classy band that likes to mix it up a bit. The title track ‘Outer Lines’ changes pace again. It is an addictive and riffy number on a bed of groovy bass and drums that I remember hearing at Bannerman’s over a year ago, and it’s been out in demo form on Bandcamp since April 2024. ‘Rock ‘n’ Roll All Night’ is not the KISS song and does not feature Ace Frehley, but it does have a really sharp, almost-indie riff and Angela adds a bit of a raucous edge to her vocal in a homage to everyone’s favourite (or second favourite) nocturnal pastime and it is probably the most melodic song on the album. A selection box of styles keeps up the variety and quality throughout the rest of the album. ‘Playing With Fire’ is another one with a modern-sounding riff, ‘Hold Your Breath’ features some really fluid bass and a brief male vocal. ‘Defying Mother’ is a retro-groovy Hammond-infused stomp and ‘The Shakes’ is a fuzzed-up marvel, while the dance around the musical styles continues with ‘Rock ‘n’ Roll’, which is a riffy beauty but also a bit Doors-y with some retro keyboard highlights. The album closer is ‘Wander’, another live favourite, which reintroduces the sex appeal with a heavy bass presence, some pheromones and a very tidy guitar solo. Overall, there’s a lot going on here and the variety of styles keeps it interesting throughout. The band’s EPK states that they “aren’t here to reinvent the wheel, but they fully intend to spin it fast, kick up dust and remind you why rock ‘n’ roll still matters”. I think they have achieved that. I’m sure these songs and Angela’s strong stage presence will make for a fine live headline show and the album launch party will be a perfect opportunity to check that out. The album is available to order from the band’s website or you can pre-order on Spotify and all the usual streaming sites. Even better, I’m sure they will also be happy to sign one for you at The Banshee on 1st November with Six Mile Wide and 8th Circle. The Devil’s Forfeit are; Angela Grace (Vocals) Elliot Waugh (Guitar) Ricky Nolan Duggan (Bass) Viktor Lisonel (Drums)

‘Battle Scars’ is a live album recorded on Jack’s tour this year promoting his album ‘Battles’. It’s an appropriate title for a record by one of Britain’s ultimate road warriors, who has been taking his blue-collar blues-rock performances to grassroots local venues around the country for years and has the damage to show for it. He’s probably been in your town playing in one of the wee venues that are constantly under threat, just hoping that people will dig his music and that enough folks will turn up to put petrol in the van. In other words, for the people on social media who are constantly banging on about keeping rock music alive, buying tickets in advance and saving small venues, Jack is exactly the kind of guy that you should be supporting and a good way to start would be by listening to this record and ideally buying a copy from the man, as the CD comes as a lovely little package, or it’s just £6.99 on Apple Music. The 10 tracks were recorded from shows at The Grace, London and The Tuesday Night Music Club, Coulsdon in April 2025 and joining Jack were Phil Wilson on drums and Greg Smith on bass. All the best bits from ‘Battles’ are there plus some other live favourites from the nuggets in Jack’s back catalogue. ‘Don’t Let the F***ers Get You Down’ is a fine opener, followed by ‘Constellations’ with each being a fine example of Jack’s rocking style. ‘Road to Hell’ is a bit of an epic and ‘Love is the Law’ is about as close as it gets to love ballad (but not that close) and is even more epic. There are some Hendrixy outbursts on ‘Hip Slickin’’, ‘Overdrive’ does indeed go into that and ‘Call of the Wild’ would sound great at that festival. Overall, this is a very enjoyable album from a chap who is very worthy of your support. Check him out.

In a year that has seen Trivium justifiably looking back, celebrating 20 years of ‘Ascendancy’ on tour, forthcoming EP ‘Struck Dead’ points the way forward and reveals a band who remain as intense and vital as ever. With just three tracks, ‘Struck Dead’ is the distillation of all that makes Trivium a cut above the average metalcore screamers. Recorded at the band’s own Hangar Studios in Orlando, Florida, there is very little suggestive of the so-called Sunshine State here. Instead, the lyrics are influenced by frontman Matt Heafy’s personal struggles, tracks coming together whilst waiting for the band’s studio to get an upgrade and coloured by the energy of revisiting ‘Ascendancy’ in tour rehearsals. Apparently providing “a cathartic release” for all involved, the effect on the listener is similar, a rush of aggressive energy that proves irresistible. Unveiled earlier this year as a single, ‘Bury With My Screams’ is gloriously percussive, drummer Alex Bent making an unmistakeable mark, seemingly pounding his kit into submission. Not to be outdone, the guitars drill the opening riff with real intent, the introduction punctuated with a lovely twin guitar moment before everything briefly slows in that pleasing, heavy way that makes you grimace in appreciation. Heafy switches from rage fuelled screams to clean vocals for a chorus that provides a melodic hook, something of a signature for the band that still works incredibly well. Concluding with the words “not dying” practically torn from Heafy’s throat, you can only hope he feels better for exorcising whatever demons are plaguing him. The title track rages with an intensity that other bands can only dream of. The stop start riff is pulverising and there is something so satisfying about Heafy’s delivery, the way he attacks the words “struck f***ing dead”. Impossibly heavy, ‘Struck Dead (Pain Is Easier To Remember)’ seethes with unbridled anger that Trivium somehow deliver with such class. Though relentless, there is still melody to be found amidst the fury. The delicate introduction to ‘Six Walls Surround Me’ provides brief respite from the aural assault, a reminder that Trivium can do beauty, but would rather tear it apart, as they do here, Heafy’s agonised vocal cutting in, seemingly from nowhere. The most sprawling of the tracks, there is room for some magnificent musical interludes, occasionally reminiscent of traditional metal with the sound of twin guitars, the influence of Maiden seeping through, albeit veiled in something decidedly more modern. ‘Struck Dead’ is released on Friday 31st October. A truly satisfying battering of the eardrums awaits.