Quick Takes – November 2025: Album Reviews

Third album from Melbourne, Australia, prog/heavy rockers Flitcraft – and the band’s second for Pitch Black Records.

Described as: “A dream to float in, a cornucopia of delights, a song out of of time and yet so right for this time… an album that will make a lifelong companion for all those who discover it,” Transmission Echo channels such influences as Deep Purple, Iron Maiden, Pink Floyd and Yes in a work that prompts reflection and speculation and suggests better days and distant horizons.

The tenth album (X – naturally) from the Italian quartet fronted by founders founders Angela Di Vincenzo and Andy Menario, reinforces their symphonic Power Metal roots whilst daring to look to the future and push into the next decade and a new chapter.

Alongside a new rhythm section where bassist Sofia Bassili adds an extra dimension of backing vocals, the introduction of rap sections, syncopated breakdowns, and layered electronic textures sees X veering not too wildly from the path but keeping things fresh and interesting for sure.

In The Silence turns the page, taking the template of pounding tempos into a controlled robotic and polished future zone. Add rap and a heavenly choir, plus the usual burning solo, no punches are pulled.

Back on familiar ground, Echoes Of The Earth does its job as a gateway single; all melodic and irresistible smooth edged pumping Metal. Eternal Symphony does likewise. Delain beware.

Silent Pain finds Secret Rule unleash the chains with thrashing verses tempered by a seductive chorus, yet despite the twist with a determination to absorb new influences, the strength of the melodic Metal edge to Secret rule remains the allure.

Anglo-Irish activist musician Luke Concannon (forever to be associated with Nizlopi and JCB Song) unveils an album inspired by a pandemic collaboration with multi-instrumentalist Darius Christian, a long illness while building a home in the Vermont woods, and the birth of his baby.

The result of an intense and reflective period is a set is a deeply personal collection of songs,. exploring themes of our fractured world and finding connection. “I want to embrace this whole forest,” he sings accompanied by a blast of uplifting and cool brass.

True to form for the activist musician, Luke doesn’t shy away from difficult subjects delivered in a spoken rap diatribe or a soulful passion, while blending infectious soul grooves with intimate, slower moments. The partnership with session musician Darius Christian sees rich and warm arrangements join the more stripped back likes of Romy and A Woman is Sacred where the vocal parts shine.

Bad Company – the Paul Rodgers / Mick Ralph offshoot that emerged from the ashes of Free in a high profile flourish, get the tribute treatment. Some big names come to the party on a selection of classic cuts which respectfully veer not too far from the norm.

The Struts, Dirty Honey and Black Stone Cherry are all in the same ballpark while Slash and Myles Kennedy add a G’n’R jangle and understated presence to Feel Like Makin’ Love, while Halestorm contribute a fizzing electricity to Shooting Star.

With Hardy delivering a polished Ready For Love, it’s left to Taylor Momsen’s The Pretty Reckless who get the honour of Alright Now – yes, it’s not strictly BC but sort of has to be there by association.

The star of the show though is Joe Elliott and Phil Collen’s Seagull. A personal fave BC track, they deliver with a passion and searing solo. Great songs with which you can’t/shouldn’t go wrong.

After a five-year break, 2020’s Fireworker gets its follow up with a collection of songs built around the idea of fate. The themes of randomness and inevitability, the search for answers and common core idea of infinity recur throughout the album on almost on a cyclical basis.

Concept identified, the music will be reassuringly familiar to Gazpacho aficionados. Combining ambitious stylings with more succinct offerings, Magic 8-Ball strikes a pleasing balance that allows them the band to showcase both their chilled out Art Rock against their intense and powerful creations.

The comparison , particularly with the dreamy atmospheres on the opening Starling with latter period Marillion (particularly with Singer Jan-Henrik Ohme’s unpretentious vocals) give Magic 8-Ball a genuine wistful quality. Peppered with occasional dips into electronic decoration and faraway textures, the powerful crescendos and surges in the likes of Sky King and Gingerbread Men (that also contains a lovely, sadly short, goosebump melody). The quirky nature of the title track emphasises the band’s ‘prog’ nouse on this welcome return that should appeal to anyone who dons a Prog shirt, looking for new sounds.

Described as “a heady mix of bands from England’s Scarborough Strip (think Sunset Strip but with less debauchery, more chips” (love that) the line up of two guitars, drums and bass

Fair warning has been given with the singles, Addiction and Coming Home To You showcasing both a heavier and scuzzier side along with a nouse for what makes a melody and a glimpse at the band’s sensitive side. Hell, the latter could even fit the boy band bill! (in the best possible taste). Bouncing riffs and hooks and songs where the darker and heavier face kicks in -Crash N Burn Just missing a cowbell on It’s Only Rock N Roll (not that one) as the butt gets kicked with the defiant swagger of We Built Wheels and the giant singalong of Better Man as the back end of the album stirs up the ante.

Opting for what might start as a low key closer, Drifter expands into a grand arm waving anthem that leaves us pondering who needs Bon Jovi when we have the UK’s East coast rocking? Keep the faith.

The Cheap Trick Rock ‘n’ Roll jukebox plays on. Whilst the go to CT record may still be the Budokan live release (be it the full complete reissue show or the yellow vinyl period artefact), Rick Nielsen and the guys have continued in their role as purveyors heavy pop.

All Washed Up delivers, pretty much as expected, eleven tracks that stir the blood, add a breather or two to test out if we’re still listening, all the while referencing everyone from The White Album Beatles era to AC/DC (All Wrong Long Gone).

Massive radio friendly riffs with a heftier focus in the first half of the sequence, with a couple of challengers sneaking into the second half. A song for every occasion.

Songs that wouldn’t be out of place on a sweet ELO or Ian Hunter or Tom Petty or even a swinging darker Blues record (Bet It All). There’s even a McCartney-esque curveball thrown in for an encore (ie, the last track) to go out on a quirky note. A dose of cool lounge jazz as one to play while you’re closing down the house for the evening.