This is just the kind of record the rock world needs right now. Fresh, original, engaging, head-spinning and pushing the definitions of the genre.

Of course, it’s not Ghost pushing the boundaries of melodic hard rock, but rather Ghost pushing their own style boundaries, which on this occasion, happen to fit into the realm of the melodic rock world.

On the surface, this looks like another gothic, alt-metal, fringe dwelling record from one of Sweden’s more menacing outfits. At its heart though, it is in fact a stadium rock album with a huge dose of 80s anthemic thinking, mixed with a modern moody and at times gothic vibe, with some prog-metal influences.

It is a masterpiece, no question about it. The originality of Ghost’s past sound mixing with a more commercial template is an absolute winner for fans craving something that actually sounds different – that stands out from the pack.

There’s a touch of everything here – 9 tracks and 3 short instrumental passages of anthems, moods and grooves – nothing repeating itself and like all great works of art, just a little nuts at times.

It’s one of the most played records of the year for me already and easily the standout record for originality, captivating lyrics, dark themes and rich harmonies and a production quality to rival the biggest sounding records of the 80s and 90s.

Only gripes - the fadeout for Watcher In The Sky runs over a minute when half that would have been plenty and a 23 second segue is a little pointless. But how about that hook in the bridge to Hunter's Moon? Wow.

Part Def Leppard, part Motley Crue, part Sisters Of Mercy, part Threshold and part Jim Steinman, this is how rock n roll needs to grow and build an audience in 2022.

If Spillways isn’t my song of the year, it will take a monster track to displace it.

Amazing!

Legacy Swedish AOR act Alien deliver their seventh studio album here, the first to see them turn their traditional style on its head in an attempt to reach a new crowd.

So Alien have ‘gone metal’ here, albeit metal with a strong melodic edge and the unmistakable voice of Jim Jidhed reminding us of their true AOR origins.

I’ve seen some very mixed fan responses to this and my initial reaction was very negative. However, despite an absolutely horrendous production (yes, that issue again and a pretty consistent theme of the last 3 Alien albums), there are some great songs on here to enjoy.

I do think the guys are having a bet both ways, with the album split between the new hard rock sound and several lighter AOR songs that could have come from any previous album.

It’s a hard call – do you fully embrace a new sound with all the risks that entails, or do you try and do something different and mix in the old sound to try and keep old fans happy.

Hard to make a cohesive album with two different styles and I think that’s what holds this album back. Not to mention that Jim really struggles vocally on some of the heavier numbers, especially the painful to listen to What Are We Fighting For and Into The Future.

Of the ‘metal’ songs I really like the opening salvo of You Still Burn and Night Of Fire, the band don’t sound any better than they do on these two tracks.

On the other hand, ‘classic’ Alien can be heard with the more keyboard friendly Time Is Right, Freedom Wind and Fallin Way Down.

It’s a mixed album with mixed results and yes, mixed feelings. I think I’ll probably pick a few tunes here and there for separate playlists, but as a start to finish album, there’s something not quite right about ‘metal’ Alien and the production/mix is very muddy to say the least.

Proof that everything happens eventually, here’s a brand-new AC/DC album, designed to drop some rock n roll healing on a shitty year. Could this be the last ever new AC/DC studio album? Never bet against accadacca but given it has been 6 years since the last album, it’s entirely possible.

Having cranked the contents of ‘PWR/UP’ several times in quick succession, I wouldn’t say the band have delivered a career defining record befitting a grand exit, but they have exceeded expectations to deliver a very credible late-career record that I think will please most fans.

It is true that the guys could possibly have written this album in their sleep and there is no deviation from the style or delivery of the last several records, but there is something very comforting about new AC/DC tunes.

Twelve tracks at 41 minutes in length should give an accurate summary of the contents here. I am comfortable stating that the first 4 tracks are amongst their best in many a year. Realize is a superb opener, with Rejection, the single Shot In The Dark and Through The Mists Of Time all delivering great riffs and hooks.

Elsewhere it’s a pretty consistent run. Only track 8, Wild Reputation, drags significantly for me.

I do wonder how good this would have been with someone like Bob Rock or Kevin Shirley at the helm. The lack of urgency and a harder hitting sound is what I think it missing from latter day records.

Brian Johnson sounds as good as ever, which I’m really pleased about. He’s one of the good guys.

Aussie melodic rock legends Noiseworks are back with a reunion tour and a ‘new’ album that was recorded several years back but shelved for various reasons. Most notably the cancer battle of guitarist Stuart Fraser, which would eventually claim his life.

So this album and tour is a tribute to him – with Southern Sons’ Jack Jones filling in for the live dates.

The official fourth and likely final Noiseworks album is a mix of classic and modern, with the band reliving its trademark sound from the first two albums in places, but then also delving into the heavier, groovier feel of the lesser liked third album.

The mix works pretty well here, but the standout songs are clearly the ones that lean towards the classic/melodic side. The opener Heart & Soul is among the band’s best tracks – a great feel good anthem.

Amerika is another highlight – a song which is quite literally half classic (the chorus) and half modern and heavier (the verses).

Elsewhere the ballad Long Way delivers a nice sentiment, the decade old Sunshine sounds better today than it did when originally released as a single and Low is a modern moody rocker with a killer vocal from the always amazing Jon Stevens. One In A Million picks up the pace with another good hook before delving back into the album’s familiar mid-tempo groove on Let It Go.

Unfortunately the album is over too soon, and closes on a low note, as the acoustic ballad Ocean Girl isn’t as strong as the rest of the material and the 50 second Touch (Epitaph) isn’t long enough to go anywhere.

All in all, take 34 minutes minus the last two tracks, you get 28 minutes of high quality modern melodic rock, excellently produced and performed by some of Australia’s best musicians.

A great long EP, or a little short for an album.

To add to the conversation, the physical CD packaging is a disgrace – a thin cardboard gatefold with no booklet, no lyrics, little info and bad album cover art. Not much effort has been put into this aspect.