Prepare yourselves for another dose of melodic excellence.

I was first introduced to Care Of Night's music in 2015 whilst in the confines of fellow 'Fireworks' reviewer Mick Parry's car. As the album oozed from the speakers, he waxed lyrical about the band and the wonderfully melodic songs they had carefully crafted. This positivity and enthusiasm were both subsequently reflected in Ian Johnson's review (issue #68) in which he stated, "...their music glorifies what is best in all things AOR...". Therefore, I suggest you prepare yourselves for another dose of melodic excellence, or at very least another opus of high-quality songs.

Since their formation in 2009, there has been only one major personnel change and that was Viktor Öström Berg, who replaced original guitarist Jonathan Carlemar towards the end of 2015. As 2018 now draws to a close, what do Berg, Calle Schonberg (vocals), Jonas Rosengren (bass), Kristofer Von Wachenfeldt (keys) and Linus Svensson have in store on this much-awaited sophomore release?

From the opening chords of 'Love Equals War', you immediately realise that this is another sumptuously produced release. The swirling keyboard legerdemain of Wachenfeldt, the soaring vocals of Schonberg and the unpretentious guitar accompaniment of Berg all mesh to create an entity of beauty. This song alone perfectly captures the intentions of the album; a bouncy upbeat tempo, supported by some exquisite rhythmic support, and a chorus that sticks faster than Loctite!

'Your Perfection' and 'She Leads You On' continue this euphonious onslaught. Initially, the word that sprang to mind was "effortless" as that's how this band appear to execute their wares. 'All I Got' is an epic embodiment of emotion and it's probably my favourite song on the album, but Care Of Night can rock-out too and 'Hit' attacks you like an Anthony Joshua right-hander – it's a definite, future live favourite. Sadly, and it's only my personal opinion, it's here that the album reaches its zenith.

I'm not saying 'Ivory Towers', 'Please Don't Leave', 'We Will Find A Way' and 'At Last' are bad songs, far from it in fact; however, the faultless first half of the album highlights a second half that lacks the punch, panache and precision of what's gone before. 'Cold As My Heart' is the lone exception and incorporating a saxophone is always a welcome addition to proceedings. Arguably, alternate track sequencing could have alleviated my second-half negativity; you may disagree.

One thing's for sure, if you loved the debut, then you should love this too.

Dave Crompton