We all know the story by now of how this record came to life whilst the main protagonist and only original member Mike Peters was in Hospital fighting pneumonia after a breakdown in his medication against his long-term leukaemia battle. Armed with a ward of Doctors a guitar and a headful of ideas as well as some PMA, Peters wasn’t sure his voice would hold up so set about recording the latest Alarm record as a way of fighting the good fight and probably for his own sanity and way of dealing with his latest battle.

‘Forwards’ begins with the Title track and on first impression, it’s a fairly standard Alarm sounding song. Nothing wrong with settling into a record and easing in on familiar ground (call it safe, unsure or just setting out one’s stall). It’s ‘The Returning’ that dials up the Rock with another big chorded song, with plenty of digital tweaks and buzz flyovers adding texture to the song. The lyrics grab your attention where Peters, staring into the abyss of his predicament needs to let it out to exercise the demon in the room. and for such a positive man, maybe, negative thoughts have infiltrated. Feelings that he’s reached the end of the road and a terrifying reality winds up in his lyrics. Chilling and a moment where I’m stopped in my tracks, however, I’m still waiting for this record to really grab me musically. sure the backstory is nuts and most mortals wouldn’t even contemplate picking up a guitar.

I love that Mike Peters still writes and releases new music and through a chequered career he’s had very high highs, from the humble beginnings of the originallineupp through an upward trajectory they amassed a hardcore following that was steadfast through some savage attacks in the press butgalvanizedd them somewhat until that night in Brixton. Then a solo output that released records like ‘Breathe’ and ‘Rise’whicht were exceptional records along with the incredibly creative poppy fields project he’s kept me coming back for more through decades and projects like Coloursound and Jack Tars or Dead Men Walking Every time you think thats it he’s come back with something special.

By the time I’ve reached ‘Love And Forgiveness’ with a gentler song with hushed vocals, Peters has hit paydirt. Without a recognised bass player in the lineup or should that be a traditional lineup of Bass, Drum, Guitar, and vocal its definitely a talking point, however, whoever is playing the bass lines throughout the track should pat themselves on the back it’s a real draw and pulls you in on an excellent song and one of the records real high points.

Side one closes with the rockin’ ‘Next’ and again with some exceptional solos and fills it’s a smooth uptempo song that is really good. I like the attack and the production from George Williams it’s just the right side of “Big production” and has enough dirt under its fingernails to appeal to the cool kids it’s a winning formula that Peters should do more of, no doubt about it.

Side two opens with the rush of ‘Whatever’ a great up-tempo electric meets acoustic intro that breaks down that’s anthemic but steering far enough away from being lush and delving into cliché territory with lyrics that can be interpreted to light at the end of the tunnel of the dreadful time this record began its life in. It is alright as Peters leads the gang vocals and whatever gets you through is always good.

New technology meets old as ‘Transition has its throbbing technology layered beneath the Baritone guitar as it licks around the throb whilst the layers of electric guitars fall like an avalanche into the chorus before the solo but its Peters vocals that hit front and center and any fear he might have had whilst in his Hospital cell are put to bed with an exceptional sounding delivery.

‘Love Disappearing’ is the most sounding Alarm song on offer with its ‘Strength’ like intro but when it gets going its got an aggressive edge that’s good to hear sure it’s polished and big but it’s like its been given all the knobs and whistle treatment but then been wiped with sandpaper to give it grit and edge and that works and the frailties of Peters limits on his vocals works well and the harmonica honk is well placed.

‘New Standards’ is possibly the most Alarm sounding song of the lot and will play to the gallery and that’s fine. I hope it’ll grow on me like a lot of this record which to my ears is a whole step up from the last few that were ok but didn’t enthuse me apart from the odd track. This is far better on first impressions and even though I’ve only had a few plays but my first impression is, it’s got a lot of excellent songs and avoids cliches that people like to hammer Peters for. I look forward to hearing some of these songs live and giving them the live test but ‘Forwards’ is a record that does have some instant appeal but I hope it’s got depth that will keep me coming back for more.

The record finishes with ‘X’ as the band wrestles to tame a beast that twists and turns and meanders through its verses with layered vocals and a scuffing riff. Some excellent sounding and prominent drum fills that work well through some very wordy verses its a top tune to close off the record. Peters empties what’s in his head and does it well as he puts a life into some sort of perspective reaching clarity as the song unfolds. I love the use of harmonica and where the verse breaks with the chaotic loops and keys layer add something different and then we go back in and rise again. an exceptional song to close off a thoroughly enjoyable album.

I kept an open mind about ‘Forwards’ as I didn’t want to reach unrealistic highs for one of my favourite recording artists and I think my strategy has paid off. I can reap the rewards of a really impressive album. I haven’t enjoyed an Alarm album this much since ‘Under Attack’ and I know its early doors. I hope that this album grows and gets better with every play and I still feel the love in months to come as the earworms burrow down and take hold. Buy it!

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Author: Dom Daley