CARDINAL BLACK : MIDNIGHT AT THE VALENCIA

CARDINAL BLACK : MIDNIGHT AT THE VALENCIA

Ride Home
Falling
Racing Cars
Breathe
Keep On Running
Morning Light
Holding My Breath
Push/Pull
Adeline
Need More Time
Your Spark (Blows Me To Pieces)

Label : Thirty Tigers

Release Date : May 23, 2025

Length : 45:19

Review (Heaven) : Cardinal Black is een band uit Wales, ooit ontdekt door Steve Winwood, die na een valse start vijftien jaar geleden, in 2020 werd heropgericht door het trio Chris Buck (gitaar), Adam Roberts (drums) en frontman Tom Hollister. Na January Came Close uit 2022 is Midnight At The Valencia hun tweede studioplaat, een album dat overtuigt vanaf het eerste moment tot aan de begeesterende afsluiter Your Spark (Blows Me To Pieces) met een uitgekiende hutspot van rock, blues en soul. De Welshmen hebben het geluk een wereldzanger in hun midden te hebben in de persoon van Tom Hollister, wiens fraaie vocalen regelmatig herinneren aan Paul Weller. Het album puilt uit van de fraaie composities die in prachtige, vernuftige arrangementen zijn gegoten van zowel mooie ballads (Racing Cars, Breathe, Morning Light, Adeline, Push/Pull) als aantrekkelijke rocksongs zoals Ride Home, Falling, Keep On Running en Need More Time. Wat een geluk dat ze er in 2011 niet definitief het bijltje bij neergegooid hebben.

Review (Metal Planet Music) : Cardinal Black have found a way to make that difficult second album seem easy. Midnight at the Velencia is simple, sultry and sublime and the stepping stone to greatness. The album opens with “Ride Home” and it looks like the Welsh boyos have discovered the what does this do buttons in the studio as it opens like an aboriginal anthem and of all the little additional sounds added, did they even manage to sneak in some bagpipes? This track personifies my simple statement, it has that laid back Cardinal Black vibe and this is as catchy as hell. The pipes fade away at the end of the previous song and slide into “Falling” and that slow, easy atmosphere builds until the song grabs you. The bass and guitars are powerful yet discreet with singer Tom Hollister taking the song front and centre with those powerful vocals. “Chasing Cars” is going to be the Cardinal Black’s contribution to mankind as this is the one that babies will be conceived too. This is a truly beautiful track with both Tom and Chris Buck ripping out your heart strings and leaving a mark that will stay with you for a very long time. This instantly became my favourite track. “Breathe” opens with Tom’s husky, oops my pants fell off vocals and his voice breathes emotion right into your soul. The layered vocals in the background which no doubt was Chris turns this song into an almost religious encounter. A song made to be played in a church with a full choir. this song grabbed me and refused to let go. The tempo lifts on “Keep on Running” and with the backing singer the church flows to the deep south and if you manage not to shout hallelujah at some point during this song you done better than me. Chris’s distorted guitar work is mesmerizing. “Morning Light” opens with an obvious outtake and that lazy southern porch feel is back and as a lover of the Cadillac Three this song sank right into that groove. It floats, it soars and it hits hard when the quiet moments are left behind. This track really shows the quality of the production and with a song so good it deserves nothing less. “Holding my Breath” is 100% Cardinal Black, this is the band that takes a hold of you live, this is the simplicity and impact that music can have on you. This is how you take a message, let it play on your emotions and no matter how slow, how simple it has an impact as crushing as a Thrash bands double bass. The similar vibe threads its story through “Push/Pull” but it is Chris who grabs you first before those dulcet tones trickle like honey into your ears before the feeling sends shudders down your spine. Another truly beautiful song. “Adeline” has so much soul it deseves its own reincarnation. A song full of longing, a little desperation and a willingness to never fail. This song made me feel how the album plays out like a book. The songs flow into each other, the picture becomes bigger, the tapestries are spun and the more you listen to it the more you fall in love. The mouth organ is out on “Need More Time” and for me that is always an instant winner but it is the little touches on this album that propel the band forward, separate from what was a flawless debut and how it sets itself apart. I am already on board with this album, already sold that this band has every right being one of the best bands I have discovered in a decade and then “Your Spark( Blows me to Pieces)” finishes things off and the boys bow out with perfection. What an incredible song and to be honest just giving it the moniker of a song somehow lessens the impact that this had on me. The first time I saw Chris Buck play his guitar I knew he was destined for greatness and as much as I love Buck and Evans this collaboration is pure stardust. Each member play their part in making this an experience, not just a collection of songs. I have a feeling people may not find Midnight at the Valencia as accessible as the debut but please stick with it, every play it grows until you realise we may very well have the best album of 2025 right before us.

Review (Rock Poser) : I have been waiting anxiously for the release of this album, having become a huge fan of Cardinal Black over the last couple of years. If you are unaware of this stunning act, they are actually homegrown, hailing from Wales, and strangely, this is the second time they have been a band (well three quarters of them anyway) in the last 15 years. Now, I am late to the party, as lots of people have followed them for the last few years, where (as I say) to my shame I only discovered them a couple of years back. So, why should you care about Cardinal Black? Because they are BLOODY BRILLIANT is why! Being astonishingly talented, and who blend Rock, with loads of soul, some pop sensibilities, and just a smattering of funk to boot. They have a killer guitarist, and arguably the best vocalist in recent times! No, I am not exaggerating, guitarist Chris Buck is (quite rightly) winning accolades everywhere, and singer Tom Hollister has THE most beautiful voice I can think of, and who pours soulful emotion into every single note. Just wow! You think I’m wrong? Slash honestly loves them, while they have supported his bandmate Myles Kennedy – who is also a huge fan. Should you be wearing ‘musical blinkers’, do yourselves a favour, take them off, and just let the band’s musical brilliance permeate your very heart and soul – trust me, you will thank me. The sensational quartet is rounded out by drummer Adam Roberts, and the one ‘new’ guy amongst the guys, bass guitarist Sam Williams, and a very wonderful rhythmic coupling they are too. A very learned friend of mine says he hears a Neil Young/REM/Bob Dylan ‘thing’ going on – I can hear a possible R.E.M ‘link’, but as I’m only a casual fan (at best) of Young (and particularly) Dylan, I happily bow to his superior knowledge. Whatever it is Cardinal Black is doing – I absolutely bloody love it. I have been playing this album endlessly, it’s as close to perfection as any other I can think of. The album kicks off with the sublime ‘Ride Home’, which is absolutely beautiful. With the band being supported by what sounds like sequenced keyboards – which add perfectly to the song. It’s a huge song and is a brilliant way to open the album. The song segues into the equally gorgeous ‘Falling’, which is more measured but sees the band’s soulful sound pouring through. The song has a monster chorus and is guaranteed to become a crowd-pleasing live favourite, as it simply soars. ‘Racing Cars’ is next – and simply floors you with its beauty. It’s a slow piano led piece, and here Tom Hollister simply shines … oh my goodness. To me (only) he reminds me (tonally) of Michael Bolton and Benny Mardones. ‘Breathe’ is another monster of a song, Tom is supported by some gorgeous almost choral vocals – which work beautifully. Chris Buck supplies superbly elegantly restrained guitar work. Oh my. ‘Keep On Running’ sees the band hitting Funk Rock territory, it’s a number where the rhythm section gets to shine, laying down a gloriously groovy backbeat. Again, the use of powerful female backing vocals complement Tom perfectly, it’s a fabulous track. Next is ‘Morning Light’ which is a luscious and dreamy song. It’s a number where yet again Tom Hollister pours his heart and soul into every note, and Chris Buck proves what a stunning guitarist he is – his lead here is nothing short of jaw-dropping. The use of Hammond organ to ‘thicken’ the sound is utterly perfect too, damn this band knows how to make aural dynamics work. ‘Holding My Breath’ is another funkier number, with a wonderfully laidback groove, Sam Williams and Adam Roberts drive the song perfectly, which Mr Buck supplies a beautiful lead that Dave Gilmour would have been proud to call his own. It’s also a song where Tom is happy to be restrained for the main part, his vocals toning beautifully with some more gorgeous female backing vocals, it’s fantastic. ‘Push/Pull’ is beautifully intimate, where the band simply understands that less is more. Tom’s gloriously emotive voice carries the song. Chris Buck’s gently and sparingly picked guitar is a sign of such maturity here. ‘Adeline’ is gently funky and dreamily soulful, Chris allows his guitar to ‘sing’ softly, while Tom’s beautifully soulful performance is simply electrifying. The song builds to a blazing climax, you simply need to hear this to fully appreciate it – words honestly can’t do it justice. ‘Need More Time’ is where I finally understand the Bob Dylan reference musically. It’s an upbeat track featuring harmonica, some very Dylanesque guitars, and is the most ‘Americana’ toned song on the album as a result. The use of Hammond organs works beautifully here, it’s great stuff. However, the best is yet to come. Messrs Buck, Hollister, Williams and Roberts end the album in simply sublime style. ‘Your Spark (Blows Me To Pieces)’ is simply absolute perfection. It’s a song that builds and builds to a shattering climax, where Chris Buck cuts loose with a genuinely glorious and spine-tingling solo, while Tom Hollister wrings every emotional note from his voice, until the song gently subsides into nothingness … holy hell! If you are not left shellshocked by the sheer brilliance of this song – then you honestly have no heart or soul … end of. So, to my mind, ‘Midnight At The Valencia’ is an emotional rollercoaster of an album, in many respects I’d describe it as a ‘late night album’ – one best discovered in peace and quiet, where every raw note can envelope your senses. I’ve yet to experience the band live, but I genuinely now cannot wait to do so. This album is easily going to vie for my album of the year. Mark my words, Cardinal Black will inevitably become a household name, superstardom really does await, this wondrous band truly ‘does have it all going on’, and it won’t just be the UK demanding their presence, world domination is now surely a foregone conclusion – and deservedly so. Just buy this … okay?

Review (Blues Rock Review) : The Welsh trio Cardinal Black have got a brand new album Midnight at The Valencia lined up for release via Thirty Tigers on May 23rd. Following years spent on stages of every dive bar and neon-soaked club they’ve come across, the band has set out to create a record that will represent their 10,000 hours of work. Talking about the new release, the frontman Tom Hollister said: “It’s a long, shared history we have. We feel like we’ve paid our dues, and this album is the culmination of all that effort”. Having heard the singles released in the build-up, I was keen to dive right in. Midnight at The Valencia doesn’t start as your conventional blues rock record. The first track titled “Ride Home” is more of a progressive pop / art rock blend. Starting out with atmospheric synth sounds and a sampled voice, a hypnotic drum beat soon joins in to take us into verse one. The harmony is built mainly upon a single chord giving this tune almost mantric qualities with the rare change providing a big release to the built up tension. Hollister’s powerful, rounded voice brings a sense of warmth to this track that also features a bagpipes solo. The album opener is a masterpiece in it’s own right, certainly possessing cinematic qualities and slightly resembling Peter Gabriel’s debut solo single “Solsbury Hill”. The synth sample continues into song number two, “Falling”, creating a seamless transition before Adam Roberts counts down on the hi-hat and jumps into a considerably heavier groove. The volume swell on Chris Buck’s sustained chord followed by wailing bends made it seem as if Hendrix transformed into David Gilmour in a matter of seconds. This is followed by back-to-back ballads titled “Racing Cars” and “Breathe”, bringing soulful vibes to the mix. Creative guitar parts, instantly recognisable voice, and solid grooves, crowned with a touch of melancholy, seems to have become the signature style of Cardinal Black and I’m here for it. Track number 5, “Keep On Running” is one of the singles released in the lead-up. The rhythm section is what really drives this fiery blues-infused number. The bass and drums work in great harmony to build a bouncy groove. Another commanding vocal performance by Hollister is topped off with haunting backing vocals singing earworm melodies throughout the song. And did I mention the guitar tone on this one? Dirty as hell! The way this track has been written, performed, and produced should be taught in schools – a true work of art. “Morning Light” starts with some comforting ASMR sounds – steps getting closer and closer, a door opening, casual conversation backed by an acoustic guitar and some slightly out-of-tune piano. It felt like I was there – in the studio, listening to the band play this warm and powerful country-style ballad live. It’s an experience, I’m telling you! Another single released earlier this year “Holding My Breath” – excellent song all in all, very catchy, however this one is all about the guitar. Upon hearing it for the first time on Spotify’s Release Radar, what caught my ear immediately was the muted staccato rhythm that Buck is knitting into the very fabric of this song. Not to mention the guitar solo – it’s unlike anything I’ve heard before, so cleverly built, and delivered with such feel, and such rich tone, it’s shiver-inducing. Lyrically expressive and powerful, “Push/Pull” is a beautiful, meditative tune – floating in space and calming the mind down. Fading in from out far, a proper love song titled “Adeline” follows, keeping things slow and dreamy for a little while longer before the heavily distorted guitar takes over to lead us into “Need More Time”. A tune that features folky harmonica parts, an extremely catchy chorus, and killer parts on the electric organ. Wrapping this record up in style is another genuine, emotion-packed love song titled “Your Spark (Blows Me to Pieces)”. With meticulous production, a distinctive sound, and impeccable songwriting bringing a wide array of emotions to surface – Midnight at The Valencia is a breathtaking record. Difficult to place inside any genre or even cross-genre boundary, this release is simply ‘Cardinal Black’. Those who have witnessed them play live say the band’s chemistry, energy, and musicianship contribute towards a truly electrifying experience, earning this Welsh outfit a reputation as one of the most compelling live acts. Make sure to catch them on tour across UK, US, and EU this year. Oh, and keep this amazing record spinning – truth be told if you spin it once you might not be able to stop!

Review (Rock & Blues Muse) : There aren’t many positive outcomes that emerged from 2020s COVID nightmare, especially in the music industry that was essentially shut down. But it did have the unintended effect of reuniting the three original members of Wales’ Cardinal Black. The group had broken up, yet during the pandemic downtime, they re-connected and released their debut EP. That resulted in one of its four tracks, the striking “Tell Me How It Feels,” making its first appearance, displaying the fledgling trio’s impressive and surprisingly developed soul/blues bona fides. Those songs were re-recorded on the Tom Hollister-fronted outfit’s 2022 debut full-length, and the band was off to a galloping start. In order to maintain the momentum generated by that disc’s popularity, Cardinal Black’s follow-up was a 75-minute live set. This was an unusual move so early in their career, (the group’s four initial compositions were once again repeated), but it cemented how dynamic their live chops, now with a full-time bass player, had become in short order. Every song was extended, culminating in the closing 11-plus minute show-stopping “Tied Up in Blue,” a roaring, epic example of Hollister unleashing his spine-tingling, full-bodied pipes and letting the music expand naturally. A year later, we finally get Black’s second studio collection. This much anticipated 11-track sequel consolidates the strapping strengths they already exhibited, adding instruments (two bagpipes are credited) to the quartet’s core lineup while condensing tunes to tighter, more bite-sized chunks. Nothing feels rushed though as Hollister and co-frontman guitarist Chris Buck, who together or separately pen the majority of the material, move towards swirling soul, and largely away from any rock edge they had occasionally exhibited in the past. Buck’s supple guitar work doesn’t knock you over. Rather it vibrates and pulses, creating shimmering audio beds for Hollister to launch from. On “Morning Light” the singer recounts a one-night stand. The song starts slowly, gradually erupting into a roiling mass of blues-soaked chords as he howls “Don’t you put your trust in me,” then drops down to a whisper as the intensity downshifts to just piano, organ and vocals. Searing stuff. As notable as the musicianship is, these performances serve as singer Hollister’s showcase. His voice combines the gruff edge of Joe Cocker, the smoother guttural gravel that defines Michael McDonald and Matt Andersen’s hulking vulnerability. On “Holding My Breath” he digs to his core as the instrumentation sizzles and throbs like late period Roxy Music. Buck emerges out of the sonic haze delivering a sharp, jazzy, Rory Gallagher-styled solo that dissolves as quickly as it appeared. Backing vocals from Jade MacRae impart a tang of gospel to the tune that, at just four minutes, you wish would go longer. It probably does in concert. A harmonica infuses twinges of blues to “Need More Time.” It’s another slice of emotional crooning that coalesces around two keyboardists who create swaths of sound as Hollister and MacRae join on a chorus you’ll be singing after the first spin. Just the title of the closing “Your Spark (Blows Me to Pieces),” at nearly six minutes, the disc’s longest offering, is enough to light embers of anticipation. Hollister testifies that “It’s you I want” with the furious fire of the finest soulmen, backing off only when Buck launches into a solo so scorching, you’ll wonder how his fingers didn’t burn up. Despite the abundance of ballads that dominate and explore similar musical tempos on ‘Midnight at the Valencia,’ Cardinal Black has clearly defined and refined their direction, displaying the instrumental talent, rugged songwriting and churning arrangements which should advance them to greater commercial heights. Hopefully without the return of COVID.