Reviews: Calyces, Euphrosyne, Wildfire, Destiny Calls (Matt Bladen)

Calyces – Fleshy Waves Of Probability (Self Released)

Calyces was born when Manthos Stergiou formed another band after the collapse of Tardive Dyskinesia, they released their debut Impulse To Soar in 2020, getting rave reviews from anyone that loves the sludge meets 70’s style psychedelia of bands such as Baroness and Mastodon. In 2023 drummer Stavros Rigos joined the band and things felt different than before as Manthos and Stavros had both played on Tardive’s first two albums, a reunion then and one that has been seen by the band as the beginning of their next chapter.

Their past glories can be heard on Voices In The Grey where the guitar and drums spar with each other in a way that only two former members of a prog band can. There’s a lot of history here and their previous musical relationship mean that Fleshy Waves Of Probability is a more streamlined but more complex album than the debut. Still leaning heavily on the Mastodon sound, Lost In Phase having the galactic soundscapes of anything from Crack The Skye, the clean/harsh vocals used across the album but here they never sound more like the Atlanta band than here.

They do show signs of putting their own stamp on their music with this album though, it’s more organic and natural sounding. The contrabass from Loukas Giannakitsas in the middle of the hallucinatory Lethargy, one of the more progressive tracks here filled with shifting riffs and a changes while there’s underlying synth atmospheres on few tracks and added violin on Lost In Phrase, Manthos and Giannis Golfis given ample room to shred with the freewheeling Swirling Towards The Light, the melodies of Wastelands and the choppy Forked Tongue. That solid engine room giving its own technicality to even the simplest sounding songs.

Born from collaboration and lack of creative restraints Calyces embark on chapter two with more freedom than ever before, Fleshy Waves Of Probability is a tribute to that freedom, how the choices we make will often lead us to new discoveries. Calyces stand at the beginning of a new epoch with a brilliant second album. 9/10

Euphrosyne – Morus (Black Lion Records)

Morus is the debut album from Euphrosyne a post-black/doom band from Athens. They draw influence from the gaze/post/artistic side of extreme metal influenced by Deafheaven, Alcest and Chelsea Wolfe, this debut album featuring jubilant ringing sounds of atmospheric ambience that are snuffed out by the ferocious blasts of glacial black metal.

Formed in 2021 by Efi Eva (vocals) and Alex Despotidis (guitar) they were joined by George Gazis (bass) and Stelios Pepinidis (drums) in 2022 and recorded an EP in that year. I said in my review that I wanted more asap and in 2025 I get my wish with full length from these Athenians.

They have supported some top level talent in their native country and have drawn from real world inspiration for this album. Most black metal bands are inspired by depression and isolation but on Morus the inspiration comes from Alex's mother's death from cancer posing the existential question of "what lies beyond" and how we can find acceptance when the pass.

So it's heavy in it's influence and this is reflected in music, July 21th begins with just those haunting vocals and a piano as a solitary violin comes in for added emotion, this first song is very Chelsea Wolfe in the beginnings before exploding into ferocious black metal while Valley Of White alternates between Katatonia-like ambience and vicious extremity.

It's the first usage of screams on the album but not the last as they return on the blistering Funeral Rites a Draconian-like piece of death doom that slowly unfurls into a simple but effective solo. I was expecting a lot from Euphrosyne and this debut full length delivers brilliantly. 9/10

Wildfire – Rise (Self Released)

Retro heavy metal from Athens now and it's the debut album from Wildfire, who won the National Rock & Metal Contest hosted by TV WAR. So Wildfire are retro classic metal band who cite influences such as Queensryche (heard in Bill Chrepas’ vocals) and Crimson Glory and basically if you like those bands you'll love Wildfire, if you love Satan, you'll love Wildfire and that's good as they supported the veteran UK band when they played Greece.

Wildfire stick to their guns across Rise, they never stray into modern metal or other genres, it's fist pumping trad metal from Leap Of Faith to the bonus track Night With A Witch, the use of Marios Theofilatos' keys bring some AOR and prog melodies to tracks such as Far And Beyond (In Hell) which reminds me of Saracen (and I can tell you I love Saracen). Bassist Dimitris Megalios and drummer Andronikos Maltezos give the album it's gallop and the sway to tracks such as Navigators where they gain a bit of bass-driven Maiden slow burn and traditional Balkan clarinet. 

Hitting the gas again with some Euro-power metal for Inside The Box, Tolis G Pol and Dimitris Varsamis duelling with their axe craft as classic metal prevails again on Breaking Point. With Rise, Wildfire confirm their classic metal credentials, boosted by the synths this is a metal treat. 8/10

Destiny Calls – Alive (Self Reelased)

Staying in Athens and its Destiny Calls, a melodic rock band inspired by Bonnie Tyler, Robin Beck, Romeo’s Daughter and Pat Benatar. Alive is their debut and it’s got all the bits of the AOR sound you’d want if you’re am AOR Heaven or Frontiers devotee. Stuttering riffs and emotive solos from Spiros Fousekis, take you back to strutting the Sunset Strip with the tinkle of George Georgiou’s keys more akin to his work with Rock n Roll Children than Innerwish of Fortress Under Siege.

Both are former members of Flying Mercury and are joined by bassist Loukas Adamopoulos and drummer Peter Papapetros, all four are involved in the prog metal scene and have done what many bands in the prog/power scene do by playing in an AOR band that has all the musical skill of the one genre transplanted into the other.

Taking the mic is Aggeliki Rossolatou who has a husky, rougher vocal that comes from the blues and works well with the melodic rock of Destiny Calls. I mentioned some influences above but they may be a little lazy as Destiny Calls also takes from Whitesnake, Winger, Cinderella or any band in the 80’s where the glam/sleaze/AOR was taken from a blues backing. They’ve packed their songs with some big chorus hooks that would have been huge at the time, Angel for instance has FM radio written all over it as Tonight would have a killer video on MTV., as it's even got some sax at the climax. 

A throwback but a fun one, melodic fans will definitely Alive with this debut album. 7/10

A View From The Back Of The Room: Campaign For Musical Destruction Tour (Chris & Zoe Hutchinson)

Campaign For Musical Destruction Tour: Napalm Death, Crowbar, Full Of Hell & Brat, O2 Academy Birmingham, 09.03.25

Opening the night was Brat (6), a hardcore band led by a female vocalist. They took the stage with an infectious energy, though the initial crowd response was somewhat subdued, with limited movement in the pit. Despite the slow start, Brat engaged the audience with consistent interaction, gradually warming them up. 

A notable guest appearance by Dylan, the lead singer of Full Of Hell, added an extra layer of excitement to their set. By the end of their set, they managed to energise the crowd with a pit-worthy finale. The sound was well-balanced, with clear vocals and instrumentals.

Full Of Hell (8) followed with a performance that quickly ignited the crowd. From the moment they took the stage, their energy was palpable, with the lead singers' frantic movements captivating the audience. Within three minutes, the pit erupted, and the crowds enthusiasm continued to build throughout their set. 

The impressive vocal delivery from Dylan and powerful instrumentals maintained the momentum with many crowd surfers making their way over the audience. The band gave a message to the crowd urging them to “do it today, not tomorrow”. By the end of their set, Birmingham had fully embraced them, showering them with applause.

Next up was Crowbar (8), who brought a slightly different vibe with their signature sludge mental sound. While their performance featured some movement, it lacked the intensity of the preceding acts. However, despite the reduced physicality, Crowbar showcased the commanding stage presence that comes with over a decade of experience, engaging the audience with their seasoned musicianship. 

The crowds energy dipped initially, but they regained momentum with a heavier fourth song. A special guest appearance by Shane, the bassist from Napalm Death, sent the crowd into a frenzy, significantly boosting the energy. Although Crowbar may not have been as pit-worthy as Full Of Hell, they proved to be crowd-surf worthy with over 30 surfers making their way through the audience.

As the hometown heroes, Napalm Death (9) took the stage to thunderous cheer. Their performance was a masterclass in energy and engagement, with the lead singer, Barney Greenway, exhibiting relentless movement and charisma that captivated the audience from the first note. The band opened with a blistering track that set the tone for the evening, immediately plunging the crowd into a frenzy of activity. Describing their music as “abrasive noise”, Napalm death delivered a relentless set that showcased their signature blend of grindcore and extreme metal. The sound mix was impeccable, with vocals and instruments blending seamlessly, creating a powerful auditory experience that resonated throughout the venue. 

The pits never ceased, with crowd surfers flying over the heads of enthusiastic fans, and the energy in the room was electric. Greenway’s stage presence was commanding, as he frequently engaged the audience, encouraging them to participate and embrace the chaos. A standout moment occurred when the crowd began chanting “Welcome home”, a heartfelt tribute that underscored the band’s deep connection to their Birmingham roots. The moment not only highlighted the band's significance to the local scene but also created an emotional atmosphere that resonated with both the band and the audience.

The Campaign For Musical Destruction tour provided a night of escalating energy and crowd engagement. Each band played a crucial role in warming up the audience, with Full Of Hell emerging as a stand out performance among the support acts. The sound quality remained consistent throughout, thanks to the attentive sound technician, and the event staff ensured a smooth experience for all attendees. Napalm death not only met but exceeded expectations, solidifying their status as legends in the grindcore scene.

A View From The Back Of The Room: The Darkness (Liam Williams)

The Darkness & Ash, Swansea Arena, Swansea, 09.03.25

What do you get when you have a tasty starter of Northern Irish indie rock, followed by a spectacular main course performance filled with some good rock and roll fun? A pretty great gig would be the only suitable answer in this case! And I’m sure many in attendance would agree. I went to Swansea Arena to see the legendary rockers The Darkness, who were supported by Northern Irish Indie 3-piece Ash. And I had a very good time!

Considering how long the line was to get in, it went pretty quick and I was inside in no time! But enough of the boring stuff, let’s talk about the music!

I got in just in time to catch the start of supporting band, Ash (7). I wasn’t sure what to expect because I’m not very familiar with their music, but fair play to them, they did a decent job opening the show. I wouldn’t say I was completely blown away by them, but I did enjoy their set. They played 9 songs in total and, being a 3-piece band, they sounded pretty tight. Although they played well, their songs were quite hit or miss for me. But I did enjoy Orpheus. This one had a faster heavier intro before erupting into an almost punk sounding style. Kung Fu, was another good one. It reminded me of The Ramones. 

Then out of nowhere,  it was definitely the highlight of their set for me. A cover of the calypso classic Jump In The Line by Harry Belafonte. They did a great job with this cover. Speeding it up and making it sound like a mix of punk and ska. They ended their set with Burn Baby Burn and, apart from the cover, this was the only song I recognised. I think they could have done with throwing in some more energetic tracks into their set to get the crowd going but I can forgive them for maybe holding back a bit to not steal the spotlight from the main act. And they get bonus points for having a drummer who also provides some backing vocals! 

So now for the main attraction, The Darkness (10). They were absolutely brilliant! Lots of lights, high energy performance, a nice selection of tracks for the whopping 18 song setlist and just overall very fun and enjoyable. This tour is in support of their new album Dreams On Toast, which is out later this month, so it makes sense that most of the tracks were from that album. But they also played 6 tracks from their much loved debut, Permission To Land as well as some of their other big hits. It was my first time seeing them live and I will gladly say they did not disappoint! In fact, I’d go as far as to say they sound much better live. The band play incredibly tight together and Justin’s voice is as good as I remember it from when I first heard them over 20 years ago.

They started the set with one of their newest tracks from the upcoming album. The very heavily ZZ-TOP inspired Rock And Roll Party Cowboy. This track is literally The Darkness equivalent of Sharp-Dressed Man. There was no stopping them from then on. They powered through track after track making it look effortless. There was a bit of a feedback issue during either track 3 or 4, but this was the only technical issue for the whole night. Everything else sounded superb. 

Justin’s stage presence was really good and he did an amazing job working the crowd. Getting the audience involved with some clapping, jumping and dancing, as well as having some Freddie Mercury moments with vocal back-and-forths. He was also a good laugh, going on a rant about the music industry, promoting the new album and taking a dig at another particular group who are also releasing a new album the same week. He got the crowd marching and stomping along to new track Walking Through Fire (a great track which I can’t seem to get out of my head).

They kept the party going with some classics like Barbarian and Love Is Only A Feeling before allowing their drum tech to come on stage and play, while drummer Rufus took over on lead vocals for a track dedicated to his dog called My Only. After that, they surprised us with a performance of Friday Night, as well as playing a couple more tracks before eventually getting to the song which most people came for. 

Their most well known track, I Believe In A Thing Called Love. For this one, Justin demanded people put their phones away and get involved with the singing and dancing, a fair demand in my opinion. The crowd went absolutely wild for this and it looked like everyone was having a lot of fun. They then left the stage for a few minutes before coming back out for their 2 song encore. The first of which was a slow ballad style new track called Weekend In Rome, with a little snippet of Crazy Little Thing Called Love by Queen at the start. Then they ended their show with Love On The Rocks With No Ice. A decent end to a great show!

I haven’t listened to The Darkness in a while but this show has reinvigorated my love for them so I will definitely be playing their hits again and I might even have to get their new album when it’s out. I was hoping for a couple more hits in their set like One Way Ticket and Last Of Our Kind, but it was a pretty solid set and the overall performance and production was amazing, apart from that one little technical issue with the feedback. But I will definitely be seeing them again the next chance that I get! Fantastic night!

A View From The Back Of The Room: Jizzy Pearl's Love/Hate (Debby Myatt & Tony Gaskin)

Jizzy Pearl’s Love/Hate, New Generation Superstars & Voodoo Sioux, KK’s Steel Mill Wolverhampton, 08.03.25

At the height of the Glam/Sleaze domination of rock, LA rockers Love/Hate released their debut album Blackout In The Red Room which helped secure them a tour support with Dio.

35 years on and front man Jizzy Pearl is celebrating that album with an extensive tour, playing the entire album, plus some favourites from the archives.

Supporting tonight are two Midland bands that are no strangers to the local rock scene, the first being local heroes Voodoo Sioux (8). They bounce onto the stage and get the early crowd bopping with a set of energetic rock ‘n’ roll that is raw and uncompromising. Bass player Mario is the most energetic of all, literally slapping the bass whilst contorting his body into all sorts of bone popping positions. 

Front man, Nick Flaherty – otherwise known as Professor Balthazar – is like a madcap concoction made up of bit of Alice Cooper and Jaz Colman. The music reminds me of those pub rock bands of the mid to late 70’s that weren’t quite punk but the punks loved them, bands like Dr Feelgood spring to mind. A great warm up!

Following that up were Nottingham's hard rocking veterans, New Generation Superstars (8). This was more straight up R’n’R, fast paced, in ya face, no frills. And they do it well, with a punk attitude and swagger.

All this was the perfect way to set the evening up for one of the LA Glam scenes most hard rocking front men. Jizzy Pearl (10) may have calmed down his off stage antics and publicity stunts these days but his stage persona is still full on Glam Rock and unashamedly so.

They’re not playing the album in the running order, because that would mean the title track first, and as that’s their ‘anthem’ that was always going to be the last one on the set list! So they open up with Slutsy Tipsy before heading into tracks two and three Rock Queen and Tumbleweed before veering off piste again and missing out Why Do You Think They Call It Dope (yep wait for the encore!) but he does stick generally to the original running order of the album. He also throws in a couple from Wasted In America and Hell, CA to fill out the set list. They also did my personal favourite Spinning Wheel off the 1993 album Lets Rumble.

But it was the encore that everyone in the room loses their sh*t over, Evil Twin, Why Do You Think They Call It Dope and of course Blackout In The Red Room finish off the set.

Jizzy may be well into his 60’s but he has the energy of a man half his age and can still bang out those tunes, this was a real nostalgia trip for me and many others in the room and I loved every minute of it, completely biased.

Reviews: Afterlove, Tower, Caboose, Noisepicker (SJ, Matt Bladen, Dan Sierras & Rich Piva)

Afterlove - Copenhagen Closure (Prime Collective) [SJ]

Mirza (Siamese vocalist) is testing new waters with their solo project Afterlove with Rain City Drive’s Zack Baker and If Not For Me Zac Allen, breaking out of the comfortable and into the experimental. 

Afterlove was born from “…the love of vocal hooks and a massive wall of guitars” with Issues and The Home Team as inspiration. I’ve been fortunate over the past few months to see Rain City Drive, The Home Team and Siamese (some of my favourite bands!) live so I was excited to see how all these influences melded in the Afterlove project.

Afterlove sets us up nicely with the distorted intro and synth influences displaying what’s to come from other tracks in the album, whilst still playing it quite safe by keeping to iconic Siamese elements and its addictive chorus. It made me chuckle a bit when you watch the music video as it’s a one take shot of Mirza enjoying a burrito and chips whilst nodding his head, ending it on a cheeky smile, contrasting the tone of the song. 

Lyrically, Mirza expresses being in love but it not being what was expected “So let me know, why all of this has changed. It goes to show, we never were what we hoped for. Not a sanctuary…” It does lean into the heavier side in the breakdown easing us into what’s coming up from other tracks in the album.

Shape Of My Mind (ft. Bite Down) doesn’t stray too far from what Siamese does best and although I don’t particularly want to keep comparing this album to Siamese directly but with Mirza expressing this album is more experimental, I don’t feel it’s expanded too far from what we love Siamese for, yet (I love Siamese, so this isn’t necessarily a bad thing!). 

There are DnB elements that ebb and flows throughout the track, especially at the pre chorus. This later beautifully morphs into when Bite Down tears it’s way into the song, providing a welcome and unexpected lean into the heavier sound. I would like to see more of this from Mirza.

House Of Glass is one of mine (and Mirza’s) favourite tracks from the album. I could feel Zac Bakers influence in the track, before I knew this was one he produced and wrote with Mirza. 

Lyrically, I truly feel both Zac and Mirza were vulnerable “When I break, I hope it shows. Shows the truth that no-one knows. I can’t undo the things I did….” It’s energetic and catchy throughout, especially its chorus anchoring its riffs “Caught up in my hopeless ways.” 

Then my favourite part, where I truly feel Mirza breaks boundaries is in the second half when it strips back, and pounds us with the drums. It grabs me, lures me in and then blasts with a sonic boom followed by the hard-hitting drums and record scratch sounds. It’s just a colossal and enduring sound that energises and hypes me up.

Industry Dreams. WOW what a twist! Something fresh and experimental for the shortest track on the album at 1 minute 30 seconds. Initially, I got Rob Zombie Living Dead Girl vibes with the drumbeat and guitar, but it does morph into its own character. It leans more into the industrial metal with its heavy guitar riffs and distorted lyrics “Industry Dreams turning nightmares into real.” 

There’s an angry energy vibrating throughout the track and I wonder what this would have morphed into if it was a full-length track. The Humbling is another solid track powerful vocals from Mirza grabbing my attention with how he’s singing “Stone cold” and the “Woah.” Lyrically expressing someone giving their opinion on how they’re “You’re a little overrated… I just wanted you to know this is all about to go.” I do get Rain City Drive vibes from the track; it’s a good song but nothing that hooks me.

The Cure For Dying Alone takes a gentler approach instrumentally. It’s an emotional track that jointly emanates from Mirza’s vocals and the lyrics “If I went to heaven, I’d find a way to make it to hell alone.” It does cascade into a mini breakdown “No I can’t. No, I can’t. Show you who I am,” but we are then propelled into the chorus again before it fades out on Mirzas vocals. 

Musically, it’s what I would expect from Mirza, but it does have an aura of vulnerability shrouding the track. Løvehjerte the last track of the album, is a love letter “It’s all for you” and “I tell myself I’m doing this for you.” Musically, it’s quite melodic and stays within the lines as the lyrics take centre stage “In between the life I need and the life I love. I’m torn.” It’s a laid back and easy listening track.

Afterlove have accomplished what they set out to achieve “…to create a personal album, free of expectations without trying too hard.” It’s jam-packed with catchy hooks and choruses that will play on repeat in your head. 

It does dip its toes in experimenting with different sounds, hopefully inspiring future tracks that will highlight how versatile Mirza can be whilst refining what he does best, genre blending Dnb with metal and nailing expressive lyrics. 8/10

Tower - Let There Be Dark (Cruz Del Sur Music) [Matt Bladen]

What if after the 70's Heart adopted the NWOBHM as their influence rather than AOR and MTV well then they'd probably sound very similar to New York metal crew Tower! I've been following the band since their debut and they never fail to get my head nodding, their first two albums were raw, rock n roll records, with punch and rapid fire riffs.

With Let There Be Dark they've embraced the gothic tendencies of Unto Others by shifting towards the occult and the mystic. The change in sound is noticeable on the first track Under The Chapel has a Eastern feel inspired by a Yiddish lullaby, showcases the full frantic range of Sarabeth Linden who for me is the audio touchpad of Tower.

Her delivery is wild eyed and frenzied but with massive amounts of soulful histrionics, perhaps delivered with more maturity than before. The watchword for Let There Be Dark is maturity, this is not the young band who broke out of the NY scene back in 2016, nearly ten years later they're an all together more adult offering inspired by religion and the repeating use of the serpent imagery.

This is band who have been through ups and downs of the music industry and while it's still got lots of excitement and passion to it, there's a bit more reserve and focus with tracks such as Holy Water. 

There's also been a sonic overhaul with Arthur Rizk (Sumerlands/Eternal Champion) brought in to produce/engineer, meaning that there's an analogue depth to the record with a track such as And I Cry, measured and cinematic, Don't You Say too is a brilliant slow burner that's got some luscious percussion.

The guitar interplay throughout like prime-era UFO, the acoustic interlude The Well Of Souls and Legion X Fretensis adding yet more new tricks to this bands repertoire and enforcing this shift towards a more adult sound. 

Yes there's still highly influenced by NWOBHM but going deeper into other metal styles for their heaviest album yet both musically and emotionally. 9/10

Caboose - Left For Dust (Majestic Mountain Music) [Dan Sierras]

Formed in the frosty winter of Sweden in 2022, Caboose arose when four high school friends Dante Lindström (guitar/lead vocals), Olle Leppäniemi (guitar/backing vocals), Herman Serning (bass) and Oskar Bergman (drums) came together to form a band for a high school project and morphed into a high energy mix of fuzz driven, classic rock riffs. 

Coming in at just under 30 minutes with nine tracks, their debut album Left For Dust is a blast of youth infused stoner rock that will get you moving. The album is full fuzziness and grooves that would get a party started. One of my favourite tracks of the album is Cement Surfer a fast paced jam that starts off with a little cowbell (“I’ve got a fever, and the only prescription is more cowbell”) and has a great little guitar solo about two-thirds of the way through. 

You can’t go wrong with any of the tracks on this debut album. Caboose definitely has a future in the scene, and I look forward to hearing more from these guys in the future. 8/10

Noisepicker - The Earth Will Swallow The Sun (Exile On Mainstream) [Rich Piva]

I had not heard of the band Noisepicker before but grabbed it to review on recommendation from the boss, who told me they were cool and that there is an Orange Goblin connection. So, yeah, of course I am in. Harry Armstrong, bass player for OG since 2021, (and is the singer of heavy rockers Blind River - Ed) is one half of this duo with drummer Kieran Murphy, and boy do these two rip it up. 

This is not a heavy stoner rock band, just in case that is what you were looking for, since I mentioned Orange Goblin. This is more of a garage band from hell. A lo-fi heavy ass rock band with vocals from Nick Cave if he fronted an aggressive garage band with metal leanings.

“Listen To Me Now…” Armstrong screams in the excellent track Tomorrow Lied The Devil, and you have no choice but to. The guys sound like a cross between Murder By Death, Nite, Nick Cave, Therapy? Mclusky, and some dark 90s alt rock. Put it all in a blender, and you get this slab of awesome. Leave Me The Name is like if Tad listened to Bauhaus. I love it. 

There is a sort of sexy creepiness to What Did You Think Was Going To Happen that you don’t really expect after the first few songs. Oh yeah it sounds like Led Zeppelin for a second too. Other standouts include Start The Flood that sounds like Lee Dorrian singing for Therapy? and the title track, which shows off Murphy’s skills while just overall melting your face off. There is not a bad track out of the ten, and the 32-minute run time is just perfect for this record.

This record rips, maybe not in the way you think it would given the connection, but it rips all the same. This is dirty-ass DIY heavy ass rock that is here to kick you into oblivion. Noisepicker certainly gives Harry Armstrong something to do now that OG is dead, and boy am I excited for it. 9/10

Review: Cradle Of FIlth (Liam Williams)

Cradle Of Filth – The Screaming Of The Valkyries (Napalm Records)

The legendary Cradle Of Filth are back on top form with their brand new 14th album The Screaming Of The Valkyries and you can bet I got my goth on with this one! This band have been around for a few years now and they’ve had a lot of success and garnered a big cult following in that time. So how does this new album hold up compared to the rest of their catalogue? Well, if you ask me, this has got to be one of if not THE best album(s) they have ever released. It’s got a little bit of everything we’ve come to expect from this band, and more! I am very impressed, so let’s get into it!

The album starts with To Live Deliciously. The intro has some thunder and other atmosphere building sounds before some strings and choir chants come in. We get some creepy whispers from frontman Dani Filth, before the band come chugging in to build up the heaviness. The main riff comes in with some blastbeats and then ol’ Dani boy comes screeching in, making a grand entrance. There’s some nice melodic lead guitar in the chorus and then a more lively, thrashy second verse. We’re also treated to not 1 but 2 flashy guitar solos back to back. A great start, but this is just the beginning! 

Demagoguery is up next and this one starts with some strings and a harpsichord. The real intro is when the band comes in and I love this part. There’s a nice flow to the verses between the band and vocals. They come in with some nice chuggy pre-choruses. I wasn’t really blown away by the choruses in this one but the rest of the song is really good. There’s a sombre instrumental part in the bridge with strings before Dani’s creepy vocals come back in. This bridge section has a bit of a Danny Elfman vibe to it. We get some duel guitars before another bridge section which leads into the final part of the song. With piano and strings closing things out after the final chorus. 

The Trinity Of Shadows follows up and immediately kicks off with a chaotic heavy intro with some great guitar work. They slow things down a bit for the verses in this one but build up speed with the pre-chorus and chorus. There’s some good backing vocals in the chorus sections and I love the piano part in the pre-chorus. We get a little bass solo leading into the bridge section which leads to a guitar solo/duel where both lead guitars compliment each other extremely well. After the final chorus we get another guitar duel for the outro.

Track 4 is Non Omnis Moriar and begins with a slower more haunting sounding intro. We get some lead guitars and whispers joining in for the first verse. There’s more great lead playing in the pre-chorus and some fantastic female vocals coming in for the choruses. We are treated to another short but sweet guitar solo before the final pre-chorus comes in leading to the outro. 

White Hellebore is really when this album gets exciting and the next few tracks are perhaps some of the best in Cradle’s entire collection! It’s kicks off with some crazy chaotic fun with epic lead guitar playing and blastbeats for the intro. There’s some great back and forth between Dani’s and keyboard player Zoe’s vocals for the chorus again, giving this song some heavy Nightwish vibes in some parts. The second verse keeps the heavy but feels a bit more bouncy compared to the first, just some great playing from the band overall. There’s a breakdown sounding part before the bridge comes in. The second half of this bridge is absolutely fantastic! This then leads to the final chorus before we get an outro with some spoken words from Dani to end this track. 

This is followed by another great track, You Are My Nautilus. This one has a big intro but calms things down a touch with some clean guitars coming in for the verses. They get heavy again leading up to the chorus with some more tasty lead guitar playing. Then we get a little drum solo with choir vocals leading into the chorus. This structure is repeated a second time around but with the addition of some creepy laughing in the pre-chorus. There’s 3 bridge sections broken up with some more brilliant lead guitar riffs and solos, with the 3rd bridge leading into the final chorus. Then the band fades out for the outro, leaving just the sound of waves to end the track.

Coming to the final 3 tracks of the album, first Malignant Perfection. This one has a particularly ominous intro which leads into a proper symphonic metal sound. They dial things back for the verses, but everything else is chaotic and over the top. Great guitar playing, great drumming, just another all round great sounding track, with a surprisingly scary yet somehow happy sounding outro. I don’t know how they managed to do that, but they’ve done it well! 

Next up is Ex Sanguine Draculae. This is another fun, heavy track which is easy to headbang to. The best way I can describe this track is it’s all over the place in the best possible way! And to end the album, they created a very fitting song, When Misery Was A Stranger, which sounds like the kind of music you’d hear during a final boss fight at the end of an epic game. Very heavy energetic intro, thrashy verses, a return of Zoe’s angelic vocals in the choruses and 2 guitar solos. Things slow down a bit for a short instrumental section before the guitars and drums come back strong for the bridge/verse section leading to the outro where things slow down again before the band fades out and the album ends.

This album really blew me away. I’ll admit, I naively considered maybe I’d be disappointed, but I am so glad I was wrong! Cradle have proven they’ve still got it! And this might just be my new favourite album of theirs! The band played exceptionally well! And although I am not a massive fan of Dani’s vocals, they just work here. Brilliant stuff, can’t fault them. Album sounds great, the band played great, and it was a lot of fun to listen to! 10/10

Review: Steven Wilson (Matt Bladen)

Steven Wilson - The Overview (Fiction Records)

A new Steven Wilson album! Ring the bells! Sound the claxon! Fire up the synthesizers! It's no secret I love this musical maven, I've pretty loved everything he's ever been involved in, even Bassinvaders, so I always have a huge amount of anticipation when he releases something new.

Previous album The Harmony Codex was his isolationist record, a more complex sprawling musical journey than previous records, it was his most experimental album since Grace From Drowning. Wilson recorded in solitude the guest appearances coming remotely.

It was quite sparse clinical collection, so it's no wonder then that The Overview, Wilson's eighth album is a warmer sounding affair, musically harking back to Tangerine Dream, Vangelis and middle period (post Saucerful/pre Darkside) Pink Floyd.

Again Wilson plays the majority of the instruments with particular focus on keys/synths/organs to set the atmosphere of this record, but moving away from the electronic influence that was present of previous albums, shifting more towards the classic prog rock he previously dabbled with on The Raven That Refused To Sing.

Wilson joined by Adam Holzman (Hammond/Rhodes/Synth), Randy McStine (guitar/keys/synth), Theo Travis (sax/flute) as the core band on the album as Russell Holzman and Craig Blundell are the two drummers, one per track. The Overview is just 2 tracks but 41 minutes of music and the concept around it deals with the cognitive shift that comes from viewing the earth from space.

So for the first track we have Objects Out Live Us, quietly beginning it's just that distinctive Steven Wilson voice and stripped back synthesizers, there's something building and then a piano comes in, then a drumbeat and things begin properly with an insistent build ala Astronomy Domine then dives into off-kilter harmony and acoustics that bring to mind the Porcupine Tree material.

Existential meets mundane, the lyrics are suitably obtuse allowing you make your own interpretation of what's happening, I believe Andy Partridge of XTC was involved with this side and it's obvious when you listen. In the middle we shift into a middle section that would be out of place on a King Crimson record, all angular guitar and jazz drums. We return to the beginning then switch to a keening guitar solo that takes us to the last dissonant moments, throughout the backing vocals of Willow Beggs spectrally joining both Wilson and McStine's harmonies.

As things fade to black the oscillating EDM thump of The Overview begins as Rotem Wilson starts to describe the largest celestial bodies in the universe by size. It's with track that the Vangelis influences are strong, much like Laibach too. But those gorgeous acoustics return and we begin things properly with an epic, cinematic scope. We float through the vast emptiness of space and let the beauty of the planet wash over us, reminding us just how important yet infinitely forgettable we are in the scope of the universe.

Upbeat tinged with bittersweet it's Steven Wilson 101, however it does seem that Wilson has mellowed since getting married, but musically he still creates innovative songs that are heavily inspired by classic prog but always carry his own seal. The Overview (song) closes with sax and smooth synth and a whiff of Shine On You Crazy Diamond.

Another classic piece of Steven Wilson brilliance, The Overview is just two tracks but will leave you in bit of awe of the talent involved. 9/10

Reviews: Tiberius (Matt Bladen)

Tiberius - Singing For Company (Self Released)



When I first saw Tiberius I was hooked, the Scottish band were thrilling with a boisterous stage show and a musical range that pours power metal into Djent. They were a joyous addition to any festival or show I saw them at never staying fully on the stage and getting the crowd involved as much as they could with their antics. Behind all the antics though were a five piece who were all skilled musicians and knew how best to approach songwriting and their stage show.

I didn't actually the know the band had been going for so long when I saw them but I immediately picked up their debut album Peaceful Annihilation and played the hell out of it, the way that they combined the technical prog metal style with D&D-like fantasy, melodies and chunky riffage melded together alongside only clean vocals (no growls here), made it one of my most played. 

On the back of the debut album they have toured all over and played festivals such as ProgPower and Radar, it's in these shows that a lot of this material that appears on this album was workshopped, through all the breakdowns, Goblin pits and facial gurning, Tiberius became something fresher, something that will captivate a wider audience, streamlining their songs for maximum anthemic value.

So I was very excited to hear they were releasing a second album. Singing For Company is that album and from the title you can see that the whole point of these tracks is to get you moving, get you upbeat, even when things seem hopeless, or the world is getting worse, you can still escape with music. Tiberius have knack for putting often political, personal lyrics through fantasy world building and satirical, often snarky delivery. 

A track such as Tip Of The Spear for instance has been in their set for a while now and the refrain of "Feed Me Please My Oracle" is there for call and response, a big chorus hook that will get stuck in your head. It's of course also a double entendre about how we are fed information right or wrong. Chunky start stop riffs give way to flowing melodies and technical arpeggios as guitarists Jahan Tabrizi and Chris Foster wield their weapons with mastery. Driven by the fat grooving basslines and moments of fingerstyle virtuosity from Ryan Anderson.

Tiberius is prog you can dance too and there's nothing wrong with that as you will get jiggy with Anderson and Nick Kelly controlling the rhythm on the propulsive Juggernaut, it's angular but funky, elements of dance cultures and the use of synth patterns that is so prevalent in djent today. With Grant Barclay, Tiberius have a vocalist who has all the gravitas of someone such as Paul Carrack or Myles Kennedy, Mosaic and Singing For Company both using them well with big melodic rock influences. 

Though the former also showcases what I said in a recent Tesseract live review that Djent style riffs are now the acceptable face of prog and metal in general. The latter meanwhile is classic prog metal fused with Journey-like melodic rock choruses. Singing For Company advances Tiberius as a band be it the, the acoustic classical guitar middle section of Soul Saviour, more strings in Mosaic or those synth patterns that I talked about. The whole record feels fully formed, the band Tiberius have become through years of sweat and tears.

The orchestration in opener New Revelation and last track Touch The Past are the alpha and omega of this record, they share similarities but feel like a definitive beginning and end. The darker opening builds from their last album while the parp of bagpipes on the finale closes with guests female vocals and boisterous modern prog metal with shifting rhythms. Tiberius are Singing For Company and you definitely need to join this choir if you love thrilling modern prog. 10/10

Bloodstock Metal To The Masses South Wales 2025: Interview With Bleed The Fifth (Swansea Heat #3)

Bloodstock Metal To The Masses South Wales 2025



1. Please introduce yourself for anyone who may not know you. Tell us a little bit more about you as a band.

We're Bleed the Fifth - a metalcore band hailing from South Wales. We formed in 2022 with the intentions of bringing back that 2000's metalcore sound. If you haven't heard us yet, then you're in for a hell of a show!

2. What made you want to participate in the Metal To The Masses South Wales 2025 campaign? Have you had previous experience? Or is this your first time?

This is our second time in M2TM, but we're looking forward to crushing it (hopefully) this year. We love metal, festivals and playing shows so BOA would be a dream show for us.

3. M2TM is all about supporting your local scene. How important is the local scene to you as a band?

Very important. We've made a it a tradition of sorts to play our first show of the year at the Bunkhouse, as it was our forst ever show there, our first show with our new bassist a year later, and there's so many good memories there. Without the local scene we wouldn't be pushing to go bigger and better as a band. It means everything.

4. What are your expectations from being a part of M2TM?

We hope to just have a sick time. We're all about having fun and having that party energy in our sets, and we know we'll get that same energy back from the competition.

5. What would playing a Sold Out Bloodstock Festival mean to you?

Pretty much everything. It would be such a big milestone in our careers, and our bassist goes every year so it would be the BEST show we've ever played.

6. We encourage all the bands in M2TM to try and check out the other bands, who are you most looking forward to? Who should your fans also try to catch?

There's too many to name, but Struggler, Akuma, Hallowed Existence are definitely one's to watch out for

Bloodstock Metal To The Masses South Wales 2025: Interview With Thawn (Swansea Heat #3)

Bloodstock Metal To The Masses South Wales 2025



1. Please introduce yourself for anyone who may not know you. Tell us a little bit more about you as a band.

We’re Thawn, a Bridgend based band looking to write great music and find our own form of success. We consist of Miles Davis (drums) Dylan Norris (vocals and guitar) and Kate Roberts (bass). We started in January of last year and have since played a host of gigs including Green Rooms and more recently Black Cat, and have released two tracks on Spotify. We love all sorts of music and like to consider ourselves pretty eclectic, but our style leans more towards the grunge and metal side. This year we’re looking to really expand our following and we hope to gain a small army and take over a historical castle.

Our socials are:

thawn.official - Instagram
Thawn - TikTok, YouTube and Spotify

2. What made you want to participate in the Metal To The Masses South Wales 2025 campaign? Have you had previous experience? Or is this your first time?

This is our first time participating in Metal 2 the Masses, and whatever happens, we just enjoy playing and are happy to get out there and make connections. Being realistic, it feels us though we haven’t amassed enough of a following to get us to the big stage, but prove us wrong!

3. M2TM is all about supporting your local scene. How important is the local scene to you as a band?

We absolutely love being part of a local music community in Bridgend, although more specifically in Maesteg where 2/3 members are based, there isn’t much of a scene at the moment, which is really disappointing because we’ve heard many a story of what it was like back in the day, if anything we’d just be happy to restore a bit of life to that scene.

4. What are your expectations from being a part of M2TM?

Well of course we would adore to play Bloodstock, and trust us we’d make full use of that spotlight, with that opportunity it could open us up to making a tangible career of something we’re so passionate about. However, even removed from that, we’re happy to see other bands play and get involved in the scene a bit more, really placing our mark as the year goes on.

5. What would playing a Sold Out Bloodstock Festival mean to you?

The world, really. The idea of playing in front of hundreds of people on a big stage with other major bands and indulging in all of our musical fantasies is picturesque. We’d develop ourselves as artists, giving what we have to say back to the world. It feels completely detached from reality, but it lets us sleep at night believing good music eventually gets the attention it deserves, even in such a cruel and apathetic industry. Daniel Johnston would be a good example of this.

6. We encourage all the bands in M2TM to try and check out the other bands. Who are you most looking forward to? Who should your fans also try to catch?

After listening to some of Mudlarker’s stuff, we’d say they’re worth checking out! The vocals we think are the standout with some nice atmospheric guitar work at points!