Matt Bladen's Top 20 Of 2025

The following is based upon scores I've given through the blog and albums I've played the most.

1. Steven Wilson - The Overview 

2. Ofnus - Valediction 

3. Fury - Interceptor 

4. Lacertilila - Transcend 

5. Puzzle Tree - Kingdom

6. Adfeilion - Rhyfelwyr

7. Tiberius - Singing For Company 

8. Cardinal Black - Midnight At The Valencia

9. Conjurer - Unself

10. Dream Theater - Parasomnia

11. Cwfen - Sorrows

12. Psychonaut - World Maker 

13. Ba'al - The Fine Line Between Heaven and Here

14. Employed To Serve - Fallen Star

15. King Witch - III

16. Scorpion Milk - Slime Of The Times

17. Spider Kitten - The Truth Is Caustic To Love 

18. Opia - I Welcome Thee, Eternal Sleep

19. Messa - The Spin

20. Dawnwalker - The Between

Honourable mention: The Yagas - Midnight Minuet

Matt Bladen's Greek Top 20 Of 2025

The following is based upon scores I've given through the blog and albums I've played the most from the Greek scene.

1. Nightstalker - Return From The Point Of No Return 

2. Acid Death - Evolution  

3. Nightfall - Children Of Eve 

4. Calyces - Fleshy Waves Of Probability 

5. Forbidden Seed - In Shadows Deep: Shadow Of The Crow Pt. II

6. Stygian Path - The Lorekeeper

7. Telma - Awakening 

8. Naxatras - V

9. Lucifer's Child - The Illuminati 

10. Passengers In Panic - Amnesia

11. Black Soul Horde - Symphony Of Chaos

12. This I Owe - Alchemists 

13. Euphrosyne - Morus

14. Church Of The Sea - Eva

15. Black Path - Of Paint And Ash 

16. Sands Of Eternity - The Six Thousand 

17. Tapeworm Electric - Moonshine 

18. Reflection - The Battles I Have Won

19. Braveride - The Great Awakening 

20. Angelo Perlepes' Mystery - Spelled By Fire

Joe Guatieri's Top 20 Of The Year

1. Primitive Man - Observance

2. This Gift Is A Curse - Heir

3. Chat Pile & Hayden Pedigo - In The Earth Again

4. Monika Badly - Love Songs

5. Distraxi - The Colour Of The Sky

6. Nadja - Cut

7. SUNNIVA - Hypostasis

8. Empire Of Dust - From Dust Till Dawn

9. Lowered Head - Lowered Head

10. Blades of Folmar - Magic & War

11. Hell – Submerus

12. Zatokrev - …Bring Mirrors To The Surface

13. Wyatt E. - Zamaru Ultu Gereb Ziqquratu Part 1

14. CHAINSAW – Destroyer

15. Iron Sect - Rolling Human Sin

16. Believe in Nothing – Rot

17. Cromlech - Dark Is A Way And Light Is A Place

18. Trill - Akelarre

19. Dead Hand - Nero 

20. Obnoxious Concoction - Obnoxious Concoction

Rick Eaglestone's Top 20 Of The Year

1. Paradise Lost – Ascension

2. One Of Nine – Dawn Of The Iron Shadow

3. Woe Bather – Swallowed By The Chains Of Spirit Loss

4. Ofnus - Valediction

5. Ruingást – The Gaping Wounds Of Eternity

6. Abduction - Existentialisms

7. Satanic Warmaster - Exultation Of Cruelty

8. An Abstract Illusion – The Sleeping City

9. Linnea Hjertén – Steg För Steg

10. Perturbator – Age Of Aquarius

11. Deafheaven – Lonely People With Power

12. Deftones - Private Music

13. Sunken - Lykke

14. Dimscûa - Dust Eater

15. Ba'al - The Fine Line Between Heaven and Here

16. Conjurer – Unself

17. Wytch Hazel – V: Lamentations

18. Magic Wands - Cascades

19. AFI - Silver Bleeds The Black Sun

20. Hooded Menace - Lachrymose Monuments Of Obscuration

GC's Top 20 Of The Year

1. The Acacia Strain - You Are Safe From God Here

2. Despised Icon - Shadow Work

3. Cryptopsy - An Insatiable Violence

4. Bleeding Through - Nine

5. Deftones - Private Music

6. Barren Path - Grieving

7. Abraded - Ethereal Emanations From Chthonic Caries

8. Eschaton - Techtalitarian

9. Tormentor Tyrant - Excessive Escalation Of Cruelty

10. Deadguy - Near Death Travel Service

11. Desolated - Finding Peace

12. Whitechapel - Hymns In Dissonance

13. Skaphos - Cult Of Uzura

14. Glorious Depravity - Death Never Sleeps

15. Pupil Slicer - Fleshwork

16. Killswitch Engage - This Consequence

17. Depravity - Bestial Possession

18. Thus Spoke Zarathustra - I'm Done With Self Care, Its Time For Others Harm

19. Biohazard - Divided We Fall

20. VOIDCEREMONY - Abditum

Mark Young's Top 15 Of The Year

Personally, these are my top albums of 2025, generally they are in no order apart from the following which share my favourite albums of the year:

1. Azell – Astralis (Absolutely monstrous sound, a real step up from Scud in terms of arrangement and having such an expansive sound.)

2. The Great Old Ones – Kadath (From January and it’s not come off my playlist since then.)

3. Malefic Throne – The Conquering Darkness (A very late arrival, one that I’d missed on initial release. It’s a barnburner, one that shows that there are still things to be said in Death Metal.)

The following make up the remainder of the list, presented in date order:

4. Harakiri For The Sky – Scorched Earth

5. Grief Ritual – Collapse

6. Crown Of Madness – Memories Fragmented

7. Diatheke – And The Word Was God

8. Grey Mountain – Grey Mountain

9. For The Pyres – At the Pyres of Sin

10. The Callous Daoboys – I Don’t Want to See You in Heaven

11. Baelfyr – Empowered By Hatred

12. Hexrot – Ruin Of Oblivion

13. Nicolas Cage Fighter – I Watched You Burn

14. Coroner – Dissonance Theory

15. Ghold – Bludgeoning Simulations

All told, its been a good year for me, a decent mix of genre and style and those highlighted (specifically 1 and 2) have been a constant since their review. Malefic Throne was a late entry but deserved of that top placing.

Alex Tobias Top 10 Of 2025

1. Coheed And Cambria - The Father Of Make Believe

2. Killswitch Engage - This Consequence

3. Bloodywood - Nu Dehli

4. All That Remains - Kerosene

5. Avatar - Don't Go In The Forest

6. Byzantine - Harbingers

7. Deftones - Private Music

8. Pendulum - Inertia

9. Bleed From Within - Zenith

10. Dance Gavin Dance - Pantheon

Rich Piva's Top 20 Of 2025

1. Florist - Adrift

2. Pale Horse Ritual - Diabolic Formation

3. Godzillionaire - Diminishing Returns

4. HÖG - Blackhole

5. Shrew - Shrew

6. Cattlemass - Alpha 1128

7. Dead Shrine - Cydonia Mensa

8. Bygone - Bygone

9. Friendship Commanders - BEAR

10. Museum Of Light - Diviner

11. Rainbows Are Free - Silver and Gold

12. Kal-el - Astral Voyager, Vol. 1

13. Lorquin's Admiral - Lorquin’s Admiral

14. Mooch - KIN

15. Holyroller - Rat King

16. Hibernaut - Obsidian Eye

17. Black Honey Cult - Black Honey Cult

18. Howling Giant - Crucible & Ruin

19. Wolftooth - Wizard's Light

20. Stoned Jesus - Songs To Sun

Review: Novembre, The Devil's Trade, Caskets, Darktribe (Matt Bladen)

Novembre - Words Of Indigo (Peaceville Records)

Eight studio albums and 35 years behind them, Italian gothic doomsters Novembre are veterans of the genre, contemporaries of the Peaceville Three, they took have become one of the leading bands in this style in Europe.

Then they were named Catacomb but now they spread sadness under the Novembre guise releasing their last album, URSA in 2016, they took an extended break before commencing work on this new album Words Of Indigo.

It's the first album without longstanding guitarist Massimiliano Pagliuso, leaving just founding vocalist/guitarist/keyboardist Carmelo Orlando from the early days of the band.

He's joined by Fabio Fraschini (bass), Alessio Erriu (guitar), Federico Albanese (guitar), and Yuri Croscenko (drums), this injection of new blood has meant that Words Of Indigo is perhaps the most diverse collection of introspection in their catalogue.

The songs are densely layered, crafted with care and passion to make sure the melodic elements interlink with the more ferocious death sounds that come in.

Though neither ever feels forced or overbearing, the opening track Sun Magenta, reintroduces you to Novembre with an anthemic start, big choruses and propulsive drive, the undercurrent of growls and death riffs coming underneath the gothic open chords.

From here it goes into Statue a track that owes a lot to the likes of Amorphis. Chiesa Dell’Alba and Onde are both on the lighter side as Ipernotte doubles down on the death blasts while Post Poetic comes with some acoustic moments.

Released via Peaceville (obviously), the mix and mastering was done by the legendary (an understatement) Dan Swanö, who, refines their sound into new levels, an impressive epic album that celebrates their 35 years brilliantly.

With the melodeath of Brontide Ann-Mari Edvardsen, (The 3rd & The Mortal) joins to bring added emotion to House Of Rain, which reminds me of Dogs by Pink Floyd.

Words Of Indigo sees Novembre deliver a multifaceted, emotionally resonant, atmospheric and fantastic ninth record. 9/10

The Devil's Trade - Nincs Szennyezetlen Szép (Pelagic Records)

Dávid Makóbis the driving force behind The Devil's Trade, forming the band in 2014, he takes the vocals, guitars and keys, having started the band as an acoustic based project that dealt with Americana, Hungarian folk and involved capturing the haunting emotional nature of these music traditions.

However he's also moved into heavier sounds with this project embracing post doom artists such as Neurosis and Amenra, firmly placing him on the Pelagic Records roster. With the fifth album Nincs Szennyezetlen Szép (There Is No Uncontaminated Beauty) being the heaviest so far.

An album about grief, between the death of his mother and the birth of his son was two weeks, emotions were high during the writing process and this is all brought out on this new record. He's joined by drummer Gaspar Binder and these songs manage to keep it sounding close and confidential while also having that cinematic and sprawling heaviness.

It's got a lot of similarities to a band such as Warning, That Dragged You Away, immediately with swathes of crushing hopelessness coming from the torrent of guitars and the aching baritone of Dávid ringing out for catharsis on Weltschmerz and All This Sadness Will Be Gone, vocally he carries the weight of Silvert Høyem and it makes these all-consuming tracks just that more evocative.

Another album I nearly missed and another one that is absolutely brilliant. If tear jerking post doom is your bag, the prepare for a blue Xmas with The Devil's Trade. 9/10

Caskets - The Only Heaven You'll Know (Sharptone Records)

Caskets are a band band on the cutting edge of the UK metal scene, having been critically acclaimed on their last two records they look to build the legacy with album three, The Only Heaven You'll Know.

The Post Hardcore crew from Leeds are about as modern as it gets with music these days, emotive lyrics are delivered with passion by vocalist Matt Flood, the angst and catharsis in his vocals means that on a track such as The Only Heaven You'll Know, you can feel his pain.

There's heavy inspiration from the post-hardcore scene here but there's plenty of modern metal riffage from Benji Wilson and Craig Robinson, who switch between atmospherics into muscular heaviness on Make Me A Martyr. With Wilson giving the lead guitars that add the melodies, Robinson shoulders a lot of the burden due to their lack of bass player.

Both l helped by the keys/synths that are now a part of every modern metal band, from the dancey beats on Closure and What Have I Become, the electronic beats are integral to The Only Heaven You'll Know as much as the guitar riffs, vocals or the huge drums from James Lazenby, who for me does some of his best work on the slower paced Save Us.

Caskets call The Only Heaven You'll Know an 'honest album' escaping from darkness and trying to pull yourself out of it, they put everything they have into al UK three, embracing their standing as one of the UKs best modern bands, retaining intimacy amongst the sky-scraping music, there's real, raw emotion on this record, much of it taken from Matt's personal experiences.

The Only Heaven You'll Know saw the band recording the record in L.A and they've adopted a cocksure swagger with album three, despite it's fragile lyrical themes, it's a bold and boisterous new release from Caskets. 8/10

Darktribe - Forgotten Reveries (Scarlet Records)

Another one for the, things we should have reviewed earlier this year. This time it's French band Darktribe, they play philosophical prog power metal which reminds me a lot of bands like Everygrey, Symphony X and DGM. The guitarist of the latter's Simone Mularoni has mixed and mastered the record to give it that modern sheen making sure that all the technicalities in the music can be heard.

I'd not heard the band before this and I'm not sure why that is as I'm usually on top of this style of prog power metal. I went back to them and the melodic elements on this record are much more pronounced. On Eden And Eclipse and From Star To Dust especially they deliver anthemic choruses where the vocals of Anthony Agnello soar with all the questions of life and death that they pose on this record.

Forgotten Reveries has some metallic power under the melodies, bassist Bruno Caprani and drummer Guillaume Morero move between the big whacks of galloping and groove on Mornings Of Fear. While on Kings In The Sand moving between these and the guitar driven melodies from Loïc Manuello, who also brings the synths and keys, giving Reality a pulse and Sea Of Illusion some drama.

While many may see Darktribe as another prog power band, if say that with this new record they're able to balance the anthemic moments with heavier ones. 8/10

A View From The Back Of The Room: Christmas Fundraiser (Nat Sabbath & Mike Chew)

Palestine Christmas Fundraiser: Flesh Creep, Meatdripper, Total Luck, Matters & Margarita Witch Cult DJs, The Hare & Hounds, Birmingham, 19.12.25

No scores for this one as it's a charity/fundraising gig - Ed

Matters opened the night and honestly, it was heavy in a way you don’t shake off easily. An audio-visual electronic duo, they built a slow, dark ambient tension that crept under your skin, the music unfolding patiently beneath the visuals. The opening slide hit like a punch to the chest; over 19,000 children killed since 07/10/23, and then the names started rolling. Name after name after name, carried by low, pulsing electronics that let the weight of it land without rushing or sensationalising it, tension building piece by piece until the whole room felt held inside it. It was immersive in a way that didn’t demand attention but quietly commanded it.

What really worked was how much space they gave the music to breathe. They let repetition do the heavy lifting, letting the sound coil tighter and tighter, creating that uneasy, cinematic pressure where you’re waiting for something to break, but it never quite does. Instead, it pulls you further in. The visuals ran alongside it seamlessly, not as a distraction or a gimmick, but as part of the composition.

The video spoke for itself, and the music gave it weight. No one in the room forgot why we were there, but it never tipped into discomfort or performative shock. People genuinely connected, you could feel it. Heads nodding, bodies moving slowly, eyes fixed forward. It was affecting and poignant without being heavy-handed. The tone for the entire night had been set: focused, intentional, and deeply human.

Total Luck came on like a release of pressure, not a mood break, but a jolt of momentum. They sit in that sweet spot between punk, post-punk, and post-hardcore where things feel urgent without tipping into chaos. Angular guitars, locked-in rhythm, and a sound that’s rough around the edges in a way that feels intentional. From the first song, they had the room moving, not because they demanded it, but because the energy coming off the stage was impossible to ignore.

All Mics set the pace straight away, tight and urgent and they never let up after that. Wired Up and Say Nothing kept that tension coiled, all jagged turns and forward motion, the kind of songs that make people shift closer without thinking about it. There’s no dead air in their set; everything feels purposeful. They play like a band that trusts each other completely, hitting changes cleanly but still keeping that raw edge that makes it feel alive rather than over-rehearsed.

The guitarist was relentless, genuinely inexhaustible, pushing every track forward with heart and soul rather than flash. No posing, no filler, just constant drive, like the songs might fall apart if they stop moving for even a second. Total Luck don’t do polish or comfort; they do momentum. By the time Wound landed, the room was fully with them, caught up in the noise and the movement. It was one of those sets where you walk away knowing you’ve just watched a band on the right path, playing like it really matters to them, because it clearly does.

Meatdripper took the night somewhere darker and heavier, dragging the room into a psych-sludge doom fog that felt thick enough to lean on. Walls of fuzz rolled out across the floor, slow and ugly in the best possible way, with vocals that came through warped and alien, almost Dalek-like, cutting through the low end rather than sitting on top of it. It wasn’t clean or polite; it was oppressive, immersive, and exactly what the crowd wanted.

Without a neat setlist to hang onto, the performance felt more like a single, shifting mass than a run of separate songs. Riffs stretched and collapsed, tempos lurched, and the noise built until the pit cracked open almost by instinct. You could feel the push and pull between the band, moments of restraint giving way to sheer weight, and it made the whole thing feel unpredictable in a way that kept people locked in. This wasn’t background heaviness; it demanded attention.

There was an emotional edge running through it all too. With this being drummer Kai’s last show, the connection between the band was impossible to miss. Between the crushing sections, there were hugs, glances, banter with the crowd; small moments that made the set feel personal rather than just punishing. It landed as both a release and a goodbye, and that combination made it hit harder. Heavy music works best when it feels honest and sincere, and Meatdripper delivered exactly that.

Flesh Creep are my band. I’m not impartial and I’m not trying to be, this is the point where objectivity goes out of the window because they’re always this good. Not “good on the night”, not “tight for a local band”, just consistently and relentlessly excellent. Flesh Creep have a way of turning a room feral within seconds, and once it tips, there’s no pulling it back. They don’t warm up, they don’t ease in they arrive already at full throttle and that’s rare. They make hardcore feel dangerous, inclusive, and fun at the same time: everything’s fast, clenched, nasty, but there’s still this buzz of joy in the room like everyone’s in on the same secret. They don’t come on stage to “perform”, they come on to do the job, and the job is to level the place.

The set was a proper battering ram of absolute bangers; Gold, Heads Will Roll, Like Dogs, False Flag, Turf War, Video Nasty, the kind of run where you stop thinking in individual songs and you’re just hanging on while the room turns into movement. King Of The Hill went off too, and it still hits like getting shoved forward by a wave.

And then there’s the thing you can’t fake: how much they mean it. They led the chants of “free, free Palestine”, thanked the support acts, thanked the crowd, and still had enough gas in the tank to go above and beyond, even playing an extra song. That’s Flesh Creep in a sentence: no excuses, no coasting, no “that’ll do.” It helps that the crowd around them is always part of it, Tom’s mum there, Lexi (Misgendered) and Fenn getting stuck in with mic grabs, two-stepping… the whole glorious mess of it. They’re not just one of the best bands in Birmingham; they’re one of the best bands out there, full stop, and the annoying thing? They make it look easy.

A View From The Back Of The Room: Swallow The Sun (Alice Doyle)

Swallow The Sun, Saturnus & Opia, Thekla Bristol, 17.12.25

Your friendly neighbourhood metal minion here with my unprofessional views of musical events.

The first band of the evening was to be Opia one I was not at all familiar with prior to the day, and to my misfortune would not fully be familiar with on the day either, as I was informed that due to unforeseen circumstances, the bassist couldn't make this date and that prior to this gig their drummer had left the band. 

I believe the vocalist Tereza with her serene and powerful voice would not necessarily need a band to back her up,  but with Dan, Phoenix and Jorge they did manage to do an admirable job. However in order to provide a fair review of the band as a whole, I decided to abstain from scoring on this occasion.

I quickly exchanged some words with some of the bands members afterwards, as well as with some of their fans, and was convinced that they were worth following and subsequently waiting for! 

I was on the upper deck when Saturnus (9) started their set, awoken by a kind of rumble from below that beckoned me downstairs. 

These guys have been around before I was out of preschool, and their lo and behold -reputation is a testament to that career, although I had not personally been familiar with them prior to the tour announcement. 

I did however in short time grow very fond of them whilst unravelling their entire discography from start to finish. To my pleasant surprise the setlist also showcased tracks throughout their career, many of which I instantly recognised. 

Between the melancholic doom-driven tracks they took the time to address and engage the audience with funny quips and I got a distinct impression they are a serious band that doesn’t take itself too seriously. (This further reinforced by a cute little fist-bump they shared on stage!). 

The vocalist, Thomas, also goes to show you don’t need a long hair for moshing - you just need a hell of a beard. The show was powerful, moving and the chemistry between the members was tangible. I would absolutely see Saturnus again. 

Before I get into my potentially biased musings, I’d like to start by mentioning that despite following the career of these guys since early 2009, this was in fact my first time catching them live.

I’m always impressed when a musician -or a music group manages to bring that studio quality of their sound onto the stage, and Swallow The Sun (9) manages to deliver that, whilst still dishing out the raw ‘in the moment’ -emotion that makes each performance unique.

The set begins with an ethereal intro leading us into the first single of their latest album Innocence Was Long Forgotten (well actually, we begun with a backtrack of Velvet Chains, which gave me goosebumps as the band took to the stage). 

I had been perhaps a tad on the cautious side with getting my hopes up, after seeing some of the material from the beginning of the tour (all the while bearing in mind the tour started nearly a year ago), where the vocalist had been slated for his clean vocals not being up to par. 

But I personally thought Mikko’s ability to shift between clean vocals and agonising growls was smooth, and shows both commitment and improvement. 

Juuso in turn has received much praise around the world for his skills with the drumset, which of course are easily heard on the recordings - however to witness that real uncut talent, and what seems to be legitimate passion he displays during a live show was simply incredible. 

Meanwhile the bass perfectly complimented the two very different guitarists - all three displaying remarkable control of their individual string-play; thick, dark and menacing (that is what she said) and as we slowly transitioned into a few of the older songs from 2009 my personal high was ensured.

After the nostalgia hype we were back on track with the album tour to Shining, with a couple more songs from the new release, and I find myself thinking about these transitions between the albums and how seamless it was. 

Despite all the grumbling in the metal communities about their recent change in style, as we traverse through albums of old and new the unmistakable STS sound remains. 

Hey maybe it’s the sound of “pussy doom” as the critics titled it, but I believe by simply bending the whole genre rather than bending into the genre, they have created a tone that makes them stand out.

The band ends their set with Swallow (Horror PT.1) - another track from their oldest album, thus reminding us that; though their innocence may be - their roots are far from forgotten.

TDLR; What a fucking show - absolutely amazing.

Prior to the gig I actually had the pleasure of spending some time with two of the members of the band; Mikko (vocals) and Juuso (drums), and although I wanted the chat to remain casual and not influence my overall review of the event, it may have influenced my perspective - or at the least made me more aware of their individual performances during the show. 

Both of the guys were very down to earth and chill, and welcomed my occasionally intrusive Finglish* ramblings with patience, which made for a very fond memory I will be forever thankful for.

*Finnish is my native language, but after living in the UK for nearly half of my adult life I have forgotten many of the words and wind up mixing them up with English - hence, Finglish!

A View From The Back Of The Room: Clutch (Matt Bladen)

Clutch, 1000mods & Bokassa, Bristol Beacon, 15.12.25

During this gig, in between the bands, I was chatting to a very good friend of mine who is a Bristol based DJ, former musician and occasional contributor to this publication. He's also someone whose musical knowledge and opinion I value very, very highly.

We were discussing how refreshing it was to not see a band like the headliner in an O2 Academy especially the Bristol O2 Academy as it is one of the worst in the country. So the fact that a lot more bands now our booking the Beacon as a venue can only benefit those are us who go to gigs quite often. The Beacon is an overall a much better venue the sound is better the seating is better the ability to see is better so kudos to everyone involved in booking this over just another Academy.

Venue gripes out of the way, merch bought and settled in it was time for the music.

First up for this night of heavy rocking work Bokassa (7) a band who have quite a star studded résumé when it comes to support they've even toured a few times with the headliners I believe.

Tonight in Bristol they felt home, this was the first show in the UK on the tour and Bokassa are no strangers to these shores, having played Bristol, Cardiff and Swansea previously. So they were fully prepared for what the crowd was going to be like, in fact their front man was eulogizing over salt and chili chips and how he would be picking some up after their set.

It did seem like he would need something as he had probably gone through half a crate of White Claw before even picking up his guitar. Not that that matters as this punk metal trio always play with that little bit more of an edge when alcohol is involved as it does make up a lot of their lyrics.

Blasting through their set at speed, (probably hungry), but maybe talking a bit too much, Bokassa set got the amps nice and warmed up for what was to come.

From too much talking to a band who let their riffs do it for them. The Super Van Vacation rolled on as 1000mods (9) were clearly elated to be on the road with Clutch, their merch even said so, it was probably their highest profile set of gigs to date and a chance to impress a wider audience with their Greek stoner styling, in the same way they did to me at their brilliant Swansea show a year or so ago.

Taking most of their set from their recent record Cheat Death and their breakthrough record Super Van Vacation, they locked into Sabbath grooves (Overthrown) and Sky Valley atmospherics as propulsive QOTSA-like drive of Electric Carve made way for the woozy Road To Burn. As the room began to swell the heads nodded in unison, the entirety of Bristol in agreement that 1000mods absolutely slap live.

Delivering a set that is as heavy as it melodic, you lose yourself in the likes of the percussive Götzen Hammer, the pulsating Low or go absolutely crazy to the Motorhead inspired Speedhead. By the time they cranked out the fuzzy El Rollito and their bona-fide closer Vidage, they had every single person in the room on side, rocking along to the grooves of 1000mods. This tour will be the springboard to bigger things in the UK, keep that van rolling out way!

There was some trepidation whether or not this gig would happen at all as the band cancelled their Paris show due to illness.

However this is a band who are not in the habit of letting people down and even with frontman Neil Fallon looking a little under the weather. They made sure that they were in good enough shape to give Bristol the rock and roll show but only Clutch (10) can provide.

Neil especially apologised not being his normal manic frenetic self however if you had never seen the band before you wouldn't have noticed as he still stalked the stage telling these tales like a demented storyteller, over the loud confluence of blues soul and rock and roll. His voice also seem to unaffected delivering every every track with his trademark enthusiasm and unique vocal style.

If anything the only way you would have known about the previous cancellation or illness is that Neil a few times during the set picked up a second guitar to add harmony to the songs that needed them but also probably to give himself a bit of a break. Meaning there was greater focus on the soulful guitars Tim Sult, the throb heavy bass of Dan Maines and the always technical but driven by soul drumming of Jean-Paul Gaster.

For a tour that was originally supposed to celebrate their debut album by playing in full this rapidly shifted towards your standard greatest hits show. I don't know the behind the scenes reasons for this but if I were to guess I would say it was that the enthusiasm for a first album reunion tour didn't go down as well with the relatively new classic rock based audience (blame the DJ's) that the band have found themselves in recent years.

It's the diversity of the audience too that surprises me, with stoners, metalheads, punks and unusually at rock gigs a greater balance between the genders as everyone loves shaking their thing to those sexy grooves. Of course with every setlist from Clutch, the songs played varies with a few core tracks surrounded by ones that are swapped and changed every evening.

The while say Birmingham (where the pictures were taken for this gig) got the Regulator, in Bristol we got Quick Death In Texas. What we also got were two brand new songs. Now they have been playing each of them on selected dates the clearly they thought Bristol worthy enough to play both Green Skull and Colorado Fuel And Iron, both of which tease well for a new album.

I always love to try and guess the setlist but tonight's was one of the best for me, the trio of Sunrise On Slaughter Beach, Crucial Velocity and Quick Death got everyone grooving, while the throwbacks of Worm Drink and Ghost from the Blast Tyrant album, were there for the longtime fans. The way things ebb and flow showcase Clutch as masters of their craft. The two new songs bookending X-Ray Visions and The Mob Goes Wild, as strut of Cypress Grove closed the main set.

It also seems that for the first time Clutch have settled on having one permeant encore song, which of course is Electric Worry and while the crowd was shouting "vamados, vamados" they quickly segued into Burning Beard, to send Bristol home happy. More Clutch please and thank you and more rock gigs not in the O2 Academy Bristol please.

A View From The Last Transmission: Orange Goblin Farewell Tour (Matt Bladen)

Orange Goblin, Grand Magus & Urne, Electric Bristol, 15.12.25



It was going to be emotional, Sunday night in Bristol marked the end of an era but before that there was much to digest, with the headliners on their last tour, the stage was set for two supports of offer different sides of the music industry.

On the one hand you have one of the next big metal bands from the UK, two albums under their belt and all the momentum in the world then on the other hand you have a band of veterans who always deliver on the live stage and define what you think heavy metal should look like.

That first band was Urne (8) now expanded to a four piece, their complex but groove driven, modern heavy sound may be a little left field for the rest of the nights show but they showcase the future of the UK metal scene and how that is shining bright and can still bring success stories where relatively unknown bands can rise rapidly to the level Urne are at now.

Having recently released a track with Troy Sanders of Mastodon (which they closed with), this gives you a sense of their influences as they showcase prog, sludge, post metal through technical proficiency and multi-layered vocals. It was the vocals that initially let them down, as they did seem a little odd, but hell in this current flu season I'm not criticising. By the middle of the set, it was all flowing well and Urne made a mark on the crowd of po-faced, bearded bikers that stood before them.

A new album is on the horizon and the sky is the limit for Urne.

Next though it was away from the modern to something a bit more traditional, mighty Swedes Grand Magus (9) are best enjoyed with a slight beer buzz on and the spirits of your ancestors coursing through your veins. I've never seen them play a bad show and tonight was no different, they knew the assignment was to make sure everyone was ready for the headliners so what better way than a set of your most popular songs played with their muscular Viking metal power.

From I, The Jury and Steel Vs Steel, to Like The Oar That Strikes The Water and the evergreen Hammer Of The North, this was Grand Magus 101 and the crowd lapped it up, fists in the air, voices raised and beers flowing. I don't need to say much more as if you've ever seen Grand Magus you know what you're going to get, classic heavy metal machismo with a glut of anthemic songs.

Everyone was ready, the metal had been flowing the crowd were ready to rock.

This was what we had been waiting for a Star Wars crawl explaining the last 30 years of the band perhaps a little too fast for those of us that wear glasses or those of us have advancing age that were in the audience.

However this led into a video package showcasing some of the behind the scenes and the onstage footage and the general revelry that happens at these gigs and as the lights hit, the band came on stage and it was time for the final Frequencies From Planet Ten, as for one last time Orange Fucking Goblin Baby (10) came to Bristol and proceeded to rock as hard as possible.

A set compiled of songs from as many of their albums as they can with fan chosen deep cuts that haven't been played in years, this was Orange Goblin by the fans for the fans with no long speeches or how sad it is to go, in typical Goblin style it was get on the stage, play the set, get off the stage and have as much fun as possible in between.

Even with frontman Ben wards suffering with, what I believe was a heavy cold, the gruffer sound of his voice actually fitted the situation quite well as you could still hear the the filth and the fury that this band have always brought to the their live shows.

A band who were always linked to their influences the bastard sons of Sabbath and Motorhead, we got to cover of Into The Void which meant that Ben could live out his Ozzy Osborne fantasies, someone who has always emulated when performing, and in this last run guitarist Joe Hoare has even taken on the look of one Mr Iommi as he cranks out riff after riff and solo after solo, the lone axe slinger of the band since 2004.

A track like Devil's Whip thick bass lines of Lemmy are obvious for everyone to hear Harry Armstrong the long time fan of the band who took over from Martyn Millard when he retired in 2021 and has been bringing the low end thud, since slamming the bass while in perpetual motion, his hair moving with a mind of it's own. He locks in tight with with the percussive punch of Chris Turner's drumming, the man behind the kit since the beginning, he guides the pacing with hammering precision.

As I said they are a band who have always worn their influences on their sleeve but they're more than that Orange Goblin represent a movement, back in 1995, when grunge was everywhere, they were an exciting, heavy hitting throwback to the beginnings of British metal and they've been fervently flying that flag for thirty years.

They've never been band who liked a fuss, unpretentious heavy metal done the old school way with a strong dislike for encores and even less for self pity. Ben thanked everyone, said a few words about their history but in his word they wanted to party one last time and then go home and go to bed! (Cue a rousing rendition of Show Me The Way To Go Home, instigated by Harry)

With ten studio albums there's bound to be one or two tracks that will be left off however we got Cozmo Bozo, Blue Snow, Solarisphere, Time Travelling Blues, put with more recent stuff like Red Tide Rising, The Fog, Heavy Lies The Crown, (Not) Rocket Science and the lone 'middle period' track of Some You Win, Some You Lose, there was plenty of riffs to be head banged to and the crowd went wild for every one.

There are few fanbases as loyal as Orange Goblin's and when showstoppers such as The Filthy And The Few and classics like Scorpionica or the wild Quincy The Pig Boy (the only song I've ever pitted too) were put through the amps one last time, there was a collective euphoria tinged with the sadness that we'll never see this again.

I would say they don't make bands like Orange Goblin anymore, but they do, their playing your local dive bar, throwing themselves around on stage for little money, in front of 10 people but they share that same passion for rock n roll. However many of them wouldn't be able to do that without Orange Goblin showing that this dirty, D.I.Y, style of British heavy metal has always had a home within a ever changing music scene so while The Goblin may be returning to its cave but the legacy they created carries on. 

UK heavy metal forever! OFGB Forever!

A Views From The Back Of The Room: Katatonia (Matt Bladen)

Katatonia, Evergrey & Klogr, Electric Bristol, 08.12.25

Another jaunt to SWX/Electric/whatever it's called for some more melodic metal stylings.

I'd seen the headliner a few times in the past and they've never captivated me some bands have, maybe it was the venue, being at a festival, who knows but in one of the most tech savvy and best venues in the UK they could only be on top form right?

More on that later as if there was a band who embraced the technology it was Italian mob Klogr (8) pronounced Kay-log-are, they're a band who play a progressively tinged style of alt metal, which deals with a lot of heavy subjects.

Taking their name from a psycho-physical law (S=KlogR) from the 19th Century. Their music is filled with psychology references, as they stormed through a set of groovy alt rock tracks which they've toured alongside acts as diverse as Prong and The Rasmus.

It's catchy and riffy, with passionate vocals and some brilliant use of screens to draw you into an almost hallucinogenic state as the prog creeps in, never overwhelming but adding just enough to keep you guessing. Visually arresting and musically interesting Klogr won over the early crowd on this Monday night.

Though there are few bands that can win over a crowd quite as well as Swedish prog metal heroes Evergrey (9), maybe it's Tom S Englund's enthusiasm, his powerful vocals or his constant thumbs up but the current version of Evergrey won't rest until everyone is involved and enjoying it. Hell Tom even picks out a member of the audience who's a bit po-faced and dedicates a heavy one to them.

Yeah Evergrey decide to focus on the heavier side of things tonight, maybe the addition of current Scar Symmetry and ex-Devin Townsend man Stephen Platt on guitar has given them a bit more aggression. There's King Of Errors for the sing along and new track Oxygen, is a great precursor to new music with a touch of epicness.

The majority of the set has them in heads down let it rip mode, drummer Simen Sadnes leading the charge with some potent double kicks, though he has a touch of the Lars Ulrich's by constantly standing on his drum stool as the bass of Johan Nieman booms though the speakers of the Electric.

With Tom showing off those brilliant vocals (and doubling down on the guitars with Platt), Rikard Zander creates the expansive atmospheres with his keys all of them together displaying Evergrey on top form tonight and I'd be very nervous if I had to follow them.

So then the band most were here to see, the Swedish masters of gloom Katatonia (7), and with Anders Nyström having left the band it leaves just frontman Jonas Renske in full control , which of course means that the set will consist of nothing before 2006's The Great Cold Distance, where they started to shift into the sound they have now.

With clean vocals taking precedence as they shifted away from the death metal beginnings into the downbeat but anthemic mix of doom, alternative, prog they play today. As I see it Katatonia is now just a vehicle for Renske, who is clearly having the time of his life but as a frontman he doesn't really captivate as much as perhaps should have, he also seems very low in the mix which is a shame as his voice is such a key part of Katatonia.

With a 16 song setlist a few stood out as, with Dead Letters, Nephilim, July, Soil's Song and Forsaker, the ones cheered about. Don't get me wrong Katatonia are a slick unit, they play well but for me they've always been much more impactful on record. Still there's always next time and I'm sure super fans of the band loved this Monday evening sermon with the Swedish veterans.

A View From The Winter Gathering: Bloodstock Winter Gathering (Tony Gaskin & Debby Myatt)

Bloodstock Winter Gathering 2025 - KK’s Steel Mill, Wolverhampton, 05.12.25

When the Bloodstock crew announced a one day indoor event would be held, it brought back memories for many, memories of those early days of the festival and it’s humble beginnings at the Assembly Rooms in Derby. This latest addition to the Bloodstock franchise was called Winter Gathering and was to be held at KK’s Steel Mill, much to our delight and another feather in the cap of this fantastic venue.

There would be nine bands throughout the day, spread over two stages, plus a Q&A session and band signings.

As we arrived, a good half an hour before doors were due to open, the queue was already stretching down the street and around the block. Die hard fans had been here for hours, wanting to be the first in and at the barrier for this inaugural event. A quick on the spot survey of these keen fans showed that they had come from all over the country, a coach from the south coast had just unloaded a horde of metalheads. The consensus was that it was a great line-up and these fans were excited to see the likes of Venom Inc and Candlemass, many for the first time. It was set to be a glorious day.

As we mentioned, there were going to be nine bands playing today - six on the main stage and three on the smaller second stage. Tony caught all three bands on that second stage so first up here’s his summary of those bands.

Bloodstock Winter Gathering Stage 2 

Before any bands graced this stage, Bloodstock directors Vicky Hungerford and Alan Gregory, along with M2TM co-ordinator and band booker Simon Hall did a Q&A session answering questions from fans regarding all sorts of things but the main thing for me to come out of this was Vicky confirming that this would be an annual event and they were already working on next years.

Bands wise, we had up first Hellbearer (8), who, with their bludgeoning thrash filled set, manage to get a pit going in the tightly packed room, no mean feat! A big thumbs up from the appreciative crowd.

Next band up on this compact stage were the groove machine that is Thuum (9). Heavy riffs and gut-wrenching vocals. One minute doom, the next all sludgy. You could feel that low end reverberating through the walls and windows that lined the corridor linking the two room

The third and final band on this stage really should be playing much bigger stages! This was of course the maniacal Red Method (10). Their psychotic, industrial tinged metal fills the stage and room. It was rammed and at capacity for theses guys, disappointed fans were left queuing up to try and get into the tightly packed space, such is the reputation and draw of this band. 

There is always a sense of theatre and raw energy with a Red Method show and today was no different. Despite the limited amount of room on stage, frontman Jeremy Gomez manages to be everywhere, jumping, prowling, menacing. Hopefully these guys will be given an opportunity to play a much bigger stage soon!

Bloodstock Winter Gathering Main Stage

That was what went down on the second stage, a great interlude (if you could get in) to the main stage bands, the first of which was King Kraken (8). Having the honour of being the first band to play this new event was not lost on the guys, they proceeded to play a set full of heavy groove laden rock, kicking off with the obvious, Release The Kraken before treating us to some of their new stuff off the latest album, closing out with the title track March Of The Gods.

Next up were the youthful Tortured Demon (8) who first blew Bloodstock fans away when they played the Jaeger stage back in 2021. Since then they have continued to grow in stature and maturity, now a tight blackened thrash machine reminding us why we all fell in love with old school thrash in the first place.

There’s nothing like a last minute pull out to disappoint a promoter (ooh err!) With just 24hrs to go, Scottish outfit Hellripper had to bale and Simon Hall was left desperately trying to find a suitable replacement at short notice. 

In stepped local band manager Dan Carter of DC Sound Attack and hooked Simon up with Nottingham lads Devastator (9). The black metal provocateurs make the most of their opportunity and grab the chance offered to them by the (goats) horn and produce a set of pummelling black metal on speed. They mix the set up with songs that are thrashy one minute, the classic NWOBHM next, but all done with their own blackened edge, they even manage to get The Demolition Man himself up to help them out with their cover of the Motorhead classic, Iron Fist.

One of the most anticipated bands of the day were up next. Later than advertised due to the last minute changes, Raised By Owls (9) have a room full of approx. 1500 metalheads eagerly awaiting their show. Known for their humour and on stage antics, we get Mr Blobby waving giant dildos and crowd surfing, a game show to find the best headbanger amongst other things! 

In between the high jinks of Sam and his cohorts they blast beat through a set of their grind core favourites like The Dark And Twisted Realm In Which Fred Durst Resides, Ainsley Advises To Give Your Meat A Good Rub, Dance Like Barney Greenway and Strictly Come Danzig. Biggest cheer of the night though is reserved for Sam’s mum as she appears on stage for a mad rendition of Break Stuff. Raised By Owls are like the half-time entertainment and perfect for a day like today.

As we head on into the evening and with the final two bands to come on the main stage, we’re already anticipating and guessing who might play next year.

Meanwhile we have Venom Inc (10) up next. This is the band with 'Demolition Man' Tony Dolan teaming up with Curran Murphy (Annihilator, 72 Legions) on guitar and Marc Jackson (Control the Storm, Sin Theta) on drums. With this latest incarnation of the band, they announced that they would be playing the 2017 album Avé in full.

So, no Black Metal, no Countess Bathory. In fact no early Venom at all, but that didn’t matter because what we got was a superb set of hard and fast thrashy black metal. This album reminded me of classic Motorhead in parts so was quite happy to hear it played live in full. The crowd were literally warmed up as the intro track was played with two fire eating ladies shooting flames out towards the crowd, and any doubts of what we would get tonight were soon assuaged with the blistering opener Forged In Hell swiftly followed by Metal We Bleed. 

There’s barely a let up as they bash out track after track, Dolan and Murphey having so much fun judging by their grins, and before you know it they’re playing the last riffs of I Kneel To No God before cranking it up for one of those Motorhead-esque tracks Black ‘n’ Roll.

And all of a sudden it’s the final band. The day as literally flown by, always a sign of a good day.

It’s down to Swedish doom pioneers Candlemass (10) to close out Bloodstock Winter Gathering 2025. Those in the crowd that remember that pivotal release Epicus Doomicus Metallicus will have been pleased to see that there were a number of tracks off that album, along with other classics off Nightfall. This is doom in all it’s dark glory. The majestic Under The Oak and the stone cold iciness of Darkness In Paradise are the pick of the bunch, but the closing duo of Demons Gate and Solitude, show how beautifully dark, Swedish doom can be. 

Another perfect set to close out the day and another great addition to the metal festival calendar. The date is set for Saturday 5th December so keep your eyes open for ticket and line-up information.

Reviews: Sacred Leather, Olymp, Wormhog, ΔYNAMIS (Matt Bladen)

Sacred Leather - Keep The Fire Burning (King Volume Records/Wise Blood Records)

Rock n roll never dies, it just gets older, and as it gets older more bands start to emulate it. In no genre is this more true than in the so called NWOTHM, a load of bands from the 2010's who idolised that NWOBHM explosion of the 80's. In the midst of American metalcore, the end of Nu-Metal, the beginnings of Djent and the louder more aggressive style of death metal.

These bands wanted to chuck on some hi-tops grab a pointy guitar and shred some speed metal that gallops along at a wicked pace. Many came from Europe but more came from North America an entire continent's worth of bands who worshipped Judas Priest, Accet and others who dressed themselves in leather and unleash a twin guitar assault.

Sacred Leather were formed in 2014 and they very much fit the NWOTHM mould, classic speed metal that comes at you like a tornado from the American Midwest. Keep The Fire Burning is their second record and the title is their raison d'etre, they keep the passion of those 80's bands but bring modern production techniques.

Fans of the NWOTHM will be indulging in these neon drenched metal tracks, however Sacred Leather have the muscle and the might to win over doubters. 8/10

Olymp - Rising (Metalizer Records)

When I say that Rising is 40 minutes of German heavy metal do I need to say much more? You know what you're getting and what to expect but there's not criticism from me as sometimes all you need is a bit of leather clad 80's style heavy metal to bang your head to.

Formed in 2018 but not releasing their debut until 2023, Olymp (taking their name from the mythical home of the Gods), rather rapidly follow up with their sophomore record Rising, and they've made sure to keep the flag flying for classic heavy metal alongside bands such as Iron Maiden and the NWOBHM but also taking in influences from Rage and Accept.

Having toured in support of their debut, this second album sees them a much sharper act honed on stage but with an album full of songs about Greek Mythology (there is quite a lot of it!), dressed up in a twin axe attack, pounding drums and some grit in the vocals, like Dickinson when he goes into the rougher style.

Rising does what you want it to, with the German and British metal scenes both well represented. 7/10

Wormhog - Transience (Self Released)

Formed in 2014, Wormhog's debut record Yellow Sea arrived in 2020, mid-pandemic but packed with desert rock influences and astral wanderings to take you away from the everyday and into space.

Another strong addition the Greek stoner scene, their debut was highly regarded in these pages and now five years later Wormhog return with their follow up Transience a record that shifts the focus a little as they embrace prog and psych more than before.

If their debut was about groove and the insistent throb of desert rocking, Transience is about experimentation, evoking bands such as Mastodon and Baroness on the opening title track, there is definitely a change in what Wormhog do as a band, the safety blanket of straightforward desert rock perhaps down to naivety, the band are more refined, more mature and now have taken a different route.

Transience is not only a more progressive record, those inspirations of Pink Floyd and Hawkwind are the driving force behind instrumental Aurora, but Wormhog are now heavier with grunge and metal influences coming in. They don't move fully away from their desert rock beginnings though as In Orbit takes from the quirky structures of QOTSA.

A more progressive, electric Wormhog emerge after five years, with Transience they show that while we may only be here for a short time, we can create things like music to help us feel alive. 8/10

ΔYNAMIS - Byzantine Metal (Symmetric Records)

I've been to Greece a lot, so I've seen the beauty of Greek Orthodox Churches up close, in fact my wife comes from a part of Greece that has over 50 still intact Byzantine Churches, littered throughout the principality. They are full of Byzantine art and deeply rooted into the Orthodox tradition, the sung liturgies are at the heart of any service, usually in harmony between three priests, it's a very unique experience to witness, especially for a Godless heathen like me.

Now if you've heard any of the bits of the countless Batushka's that isn't black metal, you will be familiar with the sounds of the Orthodox church however that is Eastern Orthodox, the Greek church and more so the Byzantine traditions in the North have their own customs that differ them from not only the Eastern side but often the rest of Greece. So while putting them against metal is not a new concept, it's still a slightly mad one as you could easily occur wrath from the church and from the metal community.

Luckily ΔYNAMIS, is the latest project from Bob Katsionis and he has the sort of creative brain to pull a mad idea like this off. Recorded, produced at his studio in Athens, Katsionis plays all the guitars and bass along with drums and keys while the vocals, keys and conducting come from Christopher Laskos, who has the perfect, sonorous vocal for these chants, all of the lyrics coming from Orthodox Hymnography/Hymnology, moving between Greek and English, his lead vocals backed by a full choir of chanters.

Laskos and Katsionis wrote the music between them and have delivered a symphonic styled metal record built on the liturgical traditions of the Orthodox church. With some additional leads from long time Katsionis collaborator Billy Vass and Kyriakos GP adding the guest solo to Cherubic Hymn, Byzantine Metal by ΔYNAMIS is perhaps a strange concept to anyone outside of Greece however it's an album that perfectly blends epic power metal with the sung traditions of the Orthodox faith. 8/10

Reviews: Lord Of The Lost, EBB, Verminthrone, Chaos Over Cosmos (Matt Bladen)

Lord Of The Lost - Opvs Noir Vol 2 (Napalm Records)

The second part of Lords Of The Lost's genre bending trilogy arrives and is just as star studded as the first which I reviewed earlier this year. On this second editing there's some bonus performance's from Infected Rain, Anna Brunner of League Of Distortion, Avant Garde musician IAMX and by flexing their Eurovision credentials they have secured industrial/rap maniac KÄÄRIJÄ.

They all put their stamp on this eleven track record, in their own ways, especially KÄÄRIJÄ who brings Finnish rap to these Germans heavy metal, on Raveyard which may be the best title for a song this year. If Opvs Vol. 2 proves anything it's that Lord Of The Lost never seem to run out of material, as they have already released 22 song this year alone, and we're only on part two of three.

Produced by frontman Chris Harms, Volume 2 returns the band to their darker roots with an atmospheric collection of industrial, goth metal which dwell in the dark and often have more introspection than the grandiose numbers on the first chapter. Don't expect them to stick to style though as Lords Of The Lost have proven they are a band that defy what is expected whenever they can.

Lords Of The Lost are compiling almost an entirely new set from this trilogy of records, one that spans several styles but always goes back to thumping anthemic songwriting and heartfelt balladry. 8/10

EBB – The Mirror (Boudicca Records)

Formed as Erin Bennett Band back in the mists of time, they now go by EBB and the pop-rock beginnings have now transmogrified into a sprawling art/prog rock band. With a debut album Mad & Killing Time in 2022 and The Management Of Consequences EP in 2024 under their belt already.

EBB are a merry band of proggers, drawn from across the world and the wider universe, they are based in Scotland and have been performing to high acclaim across the UK garnering rave reviews for their incentive, explorative live shows and albums wherever they go.

The Mirror is their sophomore record and it is an hour long progressive rock record that sees EBB going deeper into their progressive rock influences but also their art rock proclivities too. With Erin Bennett up front they have a singer who can move between the realms of the ethereal (Evenfall) and the earthly (That's How It Goes).

Slinging a blues driven guitar which has the deftness and feel of a Steve Rothery or Dave Gilmour, with the epic Take To The Stars, coming from the Floyd songbook. Bennett flashes of firebrand with tracks such Day 19 which is one of the few songs I've ever heard about having a period and brings all of the conflicting emotions that entails, with a bottom end courtesy of YYZ.

On Reason the fluid rhythms are guided by the bold basslines of Bad Dog. His rapport with drummer Anna Fraser is immaculate on this record. Fraser's drums probes and peruses, Mad Dog's bass slithers and snakes, both keeping the beat eclectic and propulsive with No One's Child.

Where this record builds on previous releases is with how keys and synths are used. The title track, all eleven minutes of it is the best example of how EBB use keys and synths, an acoustically layered, slow burning track which has swirling analogue synths from Suna Dasi while Nikki Francis keys interplay between the jazz and rock movements.

It's the most progressive track on the record with plenty of throwbacks to the glory days of the prog rock genre. Francis also adds flute and sax to the record, again EBB invoke the pastoral tones Jethro Tull on Cuckoo where Kitty Biscuits, recites her poetry and embodies the creative flow of the band on the record just as she does on stage.

The Mirror is a reflection of it's creators, expertly crafted by musical artisans, it's a masterpiece of arty prog rock that deserves close inspection. 9/10

Verminthrone - Feast Of The Serpent (Self Released)

Ever wanted to get into NOLA sludge scene but worried about Confederate flags and white power salutes? You need Buckinghamshire five piece Verminthrone, following their 2024 debut album The Cull, which Mark Young gave a great score. The kudos of that record led them to Desertfest this year but they have emerged once again and are ready to shake the foundations of your house with new EP Feast Of The Serpent.

Simultaneously heavier, nastier and dirtier but somehow more refined than their last few releases, Feat Of The Serpent is the sound of a band digging deep into their influences such as Down, Crowbar and Eyehategod but using their experience to craft something that is their own. They add a massive whack of groove metal ala Lamb Of God on Pallor, Swab and closer Event Horizon which has plenty of Pantera to it. A lot of their sludge influences are morphed into more ferocious sounds here, though When It Rains It Pours keeps that hardcore edge to it and Bloodletting balances sludge with thrash.

Feast Of The Serpent creates more musical spaces for Verminthrone to work within, they're still sludge but there's more to them, I'm looking forward to what they will bring on their next album. 8/10

Chaos Over Cosmos - The Hypercosmic Paradox (Self Released)

We've been fortunate to track the evolution of Chaos Over Cosmos in this publication, both myself and Simon Black have reviewed previous albums featuring previous formations, each one shifting the soundscapes as creative mastermind Rafał Bowman gets to flex his musical muscle through as many genres as he dares.

Bowman handles all the music and programming, based in Poland while Taha Mohsin performs the vocals and writes lyrics is from Pakistan. Chaos Over Cosmos has always used the awesome power of the internet to perform music, it's a studio based project but that's a strength as it means they can be as progressive as they want to be and progressive they are.

Technical proficiency is off the scale here, the shredding is intricate, blistering and moves at light speed, taking from the extreme end of power/neo-classical metal and the tech death scene (When The Void Laughs), it's the guitars that steal the show here but the synths to play an integral part in the music as they take things in very futuristic direction, inspired by videogame music, synthwave and EDM (The Fractal Mechanism).

Vocally Taha uses gutturals more than anything else, gargling marbles on tracks like Event Horizon Rebirth, which are often contrast with the music beneath them. On The Hypercosmic Paradox, Chaos Over Cosmos continue to push the envelope with greater progression, more extreme time signature changes and experimentation. 7/10

Reviews: Malefic Throne, David Galas, Hexjakt, Nattradio (Mark Young, Spike, Rich Piva & Matt Bladen)

Malefic Throne - The Conquering Darkness (Agonia Records) [Mark Young]

In this episode of ‘I can’t believe you missed this out of your reviews, part 1’, we meet up with Malefic Throne who bring forth their debut The Conquering Darkness. Although this is their first full length release, you will have heard of the following bands:

Angelcorpse, Morbid Angel and Hate Eternal, to name but three as a starter for ten.

By knowing these, then you will know the following:

Steve Tucker, Gene Palubicki and John Longstreth.

On paper, seeing those three names involved with this is something else for death metal fans. I mean we are talking about some of the most extreme exponents of this genre, so going into this you hope that it transposes onto tape. I’m happy to report that it does. It’s a very tight, focused 44 minutes that whilst doesn’t bring a new way of doing things, what it does is show that there is still blood pumping and that when its done right, can offer a visceral experience. That’s all we want right?

Blasphémait Descrecation is the opener, and it lands exactly as you hoped it would. No waiting on an instrumental to finish, this is bang straight into the guts. This is death metal for fans, written by fans. For me, it reminds me of Vader, circa De Profundis where they just start and absolutely batter you. I think that if you wanted a description of how this sounds, you couldn’t go far wrong with Blitzkrieg. 

Everything is ramped up, each part of the team knowing that having this land and crush is the only measure of success. If I wanted to be critical, I could argue that its maybe a minute or so longer than it needs to be, but I think that would be churlish of me really. 

Taking it as its meant to be, which is an example of what good death metal sounds like then its nearly perfect. And then they drop The Voice Of My Ghost. As this kicks in, and I mean it kicks in like its life depends on it I can only imagine how this would have been received back in the early to mid-90’s. Heads would have popped. 

As it is, they have given us probably one of the best second tracks on any album this year. Its amazing that they have turned up with this sort of venom and fury still running through them. Everything is on point in terms of speed whilst still having clarity of sound. You hear everything and its just royal. Again, you can argue for its length but it gets a free pass due to the extended solo freak-out that occurs. 

I’m also happy to say that on track 3 they haven’t slowed down or thrown a quiet/loud affair at us. Nope, Athirst For Dissonance turns up and snarls ‘do you want some more?’ to which the answer is yes. If tracks 1 and 2 were top, this has some of those ‘chef’s kiss’ riff moments running through it. If you imagine having a car that is just running beautifully, it would be this song. 

Its just class and is representative of them finding their range as it runs into Born Of Plague. It’s just frantic, played at speed where it means something as opposed played fast with no meaning behind it. Both this and Divine Tragedy show that the shorter run times work in their favour as in each case they are determined to bring that blitzkrieg to your ears at every step. 

There is no reverse gear at all on them as they charge forward, continually pummelling you as only classic death metal can. A lot of its success can be laid at the door of Jon Longstreth, whose command of the drums on this is par excellence. He just slams away, keeping that forward propulsion in place and it’s a performance that should be used as a yard stick for everybody else wanting to play this music. 

This is certainly the case on Carnage Of The Forgotten, where there is quite a large hint of Morbid Angel in there, but again the drumming is just on fire. Arrangement wise, in some respects its simple but it’s the way it is attacked that makes it sound the way it does. It’s like they look at each song and go ‘we must make this one better’ than the last one. When Our Shadows Align is next, and it charges onwards like it is the opening track, not the penultimate one. There is no lull on this, no drop off in energy or in quality from them even when you think there should be.

Forged Of Stone is their closing statement, and you would forgive them for maybe taking it easy, having a relax and maybe busting out the pipe and slippers. Not on their watch. This one is monstrous, going for more of a mid-paced stomper than the trem picked madness we have been treated to. Don’t be misled, this is where they have dug deep into their combined experiences and come out with an 8-minute classic. Double bass, speed changes, a drum clinic and some razor sharp riffola combine to bring the curtain down on one of my favourite releases of the year.

Malefic Throne, in looking to their own past have delivered a death metal album for the future. I said earlier that it doesn’t do anything new, which you could take as a negative but in this instance I’m glad that they didn’t try. Instead, they have quietly dropped one of the albums of the year. Basically, you have 8 solid gold tracks that for me encompass everything that is good about death metal, and why its one of my favourite styles of music to listen to. 

The only regret is that it fell through the gaps, and for that I can only apologise it not being able to give this the love it deserves. 10/10

David Galas– The Nihilist (These Hands Melt) [Spike]

This is a Post-Punk transmission from the frozen heart of America. David Galas, long known for his contributions to Lycia and his own work in Goth Americana, has taken a sharp turn toward the neon-drenched abyss. The Nihilist is an unexpected yet necessary album: it’s the sound of Joy Division finding its nihilistic groove in the modern era, drowning everything in high-fidelity dread and danceable despair.

The core tension of the record lies in the stark contrast between the electronic urgency and the vocal delivery. Galas successfully channels the lyrical darkness and relentless rhythm of bands like The Mission and Joy Division. His low, deep voice, which sounds like early Andrew Eldritch (The Sisters Of Mercy) but with a much darker gothic style, acts as the perfect conductor, delivering monotonic, monotonous vocals that elevate the underlying sense of dread.

The transition to rhythm is immediate. Tracks like Syndrome and You’re A Needle In My Arm rip through with pulsing energy and driving basslines that demand movement. This is high-octane Goth music, achieving maximum velocity while maintaining an underlying sense of collapse. The seamless shift proves Galas is not just about atmosphere; he's about aggressive propulsion.

The central concept is the contrast between the cold-glow electronics and the human vulnerability. While much of the album is designed for a chaotic, after-hours club experience, moments like Pillar Of Sorrow pull back to deliver profound emotional ache, proving the depth of the composition. However, the energy soon returns on Atrophy and the title track, which showcase the meticulous layering of synths that fill every space with mechanical pressure.

The Nihilist has all the potential to become a darkwave cult favourite. It is a testament to an artist willing to leave the familiar comfort of ambient sorrow for the more challenging, aggressive urgency of the dance floor. It's a solid, essential companion for the dark season, ending with a final, desperate turn back toward the original mournful sound on Cloud Of Despair and Psilocybin, proving that even when we dance, the pain remains. For transporting me back to bands I loved but adding so much more, this will score. 9/10

Hexjakt - Blessing Of The Damned (Majestic Mountain Records/Burning Skull Records) [Rich Piva]

Release number two of 2025 from Swedish doomsters Hexjakt shows the band bringing more of their heavy doom with sludge and even some psych leanings on their first full length record, Blessing Of The Damned.

I enjoyed this record for sure, even if it is a bit too long at a running time of over an hour. I love how there is a doom with almost hardcore vocals feel to Black Circle and how it plods along yelling at everyone in its path. The opener, 10,000 Crows, has some of those psych vibes I mentioned and it is excellent. High On Fire is evoked on Void Throne, which may be my favourite on the record, especially when it cleans itself up a bit towards the end, until the heavy returns. 

A couple of my favourite tracks are the spooky heavy and (for them) up tempo doom of The Act Of Dying and the chunkiness of Monolith, a song title that almost always delivers a killer song and this case is no different. Did we need a doom cover of Don’t Talk To Strangers? It depends. On this album, we did not. The record is long already and the band has an EP from January, why not save this for a follow up EP next year? That would have helped on the too long run time of Blessing Of The Damned overall, but hey, it’s still a cool cover, just maybe out of place here.

Overall, even being too long, Blessing Of The Damned is a pretty killer first full-length for the already very productive Hexjakt. I dig the heavy, doomy, hardcore high on fire vibes I get from this one. Good stuff. 7/10

Nattradio - The Longest Night (Darkness Shall Rise Productions) [Matt Bladen]

Nattradio are a duo in the studio formed of Niklas Brodd (guitars) and Martin Boman (vocals), they've already delivered one studio album last year but they have convened again in Northern Sweden for a follow up entitled The Longest Night which looks to gain them a bigger following for their gothic doom metal that casts dark atmospheres.

The album is on a somber keel, every song comes from slow, gloomy place, influences from the likes of Katatonia (Sketches From The Dark), The Cure (Alright For Now), but also Gary Numan (Dark Streets) and the electronic elements are heavy on Night. Called The Longest Night, all of the songs were recorded between 01:00 and 05:00 in the morning and the emotion of those twilight hours is reflected through these maudlin movements.

The Longest Night takes from goth, electronic and metal music to make the perfect soundtrack for winter. 7/10

Reviews: Killed By Deaf, StarAce, Spectral Sorcery, Thus Defiled (Matt Bladen & Mark Young)

Killed By Deaf - Punk Tribute To Motorhead (BMG) [Matt Bladen]

If you were to make a connection between Motorhead and any other genre of music, the most direct would be punk rock. Though famously they played rock n roll, Lemmy and the boys had the same, D.I.Y, non-conformist and often politically motivated ethos as those in the punk scene. Just look at their covers of The Ramones, Sex Pistols, and the numerous tours with The Damned.

Punk rock and Motorhead go together and this new compilation proves that in spades. With covers from Rancid, Pennywise, Lagwagon, GBH and more, this record, which is part of the 50th Anniversary of Motorhead campaign, is 14 tracks of noise that united tow very distinct fandoms back in the day and continues to break boundaries now.

You would often see punks and metalheads all in that same Motorhead gigs, after the gatekeeping of the first wave of punk disappeared the tribes converged and Motorhead were the band to keep the peace (louder than everything else mind you). I'm sure most of the bands here were probably inspired to write speedy, anarchic music by that grizzled snarl and rapid bass of Lemmy, the insistent drumming of Filthy and the rapid riffs of Fast Eddie.

All of the covers here showcase the notion that Motorhead are punk, each band are doing their best Motorhead impression from Pennywise's Ace Of Spades and Rancid's Sex & Death, through The Bronx's Over The Top, Fear's The Chase Is Better Than The Catch, to Anti-Nowhere League's Born To Raise Hell and Soldiers Of Destruction's Overkill, nothing is changed to wildly to fit with the individual bands aesthetic, they sound both like the originals and a song by the act in question thus is the strength of Motorhead's punk rock credentials, if anything some of these bands are playing guitar solos for the first time!

It's miraculous just how comfortably Motorhead songs fit in the punk sound but then as I've said it should be obvious, especially when you get to the final track which is a previously unheard version Neat Neat Neat recorded by Motorhead alongside The Damned in 2002, and they smash the hell out of it, owning as if it's their own.

The 50th anniversary of Motorhead, has unearthed and created some great things but Killed By Deaf is one of the best. Punk rock n roll in tribute to the loudest band in the world, make sure to play it loud. 8/10

StarAce - Real (Self Released) [Matt Bladen]

In latest edition of albums I should have reviewed earlier, it's Real, the debut from StarAce. Now when this record began I was immediately taken back to my first time discovering Tom Petty And The Heartbreakers, that fusion of radio rock, honest Americana and down home blues is all present from the first notes of Right In The Middle.

Real has authenticity to it, produced by David Frangioni who has worked with Aerosnith and Kiss, it's just drips with the songwriting of road-weary troubadours, playing every mom & pop joint in the heartland of America. What may surprise you then, is that StarAce hail from São Paulo in Brazil not Nashville in Tennessee, which is thoroughly confusing when they play a song called My America.

Not that you'd be able to make that connection at all as StarAce's debut draws from the legends of the country/blues/southern rock, as well as more recent acts like Blackberry Smoke (Another Day Gone By) and Robert Jon & The Wreck, who bring those Americana influences bang up to date, ready for mass radio consumption.

StarAce began working on this record before COVID but this stalled during the pandemic of course but then it was full speed ahead recording these 12 songs live in the studio, showcasing their commitment to it being, Real, blood, sweat and tears as the themes of community, information overload, abuse of power and of course love all feature.

StarAce are comprised of brothers Julio (vocals/guitar), Luiz (bass), and Thomaz Starace, their familial unity strong on every track like a country rock Von Hertzen Brothers on Dark Side which blends The Eagles with Dire Straits, the core trio, creating these songs with their sibling synergy.

Joined by guitarist Chris Dias and keyboardist/vocalist Bia Tucci, who brings atmospheres to Mystical Cat which draws from Led Zeppelin and even Boston, One More Night In Nashville rubs some stank on it as Fighting My Shadow and Blue Water are both shuffling country, again showcasing how much StarAce care about being authentic to their influences and to themselves.

I'm gutted I missed this album the first time so consider this rectified, Real is a the real deal. 9/10

Spectral Sorcery - Hyperspace Odyssey (Psalmodist Records) [Mark Young]

And for my last review of 2025, it is two things. One, its 2 months late (apologies all round, nothing as big and riffy as this should ever fall between the cracks) and Two, its massive. Three songs that wrap up in 42 minutes give you a brief sense of what they are about, and what they are about to bring. I should point out straight away that this is purpose built for those who love their doom with a definite lean into psychedelic. It immediately reminds you of Hawkwind and bands of that ilk, especially on the lead off track, the aptly titled Hyperspace Odyssey because this is a journey. 

One that brings all of the traditional weapons of doom into play – the organ, Wah that sounds like it has been soaked in honey, long solo’s and repeated measures, kept in check by a rock-solid groove. There is a brilliant melodic line that underpins the whole song, providing that base from which they can then run off and add those embellishments that make its 21-minute run time fly past. 

For me, this would be one of those tracks that would be a blast to jam, especially the outro lead breaks that have the right balance of emotion and skill to them, which instantly appeal to me as someone who is limited in his playing (I’m obviously not suggesting that these guys are limited in their playing). This is a massive song, chock full of glorious guitar and should be front and centre on any Psych Doom fans playlist and is worth the price of admission alone. Just releasing the one song would have been acceptable, at least to me.

And then they bring you Dreams Of Arrakis which keeps that stoner vibe in full effect, splitting the song into phases that bring us more of those blissed out leads. The use of effects run rampant on this, and they only add to that spaced out feeling the song evokes. Its not driving music, this is rest and relaxation music of the highest order. The way that they arrange this is undoubtedly similar to Hyperspace, but only in that they realise that it must have that outgoing payoff in order to close the song out properly.

Completing the hat-trick is Spelljamming Time, which comes with an organ drenched arrangement that owes a little to Pink Floyd before they bring out the big fuzz and the riffs. This has more of a looser composition, and as a result seems to drag a little when compared to those that came before it. It doesn’t make it any less worthwhile in terms of kicking back to this and like before the ending close out is spot on.

What you can’t escape from is the fact that they can write and arrange some of the finest Psych/Doom/Stoner music currently released by anyone. If you have any appreciation for this genre, you have to get onboard with them now. Again, I can only apologise for missing this, but in some respects doing it so late could hopefully shine a light on what was one of the releases of 2025. 8/10

Thus Defiled - Through The Impure Veil Of Dawn Remaster (Vic Records) [Mark Young]

OK, so when I think of black metal, the sound generated by Thus Defiled is exactly what comes to mind. I’ll confess that back in the early 90’s I wasn’t the biggest fan. At this time, it felt that fans of it were fans because it polarized opinion, especially amongst those that loved the more established names in metal. Through The Impure Veil Of Dawn is their debut album, remastered and inclusive of bonus tracks from 1994.

Lets get the elephant out of the room. Despite being restored and remastered it still sounds of its time. The chances are, that if you weren’t onboard with it back then, then you won’t be now. As a snapshot of a period in time, its fabulous. A British act, turning in their own take on what black metal is (at least to them) with songs that charge forward in each case, possessing that icy vibe that the Scandinavian acts of the day had. How does it hold up now, 30 years later? Quite well, it has to be said. 

The remaster that has been done is one that keeps it sounding like it did back in 1994, just better. Its not super processed or over produced, it’s just cleaner but with that lo-fi sound still in place. If you were listening to this now as a new release you might say that they have gone all out for recording it in a cave but is in keeping with the vibe they wanted. The songs themselves, are a definitive snapshot of how black metal sounded back then. Rapid changes in tempo, frigidly cold piano and guttural vocals punctuate the album and it has a guitar sound that grinds off your teeth.

If you wanted to compare it to latter day releases, you could argue that it sounds almost primitive, never mind Old School. But that is its charm. The songs themselves are as good as anything being released at present and again that is dependent on how you take your black metal. In approaching it the way they have, they have kept it as close to how it was originally released, treating it with respect and in doing so opening it up for a new audience. 7/10

Reviews: Rotten Sound, Gore, Homegrown, Master's Hammer (Spike, Matt Bladen, Rich Piva & Mark Young)

Rotten Sound – Mass Extinction (EP) (Season Of Mist) [Spike]

This is not a slow death; it’s an act of instant, surgical extinction. Rotten Sound, the Finnish grind legends, have returned with their eleventh EP, Mass Extinction, and it proves that after three decades, they are getting more extreme with age. This short, brutal offering is a cynical, politically charged masterclass in hyper-efficient Grindcore, delivering ten minutes of pure, unrelenting violence designed as the perfect soundtrack for a world ready to ignite.

The philosophy here is ruthless efficiency: wham bam, grindcore ma'am. Eight tracks are condensed into a brutal, hammer-beating surge that leaves zero time for reflection. These songs, forged during the sessions for their previous album, Apocalypse, function as concentrated sonic shrapnel. The performances, particularly the drumming of Sami Latva, are beyond ferocious, exhibiting energy that exceeds that of any young, hungry act.

The true impact of this EP lies in how they temper pure blast-beat carnage with fat, corrosive grooves. Tracks like Gone and Empty Shells thrash with the required, inhuman speed, but they are punctuated by the cynical, D-beat anthem of Idealist. Vocalist Keijo Niinimaa snarls his contempt over riffs that open the circle into a mosh pit, using social commentary on distrust and polarization ("Brave New World") as fuel for the fire. This is social justice delivered at a thousand miles per hour.

The production is pristine enough to let the brutality pierce through, yet filthy enough to maintain the necessary ugliness. There is no polish on the content, only on the delivery. The closer, the title track Mass Extinction, wraps up the entire thesis with a final, filthy, sludgy sound that locks the listener into the collapsing void. Rotten Sound’s career is defined by this consistency and quality. They have mastered the ability to take elements from grindcore, death metal, and crust punk, and compress them into a singular, devastating charge. You don't need a longer album when the impact is this dense. 9/10

Gore - If You Do Not Fear Me (Spinefarm) [Matt Bladen]

Yes, just a thousand times yes, I think I may be a little in love with Haley Roughton's vocals. I missed their debut release A Bud That Never Blooms back in 2023 but they have won me over with If You Do Not Fear Me, the band are built around Haley's experiences in and perspectives on the music scene.

Framing them from a feminine angle with a musical backing from guitarist Alex Reyes, bassist Devin Birchfield, and drummer Wills Weller rounding out this band who will instantly appeal to fans of Spiritbox, Thornhill and The Pretty Wild who I reviewed recently and Brisoh act Adharma who I'm a bit of fan boy for.

It's intense modern metal where Djent/metalcore grooves intertwine with electronic twists and pulses, the stop start riffs switching into ambient passages, produced to sound massive and highlight the dexterous vocals of vocals of Roughton. One moment filled with fragility, the next incandescent rage, then cathartic calls for unity.

She's a vocal sensation, channeling the themes of faded innocence and lost hope that permeate this second EP. It's a set of songs from a more challenging place, 15 minutes of music that journey to the darkest parts of the human mind. With lyrics about abuse, loss and indifference to suffering, this Texas band ride their wave of continued popularity with an EP that's heavy in multiple ways. 8/10

Homegrown - Homegrown (Majestic Mountain Records) [Rich Piva]

Gothenburg, Sweden’s Homegrown brings us some psych instrumental weirdness on their self-titled second record dropped on us by the wonderful Majestic Mountain Records. Not all instrumental records catch with me, actually the majority do not, with some major exceptions. Let’s see how Homegrown does with these ears…

The answer is that it mostly does. I could have gone for maybe ten minutes less of a run time, but the tracks on Homegrown show that these guys can play, they have a plan, and they execute on that plan well. I love the guitar work on Frihetsvisa i A-Moll which sounds vaguely familiar and I will feel dumb when someone tells me this is some kind of old folk song redone by these guys but oh well. 

I love the urgent feeling to Häxjakt i Snetakt until the shrooms kick in and everything is alright (mostly). I dig the chiller tune Adams Äpple and how weird it is. The drummer is a madman, as confirmed on Den Hornkrönte. The closer, Talisman, is one of my favourites and closes the record nicely.

It’s a bit long, and the songs run together, but the self-titled Homegrown record is fun to turn on and have in the background while you work or have something to stare at when something may be altering that mind of yours. 7/10

Masters Hammer - Maldorör Disco (Darkness Shall Rise Productions) [Mark Young]

I think In the few years I have been reviewing for this site, I have been relatively blessed in that I haven’t had many ‘hate on sight’ moments. But first, a little about the stars of this review – Master's Hammer. This is an outfit that has been around since 1987 (according to online sources) and their output combines black metal and, in this case, electronic music. Again, prior to sitting down to review I’d never come across them so I’ve come in blind, which is always a good thing. The problem I have is that now I’ve listened to it, I now have to try and find a way of describing it without resorting to the use of ‘bleepy bollocks’ ad nauseam.

It starts with the kind of euro EDM that you might hear on Eurovision, swiftly joined by riffing that seems more at home with industrial than black metal. I’ve said this before that your opening track is your only chance to establish the album with a listener. It has to engage, to make you want to listen to what comes next and in the case of Anděl Slizu it doesn’t. That feeling doesn’t change with Genesis P. Orridge which seems to follow the same pattern as the opener. At this point it seems like a million years removed from black metal but there is nothing here for me. The use of electronic means with each song is fine, I have no issues with that at all. 

What I take issue with is what appears to be the use of repeated themes and ideas with no real change between songs. They start in more or less the same manner, from Take it or Leave it through to the title track onto Beast Within, none of which resonate with me in any way. I’m just not digging this at all. The question is, do I stay or tap out? Just for you, I stayed the course but results did not get better. The remaining songs occupy the same arrangement as those that mentioned. Its not that its bad (what is bad, anyway), its just dull.

It feels that it will find a home with those who love to dance outside of the normal (and delight in telling you this). I suppose that is point of Avant Garde. To build art for arts sake and to question why things are done the way they are. If you are driven by a need to listen to dance / guitar music that is awkwardly welded together then knock yourself out. Its dull, repetitive and not for me. 5/10

Reviews: Wolfsbane, Excide, Adventure, Malemort & Cerbère (Matt Bladen)

Wolfsbane - Live Faster/Kathy Wilson EP (Self Released)

As with any bands formed in the late 80s early 90s, production, mixing and mastering is always a bit of an issue when trying to discover what they sound like. Especially if those bands still are around today because a lot of them will have modern production techniques, now they will sound a lot slicker a lot sharper but going back to those early records you do tend to get quite hollow sound that was there after the vinyl boom during the error of cassette tape but before the digital CD sound.

A band like Wolfsbane have this issue with their first two releases, compare them to Wolfsbane Save The World and Genius, the difference is massive, (a massive noise injection if you will), so as Wolfsbane are back with a vengeance and they want to show everyone why they're for my money one of the best live acts on the planet. The band have decided to re-release both their debut album Live Fast, Die Fast and the follow up EP All Hell's Breaking Loose Down At Little Kathy Wilson's Place.

For a band to be in their 40th year and still have the original line up is a rarity, so Live Faster is billed as the their debut album re-imagined and re-recorded but with the original HMS (look it up) that made it. It's a completely new recording of the album as the band are now, Blaze Bayley still with that power and wide eyed intensity that comes through on the evergreen Manhunt, the raucous Money To Burn and slice of sleaze that is I Like It Hot.

Jeff Hateley (bass) and Steve Danger (drums) still lock in for the filthy bottom end but they're playing them the way they do now, the songs having evolved over the years on stage, either getting heavier or louder or both while still retaining the youthful exuberance of the originals but now featuring a rhythm section that is in total sync.

Guitarist Jase Edwards too rips through the riffs and solos like a man a 1/3 of his age but he also has all the production skills to make this a different experience to the original. With Jase behind the desk, re-recording Live Fast became a much more personal and enjoyable experience, while the original had Rick Rubin twiddling the knobs, Live Faster is perhaps a more genuine and honest reflection of how the band wanted things.

Because they aren't busy enough Wolfsbane have also remastered the 1990 EP, All Hell’s Breaking Loose Down At Little Kathy Wilson’s Place, as tracks such as Paint The Town Red, Steel, Loco and even the delightfully weird Kathy Wilson herself, all still feature in their set today so it makes sense for Jase to give them a sonic overhaul as well, having already done so once but after realising how difficult the EP is to get a hold of, he has re-remastered Kathy once again with the skills he has in 2025.

So two beloved records going back to where it all began, but both changed by experiences of those involved. Wolfsbane, live faster everyday and there's few that can catch them. 9/10

Excide - Bastard Hymns (Sharptone Records)

While recording Bastard Hymns at Down Under studio in Wilmington, DE with producer Austin Coupe, Carolina metal crew Excide drew from influences such as "Failure, Cave In, Snapcase, Queens of the Stone Age and classic western flicks." Throwing together all of these elements they've delivered a sophomore album that spans multiple genres, in a way that strongly reflects their influences but combines them in a way that is very modern.

Bastard Hymns is an intense listen, the ferociousness of hardcore collides with the groove of 90's grunge and 2000's nu-metal before unpredictably moving into glistening shoegaze atmospherics, post-hardcore anthemics and pop punk bounces, all underscored with technical ability and direct songwriting that has been honed on stage, over countless hours and relentless tours.

Their debut, Deliberate Revolver was well received, positioning Excide as ones to watch as genre smashing, up and corners in the hardcore scene, so with Bastard Hymns they have doubled down, on their unique approach, writing music for themselves and no one else. Now I'm sure that hardcore fans would be able to name all the bands that Excide are influenced by but just the small list they themselves provide will be enough for you to know that Excide pull no punches on this thrilling second record. 9/10

Adventure - Adventure 2000 (Apollon Records Prog)

25 years after it's initial release, Adventure, the debut album from Adventure, has been re-released in a remastered form. The album is said to have kick-started the Norwegian prog scene as these wandering minstrels combine classic prog textures with symphony elements inspired by the likes of Camel, Uriah Heep (Byron & Thain era) and even acts such as Magnum.

The neo-classical instrumentation, the Medieval atmospheres and the bardic journeyman lyrics all hark back to the bygone days of men in tights playing the Mandolin (The Wee Hours) as guitarists crank out solos inspired by Bach or Vivaldi and organs swell like some sort of church of complex arrangement.

The record has been remastered by Jacob Holm Lupo and having not heard the original I've got nothing to compare it too, but it at least sounds like an authentic vinyl record from the 70's so kudos if that's what they were going for. This isn't some throwback to a band lost in the mists of time though as Adventure are still going concern having released their most recent record in 2022, well two records that make up a two album concept piece!

They are still led by Odd-Roar Bakken and Terje Flessen who play the keys and guitars (through a bit more on the debut) and while Vebjørn Moen has been replaced as a vocalist (they now have two), this record is a very important piece of history for a band who did their bit to establish the Norwegian prog scene, and though it is now 25 years old, the music features on it is inspired by bands from 25 years before it. Double retro, can't get more prog than that. 8/10

Malemort & Cerbère - Aimless/Glace Mère (Rope Or Guillotine/La Harelle/Arsenic Solaris/Chien Noir)

I don't know what the collective name is for two trios however both Malemort and Cerbère are French based extreme metal acts that drag themselves from the torrid pits of doom and sludge to create abrasive, all consuming soundscapes fit for the apocalypse.

Contributing a song each, Malemort kick off with the 18 minute Aimless, a blackened, hellscape of a destroyed future, dissonant and visceral, the band showcase their first material since their debut here, deep in the writing stage if album two, this break from the studio shows off their harrowing approach to musical torment and bodes well for more evil things to come.

Cerbère's side of things is Glace Mère, which is a 16 minute descent into ice cold landscapes. Glacial bleakness that was recorded live in one day, and takes inspiration from the fantasy literature of Micheal Moorcock, the Parisian band are perhaps a bit more vicious than their doom wielding compatriots, siding more with punk and hardcore, there is a palpable aggression to their music, that both counters and works in symbiosis with Malemort.

Aimless then is a slow moving, nihilistic, descent into the abyss, while Glace Mère is a hardened, spite filled, journey across tough terrain that ends in madness. Two French bands who bounce off each other and deliver over half an hour of extreme music, I'll be awaiting what they both do next. 8/10