Paleface Swiss - The Wilted EP (Self Released)
Swiss heavies Paleface Swiss kick off 2025 with an EP of new tracks that were written across months of touring in 2025. It's a record that deals with issues such as burnout and emotional regrowth, all of which were felt after the band rapidly ascended on the back of their previous album Cursed.
On Cursed they were full of fear and anger, an emotional reckoning that leads to downfall but with The Wilted, Paleface Swiss continue with the journey that follows, rebirth, redemption and coming to terms with everything that broke you. Triumphant ultimately but done so through a more melodic and introspection.
Both reflected in the music as they still have some heavy beatdowns, showing their core beginnings but with the five songs of this EP they move further into cleaner realms vocally and musically shifting to the cinematic. The Wilted then is a continuation but it's also an evolution. How do you follow up your most successful record? Well you keep the trajectory of it but add some new tricks too. 8/10
Osiah - Aion EP (Unique Leader Records)
In keeping with the sound they have been battering heads with for more than 10 years now, UK act Osiah have been shifting the goalposts of what deathcore can be since their debut.
However it was with previous album Kairos in 2023 they managed to cement their sound as they now merge filthy, disgusting breakdowns with technically impressive performances and an extra layer of discordance that comes from heavily distorted riffs and gutturals from hell. So with Kairos solidifying Osiah's place at the table, this follow up EP Aion is their first music since then and keeps the sonic modernity and outright brutality coming through.
A slightly conceptual four tracker where sci-fi landscapes are discovered through cutting edge metal inspired by not only the acts that influence them but also pays homage to their fan base who have taken this journey with them. Aion gives you a fifteen minute crush as Osiah keep nasty British deathcore alive. 7/10
Knives - Reglitter I (Marshall Records)
Bristol band Knives have a new project, reworking songs from their debut album Glitter along with unreleased tracks that may been left on the cutting room floor otherwise.
Reglitter will be coming in two parts, the second comes later this year, however the first part is a four tracker that features some reworked tracks from the debut. Knives are joined by friends from other bands to give these songs a different edge.
From the opening blast of Corazo'n which has C.A Francis of Ditz joining the punk noisemaking while Sugar has Carson Pace of The Callous Daoboys giving it his unique delivery alongside Jay Schottlander, over the propulsive backing of Erin Cook's drumming and the conflicting noisy guitars of Dan Farren and Josh Cook.
On The Dagger, Death Goals bring a electronic thump with breakbeats and the gang vocals, as Ben Marshall's bass drives PHD which features Chest. Knives breathe new life into these tracks alongside their collaborators, raising the excitement for part 2. 7/10
Second Harbour - Coalesce (Sharptone Records)
Coalesce is the debut EP from Montréal post-hardcore band Second Harbour and from the first moments you can very much hear that brothers Xavier and Vincent Morency along with drummer John Muggianu wearing their influences on their sleeve.
From catchy pop punk to cathartic emo/post-hardcore, they cite influences as wide as Blink-182, The Cure and Neck Deep and this EP features the band delivering songs that have been honed on D.I.Y stages around their native Canada, but when they entered the studio with producer Kyle Marchant they crafted songs that showcase the band at their best, the pop sounds glistening as the heavy side is heavier.
Written as a soundtrack to the end of the world, Coalesce is about coming together with this you love at the end and ultimately finding meaning and what is important. Coalesce heralds Second Harbour's arrival with an EP of intricate, emotional and catchy music. 7/10
Monday, 5 January 2026
Reviews: AFI, Weft, Neverseer, Dreaded Spirits (Matt Bladen)
AFI - Silver Bleeds The Black Sun (Run For Cover Records)
AFI have always been band not scared of reinvention from their hardcore beginnings where they went though the toilet scene circuits, to their punk middle period that transcended into their emo embracing gothic rock era that gave them massive critical acclaim and in recent years they embraced the alternative rock scene.
However with their new record they change things again shapeshifting towards the late 70's and early 80's post punk and death rock, guitarist/producer/engineer Jade Pudget, naming bands such as Echo & The Bunnymen, Sisters Of Mercy, Bauhaus, and Siouxsie & The Banshees as their major influences for Silver Bleeds The Black Sun.
Starting from a conversation about how they can reinvent AFI as a band 33 years into their career, they have down so by channelling the bands above as they begin this new journey with the atmospheric The Bird Of Prey, which has the newly moustachioed Davey Havok, crooning with the power and dramatic flair of Andrew Eldritch.
From the phasered Behind The Clock, through the pulsating Holy Visions which is guided by the bass of Hunter Burgan as Blasphemy & Excess as Spear Of Truth puts acoustic scrubbing from Pudget with the sprawling drumming from Adam Carson, both taking strongly from that gothic aesthetic while Voidward, I Bend Back and Marguerite bring back those jangly guitars and thumping rhythms while A World Unmade creeps ahead with lots of synth.
In their new guise AFI have evolved logically, punk and goth combined with the maturity of a band with more than three decades behind them. 9/10
Weft - The Splintered Oar (Bindrune Recordings)
Weft is the creation of Charlie Anderson who you may know as the violinist from Panopticon, away from being a part of that band he has channelled a lifetime of experience into The Splintered Oar his debut album under the Weft banner. The Splintered Oar is a record that involves you from the first moments of the evocative Leaves.
Taking a very atmospheric style of black/death, drawing from bands such as Saor, Winterfylleth and of course Panopticon, however Weft don't use the folk influences of these bands though, preferring to add the country/Americana meets prog of a band such as Huntsman.
Anderson plays the lions share of music on this record, including bass/guitars/synth/piano/percussion along with vocals and of course violin and strings and while he flourishes at all elements, the way that he uses the strings and violin brings soundscapes that you don't always get in the metal scene.
For this record he's joined by drummer Austin Lunn, violinist/vocalist Andrea Morgan (Falling Leaves/A Dream Of Oaks) and vocalist Jordan Day (A Dream Of Oaks), the collaboration creating a broad soundscapes that makes for a brilliant musical experience. From the deep string-laden Leaves, the first track proper is the explorative False Kingdoms, which is intensely cinematic and tells you everything you need to know about Weft.
That ever-present violin meets blast beats on The Hull, switching between crushing doom, cathartic black metal and lead guitar driven melodeath as the acoustic elements weave between all these extreme sounds. The vocals as well are particularly impressive as clean and harsh tones are merged together, giving the whole album the sound of a band like Opeth.
The Splintered Oar is a fantastic debut record from Weft and if you missed it off your 2025 listening list then you definitely need to rectify that now. 9/10
Neverseer - Neverseer (Self Released)
A bit of Scottish muscle now from new Edinburgh project Neverseer. Created by ex-Iron Altar guitarist Daniel Drever, this is a modern metal record that swaggers in with a huge whack of sludge that Drever says was influenced by Mastodon and Crowbar while also bringing some progressive songwriting and the beatdown heavy styles of any 'core' bands.
Recorded, written and played by Drever, he's joined by Daniel Lambie on drums, Alo Lander of Ageless Summoning on vocals and Big Iron's Kieran Johnston adds some lead guitars. As a debut it's full of experience, everything has been created to hook you if you're a fan of heavy music. Disintegrate bulldozes but has a few atmospherics while both Ouroborean and Prism crush.
Daniel Drever has launched Neverseer with a lot of loud riffage and it gets critical acclaim from me. 7/10
Dreaded Spirits - C'est La Vie (Self Released)
Born from grief, anger, regret, guilt and reflection, C'est La Vie is a way for James Wicks to channel his emotional trauma around family deaths, doing so through 90's gothic and doom rock, the songs that he was brought up with, the bands that inspired him, helping him through some of the toughest times of his life.
AFI have always been band not scared of reinvention from their hardcore beginnings where they went though the toilet scene circuits, to their punk middle period that transcended into their emo embracing gothic rock era that gave them massive critical acclaim and in recent years they embraced the alternative rock scene.
However with their new record they change things again shapeshifting towards the late 70's and early 80's post punk and death rock, guitarist/producer/engineer Jade Pudget, naming bands such as Echo & The Bunnymen, Sisters Of Mercy, Bauhaus, and Siouxsie & The Banshees as their major influences for Silver Bleeds The Black Sun.
Starting from a conversation about how they can reinvent AFI as a band 33 years into their career, they have down so by channelling the bands above as they begin this new journey with the atmospheric The Bird Of Prey, which has the newly moustachioed Davey Havok, crooning with the power and dramatic flair of Andrew Eldritch.
From the phasered Behind The Clock, through the pulsating Holy Visions which is guided by the bass of Hunter Burgan as Blasphemy & Excess as Spear Of Truth puts acoustic scrubbing from Pudget with the sprawling drumming from Adam Carson, both taking strongly from that gothic aesthetic while Voidward, I Bend Back and Marguerite bring back those jangly guitars and thumping rhythms while A World Unmade creeps ahead with lots of synth.
In their new guise AFI have evolved logically, punk and goth combined with the maturity of a band with more than three decades behind them. 9/10
Weft - The Splintered Oar (Bindrune Recordings)
Weft is the creation of Charlie Anderson who you may know as the violinist from Panopticon, away from being a part of that band he has channelled a lifetime of experience into The Splintered Oar his debut album under the Weft banner. The Splintered Oar is a record that involves you from the first moments of the evocative Leaves.
Taking a very atmospheric style of black/death, drawing from bands such as Saor, Winterfylleth and of course Panopticon, however Weft don't use the folk influences of these bands though, preferring to add the country/Americana meets prog of a band such as Huntsman.
Anderson plays the lions share of music on this record, including bass/guitars/synth/piano/percussion along with vocals and of course violin and strings and while he flourishes at all elements, the way that he uses the strings and violin brings soundscapes that you don't always get in the metal scene.
For this record he's joined by drummer Austin Lunn, violinist/vocalist Andrea Morgan (Falling Leaves/A Dream Of Oaks) and vocalist Jordan Day (A Dream Of Oaks), the collaboration creating a broad soundscapes that makes for a brilliant musical experience. From the deep string-laden Leaves, the first track proper is the explorative False Kingdoms, which is intensely cinematic and tells you everything you need to know about Weft.
That ever-present violin meets blast beats on The Hull, switching between crushing doom, cathartic black metal and lead guitar driven melodeath as the acoustic elements weave between all these extreme sounds. The vocals as well are particularly impressive as clean and harsh tones are merged together, giving the whole album the sound of a band like Opeth.
The Splintered Oar is a fantastic debut record from Weft and if you missed it off your 2025 listening list then you definitely need to rectify that now. 9/10
Neverseer - Neverseer (Self Released)
A bit of Scottish muscle now from new Edinburgh project Neverseer. Created by ex-Iron Altar guitarist Daniel Drever, this is a modern metal record that swaggers in with a huge whack of sludge that Drever says was influenced by Mastodon and Crowbar while also bringing some progressive songwriting and the beatdown heavy styles of any 'core' bands.
Recorded, written and played by Drever, he's joined by Daniel Lambie on drums, Alo Lander of Ageless Summoning on vocals and Big Iron's Kieran Johnston adds some lead guitars. As a debut it's full of experience, everything has been created to hook you if you're a fan of heavy music. Disintegrate bulldozes but has a few atmospherics while both Ouroborean and Prism crush.
Daniel Drever has launched Neverseer with a lot of loud riffage and it gets critical acclaim from me. 7/10
Dreaded Spirits - C'est La Vie (Self Released)
Born from grief, anger, regret, guilt and reflection, C'est La Vie is a way for James Wicks to channel his emotional trauma around family deaths, doing so through 90's gothic and doom rock, the songs that he was brought up with, the bands that inspired him, helping him through some of the toughest times of his life.
The main influence on these three songs is Type O Negative, deep sonorous vocals and thumping goth/doom drenched in synths and horror movies atmospheres. The title track is a eight minute brooding crawl through pain and catharsis as Black Mass convenes a synthwave communion.
The EP concludes with the spooky vibes of Devil's Night and with these three tracks Dreaded Spirits pays homage to its influences om C'est La Vie. 7/10
The EP concludes with the spooky vibes of Devil's Night and with these three tracks Dreaded Spirits pays homage to its influences om C'est La Vie. 7/10
Friday, 2 January 2026
Llyr Williams' Top 10 Of 2025
1st place tie: Deafheaven - Lonely People With Power & Vildhjarta - där skogen sjunger under eveighetens granar
3. Chat Pile/Hayden Pedigo - In The Earth Again
4. Dimscûa - Dust Eater
5. Wren - Black Rain Falls
6. Deftones - private music
7. Hollow Blessings - Vermin Tongue
8. Crippling Alcoholism - Camgirl
9. The Callous Daoboys - I Don't Want To See You In Heaven
10. Vower - A Storm Lined With Silver
4. Dimscûa - Dust Eater
5. Wren - Black Rain Falls
6. Deftones - private music
7. Hollow Blessings - Vermin Tongue
8. Crippling Alcoholism - Camgirl
9. The Callous Daoboys - I Don't Want To See You In Heaven
10. Vower - A Storm Lined With Silver
Giacomo Fiderio's Top 10 Of 2025
In spite of the seemingly unstoppable bubble that is AI festering and encroaching on all aspects of our life, including the music we listen to, it was incredibly hard for me to narrow down 10 releases that I felt stood out in 2025. I could have easily expanded this into a top 20 but I’ll instead include a few honourable mentions to save time.
Honourable Mentions: Vildhjarta - + där sjunger under evighetens granar +, Deftones – Private Music, Psychonaut – World Maker, Thornhill – Bodies, The Callous Daoboys – I Don’t Want to See You In Heaven
10) Novembers Doom – Major ArcanaDespite existing as a band since the 1990s I’d never actually listened to Novembers Doom before this year, assuming they were simply a weaker American counterpart to their European contemporaries like Katatonia. I’m glad I rectified that by listening to Major Arcana this year because not only did it prove how wrong I was, it also meant I had a new band with a sizeable back catalogue to explore. As it turns out, Major Arcana is one of their stronger releases, musically sitting somewhere between Opeth and Katatonia with some ferocious vocals courtesy of frontman and only remaining original member Paul Kuhr. This is definitely a band I’ll be paying more attention to with future releases, and hopefully they’ll continue to deliver albums that sound as good as this.
9) Blut Aus Nord – Ethereal Horizons
Blut Aus Nord have an interesting back catalogue for a black metal band. On one hand, you’ll find albums like The Work Which Transforms God or the Disharmonium albums, featuring some truly terrifying and abyssal Lovecraftian soundscapes that are certainly not for the faint of heart. On the other hand however, you also have albums like the Memoria Vetusta trilogy or 2019’s Hallucinogen, which sit in a much more melodic and cosmic black metal sound. Ethereal Horizons sits comfortably in that latter category, providing some respite from the Disharmonium albums. This album truly is as ethereal as its title suggests, with soaring melodic riffs, pad-rich psychedelic soundscapes and clean vocals contrasting with the heavier black metal sections of each song. All of these elements come together in an album that can only be described as being submerged in reverb; Listening to this album feels like drifting through the deepest reaches of space, and in the best way possible. None of this atmosphere comes at the expense of the album’s production either, which sounds fantastic.
8) Paradise Lost – Ascension
Most bands can never claim to put out 17 albums over the course of their career, and even fewer can boast that they’re still going strong at that rate, but Paradise Lost are one of the very few bands that can. Not only is Ascension another phenomenal release from these Yorkshire goth-doom legends, but there’s absolutely no sign of these guys running out of steam at all. Nick Holmes sounds fantastic, even giving some of his best vocal performances to date on songs like Salvation, and the thunderous doom riffs courtesy of Gregor Mackintosh, Aaron Aedy and Steve Edmondson sounds as strong and as healthy as ever. The album’s pacing is a bit odd at times, but the sheer strength of the material on here stops that from having any lasting detriment.
7) An Abstract Illusion – The Sleeping City
This Swedish band have established themselves in the 2020s as one of the forerunners of a new generation of progressive death metal bands. After 2 stellar releases in 2014 and 2016 respectively, in the form of their Atonement is Nigh EP and their debut LP Illuminate the Path, the band fell largely quiet before storming back onto the scene in 2022 with their second album Woe, which was lauded by critics at the time. Their third full-length The Sleeping City continues their winning streak, with a much heavier emphasis on synthesizers than Woe. It never reaches the highs that that album had, but The Sleeping City is a much more consistently solid release throughout, with each track on here having its own distinct personality without sacrificing the continuity of the album as a whole.
6) Crippling Alcoholism – Camgirl
I didn’t think I’d be talking about this band again so soon, but it turns out they’ve been busy since last year’s release With Love from a Padded Room. Camgirl is another serving of Crippling Alcoholism’s distinct style of gothic rock, with soundscapes that sound as macabre as ever and some truly fucked up lyrical themes, this time delving into topics such as self loathing, sexual exploitation and abuse. Not topics to be taken lightly by any stretch, but this is not a band that sugar coats anything they write about, and the music compliments these topics in a way that doesn’t trivialize them. Having said that, Camgirl is filled to the brim with hooks and earworms, even moreso than previous releases, with the band citing influences such as LMFAO on songs like Ladies’ Night. Whilst this may not be a band that you’ll hear at a night club any time soon, they certainly deserve your attention nonetheless, and with the rate and quality of their releases, I may be talking about them again next year at this rate.
5) Novembre – Words of Indigo
Despite a nearly 10 year gap since their last album as well as having an almost completely new lineup at this point aside from frontman Carmelo Orlando, Words of Indigo is another fantastic Novembre release. Featuring the band’s signature blend of progressive, gothic and extreme metal, it’s yet more proof that Novembre continue to be one of the most underrated bands in the gothic doom subgenre. Filled with contemplative sections that would prefer you take the winding path and appreciate the scenery, as well as some truly heavy moments where the band really lean more into their death metal roots, this is an album that rarely if ever has a dull moment. There are also some Italian lyrics and a vocal feature from former 3rd and the mortal vocalist Ann-Mari Edvardsen which is sure to please long-term fans of this band. The musicianship on display here is also stellar, with some impressive guitar noodling and drumming, as well as Carmelo Orlando’s harsh vocals which are as solid and feral as ever. The clean vocals may be an acquired taste for some, but they match the atmosphere of this album well and serve the more melodic moments of the album. Hopefully it won’t be another 10 year wait for the next Novembre release!
4) Kauan – Wayhome
Ever since discovering this band with their 2015 release Sorni Nai I have fallen in love with their unique fusion of post-rock, doom metal and folk music and their unique storytelling abilities, which have been apparent with each album in their discography. Now 9 albums into their career, Wayhome is yet more proof of the sheer talent of core member and songwriter Anton Belov, as well as the cohort of musicians that he’s assembled on this latest iteration of this project. Like their previous releases, Wayhome cannot necessarily be categorized as a metal album but nor can it really be called post-rock, it sits somewhere in the grey area in between, featuring elements of both of these genres. Whatever genre this band truly sits in however, Wayhome is a stellar release that demands 100% of your attention during its 50 minute runtime. This is an album to listen to by the window on a grey winter day (on a good sound system), that way you can become truly engrossed in the worldbuilding that Belov does on this release. Musically this album leans closer to albums like Pirut or the aforementioned Sorni Nai, with mixtures of atmospheric rock and the tremolo and shrieks of black metal all grounded with a distinctly doom metal approach. The lyrics however are very introspective, exploring similar themes as Kauan’s lighter albums such as Kaiho and Aava Tuulen Maa. Sorni Nai will always be a special album for me and I doubt Kauan will ever release anything that tops that, but Wayhome is the closest they’ve got to that so far.
3) Der Weg Einer Freiheit – Innern
Ranking these next two albums was definitely the hardest part of this list for me. 2025 has been a stellar year for new black metal releases, with this latest album from German powerhouse Der Weg Einer Freiheit being one of their best, possibly even their crowning achievement so far. It doesn’t do anything fundamentally different from their previous releases but simply builds on what was already a strong foundation. This is by far Der Weg’s most cinematic, emotive and atmospheric release yet, coupled with some absolutely ferocious drumming and vocals. On top of that, there’s a few fresh musical elements thrown in for good measure, such as the industrial-esque intro of opening song Marter or the slightly western tinge of the opening riff of Eos. Even if the foundation of Der Weg’s sound hasn’t changed much, Innern is proof that they’re always willing to throw some new ideas into the mixing bowl to keep things interesting, and the stellar musicianship and songwriting really helps in giving this band a sound that is distinctly their own.
2) Deafheaven – Lonely People With Power
Ever since releasing Sunbather back in 2013 it feels like Deafheaven have continued to exist, ironically enough, in the shadow of that album. This is through no fault of their own; even though they were not the first band to combine black metal and shoegaze, they were certainly the band that brought that genre combination to the forefront of contemporary metal, and usually the first band people think of when the term blackgaze is mentioned at all, and this was largely due to the reception Sunbather received. Nor is this meant to disparage the albums they’ve dropped since then. With Lonely People with Power however, it feels like the band have finally stepped out of Sunbather’s shadow. This is an album that both celebrates the career Deafheaven have had to date whilst simultaneously looking forward to the future. Featuring some of their most savage songs to date in the form of Magnolia and Revelator, as well as softer numbers like Heathen and Amethyst, it is the most varied release Deafheaven have ever done but this variety is never to the detriment of this record’s focus. Even at its softest points this is a dark album, with some spellbinding drumming and guitar work that gets downright thrash-esque at times. The limelight is once again George Clarke’s vocals, who once again combines the lyrical poeticism of The Smiths with his signature black metal shrieks and snarls, the latter of which is particularly feral on here, a nice return after the near absence of harsh vocals on the previous Deafheaven release. These guys may have struggled to live up to the critical acclaim that Sunbather received way back in 2013, but they got pretty damn close with Lonely People with Power, and at times I’d be bold enough to say this surpasses that record.
1) Messa – The Spin
Perhaps it’s my own personal bias being in a female-fronted band that places this album at my number one spot, but every single song from this latest Messa release has been stuck in my head at some point this year. From the metallic post-punk driving rhythms of songs like Void Meridian and At Races to the utter emotional highs of The Dress, The Spin is a career-defining record for these Italian occult-doomsters, truly setting themselves apart from the rest of the pack. Not a single moment is wasted across the 7 tracks of this record, and every genre combination and songwriting decision feels purposeful, executed with the finesse of a legacy act. Sara Bianchini’s vocals are of course a large focal point of this record, and she once again showcases an astonishing performance, but attention must also be given to Alberto Piccolo and his amazing guitar playing, combining the chorus-heavy melodicism of an 80s goth rocker with the blues-driven swagger of his guitar heroes like Rory Gallagher, and rounding off those two very different approaches with crushingly heavy doom riffs. The icing on the cake of this gorgeous record is the fantastic rhythm section, the tastefully placed synth work and the lounge jazz sections of songs like the aforementioned The Dress. Oh yeah, the production on this thing also rules. I could go on and on about how much I love this album, but instead I’ll simply urge you to listen to it if you haven’t already.
Spike's Top 10 Of 2025
The dust has settled, the ears are still ringing, and the wreckage of the year's releases lies scattered across the floor. Out of the chaos, ten entities rose above the noise to claim dominance. This is my list of my highlights. It's a celebration of the visceral, the fuzzy, and the uncompromising.
1. THE JESUS AND MARY CHAIN – Psychocandy (40th Anniversary Box Set)
Let’s get the obvious out of the way. I don't care that this record is four decades old. Putting this in the number one slot is a complete no-brainer. This box set is a reminder that the Reids invented the blueprint for beautiful noise. It remains the ultimate sonic middle finger, a collision of bubble-gum pop and a jet engine taking off in a library. It is the alpha and the omega of feedback-drenched defiance. It would be the 11/10 but apparently I’m not allowed to do that. It is and always will be number 1.
2. WHY PATTERNS – Screamers
This is grind-inflected hardcore punk with its DNA smeared in noise rock and power violence. Screamers is an abrasive, twitchy nightmare that feels like being electrocuted while trying to read a blueprint. Jagged bass stabs, insane drums and vocals that sound physically painful to deliver make this your new favourite migraine. It’s unhinged, incoherent in the best way, and utterly essential.
3. OLD YEAR – No Dissent
This isn't just heavy; it's tectonic pressure applied directly to your eardrums. The genius of Old Year is how they manage to sound both subterranean and vast, wrapping the listener in sonic cement. There is no dissent allowed here, just a raw emotional decay delivered with crushing force. It’s an album that demands you sit in the dark and contemplate the ceiling while your house shakes.
4. SOFTSUN – Eternal Sunrise
The "doomgaze" record we didn't know we needed. A collision of Californian desert haze and cold Norwegian solitude, this album is a masterclass in slow immersion. Arce’s shimmering guitar arcs float over Pia Isaksen’s fuzzed-out tectonic pulse, creating a sonic tension that feels like finding peace in the eye of a hurricane. It’s beautiful, menacing, and requires total commitment.
5. YAWNING MAN – Pavement Ends
A new Yawning Man record is always a ritual of escape. Pavement Ends is the perfect soundtrack for the far reaches of the desert at night. It’s instrumental rock that breathes with the landscape, offering a hazy, psychedelic journey that is as much about the space between the notes as the notes themselves. It’s a necessary fix for those who need to drift away from reality.
6. HÖG – Blackhole
This was a bullseye with a debut album. HÖG sounds like Motörhead if they were more bluesy and had a guitar virtuoso capable of shredding anyone into the dirt. Eight songs of pure "holy shit" energy. The title track features a riff that could anchor a continent, and the solos throughout are absolute stop-in-your-tracks rippers. A debut that will stick around for a very long time.
7. BYGONE – Bygone
When our own Rich Piva stamps a record with a 10/10, you don't just listen, you submit. Bygone is a masterstroke of heavy rock that avoids every cliché in the book while delivering maximum impact. It is the sound of a band operating at the absolute peak of their powers, proving that genuine soul and heavy-riffing can coexist without losing an ounce of aggression.
8. MUFFASONIC – Brotheranza
This blew me away as a totally instrumental album covered in wonderful fuzzy sounds. This Italian power trio creates dirty, heavy psych rock that feels like a high-speed desert chase. The absence of vocals is a massive strength here, forcing you to focus on the relentless, hypnotic engine of the rhythm section and the corrosive, interlocking guitar work. It is glorious sonic excess.
9. MCLUSKY – The World Is Still Here and So Are We
After two decades of "unforming," Falkous and company have returned with a record that sounds remarkably consistent for a band that has spent twenty years in self-imposed exile. Listening to this is like putting on an old lover's hoody and finding twenty quid in the pocket—it’s familiar, bitter, and surprisingly rewarding. It’s perhaps the most "mclusky" record they’ve ever made.
The lyrics are as sharp and sabotaging as ever, proving that Falkous hasn't mellowed with age; he’s just refined his bile. Tracks like "Way of the Exploding Dickhead" and "Hate the Polis" remind us why we missed their brand of noise-rock satire so much. It’s indie rock with a glass-shard edge, and it’s a resounding return for a band that firmly believes all DJs should be French.
I’m cheating here because it’s not an album, but seeing Slayer play live in Finsbury Park was a violent resurrection that cannot be ignored. We came for fire, fury, and nostalgia, but we got a reminder that there is simply no substitute for the kings. From the red fireworks of "Raining Blood" to the final blow of "Angel Of Death," it was a full-blown ceremony of chaos.
Standing in that sweltering, sweat-drenched congregation in North London, it was clear: Slayer aren't just a legacy act. They are still vital and they are still violent. Tom Araya’s diabolical grin as the pit erupted during "Disciple" said it all. We were baptized in blood and reborn in fire, and that Sunday night in London will burn in the memory long after the last embers of pyro have faded.
1. THE JESUS AND MARY CHAIN – Psychocandy (40th Anniversary Box Set)
Let’s get the obvious out of the way. I don't care that this record is four decades old. Putting this in the number one slot is a complete no-brainer. This box set is a reminder that the Reids invented the blueprint for beautiful noise. It remains the ultimate sonic middle finger, a collision of bubble-gum pop and a jet engine taking off in a library. It is the alpha and the omega of feedback-drenched defiance. It would be the 11/10 but apparently I’m not allowed to do that. It is and always will be number 1.
2. WHY PATTERNS – Screamers
This is grind-inflected hardcore punk with its DNA smeared in noise rock and power violence. Screamers is an abrasive, twitchy nightmare that feels like being electrocuted while trying to read a blueprint. Jagged bass stabs, insane drums and vocals that sound physically painful to deliver make this your new favourite migraine. It’s unhinged, incoherent in the best way, and utterly essential.
3. OLD YEAR – No Dissent
This isn't just heavy; it's tectonic pressure applied directly to your eardrums. The genius of Old Year is how they manage to sound both subterranean and vast, wrapping the listener in sonic cement. There is no dissent allowed here, just a raw emotional decay delivered with crushing force. It’s an album that demands you sit in the dark and contemplate the ceiling while your house shakes.
4. SOFTSUN – Eternal Sunrise
The "doomgaze" record we didn't know we needed. A collision of Californian desert haze and cold Norwegian solitude, this album is a masterclass in slow immersion. Arce’s shimmering guitar arcs float over Pia Isaksen’s fuzzed-out tectonic pulse, creating a sonic tension that feels like finding peace in the eye of a hurricane. It’s beautiful, menacing, and requires total commitment.
5. YAWNING MAN – Pavement Ends
A new Yawning Man record is always a ritual of escape. Pavement Ends is the perfect soundtrack for the far reaches of the desert at night. It’s instrumental rock that breathes with the landscape, offering a hazy, psychedelic journey that is as much about the space between the notes as the notes themselves. It’s a necessary fix for those who need to drift away from reality.
6. HÖG – Blackhole
This was a bullseye with a debut album. HÖG sounds like Motörhead if they were more bluesy and had a guitar virtuoso capable of shredding anyone into the dirt. Eight songs of pure "holy shit" energy. The title track features a riff that could anchor a continent, and the solos throughout are absolute stop-in-your-tracks rippers. A debut that will stick around for a very long time.
7. BYGONE – Bygone
When our own Rich Piva stamps a record with a 10/10, you don't just listen, you submit. Bygone is a masterstroke of heavy rock that avoids every cliché in the book while delivering maximum impact. It is the sound of a band operating at the absolute peak of their powers, proving that genuine soul and heavy-riffing can coexist without losing an ounce of aggression.
8. MUFFASONIC – Brotheranza
This blew me away as a totally instrumental album covered in wonderful fuzzy sounds. This Italian power trio creates dirty, heavy psych rock that feels like a high-speed desert chase. The absence of vocals is a massive strength here, forcing you to focus on the relentless, hypnotic engine of the rhythm section and the corrosive, interlocking guitar work. It is glorious sonic excess.
9. MCLUSKY – The World Is Still Here and So Are We
After two decades of "unforming," Falkous and company have returned with a record that sounds remarkably consistent for a band that has spent twenty years in self-imposed exile. Listening to this is like putting on an old lover's hoody and finding twenty quid in the pocket—it’s familiar, bitter, and surprisingly rewarding. It’s perhaps the most "mclusky" record they’ve ever made.
The lyrics are as sharp and sabotaging as ever, proving that Falkous hasn't mellowed with age; he’s just refined his bile. Tracks like "Way of the Exploding Dickhead" and "Hate the Polis" remind us why we missed their brand of noise-rock satire so much. It’s indie rock with a glass-shard edge, and it’s a resounding return for a band that firmly believes all DJs should be French.
10. MALEVOLENCE - Where Only The Truth Is Spoken
Malevolence solidified their status as heavyweights this year, proving that metallic hardcore can be both 'nasty and spiteful' while maintaining massive, headline-ready hooks. This is a sledgehammer of an album which still manages to stick to their DIY Sheffield based roots.
Gig Of The Year: SLAYER – Live at Finsbury
Gig Of The Year: SLAYER – Live at Finsbury
I’m cheating here because it’s not an album, but seeing Slayer play live in Finsbury Park was a violent resurrection that cannot be ignored. We came for fire, fury, and nostalgia, but we got a reminder that there is simply no substitute for the kings. From the red fireworks of "Raining Blood" to the final blow of "Angel Of Death," it was a full-blown ceremony of chaos.
Standing in that sweltering, sweat-drenched congregation in North London, it was clear: Slayer aren't just a legacy act. They are still vital and they are still violent. Tom Araya’s diabolical grin as the pit erupted during "Disciple" said it all. We were baptized in blood and reborn in fire, and that Sunday night in London will burn in the memory long after the last embers of pyro have faded.
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