Reviews: Landmvrks, Pridian, Cavern Deep, EchoSoul (Matt Bladen)

Landmvrks - The Darkest Place I’ve Ever Been (Arising Empire)

Rap metal, but like heavier than anything Limp Bizkit will have come up with, French band Landmvrks use all sorts of 'core' influences on their music, though vocally there is a hint of Linkin Park's Chester on The Great Unknown, as they present their most cinematic album to date. The scope has been pointed skywards attempting things not heard often when 'rap-metal' is concerned. 

The blistering Creature for instance puts in the time shifts of a band such as Gojira but this like every other song is sculpted by the soaring clean choruses and synth layers. This third album sees the band dealing with emotional collapse and burnout by creating a protagonist, conceptualising their own pain through a character they control, one who can experience what they experience but one the listener can latch on to as yourself, allowing you experience these emotions yourself and have a deeper connection to the music. 

The narrative nature of the record means that A Line In The Dust, which is a chest beating emo metal track, that features Mat Welsh of While She Sleeps, can be easily followed by some atmospherics on Blood Red where the French language rapping is just as effective as the cathartic chorus. They play with both languages throughout this album, as the songs shift between poignancy and potency, those heavy riffs that carry over from their previous three albums but on this fourth record, they are one part of a much larger musical scheme, witnessed on the bewitching La Valse Du Temps or the percussive breakdown filled Deep Inferno. 

By making The Darkest Place I’ve Ever Been conceptual Landmvrks are able to be a bit more exploratory with what constitutes ‘rap metal’. 7/10

Pridian - Venetian Dark (Century Media)

Pridian, not to be compared to US classic metal bods Prydain as these Estonian’s are different beast all together. On Venetian Dark, Pridian play extremely modern extreme music, forged by the djent style but now worked through groove driven Nu-Metal, electronic and countless ‘core’ acts, they have comparisons to bands such as Northlane, ERRA and Thornhill. Extreme vocals and riffs countered by the twitching electronics and gothic atmospheres. 

Bristling with energy, this is their first full length under this name, having gone under the moniker ÆØNS before that. Names change, soundscapes don’t and Pridian keep their metal as contemporary as they can on Venetian Dark. It’s seen them sign to Century Media Records and keeps that label’s finger on the pulse of the metal world, due to Pridian never sticking to one ‘genre’, the band noting that they “want to write songs, not instrument-based music alone” so if Out For Blood has an industrial crush and breakbeat then so be it, if they want breakdowns on Darker Tides, perfect, if they want DINY to be synthetic as it can be then they’ll do it. 

Venetian Dark is the sound of a band unrestrained. Now of course if you’re not on-board with this style of modern EDM-meets-metalcore-meets-nu metal then Pridian’s musical bravery won’t do too much for you, however if you’re a metal fan right on the cusp of what’s popular in metal today then Venetian Dark offers a host of goodness. 7/10

Cavern Deep - Part III - The Bodiless (Bonebag Records/Majestic Mountain Records)

If you’ve read my reviews before you know I love a bit of doom, particularly when it has keys so I really loved a track such as Putrid Sentry, the lowest of bass and organ rumbles setting the tone for some slow head banging as the guitars undulate and crank out those huge riffs, the vocals wailed and impassioned. Then there’s a keys solos followed by a guitar solo. 

Yeah this is a bit of me and I realise why Cavern Deep have been described as “Type O Negative lost in a cave” then coming “out sludgier, slower”, this Swedish crew play psychedelic doom with hints of Electric Wizard, Psychedelic Witchcult and Monster Magnet, burning brightly on an occult pyre their music is journey through the dark recesses of the universe, unspeakable horrors from beyond the stars and the grave. 

This is the third album in their concept trilogy but whether you’ve been on board since then or just joining now, Cavern Deep captivate with their epic doom sound, penultimate track Galaxies Collide hypnotically slow burning into the best on the record. The keys are the thing here, without them Cavern Deep just play sludgy doom, with them you’re whisked away into another celestial body entirely. 7/10

EchoSoul - Time Of The Dragon (No Dust Records)

Dragon versus The Devil? Count me in! Fort Wayne, Indiana’s prog metal act EchoSoul were formed in 2019 by guitarist/backing & scream vocals/lyricist/songwriter Guy Hinton, he’s joined by vocalist Rob Lundgren, bassist Randy Walton, drummers Tyler Witte and Fabio Alessandrini on this conceptual concept record that deals with the rise and fall of a dragon.

A record that is full of allegories, it’s got a lot of what makes prog/power metal great, shifting time signatures on Path Of The Righteous, thrashy riffage throughout to take things strongly into the American power/prog sound of Queensryche (Sister Suicide), Psychotic Waltz (Instruments Of Chaos) and others in that category.

Time Of The Dragon features muscular music, powerful vocals, and that heavier edge to things many US power/prog bands have, it's got a couple of great special guests too as Andy LaRoque (King Diamond) playing the solo to Hollowed Ground alongside a couple more lead guitar players who give solos to the record, much of the additional guitar coming from Artem Iefimov who mixed and mastered the record too. 

The US do Prog/power better than many, while EchoSoul perhaps won't be as recognised as say Symphony X but with Time Of The Dragon they have delivered a strong second effort. 7/10

Reviews: Robin Trower, Absolva, Kadavar, Keyan & Connor Kaminski (Matt Bladen)

Robin Trower - Come And Find Me (Provogue Records)

When you’re 80 years old you can pretty much do what you want, when you’re one of the most revered guitar players around you can also pretty much do what you want so it stands to reason that Robin Trower can pretty much do what he wants in 2025, so how about another album? An album of laid back R&B numbers that showcase that feel and expression of the instrument that is synonymous with the man who wrote Bridge Of Sighs.

Though he is now in his eighth decade Trower tours with the relish and rampancy of a man a third of his age, looking at completing a US and UK tour this year after having to cancel his previous one due to an operation. His want to create new music is inspiring to any bands who see fit to rest on their laurels a bit, after a legendary career, Trower still wants to write his next big song, his next spectacular showcase of these gifted hands.

From the defiant A Little Bit Of Freedom, through the strutting I Would Lose My Mind, the towering Bond-like Take This Hurt Away, the soulful Tangled Love or the funky Without A Trace, these tracks all have a little magic to them, inspired by the roots of the blues and soul music where Trower’s career began, he and his killer band of Drummer Chris Taggart, bassist Glenn Letsch, vocalist Richard Watts and the additions of Jess Hayes, all bring these tracks to life as Sam Winfield engineered/mixed them alongside Trower to bring that retro warmth. Tracked over the course of a yea, Trower touches on love, loss, politics and real emotions we all got through.

Keeping some of the lyrical content, interpreted through the brilliant vocals of Watts, close to his chest, Come And Find Me has a realness to it, a defiance, the thoughts and ideologies of a man who has seen it all and done it all. Still making that Stratocaster cry in 2025, Robin Trower can do what he wants, and what he wants is to play. 8/10

Absolva - Justice (Rocksector Records)

When they're not travelling the roads with Blaze Bayley, Christopher Appleton (lead vocals/lead guitar), Luke Appleton (rhythm guitar), Karl Schramm (bass) and Martin McNee (drums) make their own music and play their own shows as Absolva. 

Now the band has changed line ups a few times since evolving from Fury UK into Absolva, but since the recording of this album Karl has left the band, Luke has taken over bass and Tom Atkinson of Vice and the other Fury has taken co-lead guitar. But the line up of Absolva doesn't really effect the music they make, it's Christopher Appleton who embodies Absolva's style the most and across six previous albums they have been cracking out British heavy rock with harmonic guitars, powerful choruses and a large dose of nostalgia for the classic UK metal era.

On Justice their seventh release they use their road worn experience to create another record of anthemic heavy metal while also calling in some favours from friends and alumni. David Marcelis (Thorium), Stu Block (Into Eternity) and Blaze Bayley himself to give some extra vocals to this album, adding to what is already a strong vocal harmony between Christopher and Luke, not mention the plentiful guitar solos for any air guitar fans to enjoy. 

Justice has an overarching theme of Westerns, from cover art to the songs such as Freedom & Glory, Hero In Your Life and the title track, the heroes of the Old West prove to be an inspiration for this new record. Musically though Absolva stick to their guns with classic metal throughout, inspired by Iron Maiden, Judas Priest etc, they have yet to release a bad record and Justice continues the trend of muscular British metal. 8/10

Kadavar - I Just Want To Be A Sound (Clouds Hill)

Yes, yes that's all well and good but what sort of sound do you want to be? Well it's looks as if Berlin retro rockers Kadavar want to be a mash up of psychedelic-glam-indie, favouring bands such as Kasabian, Arcade Fire as well as deep dive into the modern psychedelic scene. 

From their phasered title track which carries huge similarities to Arcade Fire’s Everything Now, through the dreamy Star and wistful Sunday Mornings, Kadavar have shifted from the style people may associate with them, born from a retro stomp of stoner/proto-metal, with I Just Want To Be Sound they adopt more of their Krautrock styles, through The Beatles trippyness (Until The End), and landing on that mid-90’s era of bands embracing the psychedelia of the 60’s but embellishing it with indie rock and dance music, with Regeneration and Strange Thoughts showcasing this. 

So then this new album is an artistic step into unknown, beyond what has come before the band recently became a four piece adding guitarist/keyboardist Jascha Kreft to the core trio of guitarist/vocalist, Christoph Lindemann, drummer Christoph Bartelt and bassist Simon Bouteloup, this line-up change proving to be the catalyst for a re-writing of Kadavar’s musical palate. They turn up the fuzz pedal on the bass lines, they're bold and right up front, like a 'lead bass' locking down the swaggering, rhythm section on these grooving psychedelic tunes such as the Hysteria. They can still can rock though with Scar On My Guitar a searing garage rocker, the moody Let Me Be A Shadow or biting Truth. 

Having been on the Kadavar journey since their debut, this shift is a little jarring but totally understood, they’re a band who fully absorb the eclectic Berlin music scene, shunning social media and trends while making their music as contemporary as they can. 7/10

Keyan & Connor Kaminski - Kinetic (Self Released)

Guitars prodigies Keyan and Connor Kaminski team up for this new EP. Entitled Kinetic comprises of three songs that move in all the best ways. The three tracks celebrate movement, the feature fluid lead guitar playing and grooving rhythms over 20 minutes of technically impressive, atmospheric and beautifully composed music.

British guitarist Kaminski is inspired by the prog metal greats and the new school bands like Intervals and Plini. He became a bit of an internet sensation with several high profile sponsorships including Strandberg. Keyan is an Australian who was also a 'content creator' before he started to release his own music, he's also got sponsorship, with Jackson Guitars and has had several high profile supports alongside Animals As Leaders. 

The duo combine their talents on three tracks entitled, Swell, Oscillate and Pirouette (movement, Kinetic yeah?) each a showcase of their collective skills alongside bassist/producer Adam ‘Nolly’ Getgood and guitarist Jack Gardiner.

A wonderful journey through movement and motion, free flowing virtuosity abound. 7/10

Reviews: Behemoth, Ghost Bath, Empire Of Dust, Firienholt (Matt Bladen)

Behemoth - Shit Ov God (Nuclear Blast)

Shit Ov God...ooh edgy, but then it wouldn't be a Behemoth album without a little bit of controversy, a bit of poking the bear in the political, ideological and religious realms. Band founder Nergal comments that, as they head into their 35th year, they are at a point where "words and statements mean less and less" if that's true then perhaps we'll won't hear as many controversial interviews with Nergal any more thankfully.

Behemoth always do their loudest talking on their albums, it was really 2014's The Satanist that saw Behemoth ascend to legacy status and from there they have been consistent on terms of quality with their work. On Shit Ov God, they deliver eight, masterfully constructed, blistering blackened death metal tracks which have been perfectly refined for maximum impact.

This is album number 13, this auspicious number carrying weight throughout history, and here it represents the perfect distillation of what Behemoth are as a band, the finale, Avgvr (The Dread Vvltvre) the encapsulation of what Behemoth are as, acoustic guitars shift into choral swathes and the ravenous riffs come fast and furious.

It starts just as strongly with the blistering The Shadow Elite speeding along after industrial swells, the extremity at the level of some of their pre-The Satanist records but with all the theatrical movements of their more recent records. The title track bludgeons, To Drown The Svn In Wine is dripping with intensity and O Vevus, Come! expels melody for malevolence.

You will always get a quality set of songs on any Behemoth album, they're a blackened death metal juggernaut so stopping the chatter and sticking to the music seems like the right idea! 8/10

Ghost Bath - Rose Thorn Necklace (Nuclear Blast Records)

Ghost Bath are a bit of an enigma, created by Dennis Mikula aka Nameless, the band have moved past the trio of conceptual records that proceeded Rose Thorn Necklace into a new era. Mikula developed an extreme depression, spending hours on end composing and playing, obsessing over every detail, but this more intensely negative. 

An abrasive sound led to his drummer leaving meaning that he Mike Heller Malignancy/ex-Feat Factor was brought in as the percussive weight behind Mikula's compositions (he plays everything else in the studio), his background in brutally sitting well with this more visceral version of Ghost Bath. Never a band to deal with 'light' subject matter Rose Thorn Necklace is uglier and more grotesque than previous records, escaping the conceptual cycle with a catharsis of complexity, pushing boundaries on this album the nine tracks. 

The jarring contrasts between the eerie synths and blast beats on Well, I Tried Drowning, the almost romantic, spectral wanderings of Thinly Sliced Heart Muscle or the jangly post rock guitars and the pained vocals on doom-laden Dandelion Tea, the vocal side of Ghost Bath has always been of interest to me as it's a layered approach that is used as another instrument rather than stand alone. Rose Throne Necklace is an album bristling with gothic alt rock, twitchy industrial and glacial black metal, channelled through intrusive/negative thoughts in only the way Ghost Bath can. 8/10

Empire Of Dust - From Dust Till Dawn (Self Released)

In my review of Bristol sludge group, Empire Of Dust's performance at The Moon Cardiff for FHED I mentioned that the band had shades of Iron Monkey and Cough but we're plagued by tech issues meaning that you couldn't really feel the full force of their cataclysmic sludge/doom.

Force is the operative way to describe what this five piece do, they languish in crushing distorted riffage none of their tracks less thanks 4 minutes but the two shorter cuts in the middle of the record Bring Me The Liar and Living Moon, are both blast of hardcore disobedience that so often seeps into their sludge/doom dissonance. Tom Sturmey's bass I don't think has ever played a clean tone as he provides the wall of volume for drummer Kieran Edwards to fight against.

These two set the pace of these tracks steering the gargantuan grooves through your speakers while Hayden Bennet and Stan Taylor, wield down-tuned abrasive guitar riffs that bore a hole into tracks such as One Of Many or Smashed Glass. The album features two remastered songs from their EP, both of which have former guitarist David Watt playing on them but now have their audio enhanced by Rowan Deverson and Slow God Audio so they have the same sledgehammer sound as the rest of the record.

As David Cook barks his venomous vocals over these super-heavyweight slabs, you get the impression Empire Of Dust are on to something special here, From Dust Til Dawn is an audio demolition. 9/10

Firienholt - Night Eternal (Naturmacht Promotions)

As with so many atmospheric black metal acts Firienholt have a huge air of mystery around them, seemingly a trio splitting guitars, keys, bass and vocals between them, the fact that this album was recorded, produced, mixed and importantly written by Tom O’Dell (Battle Born, Dwarrowdelf), has me second guessing it as much of O’Dell’s musical output is just him. 

Anyway not that it matters as musically Night Eternal is much more akin to the ‘dungeon synth’ genre that was spawned from black metal. It leans very heavily on the keyboards and synths to create these epic soundscapes of the Olde Worlde, soundtracks to perhaps anything from the Elder Scrolls series of games, or indeed the stories of Michael Moorcock, having a track called Black Wings In Cimmerian Skies is sort of a give away!. 

Night Eternal is a place where folk traditions are called upon (The Vale Of Haunted Shadow), the use of clean electric guitar, raw squawks and flurries of black metal ferocity. This third album sees Firienholt strike a darker tone than on their first two records and it pays off if you’re a fan of dark age soundtracks with your metal. 7/10

Reviews: Candlemass, Dvne, Tales Of Time, Marea (Matt Bladen)

Candlemass - Black Star (Napalm Records)

What the hell? Why do a band like Candlemass need to cover Black Sabbath's Sabbath Bloody Sabbath and Pentagram's Forever My Queen? Now I realise this is stopgap, fan service, "hey we're going on tour" release but Candlemass have enough of their own anthems to perhaps do an alternative version or maybe a left field cover of someone who you wouldn't associate with Candlemass.

As it stands doing Sabbath and Pentagram just feels lazy. Thankfully there's also two new songs and while Black Star will probably be on the set list all introspection, darkness, repeating choruses, it’s perfect for a live set while Corridors Of Chaos is an instrumental that feels like it needs some vocals. The covers are pretty perfunctory sounding exactly the same as the originals. I’m not sure who Black Star is for but it’s clearly for someone. 5/10

Dvne - Live At The Biscuit Factory (Metal Blade Records)

Live At The Biscuit Factory is a foursome of tracks from Scottish post/prog band Dvne's most recent album Voidkind, recorded in a similar way to how they rehearsed for their European tour, which they are still currently in the middle of with a LOT of dates remaining. This is Dvne at their most intimate, a band with showcasing their full live prowess on a smaller scale. These four tracks reflect their favourites to play live, the ones that create the perfect atmosphere for what the band do on stage. 

From the shimmering slow burn of Eleonora, into the Middle Eastern-meets-jazz rhythms of Sarmatae the five piece craft their magic, enveloping you with dreams of Arrakis as they up the aggression and break out the organs for Abode Of The Perfect Soul as this small taste of their live set closes with the cinematic progressive groover Cobalt Sun Necropolis. Excellent production, top class performance and four choice cuts, Live At The Biscuit Factory, gives anyone wondering what Dvne do live a brief but brilliant introduction. 7/10

Tales Of Time – The Journey (Self Released)

I’ve waiting for a collection of music, rather than one of singles from Colchester based symphonic metal act Tales Of Time since I saw them at Power Metal Quest Fest last year. Thankfully it is here and lives up to the anticipation I had for it. A 20 minute dive into Euro power metal with a J-Pop tinge to it, the impressive vocals of Anna Maria Rose showcased to their full as she soars and croons operatically over these five songs, that start with the cinematic The Journey, a song that’s all synths/strings and bouncy riffage, hooked on the bass guitar of Liam Gloster.

The sounds of Visions Of Atlantis, Xandria and of course Epica are all audible on this EP, guitarist Daniel Ackerman’s time in Fellowship can be heard on The Journey, while Chaos/Art goes down that Japanese inspired route and on Forgotten and Sleep the gothic elements are stronger, Anna Maria’s vocals counterpointed by Liam’s growls while Daniel and Tom Standen chug at the heavier end. Momentai takes you back to Euro power metal as Ed Curley’s drums rampage.

Full of uplifting, empowering lyrics and a heap of high profile influences, Tales Of Time may not have to wait long to be acknowledged as one of the UK’s best symphonic acts. 8/10

Marea – Adrift (Masked Dead Records)

Only a year has passed since Marea aka Matteo Balzarini’s debut album The Silence Of Rust, but he’s back with a three track EP that continues his journey through cathartic post black/doom, rich with atmosphere, plenty of build and release moments, tremolo guitar picking and pained vocal shouts. Matteo plays everything except drums, which are performed by Alessandro Mori, so this is very much his world, a world of darkness and introspection, but moments of divine beauty where melodic clean guitars and acoustics are at odds with ferocious blasts of black metal as if they’re restful moments of bliss between spirals toward oblivion.

Adrift separates itself from the debut by shifting itself more towards the melodic, the inspiration of water and it’s never ending movement the biggest factor on how this EP plays out. The closing track Marea, feels like it should be from a New-World Music record, layering acoustic guitars in a way Devin has done on some of his ‘lighter’ solo work. The other two cuts, Useless and Rusted are more structured toward the Marea style with emotionally powerful music that merges the light and shade very well the harsh vocals becoming a necessary purge. 

Produced deftly by Carlo Meroni, Adrift is a beautiful companion piece to the debut, with its own charm. 7/10

A View From The Back Of The Room: Michael Schenker (Debby Myatt & Tony Gaskin)

Michael Schenker & Wytch Hazel, KK's Steel Mill, Wolverhampton, 08.05.25

My Years With UFO 1972-1978: 50th Anniversary Celebration

Tonight’s entertainment is courtesy of a guitarist that for some reason rarely appears in “Greatest all time” lists. I know these lists and polls are very subjective and depending on whoever is conducting the survey, what their target audience is made up of, but an AI generated list which scours the net still doesn’t place Schenker in a top 40. Just goes to show, the internet can’t be right all the time!

But seriously though, we are here tonight to enjoy Schenkers shredding as he celebrates the years he spent with classic rock legends UFO. And whether you think he should have a top ten ranking in any list, or you don’t care as long as he keeps mesmerising us with his skills, the fact is, he’s bloody good!

First though is a warm up set from Wytch Hazel (8), one of the new wave of NWOBHM bands that keep the heavy metal flag flying high and proud. They’ve been around for getting on 15 years now and as with many bands in this genre, they love to put on a good stage show, with matching outfits, guitars and stage props.

Although their songs have Christian themes and lyrics, and their stage is full of religious iconography ans symbols, they claim not to be a “Christian” band, but who cares as long as the riffs are heavy and the tunes are good, which they are. Songs like I Am Redeemed, Archangel, and Healing Power are proper heavy metal bangers.

The crowd are loving it, plenty of head banging going on with plenty of cheers and applause. Not too bad a start to the evening.

Onto the main event and Michael Schenker (10), digging deep into his long and colourful career to perform some of the tracks he was involved with during his time with the classic British rock band UFO. In some ways it seems a bit strange to have a celebration of this time as it wasn’t always smooth, the man could be petulant at times and was known to have walked off stage during concerts, a pretty turbulent time with the band, but there’s no denying it, a golden era for the band with some of their greatest tracks coming from that era.

For this tour, Schenker has enlisted the vocal skills of Erik Gronwall, the Swedish singer who won their version of Pop Idol or whatever and went on to front H.E.A.T and more recently Skid Row. This was all put on hold though when he developed leukaemia and had to take time out to receive treatment. Hopefully he is well on the road to recovery and judging by tonight's energetic performance he’s doing ok.

So when you’ve got five albums worth of material to choose from it must be difficult to put a set list together. There will be the obvious bankers – Doctor, Doctor Only You Can Rock Me, Lights Out… Rock Bottom, Shoot, Shoot and of course Too Hot To Handle worth the money just for those! But those albums are all classics and full of fantastic tunes, so what to pick! I’m guessing this was a set list that would have been Schenkers dream list back in the day, some of the guitar solos are simply sublime. Tony was very happy they included Love To Love in the set and I was just happy to witness a guitar god perform some of the greatest rock songs from the last 50 years.

Schenkers skills are beyond comprehension at times, that signature Flying V seems to be an extension of the man himself. I’ve always rated the sound here at KK’s but tonight it was another level. The tone was magical.

Gronwall has taken on the role with his usual bombastic energy. I wasn’t sure how he was going to fit with this more classic rock sound, but he handle the songs with aplomb, especially the aforementioned Love To Love

So with the triumvirate of three of their biggest hits as the encore – Rock Bottom, Shoot, Shoot and Too Hot still ringing in our ears, we once again leave KK’s thinking how is anything going to top that! This year so far has been a high quality year for gigs! Long may it continue!

Reviews: Kal-El, Kensei, Dead Chasm, Executionist (Rich Piva, Matt Bladen, GC & Simon Black)

Kal-El - Astral Voyager Vol. 1 (Majestic Mountain Records/Blues Funeral Recordings) [Rich Piva]

It is no secret that Kal-El is one of my favourite bands. Their discography is pretty much perfect, and they are one of those bands who you just know it is them from the first couple of notes of a song. I was lucky enough to have them on my podcast recently and they are as cool as humans as they are musicians. 

The main topic on the show was their upcoming new record, Astral Voyager Vol. 1, which is one of the most highly anticipated records for 2025 for lovers of heavy rock. There are some pretty lofty expectations for a band like Kal-El to deliver material that stacks up to their other records that is already some of the best music out there, which makes how great the six songs on Astral Voyager Vol. 1 even more impressive. This is Kal-El at their best, at their peak, at their creative crescendo, or whatever other turn of phrase you want to use. Regardless, Kal-El rules, and so does the first part of this cosmic adventure.

So why do I love Kal-El so much and why do I love Astral Voyager Vol. 1 at the same level of adoration? First, the band’s ability to weave melody and heavy to perfection. Second, the sound and production value of their work, and specifically this record, is always top notch. Third, Ståle Rodvelt’s vocals, which sound like no one else while sounding like a bunch of the greats at the same time. All of this is heard in the opening nine-plus minute track, Astral Voyager. Kal-El also have the ability to take a nine-minute song and make it feel like four. That happens here. 

Kal-El can rip it up when they want to, it is not all about the slowed paced doom, which is exactly where B.T.D.S.C. goes. What it also does is it brings killer riffs and some of the best drumming you will hear all year. Void Cleaner sounds like Stone Temple Pilots, which coming from me is one of the highest complements I can give. The vocal melody is so great and this straight-ahead 90s grunge goodness and as good as anything you will hear this year or any other. As close to a ballad as you are going to get from Kal-El is Cloud Walker, which is a gigantic, glorious, and beautiful Kal-El song which will surprise and delight anyone who enjoys this band. 

Ståle’s best vocal performance, maybe ever. The solo in this one will blow you away too. Dilithium has some amazing dual guitar work, bringing the riffs and is a trademark Kal-El track that fits perfectly in this part one of the story. This volume closes with Cosmic Sailor, setting up the cliffhanger and anticipation for the next part of the journey via killer riffs and another Kal-El classic tune.

My only nit to pick with Astral Voyager Vol. 1 is that it feels incomplete. Now, I am aware this is Volume 1, which means there will be a Volume 2. I am also aware that the record is about 43 minutes, which is a fine length for an album. I also know that I am a greedy fan and always want more. Could this have worked as a double album and not seem like it was too much to consume in one sitting? Maybe. So, maybe my feelings of incompleteness is really just a greedy anticipation for part two. 

Regardless of my silliness here, Astral Voyager Vol. 1 is another Kal-El classic and hangs with all of the best records they have done so far. Seriously, this is right up there with your current favourite Kal-El record. Listen and tell me I am wrong. Album of the year candidate for sure. 10/10

Kensei - With Death I Walk (Self Released) [Matt Bladen]

I lived through both the metalcore and melodeath explosion of the late 90's and early 2000's and while some bands, currently finishing up a nostalgia co-headline tour, may not want to live in the past and continue to relive the glory years.

There are a host of bands today who thrive on writing music that has been inspired by the likes of Trivium, Lamb Of God, Killswitch Engage, At The Gates and In Flames, many of them combining all of these bands into what we often class as 'modern metal', but it is refreshing when you hear a band who are trying to capture that very fertile time in music.

Black Country bruisers Kensei are a band who fit very comfortably into this category, playing the more melodic style of metalcore that features influence from traditional metal and melodeath, it's got as many flashy solos and harmonic leads as it does abrasive riffs and chugging grooves.

Having stormed M2TM last year and securing a place at Bloodstock they have now unleashed their debut album to a great amount of anticipation and it's a bit of beast if you like that melodeath/groove/metalcore sound. Tracks such as The Light are just thrashy savagery, the snarling vocals particularly vicious, while on No Remorse they get into the groove metal style with pinched harmonica and a stomping riff paired with some melodic leads.

Kensei manage to strike balance between hooks and heaviness, while Nodachi feels like Gothenburg melodeath, End Of Days should be on Ascendancy and Paralysis on The End Of Heartache, the entirety of this album is a wonderful throwback but has a modern energy and passion to it that will see Kensei move on to bigger things very soon. 8/10

Dead Chasm - Spectral Tyranny (Transcending Obscurity Records) [GC]

It’s another new release week and following on from last week, I once again have a release form Transcending Obscurity but this week it’s the new EP, Spectral Tyranny from Italian death/doom merchants Dead Chasm, only 3 tracks to get my teeth into here so here we go.

It begins in a suitably doomy way on Beneath Decadent Shadows which has a slow and precise build up and doesn’t so much explode into life as sort of lurches and drags its way along and the focus feels heavily on the doom spectrum, it’s a song that takes a couple of minutes to get going and when it does it’s a dingy and wonderfully old school death metal throwback that finally shakes of all the shackles it was previously lumbering along with, we then get the title Spectral Tyranny which comes straight out of the blocks firing on all cylinders, but very quickly decides to slow everything right down and really., really push the point that they can do death metal but they can do it really slowly.

It's all well done and doesn’t lose any impact and when the usual faster style is reintroduced the styles bounce well of each other and just like that Spawn In Absurdity is upon us to close the EP out, this song is almost clocks in at the same time as the first 2 tracks together, and really allows the more doom tendencies to shine through as the more run time you get the more time you get to mix the sounds together and show what you can do, I never really want songs to be overtly long and actually think that the first 2 could maybe have been a bit longer to allow more breathing room for the varying styles to be shown better because here they play off each other in a wonderful way and bring everything to a brutally fantastic end.

Unfortunately, I didn’t have much to judge Dead Chasm on, which is a real shame because I believe the more I heard, the more I would have liked them! I know they have older material and because Spectral Tyranny is such a good EP I will no doubt go and listen to these releases and will definitely look forward to hearing more from them in the future. 8/10

Executionist - Sacrament Of The Sick (Self Released) [Simon Black]

West Virginia’s Death Thrash outfit are an act who’ve made a lot of impact in a relatively short time, although it’s been a few years since their well-received EP Destined For Destruction a few years back to this overdue debut album. This is music straight from my youth, and like a lot of younger acts who weren’t around then have aimed for a Lo-Fi feel which does actually feel like it may have been cut on analogue recording equipment past its best in the late 80’s when they all tried to sound like Bay Area heroes from the origins of the US Thrash movement (bow down and worship at the altar of Exodus), yet spliced with a bit of Floridian Death Metal (OK, so exactly like Possessed did then).

Back then the sound came out of necessity in an age when cutting music at home on a PC yourself seemed an impossible futuristic dream and really evokes the sounds myself and a few mates used to achieve from an old Tascam Portastudio back in the day, which was a bit bleeding edge in its time. It suits the style the band are aiming for, with a treble heavy sound to the instruments but in 2025 I firmly believe that you need to balance the zeitgeist and energy that those old high-pressure recording environments drove through the sheer expense involved with the modern capabilities and technology available today. Keep it edgy, pressured and fast by all means, but this is music screaming for bass and depth the better to cut you a new exit hole with, and which they would no doubt aim for live.

The possible exception here is the vocals, as the high-end Death scream Brett Ash delivers really reminds me of the raw origins of the whole movement, which is why as I progress through the record, my initial annoyance at the production values quickly erodes and a wave of nostalgic head banging takes relentlessly over, but with his sharp and clear enough delivery that you can actually understand the lyrics without losing the extreme edge. He must gargle salty water a lot to keep that throat intact…

The music is unrelentingly brutal in pace with some perfect twin guitar interplay that doesn’t compromise. The rhythm section is a bit in the background thanks to the mix, but it’s piledriven throughout and keeps the attention well. It needs to, as the real negative aspect of the record is that for a brutally high-tempo bit of Death influenced Thrash, it hangs around a little bit too long. There’s only ten tracks on here, but many of them are around the seven-minute mark and don’t vary in style or tone. I suspect that the challenges of getting to the point of finally getting your first long-play out after a four year gap from your debut EP meant that you had a lot of material you wanted to share, but Thrash albums work best when they are nasty, brutish and short, so holding a couple back for next time might have made more sense.

I’m divided here but in general it’s a yes, this is a band I would like to see live, and whom I will be keeping a watchful eye on. Certainly, a promising start, but I would like to hear them develop a distinctiveness uniquely theirs in a field where there are already a lot of imitators of those essential core influences. 6/10

A View From The Back Of The Room: Pantheïst & Ofnus (Matt Bladen)

Pantheïst & Ofnus, Clwb Ifor Bach 09.05.25

When bands forge creative unions, it's always a joy to behold. In the South Wales scene Ofnus and Pantheïst have become two bands who will perform with each other whenever they can no matter the venue or the region. Usually promoted a Co-Headline shows with the reverence towards each other being that high, this one in Clwb Ifor Bach was a bit more special than previous shows.

Coinciding, coincidentally with the 14th anniversary of Musipedia Of Metal, this was a gig to celebrate 25 years of Pantheïst, a band who have been going from strength to strength since being reactivated by founder/vocalist/keyboardist Kostas Panagiotou in 2022 with a new South Wales based line up consisting of drummer Fanel Lefterache, guitarist Atanas Kyurkchiev and bassist Matt Strangis. Almost permeant touring has seen them add soprano Linda Dumitru to their ranks which has given the band whole new scale to their already impressive Atmospheric/Gothic Doom.

They have new material in the work but tonight was a celebration, a chance for anyone who has followed Pantheïst at any point of their journey to celebrate in the most maudlin and introspective way by slow headbanging and shuffling along to some cavernous doom. Splitting their set with two new gargantuan songs, the titles suggesting that the new record is perhaps based on Homer's Odyssey.

The tracks balance the traditional blackened snarls/sonorous baritone and with the newly acquired soaring soprano, while the psychedelic atmospheres swirl through a gothic malaise of synths and organs. The heaviness of the the rhythm section as muscular as any current doom band while the guitars crank out riffs and glorious harmony solos.

If Aphrodite's Child got wrapped up listening to Sabbath's Vol.4 and Deep Purple's Concerto for Group And Orchestra, were joined by Maria Callas in her early career but did all of it with an enormous sense of introspection under the guise of the 90's European extreme metal scene, then you'd come across something that could describe Pantheïst's approach to music, the Linda driven version of Be Here making the room fall silent. It's expertly composed classical doom metal and long may it continue.

Before we were transported to historical realms, before catharsis could be achieved we had to experience grief, heart breaking, soul shattering grief, the entirety of the grief cycle laid out before us, channelled through catastrophically visceral, cinematically atmospheric black metal from the awesome force that is Ofnus.

The collective of vocalist William Philpott, drummer Ethan Spargo, guitarists Alyn Hunter and James Ponsford and bassist Richard Rees, have made their mark across the UK since they first formed from various other bands in the South Wales scene. They arrived fully formed, focussed and ferociously driven towards becoming one of South Wales, nee the UK's best exponents of complex extreme metal.

Their debut album was pretty much a perfect starting point but they were already deep into writing album two when that arrived. Earlier this year they finally released Valediction and it is the gripping newest chapter to Ofnus' bourgeoning legacy along with being one of my albums of the year. At this show they were playing the entirety of the record in full, in order, giving those in attendance and extremely special performance, as they finally got to showcase the full grandeur of this new album on the familiar grounding of a live stage.

The Intro built, creating the atmosphere of the room darkened, there was an anticipation not just from us but from the band as well, taking such a risk as playing one album completely is usually only undertaken by bands with veteran status but Valediction is an album that needs to be heard in full and with the intro subsiding the tremolo picking, blast beats and snarling vocals kicking in for The Shattering. This beginning this conceptual record around the grief cycle, we stood awestruck as the sheer force of Ofnus was unleashed from moment one.

Nearly nine minutes flew by, the front of the stage a sea of photographers and videographers (who recorded the entire evening) as The Shattering creating the event that leads to the unnamed protagonist's mental journey through the cycle. Reflections Of Delusion's piano driven beginning and synthy shift through denial trades explosivity for despondency, the atmosphere thick and cloying as anger boils over on the shortest song of the night Throes Of Agony.

Soon it was time for the immensely affecting middle part of the record where Proteus adds death doom and strings as you bargain for some semblance of normality again and Zenith Dolour's take on unmitigated depression hits hardest of all, with emotional cascades that swell into a explosive final section. Still as effective as the first time I heard these songs, they resonate even more so with repeated plays. With acceptance coming on the title track the main bulk of the record has again entranced Clwb Ifor Bach but Ofnus leave us with their alternative dialogue Alazia, the raging, frothing finale for those who cannot find solace but forever stay in this state of grief.

Breath-taking music from two bands who are assets to the South Wales music scene, both veterans in their own way. This was magical night in the company of friends, comrades and fellow disciples of all things heavy. 10/10

Reviews: Root Zero, Chantel McGregor, Dusty Rose Gang, Confessions Of A Traitor (Matt Bladen, Simon Black, Rich Piva & GC)

Root Zero - Dark Rainbow (Self Released) [Matt Bladen]

I've personally seen Root Zero blossom into quite a band in recent years, on the back of their EP, The Weight Of What I Started and near constant playing, they took the converted top spot at last year's Cardiff Metal To The Masses and played Bloodstock Festival. Driven by this their debut full length arrives and it's an impressive collection of tracks which as they state has been influenced by Soundgarden, Deftones, Cult Of Luna and Katatonia.

Yes I can hear all of these bands in the low end riffing, dual vocals, piano led melodies however I offer a counterpoint. To me Root Zero remind me a lot of bands that have been formed by Rob Cottingham, both Touchstone and Cairo have extensive use of synths, some thick gothic metal riffs and ethereal female vocals that are countered by lower male vocals. There's also a strong link to Welsh prog bands such as The Reasoning, continuing a lineage that is very strongly defined with the 7 minute + brooding title track.

Making comparison like these are a definite compliment to what the band do, but there's so much involved in Root Zero's sound that you can't really dwell too much on their influences. A track such as Ignis Fatuus highlights what the band so well, Giacomo Fiderio's harsh growls and cleans accompanying the soaring leads of Sasha Bannister's, as the song shifts between gothic cleans and deathy riffs. 

Guitarists Llyr Williams and Wren Wood have some serious chops, combining with the rhythm section for huge riffs and with Giacomo's keys in the melodic sections. That rhythm section of bassist Rob Edwards and drummer Joshua Powell-Gibbs add a proggy chug to the technical Tumbleweed, that heaviness shifting into just piano on Dry, a track which has the modern prog rock propulsion of Anathema and the build/release of post metal.

After the huge catharsis of Notti D’Inverno (partly sung in Italian) to Dry, an atmospheric industrial interlude such as Depression is rightly required before heading into the multifaceted title track. The way the band leave their longest compositions until the end is a triumph as they lure you in with the shorter 'hits' but really develop their song writing with the epics. Litha also shifts into a heavier sound after the dramatic Dark Rainbow, djenty grooves bring aggression as The Infection has the disorientating rhythmic groove of a band like Tool blended with a dark fairy-tale.

With this debut full length Root Zero create their own identity from a broad scope of influences, gothic progressive metal that is deceivingly heavy one moment and beautifully melodic the next. 9/10

Chantel McGregor – The Healing (Tis Rock Music) [Simon Black]

When the boss delivers me what we call in the team the ‘lucky dip’, it can be a moment of nervousness, particularly if it’s an artist I’ve not come across before. A quick online scan revealed that Chantel McGregor emerged from the Blues scene in, err, Yorkshire, but this is not a Blues record by any stretch of the imagination. By all accounts she’s a rocker by heart, and has been drifting in that direction over time with her own material and in The Healing I think we can safely say that this migration is now completed. 

Most of us who fall in love with all things Hard and Heavy naturally lean in that direction with our own musical aspirations but starting from a first base of The Blues an interesting choice to make really, seeming to be much more niche these days compared to the massively overcrowded Rock and Metal scene, but after ten years of establishing herself, her attitude is clearly in “fuck it” territory.

Not having listened to her previous work I can’t really comment on the transition, but this album touches a lot of areas stylistically. What’s consistent are the very high and rich production values, which bring the instrumentals backwards and forwards as required in the mix so as not to drown out McGregor’s quite soft and subtle vocal tones. 

If you are expecting a vocal chord-wrenching heavy rock ‘n’ roll vocal performance, this is not what we get. Although the music can touch some deeper and heavier motes, mostly brought about by key dropping, her style is much lighter touch but coming from a Blues starting point grabs the listener emotively, nonetheless.

The title of the album gives a clue as to why, as there’s a lot of soul bearing going on here with themes of loss and recovery standing out loud and clear throughout, as McGregor brings us with her on her cathartic journey of recovery from personal loss in her life, and for moments like that you need to flex musical muscles a bit more, even though the Blues is probably the more obvious route to explore this subject matter, it also works incredibly well with the broader range of musical styles on display here.

With her voice being the subtler instrument in the deck, we are mostly in the lighter end of the Rock spectrum, but the down-tuned Grungy moments work well. I’m also hearing a lot of Hogarth-era Marillion in the Progressive touches that thread throughout here, and this is where this record scores so much over a traditional Blues stricture, which is, let’s face it, quite limited in its range musically. 

This album also builds well, and by the time we get to the technically most demanding track (the quite brilliant Truth Will Out) when McGregor throws me completely by delivering a way more gutsy and soulfully raw vocal performance than I thought she was capable of, it’s safe to say I’m hooked. It doesn’t end there, as she saves the best to last with the title track, which really focusses on that self-recovery process post-grief and pulls together all the different directions of the album into one cohesive whole.

If I have a gripe it’s that the middle of the album has a surfeit of lighter soft-rock tracks that feel like some of the depth and intensity that came later could have allowed to filter into as well, but for a record which is all about an artist exploring her range and doing what she wants to experimentally, rather than what a label would like her to it works well. Pleasantly surprising. 7/10

Dusty Rose Gang - A-One From Day One (RidingEasy Records) [Rich Piva]

Dusty Rose Gang sound like they are stuck in the 1970s in all of the best sort of ways. They also sound like they are from Detroit, which they are and which is why a band like MC5 comes up all the time when describing the eight tracks on their debut record, A-One From Day One. MC5 is not their only influence, as you here all the greats of that era, specifically I hear bits of Sabbath, Grand Funk, Thin Lizzy, The Stooges, and even a bit of Kiss. These are no crappy rehashes of a foregone time however; these songs kick all sorts of ass and are a fresh take on one of the best times for rock and roll.

The opener, Love Bug, gets you right off the bat, with the killer guitar work and recorded live directly to tape vibes you want from a band with the influences that I mentioned. Main man Dusty Rose simply just rips it up all over this record, on the opener and also as track two begins, which is the gigantic Sticker. Cowbell, gong, killer drums, riffs for days, and how about those vocals from Dusty? Killer song. Oh, that riff on Person Of Light…also a shout out to J. Rowe, who played drums on the record, for just bringing it. I feel like there is some Uncle Ted going on with this one as well. 

A psych-y interlude leads to Part Back Jack, which opens with a drum solo and has some Grand Funk meets the Stooges vibes. It closes with a drum solo too. All in under four minutes. Leave It Alone is where I hear both Kiss and some dual action Thin Lizzy guitar work, all executed flawlessly. And more cowbell. The gallop of Feel Me starts with some trippy guitar, great drums, and thunders into a great riff that gives off Blue Cheer, MC5, and late 70s American Punk vibes all over the place. I love the slow down in this track too, reminding me of the end of Layla, but we don’t go out on a whimper, as the rhythm section picks up the pace again and Mr. Rose brings another killer riff, with the band just showing off at this point.

Killer, dusty, and dirty American rock and roll that leverages all of the best influences of the 1970s, A-One From Day One will prove to be one of the best debuts of 2025. Dusty Rose Gang is all about high-energy, straight-ahead, grade A, kick ass, American rock all the way, and their debut record bleeds with it. 8/10

Confessions Of A Traitor - This Pain Will Serve You (Facedown Records) [GC]

Confessions of a Traitor are one of those bands I have heard the name of forever but have managed to never actually managed to hear a single second of their musical output which is quite the achievement as they have been around for 10 years now, and I haven’t done it on purpose, just one of those check these outs I never got round too? Anyway, they have a new album This Pain Will Serve You about to be released, so will this make me regret my laziness?

It doesn’t really start too well on Starve which has a weirdly rap/nu-metal sequencing to the way the song is set out and has such a squeaky sound that it just does nothing for me at all and I hope that it can only get better from here, but it doesn’t really improve very much on Fatal Frame and I feel like I have time travelled back to 2006 and am listening to one of those random mid card bands on a Roadrunner Road Rage tour.

It’s all huff but with no real payoff, it’s a bit of a mix of nu-metal and metalcore but never really decides what it wants to be and sounds dated and predicable throughout, Doomsayer is slightly better as it focusses on one thing and this is a more palatable song but its metalcore 101 really, chugging angry verse, breakdown, melodic chorus, soft echoey middle bit, cut paste repeat chugs away until the end of the track. 

Midnight Sun does little to shake off any stereotypes that have been thrown around so far and is another pick it from any recent mid-tier metalcore record track and you wouldn’t really know who it was because there is nothing that identifies it as a specific band, its all just very predictable, Still Haunted is the melancholic woe is me track that has been on the cards and just like that it’s here, moody and atmospheric guitars are covered by a decent enough lyrical performance and a flurry of riffing but it doesn’t save anything and this sort of track is just not for me.

It’s designed to make you feel something and I feel nothing but the urge to skip it, I don’t and when it’s over I am greeted with an almost carbon copy of a song in the form of Love You Left Behind which just feels like it’s a direct continuation of the previous track minus and of the heavy bits, which makes it even more tedious and boring. 

By this point in the review, I am starting to lose the will to carry on and Noble Bloom helps my cause in absolutely no way! It’s just another mid-song album that meanders and does nothing to really convince that there is going to be much else that will save this record, Hail Mary does promise to stop with the slowed down, miserable pace of the previous 3 tracks but does nothing of the sort and is another mid-paced, chug along with no redeeming features to speak of and just keeps on going and gets more tedious with every second you listen to. 

OK, I’m into the final stretch here and Let It Consume Me has reverted back to the earlier album predictability, it’s a better sound than the last few tracks as it has a bit of energy but again it’s nothing to write home about, The Sins I’m Yet To Answer For is just more of the same and just as I am about to kill myself finally we get a track with a bit of something about it Half Life thunders forward with no grace or dignity and has a real grab you around the neck and shake you about urgency and you just sit and wonder where this has been so far as it is now far too late for it to redeem this album.

So, after 10 years of not hearing them am I about to dip into their back catalogue? On this material no! There was nothing on here that was original or even interesting, I have heard it all before but done so much better. To be around this long they must have a following of some kind and if they like this then good for them I however, did not. 3/10

A View From The Back Of The Room: Decapitated (Charlie Rogers)

Decapitated, Cryptopsy, Warbringer & Carnation - Sin City Swansea, 09.05.25

It’s been a long time since a proper death metal package has come through Swansea, and the heaving crowd that came to revel in blastbeats turned up in big numbers. A packed Sin City dripped with sweat and anticipation, with easily half the room already filled when Belgium’s Carnation (7) blew open the stage with their groovy, aggressive blend of old school inspired Death Metal. 

Lending a fair bit of their sound from the likes of Bloodbath, Carnation took full advantage of the high spirits already present, and whipped the crowd into a writhing mass of moshing and headbanging. Plenty of pits, both regular and circular in fashion, the onlookers lapped up their performance in the moment. It was a solid set, though it could be argued that they lacked a little dynamic variance - could’ve done with a few more memorable hooks to cut through too.

Next up were Californian thrash masters Warbringer (10), who completely levelled the stage with a massive presence, clear cut riffs, and dangerously high energy levels. Seasoned veterans on the wider circuit, they know how to write those types of riffs that grip the back of your neck - either to drag you into the pit or to headbang along with them. The audience had filled in even more at this point, the violence in the pits intensifying, and the first crowd surfers started to break across the barriers - the obvious reaction to the slick, tight set played by this band at the top of their game. 

I particularly enjoyed the bassist’s varying techniques he was implementing to cut through, including several slap and pop sequences, which you really don’t see much in thrash. Overall, one of the highlights of the evening and I certainly hope the enthusiastic reaction encourages them to return to South Wales soon - with their last appearance here being in 2017 supporting Death Angel in Bridgend, the Welsh need their thirst for thrash slaked more often!

Speaking of bands at the top of the game, Canadian death metal titans Cryptopsy (10) are no strangers to the Welsh scene, though again it has been a while since they graced our shores and this was their first venture outside of the capital Cardiff. 

Alliteration aside, Cryptopsy crushed the crowd with a monstrously heavy set, featuring highlights from across their considerable back catalogue as well as newer material and even a new tune that will feature on their upcoming record. Finding that balance between showcasing what you’ve been up to recently and also playing the hits is a delicate art, but Cryptopsy know exactly how to execute it. Fast, blasty, super tight, it’s everything you can want from a band from this genre. Cryptopsy gets the chef’s kiss. Come back soon!

Finishing the night are Poland’s premier purveyors of proper death metal, Decapitated (8). Lighter on the ears than Cryptopsy before them, Decapitated played just as tight a set, which is an impressive feat for an extreme metal act performing for over an hour. While they did pepper in some of the big hits from their acclaimed earlier material, the set focus was more on the recent material, which for fans of the modern Decapitated was no doubt enjoyable, however the fans (including myself) of the earlier discography were left a bit wanting. 

Still, they’ve got a great sound, the band put on a great performance, and the crowd gave it their all in retaliation. A great end to a top night.

Metal To The Masses 2025 Overview & Semi Final Showcase

Metal To The Masses 2025 Overview & Semi Final Showcase

So with M2TM South Wales 2025 coming to a close I think it's time to reflect a little on the competition as whole and give you a it of run down on your semi finalists.

This year has seen the widest selection of bands ever enter M2TM, we've had black, death, speed, thrash metal all represented alongside metalcore, alt rock, horror punk, emo and even folk. It's been one hell of competition with every heat well supported by you the South Wales metal scene, getting down early, supporting every band and generally caring so much about keeping the scene healthy.

There's also be so much camaraderie between the bands, with many travelling between heats to support others in the initiative, making sure that connections are made and friendships are forged. It's been genuinely brilliant to see for someone like me who's been involved in M2TM in some way for about 15-16 years.

Alyn and Will have worked their asses off for over a year to make this the best example of the South Wales metal scene they can and with the pinnacle of Day Of Wreckoning just on the horizon it's time to round up the bands who will be looking to play The Patti Swansea on 21st June.

Cardiff

As is often the case it's a tale of two halves in Cardiff especially, two of the four bands have consistently picked up the fan vote while the others two were the judges choice each time.

On the fan side returning to M2TM this year has seen Karmen Field take the stage by storm every time, they amass a dedicated following of their quirky, heavy, alt influenced style of metallic rock, that often puts FU in funky and cranks out in Sticky Jam(s) for all to hear.

They will have to fights for the fan vote with modern metal crushers Akuma, who entered for the first time this year but have already come on leaps and bounds with every heat. I think no one is more surprised to have gotten this far than they have so expect them to bring it at Fuel.

Competiton will be stiff though as the classic thrash assault of Exaust  has worked it's magic over the judges a few times now and their wild performances and retro musical style breaks age boundaries like their riffs break necks.

Finally on the Cardiff side its the crazy, angry rage filled, riffage of Icantdie, a suprise to some perhaps but this trio have made M2TM their own this year, winning over fans with every performance of their angular heaviness.

Swansea 

Over in Swansea there's a continuing theme of one familiar face and a load of newer bands taking the scene by storm.

Swansea veterans Kill By Mouth are ready to take DoW and Bloodstock on with their fearsome groove/thrash. They played the inaugural event last year as a competing band but will look to go one further in 2025 and get to BOA. On the back of their heat performances they'll be tough to beat.

Speaking of tough, Struggler have taken M2TM in their stride, smashing the stage at every point and getting fan and judges support with their pit starting modern metal beatdowns. Snarling and ready Struggler have made an impression so will look to book their place at DoW.

Swansea has seen the most diverse range of bands this year and none moreso than the pagan/folk/post metal of Adfeilion, where traditional instruments and metal fuse together for explorative instrumental rituals. The band always stand strong against the influx of heavy that surrounds them offering an alternative that's equally impressive.

Finally we have Words Of Affirmation, now Emo is not a genre that traditionally does brilliantly at a metal competition/festival however the atmospheric performances of duo Words Of Affirmation have led to them being the judges choice on more than one occasion. Their inflatable filled staging is at odds with their cathartic emotional music but there is something that the Swansea crowd has latched on to.

So there you have it, six of these bands will make it to Day Of Wreckoning and one of them will perform on The New Blood Stage at Bloodstock Festival, but all eight of them are immensely talented to get to the semi finals in what has often been the tightest year for voting.

If you can get down to both semis please do so as you'll be seeing the best of what South Wales has to offer!

Buy tickets in advance as we're expecting a sell out!

Tickets

Semi Final 1, Fuel Rock Club Cardiff, 16.05.25:

https://tinyurl.com/Cardiff-Tickets

Semi Final 2, The Bunkhouse, Swansea, 17.05.25:

https://tinyurl.com/Swansea-Tickets

Day Of Wreckoning, The Patti Pavillion, Swansea, 21.06.25:

https://tinyurl.com/Day-Of-Wreckoning