Reviews: Cryptopsy, Ravine, 1968, Patristic (GC, Rich Piva, Matt Bladen & Joe Guatieri)

Cryptopsy - An Insatiable Violence (Season Of Mist) [GC]

If you are reading this then there is probably no doubt you have heard the name Cryptopsy and know that None So Vile is one of THE all-time great death metal records to still be still going strong more than 30 years into their career is a feat in itself and now they have returned to the studio to record their 9th album An Insatiable Violence. So, if you’re in the know we expect big things are we going to get them?

Everything blasts into life with The Nimis Adoration and when I say blasts into life it absolutely does exactly that in a flurry on technical, relentless and frankly ridiculous drumming that is backed with the expertly played tech death you have come to expect from Cryptopsy over the years and there is not single second that this song is not grabbing your attention and going off on different tangents but always managing to sound cohesive and brutally magnificent in every way! 

With Until There's Nothing Left you should never really expect anything less that utter madness and precision savagery and this is EXACTLY what you get in glorious swathes of guitars that once again all go off in different directions and seem to meet back in the same place without sounding confusing or messy, the bass also manages to shine through here as well to show that it’s not always the 6 strings that can take the glory, its gloriously over the top and gloriously heavy as well.

Dead Eyes Replete might as well just be a grindcore track because the pace that it is delivered with is just unrelenting and almost threatens to lose itself in the chaos but we get a gathering of senses about a minute in and its back to the more familiar batshit tech death but its not like its to overtly technical so as to miss out on the heaviness everything is executed to absolute perfection and is just breathtakingly good throughout the track. 

Fools’ Last Acclaim doesn’t pause for breath or take the foot off the pedal that reads speed and heaviness and it’s just the way that its all structured that is such a joy to listen to, the technicality that mixes with the unbelievable ability of all the musicians is just a piss take really and even when they go more ‘’simple’’ the unreal ability to keep it utterly jaw droppingly heavy is something I can only sit back and appreciate, no song has sounded similar and nothing has ever lacked at any time.

The Art Of Emptiness does for once begin with a more measured approach and slows down the pace slightly for a bit but it’s not long before there back to the business of brutality and showing that even if you do want to slow things down it can be done in an ungodly heavy way and you can incorporate these slower sections into groove sections then throw in some maniacal solos for a laugh and not ever lose one second of momentum and if anything just keep getting better and better!! 

Our Great Deception is an altogether different beast and has managed to now incorporate some melodic death metal into the array of different styles we have has so far, its not a left field choice by any means and it’s another welcome addition to the melting pot but I am pleased when they bin this off and get back to smashing my head in again, but it does feel like there is a little hesitation to fully let go on his track, to say this is the weakest track is doing it a disservice but there has to be one and for me it’s this.

Embrace The Nihility though has no issues and is a whirlwind of insane drums and guitars that one minute are stabbing and prodding then next are wrapping you up in a thick groove before disjointed tech death is smashing you around the face again in a dizzying mix of brutality and technique that is once again unbelievable to listen to. I can’t believe there are only 8 tracks on this album but also that might be a blessing as I will finally get to sit and take it all in for a bit.

Malicious Needs is the final track and if you though they might go out with a whimper or have a long drawn out ending you are very wrong, everything is turned up to 10, whether is be the speed, the technique, the savageness, just everything you could wish for is here in the perfect closing track and is just an absolute barnstorming way to finish this mind blowingly perfect record.

I always knew that I was going to enjoy An Insatiable Violence, I just wasn’t sure how much I was going to enjoy it, so now I can tell you that I enjoyed it immensely! To be able to release a record this intense and mental 30 years into your career is unreal, the levels that Cryptopsy reach on their 9th album are unbelievable and to still sound this good is fucking amazing! 

2025 has been a phenomenal year for death metal fans with some brilliant records being released and ladies and gentlemen we have another one here! This is absolutely essential listening and easily one of the best things you will hear all year. 10/10

Ravine - Chaos And Catastrophes (Ripple Music) [Rich Piva]

There is something lurking in the woods of Portland, Oregon that is preparing to unleash its wrath upon the world. That wrath, in the form of gigantic killer riffs and some serious heavy, will be delivered upon thee by the five-piece destroyers that make up Ravine, and the five tracks on their debut full length record, Chaos And Catastrophes, with Ripple Music acting as the delivery vehicle for all of the mayhem this record brings.

You like Down? Eyehategod? You like your heavy rock filthy and dirty? Well, here we go then. This is sludgy doom for those who are not faint of heart. But I also get some serious Sabbath vibes as well as this Motorhead thing that makes Ravine stand out. Take the second song on the record, Conjure, which has all of these elements, including some really cool oohs that add an even more evil atmosphere to the track, while the middle of the song sounds like a hardcore band who has spent too much time with Vol. 4, this ten-minute track has so many cool twists and turns but never quits being heavy and very, very cool. 

The title track is straight up Down worship, executed perfectly. Ennui is almost eleven minutes and has a very slow and Sabbath opening riff and is certainly where some of the Eyehategod comparisons come from, sounding like they are from the swamps of Louisiana and not the forests of Portland. I am sure the guys have the Acid Bath records too. This one is sloooooow…until about half way, until the pace picks up a bit, and destroys you with some mid-tempo sludge goodness. 

Prophecy is the equivalent of this Portland born monsters slowly traversing the earth destroying everything in its wake, only to stop occasionally for a nice bluey guitar interlude. The ten-minute Contagion is just that; a track gets in your bloodstream and literally rips you apart via riffs and some very angry vocals.

Chaos And Catastrophes is not for the faint of heart, or for those who do not like long songs. Five tracks, with the shortest one at seven-plus and the rest all above nine, this is a heavy and epic journey song to song. Ravine delivers the most punishing sludgy doom their side of the Mississippi. Crushingly heavy and flat-out killer stuff. 8/10

1968 - Royal Bastards (No Profit Recordings) [Matt Bladen]

1968 emerge from a comfortable chrysalis of late 60's psychedelic rock with their third album Royal Bastards, after their second album Salvation If You Need came during the pandemic, there's been quite a bit of silence from 1968, but with with Flamebearer/ex-Oak man Andrew Valiant behind the mic taking over from founding vocalist Jim Coppack, the peace and love of their acid trip is punctured by a gruff new voice and a heavier approach.

Again joined by Simon Jones as an engineer and mixed/mastered by the master of heavy himself Chris Fielding these Royal Bastards have notched up the fuzz, as Standby has groove akin to Monster Magnet, the woozy verse, hooked on the single reverbed guitar of founder Sam Orr before Bear's bass joins in when they press the distortion pedal and shift into a faster second half, Dan Amati's drumming getting all primal as Valiant grunts "huh" down the mic with animalistic intent.

Just on Standby, 1968 change their game, emerging from the multicoloured 60's into the harder edged 70's the summer of love is dead and the likes of Sabbath (Endgame/Scorched Earth) have darkened the mood. Though locked in as a riff slinging four piece they bring some guests to the album too with organ permeating through the fuzz on the swirling Softly Spoken as flute parps up on the closing Merlin, which harks back to the days of vinyl with a secret track at it's end.

Valiant is expressive in his performance, adding new depth to the band on the savage Jawmelter, continuing those Monster Magnet comparisons. Royal Bastards then is like an auditory Bad Trip, the song of the same name showcasing the rougher sound perfectly! Play it loud as 1968 increase the volume with their third album. 8/10

Patristic - Catechesis (Willowtip) [Joe Guatieri]

Patristic are a Blackened Death Metal band from Italy that formed in 2022. They put out an EP in the same year called Apologetica and now in 2025 they mark their return by releasing their debut full-length effort, Catechesis.

I’ve been slowly getting into Death Metal recently and at Bristol’s weirdo festival Monochrome back in April, both my mind and ears were opened up to the possibilities of how good Blackened Death Metal could be. Seeing how much punishment bands like Obnoxious Concoction, Gorgon Vomit and Black Curse could deliver was really striking to me. It actively made me want to seek out more delights within this genre and this leads me to this Patristic album here.

Catechesis is a tornado that sweeps you off your feet in its savagery and throws you from one side of the earth to the other. It's full of headache inducing blast beats, gritty vocals and all-encompassing guitars, you are rarely left with a second to breathe.

Some highlights for me include Catechesis I, which starts off with an intense orchestra that sounds like a wasp with bad intentions in mind. It’s paired with these stunning hits from the drums and guitars which ring out so loudly, its force could knock down a building. Also, with my favourite song on the record in the latter stages of track four, it swiftly transitions from a smooth Atmospheric Black Metal chord progression into utter Groove Metal bombardment. It hits me in all the right ways, making my head bang ferociously, such a satisfying moment. 

Overall, Patristic have constructed a fabulous album which brings out a storybook experience in its sequencing with well crafted, connected tracks. It sets a high bar showcasing great potential, making me very excited to see where they go next. 8/10

Reviews: Turnstile, Buckcherry, Earl Of Hell, Dahuz (Rich Piva & Matt Bladen)

Turnstile - Never Enough (Roadrunner Records) [Rich Piva]

Turnstile is a hardcore band. For some reason this seems to be a debate online. No matter how many synth interludes you have, no matter how many songs that sound like The Cure, no matter how catchy and melodic the 14 songs on their new album Never Enough are, no matter how many national TV late night performances they have, Turnstile is a hardcore band.

You listen to the title track and you may ask, Rich, are you crazy? This is not hardcore music!!! I would reply that yes, I am, but not about this. The title track may be airy and atmospheric, but that chorus is pure sing back to the singer shit no matter how much candy it tastes like. Sole comes next and rips it up and try to keep the pit down during this one, even with the massive synth presence. That breakdown!!! Yeah, I Care sounds like The Cure and is super poppy, but that bridge!!! Is that a trumpet at the beginning of Dreaming? Hardcore Mombo!!! 

Hardcore shoegaze you say? Yup, that is what Light Design is all about. I know you want the pit to start back up again, and that is what Dull is here for in all of its chunky breakdown start and stop and start again glory. No starting and stopping with Sunshower, just starting and ripping the place up for two straight minutes. It really should have ended there, I did not need the last minute of flute, but this is Turnstile so deal with it, it gives the old guys in the pit a chance to catch their breath. A six-plus minute hardcore track? I mean try to tell me that Look Out For Me doesn’t rule, even the part in the back half that sounds like you are at the club. 

Does the band have a Roxy Music record in their collection? Seein’ Stars tell me they do. If you have been sitting here listening to Never Enough asking the band to turn up the tempo and the NYHC vibes you should be happy with Birds. You may expect a song called Slowdive to not have a take on the Sweet Leaf riff, especially with me calling the band hardcore shoegaze, but here we are and I am happy to be here. Time Is Happening sounds like something right off of Glow On and that is just fine. The closer, Magic Man may have been unnecessary; a three-minute voice and synth track that is a bit of a bridge to nowhere.

Are there a few too many interludes? Is the record like five to seven minutes too long? Does Never Enough not move the bar far from their last classic, Glow On? I would answer yes to all of those things, but when this band is on, there is no one better out there is any genre and no matter how you label them, but this shit is hardcore, through and through. 8/10

Buckcherry - Roar Like Thunder (Earache) [Matt Bladen]

For more than 25 years Buckcherry have a rock n roll survivors, Josh Todd has fought demons, dragged himself through hell and lived to tell the tale on the other side. Those tales usually take the form of hip shaking, head nodding, rock that roots itself in the Sunset Strip sleaze and the pub rock riffs of AC/DC. In recent years they've seen their stock rise in Europe, especially the UK where they've always been a popular act, but have seen recent songs/albums get plenty of airplay and high chart positions, their sell out tour from last year is proof of this and Roar Like Thunder.

Their eleventh album is another set of rock n roll anthems ready to be released on the world, when they next set out on a tour, which won't be long for these perennial road dogs. Again written by Todd and guitarist Stevie Dacanay alongside the direction of producer Marti Frederiksen and his son Evan, (mastered by Anthony Focx) Roar Like Thunder drips with attitude, with the AC/DC thrust of Come On and Machine Gun and the anthemic rock of the title track and Blackout, Buckcherry still write songs to be shouted along to, built around a killer vocal hook and a bluesy riff.

That rough vocal of Todd still as strong as ever, his commitment to his craft and his music still ringing strong while his lyrical whit gives tracks such as I Go Boom and Talkin' Bout Sex more clout than just being the dirty, little ditties they could be in another bands hands. While they will they might not ever write another crossover success such as Lit Up or Crazy Bitch again, Buckcherry know how to knock out a rock n roll anthem and they're riding high on this new international recognition as a 25 year overnight sensation. 8/10

Earl Of Hell - Earl Of Hell (Copper Feast Records) [Rich Piva]

A little bit garage punk, a little bit fuzzy stoner, a little bit grunge, a little bit post punk, a lot spooky and evil, Earl Of Hell's debut full-length brings the riffs long with the thrills and chills, delivered with a more-punk-than-you attitude and a not-afraid-of-the-90s vibe that jumps out of your stereo to smack you on the back of the head.

We got riffs with The Infernal Dream, nice and fuzzy ones too. I really dig the vocals on this track and throughout the entire record, not because the singer is a virtuoso, but because the voice(s) fit perfectly for the music and the vibe. I love how the vocals are layered and even some oohs thrown in there. Impaler is a quick little ripper that reminds me more of Venom than anything else, not the combo of Alice In Chains, Killing Joke, and Black Sabbath that their bio calls out. You hear that stuff on the record, but not on this one. But tell me you don’t hear some AIC in the next one, Brave New Age, just without any kind of fancy recording equipment. 

Calling, Is The Crow does live up to the Killing Joke comparison, and is the coolest and most post punk track on the record, and is probably my favourite track. The lo-fi proto doom of My Twisted Mind rips while Macabra Cadabra, my other favourite track, has another cool riff and certainly lives up to its title, especially during that solo. Waiting To Die brings more of the grunge vibes with some more of those cool vocals. The closer, the seven-plus minute Bloodlines, is Earl Of Hell’s attempt at an epic doom track and they knock it out of the park. Great stuff.

Franic enough to make you want to break stuff and scary enough to make you want to run and hide, Earl Of Hell delivers a perfect combination with their self-titled debut, A huge step up from their very good first EP. 8/10

Dahuz - Cineres Mundi (Self Released) [Matt Bladen]

Cineres Mundi translates to The Ashes Of The World and this French band certainly write music that could soundtrack the apocalypse, inspired by Greek mythology and how the sun will inevitably destroy all of us. Any album the depicts the end of the world you'd expect to be menacing but also very weighty, traits that these five tracks all have as each of them increase length and in scope creating a vast sonic soundscape that acts a journey towards it's 17 minute climax. 

This debut album from Dahuz has been in production since 2020 but was finished in 2024, so these five monstrous tracks have had a long gestation period but they're all very long in themselves so probably needed the time to craft these dark, progressive pieces that total an hour of intensity. 7/10

Reviews: Paleface Swiss, Sigh, Skyborne Reveries, Archers (Spike, Mark Young, Rick Eaglestone & GC)

Paleface Swiss - Cursed Reissue (Self Released) [Spike]

I missed Cursed the first time around, so this reissue from Paleface Swiss is a welcome second chance—and what a slab of darkness it is. This is not an album that gently introduces itself. From the opening track, it’s all sharp edges, dense atmosphere, and that slightly unhinged energy that gives extreme metal its bite. There’s an immediacy to the sound here it comes across raw, hostile, but well-controlled. It feels like the whole thing could veer off the rails at any moment. 

The production sounds fantastic as the details are sharp, clear and defined without sanding down any of the menace a record of this genre should deliver. There’s plenty of grit and grime in the mix with vocals that sound like they’re coming from deep inside a bunker, guitar tones that feel scorched, and drums that keep everything lurching forward like a drunken freight train. What stands out most is how well Cursed balances chaos and structure. There are some truly nasty, riff-driven sections that stick in the brain, and a few moments of eerie calm that make the heavy hits land even harder. It’s all wrapped in this uncomfortable, claustrophobic aesthetic that feels completely intentional. 

As reissues go, this one does exactly what it should: reminds you (or in my case tells you for the first time) that Cursed is worth your time. It’s not polished perfection, and that’s the point it snarls, it stomps, and it leaves a mark. If you missed it before, don’t sleep on it now. Paleface Swiss sound like a band on the edge, and Cursed makes that a very good thing. 9/10

Sigh - I Saw The World’s End - Hangman’s Hymm MMXXV (Peaceville) [Mark Young]

What I didn’t know is that this is a revisit/refresh/re-recording of Sigh’s 2007 release and despite going online I’m still not completely sure about that. What I do know is a title like that promises a mental time for all and once you throw into the mix (in their words) double speed drumming, the real trumpet and violin that is almost guaranteed. Hailing from Japan, they will have a unique way of doing what they do and I can only hope that it is an enjoyable one considering that they adore 80’s thrash and classical compositions.

Let’s pin our lugholes back and see what its about.

Well, as a starter for ten if you like the band already, have the album then I guess that it will hold no real surprises for you, in that it is absolutely off the wall. And I mean unhinged.

It starts as it means to go on, Introitus / Kyrie bursts out of the gate and hits the ground at what I can only describe as light speed. From the off you can hear those 80’s influences, but imagine they are on performance enhancing drugs because that is the only way I can do them justice. In some respects, it’s almost too fast, an audio blitzkrieg whose only job is to crush. In one song they have out thrashed everybody else and shoehorned in a couple of classical motif’s too for good measure. Inked In Blood comes and then repeats the same manner of attack but with a vocal melody that borders on the ridiculous. 

I’m almost afraid to type the following statement: There is a moment where it merges almost into a soundtrack from a popular horror show (just a jump to the left) because of that vocal line. That doesn’t last long as another gear is found. I’m shaking my head at it because I don’t know if I should be taking it seriously or not. Me-Devil batters in the same way and the initial thrill of insane BPM’s is slowly being eroded because once you dig into it, mental approach notwithstanding its all about the speed. And nothing else. I think that three songs is not enough to really form an honest opinion of an album, but for this I reckon I can because I don’t think I have enough intestinal fortitude to stay the course with this. And besides, The Fall Guy is on the Legend Channel.

Each song is an exercise in being able to throw enough riffs together, played at great speed whilst trumpets are played at odd moments, used like a herald announcing the entry to court of some rapscallion who is about to make an inappropriate joke about the ladies. Even the slower songs are still rapid, such as The Master Malice which brings the brass whilst The Memories as a Sinner sets fire to the fretboard with an early lead that is lit. 

In all honesty, if I had heard this as a 14-year-old my head would have imploded, but as a more mature gentlemen it’s a bit boring and its all to do with the reliance on speed, once you get past those insane speeds there is nothing to keep you going from one track to another. For those wondering if the speed drops at any point, it doesn’t and if this had been an EP it would have been so much better. There is also the matter of repeating motifs and ideas, In Devil’s Arms repeats the same trick as The Memories Of A Sinner – lit lead break, ascending chord pattern and is deployed like Maiden on whizz.

I confess that I tapped out and went straight for Finale: Hangman’s Hymm / In Paradisum / Das Ende because I just couldn’t absorb anymore. It is relentless, marching forward with those trumpets now acting like a mariachi band which removes my ability to take it seriously. And I think that Is my problem with it. I can’t take it seriously at all, the songs basically blur into one, with little or no variation between them, apart from how much brass is used. 

So, what to do about a rating? Well, on one hand if what you want is pure speed, riffs played like its their last day on earth and drums that are off the chart then this is a 9. On the other hand, once you get past that speed then you find that there is nothing else to see, move along. That being said, it is still an impressive chunk of noise but from my perspective I’m struggling to find anything to recommend it. 6/10

Skyborne Reveries – Skyborne Reveries (Naturmacht Productions) [Rick Eaglestone]

Adelaide’s Skyborne Reveries return with their self-titled fourth album drawing inspiration from ancient texts, midnight stargazing and travels around the world,

This album is best described and an album of two halves with the first four tracks being fast and frostbitten with soundscapes with added folkier elements reminiscent of bands like Windir & Ensiferum which is demonstrated wonderfully through opening track Fjallir & the solo driven Snowstar.

The second half of the album takes more of an introspective with atmospheric black metal tinged with a subtle hint of doom, evoking themes of wanderlust, and the pursuit of meaning. also providing stark contrast on the neatly produced Senjogahara and really driving the narrative and the overall aesthetic on closing track the eleven-minute opus – Skyborne.

It is also worth noting that the overall structure, placing and time used really hones in on various influences that have been a constant theme through the ever evolving Skyborne Reveries and it is immediately apparent that this a huge step up not only in production but the overall song writing and musicianship, it has a nice flow and flair to it throughout and its diversity will appeal to fans of various sub genres with ease.

A myriad of melodies. 7/10

Archers - Temporary High (SBG Records) [GC]

Now in their tenth year of existence Archers have only had one full length album released but have a number of EPs to their name and now they are about to release another EP, this comes in the form of Temporary High. I just had a scan online and I can almost guess what I am about to hear. I have also just seen they have apparently sold out The Black Heart in London, which is nice for them, anyway, I’m rambling let’s get this EP reviewed.

As soon as Better Off starts I wish I was reviewing something else and I mean literally anything else because I cannot stand music that sounds like this, it’s that new ‘modern’ metalcore sound that is just overtly electronic sounding with generic guitars that aren’t even heavy they just sound dull, its full of predictable drum patterns and the woe is me, earnest harsh/soft vocal delivery, I am already pleased this is EP so I don’t have to spend too much of my time on it, Wide Awake sounds like Panic! At the Disco have just down tuned their instruments and put some ‘I’m angry’ vocals in there and it all just sounds so empty vapid.

It’s a struggle to believe there is still an audience for this type of music, next, Safe Now just has a sound that drifts aimlessly along for the entire duration of the song and while there is no doubt that there must be some sort of feelings behind what is being sang and played this sort of dreary song is my absolute worst nightmare, it never picks up and I am just depressed by the time it’s over and my mood is not lifted by either of the last 2 tracks Never Enough and Crooked Smile both are just sound so run of the mill and picked off the production line and offer absolutely no joy or inspiration and the only time I have been happy listening to this is when the last song finally stops.

As you may have guessed I am not a fan of this EP, I seriously just cannot fathom how you can sound like this in 2025,when there are so many ground breaking bands out there because it’s not exciting, it’s not heavy, it doesn’t challenge you and sadly this would have sounded run of the mill back in the height of the emo explosion, so now it just sounds pointless. For me, unfortunately there is not one single defining moment or any redeeming characteristic to Temporary High, and so far, it is easily the worst thing I have listened to this year. 1/10

Reviews: Fallujah, Sun After Dark, Insania, Malvada (Spike & Matt Bladen)

Fallujah - Xenotaph (Nuclear Blast) [Spike]

Fallujah don’t mess about. Xenotaph is a full-bodied, dizzyingly complex onslaught and it’s absolutely glorious for it. 

From the opening seconds, there’s no easing in. You’re dropped headfirst into a whirlwind of precision riffing, blast beats, and swirling atmospherics that somehow manage to be both crushing and cinematic. It’s technical, yes but not for the sake of showing off. There’s a purpose to every spiral, every time signature shift, every whispered clean vocal layered under the storm.

Fallujah have always pushed boundaries within the technical death metal and progressive spaces, but Xenotaph feels like a band that’s reached full maturity. The song writing is tighter, the mood darker, and the emotional undercurrent more focused. You can feel the weight in these tracks, not just the sonic heft, but the sense of something genuinely personal buried under the surface. 

There are moments that genuinely stop you in your tracks. When the chaos momentarily recedes and gives way to those soaring, almost post-rock textures, it’s like stepping into a pocket of calm before the next maelstrom hits. That ebb and flow is where Xenotaph really shines it is an album that rewards attention. Casual listening? Probably not. Immersive listening? Absolutely.

It’s not all easy going. There’s a lot packed in here, and the density can be overwhelming at times. But for those willing to engage with it fully, Xenotaph is a beautifully crafted monster, equal parts brutality and elegance.

In a genre where technicality can sometimes come at the expense of feeling, Fallujah have managed to hold onto both. Xenotaph is intense, ambitious, and entirely worth a listen. 8/10

Sun After Dark – Tatkraft (Hammerheart Records) [Spike]

Sun After Dark's Tatkraft is a thundering, metallic statement it's dark, deliberate, and absolutely unafraid to lean into its influences. There’s a clear thread running from Rammstein and Celtic Frost through this record, both in the mechanical stomp of its rhythms and the weighty, cold atmosphere that hangs over everything. If you like your music muscular and moody, this delivers.

Sonically, it hits hard. The production is thick and dense, with riffs that land like iron girders and vocals that range from guttural to hypnotic. There’s a relentless quality to much of the album that keeps things driving forward, track after track, with the kind of industrial-tinged groove that fans of Neue Deutsche Härte will immediately feel at home with.

But Tatkraft isn’t just a one-trick beast, it takes risks. Several tracks shift dramatically mid-song, diving into genre-bending detours that, while ambitious, didn’t always land for me. There were moments where I found myself slightly pulled out of the atmosphere, as if the transitions, though musically sound, broke the spell the band had so effectively cast.

Still, I can’t fault the sheer intent here. Sun After Dark clearly have a vision, and Tatkraft wears that proudly. When it sticks to its brutal, industrial roots, it’s commanding and confident. The twists and turns? They might just be a taste thing. Some listeners will find them bold and dynamic for me though I found them slightly jarring.

But that’s art. And this album, for all its heaviness, definitely makes you feel something. 7/10

Insania - The Great Apocalypse (Frontiers Music Srl) [Matt Bladen]

Swedish band Insania come galloping back with more full throttle power metal on their sixth record and like so many power metal bands these days they're going a bit darker, lyrically and occasionally musically too, though don't fret too much as they still have bright, breezy, rampaging power metal with tracks such as Underneath The Eye letting rip fully.

Those double kick drums from band leader Mikko Korsbäck moving at warp speed while the Erik Arkö (bass), Niklas Dahlin (guitars), Ola Halén (vocals and guitars) complete this version of Insania. The Great Apocalypse is their second album for Frontiers, as well as their second since their return from hiatus in 2007.

V was greeted as good comeback but with this new record takes everything a bit further, locking in on their core sound but adding some prog metal to the title track, some epic voyaging on Indestructible. You're here for power metal though and No One's Hero, Afterlife and Fire From Above have you covered with frantic percussion, twin guitar harmonies and plenty of guitar/keyboard duels.

Insania are a band for fans of Helloween, Stratovarius or anyone that loves their power metal with plenty of pace. 8/10

Malvada - Malvada (Frontiers Music Srl) [Matt Bladen]

Brazilian rock band Malvada formed during the pandemic, Indira Castillo (vocals), Bruna Tsuruda (guitar), Juliana Salgado (drums) and Rafaela Reoli (bass) joined together to play rock music, taking shows all over their native Brazil and building a fan base for the swaggering contemporary style of hard rock which saw them sign to Frontiers in 2023, the home for the sort of hard rock that Malvada play.

This self titled debut is their first to feature songs in both Portuguese and English, Indira's blues soaked vocals working well in either language, giving her full range to the dramatic Fear and attitude After where they have the grit of Halestorm, the walking bassline of Rafaela driving the groove here, there and everywhere.

They get heavier with the grunting Bulletproof, the verses twitching with electronics against Juliana Salgado's drumbeat, as Bruna Tsuruda's massive riffs come in on the choruses. Como Se Fosse Hoje, So Sweet and I'm Sorry are the albums ballads, the first two all Mr Big acoustics and campfire melodies, while the other is has FM play written all over it.

Malvada's debut album is a fine example of modern heavy rock from this up and coming Brazil band who will be making waves outside of their native country very soon. 7/10

A View From The Wild: Call Of The Wild Festival (Debby Myatt & Tony Gaskin)

Call Of The Wild Festival 2025: A Rock Baptism, Lincolshire Showground - 29.05.25 - 01.06.25

Before we had even arrived at the Lincolnshire Showground, I knew I was in for something special, the bands on the line-up were right up mu street and so many friends have been saying good things about this event sine it first started in 2019. But nothing could have prepared me for the sheer energy that Call Of The Wild Festival radiated. 

As a newbie, I was immediately struck by the friendliness of everyone, from the welcome we got in the press area to the security and stewards that were overseeing the event. This is one of those weekends where it’s not just a festival; it’s a gathering of a rock family and community all united by their love for live music.

The line-up was varied, and set across three stages, delivering a mix of classic glam rock, hard-hitting punk, and modern metal. And it’s a truly international event with bands arriving from all over Europe and even as far away as Canada and Australia.

There are two stages set up side by side, one slightly bigger than the other I guess to warrant the tag of Main stage, but to be honest both stages featured top notch acts. On the Southall/Lawless stage (paying tribute to two much loved musicians no longer with us Micky Lawless of Falling Red and Nick “Ringo” Southall, who both died way too young from the scourge of cancer)

We had Tailgunner (UK) with their classic NWOBHM closing that stage on the Friday, with Lucifer Star Machine (Germany/UK) bringing the punk tinged rock ‘n’ roll to the festival and on the Sunday it was Scandi Glam rockers Trench Dogs (Sweden) who had the honour of closing out the weekend for that stage.

Other notable highlights for the Southall/Lawless stage over the weekend were rising stars Jayler, who we’ve been shouting about for a while now and just get better, for such a young band they owned that stage. Also on the Friday were North Eastern metal core outfit Manørs a band to watch out for. Saturdays standouts were Kite Thief from Bristol who brought some groovy bounce to a hot Saturday and Black Lakes from South Wales with their dark gothic metal bringing the moodiness to match the foreboding skies.

One of the most emotional moments came on Saturday, when Falling Red took to the Southall Lawless stage. Their performance was not just a set—it was a tribute to their late bandmate Mikey Lawless, who had passed away in 2020. The crowd was electric, singing along to every word, culminating in their fan-favourite anthem, If You Ain’t Down With The Rock. It was a moment that encapsulated everything Call Of The Wild stands for—passion, resilience, and the unbreakable bond between artists and fans.

My pick of Sundays bands on the S/L stage were the very glamorous Harsh (France) who definitely got the ladies attention! But they were more than just eye candy with a cracking set of sleazy glam rock.

That stage alone would have been worth the entry fee for the weekend but this festival prides itself on giving value for money so you get The Kilmister stage as well! No guesses to who this stage is a tribute to and every band on that stage would probably say they have a lot to thank the legendary bass assassin for in bringing heavy metal rock ‘n roll into all our lives.

Headliners for this stage were The Commoners (Canada) with their take on Americana country rock. Definitely one of the surprises of the weekend being a lot heavier and rockier than they come across on the radio. Keeping the international flavour of the weekend going and highlighting the special relationship COTW has with Scandinavian bands, we had Royal Republic close out with a party of pulsating disco rock that got the crowd bouncing.

But the highlight of the weekend and a fitting act to end the festival was the effervescent Michael Monroe who continues to defy the ageing process and has the energy of a bag full of Duracell bunnies! Despite being in his sixth decade he as never slowed down and continues to give promoters and security heart attacks with his climbing antics!

My other picks from the Kilmister stage were Asomvel (UK) on the Friday with their appropriately Motörhead inspired heavy rock. White Tyger on the Saturday continue to show why they are much in demand with their classic heavy metal performance and Sunday stage openers and fast rising stars were the superb Bobbie Dazzle with their 70’s inspired glam, I can’t remember the last time I saw a flute at a rock festival!

So, two stages packed full of quality rock, metal and punk. But the team at Upstaged who organise this weekend have more up their sleeves with a stage in the beer tent! (A quick mention here for the beer! How many open air festivals do you go to where you can but a quality pint of real ale for a fiver? Top job on that! - Tony ) This is also where you find the merch stall, again with prices that are affordable showing that this festival is definitely run by rock fans who understand their audience.

But back to the music, and over the weekend there was plenty of entertainment in this tent. The Trailblazer stage saw some top action featuring no less than 18 bands over the weekend adding another dimension and more bang for you buck. We didn’t get to watch all the bands in here unfortunately, but those we did catch were worthy additions to the weekend. 

On Friday we caught our local lads The Soul Revival who have been very busy lately and Tom Killner with his unique take on country rock. Saturday was an eclectic day of classic rock, pagan metal and punk to keep the fans entertained in between the outdoor stage acts. Watch out for resetcroWs (that’s how it’s spelt!), a very youthful bunch of kids, all under 16 I believe, who are incredibly talented. The singers guitar was almost as big as him!

There was no easy listening for sore heads on the Sunday as an equally mixed bunch of genres made sure no one was going to sleep any hangovers off after the late night disco and set from Juliets Not Dead the night before. From indie rockers Stone Cold Sweetheart to the rock ‘n’ roll of Norways Kardang it was another full on day in the tent. More folk pagan metal from Scotland's Eld Varg to the 70’s classic rock of Silveroller and the angry punk of The Head Hunters.

But the big event of the weekend in this tent was a secret set by Spike of Quireboys fame. As soon as word got out who the ‘secret’ band was going to be, there was an excitement around the festival site, and the tent was rammed for his appearance. In his usual inimitable style he regaled us with hilarious anecdotes and performed some of his best known songs on acoustic guitar alongside his long suffering friend Willie Dowling, a great highlight of the weekend.

In summary, COTW is growing to be one of the best rock festivals in the UK. Small enough to care abouts its community of fans but big enough to attract some quality acts, this was our first time and it wont be the last! COTW 2026 has already been announce for 28th-31st May with Thrash legends Onslaught, Wolfsbane and King Kraken among the first bands to be announced, along with our local lads Recall The Remains! Tickets are now available, links are on the COTW Facebook and website where you can buy now or sign up for a payment plan to spread the cost! 10/10

Reviews: Standover, Vaneno, Gaahls Wyrd, Fuzzriders (GC, Mark Young, Rick Eaglestone & Rich Piva)

Standover - When A Clenched Fist Is No Longer An Option (Gutter Prince Cabal) [GC]

There are so many different genres mish-mashed together and tagged onto hardcore nowadays it gets a bit tedious looking over them as you are never really sure what you are going to get. 

With a description of metallic hardcore I’m hoping Standover aren’t the usual run of the mill substandard metalcore bullshit that is everywhere at the minute, but I will give them their props as the title instantly got me interested!

I get slightly worried as Gloom starts as it doesn’t really do much for a minute or so apart from build up a moody slayer South Of Heaven-esque vibe and when we do get the song it is slower than I was expecting, it has got some nice riffs going on, but I think I was expecting a bit more ferocity? 

Thankfully I get exactly what I was looking for on The Noose which instantly throws all the shackles off and is the shot of adrenaline fuelled metallic hardcore I wanted, no its not metalcore thank God, its furious old school hardcore with metal influences and its wonderful.

Doomed is just an absolute barnstormer of a track from the opening GO! You just get surrounded by walls of big chunky riffs that just keep hitting and the bouncy groove they have is infectious and excellently executed throughout and the closing section is just utter carnage, anything that begins with a "BREAK IT DOWN!" is usually always worth listening to! 

Off The Leash ups the ante in the pace stakes and introduces a more punk style to the sound that will have you 2-stepping and windmilling around your room, in between ninja kicking your mum down the stairs a wonderful lesson in aural violence and how to hone the attack in just under 2 minutes. 

Sigh, Interlude then happens and annoys me more than it should as I was hoping it might actually have been a song but it’s not, aaaaanyway moving swiftly on Watch It All Burn begins with another more measured approach for all of 20 seconds before the big stompy hardcore is back but then it does slow down again and it actually sound pretty good, the different variations showing different ways on how to be heavy is always a pleasure to hear.

End You has such a catchy sound you are bound to come back to this track so often, its got groove, it’s got heaviness and it’s got the unapologetic anger that makes good hardcore so thrilling to listen too, the passion shines through and carries the song forward with a vigour and energy that is exciting to hear this force carries on into Forever Contempt. 

Which manages to include all the things that make hardcore the best music in the world, furious riffs, pounding drums, vocals that make your hairs stand up on ends and some absolutely huge beatdown sections that are frankly just ridiculous sounding in the best possible way! 

Dead To Me rockets out of the speakers with another fast and downright nasty hardcore punk assault that wastes not one second in letting you know how it feels, and the ride is exhilarating while it lasts.

Slave is one last boot to the face, it’s another song with variations and a mix of styles and I’m not sure what it is but it just doesn’t hit as hard as I was expecting and I think, to be honest probably shouldn’t have been the last song as for me I think that Dead To Me would is more of a statement and would have ended this record much in a much better fashion?

I thoroughly enjoyed …When A Clenched Fist Is No Longer An Option as it wasn’t trying too hard to be something it wasn’t, it was unapologetically angry hardcore and I that is what I love so much about it, it came, it saw, it smashed my face in and didn’t care about the aftermath. 

Yes, there wasn’t much variety but when your core sound is this good who needs it? Concentrate on what you do best, and you will get the results that matter, and this record is a statement to that. Heavy, angry and an absolute blast to listen to too. 8/10

Vaneno - Chaos Hostility Murder (Raging Planet Records) [Mark Young]

And once again I’m late with this and late to a party as Vaneno bring a slice of Portuguese sludge metal showing that bright sunshine isn’t a handicap when it comes to writing riffs of the dark variety. Its not a country I would associate with metal in general and it makes a welcome change.

The overall theme is here is efficiency, of building and delivering what you could say are simplistic riffs but they are dropped with an effective and undeviating approach that starts brightly but diminishes as the album moves forward.

Its straight in with DQSFLQSF, which shows off that simple but effective build as their album introduction and it clues you in as to the manner of entertainment we are about to receive. 

You could argue that given its short length that it could be a waste of energy and that they could have kicked off with Eldritch Truth, but where is the fun in that? At least they didn’t go for the cod orchestral approach and it sums up their less is more approach.

Eldritch Truth is all fat guitar which goes with a less is more approach but still manages to get its groove going. It’s all good stuff as they avoid going for the usual approach of a slow tempo or riffs that go nowhere. They blow through this with a purpose, getting from start to finish in what feels like a quick fashion, not letting the dust settle and its pretty cool hearing a band just having fun with it. 

They go lower with Chaos Hostility Murder which reminds me of Tom G.Warrior in how its phrased with them going for a direct hit, its simple but effective build does what it needs to do. And this is the thing, as we progress through the album, each track is effectively a statement on how to provide the audio equivalent of blunt force trauma to the skull.

There are no niceties, no subtle moments or acoustic interludes. It is just a straight up beating. Dark Lord is a prime example of this; feedback heralds another crushing rhythm display that does its job in the most competent manner. 

And because its like this, it makes for a difficult review in that once the main tracks start, they are generally repetitions of each other and I’m reminded that maybe they don’t feel the need to constantly reinvent and that they have found a groove that works for them and have become good at doing it. 

The downside is that the songs tend to blur into another in terms of how they sound. God Complex brings more of that direct riffing, its decent enough but not different enough to mark it out from the others and by this point you have gotten to a point where you have heard all they have to give.

Sludge Hammer is the start of the final three songs and livens things up by busting out a well-placed solo and Necropotent continues that blunt force treatment but I’m past it in all honesty. Reflecting on the songs that lead up to Yeti, I’m minded that they are good songs, but they become better if you hear them in isolation from the others. 

You can’t pick out a best track because they are all as good (or bad, depending on your preference) as each other. So obviously Yeti decides to up the ante a little, picking the pace up enough to build momentum and give the album a proper send off.

So where does that leave us? Well, it is a suitably brutal listen and I think that fans of sludge will give it the love and attention it requires. For the casual, it was fine. There was no surprises or ground breaking moments just a set of good metal songs to listen to. Your enjoyment will depend on your tastes and who knows they might just become your favourite band to come out of Portugal. 

What is apparent is that they have gotten themselves to a point where the old maxim of ‘if it isn’t broke, don’t fix it’ is liberally applied so yes, the songs are heavy enough but then repeat the same thing until the end. 7/10

Gaahls Wyrd – Braiding The Stories (Season Of Mist) [Rick Eaglestone]

Norwegian Grammy-winning esoteric metal entity Gaahls Wyrd are well known for their unwillingness to conform with trends or tradition instead favouring the beating of their own spectral pulse as their unveil their long awaited second album Braiding The Stories.

The album opens with the emotive storytelling narrative piece The Dream which serves as a great introduction with atmospheric soundscapes which flows into the longest offering on the album the title track – Braiding The Stories which is a great demonstration of the band’s ability to incorporate varying styles under one umbrella, the use of time also allows to them to really encapsulate the overall depth and bleak aesthetic.

This is then followed by Voices In My Head which is more like a film score piece but is does compliment Time And Timeless Time which is easily the albums most blistering track with some absolutely blistering drum patterns. 

Delving into almost prog territory is And The Now which is placed nicely alongside the ominous tones of solo driven Through The Veil before the album’s crowning glory Visions And Time fires through with an underlying level of chaos and sweeping soundscapes.

Concluding with the duo of NWOBHM tinged Root The Will & ambient bass laden Flowing Starlight ends what has been an overall well-constructed vessel of aural delectation.

“I always work with the subconscious,” Gaahl says. “This time, I wanted the listener to fall into the album.”

A subconscious journey into mystifying terrain. 7/10

Fuzzriders - I Like It (Electric Valley Records) [Rich Piva]

Italy’s Fuzzriders new record is definitely stoner rock. It is definitely fuzzy. It definitely has riffs. Cowbell too. Most of it I dig. But something in the sound is holding me back a bit. It could be the vocals, which are recorded weird. It could be the overall production which sounds kind of lo-fi, but when I usually mean that as a compliment, I don’t here. 

The drums are right up front in the mix and sound a bit out of place too. So, you can see my conundrum with the two forces working against each other on their latest output, titled I Like It.

Do I though? The short answer is yes. The opening title track is a fun little stoner ripper. Sometimes, track two, has the aforementioned cowbell and a cool, slowed down psych-y part with some nice guitar work. The band’s bio calls out Fu Manchu, Nebula and Dozer as reference points, and Like A Worm lives up to that, but this is one of the examples where the vocals and I are having some issues. 

Same thing with the next one, Old Man. But I really dig it when they change tempo and the guitar takes over, which is why this one and Sometimes are my two favourite tracks on the record.

I really think Fuzzriders excel in the slower songs, like the psych heavy slow burn I’m Rotten and the mid-tempo rocker Your Infection (more cowbell goodness). Speaking of cowbell and Fu Manchu, check out Can You Dance, but once again I struggle with the vocals. 

The riff on On The Road is right out of the 80s Sunset Strip and is a cool little track that also ranks up at the top for me on I Like It. Snake Skin is almost nine minutes long, and could have been a couple minutes shorter, but it is still a nice way to end the record as it incorporates those tempo changes and fuzzy psych guitars into the mix very nicely.

Taking the strange production out of the equation, I Like It is a solid stoner with psych leanings record. Maybe it is my ear, so don’t let my comments on the production stop you from checking this one out, because Fuzzriders get it for sure. 7/10

Reviews: AVKRVST, Fairyland, Savaged, Signeri (Matt Bladen)

AVKRVST - Waving At The Sky (InsideOut Music)

After being celebrated, quite rightly for their incredible debut album, The Approbation, AVKRVST return with its follow up Waving At The Sky. Now you may be expecting a sequel to that grandiose debut but Waving At The Sky is actually a prequel to the events of The Approbation, a clever way for the band to realign their sound as it doesn’t have to be exactly like the first album. It's very bleak and emotionally powerful album that's built on familial tragedy and loss, hooked around the track The Trauma, which is the catalyst for the entire story to come setting the tone for another conceptual journey. 

With their previous release I compared them to the likes of Opeth, Steven Wilson and even King Crimson, though they are a five piece band, they have three members that supply keys and synths, allowing a cinematic sound to permeate as the metallic edges are so often accompanied by the melodic passages. Martin Utby, Øystein Aadland, and Auver Gaaren bring Mellotron, organs, acoustic/electronic synthesizers and Moog, these densely layered synths all adding, the classic prog atmospherics of these bands. While they played a part on the debut album their position seems more important on Waving At The Sky, perhaps due to the more introspective, aggressive and melancholic nature of the album the use of synths and keys is more affecting. 

Still there’s plenty of metal about as Øystein Aadland's bass drives Preceding which is an overture of sorts before things really kick off on the jazzy strains of The Trauma. Here Simon Bergseth and Edvard Seim guitars bring some heavy riffage Martin Utby banging the hell out of the drums on the albums opening salvo, reminiscent of the debut with the compositional skills of Simon Bergseth and Martin Utby on display, it's a short shock to the system where clean and harsh vocals intertwine to begin the tale. 

From here we take those routes into expansive prog, as Families Are Forever flows with repressed aggression, building slowly into a soaring guitar solo and strings towards the end as we shift into Conflating Memories which has where the King Crimson style looms, parps of flute between a riff that unfolds. So far it's a brooding release, the darkness of the concept really biting home, like Dream Theater's Scenes From A Memory meets Six Degrees Of Inner Turbulence on the start stop, heavy metal moment that is the forceful Ghosts Of Yesteryear. 

The Malevolent on the other hand is bouncy, gothic, melodic number that features Haken's Ross Jennings on co-vocals, another of the diverse ways AVKRVST shift their approach on Waving At The Sky. As the album closes with the epic title track the mood doesn’t lighten as such but there’s a catharsis to it that leads into the more melodic strains of The Approbation. Like Star Wars releasing the record backwards has made sure they can develop two distinct albums while keeping their similarities in place. Another stunning record from AVKRVST. 9/10

Fairyland - The Story Remains (Frontiers Music Srl)

Cinematic strings reminiscent of Howard Shore, John Williams or Hans Zimmer? Spoken word telling a tale of fantasy realms? First track begins with double kicks and shredding guitars? It must be power metal! It is folks! French symphonic power metal band Fairytale return with their first album since the passing of their founding keyboard player Phil Giordana. While Willdric Lievin (guitar/bass) the other longest serving member remains, the line up on this fifth studio album is pretty much all new, with the exception of drummer JB Pol. 

Giordana left music to work on but this album had a hard road so as they recorded and wrote The Story Remains they looked to define themselves as the next chapter in Fairyland’s epic history. This meant that with new musicians, they could put their own style and background to the songs, without straying too far from the vision of Giordana. Joining on vocals is Archie Caine, who has a very high register in the European style, but showcases his broad range on the record, reminding of Tony Kakko of Sonata Arctica. Brieuc De Groof joins on guitars bringing some of his extreme metal history to darker moments such as Hopeless Still. 

It’s Gideon Ricardo who has the toughest job though as he takes the band founders position behind the keys and proves to be exceptional with his melodies, leads and orchestrations making the record sound massively symphonic, especially on Unity, creating the fictional fantasy world that this album is based around, though he provides a more contemporary style on The Chosen One, although it isn’t long before we’re back on familiar ground with the epic Unbreakable (my favourite track here). 

This is classic Fairyland but for modern times, the band creating a new legacy in their latest form, of course looking to the past, but embracing the future too. As a special treat original singer Elisa C. Martin re-joins the band for a version of Suffering Ages originally by Hamka her band with Willdric Lievin and JB Pol. The story of Fairyland doesn’t just remain, it continues in bombastic fashion on this new record. Long may it continue! 8/10

Savaged - Rising (No Remorse Records)

It's on No Remorse Records so it's going to be speed/trad/thrash/doom metal. Usually very retro in style and production but with contemporary skills to make it sound old school without being just the limitations of the equipment. Savaged are speed metal from Barcelona Spain and they have quickly followed up their 2024 debut Night Stealer with a sophomore release Rising.

Savaged played Headbangers Open Air 2023 without having an album so they certainly have a live pedigree behind them, with comparisons to Riot (V), Tokyo Blade and even Priest, this leather clad mob encapsulate the 80's metal scene well, hitting the road with their spiky guitars and bullet belts, honing their skills and these songs on stage before jumping into Moontower Studios to record them so they get back on the road.

The dual harmonies of Jamie Killhead and Joan Grimalt are in melodic synchronicity on all 9 tracks but especially on The Long Walk while Across The Burning Fields puts some Malmsteen-like lead playing with galloping bottom end from Aleix Coll (bass) and Cristian Blade (drums). There's a lot of speed metal like I said but they have a bit of glam coming on Fire It Up, some chest beating fantasy metal on the chuggy The Conquered while Stars Are Falling takes a more epic track with a bit of a Queensryche influence stretching the histrionic vocals of Killhead.

Rising is a great follow up from Savage, it keeps with what they do well while also expanding their approach into other areas of 80's metal. 8/10

Signeri - Signeri (ViciSolum Productions)

Dark Swedish metal now as Signeri bring their self titled debut album. They are four piece who play dark, blackened metal inspired by the dark arts and the occult.

In the for fans of section it states bands such as Tribulation and Satyricon and you can hear the imprint of both these acts on this album. The music is too melodic to be classed as pure black metal, having a mechanised thump on Legion Strong, then Setting Fire To Worthless has the ominous gothic industrial edge of Septicflesh.

It's the use of brass and organs that's flesh out the soundscapes of Signeri, it takes them from being just another band who play a more melodic version of black metal into being one that takes risks. The issue is that no matter how many risks they take they stick rigidly to black metal sqwarks in the vocals.

For me a bit of diversity wouldn't go amiss as it does mean a lot of them are a bit one note, with the exception of Hills Painted Red where there's a fair whack of death doom. Signeri is an album that puts the band on the right path but they need to sort the vocals out a little. 6/10

Reviews: Passengers In Panic, Still Dusk, Manos Six & The Muddy Devil, Qualia (Matt Bladen)

Passengers In Panic – Amnesia (Sleaszy Rider Records)

Passengers In Panic, streamline with album number two, embarking on a less progressive path over all but maintaining their unique mix of grooving heavy metal driven by the rhythm section of bassist Lefteris Christou (ex-Womb Of Maggots, ex-Inactive Messiah) and drummer Phoibos Andriopoulos (Clairvoyant, Sad Dolls) and traditional folk music.

Both Lefteris and Phoibos have bags of experience in the heavy metal fringes of extreme/power/gothic metal and so they channel these skills to create a style that bit more mainstream with influences of modern and classic metal combining with their use of traditional folk instruments such as a Macedonian gajda (bagpipe), the kaval (flute), the laouto (similar to an oud), the violin and the daouli (drum).

It steers them more towards the direction of acts such as Orphaned Land and the Scandinavian folk metal scene. But this is Greek folk music, something which has life of its own evolving from Ancient Greek, Balkan and Byzantine traditions, giving Passengers In Panic a similar approach as the lauded, Villagers Of Ioannina City. They even cover a Greek folk song, Kaixi, on this album to further their hybrid sound.

Along with the rhythm section I mentioned earlier Passengers In Panic are rounded out by the storming riffs and harmonic melodies of guitarist Lela Argyri and the soaring emotive voice of Ioanna Galani. As a four piece they play socially conscious music, inspired by violence, injustice and relationships and how we all navigate through these, the vocals from Ioanna are not typically what you'd expect but they're passionate and carry the folkisms well.

Amnesia embellishes the Passengers In Panic sound with vocals and narration from Yiannis Tsortekis of the Netflix series Maestro while How To Breathe features orchestration from Christos Antoniou of Septicflesh. How To Breathe takes us into modern mainstream metal doing away with the majority of the other instruments for one song as we go into something similar to the likes of Evanescence while Siren's Call ups the riff quota.

Now right at the beginning of the album I said they were doing away with the prog but 23:21 definitely has a proggy time signature to it but Echoes Of Death hits it's stride with a Maiden-like gallop, those Maiden style returns on the title track as well. Erase Me leans heavily on the pipes as Mother's Lament continues with the pipes alongside the Maiden grooves.

Passengers In Panic return with an album that focuses on their uniqueness, combining classic metal grooves with traditional arrangements, its a very strong sophomore release. 8/10

Still Dusk - Chronicles Of Dystopia (Rock Company Records)

Still Dusk are an alternative metal band from Athens, Greece, formed in 2018, Chronicles Of Dystopia is their debut full length after their released and EP in 2023. That was lauded and it seems as if Chronicles Of Dystopia will receive similar high praise for it's hard hitting down-tuned riffs and gutsy vocals. The band members all have different musical backgrounds and they merge it all into Still Dusk, be it the symphonic gothic flavour of Black Water, the pop punk moves of Disobedience or the 80's balladry of Midnight Run, there's a real breadth to their 'alt metal' tag.

With bands such as Skunk Anansie, SOAD, Halestorm and the grunge style of AIC and more all visited by Still Dusk. They craft songs with a lot of power to them, the musical backing of guitarist Yannis Kemenidis, bassist Constantine Stavrou and drummer Yannis Tarasis, brings thick grooves to the likes of Eigengrau, however they can roll it back to more melodic moments as well. Konstantina Damianidou's vocals are passionate carrying the culturally/socially conscious lyrics and big chorus hooks these songs have, with her own style that sneers on Insidious as the album closes with the funky but chunky Sugar.

Chronicles Of Dystopia is a big metal record from Still Dusk, nine impressive alt metal tracks with some guts. 7/10

Manos Six & The Muddy Devil – When Skies Are Grey EP (FYC Records)

Americana from Greece, Manos Six & The Muddy Devil come from the shadows with some Death-Country inspired by Tom Waits, Nick Cave and Oldboy with the dark heart of bands such as Crippled Black Phoenix. Comprised of Manos Six (vocals/banjo) and Stamos Abatis on acoustic bass, they play with the stripped back ethos of black metal.

They are joined by Jan Westermann (drums/percussion), Elena Malamou (six string banjo) and Gina Selini (keyboards/noise), this EP has a fuller sound than their previous album. Named for the traditional song You Are My Sunshine (copyrighted by Jimmie Davis and Charles Mitchell), they flip it back to it’s introspective roots by a slight renaming of When Skies Are Grey when they play their version as track too, a simplistic arrangement of whispered, fractured vocals and banjos it’s haunting, as it builds into some fizzy electric guitars (from George Emmanuel) but the whole record is supposed to be haunting and ominous.

Drawn from the mysticism and storytelling of the American South, the music of Manos Six & The Muddy Devil has a dark, pagan heart to it. At odds with many of the artists associated with country and Americana, they make sure to leave the doors of their chapel open to let the devil in. Whether it’s the bluegrass shuffle of I’m Not Gonna Turn My Back On The Devil, that shifts into black metal, the guitars of Dimitris Kouzis ferocious as the American traditional music takes a more metallic turn. When Skies Are Grey is more forays into the belly of the American South through the minds of Atheist Greeks. 8/10

Qualia And The Five Ancestors Of The Great Maryland Kingdom - Accidentally Funding The End Of The World (Thousand Islands Records)

Compared to Protest The Hero, This Is A Standoff and Bad Religion, there's plenty of comparisons that can be made on this new album from Athenian progressive punks Qualia And The Five Ancestors Of The Great Maryland Kingdom, who I'll refer to just Qualia for the purpose of this review.

Their new album "digs into PFAS, BPAs, PCBs, microplastics, and the toxic legacy we keep burying ourselves in." It's ultimately though about how humans navigate these things and how we should try to improve the way we use them before they bury us all.

A punk rock ideology if there ever was one but this is punk Jim but not as we know it. Accidentally Funding The End Of The World is a very proggy record taking influence from prog (Styrofoam) skate/crossover punk (The Middle), mathcore (Eat The Stars) and simple pop punk (The Conversationist), they throw a lot more than just four on the floor chords with this second album.

The Devil's Garage, sounds like Yes with the fluid guitars, while Stockholm Syndrome Flavoured Cake reminds me of Weezer, Legacy Of Contaminants meanwhile is a 6 minute piece of They Might Be Giants goes hardcore punk, the synths oscillate on Deficit and Rounding. You'd think Qualia were from the USA on how slick this record is, especially the vocals. An impressive record from not your average punk band. 8/10

Reviews: Outergods, Goya, Sleeping Mountain, Nightbearer (Mark Young, Rich Piva, Matt Bladen & GC)

Outergods - Dethroned & Devoured (Apocalyptic Witchcraft Recordings) [Mark Young]

Now then this is a first for me. With this review of Outergods latest I have the opportunity to see the development from their 2023 album A Kingdom Built Upon The Wreckage Of Heaven which received top marks. 

I mentioned the resurgence of British extreme metal, of bands that have a unique voice and deserve to be heard. A brief recap on influences: At The Gates, Morbid Angel, Strapping Young Lad to name but three so if you haven’t come across them yet it should give you a firm idea of what is instore.

Origin is the beginning statement and already the little touches are shining through. Just check out the drum fills in the first half just before it properly kicks off there are some fantastic flourishes in there. In terms of heaviness, it does the trick of bringing a clarity so you hear every strike combined with sheer speed you end up with a class opener that does an awful lot in a short time and frankly has me geed up for what comes next. 

Mortal Gateway is where the fun really begins. Pneumatic double bass, blasts and just all out aggression is what comes next, that fury that was present last time round is here and they have amped it up. That clarity I mentioned cuts through as the riffs speed by and I’ll be honest I’m loving it. It has some exceptional riffing in this, played with intent. 

There is no chance of slow down on track 3, Sprawling Chaos is about taking black metal and squeezing it through a punk build until they decide to change direction and really put their feet down. Its rapid with purpose, not just for the sake of it. Cosmic Abomination is where the throat is opened up as technicality meets brutality. 

The mix of the two is a heady combination and yet they don’t forget to have a payoff where the guitars ascend in that kind of movement that leave the hairs standing. You hear their influences but don’t hear ‘homage’ and that closing riff is just top class. 2025 has had some good releases but comparing to 2024 it felt a bit slim. 

Outergods have changed that with this release. And speaking of change, Phantasm represents a change in attack. Going for a slower tempo, it gives them chance to show that its not all about the speed and that they can write a song that is sprawling in its build. It is a quality moment from them and yes, they do close it with blasts but you can forgive them for that. It has an epic feel to it without resorting to repeating patterns or empty air. 

The Sleepless Malice comes at you with similar idea in mind, except its more technically driven. Its still relentless, pushing forward but with those classic key changes that add a dynamic to it. The solo is quality, bridging two sides of the song together in a way that is completely organic. I don’t think we talk about how important track listings are and on here they have got absolutely spot on. 

Having Phantasm/The Sleepless Malice as what I would have called end of Side A and start of Side B means that we have has a cracking journey getting there. Sparagmos gets them back in that vibe of hit and hit again. It’s a dizzying rapid fire 3 minutes where they just let it all go. 

At its heart is a simple theme but is played at a frenetic pace meant to cave your skull in. And with Celestial Heretic they decide to cave it in some more, the extra time affording them a larger scope in which to do it. Again, their choice of how it deploys is key knowing where and when to speed up and to slow and it’s a masterful piece of work. 

The end leads into A Mausoleum At The Edge Of Time, which is going to be the deciding factor in appraising this as very good or as AOTY contender. Where we had the double punch of Phantasm and The Sleepless, both had that epic feel but in a relatively short length A Mausoleum is their masterwork and is the definition of ‘leaving the best for last’. 

It brings everything together, and it just rips with an energy that doesn’t let up and some of the juiciest melody lines you have heard in ages. It is 9 minutes of class and for me can be held up as what a gold standard sounds like.

I had a lot of fun with this, for me it is one of those albums that starts off great and then just gets better, each track building on the impact of the one before with zero repetition. 

The development between this and this and A Kingdom Built Upon The Wreckage Of Heaven is there for all to see. It is excellent stuff and it is on the list for AOTY. There may be other albums which make that list, but I cannot see anyone dislodging them from it.

This is a band that can be held up as a prime example of British metal, it’s that simple. 10/10

Goya - In The Dawn Of November (Blues Funeral Recordings) [Rich Piva]

Do you like your doom heavy, tuned low, chock filled with riffs, and super depressing? Well, the six songs on the new Goya record, In The Dawn Of November, are here for you in a big way. The Phoenix, Arizona band are back and their fourth album is not fucking around. 

How big and how much not fucking around? How about bringing in legend Jack Endino behind the board? I don’t have to list all of the amazing projects he has been involved with for you to know how cool this is. 

Not only is Goya going big with their sound and their producer, but the songs on In The Dawn Of November are next level as well, with main writer Jeffrey Owens turning out some of his most emotional and deep lyrics that we have heard from this already excellent band. 

This version of Goya (Owens is the only original member and this is a brand-new lineup from their last full length) has a super tight rhythm section and for the first time has a fourth member listed in the band credits, as some keyboards are expertly worked into this heavy and sad as hell record with very cool results. This may be the doom record of the year, or at least very close to it.

I have read a few reviews that mention bands like Electric Wizard and Type O Negative as reference points, which alone should be enough for anyone to listen to In The Dawn Of November. But this record is way more melodic than what EW is all about, and much less cinematic than what a Type O fan is expecting, but I get where they are coming from, especially with the Type O stuff. 

Lyrically, a song like Sick Of Your Shit has serious Peter Steele vibes, and there is enough low tuned fuzz for the record to call out some of the masters of the genre like EW, but I actually hear Soundgarden and the early Seattle stuff more than I do some of the big doom influences. 

Of course, they are there, this is a Goya record. So yeah, I Wanna Be Dead sounds like Sabbath and Candlemass when it starts, and Type O when it kicks in (such a Type O song title too), but this is when Endino lends his magic to Goya to leverage his experience with all of those killer records he has been involved with. 

Yeah, Endino was fired during the recording of the Melvins record Houdini, but tell me you don’t hear some of that era of the Melvins in this track and the five others on here. I love how the keys are in the mix on this one too. The twelve minutes fly by.

The Melvins are what I hear with the opening title track too, but with way more psych leaning guitar parts, which are amazing by the way. I love how Owens layers his vocals on this one too, as the emotion in his voice is multiplied making this track even more impactful. 

Musically the Soundgarden vibes are all over Cemetery Blues but with Peter Steele on bass and with some writing credits. Love the solo on this one too. Even when they turn up the tempo, they keep the sadness to 11, with the little ripper Depressive Episode just killing it, bringing a band like Restless Spirit to mind as well. 

The closer, Comes With The Fall, is a weird little fever dream that makes you wonder if the five previous songs were just all a terrible nightmare, in the best sort of way. There are not enough super heavy yet very accessible records out there, but now we have In The Dawn Of November to change all that. 

Heavy, doomy, melodic, expertly played, perfectly produced, and enough sadness to make you an emotional wreck, the new Goya record rules and is a for sure album of the year candidate and one of my favourite doom records in a very long time. 10/10

Sleeping Mountain - Sleeping Mountain (Self Released) [Matt Bladen]

Sleeping Mountain are a heavy psych/desert/prog rock band from London, featuring Aitor Mendez (guitar/keys/vocals), David Saunders (bass) and Alexis Humanes (drums/vocals), their debut album is a monster if you like your riffs heavy and fuzzy and your atmospheres woozy. 

A track such as Tennessee Walking Horse slow burns with some heavy Kyuss vibes, drifting into spatial realms as they also add some Pink Floyd-like sonic exploration. The band cite Sabbath, Floyd and All Them Witches as influences but I'd be happy to throw in the likes of Nightstalker, Valley Of The Sun and Greenleaf too, psychedelic stoner with propulsion and groove to it that begins with the instrumental first track Humans. 

Setting the tone for the whole album Humans, has some dynamic drums and bass as the guitars are unleashed, the repeating words of Howard Beale, Peter Finch's Oscar winning character in 1976's film Network , ringing out as the track closes and the Sabbath doom of Walls Of Shadows steps in. 

Lyrically inspired by the occult, witchcraft and with a sense of introspection throughout, Sleeping Mountain display the latter on Walls Of Shadows, where they step it back to just bass and drums to lead into Wildfire. It's with Wildfire that those Nightstalker similarities continue, especially vocally, Akelarre another one taking that route. 

On In The Land Of The Burning Witches they shift into the thick riffs of Sleep, which continue on heavy melancholic doom of Alibi. Sleeping Mountain have gigantic sound for a trio, they shift between all of their styles with ease, easing off the gas when the time calls for it and they have to explore space but pressing the throttle down to up the volume and pace when needed. 

On The Door they showcase their proggier side, bubbling organs reminding me of Morrison & Co but with massive Cathedral influenced doom sound from the middle. Sleeping Mountain combine stoner, psych, doom and prog brilliantly on their debut album, a band whose riffs render them dormant no longer. 9/10

Nightbearer - Defiance (Testimony Records) [GC]

Things to be happy about when looking up Nightbearer, 1: Old school death metal, tick, happy enough about that! things not to be happy about, 1: Heavily influenced by fantasy & horror literature, I am not a fan of fantasy stuff at all and to read that their latest album Defiance is directly influenced by the His Dark Materials trilogy of books isn’t really filling me with much hope.

Opener Dust is just an acoustic intro that is 52 seconds of acoustic noodling that doesn’t really do much, this small inconvenience is instantly kicked to the curb by His Dark Materials which races out of the blocks and is a sharp, tight and heavily melodic death metal bludgeoning, the guitars hit with the right amount of heaviness and melody, the drumming is solid and forms a strong backbone to the song and the vocals are vicious and round everything off nicely.

Then on Defiance the Scandinavian influence of the melodic side is the shinning light that holds everything together it’s a blitzkrieg of buzzsaw guitars and whirlwind drumming and the way the melody is worked into things adds another level to the whole sound.

One Church Over All goes for a more measured approach and slows the pace to an almost crawl compared to the force of what has proceeded it and while it allows them more room to try new things I just feels that while it’s a good song to listen to it just halts the upward trajectory of the album maybe it’s a good idea to have this song now and the rest will make up for it? Dying Knows No Bounds throws the shackles off again and is another blistering and forceful death metal number that has all the best parts of the more old-school death metal still manages to insert some melody into places to throw the song in different directions and never manages to sound predictable. 

Reign Supreme feels like the song they have been dying to release as it feels like the most drama and symphony is on offer here, the death metal, death metals as you would expect it to but they add more off kilter timescales in here and as mentioned the atmospheric melodic parts are ramped up to the very top of the scale and there is also some mid song chugging just to add another layer BUUUUUUUT, its all delivered at a pace that is just lacking somewhat, so really limits the feel of the whole song for me, which is a shame as I can appreciate what they are aiming for but it just doesn’t do it for me.

Under The Sun Of War feels like it should sound a lot more epic than what we get, minus the double bass drums everything else feels slightly flat and it feels like they are holding something back for some reason, its got lots of wonderfully played music but I’m just expecting something huge and it doesn’t feel like I am getting it. 

But, then just like that we do get something massive, we get 9:38 of Ascension and its probably exactly what you would expect of a track with such a lengthy run time, there are furiously heavy sections intertwined with some wonderfully mixed in atmosphere and haunting beauty that has threatened to sneak through but here absolutely shines like a beacon and its all wound together to create something truly magnificent. 

Until We Meet Again is a rousing song that gallops and marches instead of stomping and pounding, you might not even mind that it’s an instrumental, I mean? I mind because the vocals on this album have been immense, but you might not mind? Republic Of Heaven feels like a statement to end the album on, all the best parts of the savage death metal take back over and remind us for one last time what Nightbearer are capable of, utterly fantastic and brutally wonderful death metal brilliance.

Despite my initial hesitance about the theme of the record, the way it sounded was more than enough to win me over, as with most records there were a couple of bits that just weren’t for me but there was more than enough to outweigh any complaints from me! Defiance is a brilliant death metal record and that's really all that matters at the end of the day. 8/10

A View From The Savoy: Battle Of The Bands 2025 (Matt Bladen)

Battle Of The Bands, The Savoy, Barry, 31.05.25

So having recently moved MoM Towers to Barry, it was about time checked out what the extremely local scene was. Thankfully a couple of pioneering individuals took it upon themselves to start putting on gigs at The Savoy, a former cinema turned snooker hall. 

These gigs have done well so this year as part of the Glastonbarry Fringe, they went a bit further and booked a four show battle of the bands with the winners receiving all sorts of wonderful prizes including, cash, studio time and a headline set at The Bunkhouse. 

Unfortunately due to my commitments with M2TM I missed the three previous heats however I made over to the final which saw M2TM 2025 alumni Garbage Day Massacre, Paradox To Stay and Exaust who will be playing Day Of Wreckoning. 

Firstly I was struck how big the venue is, it's almost cavernous with a huge high ceiling, a high stage and three separate areas that featured the quieter bar area, then the pool tables and a raised area where the DJ booth is and then the main performance area itself. 

The organisers have made sure to PA is as good as they can get having swapped out most of it so any band's that play there get the clearest and loudest sound they can. It paid off as all three acts sounds bright, clear and heavy as hell when they played. I've seen all three bands this year, some a couple of times but I haven't heard them as well as I did in The Savoy. 

What impressed me though is how full the place was, a £6 a ticket even this spacious venue seemed full to the gunnels, almost the entire Barry metal scene came out to support the venue, the promoters and the bands it was a joy for my heart to see, as this seems to be a very dedicated local following and bodes well future events in the venue. 

It was Paradox To Stay who took the crown on the night but whole night was a triumph as The Savoy proved itself to be a viable addition to the South Wales music scene. Congratulations to everyone involved!