Reviews: Fates Messenger, Anchor And Burden, Burning Sun, Reinforcer (Spike, Mark Young, Simon Black & Matt Bladen)

Fates Messenger – Eternal War (Greyline Records) [Spike]

Fates Messenger drop Eternal War like a swarm of hammers and they don’t pause to ask for mercy. This six-track EP is pure, galvanic metalcore, brutal grooves, visceral energy, and the kind of urgency that thumps your chest long after it’s done.

Opening with Hellstorm, the EP smashes in with wild riffage and drums like a collapsing tunnel. There's no easing you into this world; it grabs your attention, drags you in, and holds you there. Each riff feels like a challenge thrown in your face and you either respond or get swallowed.

The title cut, Eternal War, unleashes control and chaos through its guest turn from Tim Williams of Vision Of Disorder. His barked vocals feel like a spotlight on your worst thoughts, and the band charge alongside him with tempo shifts that leap like shrapnel. 

Doomloop keeps the momentum insane with groove-laced riffs that crawl and strike. It’s a brief breather, if you can call it that, before Master Killer, a sneering, skinniest cover of Merauder’s classic, retooled here into Fates Messenger’s own venomous shape.

Tracks like Bleed Again gear the tone up again. It’s raw, biting, and relentless, like someone kicked down your door and left the bruise. Then closing with Bonechapel, featuring Al Llewellyn, they unify fury and atmosphere. It sounds like the last scream before the world stops.

The EP’s production is gritty but clear. Every drum hit has bite; every guitar lead cuts; vocals stay just raw enough. There’s no fluff here, just purposefully tight lines designed to whip necks and leave no room to breathe between riffs. 

This doesn’t ease you in. If you’re not hooked by 30 seconds, you're not meant to be. But if you are, even remotely, the punch hits, and your brain follows. It’s pit-calibrated, heart pounding, and unforgettable. 

A lean, mean juggernaut of modern metalcore energy. Fates Messenger may have checks from the past, but with Eternal War, they’re writing their future and it's violence with intention. 9/10

Anchor And Burden - Sunken Fleet (Return Trip Records) [Mark Young]

Well, got to say that I will not hear anything like this again this year. In fact, I would say that in the three years or so of reviewing for this site I’ve maybe heard one or two other releases that occupy the same space of ‘not being anything remotely close’ to what I normally listen to. 

In that respect I have to applaud it for being so unique but what it does do is give me a headache of how I am actually going to review and adequately describe what it is like.

Sunken Fleet is the latest release from Anchor And Burden who describe themselves as ‘progressive avant-garde doom-jazz post rock’ a description that does not help in setting the scene for what you could expect here.

There is a concept at play here, with this album charting a course underwater following the events of their previous releases and I’ll say it again, if you can imagine what ‘progressive avant-garde doom-jazz post rock’ actually sounds like I bet you will still come up short. 

Over the course of the 5 songs here they provide what at first sounds like a collection of random noises, a beep here, a jangly chord there which leaves you scratching your head. Just what is it, what is it supposed to be doing? Once you go back in again there’s a feeling of the clouds parting and then you see that it isn’t random at all. 

Taking Sunken Caravan as an example the percussion on it lays that baseline and repeats, same as the bass which continually repeats that same pattern. In doing so it then allows for them to come in and colour and embellish these repeated measures. As each new addition comes in others diminish much in the same way as if they are alive, coming to you to assess you and see what you are doing. This might be a stretch on my part but that is how it landed with me. 

My initial thoughts to the album was this was just a random event, spread out over its length with no rhyme or reason and I guess that fans of normal metal may not be able to engage with due to this. 

Each of the tracks on here shares that similar approach and each time you have to put the work in to stay the course and listen to them all in their entirety. 

Will the length of the songs dissuade some from listening? I would say so, but if you are a fan of the band and have listened to their material before you will know what you are getting into. Its like a compelling soundtrack to a film not made, Dagger Dances has this guitar line that comes in and its like a spider moving on a web.

I mentioned that each song uses a similar approach but don’t take that as being they are the same. Each one is unique to itself, Abandoned Vessel is all bad feelings and discord, drums detonating around you as dive deeper into that wreck, that sense of unease as you investigate each room thinking in the back of your mind that something is going to propel itself at you. How you get on with this is going to be solely dependent on how open you are to trying new things and how prepared you are to give it a chance. 

It goes beyond standard ‘is it any good’ conversations because they don’t sound like anybody else. They have structure but not in a conventional way and given that generally our music is designed to hit you quickly that could be a turn off for some. 

I loved it because it asked me to put the effort in to listen to it properly and it would have been so easy to write a review based on a partial listen. I’m glad that I stayed with it, my only regret is that it is so late. 9/10

Burning Sun – Retribution (Metalizer Records) [Simon Black]

Burning Sun hail from Hungary, and for this project at least clearly think the starting and ending point for musical influence was that period in the early to mid-80’s when Noise Records were branching away from Thrash.

Blame the big labels for starting to sign bands and make it not so cool for Karl-Ulrich Walterbach to be associated with and realising that the nascent power metal scene in the form of Grave Digger or early Helloween - before it’s speedier take on traditional metal had got as far as getting a name of its own. Add in a tendency that far too many Power Metal albums in the intervening years to get a little too fond of concept albums, and you have Burning Sun to a tee.

In fact the production feels a little like it belongs in that age too, although I suspect that’s as much to do with the fact that with only two of them handling everything between them, that drum programming was clearly required whilst not being a core skill (although top marks for making the drum sound emulate the old Boss drum machine I used to use in my bedroom to cut demos in the late 1980’s with my mates). 

Actually, the production is a bit distracting, because the drum sound is as tinny as hell most of the time, although it fluctuates a lot throughout, but then given these two are doing it all on their own better than I could, I can’t complain. 

The trouble is the remaining instruments are a little richer on the range settings, so the overtly trebly drum sounds really distract from what would otherwise be a polished performance from the rest of the instrumentals.

Fortunately, Pancho Ireland (who also does all the guitar work) gives a powerful and charismatic vocal performance that carries the whole album, to the point where I would strongly recommend that they flesh out with at least one more pair of hands and see how much richer this could make things sound. 

I know it’s tough and expensive doing this all, but if a job’s worth doing, it’s worth doing well, and the homespun demo feel of the whole piece does grate after a while.

Which is a shame because the songwriting is really strong, and I actually found myself getting drawn into the sword and sorcery story underpinning it, which is a sign that they are on to something with this project.

But please boys a drummer, another six strings and a proper producer, and let’s make the next outing something special, because performance and songwriting wise, this is rather unexpectedly good. 6/10

Reinforcer - Ice And Death (Scarlet Records) [Matt Bladen]

German power metal with historical/dark fantasy lyrics about the Pied Piper of Hamelin, the Black Death or the Norse legend of the frost giant Ymir, it’s pretty easy to guess what to expect from the second full length record from Reinforcer. 

This is German heavy metal, inspired by the likes of Running Wild and Blind Guardian but with a few touches of the heavier American style on Five Brothers. Ice And Death has a darker tone in the guitars, and gruffness in the vocals but I don’t find too much interesting about it. 

The quintet can deliver power metal, harmony guitars, double bass kicks and big choruses but I found my attention wandering a little in in the middle of the record as there’s quite of bit of stuff here that is very similar in tone and very familiar with other power metal bands. I think as well for me power metal is made a lot of the time by the vocals and I’m not a fan of these ones. 

I’m trying not be negative as Reinforcer do have some strong points with tracks such as the closing melancholy of Bring Out Your Dead, the NWOBHM drive of Heir Of The Bear and the pirate metal leanings of Dead Men Tell No Tales but I was never really hooked by anything, it could just be me so make sure to check out the record yourself. 6/10

Reviews: Plaiins, Benefactor Decease, Abhorrent Expanse, Kallias (Spike & Matt Bladen)

Plaiins– Happy Faces (Longbranch Records) [Spike]

If you’re after subtlety or restraint, Plaiins aren’t your band. Happy Faces is a brash, bruising debut that bolts out of the gate and rarely looks back. Clocking in at just over half an hour, it packs thirteen tracks of noisy, post-punk swagger laced with teeth-grinding distortion and sneering charm.

The title track kicks things off with a tightly wound riff and a vocal that veers between sarcastic bark and frustrated yell. Dirty Fish and Be More Animal take that same energy and crank it further, ragged guitars, punchy drums, and lyrics that feel like they’re spat rather than sung.

There’s a wild-eyed urgency throughout, but it’s not without a sense of humour. Tracks like Hotel Biscuits and Amazon Warehouse are full of irony and grit, throwing shade with a crooked grin. Executive Me is all jumpy rhythm and twitching sarcasm, while Special K feels like falling down the stairs in a glitter jacket.

The production is deliberately raw, pushing the rough edges to the front. It doesn’t feel thrown together, but it definitely doesn’t feel polished. Everything is on the verge of collapse, and that’s exactly where Plaiins thrive. Closer Four AM slows things just enough to let the dust settle. It’s not introspective, exactly, but it’s the kind of comedown that feels all too familiar after the racket that came before.

This is music made for basements and dim corners, played loud enough to drown out the doubts in your own head. It might not hook everyone straight away, but once it gets under the skin, it doesn’t leave quietly. Loud, loose, and full of personality. Happy Faces doesn’t ask for permission and doesn’t need it. A cracking debut that deserves to be played with the volume firmly up. This stuff makes this face happy. 8/10

Benefactor Decease - Abnormal Attachment (Xtreem Music) [Matt Bladen]

Sadistic Satisfactions is quite a restrained way to open a thrash album, a melodic slow build with some classical guitar playing, only the latter part of the song really hinting to this being a metal album at all. Thankfully Archbishops Of Death erupts into some early stages thrashing and any notion of this not living up to it's billing is brushed away by pit inducing riffs.

Benefactor Decease are a band from Athens Greece and they've had something of a stop-start career so far, forming in 2007 but not releasing anything until 2015 when their debut came out vi Xtreem Music. 10 years later and it's time for the follow up, Abnormal Attachments keeps the old school thrash assault nice and strong.

However Benefactor Decease have a definite progressive sound to them reminding me of Coroner, Dark Angel and Voivod, the frantic shape changing of the latter takes full schizoid form on Imprisonment Atrocities, where constant breaks shift into other styles and ever a bit of classical music in the middle, and of course those vocals which only move on from the whispered delivery on Technophobic Syndrome where there's a hint of Slayer meets jazz.

Benefactor Decease will challenge hardened thrashers with it's intense progressive shifts, though if any of the bands I mentioned are up your street you'll be awkwardly moshing I'm your chair. 7/10

Abhorrent Expanse – Enter The Misanthropocene (Amalgam Music) [Spike]

Some albums announce themselves with a hook. Others drift in slowly before the storm hits. Enter The Misanthropocene doesn’t do either. It arrives like a building collapse, chaotic, overwhelming, and strangely captivating.

Across eleven tracks, Abhorrent Expanse blend freeform improvisation with the weight and hostility of death metal, and the unsettling textures of avant-garde jazz. It’s not an easy listen but I don’t think it was designed to ever be so. The opening title track is all fractured percussion and jagged brass, like a demolition crew scoring a horror film.

There are moments where the chaos loosens its grip just enough to reveal space, Crystal Proliferation In Subharmonic Space and Waves Of Grace both feel like falling into an alien landscape where the air itself vibrates. Drenched Onyx takes that unease and turns it into something suffocating, a claustrophobic swirl of drones, distorted horns, and bass rumble.

The album closes with Prostrate Before Chthonic Devourment, a sprawling descent into slow-motion dread, layering piano, electronics, and subterranean rhythms until the last note finally lets you breathe. It’s a record that resists the idea of background listening, once you’re in, you’re in for the whole ride.

This is music that demands patience but rewards it with an atmosphere unlike anything else. Not for the faint-hearted but utterly absorbing for those willing to surrender to the noise. 8/10

Kallias - Digital Plague (AISA Distribution/Sony Orchard) [Matt Bladen]

NY/NJ/LA prog death metal now as Kallias, derived from the Greek word kallos, meaning beauty/elegance fact fans, delivers some beautiful brutality on their new album Digital Plague which deals with and I quote: "technological collapse, internal conflict, and societal decay through a modern blend of death metal, ambient, and orchestral elements". So just the sort of thing I expected going into the record.

What I didn't expect was hits how good it actually is, having taken a few years to come together due to line up changes pandemics and the like Digital Plague is the record that strikes at the heart of the modern world with some intense modern death metal. The band draw influence from tech death, symphonic death and Djent as well with bands such as Entheos and Soreption mentioned in any blurb about them.

A good thing seeing as Entheos' Chaney Crabb provides vocals on one team and Soreption's Ian Wayne adds lead guitar to the title track. Kallias themselves are Nicole Papastavrou on guitars/vocals/production/song writing, Chris Marrone on bass/vocals, Erik Ryde on guitars and Justin Gogan on drums and this four piece lock in tight across 8 snarling, technical, extreme metal tracks.

Cinematic, djenty death metal with plenty of chug and technical skill Digital Plague is a great return for Kallias. 8/10

Reviews: Three Days Grace, Iron Savior, Supernaughty, Otherwise (Matt Bladen, Simon Black, Rich Piva & Cherie Curtis)

Three Days Grace - Alienation (RCA Records) [Matt Bladen]

Canadian rock band Three Days Grace now have two lead singers. Let me explain, originally formed with Adam Gontier on vocals, he left in 2013 replaced by Matt Walst, however in 2024 after a brief show where Gontier came back, discussions started and Adam was brought back into the group full time. 

When you think about how well the 'Pumpkins United' version of Helloween has done then it makes for good business sense to appease the older fans and newer fans alike by having Adam sing his stuff and Matt sing his at gigs, it creates a bigger audience going forward for definite so I can certainly understand it.

Three Days Grace are a multi-platinum selling band as well as being “one of the most-streamed rock bands in the world” so it's a given that their music will appeal to the masses, with focus on heartfelt ballads, emotive radio rock. 

Each song is written to go to number one on the Billboard chart so while those with heavier and more extreme tastes will turn their noses up at it, anyone who is a fan of this type of music and of course fans of Three Days Grace will approach this record with a cautious excitement as I'm not sure how well the dual vocals will work when I press play.

Titled Alienation, this record deals with inner collapse and outward defence, with lyrical inspiration from anxiety, addiction, heartbreak, disconnect from life, explored on Apologies especially where the electronic percussion propels the first ballad. 

However Dominate is actually quite heavy so it makes an immediate impact. Adam and Matt share vocals well, both taking leads on individual songs but mostly they are in some form of unison. Beneath them Brad Walst's bass is a major component took keep that modern throb on tracks such as Mayday.

The passion of Kill Me Fast joined by some fuzzy synths in the background as Neil Sanderson is in charge of these electronic layers as well as locking down the rhythms section behind the drum kit, those riffs on tracks such as the title track, the melodies on In Waves or acoustics on Never Ordinary come from Barry Stock, the latter aided by some strings too. 

There's a decent balance between the rockers and the ballads, the songs are slick and well produced, the lyrics hit hard on Don't Wanna Go Home and Another Relapse and it's exactly what you would expect it to sound like.

Fans will love that both vocalists are now in the band, if not just to stop any division there may have been, they integrate well together and the band cans still crank out top selling radio rock. 7/10

Iron Savior - Reforged: Machine World (Reigning Phoenix Music) [Simon Black]

For the last few years Iron Savior have been ploughing a parallel track, and one which reminds the listener of why they are one of the most significant pillars of the history of power metal. 

For my money power metal starts properly in its European form with Helloween despite the name not being applied until much later, but there’s several second generation acts who brought the genre into the public eye inspired by that originator, with Blind Guardian, Gamma Ray and Iron Savior probably being the most significant. 

As always when you are an act that has been going a long time, there’s a sense in the public ear that your best years are behind you, but I would argue that in this instance that’s absolutely not the case.

Iron Savior have been in an interesting position of late of continuing to produce blisteringly good new and original material (2023’s Firestar was an absolute triumph) whilst simultaneously completely re-recording, nay re-imagining, their original slew of albums that have been lost in the rights hell that came when Noise International’s back catalogue went up for sale several times. 

The lesson here being that you can be influential, as this band are, but if not as commercially successful as label mates Helloween, then the exorbitant legal costs involved in resuscitating the originals is not worth the effort.

Hence their continuing strategy of completely re-recording these disks and rebranding them under the Reforged banner. This is now the third such release, and like its predecessor’s illustrates perfectly why they were so influential, whilst showing their continued relevance because these re-forges don’t simply replicate the past but re-arrange and add more modern sentiments and feeling to the recordings. 

And let’s not forget that after thirty years no small amount of skill and experience get added to the mix, allowing the band to augment the original arrangements significantly with the flourishes of songwriting experience, not to mention the lessons learned from decades of playing the material to a live audience. Either way, as with it’s previous runs, this works exceedingly well.

All of the original albums dealt with a complex space age arc of stories about a self-aware spaceship but throughout the reforging process the band has flitted between tracks across the content of the first six albums in a seemingly random order, which means that no-energy needs to be spent trying to follow the storytelling. 

This frees one up somewhat and means you can just enjoy the tracks for themselves, which is just as well because with a double album worth of material there’s a lot to get through. And because they can, the band also pepper the recordings with covers material that fits the original material, with Judas Priest’s Starbreaker being an inspired compatible addition to the set.

The consequence is that these sound like a fresh and energetic young band discovering the genre anew, and that infectiously spreads to the listener. 9/10

Supernaughty - Apocalypso (Ripple Music) [Rich Piva]

Livorno, Italy’s Supernaughty make the leap over to Ripple Music for their third, and best so far, album, titled Apocalypso. Supernaughty are masters of combining killer stoner grooves with all sorts of 90s grunge worship, with all some other bits of fun mixed in. On Apocalypso they have perfected their formula with the eight killer tracks that make up their new record.

The opener, Poseidon, has quite the groove and is all you want in your stoner rock. Great vocals, killer guitar work, a solid and tight rhythm section, and production that has really captured their sound perfectly. Black Witch Mountain is along the same vein, just a bit more up tempo and with even more riffs. Great stuff. I love the gallop to this one. 

Amsterdamned is about what you think it may be about (confirmed when the band were on the Rich & Turbo Heavy Half Hour) and one that starts to incorporate more of the grunge side of the band, as they are big Alice In Chains fans, and you can tell on this one. 

Weird Science is also about what you think it may be about and has a very cool riff, with an almost “Scorpions do stoner rock” feel to it, and it very much works. Speaking of a track that gallops, Queen Of Babylon does just that, while kicking you ass at the same time. 

Another excellent vocal performance on this track, as on all of them on Apocalypso. I love the middle quiet part on this one too. In(O)culation rips it up and has a very metal riff that is super chunky as well. This is the most crushing track on the record. 

King Again is the most Seattle sounding track on Apocalypso, with the vocals purposely leaning towards the Layne and Jerry side of things, with excellent results. It is no wonder this is my favourite track on Apocalypso, especially when the pace picks up and the solo rips you in two. I also love the stoner rock heaviness on the closing title track. A fitting way to end what is the best record of their career so far.

Supernaughty and Ripple Music are a perfect match, especially give how great Apocalypso is. A lot stoner, some grunge, a dash of classic metal, a boatload of fun, and one ripper of a record. 8/10

Otherwise – Some Kind Of Alchemy (Seek & Strike) [Cherie Curtis]

Otherwise has dropped Some Kind Of Alchemy which is a 6 track EP of nostalgic hard rock reminiscent of the mainstream rock we heard in the late 2000s, with tracks that sound like they should be featured on Tony Hawk Pro Skater. 

They're fast paced, upbeat and very enjoyable. The vocals are clean and smooth, complimented with signature crisp guitar solos and heavy drum rhythms. Each track feels expert and refined which is not surprising since Adrian and Ryan Patrick have been around for just over 20 years, they still know how to get us moving.

A personal favorite from this album is Shapes Of Metal, its melodic and gentle with a catchy chorus and features vocal layering and a powerful metal scream vocal which serves as a breakdown near the end. 

Some Kind Of Alchemy offers a smoother and somewhat gentler tone to their past creations, this one prioritizes vocals with instrumentals being complimentary rather than in the limelight. Emerson Road is a stunner almost acoustic in feel and vastly differs from its counterparts and works well as an album closer.

Overall, Otherwise has brought us another good one, it’s well produced and catchy though vanilla at times. It’s not my specific taste however i can see the appeal. 6/10

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

Desert Storm, Sergeant Thunderhoof, Wall, The Gryphon Bristol, 16.08.25

I hate traffic, I especially hate traffic on the M4, it doesn't matter what time of day it is what time of year or how early you leave, it always seems as if it's a race against town to get to where you want to go in the time it would take.

Leaving Cardiff with what we thought was enough time to get to The Gryphon for this show, it seems every issue that could happen did happen which meant that we weren't able to arrive in time to see the debut show from Bristol doomsters Zycie, this was extremely annoying as it was due to outside factors but I'm sure that I'll be able to catch them again sometime soon, and by all accounts they smashed it.

So into the heart of the Bristol Metal Quarter, the true bastion of heavy metal in the city, and on a day like it was on this Saturday, an absolute furnace inside Mr Ashby's front room but in the face of what Aunty Donna told us we went into the kiln for the riff slinging duo that was Wall (8).

Formed by Ryan and Elliot Cole, Wall is a side project for the brothers when they're not rocking out as part of tonight's headliners and what they do is get you in the good groove, with just guitar and drums they got the head nodding from the first moments as they cranked out tracks from their debut album which was rated highly in these pages.

Throwing in a Karma To Burn cover to show off their influences, their set at Bloodstock had been a massive triumph to many, but seeing them shaking the foundations of The Gryphon was a intimate but ear ringing experience.

With 30 minute change overs so we can all cool down, aided by the plentiful supply of refreshments on offer (seriously you have to try Lonkero), it was once more into the breech for this local lads of psychedelic/progressive/stoner Sergeant Thunderhoof (9) who shook up their set a little from previous gigs in order to work give many of the long term fans something a bit different.

Starting with the majestic Avon & Avalon Pt2 it was immediately clear that the addition of Josh Gallop on second guitar has been an absolute asset to the band as it means they sound fuller live, with always someone doubling up on rhythm duty with Jim Camp's heavy bass lines, Gallop and Mark Sayer make for a premier pairing giving Hoof their heaviest and most dynamic sound yet.

Even straight up rockers such as Devils Daughter just sound meatier, the drumming from Darren Ashman reverbing around the room with as Dan Flitcroft's vocals have a wooziness too them, melodic and towards the higher end it's part of the prog/psych influences for the band as he brings emotion and clever lyrics to tracks such as Stolen The Words and Afterburner, the latter a bit of deep cut which the band will be focusing on with up coming tours, those older tracks that are rarely played.

So I can't wait for that as I'm a late comer to the band however any and all conversation was cut short by the stoner metal racket that was beginning upstairs. The pride of the Oxford heavy scene as a band, promoters etc Ryan and Elliot returned to their positions of guitar and drums along with guitarist Chris White, bassist Matthew Bennett and singer Matthew Ryan to once again bring the loud to Bristol.

Named after the light speed battles of the First Gulf War, Desert Storm (9) always feel like they want to bomb you into submission with heavy stoner that brings in prog, sludge and a lot of Southern swagger too. Imagine Orange Goblin jamming with Down and you'll be on to a winner, as the fat riffs mix with gruff vocals as the band almost welcome you with antagonism. You feel part of their family but also like they want to rip your head off, it's exhilarating.

I love Desert Storm and with Orange Goblin calling it a day at the end of the year they have to be considered the natural successors, the set showcased this too taking the majority of songs from their last two albums; Death Rattle and Omens, there was time for a few deep cuts from them as well making sure that everyone inside the packed out, sold out Gryphon was satisfied.

Any chance to see Desert Storm or Sergeant Thunderhoof live shouldn't be missed, they're two of the flagbearers for UK riffs and in this intimate, scorching setting they showed that no matter the size of the stage the riffs are still gargantuan.

Reviews: Dinosaur Pile Up, Mob Rules, Burning Witches, Sugar Spine (Matt Bladen, Simon Black, Cherie Curtis & Spike)

Dinosaur Pile Up - I've Felt Better (Mascot Records) [Matt Bladen]

During the COVID pandemic Dinosaur Pile Up frontman Matt Bigland found himself isolated away from his loved ones and suffering with Ulcerated Colitis, a disease that saw him in admitted to hospital in the middle of the pandemic, with a life threatening illness, on a ward of six people as only three made it out.

It’s a hell of a reason as to why it's been so long since the last time Dinosaur Pile Up released a record. Matt has had to re-evaluate what he wanted out of life, balancing that closely on the edge of life, experiencing being more vulnerable than ever he's ever been he needed an outlet, the two double shot of the raging ‘Bout To Lose It and the pop punk title track extolling these feelings of being sick and tired of being sick and tired. Of course the introspection and sadness is counterpointed by Dinosaur Pile Up’s bouncy alt rocking which has a punk snarl and a grunge moodiness, Sick Of Being Down having a strong Nirvana influence.

In the interim between the records he's got back his wellness, married his girlfriend Matt's love for his wife spurring him on to get better and while there's a lot about this record that is harrowing or unsettling, there's a strong theme of love across release, Big You And Me and Quasimodo Melonheart for instance both have a strong theme of affection and togetherness (the latter doing it with some Elvis Costello style). Their fifth album which is a record of defiance, resilience and acceptance, triumph over adversity. It’s also catchy as all hell, choruses are immensely singable, and the music makes you want to move and join in with the fun of Punk Kiss or Big Dog.

If their last album was make or break, then I've Felt Better is an album inspired by the lowest ebb and has them performing without fear, an attitude of doing what they want musically and having no one to please but themselves. I’ve Felt Better is a record of relief, the Beastie Boys meets Beck rap vocals and clever lyrics meets classic metal of My Way or the transitional Sunflower summing up the renewed focus of Dinosaur Pile Up on their most personal record yet. 8/10

Mob Rules - Rise Of The Ruler (RPM-ROAR) [Simon Black]

You know what fills me with more dread when I start listening to a new record? A spoken word introduction to a ower metal fantasy concept album. And this is coming from a guy who loves power metal, used to love a good D&D campaign back in the day, whose favourite series of books include Tolkien and Donaldson and whose TV streaming platforms are pretty much dripping with the post-apocalyptic.

The trouble is that halfway through my fifth decade orbiting this benighted rock, there isn’t much that hasn’t been attempted before when it comes to music. To the point of excess when it comes to this kind of cookie-cutter power metal, because there must be a hundred albums a year of this style of stuff coming out every year, so it’s really hard for anyone to make a dent in the market when there are dozens of bands ploughing very similar furrows for a share of a limited appeal market. Which is kind of ironic here in the UK, because power metal is very much a central European thing and has struggled even more to break into the UK.

Which is why it’s so incredibly refreshing that even with the initial “Please No” sense of dread instilled by that intro track, that I really should have known better and trusted that a set of old pro’s like Mob Rules would have this in hand. It may drip all the power clichés and tropes, but this band has been around in one form or another since 1994 and know what they are doing. Although vocalist Klaus Dirks may be the last man standing from that original line up, he’s still got an experienced set of hands behind him and one that knows how to keep thing to the point in the songwriting department.

After thirty years self-referential nostalgia gets very tempting for any artist trying to recapture their peak, and this release apparently picks up and closes the story started with their debut Savage Land in 1999 (and indeed it’s sophomore a year later), so I’m not going to dip into the story. These things are best left to time and repeated spins to unpick, but what rides high is the well-crafted and catchy anthemic structures to the songs. Dirks doesn’t have a massively over the top vocal range, but what he delivers he does with guts, gravitas and sheer powerful confidence, and he’s very much the melodic focal point of what this band are delivering. 

That said, this album continues the trend the band have adopted of a twin guitar attack, although I do struggle to find many stand out songs that are going to pull in a new following, although Dawn Of Second Sun comes pretty darned close. That said, it does what concept albums need to do and frequently fail to deliver which is a consistent and sustainable listening experience, running from start to finish without feeling drawn out and overwrought. That said a couple more stand out anthems would not hurt… 7/10

Burning Witches – Inquisition (Napalm Records) [Cherie Curtis]

Burning Witches brings us Inquisition which has 12 tracks of glorious and loud power metal, each track is flourishing and mighty. Main vocalist Seraina Telli has outstanding vocal sustain and the deep, raspy vocals are met with high harmonies creating addictive hooks and luxurious texture.

In For The Kill and Mirror Mirror are both fast paced and has interestingly layered, they have catchy vocals with piercing guitars and whammy slides that reminds me of early Iron Maiden. In The Eye Of The Storm features high personality guitars which builds upon the mythic narrative of the album then we are met with collective beats from the entire band which creates a dynamic build up to an unforgettable chorus.

Release Me, is a personal favourite from this album. It’s a bit slower than the rest however its consistent with the power. Each beat is deliberate and heavy, and the vocals are clean and affecting. Inquisition is not an album to be taken lightly, it demands to be listened too and there isn’t a dull moment. Burning Witches has given us another standout album and it’s going to be a crowd pleaser. 8/10

Sugar Spine – Violent Heaven (Prime Collective) [Spike]

This EP is a five-song sprint, sixteen minutes of bruising, genre-blurring modern hardcore that feels more like a fist to the jugular than music. Sugar Spine emerge from that sweet-sounding name with snarling ferocity, blending metalcore, deathcore, and chaos with no apologies.

Opener Burnt Beyond Recognition pulls zero punches. It’s an immediate roar of frustration, a compact anthem for those waking up numb. Next, Stomping Ground doesn’t let tension out. It gets tighter, and more pummelling. It is perfect for a pit or headphones turned uncomfortably loud.

By the time To Fade Quietly hits, featuring Half Me, the EP shows it’s more than aggression. It layers in melody and grief, grinding rhythm under emotional gravitas. It feels like admitting loss and then doubling down with broken machines and sobs in guitar form.

Chrome Coloured Ribcage shifts gears, slipping into a nu-metal groove without wearing the tan-pant clichés. It nods toward Slipknot-era approaches, but always-within Sugar Spine’s vocabulary. And finally, Violent Heaven, the title-track, brings it home: widescreen chorus, clean vocals that hang in the mix like smoke, and enough heaviness to feel ritualistic.

Production feels sharp and urgent, everything is audible but never over polished. There’s grime on those guitars, venom in the vocals, and just enough clarity to catch the weight behind each riff. If your attention span is shorter than a hangover memory, this grabs you fast and doesn’t let go. It’s raw, compact, and fully committed. It’s a late-night drive in a thunderstorm, or the sound of unresolved anger crystallized in song.

Relentless, vivid, and emotionally bruising. Violent Heaven isn’t just hardcore, it’s survival music for when everything else feels lost. 9/10

Review: Deftones - Private Music (GC)

Deftones - Private Music (Reprise/Warner)

The word legend seems to be thrown liberally around in the music scene and somehow loses its meaning at times, however when it comes to Deftones, I’m not sure the word is even big enough to describe them. 

Since the beginning of their stellar career, they have released some of the most important albums in the metal scene period. 

Their catalogue has highs and lows as all bands do but when they are on point, they are truly untouchable, it’s always a pleasure to hear new music and now we have new album Private Music to add to the collection, how does it fit into their story?

My Mind Is A Mountain is a sweeping and urgent opener that harks back to the Diamond Eyes/Koi No Yokan era, full of dreamy atmospherics and charging riffs and distinctivly beautiful vocals it’s exactly how you would want to start an album.

Locked Club carries on the same sort of feel but is more melodic and grandiose without ever going to far, it has the perfect distillation of the new era of Deftones sound and is all done in just under 3 minutes of gloriousness.

Eysis taps more into the Gore era and it’s jagged intro cascades into some more big riffs and echoed vocal patterns that never stick around to long before swooping back into the more electronic atmospheric beats but they never leave us hanging and the chorus is absolutely wonderful and epic and the juxtaposition of sounds works in a wonderful way.

Infinite Source is more of a slow burn, that I think is going to take a few listens to really appreciate in full, the way the song dips in and out of its flow disrupts the equilibrium slightly and of course there is all the individual parts you expect but somehow it takes slightly more effort to piece them together on this song. 

There is a familiar Passenger type feel about Souvenir and I say this with the highest praise as that is one of my favorite Deftones songs and the warming atmosphere just radiates out of this song in such an effective way you just get lost inside it.

The mood just keeps building and pushing and by the end you just feel like you are on another planet the riffs are heavy but all subtlety beautiful and of course Chino’s vocals wrap everything in a blanket of beauty and the way the rest of the band create the soundscape to carry everything is just utterly jaw dropping an absolute must hear track.

cXz is then a more typical and forward thinking track that rudely jolts you out of your calm state of mind but it’s one of those sort of slowly, softly heavy but never to over the top type tracks because that might be an unwise choice at this point and when these guys make decisions when they are on this type of form they are usually correct ones!

I Think About You All The Time sees the tone and tempo slowed right down and creates a really emotive and warm feeling that other bands may aim to do but will just never manage to pull it off like it is done here, it tugs on the heart strings and grips them tight from start to finish. 

Then the recently released 2nd teaser track Milk Of The Madonna is a rousing and rowdy return to a more alt-metal sound that has become a staple of the sound, being wrongly dumped in the nu-metal scene may have been the best thing that ever happened to Deftones because it forced them to re-evaluate their already groundbreaking sound and they have absolutely nailed it here!

Cult Hands has a distinctly early era vibe to be song, with some of the verses almost rapped, but not in a shit way it’s a more staccato approach to the vocals and it delivered with power and force while the music is a mix of soft tones and some more huge guitars but it does feel like its lacks a bit of direction and is probably me least favorite track on the album, I mean there has to be one right? 

Metal Dream doesn’t sound too different, and I wonder if I have mixed up the tracks but I haven’t and here the main verses do actually have a bit more about them and it fits together a lot more coherently and doesn’t tail off towards the end so feels like a more complete track.

Departing The Body is the last track and it has the feeling of an album closer, with a slow, brooding build up of soft strings and electronics, it almost flows into life as opposed to exploding, but that not necessarily a bad thing, the way the atmosphere is created and held onto without having to just resort to throwing heaviness in there is something that a lot of other bands could learn from, it’s yet another song that just takes hold of you and makes you just ignore everything around you and listen, it’s a mesmerizing and engaging way to close this album out.

It’s really a once in a lifetime thing that a band like Deftones come about, the they have had amazing highs and devastating lows in their career, but they just keep coming back with new music, and while some albums haven’t quite hit the mark and some have been phenomenal, you can mark down Private Music as the latter!

From the minute this album kicks in to the very last note it takes you on a journey and makes you appreciate just how special this band really is! Some may disagree and honestly, I couldn’t care less because if you listen to this album and don’t think it’s anything but utterly triumphant and brilliant then there really is nothing I can do or say to help you! If you plan on doing anything today, make your top priority listening to this amazing album, you will not regret it. 10/10

Reviews: Car Bomb, Solace, Retching, Afghan Haze (GC & Rich Piva)

Car Bomb - Tiles Whispers Dreams (Self Release) [GC]

Car bomb might be one of the most underrated of all of the tech/math/jazzcore bands out there, they have released some absolutely mind bogglingly mental music throughout their career so far and deserve to be absolutely massive but never seem to have broken through and conquered the world, so clearly I am a fan and I hope this new EP Tiles Whispers Dreams keep the good run going.

Blindsides has a blistering and jagged beginning that then drops down into a droney and sludgy but still intricate and technically beautiful with plenty of twists and turns and always manages to keep you engaged and intrigued all the way through and they even manage to throw in some off kilter yet still hauntingly beautiful melodic section midway to really mix everything up, Paroxysm is a bit more straightforward thinking and focuses on pure blunt force attack, the mid bending rhythms and techniques are obviously still there but there it feels a lot more streamlined and intentional.

There aren’t as many tangents or time changes thrown in and the song is fairly short so doesn’t need to be overcomplicated and just like the Tiles Whisper Dreams is the last track and it has a more epic feel to it then the previous tracks, it feels like the production has been beefed up as there is just a whole new level of thickness to every guitar and the drums sound punishingly violent, the song has a new different rhythm to it and around every corner there is something new to be heard, not repeating much is a definite strong point for Car Bomb and an appeal for someone who doesn’t like to be bored when listening to music and it all blends in to create a worthy ending.

I probably knew going into this exactly what score this was going to get as in my humble opinion over all the years I have been listening to Car Bomb they have never had a bad release and Tiles Whispers Dreams is a worthy addition to an already immense back catalogue. If you like Car Bomb you will undoubtedly love this and if you are hearing them for the first time then this will easily make you want to delve into their other releases and that has got to be worth listening to it for! 10/10

Solace - Further: 2025 Remaster (Magnetic Eye Records) [Rich Piva]

Solace is one of the first bands that got me back into the heavy stuff and got me really paying attention again to the stoner/metal genre with their release of the amazing album The Brink in 2019. But Solace had been around for over two decades before that record dropped, with multiple different lineups but the same killer heavy stoner/metal goodness. 

Their debut record, Further, out of print for a long time and originally released in 2000, has been resurrected by Magnetic Eye Records for a new vinyl pressing that includes some great extras that have new been released before, until now, and allows this underrated classic to be heard by the masses for the first time in a long time. Great timing to re-introduce this record as the band is prepping new material, which everyone should be very excited about, but this is where it all began.

The New Jersey band was different when Further was released, most notable was Jason Limpantsis on lead vocals, who sadly passed away this year. Further is owned by Jason, as his vocals really doubled down on the heaviness of the songs and partnered perfectly with all of the riffs and Sabbath-y heavy blues vibe of the record. 

Just check out Black Unholy Ground for the proof of this. Solace was really ahead of their time and were (are) experts of incorporating all sorts of different styles in their songs, from the aforementioned Sabbath worship, some serious metal licks, the driving stoner grooves before the masses were doing it (Whistle Pig), some sludgy parts, and punk and hardcore ethos picked up while coming up in the NJ scene (see: Followed). 

All of this makes Further pretty much a perfect record. The repress/remaster sounds excellent (got my vinyl yesterday!) and Magnetic Eye did us all an even further (pun intended) solid by giving us some bonus tracks to this already amazing record. This included some cool covers, like their version of the killer Skynyrd track On The Hunt that shows off another one of their broad influences and styles, right next to a Misfits cover, We Bite, which is a perfect microcosm of what Solace was all about on Further. 

There is also a killer version of one of the best tracks on Further in the form of Heavy Birth/2-Fisted (Distanced From Reality Version), some slow burn heavy psych until the sludge kicks in with Dirt, as well as a glimpse into what the band sounded like live during that time, with their cover of the James Gang classic, Funk 49.

We all owe Magnetic Eye a debt of gratitude for bringing back this classic, influential, and monumental album. It deserves to be heard by everyone who loves what is going on in the scene today, because without records like Further and what Solace was doing in 2000 this thing we love would look and sound a lot different. RIP Jason, and long live Solace. 9/10

Retching - Charming The Decomposed (Transcending Obscurity Records) [GC]

I’ve been away for a while, busy with life stuff and so on, so to ease my way back into reviewing I have something from one of my go to labels for death metal, Transcending Obscurity, from most previous reviews it may seem like I am on their payroll, I can assure you I am not, they are just a great, consistent label who generally release great music on a regular basis. This week it’s the new release from Retching, Charming The Decomposed.

It takes Moonlight Perversions- Gorging On Ecstasy a while to get going as it has an unnecessarily long sample as its intro but thankfully when it does get going there is no messing about its just feral, pounding death metal, nothing fancy and no subtleness in any part of the track, it has a bit of an old school Carcass feel to the sound which helps things massively and gets us off to a good start. Premature Decapitation absolutely flies out of the blocks and gets a bit messy in places as its just full steam ahead but this also adds to the charm, its not polished or pristine, its rough and dirty and sometimes death metal needs to be taken back to that place to remind everyone where it came from.

The same sludge like production drips all over Shower Curtain Silhouette and the same grimy and downright filthy sound permeates the track as a whole and the main riff in the song is infectiously catchy, it has rhythm and groove mixed with equal parts brutality and it’s an absolute blast to listen to. Foaming is another rough and ready sounding song, that once again does sound a bit messy and all over the place time and syncing wise but none of this really takes any of the enjoyment away, it just sort of adds to the charm of the whole thing! 

The beginning bars of Vulgar Celluloid Trophy goes for the slower and more swampy Florida style of death metal and wile I’m not saying it sounds exactly like Obituary, I’m not saying it doesn’t either, it doesn’t take long for the thrashy death metal to take back over again and it’s a nice way to shake things up and show what they can do. It takes until Septic Entombment for some parts of the sound to get a little grating, as before the charm was there it now starts to get a bit annoying in places as the chaotic bits are sounding that little bit too messy and you just want them to concentrate more, but then they manage to pull it out of the bag towards the end when they show a little more composure and reign it in they show that can create some hulking groove laden death metal that you just want them to concentrate on as this is what they undoubtedly do best! 

I’m not really sure what purpose Fetid Abattoir serves as it’s an instrumental and its not even a very good one its slow, laborious and ultimately very boring and its just not really needed at all, thankfully they end on a more positive note on Mortuary Of Desire which has all the high points of previous songs and even manages to not get messy in any parts, it’s just one last solid blast of gory old school death metal nastiness.

Most of Charmig The Decomposed was a highly enjoyable listen and you can forgive some of the rough around the edges-ness as it’s got some genuinely disgusting grooves in there and provides you a with a glorious reminder that all death metal doesn’t need to be glossily produced and razor sharp. It can be dirty, it can be lo-fi, it can be whatever you want as long as it sounds good and for the most part is does here, of course there were bits I didn’t love and some that got slightly annoying but for the most part these are easily overlooked and shouldn’t take away from what is a very good album. 8/10

Afghan Haze - Sermons Of Filth And Disgust (Self Released) [Rich Piva]

In the official group chat of Musipedia Of Metal, it was questioned as to why I had let an album that was not yet claimed to be reviewed simply labelled “Booze Weed Satan” as the genre description slip by me. This is a valid point, given the albums I usually grab as my own to review with the fervour of the most loyal member of a Tik Tok dance cult. Anyway, here we are, we me reviewing the new Afghan Haze record, Sermons Of Filth And Disgust. Indeed.

The first think we need to talk about are the vocals. These are the opposite of clean, so you need to be okay and ready for that right off the bat. It’s not subtle with the opener, Copperheads, which is slow, crawling death doom. Same with the track Hogs Breath. This record sure is heavy, with case in point being You're Marked which exists to kill you. You can hear it in your voice. 

The evil sounding The Butcher is very sludgy, as New Orleans as you can get for a band from Connecticut. I think the band excels when they go the death and roll route, like they do on Phoebe, the most up-tempo track on the record. I am sure the guys in the band have the Acid Bath records, considering the track Coffin Burners, which is also great. Hammers and Wolves is more death and roll than death doom, and continues the effort to destroy you.

The biggest challenge for most on this record will be the dirty, dirty death vocals. If you dig that though, and you like some heavy, sludgy, New Orleans sludge via Connecticut, you will probably dig Sermons Of Filth And Disgust. If clean vocals are you thing, then you may want to skip this one. 7/10

A View From The Back Of The Room: The Blackout (Alex Tobias)

The Blackout, BlackGold & The Brass Bambees, Chepstow Castle, 16.08.25

I am back reviewing a gig in a castle, like buses two came along one after another. This time I am at Chepstow Castle to watch headliners The Blackout, who were main support for Funeral for a Friend at Rock the Castle in Cardiff for my last review, with support from BlackGold and The Brass Bambees.

Any bands I don't know before I see I always have a look and listen to what they are all about to get a sense of what I am about to watch, The Brass Bambees (7) are defiantly a band you should be keeping an eye out for in the future in my opinion. Coming to the stage with a near capacity crowed the smiles were beaming from there faces, no fancy recorded intro just straight into a song, With a wall of indie rock smashing drums that transition to hardcore post punk drums when the song needs it, and punk rock vocals very similar to Dennis Lyxzen from Refused but with that awesome Welsh twang in the accent from singer Rhys Davies. 

I recently saw The Melvins in Bristol and very much see The Brass Bambees being on a bill with them, the guitars and bass come at you hard especially the bass tones, keeping your body moving with hardcore punky grooves while the guitars have that classic indie rock uplifting choruses. There is a gritty energy to every song that bites at you, a song that stood out for me was Modern Cassanova, a love song straight from the streets of Merthyr, were the band are from and formed in 2022. Sounding and looking very at home on stage I was surprised to hear from Rhys that this is the biggest gig they have played so far, not something you would think from the presence and attitude they have throughout their set. 

I was very impressed with The Brass Bambees or The Bambees as I think they are going to be known from now on, like I said earlier most certainly a band to look out for in the future, can most certainly see them playing some big venues and playing with some huge bands very soon.

Next up we have New Nu Metal or rap Metal or whatever you want to call it, I call it dam good music, BlackGold (7). Entering the stage with their well known black and gold attire, face masks, Think late Nineties dress code but different variations of the band colours but dam these lot pull it off with style and machismo. 

Being the age I am this is my music era all summed up in one set, back when I was going through late end of school days and college it was the age of Nu Metal, I can see why BlackGold get the label but its so much more than just a nostalgia tribute act, this band is a force of its own in all aspects. You hear the modern influences in their music in each song with the chugging djent guitar riffs that bounce back and forth from bouncing half times to classic Nu metal groovy verses. 

A song that stood out was the 2022 single On Another Level, leading to the song we had a medley of classic old school rap songs including Simon Says by Pharoahe Monch, the groove on this song will keep you moving and dancing throughout, "oh yeah this is Renegade music, slick rick type of s#it, on another level with it" a chorus that has almost everyone chanting by the mid of the song. Fast rapping verses into punching catchy choruses is what this band does best and On Another Level got me bouncing. 

The stage presence from all members were excellent, confidence oozes from these lot, slick and look at real ease on stage and handles an audience effortlessly, even with the elder emo jokes thrown in from the vocalist which lets face it the majority of people at this show is, me having lived through it also. BlackGold are obviously a band you have to like Rap and metal and when there is such a musical culture clash it can either bomb or have an entire era dedicated to it and a new genre created from it, BlackGold sit in the Musical genre that became infamous but don't just rely on past glories to win over fans, with enough creativeness and forward thinking that can please both ew fans and fans of old skool Nu Metal.

Having seen The Blackout (8) recently supporting FFAF at Cardiff Castle but only getting a shorter set I was happy knowing I was going to get a full unedited set. Straight into first song Higher And Higher the crowd go wild, lots of energy from all on stage including the always classic mic spins from singer Sean Smith, The Blackout have more energy onstage than a washing machine on full spin with 4 house bricks getting a wash. There is plenty of banter from Sean and other vocalist Gavin Butler, many of times throughout the set actually made me laugh out loud with how funny they are. 

We move on to more past songs including said and done and The Children Of The Night from their 2009 album The Best in Town, in between two more songs we get both vocalists giving praise to both supporting bands and thanking everyone that has come as this being their only headlining gig this year and no more gigs planned, saying they feel so privileged and humbled that the gig happened and that "people still show up to see us". With the sing along Children Of The Night done we move onto pit moving songs like STFUppercut and their last release Wolves. Every song is met with an 800 year old castle echoing with lyrics from The Blackout songs, band and crowd not skipping a beat next with the classic song Save Ourselves ringing out for miles and miles. 

As we head to the end of the set a song that was teased earlier in the night by the crowd chanting it was I'm A Riot You're A F~cking Riot, not what I was expecting to close the show but a song that had everyone bouncing and shouting "Riot! Riot!" at the top of their lungs, singer Sean decided to abandon the stage half way through and just join the crowd in the pit for the last song which was so good to see them having so much fun together. Knowing of The Blackout out since them getting started to now and never seeing them to seeing them twice in the space of a month has been a strange experience, knowing I never saw them in their prime so to speak for me a newbie to watching them live I feel like they could easily be a top up and coming band out today and do really well. 

Reading through a few promo posts from The Blackout leading up to this gig I noticed a comment by the band to a fan who said "Could we hear new music in the future" to which the band replied "we genuinely believe that not enough people would care and that isn't a "woe is me" message, there's a trillion bands making new music that never gets seen, we don't want to dilute the pool even more, we have had our go, if people still wanna come jam to the old songs then cool"

I get it and on one hand think its very nice to hear this and them being so supportive to new eras and bands but on the other hand I am very much in the opinion that if any new music from The Blackout was released there would be a lot of interest from new and old fans around the world. 

Superb venue, great support bands and one of Wales best music exports headlining.

Review: My Silent Wake - MMV – MMXXV (Matt Bladen)

My Silent Wake - MMV – MMXXV (Ardua Music)

A 20 year eulogy? Or a celebration of 2 decades of emotive doom? The gargantuan two disc compilation MMV – MMXXV is both, a celebration of My Silent Wake but it also feels like the closing of chapter. The band play their last ever live show at One For Sorrow at the end of this month and with this album released just a week before, it’s a preparation of the sadness to come but most importantly a celebration of sadness, twenty two tracks in reverse chronological order detailing the journey of this vitally important part of the UK/European death/doom scene.

They haven’t just compiled a load of old songs though, as I said this is a journey in reverse taking in all of the facets of the MSW career path be it the gothic organs of Lavender Garden alongside The Liar And The Fool from a more recent release, the experimental ambience of Volta or the acoustic led moments such as Tower Walk or the Jethro Tull folks of Light And Shadows. There’s also two live offerings as well to explore the live potency of the band too but long-time fans will be salivating over the prospect of a reworking of the epic Hunting Season, the track which begins this compilation,.

For me though it’s A Bleak Fateful Night that brought a few tears. A tribute to former MSW guitarist Mike Hitchen who tragically passed away last year, Mike was also a founding member of South Wales melodic doom band The Drowning and is incredibly missed by all those who knew him, so this tribute hits hard as it’s got all of the elements you’d expect from MSW in one song as they remember their fallen friend with a monster of a melodic doom masterpiece. 

Emotion plays a huge part in their music, for all the bluster of the death/doom tracks like Of Fury or the progressive melodies meets massive riffs of Killing Flaw, its reflective string-laden beauty of ones such as Berceuse that get the hairs standing on end, a simple piano, cello, female vocals and you’re in the world they have created the musical influences of religious music strongly present here when the choirs and operatic vocals come in. To this day My Silent Wake is led by Ian Arkley (guitars/keys/vocals), MSW is his creative vision inspired by the Peaceville Three of course as all death/doom acts are but there’s also plenty of 80’s postpunk on tracks such as Third Season along with all the nods to Pink Floyd with the shimmering guitar lines.

Due to the reverse order of the record, if you’re after My Silent Wake at their heaviest then the last moments of disc two are where to start, this is when they were death/doom in their rawest form, including Your Cold Embrace the first song they ever recorded, before the experimental/melodic influences came in to give them a more cinematic style, though Shadow Of Sorrow shows these were prominent from the beginning.

Of course I can’t tell you every single member that plays here but the current line up features Ian Arkley as I’ve said, Adam Westlake on bass, Gareth Arlett on drums and Simon Bibby on keys/vocals and they have all be part of the band for at least 10 years, so they will know these songs inside out come the final live performance on 30th August in Plymouth, whatever they decide to play. It will certainly be an emotional set so I suggest if you can’t make it, and even if you can to pick up MMV – MMXXV and re-discover the undeniable legacy of My Silent Wake, more than a retrospective, it’s a historical document of a musical evolution, and this is My Silent Wake’s legacy. 10/10

A View From The Back Of The Room: Kerry King (Mark Young)

Kerry King & Fear Factory, Academy 2, Manchester 12.08.25

Well Manchester has turned out tonight, the warmer than expected weather adding to the sights and smells as we queue up. A healthy mix of Fear Factory and Slayer tees are present, with a full complement waiting for merch. The Academy have been spot on getting people in and out of the still hot sun and as the room fills up ahead of FF kicking off proceedings, they've turned the AC on.

There's a great mix of ages too, dads with sons, old metal heads and plenty of battle vests on display. Some taking advantage of school being out and why not. The pre gig soundtrack is early 90s dance, which shows how things have changed since then as treating us to the out here brothers I think would have resulted in bottles being thrown.

Fear Factory (9) are treating us to Demanufacture in full, ripping through the first 5 tracks like a tornado. Dog Day Sunrise is excellent, far better than I expected as I never dug it originally but live it works so well. One thing you can bank on is Dino and his tremendous picking ability and his sound which is heavy and possessed a clarity to it, displayed on Body Hammer which is super tight, same as Flashpoint. Milo is moving, owning the crowd in a way that shows how much he's grown into that front man role. HK – Hunter Killer continues that run of bangers into Pisschrist non-stop. You forget just how good this album is, and FF are here to remind you of it. 

A Therapy For Pain is turned into an impromptu tribute to Ozzy, with phone camera lights taking the place of cigarette lighters and it’s handled with aplomb, a fitting statement and tribute. There is time for one more and they deploy Lynchpin, somehow getting the crowd to go mental that one last time. I saw them here on their last headlining tour, and if anything, it’s a better experience tonight. The crowd are so into it and its one of the best band performances I’ve seen with the audience giving as much energy as they can. La King will have to be on top form tonight to do better than the FF set, that much is certain.

I didn't think it was possible for it to get any fuller, I was wrong and now it's a game of heavy metal sardines as we wait for the final set ups on stage. Is it remiss of me to say I'm not that familiar with the solo material despite being a massive Slayer fan? I reviewed it but I'll be honest it didn't land as well as I'd hoped. Still, any opportunity to catch it live is not to be passed up and there is a hope that the live setting will give it some additional oomph in delivery.

The first thing that is apparent is that each member is taking this very seriously, Phil Demmel is singlehandedly geeing the crowd back up, Kyle Sanders is everywhere with dreadlocks flying and Mark Osegueda is spitting the lyrics like fire. Of course, Kerry King (10) does get his fair share of bad press, but you cannot fault him on stage. It’s a full team effort in making sure these songs detonate with us.

Opening with Where I Reign, its straight in and hits like a different song, its energy and the bands kinetic movement making it sound furious. It’s amazing how good it is live, and they don’t take a break until Two Fists, Mark taking centre stage whilst the rest refresh and regroup. It’s a different kind of metal from the super-precise riffing from Dino, but it still achieves its purpose of giving you a beating. 

I’ve got to also give props to Paul Bostaph who tonight is resembling an Engine of precision, sounding better than I’ve heard him before. Mark’s singing tonight is exceptional, and each song is going down well. When they start dropping Slayer songs in there, then it becomes a different proposition. Repentless is first up and fired through with surgical precision. It sits well with the original compositions rather than showing any disparity in quality.

God Hates Us All is next and it’s bedlam, onto an Iron Maiden/Paul Di Anno tribute with Purgatory. There is some vocal fire here, with a lot of the older metal heads shouting in appreciation, which gets louder as the pedalling riff to Chemical Warfare kicks in. If you picked classic Slayer to go to bat with this would be there and its brutal.

Their cover of Wicked World has more meaning and takes a few by surprise but again its props to Mark for vocal gymnastics, respectfully delivered as the band merge Shrapnel into it and back once more. There is a sense of freedom on stage too, songs are played because they can, rather than having to do what is expected and then:

Feedback…. Then Dum, Dum, Dum you know what's coming next:

Reign In Blood. Bathed in red light, it's manic with the pit going wild and watching I didn’t think they could move anymore but no they have enough for this and Black Magic which then sets them straight on the final run to finish up with From Hell I Rise, delivered with purpose and venom. Thankfully there is no encore, it’s just too warm. For me it’s a case of honour’s even tonight, both have delivered tight sets which see the crowd go home happy. Seeing the solo material live has improved it in my eyes and the way they delivered tonight, you can fault them at all.