Reviews: Bygone, Jester Majesty, Indigosaur, EverRise (Rich Piva & Matt Bladen)

Bygone - Bygone (Svart Records) [Rich Piva]

The Boston band Bygone sounds like their name. A band from another time; but this Bygone’s time is now, because their debut self-titled record sounds as fresh as anything that has come out in 2025 while staying true to the sound of the band’s influences. What are some of those bands you ask? Uriah Heep, Blue Oyster Cult, Deep Purple, UFO, maybe some Hawkwind, and even a little bit of Kiss, just to name a few. This is outer space blast off riff and organ filled transported to 2025 from a better time killer head tripping rock and roll and boy oh boy am I here for it.

Lightspeed Nights opens up the record in all of its synth and riff glory, sounding like a space odyssey that Hawkwind with Paul Stanley on vocals may have sounded like, but heavier. The guitar work on Shadow Rising works so perfectly with the keys and paired with those vocals makes this a song of the year candidate. Deep Purple meets BOC and it is breath taking. The tempo slows a bit on Take Me Home where the keys drive and a chunkier Rush vibe appears from the sky. Synth solo!!! 

Into The Gleam is where space is the place, with a nice proto chug and killer synth work (again). Deep Purple in outer space is what The Last Horses Of Avalon is. As well as being awesome. The guitar solo on this one is top notch. Bygone is capable of creating earworms too. A good example of this is the chorus on the song that gives me (and probably only me) Kiss vibes, City Living. Fire In You Fire In Me closes us out with the most 70s sounding track of them all, in the best sort of way. The keys and the guitar seamless, the vocals spot on, the proggy synths, the chunky riffs…so awesome.

What a debut. When I bought the Bygone demo tape I knew we were in for something good, but for it to blow me away this much is surprising even to me. Bygone may sound like they are from the past, but they are here now to rule the earth. Amazing stuff. 10/10

Jester Majesty - Infinite Measure, Finite Existence (Xtreem Music) [Matt Bladen]

A progressive metal record from a technical twosome now as Jester Majesty deliver the debut full length Infinite Measure, Finite Existence, following an EP in 2024. Formed by Alessandro Gargivolo of thrash band Alchemist, Jester Majesty is a place for the songs he has written that are perhaps to dense and complex for a thrash band.

A way for him to be more creative and experimental with his songwriting as he draws inspiration from Death, Coroner and even Heavy Devy on the rapid shifts of Married To The Masterplan. Gargivolo (guitars/bass/vocals) was joined by Erymanthon Seth of Apocalypse on the EP and now with the debut and now with this full length they have a full partnership with Seth handling lead guitar & keyboards.

Notice there is not a drummer, so yes these are programmed but you know what? There are so many death/thrash bands that do this now that it's probably the norm. With the mix and master of Nikola Zanev, you can pick out all of the skill here especially in the guitars/bass which are the major contributors to this progressive metal feast, a record that has some serious virtuosity to it.

Proficiency in the extreme, Jester Majesty aren't just here to show off, this is progressive metal with songwriting that compliments the skill level. 8/10

Indigosaur - Cosmic Center (Electric Valley Records) [Rich Piva]

Cagliari, Italy’s Indigosaur are here to bring some straight up killer rock to a 70s rock themed party in the form of their debut album, Cosmic Center that is filled with riffs and anchored by some great vocals and cool sense of melody all while keeping a nice blend of heavy across the nine tracks on their first effort.

The band sounds tight and has a really cool sound that you get right off the bat with the 70s proto feel of the opener, Garden Blast. The guitar work across the record is excellent and the production is spot on. A nice stoner rock riff opens Titania that has a bit of a punk feel to it also. The pace slows with a bluesy feel on Fiery Engine, which reminds me a bit of Fire Down Below. 

I seem to write this a lot when talking about bands from certain geographies, but I also get a band like Tidal Wave in a song like Never At Ease, which is killer. A couple other stand outs for me include the 90s via 70s sounding Fangs, the psych-leaning fuzzy riffs on The Wage, and the almost funkiness of Fellow Astronaut. There is not a bad track on the record and the songs flow nicely throughout the entirety of Cosmic Center.

Indigosaur gave the people a great debut, filled with riffs, proto 70s stuff, and a not so subtle nod to 90s alt rock on Cosmic Center. A record very much worth your time if you like the fuzzy, riff filled rock. 8/10

EverRise - Lost (Eclipse Records) [Matt Bladen]

A French band playing Swedish melodeath now as EverRise return after quite a gap with their third record Lost.

With lyrics that deal with issues such as depression and suicide, there's not much catharsis to be had here, but the downbeat lyrics are delivered by vocalist Benjamin in just growled and screamed tones so there's not that duality between clean and harsh delivery you get with some Melodeath bands.

EverRise bring introspection and isolation on Lost, taking them down a heavier path than they may have stepped on previously. Maybe it was the gestation of this record or maybe personal things but EverRise are angrier on track such as My Shelter, but like Arch Enemy or At The Gates or Insomnium guitarists Stéphane and Patrice manage to change easily between HM-2 buzzsaws from melodic leads and solos.

The technical ability of the band is without doubt and while the guitars often get the attention in the back room Laurent's bass is the anchor for the heaviness while Fabrice can ignite a song with blast beats after periods of relative slowness, though nothing is too slow for too long as this is melodeath that leans on the deathier side.

The album title is Lost but EverRise have found an inner darkness that has made this record all the heavier. 7/10

Reviews: Cryoxyd, Muffasonic, Funeral Vomit, Bob Saliba (Mark Young, Spike, Joe Guatieri & Cherie Curtis)

Cryoxyd - The World We Live In (Dolorem Records) [Mark Young]

The shadow of Death amongst other heavy hitters looms large on The World We Live In, the latest full length from Cryoxyd. 

You can trace its musical lineage from the early 90s to present day, where it gleefully takes every influence possible from that rich golden period whilst driving a truck through and past the musical movements that have sprung up since then – Nu Metal, NWOAHM all that good stuff is ignored in favour of building the best music they can, music that sounds like their heroes without directly copying them. And why not? There are plenty of bands that continue to draw from Black Sabbath so why not look to the prime exponents of death metal?

Once we navigate past the intro into Day After Day, they take no time in showing us what they are all about. And they are all about the riff, the double bass and vocals that are part John Tardy and the mighty Chuck. There is a definite guttural approach, but one that is delivered in a way where you make out the lyrics. Comparisons with latter stage Death cannot be avoided, there is a feel running through it but like I said its not overt in how its done. 

Its more like they have gone for a ‘what would Chuck do here?’. Add in that they can play this music with their eyes closed and you have a powerful opening blast. Dismal Fate utilises starts slower and then they build it up and out, moving through the technical gears and its basically a showcase for intelligent riffing and quality lead breaks. Having that fast/slow one two is traditional, and as long as they don’t drop a ballad in next, then we are golden.

Spoiler – they don’t and in Injected Minds they drop a banger. This one has all of the tricks running through it – melodic lines that double up, leading into rapid tempos and again lead breaks that bridge that gap between the technical and the mental. Its quality, death metal written by pure fans who want to express their love for it.

You will be happy to know that despite the inclusion of an instrumental, the later songs don’t run out of steam despite the average run time being north of 5 minutes. Ambivalent Feelings is a good example of how they take a base riff and then build around it. Honestly, the approach is nothing new and I won’t pretend to you that it is. What I will say is that they have built effective death metal that is familiar but worthwhile to listen to. There aren’t any duff tracks here, and yes you could argue that they sound a lot like Death but should that stop you from enjoying it? Maybe, but then that would depend on you being the sort of person who only listens to death metal between a certain period and from certain bands. 

There is a lot to enjoy here, especially when they end with Mindless Human Form which is a stone-cold belter. Manic stop/start riffing, double bass for days is exactly what you want, especially as it segues into the outro track, which like the intro wasn’t really necessary. Putting those to one side, it’s a quality album that has a lot going for it and if you are a lover of death metal, especially well built, efficient death metal then you should be all over this. 8/10

Muffasonic – Brotheranza (EP) (Self Released) [Spike]

This is the sound of your inner ear being rewired by a massive fuzz pedal. Muffasonic—the Italian instrumental power trio has delivered Brotheranza, an EP that proves the most powerful statements often require no words. This is dirty, fuzzed Heavy Psych Rock that merges old-school Stoner grooves with modern, cinematic intent.

The manifesto is simple: epic jams and relentless volume. The EP is a short, five-track masterclass in creating crushing soundscapes, proving their claim that they can recreate their live impact in the studio. Tracks like the opener Komadrone and the following Phantoxication immediately hit with sharp, aggressive energy. These are not ambient pieces; they are direct, heavy rock movements where the guitar (Gianluca Sirri) and bass (Nicola Casadei) communicate solely through corrosive tones and intricate, interlocking grooves.

Muffasonic excels by leaning heavily into atmosphere. The material frequently evokes a sense of journey, driven by cinematic elements that feel ripped from a high-speed desert chase. The absence of vocals is a strength; it forces the listener to focus entirely on the relentless, hypnotic rhythm section provided by Giampaolo Farnedi's drums, which is the necessary engine for this wild trip.

The full weight of the EP is delivered by the monstrous closer, Bovindha, which clocks in at over ten minutes. This track is the definitive statement of Brotheranza, providing the ultimate long-form instrumental jam. It builds, it expands, and it ultimately dissolves into a psychedelic, satisfying drone, proving that this trio has huge potential for the future of epic, heavy psych metal. This record is essential for anyone who believes volume and texture are the true ingredients of musical aggression. 9/10

Funeral Vomit - Upheaval Of Necromancy (Xtreem Music) [Joe Guatieri]

Funeral Vomit are a Death Metal band from Columbia that formed in 2020. They have quite a few releases under their belt already with a demo, two splits, an EP and their first full-length, Monumental Putrescence, which came out in 2023. Now in 2025 they bring us their second LP with Upheaval Of Necromancy.

To begin with, we are presented with an interlude, that being Intro (The Disentombment). It brings up the feeling of isolation as images of crawling around a venting system in a spaceship in a far off world come to mind. The static in both channels represents the need for me to catch my breath and the low-down bass strikes hint that something may be after me.

Going into track two which takes the same title of the album, we are presented with what this record is all about. Blistering guitars which strangle your ears into submission, thunderous dark bass and wild drums with a surprising Hawaiian-esque timber, especially in the tombs.

Sulphuric Regurgitation in next, which is full of surprises. After the aggression, something more fun bounces into the picture, out of nowhere comes a Groove Metal section from 1:54 which tightens up into something that brings you in, instead of pushing you away like the majority of the album does.

It’s always nice to headbang whilst staring into the eyes of death, as then a Hard Rock solo washes over you and disconnects you from the server. It feels completely out of place, especially with its silly dive bomb but I just love it. I’m always here for the rug being pulled out from under my feet and Sulphuric Regurgitation does just that which is why it’s my favourite song on the record.

Later we go into track seven with, Altars Of Doom. Now to me, this takes a song that wouldn’t be out of place in Looney Tunes short and drags it through a fun house mirror, of course whilst being burned alive in the depths of hell.

It’s got a sick solo and the vocalist made me burst out laughing, they are saying so many words at once in their saliva spluttered growly delivery to a point where I don’t even think they are speaking English anymore. As far as I’m concerned, they have took the liberty of inventing their own alien language on the spot, how appropriate.

Upheaval Of Necromancy is on a seesaw throughout its runtime, juggling the menace of its cutting Lo-fi production and the band’s playfulness. Even when the layers of claustrophobic instrumentation are pressing against your person, the band’s character shines a torch through it, having fun in the dark.

Overall, Funeral Vomit have crafted an album that they can call their own. It’s got all the bells and whistles you could ask for with its impactful samples and threatening blast beats but it still could do so much more, it could of been scary. Upheaval Of Necromancy has substance but for me lacks structure. 6/10

Bob Saliba – Testimony (Independent) [Cherie Curtis]

Bob Saliba brings us Testimony which to me is a real mixed bag. We are presented with 13 tracks of determined, high powered and easy to listen to power metal mixed with hard rock. 

There's a mixture of emotionally dynamic and energetic anthems with traditionally sharp riffs and catchy choruses with sometimes gritty lead vocals with clean layered harmonies to then we get a joyously fun track which is almost peppy in spirit. Bob Saliba brings us radio rock that's fit for everyone and all purposes, no complaints to be had except that it isn't something ill choose to put on.

Each track has a creative and interesting build but after a few minutes the chorus can veer on the edge of boring as I feel like we’re given different versions of the same chorus, which isn’t necessarily a negative thing – it just shows that he has a distinctive sound and knows what works for him. 

It’s worth mentioning that instruments are played perfectly, cutting and distinctive solos and clean vocals with an elegant amount of reverb are gorgeous especially when in French which is his native language. It all works well together; it's an album that's well made with a clear intention of being an uplifting foot tapping tune. If it came out in the late 80s, it would have been a mainstream hit. 6/10.

Reviews: Sun Of The Suns, Various Artists, Versus, Black Pig Meat (Spike & Matt Bladen)

Sun Of The Suns – Entanglement (Scarlet Records) [Spike]

This is a record that attempts to chart the collision of the cosmic and the personal. Sun Of The Suns' Entanglement is less an album and more a searing philosophical thesis on inevitability, delivered through the lens of crushing Progressive Deathcore. This Italian unit refuses to settle for simple brutality, utilizing hyper-technical chaos to explore the profound weight of existence and the complex stages of grieving.

The conceptual weight is enormous, and the sound is surgically precise. The opening tracks, On The Last Day Of Earth and Ephemeral, Ethereal, Eternal, immediately launch the listener into a frantic space where personal loss is mirrored by universal collapse. The lyrics speak of "souls entwined in a dance" and "fleeting life," setting up the album's core tension: how can anything eternal be tangled with anything so momentary? This duality is expressed through blistering, syncopated rhythms and complex, interlocking riffs that demand mechanical precision.

The band’s compositional strength lies in translating agonizing philosophical concepts into punishing musical pressure. If I Could Hold The Sky uses soaring, desperate melody to articulate the unbearable burden of grief ("If I could hold the sky / I would bear this weight for you"), before One With The Sun turns to a more aggressive, hopeful resolve, rising from the ashes with metallic fury. The vocals are a guttural, cosmic cry of despair, often accompanied by complex orchestral swells that push the music into an epic, cinematic realm.

The midpoint, Please, Blackout My Eyes, is the nihilistic climax. Its brutal core riff and desperate lyrics ("A black dressed God is the hiss I disavow") embody rage against the silence of the universe. This is quickly followed by The Void Where Sound Ends It's Path, a track where the relentless sonic assault slows, giving way to dissonant ambient textures that simulate the consciousness unravelling, a truly challenging and effective piece of dark art.

The epic journey concludes with the title track, Entanglement . Here, all elements merge: the technicality, the cosmic theme ("Particles woven in infinite skies"), and the emotional resonance ("Your light remains as a silent proof"). Sun Of The Suns delivers an unrelenting barrage that demands multiple listens to appreciate the brutal, beautiful depiction of universal suffering set to an unrelenting metallic score. 

This album is a triumph of complexity and aggression, proving that Deathcore can still be a highly ambitious and rewarding sound. 8/10

Various Artists - No Life ‘Til Leather – A Tribute To Metallica’s Kill ‘Em All (Silver Linings Music) [Matt Bladen]

A selection of covers all recorded at different times compiled to fit the running order of the original record. The bands on it all add their own flair to the songs, stopping them from just being slavish covers and while some are obvious, Whiplash, Metallica's ode to Motorhead is covered by Lemmy and co and unsurprisingly sounds exactly like it's one of theirs.

Soen do something weird with Motorbreath. Dave Ellefson wraps his bass around Anaesthesia (Pulling Teeth), which is bound to have annoyed MegaDave and The Almighty take Four Horsemen, which on the surface may be a bit of a strange one but the mid-pace chug is perfect for a band with that link to Thin Lizzy.

Elsewhere there's metal on metal with some of NWOBHM band who were so beloved by Lars Ulrich feature as Diamond Head take No Remorse, Saxon have Phantom Lord, Tygers Of Pan Tang run through Jump In The Fire while Raven have Metal Militia. With all of these you can hear the influences of the NWOBHM clearly, the Metallica tracks transforming into songs Mr Ulrich would have been playing to death on cassette.

To get stared through heavy metal revival heroes Tailgunner blast though Hit The Lights with their trademark tenacity as fellow thrash legends Testament give some grunt to Seek & Destroy. No Life ‘Til Leather is star studded tribute to Metallica's now seminal debut album, if you're a fan of the band you'll love these interpretations. 9/10

Versus – The Catalyst (Independent) [Spike]

This album is a sprint to the abyss. Versus set an impossible deadline, write and record The Catalyst in weeks and the resulting sound is pure, unfiltered urgency. This is high-energy, technical Metalcore/Deathcore forged under immense pressure, dedicated to exploring the brutal cycle of destruction and renewal.

The production here is a marvel of compressed chaos. The band focuses on maximizing impact, delivering songs where meticulous layering gives way to moments of devastating sonic weight. The bass tone, described by the band as "filthy in the best way," is deeper than the Mariana Trench, providing a crushing, physical foundation for the entire record.

The entire album is a testament to calculated brutality. Tracks like Burning Bridges and All Good Things showcase their razor-sharp technicality and ability to blend genres. The guitar work frequently does separate, intricate things before snapping back together into a main riff that carries more weight and impact than anything else on the record. The rhythmic core is punishing, with drums so heavy your grandmother can feel them.

The band’s identity is fractured, by design. Tracks like Overwhelmed hit with relentless fury, embodying the struggle against grief and loss, while the more aggressive Battle Of The Binary Stars demonstrates the full capacity for Deathcore chaos. The dual vocal approach, scorching screams and intense cleans, maintains the high tension, with every word delivered with the sincere force of catharsis. Even the slower moments, like those requiring "massaging" to fit the heavy context, are just temporary respites before the velocity returns.

The Catalyst is the sound of a band knowing exactly who they are in the present, a furious, genre-pulling engine of destruction. It’s an authentic representation of extreme modern music: demanding, heavy, and leaving the listener feeling utterly drained but chemically altered. 8/10

Black Pig Meat - Symbiotic Dream (Raging Planet Records) [Matt Bladen]

You like Jazz? (Bee Movie 2007) well since you asked yeah I do. However I will say that when I first saw the band name Black Pig Meat, I was half expecting some despicable brutal death metal but it turns out that they are a jazz fusion band from Portugal that take their name from the Iberian/Acorn-fed pigs that give such rich meat.

Anyway enough of the gastronomy lesson we're here for music and this instrumental quartet started a musical journey in 2022 as a trio of Marcelo dos Reis (electric guitar), Tiago Vaz (drums), and Pedro Lameira (bass) but shortly after André Duarte (keyboards) joined Black Pig Meat took the form it is now.

On this debut record the quartet play psychedelic rock mixed with thrilling jazz fusion, like Krautrock but with distortion. These five tracks are elongated, mostly improvised jams where the foursome have captured transcendental magic that will shift you to the other realms of existence.

Experience the Symbiotic Dream of Black Pig Meat on their debut as four become one musically. 7/10

A View From The Back Of The Room: Nothing More (Alex Tobias)

Nothing More, Catch Your Breath, Solence & Ankor, O2 Academy, Bristol, 06.12.25

Nothing More finish up their European tour dates in Bristol with support from Catch Your Breath, Solence and Ankor to a very close to sold out crowed in the O2 Academy tonight. My first time seeing all four bands so this was going to be a interesting night of firsts for me. 

I have been a fan of Nothing More since I came across the their 2022 album Spirits and from there I have caught up on the back catalogue and last years release of the bands fifth album, Carnal I found myself playing over and over and is still in heavy rotation for me now. I always love seeing new bands live but its a bonus if you like the band and know of them before hand, so lets get to it.

Ankor (7) fall into the I have not heard of them before category for me, so I was intrigued to see what the band hailing from Catalonia, Spain come onto the stage as the lights go down to a already ram packed O2 Academy.

Vocalist Jessie Williams asks everyone "are you ready for tonight" and we get a huge roar from everyone in attendance. The first song we get is Darkbeat a song from the bands last album, 2024s "Shoganai", a song that straight away gets everyone here moving and going crazy with its pounding low tuned fast chuggs and feet stomping drums, with nicely complimented electronic synths and a chorus that is one of the catchiest break downs and melody's I have heard this year. 

The band continue on through their set with some really good heavy songs that vocalist Jessie screams her way through with such beautiful contrasts of dreamy singing then switching to a demon from hell when screaming. Ankor have good stage presence and chemistry with each other, bouncing off each other with drummer Eleni Nota really impressing with how hard hitting and tight throughout while keeping the biggest smile going the whole time. 

Alternative metal is to small of a definition for all the influences and styles this band have, a very good performance, a band I will be listening to more of based on what I have just seen. 

A small break for the bands to get off and on for the next performance, a band I also have never heard of before called Solence (7), coming from Norrkoping in Sweden. The band come to the stage with the intro to their first song blasting out, a song called Angels Calling from the bands latest album of the same name, the title track is fast paced metal riffs mixed with a real dance inducing beat, straight away I get hints of pendulum and Linkin Park vibes with sprinkles of those great heavy djent style breakdowns that have that extra spice of having the electronic synths that just give the overall sound a nice edge to it. 

Whatever my thoughts on the music the crowed here tonight absolutely love this band from what I can see, majority are singing back all the lyrics and we have our first pits of the night especially when the band kick into the next song Good Fucking Music from the bands 2021 album Deafining, a song that makes you want to jump the whole way through that also shows off a nice solo from Johan Swärd on the Keyboard.

Tight, good crowd interactions and just a really enjoyable band to watch live, catchy songs, songs that force you to move about with that feeling of euphoria, another band I will be keeping an eye out for in the future for gigs and music, would be happy to see Solence again and would recommend you go check them out for fans of electronic rock-metal..

Quick note before our next band of the night, it is so funny to watch a capacity metal crowed singing along to Another Levels song Freak Me Baby and other pop songs in between bands.

Everyone here is just loving life tonight and that only gets more amped when the intro kicks in for our next band, Catch your Breath (8), who come on to the stage in darkness before the build to the first song. That song being Savages from the bands only album to date, 2023s Shame On Me.

Savages has that great big Architects sound and drive with really good breakdowns that flow effortlessly into faster paced chugs, a really nice synth tone behind the guitars on the choruses also just fills that epic sound coming from the stage. Catch Your Breath are a big deal here tonight, this crowed cant get enough of them, the screams and cheers they get are the loudest of the night so far, the Texas band are a long way from home but are very much appreciated tonight in Bristol. 

A stand out song for me though was 21 Gun Salute a song that digs deep in your soul and leaves you thinking about the lyrics, a very catchy song that was sung perfectly by vocalist Josh Mowery, the crowed sang along with every note and made this a real statement song from the set that this is a band to really take notice of. Go check them out if you are fans of this genre as they are a band that will have you coming back for more and more. 

We arrive at the main act for the night, Nothing More (8), I have been really looking forward to catching this band live for a long time and seeing a few clips that social media forces on you, because we cant avoid spoilers anymore, I have seen bits of live performances and was really impressed, something that did not change in person. We get a long intro that starts way before the lights go down or any movement happens on stage which builds this crowed up to a frenzy by the time we get darkness and flickers of strobe lighting. 

The band walk onto stage to a huge roar from the crowed and we get underway with the first song of the set, House Of Sand from the bands excellent album from 2024 Carnal, a perfect opener that immediately gets everyone here bouncing around. Such a great blend a mix of aggression and dreamy vocals into the dirtiest breakdown you will hear for a while. 

We crash straight into the next song without breaking, Angel Song again from Carnal, a song that features David Draiman from Disturbed, one of my favourites from their last album, having that stomping circus feel tempo a chorus that you cant help to sing along to. 

We get a few older classic songs by the band in the shape of Don't Stop and Go To War then we come to Freefall also from Carnal which send everyone hear into anthem mode, what a song and what a reaction and response from the crowed here tonight, vocalist Jonny Hawkins looks so happy and amazed by how loud everyone is in here tonight saying "This may be our last night in Europe but this is crazy loud tonight" and I would have to agree with him, it felt like a thousand strong choir sang along to Freefall. 

We then come to the solo spectacular that is shared about with each member getting a piece plus the drums that are always set up for Jonny on the stage get the now famous front row treatment. I wont spoil it as you really should check the live performance out as its very entertaining and fun, so glad I could finally catch them live and see it for myself. 

Hit after hit including Jenny, Stuck and Fade In Fade Out we get to our last song of the night which is the first song off the bands 2014 self titled album, a song called This Is The Time (Ballast), by this point everyone here is in such a happy mood that this song just puts the icing on this already delicious cake of a set from Nothing More, you can feel the love and appreciation from the band at the end after another successful European tour comes to an end. I really was not disappointed by seeing this band live, they lived up to the reputation of being a really great band live and went even further in impressing me not just musically but just how good they make it sound by their performance on stage. 

I highly recommend you get listening or go and catch them anywhere near you asap, or just DO both.

A View From The Back Of The Room: Chelsea Grin (Lee Burnell)

Chelsea Grin, Signs Of The Swarm & Mugshot, Electric Bristol, 05.12.25



There’s nothing quite like venturing over the bridge on a dark and rainy Friday night to go and watch 2 bands on the top of their game and bringing an additional 2 bands who are loudly making a name for themselves in the Deathcore and Hardcore scene respectively.

Unfortunately I wasn’t able to make it there on time to catch Crown Magnetar but for Deathcore lovers - please check them out) but if you can feel the bass absolutely tear through your chest when you stop through the entrance, you’re going to have a great time and that’s exactly what happened at the Electric in Bristol.

I’ve recently been delving more and more into Hardcore lately but Mugshot (8) haven’t made it onto my radar up until that point. Mugshot showed that they can put on a show and seem genuinely appreciative for the support from the crowd that checked them out. 

The security guards were made to work for their pay that night as Mugshot did a fantastic job of tearing a venue a new one and getting fans to engage. Ringo Waterman issuing the challenge of “come up here and shake my hand” before a wave of crowd surfers tried to do just that. 

Overall, Mugshot were fantastic, if you like Hardcore with a twinge of Metalcore, please check these guys out - their new album All The Devils Are Here is stunning, fantastic setlist, stunning energy, phenomenal performance.

If you find yourself at a Signs Of The Swarm (10) show in Bristol, you could absolutely turn their set into a drinking game. Every time vocalist David Simonich says “Brissssssssssssstolllllllllllllllllllllllll” I encourage you to take a drink or do a shot. But SOTS wasted no time in destroying the Electric as they tore into To Rid Myself Of Truth, stank faces galore were seen through the set as they worked their way through a flawless setlist.

Predominantly comprising of songs from August’s To Rid Myself Of Truth album release, this was a showcase of a band being proud of the audio brutality that they’ve released and the effects it has on a live crowd. The band rip through the first four songs off the album with a mix of technical prowess with a curb stomp thrown in for good measure before going into

IWONTLETYOUDIE. It didn’t take me long to release that I was witnessing something special and it won’t be long before they become must-see headliners.

This setlist just wouldn’t slow down as they went back to 2023’s Amongst The Low & Empty album by blasting into Tower of Torsos before delving back into To Rid Myself Of Truth’s Creator and Sarkazein in quick session before finishing off with the piéce de résistance Amongst The Low and Empty which absolutely left the Bristol crowd happy, sweaty and absolutely battered. A brilliant showing from one of the best Deathcore bands in the scene currently demonstrating confidence in a superb album release whilst not forgetting the crowd favourites

Chelsea Grin (10) certainly had a tough act to follow but starting a set with Recreant was an absolute statement. With no new album to tour, the setlist felt like a “best of” setlist spanning from their self-titled EP up until 2023’s Suffer In Heaven. If a Deathcore set could deliver a 1-2 punch, it would be Recreant going into Cheyne Stokes and the crowd absolutely lapped it up. It seemed like the first note of every song on this setlist was enough to get the crowd energised and the crowd surfers began again during The Foolish One from My Damnation.

We then got into the Tom Barber era of Chelsea Grin as the chain sounds clang before the immediately recognisable Dead Rose bellows. Again, it really was feeling like I was watching something special, this was shaping to be another perfect setlist and each song intro was giving me that sweet, sweet dopamine.

Another staple in the Barber-era Chelsea Grin setlist is Across The Earth which added a little bit of beauty into an otherwise disgusting set. The phone lights were on, the arms were swaying side to side albeit temporarily during this very polarising song. I truly believe that Ashes To Ashes is an underrated album so I was very happy to hear Playing With Fire and even happier to belt out “Burn, burn, burn burn burn, let’s burn this bastard to the ground” and at that point, I felt genuine happiness.

A pleasant surprise to the setlist was the single Bleeding Sun which was released during lockdown before belting out The Isnis from Suffer In Hell. We then have another round of classics as My Damnation, Sonnet Of The Wretched and Crewcabanger and it felt like the end was nigh. After Crewcabanger, Tom said “two songs left, Bristol” - one was obviously going to be Hostage which seemed like that was going to be the closer but adding Sing To The Grave into the tour setlist was a great choice, the sort of djent-y feel got the crowd jumping and crowd surfing, Bristol truly brought the energy for this show and it was great to see.

A second perfect set from an amazing band that can easily integrate newer songs into a classic setlist with it absolutely working. Having seen Chelsea Grin multiple times, they have been flawless each time and this was no exception. Also, a huge shoutout to the sound tech guys, each band sounded amazing and the production value of the audio was superb. It definitely played a massive factor into the brilliant show overall.

A View From The Back Of The Room: The Commoners (Nat Sabbath)

The Commoners & Candar at KK’s Steel Mill, Wolverhampton 04.12.25

There’s something wonderfully unpretentious about a cold December night out at KK’s Steel Mill, no theatrical gimmicks, just the promise of loud guitars, great songwriting, and bands who graft hard enough to mean every note they play. Tonight was exactly that, delivered first by rising alt-rock duo Candar, and then by Toronto’s high-voltage roots-rock exports, The Commoners.

Candar (9) are going to be compared to the White Stripes, or Wolf Alice a lot and I can’t help but feel this does them a disservice, there’s something far rawer about them; they’re a two-piece who understand the power of tension, space, and emotional weight. Vocalist/guitarist Ella Crossland and drummer Finn McAuley have carved out a sound that’s somehow both vulnerable and ferocious, shaped in the kind of dark, sweat-soaked London basements where songs aren’t written so much as survive.

Their set opened with Turned Blood Red, a simmering slow-burner that quickly erupted into a fuzz-stained confession. Ella’s voice (smoky one moment, siren-sharp the next) is the linchpin of everything Candar do. She doesn’t just sing heartbreak; she wields it like an instrument. Finn, meanwhile, plays with the restless energy of someone who’s spent years drumming in rooms too small to contain him.

Glitz & Glam strutted with jagged glamour, while Opera brought the first real gut-punch of the night, a track dripping in emotional abrasion. Wallflower and Do You See showcased their gift for dynamics; soft, bruised verses that bloom into chorus lines built to rattle ceilings. They closed with Flower and Girl You See, both songs landing with the confidence of a band who know exactly what they’re here to do.

One of the loveliest surprises? Nearly all of The Commoners watched their set from the side of the stage, it’s a small gesture, but one that says a lot about the camaraderie on this tour. And judging by the reaction, Candar walked away with a healthy number of new fans, myself included.

Toronto’s The Commoners (10) are a band built for big stages: big riffs, big harmonies, big heart. Yet there’s no ego, no rock-star posturing; just five people who look genuinely thrilled to be back in the UK and even more thrilled to be onstage together.

From the moment they launched into their opening track, it was clear that The Commoners operate in that sweet spot between vintage soul, blues-rock swagger, and road-tested energy. Think Black Crowes grit with a contemporary shine, familiar but not derivative, nostalgic without ever getting dusty.

Their sound is huge, the kind that fills a venue long before the amps are fully opened up. Dual guitars weave between muscular basslines, organ flourishes add warmth like a late-night fire, and the vocals… well, let’s just say there are frontmen who deliver, and then there are frontmen who command. Tonight, we were treated to the latter.

The highlight of the set was the performance of their new single Just Watch Me, introduced with the sort of ear-to-ear grins you only see when a band know they’ve written something special. The track hit like a victory lap, uplifting, soulful, and built around a chorus that begs to be roared back at them from a festival field. Based on crowd reaction alone, they’re not going to be playing venues this size for much longer.

Throughout the night the chemistry onstage was undeniable: glances, laughs, nods of encouragement, it radiated off them. Nothing about their performance felt phoned-in or routine. This was a band living inside their music, and Wolverhampton gave it right back.

By the time they wrapped the set, the Steel Mill was buzzing. It was a brilliantly curated night of genre-crossing rock that showcased two acts at very different stages of their ascent yet united by the same authenticity and hunger. Candar brought raw emotion and distortion-drenched honesty; The Commoners delivered a stadium-ready masterclass in modern blues rock.

If this tour is any indication, 2026 is going to be a huge year for both bands and I, for one, will be watching closely.

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

Thrakian, Dosed & Gnasch, Fuel Rock Club, Cardiff, 04.12.25

A trio of top quality bands playing a local show for only a few pennies? Sign me up!

Happily I knew the headliners were always going to deliver so for me it was more about checking out the other two bands, one with a pedigree on the South Wales music scene while the other came over the bridge to show whether they were as gnarly live as they are on record.

With the Cardiff Uni's Alternative Music Scene out in force for the gig, along with some other ruffians, a miserable Thursday started to heat up nicely as the first band took the stage.

This first band were Gnasch (8), who's most recent EP made my ears bleed, so with my earplugs in firmly, the Bristol foursome took to the stage and proceeded to play filthy, noisy, sludge. Taking tracks from their most recent EP and their previous releases too, the volume was at the top level, as the guitars created a thick syrupy brew of distortion, driven by heavy hitting drums.

If you want melody then this is not the place to get it as Gnasch give audio abuse, these huge sludge cuts are topped off by the possessed vocals from Russ, who screams, growls and gargles while rolling his eyes back into his head. This was the debut of their new guitarist Lewis and he slotted in perfectly with low hanging guitars slinging muddy riffs.

A meaty morsel to begin this feast of noise and up next there was no let up because Dosed (8) don't do slow. They're a raging hardcore monster comprised of some veterans of the South Wales heavy scene. For them this is about having good time and getting the crowd moving, frontman Paul is in the thick of it shouting from the audience as he stomps around.

Behind him the band play hardcore with a bit of thrash, the crossover riffs leading to light speed blasts and knuckle dragging breakdowns, which of course caused some fly kicking in the crowd. However consideration came for those of us who perhaps don't want a foot in the teeth as they called for 'consensus' moshing so if more people were push pitting than fly kicking then do that. I found this quite considerate well until they managed to turn the floor into a circle pit!

Heavy fun from Dosed which managed to increase the tempo and the movement after the opening sludge bomb all leading up to the headliners.

I've seen Thrakian (9) a fair few times, from their early incarnation through M2TM right up to modern day but I'm unsure if I've seen them Matt Strangis playing bass. He and frontman Atanas are both members of Pantheïst but Thrakian is a different beast and by the looks of this set a much more ferocious one.

There's always been groove, heavy repeating groove that balances mysticism and aggression, much like how modern day Rotting Christ drive forward with chugging precision, Thrakian do something similar, the rhythm section of Atanas (guitar), Saska (drums) and Matt (bass) lay down riffs that shift between flurries of speed and methodical crushing.

Atanas is a raging engaging vocalist, his guitar often held high in the air, which is where Matt lays down some effects driven low end that just creates this bass drops you can feel in your stomach. With this solid rhythm section creating the loudness, Kristiyan seems now to have more room to add some lead flourishes and solos, and sees Thrakian emboldened by a more cinematic sound.

Playing as yet unreleased track from their upcoming album, cinematic would be the best word to describe it, as it feels like they have hit on what they are as a band, inspired by both their Bulgarian heritage and their Welsh

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

Quireboys, Soho Dukes & Matty James Cassidy, KK's Steel Mill, Wolverhampton, 29.12.25



The final night of this 3 day run of gigs was to be a raucous night of rock and roll at KK'S.

First up was a one man set from Irish troubadour Matty James Cassidy (8), we've see Matty previously supporting and playing with Tyla (Dogs D'Amour) so knew what to expect, imagine Shane McGowan mashed up with Billy Bragg a good foot stomping way to kick off the night!

Next up were a band completely new to us - Soho Dukes (8), a band harking back to the days of proper pub rock ‘n’ roll. Soho Dukes have the air and swagger of Nutty Boys, but evoke the spirit of bands like Dr Feelgood and Ian Drury & The Blockheads. They own the stage and look like they’re ready to party all night with their cheeky cockney personas. 

Songs like Suited & Booted get the crowd bouncing along and you could easily believe they really would go on all night if you let them. Highlight was when Spike joined them on stage for the song A Stones Throw, their latest single.

There aren’t many real rock ‘n’ roll reprobates around anymore, too much clean living! But Spike does and always has embodied that image of debauchery and excess, but in a way that kind of makes him more loveable.

With band fall outs and associated politics sorted, Spike has assembled together new, leaner and meaner Quireboys (10). He’s re-united with his old mate Nige Mogg on bass, whilst the Thunder duo of Luke Morley (guitar) and Harry James (drums) bring a slick tightness to it all and on keyboards is Spikes good friend, Willie Dowling.

In typically chaotic Quireboys style, the set began with Willie trying to attract Spikes attention - Mogg was nowhere to be seen! As Morley went into the intro of Jeeze Louise, Mogg came dashing on, apparently he’d been caught short and was in the bog!

But that aside, the rest of the show was brilliant. Spike was on great form, loving the fact he had this huge stage at KK’s and he made us of every inch of it. The mic stand was like a baton, he twirled it and hurled it like some demented drum major.

As said earlier, Morley and James have added some cohesion to the live band, whilst Dowling is as flamboyant as ever. Meanwhile, Mogg prowls around the stage, his bass hung low, bashing that 4 sting within an inch of its life!

I honestly don’t think we’ve seen Quireboys this hot for a long time, maybe Spike was sending a message to certain people! And the set list was pure heaven - Sweet Mary Ann, Hey You, Whippin Boy and King Of New York all played in the first songs or so.

In between songs we got the usual Spike banter and stories, but it was the songs the adoring fans were here for and the second half was just as packed out as the first - Man On The Loose, Roses & Rings, There She Goes Again and 7 O’Clock, 15 cracking old school rock songs and the fans would have been happy with that, but back they came for two final songs, Sex Party and I Don’t Love You Anymore

Tonight's message was simple, Spike’s not finished, Quireboys aren’t finished, the R’n’R party is going strong.

Reviews: Windswept, Phantoms Of Future, Doomherre, Madness Blues (Mark Young, Spike, Rich Piva & Matt Bladen)

Windswept - The Devils Vertep (Season Of Mist) [Mark Young]

Bleak, uncompromising amongst others are descriptions that are trotted out with increasing frequency when waxing lyrical about a new release. As you may have guessed, it’s not always a correct description and in a lot of cases its there just to grab your attention. With Windswept, the term uncompromising is used and in this case, I believe it is fully justified. 

This is a collection of black metal that looks to the movements beginnings for the blueprint from which to carve out their sound. Windswept, the Ukrainian trio headed up by Roman Sayenko have crafted an album that can sit alongside those releases from the early 90’s whilst being unique to themselves. It is a brutal album that comes at you on two fronts; The vocals by Roman, are beyond the normal.

Delivered like an anguished scream of rage it borders on the incomprehensible such is its ferocity which stays at a constant level on each track. It’s the sort of vocal performance that could possibly turn off a listener within 30 seconds or so of Infanticide starting off. On the flip side is the actual music.

Its traditional black metal – pounding drums, mad riffing and fantastic tempos and on your first listen you think ‘so what’ but dig into this further and suddenly you get hold of the almost imperceptible rhythm changes on each song that suddenly change how they land with you. Yes, they are brutal tracks but they are also incredibly well thought out at the same time.

Giving you an example of this, The Potion comes flying in like you would expect. Its rapid, the drums are flying and the tempos are up. The key is the way that the guitar lines are put together so that its doing what it is supposed to in being aggressive, exciting and above all not boring. 

Each member manages to put the little touches on their instruments here and in doing so makes it an engaging song that you can return to. I’ve gone on in the past about bands who confuse song length with quality and who run out of things to say whilst having another 5 minutes of track length to fulfil. 

Windswept have managed to avoid that here, each song has a defined path and a message it has to get out. What they do is use that time intelligently but fuelled with emotion. Its not sterile, its organic but still cold. Verdicts is the last track on this, and probably is the key song on here. 

If you asked me what the best introduction to this album would be, I would go with this. It is a majestic song, one that gives you every facet of Windswept in one package. It is melodic and savage at the same time whilst being true to how they want to deliver their music. 

Its likely that on the first listen, that singing style will put people off but stick with it because there is a belting album here. 8/10

Phantoms Of Future – Forever Dark (Massacre Records) [Spike]

This record is a testament to the belief that the darkest music often glows the brightest. Phantoms Of Future doesn't just play rock; they construct a vast, neon-lit soundscape where Alternative Metal, Gothic Rock, and Cold-Glow Electronics collide. Forever Dark is their manifesto, an uncompromising statement delivered by a veteran band that prefers the hour when everything is illuminated by a sinister, artificial light.

Frontman Sir Hannes Smith (vocals, special instruments & lyrics) and the crew are masters of atmosphere. They utilize keys, loops, and samples to create taut rock architecture, letting the texture of the sound do as much storytelling as the lyrics. The overall mood is organized chaos, a dense, energetic sprawl that makes it genuinely hard to pin down, moving between Dark Wave melancholy and pure Metal aggression.

The journey starts with Werewolf, which, as Smith himself stated, is "the spark that lights the fire." It’s a nocturnal blast of urgency, built on electronic accents and driving guitars that quickly set the tone for surrender to transformation. This moves perfectly into Spirit Of Love, a track that showcases their ability to write captivating, dream-laden rock while still maintaining a sharp, metallic edge.

The album finds its necessary friction when the blend leans heaviest. Devil Inside introduces a doom-like feeling into the mix, providing a grinding menace that ensures the entire album never collapses into simple, commercial rock. 

This track, and the self-aware paranoia of Prisoner, tap into the core thematic elements of estrangement and transformation, delivering the lyrical punch with a well-produced, haunting vocal style.

Where the band takes calculated risks, they are rewarded. Tracks like the title track Forever Dark utilize a unique vocal style that borders on parody of modern singing, a choice that, given the band's political and anti-establishment background, feels entirely deliberate and critical. 

Even the closing tracks like Bloody Tears and the strangely energetic Underground Surfer maintain the dark, kinetic motion. This is an album for those who appreciate a heavy sound that is unpredictable and willing to leverage the theatricality of the genre without losing its teeth.

Phantoms Of Future has delivered a complex, genre-bending record that, while existing in a tight niche, is undeniably electric and alive. They remind us that some bands chase daylight, but the best work is always done when the rest of the world is asleep. 8/10

Doomherre - Plaguelords (Skatbo Records/Majestic Mountain Records) [Rich Piva]

What we have here is doom goodness from Stockholm, Sweden’s Doomherre, a trio who brings the riffs, wrath, serpents, and storms on their latest record, Plaguelords. This is not just plodding doom, this is some very cool doom with some stoner groove to it, great vocals, and lots of unique tempo changes.

Take the first track, Serpent Shrine. This one stops and starts up again a couple of times. Going in a few different directions in the four-plus minutes of its runtime, all of it killer. This slides nicely into Stormfather, which is menacing and has some proto progginess to it as well, going in a couple directions, like track one. There is nothing real straightforward on this one, which is a strength and can be a weakness at times as well. 

I really dig the changes in Wrath Of The Mountain Gods but these guys excel with a straight up stoner doom ripper like on Hymn For Helios, which is a track that belongs on any year end playlist, but even that one slows it down in parts, making me say out loud to no one, “just put the petal to the floor and rock out!” 

My other favourites are Dark Hand, which brings the proto to the party, and the title track which gives me vibes reminiscent of The Brink, by Solace. There are no bad songs on Plaguelords, so the whole record is certainly worth your time, I just wish sometimes I could straight up headbang without pausing.

I dig Plaguelords, and I wonder if these metal head doom guys are secret prog fans too. A cool record, changes and all, and one worthy of your earholes. 7/10

Madness Blues - Shades Of Blue (Self Released)

Positioned as "a cure for joy" and as such perfect for the holiday season, Shades Of Blue from Greek one person entity Madness Blues is there monstrous tracks of funeral doom mixed with drone. The record is bleak, all three tracks are about 12 minutes in length and they have heavily distorted everything, from guitars to vocals there's nothing much to denote a joyous melody, even the piano is introspective and depressing. 

Now this is deliberate, so it's not as if they're doing anything bad, the opposite in fact, Shades Of Blue sucks any joy you may have out of you, with nihilistic and suffocating music. Whether you will listen to it is very much informed by if you like that sort of thing. So if you though the best part of a Christmas Carol was being tormented by ghosts maybe you should give this record from Madness Blues a spin. 7/10

Reviews: Sarayasign, Winds Of Neptune, Atavistia, Ophelia's Eye (Cherie Curtis, Rich Piva, Mark Young & Matt Bladen)

Sarayasign – Shadows Of The Dying Light (Black Lodge Records) [Cherie Curtis]

Hailing from Sweden - Sarayasign, brings us 12 melodic, high concept anthems. Not a single dull moment with this one, it's loud and beautiful with strong vocals and weighty lyrics. Though they were formed in 2020, they have the heart and soul of 80s/90s powerhouses. Each track builds gently to a booming and passionate chorus that's so memorable and intimate it feels special.

Each track is textured and weighty without feeling too overpowering. What stands out most is just how natural everything sounds while being blatantly heavy, every member plays dynamically with great skill to produce liquid and sweet-sounding riffs, the drums which are so echoed, blends harmoniously as well as some mighty raw vocals which brings us deep and uplifting substance.

Shadows Of The Dying light is not a casual listen unless you are a fan of this specific genre; they are very cinematic. A huge emphasis goes towards composition and their specific musical narrative, which is stunning. The whole album is a feast for the ears; I can't get enough of it. They make music perfect for a dystopian sci –fi film, and the quality of this one is refined. The blend between the lead and the female backing vocals is electrifying and the lead guitar sounds clean and incredibly sharp. 

I thoroughly enjoyed this one, its music that will rattle your skull and soothe your soul. 9/10

Winds Of Neptune - Winds Of Neptune (Small Stone Records) [Rich Piva]

It is a not so secret dirty little secret that stoner doom fans love 70s rock. I am not talking Sabbath and Zeppelin, because, of course they do. I am talking about Grand Funk, BTO, Tull, Rush, BOC, Bad Company, that kind of stuff. This was 100% confirmed when the debut record from “supergroup” trio Winds Of Neptune was number one on the November Doom Charts. 

WoN consists of Flogging Molly drummer Mike Alonso, guitarist Kevin Roberts of The Meatmen, and bassist/vocalist Ross Westerbur of a bunch of bands including 500 Ft. of Pipe. This band sounds nothing like those bands. This band sounds like MC5 meets grand Funk meets Blue Cheer meets Bad Company, and it is glorious. Good work by Small Stone Records putting this beauty out.

This album sounds like it was recorded in 1975 in the best kind of way. The vocals are spot on, the guitar rips, and the rhythm section is Grand Funk Red Album worthy. You know right away this is going to rule when The opener The Faun’s Rhyme kicks in. These guys have played in other bands together before but this has no business sounding as tight as it does for a “side project”. Gas Giant is eight-plus minutes of roof raising 70s rock, with killer guitar work and is a song you never want to end. 

I get a northern version of early ZZ Top vibe from La Cacciata, which also sounds like it was produced by Rick Rubin. Maybe a Cream thing too. Regardless, it is excellent. The riff on Temporal Mutant is fire and reminds me of another band who dropped a killer record this year, Portland's Hog. If there was a radio hit on this record, I mean a radio hit in 1976, it would be U.S.L., and I say this as the biggest compliment I could give. So Sayeth The Mouth Of The Void rips it up for nine minutes non stop and is a lovely blend of Kiss early Rush. 

That is where the vinyl ends, but for those of you who still CD and/or digital there is the chill psych blues of The Fitz to bring you down from this rock and roll party blow out in the Dairy Queen parking lot vibe Winds Of Neptune have created, only to have the other bonus track, Queen Of Sumatra, to get you peaking again.

The secret is out, the 70s ruled and still does, and Winds Of Neptune are here to keep the spirit alive, one riff and one puff at a time. 9/10

Atavistia - The Winter Way: Reforged (Blood Blast Distribution) [Mark Young]

Atavistia, the renowned symphonic melodic act from Canada have decided to revisit The Winter Way, their 2020 album and carry out a complete, from the ground up rebuild. Now, I’ve not heard the original and in the interest of fairness I’m not going to seek it out as I want to listen and ultimately judge it on its own merits.

And so, it wouldn’t be right if they didn’t start off with an epically driven, all the traditional tropes instrumental introduction. In its favour, this is the sort of backing accompaniment you would find during a boss fight or rooftop chase whilst the hero of the piece leaps from roof to roof, barely keeping themselves safe. From The Ancient Stones makes way for The Atavistic Forest, and it is definitely in keeping with the Winter theme. 

Its an icy affair, one that doesn’t overplay its hand by dropping in the speed straight from the off. Once it does pick up that pace, with a sense of urgency injected into proceedings that is underpinned by a keen sense of melody. The mixing of growl and admittedly soaring vocals lands well with some cracking guitar work and scorching lead breaks, which are delivered with technical prowess without being over the top.

Through The Hollow Raven’s Eyes starts with swift feet, and a lolloping arrangement that might have been at home in a Norse banquet hall. It has that same crispness, a brittleness in its sound that adds to that speed. Its on here that we get the full Atavistia treatment, the telling of a story using all the tricks at their disposal and in turn firmly plants both feet in epic territory. The one issue I have is that if a song is that long it must be able to keep you engaged from start to finish and it just about does that. What it does do is make me look to the following songs and their lengths and wonder if it’s going to be a case of rinse and repeat.

Eternal Oceans kicks off what is a 40-minute collection that involves 4 songs. And I’ll be honest, they could have trimmed it down. Song length does not always equal ambitious and whilst it is perfectly serviceable moving from one segment to another it doesn’t seem to stay in one spot for too long before we are on to the next bit. In this respect it doesn’t get chance to get under the skin with you. 

Dawn Of The Frozen Age is cut from a similar cloth and basically you get what you got from Eternal Oceans on here. Both have the same approach, to push through the gears and add layers but I don’t believe that it needed to be as long as it is. The inclusion of a truly stunning solo is a high point but it feels like you have to travel a bit in order to get to that point. The Forbidden One seems to have more of a direct stance to it but is still overlong and by now I just want to wrap it up.

The Winter Way is the final act and game fully tries to combine the light and dark aspects of their sound and as a result gives them another dimension to explore as they run the clock down. Each of the songs have a lot going on, and for the most part they are handled well, building upon themselves in a satisfying way. 

Personally, I would have liked to have seen what they do with a shorter duration, make the songs hit hard but that is just me. You can tell why they are held in renown, especially by fans of this genre but it needed something a little more aggressive to break up what feels like the constant churn of long songs. 6/10

Ophelia's Eye - Severance EP (Self Released) [Matt Bladen]

Swiss modern metal crew Ophelia's Eye now who are looking to bring breakdowns from the Alps on their new EP Severance. Expect technical riffs, big breakdowns and throat shredding vocals.

Darker lyrically and heavier musically, Severance offers a more visceral side of the band and while they retain melody with the cathartic clean vocals on the title track, much of this EP is battering mid-2000's metalcore that increases the aggression from where they've been previously.

With some electronics pulsating on Letters and those melodic moments behind heavy modern riffs, this is Ophelia's Eye defining themselves for the future. 7/10