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

Reviews: Sakis Tolis, Forbidden Seed, Sands Of Eternity, Hope Behind The Hills (Matt Bladen)

Sakis Tolis – Everything Comes To An End (Self Released)

Sakis Tolis is someone who needs no introduction here, the co-founder and leader of legendary Greek band Rotting Christ, he has forged the path of Hellenic Extreme Metal for 36 years however you may not know that he also has a solo career outside of Rotting Christ.

His debut was Among The Fires Of Hell in 2022, then came χ ξ ς' a concept around the Seven Seals named in the book of Revelations (which seminal prog act Aphrodite’s Child also sang about) and now we get his third solo record Everything Comes To An End, a title that has a sense of unease about it. Is it prophetic? Does this mean this will be the final solo record? Or does the title just refer to the passing of time and the changes within society viewed by a man in his fifties.

It certainly doesn’t sound like the music of someone giving up, in fact many will view this record as perhaps being the most diverse yet as Sakis edges closer to a more metallic middle ground, yes those rough vocal shouts and clean bellows are still here but musically there’s a shift to gothic and modern metal, the production of Fotis Benardo (Nightrage/Nightfall/ex-Septicflesh) and Aggelos Karatzas giving the album a bite of modernity. Tolis plays everything except for drums, which come from Bernardo and there’s guest lead guitars from George Kalavrezos of SixForNine, the latter both showing off on In Youth We Learn, In Age We Understand and the anthemic groove of One Voice, One Flame.

Of course there’s links to the ‘day job’ though Everything Comes To An End draws more from the recent RT albums than the early black metal origins, that D.I.Y ethos is still there, fiercely independent, and it means that Sakis can explore styles that otherwise may be off limits. With Hail Thy Mighty Rock N Roll, rock there’s classic metal augmented with huge choir vocals of course as both Welcome My Nightmare and Welcome To My Party are hard rock with the gothic-tinge. Sakis Tolis’ solo project aren’t in opposition to Rotting Christ, they have always been more in addition to. 

A place where other ideas can come to fruition and a set of albums that show that even though you are the originator of a scene it’s never too late to create something different. Hopefully this is not the end of ‘Sakis Tolis’ (the project) but just another great entry to his musical legacy. 8/10

Forbidden Seed - In Shadows Deep – Shadow Of The Crow Pt. II (Steel Gallery Records)

A band who can never be accused of not being creative enough, Forbidden Seed are now on their fourth album with this one and their previous effort clocking it at a mammoth 16 tracks apiece. In Shadows Deep is the continuing concept based around the film The Crow, and picks up from where the previous album On Blackest Wings, Shadow Of The Crow Pt. I, left off.

Their third album on Steel Gallery Records, Forbidden Seed in the studio are creative mastermind Constantin Maris, who plays the role of both Matt Barlow and Jon Schaffer on these records with theatrical vocals and the chugging riffs, while Stefanos Zafeiropoulos brings the extra guitars and vocals to the album.

As you can probably guess with the comparisons I made Forbidden Seed play the sort of prog/power metal I love inspired by Iced Earth, Savatage (From Above) and even Evergrey (Trivial) with a heavier, cinematic style that can easily dwell in darker heavier realms of thrashy riffs while also adding some glistening melodies and emotive vocals phrasing.

As it's following the storyline of such a seminal piece of goth culture as The Crow the album, weighs quite heavily on the atmosphere, adding some of notes of early Kamelot (Ghost Beneath The Flames) too, but it's the legacy of Iced Earth that is the strongest with the muscular Back From The Brink especially.

Mixed and mastered by Kosta Vreto, the production of this record has a broader scope, it's something that perhaps held them back with their previous record but now this has the full spectrum of sound to it, highlighting the songwriting, but also the playing and the additions the guest music as make too. Vreto gets a guest solo, as does Dimitris Goutziamanis.

The 'band' on the record are George Tsioutsias on keys, K.C on drums and Constantin himself on bass, but the scale and grandeur of this record isn't limited to it being a two person affair. Maris' songwriting suits a concept, it's a skill not many possess, but with Forbidden Seed, when there is a storyline involved they deliver their best music.

Shadow Of The Crow Part I was awesome, Part II doesn't deviate from this, refining all the elements for their best record yet. 9/10

Sands Of Eternity - The Six Thousand (Symmetric Records)

2025 sees the continuing legacy of Sands Of Eternity, guitarist/songwriter Ioannis Ioakeimides, is still the creative force behind the band having reactivated the band formerly known as Hourglass SOE in 2022, together with singer Michalis Papadakis and producer/label owner Bob Katsionis.

Sands Of Eternity released their debut album Beyond The Realms in 2022, 26 years after first setting foot in the Greek metal scene. I thought that record was a blast of prog power that European bands and by extent Greek bands do really well. With Bob adding his signature touch to the orchestrations and production, it was powerful debut record.

So in 2025 can Sands Of Eternity follow it up? I'd say it's an emphatic yes again this is a prog/power record built on cinematics, once again Katsionis is behind the desk again, making it sound epic, The Six Thousand continues the legacy of the debut but expands on the songwriting front with more emotional weight and some more introspective themes.

Ioannis says "This album is about the unseen cost of progress and the resilience of those who stand, speak, and endure" and for me they've brought in more of the influences from Kamelot or Serenity on this record. 6000 is full of strings and gothic tones, so too is Far Beyond Our Sight.

On I Will Always Speak Papadakis shows off his husky but melodic tones, the classic power metal balance is redressed on Eternal Flame and Mirror, where Ioakeimides and Kostas Nanos share guitar harmonies, shifting into the galloping Lonewolf where Thanassis Skoutelis (bass) and Michael Skoutelis (drums) show off. In conjunction with all the metal that's flying about here Vangelis Kalentzis' keyboards fill the melodies (Prometheus).

The Six Thousand sees Sands Of Eternity get a bit bleaker and more emotional but they keep the power/prog metal at a high standard. 8/10

Hope Behind The Hills - The Realm Of Ideas And Shadows (Hellenic Metal World)

Following quickly on the heels of their previous atmospheric black metal release from ΦΩΣ, Hellenic Metal World, collaborate with another underground artist in the underground of the Greek metal scene. The Realm Of Ideas And Shadows is the second full length album from Hope Behind The Hills, following the debut No Fate For A Moribund in 2024.

Like ΦΩΣ this is one person project, K.A playing and recording everything, with Athansios of ΦΩΣ and Maicon Ristow of Litosth joining on vocals. According to its creator the album "explores the duality between the tangible and the abstract", setting these existential and philosophical themes against a musical backing of cinematic music that draws from black metal and post metal realms.

On the black metal side Bless None Before The End has that rhythmic chug of Rotting Christ, while the post metal strains of Harakiri From The Sky are present on The Hermit. It's musically very dense, layered of instrumentation as the vocals move between English and Greek to keep things rooted in the history of philosophical wondering.

More great music coming from the Greek underground as Hope Behind The Hills asks big questions through swathes of excellent musicianship. 8/10

Reviews: Pintglass, Various Artists, Black Magic Tree, The Vice (Matt Bladen & Rich Piva)

Pintglass - Pintglass (Self Released) [Matt Bladen]

If Danny Dyer loved beatdown driven hardcore then he'd have probably formed Pintglass. However Pintglass already exist and if Danny Dyer wanted to join they'd probably kick the shit out of him for being a mug! This is Geeza-Core. Crushingly heavy hardcore/deathcore with shouted vocals and lyrics about being a geeza.

Expect copious cans of Stella, pulling 'birds', shoving a full English down your throat and getting your hands on bags of powder. Of course you do this all while away on a construction job clad in your Hi-Vis. It's grubby, blue collar, lad culture metal that anyone who has spent any time on a construction site will recognise.

I guess I have to say that Pintglass are a tongue in cheek band, playing with stereotypes for humour, it's light hearted and if you're British then there's lots here that will bring a smile to your face, especially for an engineer like me, who has spent countless hours on building sites. However Pintglass is comprised on veterans of the UK hardcore scene so their music is ferocious and packed with skill.

I didn't think the live energy, brutality and hilarity of Pintglass would reflect on record but it really does on this record, every song hits like a scaffolding pole to the bonce, grab your Hi-Vis, play loud and stop being a f*cking tart! 9/10

Various Artists - The Downward Spiral Redux/Best Of Nine Inch Nail Redux (Magnetic Eye Records) [Rich Piva]

I absolutely love the Redux series that Magnetic Eye Records has been putting out over the last few years. The idea is that one classic album is covered end to end by different heavy underground artists paired with a second volume of a “greatest hits” of covers of that pairs with the classic record. The Soundgarden, Alice In Chains, Ramones, and AC/DC editions, just to name a few, are all worth your time and have some killer covers and reinterpretations of some classics. 

The next part in the Redux series is for one of my all time favourites, Nine Inch Nails, with The Downward Spiral being the album covered end to end with the accompanying hits record alongside it. NIN is a special band to me, so this should be super fun. Trent’s music as heavy stoner/doom/psych? Yes please, indeed.

Let’s start with The Downward Spiral Redux. I am more of a Pretty Hate Machine guy, but TDS obviously rules too, blowing minds in the early 90s even if it was a bit bloated. Black Tusk taking the opener, Mr. Self Destruct is so perfect. Their sludge punk version is just top shelf stuff. Sandrider doing March Of The Pigs is a perfect fit too, with them making the song somehow more frantic than the original. The other tracks that I keep returning to are High Tone Son Of A Bitch’s version of Ruiner, which just rules, Abrams doing Eraser, which given their 90s leanings is a perfect fit, and Between The Buried And Me’s version of Hurt, one of the heaviest songs of all time, done pretty much in the frame of the original but with their vibe incorporated perfectly.

Moving onto the Best Of Nine Inch Nail Redux, we start to get some tracks from my favourite NIN record, with Blue Heron’s heavy as hell (of course) reinterpretation of the classic Head Like A Hole. It’s almost unrecognizable in the best possible way. The opener, Snakemother’s doomy psych take on Sin, is a whole new way to hear a Trent composition, and it is killer. The Ocean’s take on Even Deeper is exactly what you would expect from The Ocean with vocals that kind of sound like Mr. Reznor too. My other favourites include Marissa Nadler’s spooky minimalist take of The First Below, Thou’s crazy and perfect version of what is actually a cover of Pigface’s Suck, and Gainesville, Florida’s Orbiter take on Pretty Hate Machine’s Terrible Lie, which is the track I have gone back to the most. All of the covers here are worth your time and none of these bands take any kind of easy way out on these versions of classics.

Magnetic Eye, please continue with the Redux series. People reading this, participate in the Kickstarters they do for this stuff, because hearing these classics done by our favourite heavy underground (and other) bands is so much fun and an excellent way to re-experience these classic records and songs. The NIN series is no exception. 8/10

Black Magic Tree - Terra (Majestic Mountain Records) [Rich Piva]

Black Magic Tree is back with a high energy, rock and roll ripper with album number two, Terra. The Berlin, Germany band have dialled up the energy, catchiness, and shininess on their new record, unleashing a heavy blues/heavy psych party for anyone ready to jump in.

Do you like bands like La Chinga (You should)? Well then you will probably dig Terra. The record rips from end to end, always leaning more towards heavy blues than stoner, but it is fun for all who enjoy the guitar driven heavy rock. Just check out the opener, Time Parrots (Hit Me Up!), for your first example. I love the addition of the piano when the song starts to rip. Think GnR if they went backwards or at least stayed the same path after Appetite instead of the big, gigantic, bloated Use Your Illusion records. I also hear bands like The Hives, bringing a sort of punk/garage vibe, like on Popcorn & Coke. 

I pick on Buckcherry a lot, and I should, but these guys do it so much better than what those guys have been putting out. The psych leaning guitar work on this one is great. The chorus of the up-tempo ripper Pagos is so catchy. This one may be my favourite on the record filled with very cool songs. The pace slows with the bass-led Grace, which turns up the psych blues tendencies of the band with excellent results. I love when this one gets loud, and the call and respond vocals kick in. Killer stuff. 

A kind of Jack White riff kicks off Chasing The Light, and doubles down on the garage side of Black Magic Tree, while Love & Doubt sounds like a track off of the amazing Brown Acid series of lost 70s rock gems. The guys know how to get the party going too with a track like Summer, which has some 80s hard rock/metal tendencies added to the equation. The record closes with the one-two punch of huge sounding anthem of Roadway and adrenaline dripping Veleno that leaves you laying on the floor of the club trying to catch your breath after the 36 minute rock and roll assault.

Black Magic Tree brings a lot of different elements to the equation on Terra, but it all blends together perfectly. The result is a killer heavy rock record that has something for everyone. Great stuff and a nice step forward for the band. 8/10

The Vice - The Red Tape Sessions (Noble Demon) [Matt Bladen]

Dark metal? Yeah me neither, but that's what The Vice call themselves. It's basically black n roll, combining with gothic metal and 90's rock.

It's the genre tag if choice from Stockholm based band The Vice who have three full lengths and a few EP's under their belt, their latest is The Red Tape Sessions, which features three grimy blackened metal tracks.

The opener is the sneering, snarling Cardinal Tropes which take a bit of Avatar, while the more Avant Garde style comes on the choppy Lilies Of The Field where the goth influence is strong on this one, closing the EP with the woozy Waltz De Anima, I'm not really sure what The Red Tape Sessions is supposed to be.

Maybe it will work on a full length but there was very little that excited me on The Red Tape Sessions, it's all a it dreary. 5/10

A View From The Back Of The Room: Ugly kid Joe (Debby Myatt & Tony Gaskin)

Ugly Kid Joe, Scarlet Rebels & Muddibrooke, KK’s Steel Mill, Wolverhmapton, 28.11.25



Day 2 of our 3 gig run saw us head back to the Black Country and our home from home - KK’s Steel Mill. This was for the ever popular hard rockers Ugly Kid Joe, a band that can still pack out venues, but first, two UK support acts that have both been building a reputation for impressive live shows.

First up, Muddibrooke (8). We’ve caught this East Mids trio on a number of occasions now and as usual we’re treated to a quick fire set of grungy rock with a hint of angst and more than a spattering of anger. They rapidly blasted through 8 songs which included ADHD, One Life, and You Don’t Own Me along with their latest upcoming single Float

This was as good as we’ve seen them, the rigorous gig schedule has seen them hone their stagecraft and it’s slicker than ever.

Scarlet Rebels (9) are a band on a roll, and another band that is normally slick and tight, but a few gremlins beset them initially, frontman Wayne laughed them off and apologised for being full of cold, but to be fair it didn't show.

They soon got into their stride though and the Welsh rockers showed why they have become one of the UK’s hottest live bands. Hit songs like Secret Drug, Let Me In and You Take My Breath Away get the crowd singing along. The guys have hit on a formula of hard melodic rock songs with catchy riffs and hooks complimenting lyrics that the fans can sing along to. Very Bon Joviesque.

Onto the main act for tonight and it’s the evergreen Ugly Kid Joe (10), a band that can still fill out venues and a surprisingly large back catalogue to dip into to keep their loyal die hard fans happy.

The room is buzzing as they walk onto stage, with the biggest cheer reserved for frontman Whitfield Crane. He strides across the huge stage here at KK’s with a huge grin on his face, this is a man who loves playing to an audience and he’s got a great one tonight. He’s showing love and respect for his friend and local legend Ozzy tonight by wearing an Ozzy t-shirt, last time he was in this neck of the woods was for the “Back To The Beginning" concert at Villa Park where he performed that day.

They open up by going back to their debut 1992 album America's Least Wanted and the track Neighbour. We get songs from their long and chequered career, it’s a packed list. Whit is on top form, not only with his vocal dexterity, but his banter in between songs.

Of course we get the big hits, their cover of Cats In The Cradle comes along mid way through the set, but there are deeper cuts as well showing the diversity of the band. Songs like No One Survives and The Milkman's Son, but the fun is never far away with an Ugly Kid Joe show and always expect the unexpected!.

Whit calls up guitarist Chris Catalyst, the token Brit in the band! It’s his job to pick a song from a local band to play, so being the Black Country and this close to Christmas there was really only one song he could choose! So a quick blast of that Slade song with the crowd enthusiastically joining in brought some light relief, especially when Whit claimed to have never heard it before!

The set continued until we got to That Ain’t Livin (by my count about 17 songs in!). Whit says they won’t leave the stage, but it’s up to the crowd how many more they’ll play, depending on how loud they are. Of course the room erupts and takes the roof off KK’s!

Tony had seen a set list, and the final three songs should have been Tomorrow’s World, Ace Of Spades and of course Everything About You, but as we said, expect the unexpected!

As the crowd went quiet, a lone voice started shouting “Ozzy, Ozzy!” and suddenly the whole room took up the chant, Whit just stood there and smiled, encouraging the chant, and suddenly the band started playing the opening riff of Paranoid which turned into a full blown cover with Whit singing it faultlessly, a great moment of spontaneity. Without a pause, at the end of Paranoid they immediately went into Ace Of Spades.

Finally they closed out the gig with Everything About You the crowd loved it, the band loved it, we loved it, what a great night.

Reviews: Believe In Nothing, Magnetic Morning, Stellvris, Stryper (Matt Bladen & Rich Piva)

Believe In Nothing - Rot (Church Road Records) [Matt Bladen]

Plenty of albums are heavy, very few are suffocating, Rot from Eastbourne based Believe In Nothing is suffocating, a nihilistic world view coupled with a pain inducing noise wall where fear, loathing and contempt for modernity creates music that is there to be endured.

Formed in 2023, by scene veterans Believe In Nothing got their unofficial live debut at The Eagle Pub when a band pulled out so they stepped up and just played, no songs written just fury through sound, an attack on this increasingly dystopian world that proved that they could survive as a live act. Line ups changed, songs formed and now we face a prepared, fully realised creative vision that's here to smash in your face.

Rot is dangerous, the ominous bass that begins Complete Desolation does nothing to ease you in, full frontal bleakness from the first moments and from here they don't let up. Like opening a door to a vacuum, the air quickly is forced out and leaving you frozen and floating in a void with nothing but the feelings of dread the songs conjure.

The band are masters of the slow release, the pressure and desperation building on What Would You Do? until it's released in snarling extremity, this simmering build and explosive release is repeated across the record but never loses it's effect. With a few selected guest appearances to add to their misery, Believe In Nothing have created a record where music is a weapon. You must surrender to it. 8/10

Magnetic Morning - A.M. (Outer Battery Records) [Rich Piva]

When you combine the forces of Swervedriver's Adam Franklin and Sam Fogarino of Interpol I expect magic to happen. Especially if Franklin is involved, given I think Swervedriver is one of the most underrated bands of all time and way more influential than they are given credit for. 

So, when the announcement of the re-release of their partnership on 2008’s A.M. is dropping, you would think that I would be rejoicing, which I am, but not as much as I would normally for a Franklin based project, because to me, while a great listen, A.M. is just missing something.

I am not sure if it is a lack of energy or if the sound is a bit muddled for me, A.M. just doesn’t hit the mark like other Franklin stuff does. Yes, you get some wonderful atmospheric spacy pop weirdness, lovely harmonies, and some weirdness, outlined perfectly on the opener, Spring Unseen, but that track is really the highlight. 

A song like At A Crossroads, Private is a good song, but lacking that remarkable quality I come to expect from stuff that is Swervedriver adjacent. This is good music to fall asleep to, with the slow pace of a track like Indian Summer. The band shines with the more upbeat tracks, like the beautiful pop of No Direction. Or when they channel JAMC on Out In The Streets, so there is some rather remarkable stuff in between the sleepier numbers.

Don’t get me wrong, this album is worth your time, but the “cult classic” label and the people involved lifted my expectations up unfairly high. This “lost” nugget is worth your time, just don’t expect a life altering Swervedriver type thing to come back from 2008 to change everything. Good for what it is. 7/10

Stellvris - Shatter & Bloom EP (Independent) [Matt Bladen]

Another modern metal band that is billed as being the next Jinjer or Spiritbox. Stellvris have been gaining traction since their formation and have played some high profile gigs and festivals, in the last few years.

While I can get on board with the lyrics about anxiety, toxic relationships and bullying, the band trying to create a safe space for all comers with their music and their shows.The actual music side of it does seem to be similar to countless other bands out there doing the same sort of thing. Now that's not really a criticism more of case of this is how the music industry is turning.

A track like Monster is a perfect descriptor of what they do, it's got crushing breakdown, where the vocals squelch but before that builds with cleans vocals and electronics, each of the four originals on the EP follow the same pattern while the cover of Nicki Minaj's Starships is given a heavy makeover.

There's a lot of love out there for bands like this but someone about Shatter & Bloom didn't really catch me, I'm afraid. 6/10

Stryper - The Greatest Gift Of All (frontiers Music) [Rich Piva]

I am not afraid to admit I like Stryper. As a kid I ate up those big songs that worshiped Jesus while all my other favorite bands were singing about getting laid and doing drugs. Oz Fox could sure rip it up, too. This statement in no way endorses Stryper putting out a Chsrtmas record. Wait, they had not done this before? Thank Jeebus no, but here we are. The Greatest Gift Of All. Thanks Frontiers!!!

First, it sounds like a Frontiers record. Second, they cover Little Drummer Boy. That is enough right there for me to throw in the towel, but I am a professional, so, onwards. Oz, even given all of his medical issues, can still shred, even when playing Winter Wonderland. Michael Sweet’s voice is still strong, so that’s cool. I have to ask though…who the hell wanted this to happen? Certainly not me. Christmas music is bad enough, but this is next level cringe.

I don’t like Christmas music, with the exception being The Vandals classic Oi! To The World. This is no Oi! To The World. Unnecessary and actually painful to listen to. Oz still rips though, never forget that. 2/10

Review: Moron Police - Pachinko (Alex Swift)

Moron Police - Pachinko (Mighty Jam Music)

A dazzling display of colour, a Pachinko is a Japanese arcade game, which, observed at face value, proves the perfect metaphor for the detail and vibrancy that Moron Police pour into their music. Still, within this odd, elusive concept of a person being turned into one of these penny dispensers by the devil, lie explorations of grief, belief systems and identity. Since the release of 2019’s excellent A Boat on The Sea – the project that saw the self-described “weird band from Norway” scale back the comedic stylings of their early work, for a spellbinding satire of war – the band have faced challenges that have made the journey to this new album long and arduous.

The one most intensely felt throughout this album both in musical motifs and poetic observations, is the death of the band’s friend and bandmate Thore Pettersen in 2022. And yet, in Thore’s memory, and with Bill Rymer of the Dillinger Escape Plan stepping in on drums, they continued to shape and hone the album. Pachinko is a brilliant, layered piece delving into the cycles of death and rebirth that we share, and the gods that we cling to as a means of coping with the turmoil that accompanies experiences like the loss of a loved one. The outcome – and I say this with no hyperbole or embellishment – is one of the best albums I have ever heard!

Glistening pianos usher in the album like an overture, before the curtains part and we see a familiar scene. Nothing Breaks (A Port Of Call) is a story from the perspective of one who has had their certainty in their ideals taken away from them, either by time or by circumstance. “I’m stuck inside a cage I cannot leave behind” our narrator opines, knowing that the journey to leave destructively comforting states of being, is often fraught with trepidation. From the outset, parallels are drawn between the sentient pachinko and cycles of despair that keep many trapped inside routines they can’t escape from.

“You’ll pay your way to absolution! Rent-A-God, we’ll send you the acolytes, pitchfork, book and all”, reels out one line on the crazed Alfredo And The Afterlife. Frontman Sondre Skollevoll, sells his role with dynamism, transforming himself into a devilish games show host, promising salvation in the allure of a slot-machine. By contrast, Waiting Around For You, is pensive, as the funk-infused number reflects on vainly holding on for the dreams foretold in the promise of songs to play out in real life.

Penned one day after Thore’s passing, Cormorant is the last song written for the album. “Oh, little sunshine. Still the heart that brought peace to mine” sings Sondre, evoking and reframing a line from the album where many, myself included, heard Moron Police for the first time. The piece ends with blasting drums as strings swirl and coalesce overhead, drawing what I’m tentatively calling Act I of Pachinko, to a stunning, earth-shattering conclusion. And still, upon re-listening, I noticed a detail which devastated me emotionally. Before the crescendo, a familiar motif from the preceding album is played on piano. A simple look at the lyrics from the same song referenced moments ago, reveals the words that once accompanied the melody – “I am lost without you”.

Giving us pause from the rich flurry of sensations that usher the record in, Make Things Easier acts as a bridge, transitioning us from one part of the album to the next. Nevertheless, it’s still one of my favourites, echoing the calls I heard as an autistic and queer child, to “hide” myself from all that I am, so I may be accepted. The love I have found, in spite of those voices, is part of the reason these songs resonate with me on such a profound level.

Following this, we enter the album's staggering centrepiece. Pachinko Pt.1 and Pachinko Pt.2, prove one of the most impressive multi-part suites that I have ever heard. Taken as one, the experience lasts a quarter of the album's runtime, and each second is exquisite. Every transition is perfectly executed and each ‘movement’ feels deeply earned. “What if humanity could make itself divine? Something that lives and breathes like them but never has to die “ snarls one line on Pt.1, as a vortex of noise evokes scenes of an evil masterplan coming to fruition. The song could have ended there, yet that’s not the game DC Superintendent Moron likes to play!

“My name is Pachinko. I sang the flamenco. My songs are something you never can forget” our protagonist quips, as we transition into an insanely catchy melody, contrasting and weaving in and out of the chaos, like a bird circling a cyclone, or a sailor expertly navigating a tempestuous sea! Transitioning into Pt. 2, we get to hear the flamenco that our conscious contraption of rust and wire sang about, with the gentle rise and fall of the chorus, contrasted sharply against the maniacal eccentricities of the verses. While on the one hand this can be taken as a spiral into madness, the expressed desire of our lead character to merely “walk in the sun”, allows this to feel like a cry for a life outside of the prison built for them!

King Amongst Kittens is akin to the dazzling melodic tones of the preceding album. However, amongst the arcade-game inspired instrumentation, and the jovial metaphor of kittens taking their place as rulers of earth, lies a biting condemnation of fame. “The gates of hell have opened wide, and god has left us all to die”, announces our frontman with the optimistic zeal of a singer who knows how to balance brooding poetry, with razor-sharp wit. In another pulse-quickening moment, the closing synth motif leads directly into the main riff for Take Me To The City. Perhaps the most quintessentially cheese-laden cut, the mocking allusions to “masks” as a means to hide one’s true self from the glare of perception, makes the absurd guitar noodling of the outro sting of clever irony!

A cavalcade of guitars and keys gives the beginning of The Apathy Of Kings a distinct power-metal inspired cadence. That’s before the piece shifts focus, with careful acoustics and tender piano melodies granting a sense of melancholy. And then the arrangement grows grander, swelling with every second as orchestral flourishes and lush harmonies sweep to the forefront, until finally we’re led back into the rush of instrumentation that began the song! Indeed, if you needed further proof that Moron Police have mastered the art of crafting satisfying melodic transitions, and are in fact doing so more skilfully than a whole lot of prog metal acts, look no further!

Speaking of which, the electronic interlude of Hanabi - the Japanese word for fireworks - subtly transitions the album from the grandeur of the previous song into the atmospheric beauty of Okinawa Sky. “What am I supposed to do now that my friend is gone? In the end, I always stood upon his shoulders” asks one section, the gentle ebb and flow of electronics and strings giving sound to the sanguine reflections on loss. This is without a doubt a beautiful tribute, and alongside Sentient Dreamer gives the listener pause to reflect on those people through whom we learn to untangle our joys and sorrows. The concluding lines on the penultimate song, in that sense, feel like a reassurance of friendship, in spite of distance - "I gave it everything I had to give, now I leave it all to you. It's up to you whether you walk your own way. I know you'll find your truth, and remember that I love you"

We conclude on Giving Up The Ghost. Bringing together melodic and lyrical threads from across the album, it's an incredibly satisfying send-off for an exemplary experience. Each bright melody or vibrant piece of guitar work that gets reprised on the finale, suddenly feels yet more dazzling. Every emotion brought to bear across these fourteen songs feels reframed, in a moment of joy. Indeed, as the harmonies come in on the final verse, and the album roars to a close with Thore’s drumming being the last sound heard, you’re left at a loss for words.

I’ve listened to this album many times since its release, and I am impressed from both a compositional and a technical point of view. As ever though, I look to music to affect me emotionally. This album spoke to my trepidations towards feeling like a stranger to so called ‘normal’ ways of being. It also reminded me of how much the people in whose company I feel safe to be myself, mean to me. Some spend their lives caught up in a game - restlessly adhering to cycles that never change and never cease. 

A host of devils and kings seek to keep us trapped inside machines hostile to our existence. We only learn to break those spirals in the company of those who give us the freedom to be ourselves, away from the promise of the Pachinko. 10/10