Reviews: Masterplan, Stonecast, Vorax, Doomherre/Ordos/Hexjakt/Kaiser (Matt Bladen & Mark Young)

Masterplan - Metalmorphosis (Frontiers Music Srl) [Matt Bladen]

With their first new music since 2013, power metal legends Masterplan return on Frontiers Music with Metalmorphosis, their sixth studio album of originals and the culmination of this bands journey so far as they fully step away from their label as a Helloween offshoot.

Now Roland Grapow (guitars) didn't do himself or the band any favours with 2017's PumpKings covers record but after and extended hiatus it seems Masterplan return revitalised and infused with a new creative energy that is all over this new album.

Since their emergence in 2001, they've been through a number of line up changes most notably vocalist Rick Altzi replacing Jorn Lande, but the current line up of Grapow, Altzi, keyboardist Axel Mackenrott (since 2003), bassist Jari Kainulainen (since 2012) and drummer Kevin Kott (since 2017), have all been a part of the band long enough to understand their roles in Masterplan and bring what fans expect.

So what do they expect? Well power metal melodies, prog metal technicality and theatrical diversity that makes for epic songwriting, anchored on this record by the Title Track which displays the heavier sound Masterplan have returned with on this album. 

Tracks such as Through The Storm have their foot to the floor with full pelt European power metal while The Call goes deeper into the prog realms across 8 minutes.

This Masterplan's Metalmorphosis, shedding their hiatus to return with sharper songwriting and heavy hitting music. Veterans of the game it's great to have them back! 8/10

(P.S. I can't wait to see them at Quest Fest 2026 this year)

Stonecast - Expand Crimson Chaos (Pitch Black Records) [Matt Bladen]

I said in my review of French band Stonecasts last album. I, Earther that they "bristle with heavy metal glory" well with Expand Crimson Chaos they continue to just that. 

Creating heavy metal that merges the British and American styles, one moment they're Manowar, the next they're Judas Priest, but for most of Expand Crimson Chaos they stick with Iced Earth.

The seven year gap between the records taking into heavier paths and while Jon Schaffer's band is now a fractured mess of split members, insurrectionism and libertarian insanity, Stonecast can easily slip into that gap due to their thrashy power metal, which is the cornerstone of the American style.

The riffs come from guitarist Seb Casula (leads from Thomas Tiberi), bassist Lionel Antonorsi and the huge vocal prowess of Frank Ghirardi. 

Their IE credentials boosted by Brent Smedley behind the kit, with a track such as King Of Hell blasting like something off Burnt Offerings, switching between a stomping groove and more occult elements of theatre where they can flex their prog prowess as they transition into the blistering gallops of early Manowar.

They even drop a classic metal song in their native French, which is then given a piano version on CD bonus track, so Stonecast aren't afraid to take risks but they make their mark with some more muscular heavy metal. Play loud, raise your first and bang your head to Expand Crimson Chaos. 9/10

Vorax - Volcano Shock (Independent) [Mark Young]

Occupying the different side of the extreme metal coin is Vorax, and their full-length release Volcano Shock. 

Its surprising that no one thought to combine old school death metal and Dinosaurs, well at the least the apocalyptic part of that particular past. The band themselves are wholeheartedly onboard with this and treat this as a deadly serious exercise in music.

And let me tell you, it sounds serious from the off, they have nailed that 90s Swe-death guitar tone to a tee and basically run rampant with it. Magma Ocean is first, and well if you park any opinions on the song titles and just concentrate on the music this is a well-wrought opening salvo of nastiness. 

It just sounds like it stepped out of 1994, and the way that the songs are put together is that they are basically put in gear and are let loose, percussive and propulsive death metal that only moves in one direction. 

The vocals are gnarly, completely suited to the material on hand. Devouring Raw Flesh, with its slower tempo is no less immediate, as is the title track Volcano Shock which possesses that classic death metal super-strum to it. The question is whether you can stay the course with them, and wholly dependent upon your appreciation of OSDM, especially one that tips its hat towards Scandinavia. 

Fans of that era and that location should be able to get onboard with this with no trouble. The songs are good songs, lead breaks are broken out in all the right spots and they never miss with their riffs, which is always massive for me. The other thing is their approach; this is not meant to be a joke or something half-arsed, at least from as far as I can tell.

Yes, the subject matter could be considered to sit on the humorous side of things, but when you look at metal in general there are some sub-genres that raise an eyebrow or two. At least Vorax are bringing a relative a-game to proceedings. I keep going back to its sound, its something akin to stripping the enamel from your teeth. 

Add in that they don’t take a backwards step at any point on here and you have an album that succeeds in terms of offering you 8 songs that place great emphasis on craft. You can’t fault them for that. 7/10

Doomherre, Odos, Hexjakt, Kaiser - Four Altars Of Sin (Majestic Mountain Records) [Mark Young]

Well, this is certainly the treat!!

Four Altars Of Sin gives us a 4 way split of some top class Nordic doom/stoner via Majestic Mountain Records who somehow have combined some of the frostiest metal to be released during an extreme heat event in the UK.

Doomherre – Blood Relics Of Old

Ordos – Inferno

Hexjakt - Svartkonst

Kaiser – Sonic Satan

Putting improbable coincidence to one side, It’s a monumental slab of noise that is a dense as their names suggest. This feels as though Majestic Mountain have carefully curated this split, with each band offering the listener something that is different from the other without sounding out of place. 

The key is that each one delights in being unfathomably heavy whilst imbuing a sense of movement in each of their tracks. Some of the riffs are massive, just as you would expect and there is no way you will come away from this disappointed if this is your bag. 

Doomherre kick things off with Blood Relics Of Old, dropping a bass that is so low its likely to cause waters to break in the pregnant and a riff build that elicits a ‘Fuck yeah’ in right minded individuals everywhere. 

This is a quality start and positions the bar high for Ordos to follow with Inferno. This looks inwardly with a restrained sound that just builds along with one of ‘those arrangements’ that has that itch to it no matter how distorted it is. 

When it does kick in, it’s the vocals that do the heavy lifting, switching from cleans into the harsh. Like Doomherre, they are here to move you and I defy anyone not to get behind this.

Hexjakt start side 2 and just dive in with Svartkonst. This one rides that traditional doom train, again with a focused but fuzzed out mania.

Its central riff is like a monster, simple but massive and when you think about it, they don’t need it to be anything else. Its simplicity is devastating, punctured by a lead break that has that emotional lift to it. Again, at the core is a simple truth which doesn’t mean that this is without merit. It is pure, unspoiled doom. 

Bringing this to a close is Kaiser, with Sonic Satan. Its extended opening sirens and voice over grating until the guitars drop in. I did say that they all shared a similar sound, and this is true in that each band bring massive riffology. 

Kaiser do things differently in the vocal sense due to their lean into stoner territory rather than doom. They still have engage in immense tones, with a fabulous lead break that dominates their entry and ultimately wraps their entry to a close.

For fans of Doom/Stoner, and of Majestic Mountain Records in general, this will surely scratch an itch and introduce new followers to their flock. Hats off to Majestic Mountain with this, brilliant release 8/10

Reviews: MONO, Junius, Plaindrifter, Gin Lady (Matt Bladen & Rich Piva)

MONO - Snowdrop (Temporary Residence Limited) [Matt Bladen]

It’s difficult to lose a friend, difficult to lose a colleague, difficult to lose someone who you have been intrinsically linked with for so long, but when Steve Albini passed away in 2024, Japanese band MONO lost a collaborator, colleague and friend all at once.

His unrivalled production skills has featured on hundreds of albums, this made him one of the most recognisable and revered names in his field, but to MONO he was more than that, he was their “fifth Beatle” the concrete foundation upon which their work could be built upon, with a scientific understanding and emotional connection to their working process and exactly what made MONO tick.

This led to a period of uncertainty the grief of losing a friend but the more practical fear of losing such an integral part of the band, they must have asked themselves if they would ever sound the same again?

That is until they found Brad Wood a friend and devotee of Steve Albini, he too is a producer having made records with Touché Amoré and The Smashing Pumpkins, so he sat in the chair at Electrical Audio, Albini’s studio and alongside conductor Chad McCullough, a 10-piece orchestra and an 8-piece choir and rebuilt MONO, the group creating Snowdrop and record that this as intense as it is intimate, fuelled by the love of a brother.

This is a record that celebrates rather than commiserates, celebrating life rather than mourning death. It pays tribute to Albini, through Wood being sympathetic to the production style he had locked in with MONO, but also sees the band embracing their new working relationships and a jump into the unknown.

Snowdrop begins with the elegant title track, the guitars shimmering across the stereo spectrum, defined left and right instrumentation throughout, you must listen to this on good headphones or through good speakers to really hear it. The title track is like the first buds of spring flourishing at the start of the record before unfolding into the stunning duo of Winter Daphne where the orchestra and choir really come into their own and the triumphal feel of Gerbera, the drums like a distant marching band keeping the time against the orchestral swells.

From here Statice has me thinking of film soundtracks, it's the repetition, the piano and the whole general feel of it I think, especially comparing it to Hedera where the guitar is king, shifting back to the post rock early days of the band. However MONO's music has always been cinematic, songs built for never-ending horizons and long distance travels through beautiful vistas.

Fans should not fear, their first record without Albini behind the desk since 2014's The Last Dawn/Rays Of Darkness double release, is a tribute to the great man from those that loved him while also being another epic, evocative performance from this band who communicate through their virtuosity in an unspoken way. 9/10

Junius - Sotera (Prosthetic Records) [Matt Bladen]

Boston band Junius return after nearly a decade with their new album Sotera, which in the words of founding member Joseph E. Martinez "feels like a rebirth for the band".

Which it sort of is as vocalist/guitarist Martinez and drummer Dana Filloon are the only founding members of the band left, the rest of these soundscapes brought to life by Eoghan Mccarthy (guitar), Matthew Vincenty (guitar) and Orion Wainer (bass).

So yes folks it's another post metal band with three guitarists, but when you hear the density of Junius' music you'll understand why three guitarists are the minimum, shifting from colossal heaviness into introspective atmospheres, there's so much to unlock musically with this record, is no wonder they've been compared to the likes of Tool, Deftones and Cult Of Luna.

Produced by Martinez and Tom Syrowski (Blackberry Smoke, Mastodon), Sotera is a collection of songs where dynamics are key, undulating between ominous distortion and bright ambience, the angst of Deftones, sneer of Tool and the gothic brooding of Type O Negative all prominent in the expressive vocals of Martinez.

You could apply the term symphonic shoegaze to the album as while they do a lot of repeated shuffling and looking at their toes, the instrumentals layer across each other for a wall of expression and shifts in volume that comes from that 90's era of alt rock experimentation.

A record dedicated to Hekate and divine feminine powers, it's their first album not to be confined to just the conceptual but carry a narrative thread, rather than storytelling rigidity, so maybe Sotera is Junius relaxing into being a band after nearly 20 years.

The various genre tags that can applied all getting a bit muddled, as these tracks always offer something different to the last, yet retain a musical dexterity that's hard to define. A clash of sounds that create a post-something noise any devotee of the 90's alternative music scene will feel very comfortable inside. 8/10

Plaindrifter - Gestalt (Ripple Music) [Rich Piva]

Germany's Plaindrift have figured out the perfect and delicate balance of being both proggy and heavy on their amazing new record, Gestalt, brought to us by the best label in heavy rock, Ripple Music. These six songs walk the proggy/stoner/metal tightrope with the greatest of ease, bringing the best of all three of those genres to Gestalt.

Amazing vocals, killer musicianship, and the songs…the songs are breathtaking. Immediately you feel this with the opener, Moth Murmuration, which goes in lots of directions but never waivers too far to allow you to keep guessing but never questioning the direction chosen. Eternal Season is right with it, with some amazing guitar work and next-level songwriting. 

Hyborian Age starts out like it is getting you settled in for what will be quite the journey and that is exactly what you get for those seven amazing minutes that makes up my favourite track on the record. The heaviest song and riff, of course, has Ryan Garney guesting on it, as the middle psych-y part of this seven and a half minute trip leads to Garney’s killer vocals to close it out. Great stuff. Debaser closes Gestalt, pretty much defining what heavy prog should sound like moving forward.

Plaindrifter is just locked in on Gestalt. This record should be held up next to any album proclaiming to stay heavy and still wander into progressive territories, without ever being a parody of itself but instead helping to define what this genre should sound like. Another amazing Ripple Music release. 9/10

Gin Lady - Toads And Diamonds - Volume I: Live in Spain (Ripple Music) [Rich Piva]

If the Allman Brothers were from Sweden they may have toured with Gin Lady, and this set, from Gin Lady’s 2025 tour of Spain, shows that the band would have hung with those legends on stage, given how great Toads And Diamonds - Volume I: Live In Spain sounds.

Gin Lady has been around for a while now and has a great back catalog that they sample a lot of on Toads And Diamonds - Volume I: Live In Spain. The highlight for me is I'm Your Friend, where the guitar work and the harmonies are so precise and beautiful while still giving this raw live feel. I also love the chunky Flower People, with this Neil Young thing it has going on, Crazy Horse background vocals and all. 

Another amazing live band, My Morning Jacket vibes emit from Far Beyond The Sun while the most Allmans track musically, Brothers Of The Canyon, could not have been a better closer, leaving the crowd moving and wanting more. The Byrds-like harmonies pair perfectly with the Southern jamminess of the song. The sound of Toads And Diamonds is great, capturing the band in all their glory while also getting all the little intricacies of their sound.

This would have been quite the show to attend, but at least we get Toads And Diamonds - Volume I: Live In Spain for those of us who have not had the honour of seeing the amazing Gin Lady live and in the flesh. A killer live record in a time where they are few and far between. 9/10

Reviews: Primal Cult, Medusa's Wrath, Pulsar1081, Chants Ov Obscurity (Matt Bladen)

Primal Cult - Dark Passage (Northern Silence Productions)

Eve Alchemy and Aro Raven formed Primal Cult in 2012 and since then they've become a melodic black metal force in the Hellenic extreme metal world. Their music has "themes connected to nature, inner conflict and ancient imagery" as the duo combine ferocity and atmosphere like so many of the leaders in the genre from their country. 

Tremolo guitar, keys, melodic passages and blast beats all at the heart of the this cult. Their debut came out in 2018 so has this gap between releases changes anything? Well no, maybe there's something that's a bit more refined on this one, the creative mind of Eve Alchemy composing songs that are still carry a significant black metal darkness but offer glimmers of light with the clean guitars and synths.

There's also cello, piano (Shore Of Echoes) and more textures to broaden the sonic appeal of this record, spoken word parts and traditional Greek instruments come on the title track while there are acoustics that begin Below The Wave. Dark Passage keeps Primal Cult firmly in the grip of the Hellenic extreme metal world, not about speed but about power and cinematics. 7/10 

Medusa's Wrath - The Seventh Plague Of Babylon (Sleaszy Rider Records)

The second album from Medusa's Wrath doesn't change the formula of their debut, Pavor Exitium Mors too much. You can expect epic, US styled heavy metal which reminds me of the early records from Iced Earth when the vocals were overall a bit harsher, but the music still retained that classic heavy metal goes thrash style. 

With lyrics inspired by history this Athenian five piece still carry that epic heavy metal flag of Manilla Road (Shadows Dance), Iron Maiden (Eternal), Mercyful Fate (Breaking The Spell), Judas Priest on We Cannot Breathe and Lament Of The Serpent with more than a dash of Sabaton too. 

Medusa's Wrath do what they do, playing heavy metal which merges that robust US version with the speedier UK one. The Seventh Plague Of Babylon is a decent follow up to their 2024 debut. 7/10

Pulsar1081 - L’inizio Della Fine (FYC Records) 

Ok let's get into this one yeah? Pulsar1081 are a duo who have caught the ear of D.I.Y label FYC Records. Always having an ear to the ground and penchant for the creative FYC area perfect home for the ambient industrial soundscapes of Eterno and Momento. 

Between them they use keys, guitars, synths, samples, noises, takes and even some vocals to create these layered pieces of music where the synthetic and analogue instrumentation are blended with chants (Darkness), making a seven recordings that have an unnerving sense of dread that flows through all these pieces. 

I say pieces as they aren't really songs, they're soundtracks of a film that doesn't exist but you know would be psychologically terrifying. This isn't a metal album but then FYC has always been a place for the experimental underground and Pulsar1081 is very experimental. 7/10

Chants Ov Obscurity - Bloodstained Monuments (Self Released)

Some blackened deathcore now from Thessaloniki based Chants Ov Obscurity, with influences of Abigail Williams, Ov Sulfur and Cabal, this is fast, furious stuff, the grunt of death metal with the rage of black metal. 

Bloodstained Monuments low guttural vocal croaks/screams (Demios Sam), heavy breakdowns (Kostas Oiko) and symphonic elements (Maria Brkc) but ultimately doesn't do too much different from those bands I mentioned. 

I felt like most of the song bled into another but then deathcore is not always my preference, still fans will be chomping at the bit to pit to these tracks I'm sure, for me it's the Reincarnation In Blasphemy that's stands out as the best on the EP.

As I said blackened death if you're a fan you'll like it if not, then it won't convince you. 6/10

Reviews: Lost In Kyiv, Oh Hiroshima, Hanry, Million Moons (Matt Bladen)

Lost In Kyiv - We're All Going To Be Fine (Pelagic Records)

Some more fine French fancies from Lost In Kyiv and their new album We're All Going To Be Fine, over a decade of post rock excellence continues with this latest release that seamless integrates cavernous enveloping riffs and twitching electronic ambience.

This new record taking down a heavier/darker path than before, one that has been spearheaded by them looking inward for inspiration, drawing from their own lives to craft personal and emotional songs that delve into the less upbeat parts of their collective psyches then transferred into music that has also been inspired by Carl Gustav Jung.

A refocus rather than a reinvention, We're All Going Yo Be Fine is a record that the band describe as "the first record of a new version of the band", which has lead the name change from Kiev to Kyiv because if that's the way the Ukrainian capital describes itself then this change is reflected in the more tumultuous atmospheres on this record.

With so many "post" bands dynamics are at the heart of what they do and Lost In Kyiv master dynamism with every cut on this record, with electronic and analogue instrumentation weaving into each other throughout.

There's acoustic beauty, pulsating breakbeat, waves of synth melody, repeating clean guitars lines but also bigger and louder distorted riffs that take the band into those more ominous, metallic tones. The addition of their new drummer, giving them more powerful grooves powered by adrenaline and even aggression, while the guest vocals of Rebecca Need-Menear on Becoming again brings another dynamic to their sound.

We're All Going To Be Fine is a record from a band who were in a state of flux, but have slowly and carefully rebuilt themselves into a more potent force that has a stronger connection with their audience. 8/10

Oh Hiroshima - And The Dead Tree Gives No Shelter (Pelagic Records)

The duo of Jakob Hemström (guitar/bass/vocals) and Oskar Nilsson (drums and percussion) have been refining their full spectrum musical approach for years now, the Swedish based band curate a place for cinematic introspection, intensity builds, emotions are driven by the colossal soundscapes and soulful vocals.

Oh Hiroshima make music that climbs, like a slow ascent up a musical mountain, they take cues from Mike Oldfield and his ability to layer repeating rhythms over each other as another step of the journey. Inspired by T. S. Eliott's The Wasteland, there's a sense of hopelessness to the album that is communicated through these eight songs, an innate sadness for a failing world where guitars and drums are joined by stirring strings.

There's also moments that spark joy and hope, the feeling that perhaps we can change the world, The Tree Of Life leaning on Celtic tones while Broken Sunlight goes through flute driven grunge while Exit Cloud features organs, orchestras, electronics, horns and the biggest riffs of the record to close it out.

And The Dead Tree Gives No Shelter is an album that features musical complexity and emotional turmoil, a lament for the world explored through expansive music and emotive vocals, Oh Hiroshima continue to impress. 7/10

Hanry - What Came From Silence (Pelagic Records)

Another instrumental post rock group now with What Came From Silence by Hanry.

Despite only being formed in 2022 they have already positioned themselves as ones to watch in the world of post rock, so with their debut album they look to firmly define themselves as a band with it. Written and recorded during a harsh winter in Brittany, the fierceness and isolation of this process can be felt on this album.

It's a record where all the songs begin in cold and frigid tundra' but build into luminous vistas as the introspection evolves into acceptance, the band say: "What Came From Silence is a meditation on emergence, on how resonance is born from restraint, how sound gathers weight from quiet beginnings" which in my view sums up the album perfectly.

A virtuoso five piece that share a musical bond that's is strong across the record, a trio of guitars create the lush layered effect of melodies, harmonising and counteracting with the hand picked synths to make sure that this is the sound they want to be associated with, never over-complicating anything but defining their approach with the multiple guitars, synth lines and cello while the drums are propulsive and create spatial awareness beneath it all.

They also credit the addition of pianist Mariposa as bringing extra depth, for me though their mastery of electronic music is what makes this record exciting, inspired by Explosion In The Sky, Boards of Canada, and even Massive Attack, a track like Remains could be an easy entry into that 90's synth/triphop scene as would Time's Collapsing.

Their blending of electronica and post rock give a Hanry a unique position on the post rock scene, signing to Pelagic has helped them discover how creative they can be with their debut album. 7/10

Million Moons - You Be Good, I Love You (Ripcord Records/Dunk! Records/A Thousand Arms Music)

Continuing my current run of reviewing mainly post rock/metal, I have some animal conscious post metal from Scotland/London based band Million Moons.

On their new album You Be Good, I Love You, they approach it with the idea that animals are "different, yes—but never less than" their human counterparts.

I'd have to agree as I've had more intelligent and profound conversations with animals than many humans over the years but I digress as this album takes things further than I could have, delivering into consciousness. The title coming from the last words of parrot who learnt to communicate with his handlers developing a consciousness of his own, away from animals.

Outside of the band they are all very much involved in conservation so these themes are very close to their hearts, leading to songs that are there to inform rather than rebuke, though it's Secret Histories that does point the finger through the record heaviest moment.

Their music is a selection of structured soundscapes that are meant to reflect certain animals, the swooping movements of flocks of birds, the stillness of floating iridescent sea creatures, the epic journeys of mammals and even on Echoes In The Abyss, the 52-hertz-frequency call of whale 52 Blue.

Guitars are used for intricate but soaring melodies, the rhythm section thunders and floats, letting moments of heaviness consume, while when stripped back allowing the groove to settle in.

Electronics bristle and the band have also brought in sax and organ to swell their cinematic sound, captured by Lewis Johns (Rolo Tomassi, Slow Crush, Employed To Serve) who makes sure every single moment of this bright and bold record can be heard. 8/10

Reviews: Yawning Balch, Stormkeep, Wage War, Joseph Tholl (Rich Piva, Mark Young, Matt Bladen & Cherie Curtis)

Yawning Balch - Volume 4 (Heavy Psych Sounds) [Rich Piva]

Of course, the super group, and I am in no way using that term loosely, Yawning Balch, produced another killer atmospheric, desert-psych-trip on the fourth installation of the collaboration, aptly titled Volume 4. 

Yawning Man have been consistently awesome for decades now, with their what can only be described as legendary psychedelic desert instrumental goodness, but adding Mr. Balch to the mix gives them this vibe of just a little bit heavy too, but never enough to throw off the delicate balance of what Gary, Bill, and Mario in YM are all about.

Volume 4 is part of the second hour's long jam sessions the guys did in the desert, with Balch talking about his new pedal that played a prominent role in the two tracks offered here. Bob likes pedals and I like Bob using pedals. Pyramid Of Djoser is the first one, and Bob certainly has all sorts of trippy tricks going on with said pedal and his mastery of the instrument he has been known for. The most amazing thing about Balch is his ability to be awesome in any setting; as the riff maker in Fu Manchu, playing 80s Priest worship in Axe Dragger, or the desert trippy stuff you get here. 

The chemistry is obvious between these four amazing musicians, as Water Ritual may be my favourite on any of the volumes thus far. It is so hard to put a 22 minute jam into words, but if you want to take or not take your substance of choice and just chill, Yawning Balch got you. Bob never goes too far, sometimes you feel he may or maybe even you want him to, but he always keeps it right down in the good part of the trip.

Yawning Balch. As a fan it is fun just to write the name. It is even better experiencing all the goodness this collaboration brings. Bring on the next volumes, we are here for it for sure. 8/10

Stormkeep - The Nocturnes Of Iswylm (Vesperian) [Mark Young]

There is something about atmos black metal that when done right can't be touched.

The Taste Of Immortal Blood has that lofty opening touch, allowing the swells and Eddie's before they drop the hammer.

Fast drums, riffoloa

Then cleans that I actually liked in this context, they attempted to support or underpin the music in front of it. However, they remember that this is heavy metal and that having the atmosphere is nice but what really is key is guitars, drums and bass. It's suitably energetic, punching forward when it needs to, and allows the use of keys to come in to act as a natural break. The outer lead break, as quick as it is has the song in mind by actively not overshadowing it. 

It's a very strong start, one that The Black Dragons Of Iswylm maintains. It's a tightly wrapped song, the component parts are equally distributed behind a solid riff. Having this one run shorter means there is a race to get as many parts played as possible; piano here, atmos break there. T3 continues that run, a classic BM start that sees galloping guitars and machine gun double bass. By now it's settled into a pattern that shows a consistent approach to their craft. Its full of melodic lines (the early lead break as an example) that are positioned well within its arrangement. Obviously, we are never too far from a moment where they remind us they are about the atmosphere.

Imperious Sanguine Erotiscm gradually eases into play, a slow fade in that sees them deploy the clean singing first then rip into those harsh bm vox and back again. I think it was expected that they would have a relatively slow one which would give them room to breathe and spread out. There's still opportunity for them to go heavy, and they do whilst maintaining restraint ensuring that it flows as opposed to lurching into new ground. 

T5 decides its had enough and kicks into high gear once more. There's a hurry about this one, manifested in how they position lead breaks and changes in velocity to suit. Of the tracks so far I think that it suffers from being padded out slightly. Personally, this could have been reduced in length but given that the overall level of craft that has go e into these songs has stayed constant it really is a minor niggle. 

T6 has a cracking riff set to it, relying on speed to SOMETHING HERE. Whilst it has that in its favour, its shares a lot with the tracks preceding and its a good track there is a familiarity dropping into play. Again, its a personal thing, but the closing track, Ballad Of A Fallen Star needs to shake things up. I'm hoping that its not an actual ballad, because the last song has to be the one that stays with you once it wraps. Well, any thoughts that they would avoid expansive song lengths are put to bed straight away. 

It's a 9 minute showcase for the good stuff that they have done, but also one that highlights the need for a ruthless hand. It doesn't deviate from the path laid out at the start, nor does it throw in something out of character.

Something else. 8/10

Wage War - It Calls Me By Name (Fearless Records) [Matt Bladen]

Floridian band Wage War dwell in hot and humid swamps of Florida and on the opener of their new EP they encompasses the hidden threat of the alligators that lurk just under the water. It's a song that's brutal, oppressive and dangerous beginning to this record, Wage War at their most vicious and biting, massive grooves and breakdowns with ferocious vocals it's Wage War going down their heaviest route to date.

This renewed danger and aggression continws into 4x4, more screams low end booms but still massive chorus hooks. Wage War state their influenced by Florida itself and the aggressive power of nature, this has made sure that this EP is muscular and loud.

The five piece of drummer Stephen Kluesener, bassist Chris Gaylord, guitarists Seth Blake and Cody Quistand as well as vocalist Briton Bond all give incendiary performances especially Bond on closer Purify as the duality in the vocals on Blindfolded and Karma are more what you may expect from Wage War.

Inspired by the harshness of their home, Wage War, step up the ferocity on It Calls Me By My Name. 7/10

Joseph Tholl – It Might Be Art (High Roller Records) [Cherie Curtis]

Multi-instrumentalist Joseph Tholl brings us his second solo album, It Might Be Art and its hearty, melodic and sincere. It doesn’t rely on sickening breakdowns to be noticed and appreciated. Joseph Tholl has a respectable vocal range swinging from balmy to unfaltering passion with a dark bitter edge complimented by contrasting tension building backing vocals which brings a satisfyingly rich texture and dynamic.

It Might Be Art is something everyone can enjoy, though it’s not metal; it’s a piece of well-crafted, hard-hitting rock. It’s not distracting or pretentiously overcomplicated in any way, but what’s great about this album is that each track is unique from each other in style slightly so if you’re not a fan of one, you’re bound to enjoy the next.

For example; The Burial is a personal favourite, it’s fun and quick with sharp riffs with creative solos and a catchy chorus that's darker and more atmospheric with more of a specific narrative than the others and I’m In A darkness is measured, powerful and laced with romanticism and reverb that makes it more of a ballad which is an excellent change of pace.

As a whole, It Might Be Art is clear cut and undemanding and very well made. It will be a great addition to your everyday playlist when you want a pallet cleanser. It can come across on the first listen as safe and ordinary but as the album unfolds and you hear what’s being offered, you do get to appreciate the sheer effort being made, the level of thoughtfulness and years of experience that shines through. 

The album is different to what Joseph Tholl has worked on within bands past and present, so the energy, passion and creativity is obvious, and it's always makes a huge difference when someone creates out of love, fun and curiosity over comfort and expectation. 6/10

A View From Blackbird Festival (Alex Tobias)

Blackbird Festival, Cardiff Castle, 27.06.26

I headed down to the inaugural Blackbird Festival, part of the summer concert series at Cardiff Castle, to catch Cardinal Black, Florence Black, Mammoth, Skindred and Alter Bridge. With the blazing Cardiff sunshine beating down, it was an early start, but the weather couldn't dampen the excitement surrounding what promised to be an incredible day of rock music.

First up were South Wales favourites Cardinal Black (7). Before the music began, Planet Rock's Ian Danter took to the stage as compere for the day, getting the crowd fired up before introducing each band. The mention of Cardinal Black's name was met with a huge roar from the audience, which only grew louder as the band walked on stage wearing broad smiles and carrying an unmistakable air of calm confidence.

Vocalist Tom Hollister got things underway with a cheeky "Alright?" before launching straight into Keep On Running, taken from the band's outstanding 2025 album Midnight At The Valencia. Right from the opening notes, the band's quality was obvious. Hollister's smooth vocals blended beautifully with the rich keyboard textures, while guitarist Chris Buck once again proved why many consider him to be one of the finest guitarists in the world. His effortless playing was nothing short of mesmerising.

The band continued with songs including Tell Me How It Feels from their 2022 debut album, a beautifully melodic track that had plenty of people singing along inside the stunning surroundings of Cardiff Castle. Thankfully, although the sun continued to shine, the heat remained just about manageable, making for perfect festival conditions.

Cardinal Black simply ooze class. Their effortless musicianship, soulful songwriting and relaxed stage presence made them the perfect choice to open the festival. Everywhere you looked there were smiles, voices singing along and people completely immersed in the music. You really couldn't ask for a better start to the day from such an impressively talented band.

After a short break for the changeover, everyone had the chance to rehydrate before the next dose of Welsh rock. Up next were Merthyr Tydfil's own Florence Black (8), who walked onto the stage to a huge roar from the Cardiff crowd.

The trio wasted no time in getting things underway with Look Up from their 2024 album Bed Of Nails. From the opening riff, the band's slick, hard rock sound immediately got the audience moving. Florence Black have a fantastic chemistry on stage, with vocalist and guitarist Tristan Thomas and bassist Jordan "Fozzy" Evans effortlessly switching sides throughout the set, while drummer Perry Davies never stopped moving behind the kit, his energy ensuring every corner of the stage felt alive. For a three-piece, they have an incredible ability to command such a large stage without ever looking out of place.

The reaction from the Cardiff crowd was superb from start to finish, with every song receiving a huge response. Although we only heard one track from the band's latest release, The Pouring Rain from their 2026 album of the same name, it slotted seamlessly into the set alongside older favourites.

As the performance gathered momentum, Florence Black demonstrated exactly why they continue to establish themselves as one of the UK's finest modern rock bands. Their set was packed with huge riffs, soaring melodies and plenty of crowd interaction, all delivered with an infectious sense of enjoyment that made it impossible not to get caught up in the moment.

The band closed with an excellent cover of Budgie's Breadfan, before finishing on the ever-popular Sun And Moon from their debut album Weight Of The World. It was a slick and polished performance throughout, but one that never lost its sense of fun. The chemistry between the three musicians was evident from beginning to end, making for a thoroughly entertaining set that left the Cardiff crowd wanting more.

With enough time between sets to grab a drink and browse the merch stands, I made it back to the stage just in time to catch Mammoth (7). The American rock outfit received a warm Welsh welcome as they walked on stage before launching straight into The End, the title track from their 2025 album.

It was the perfect introduction to the band, immediately showcasing the blend of melodic hard rock and technical musicianship that has become Mammoth's trademark. From the opening guitar riff, the influence of the Van Halen legacy was unmistakable, but rather than relying on nostalgia, the band quickly demonstrated that they have carved out a sound that is very much their own.

Wolfgang Van Halen looked completely at home on stage, delivering powerful vocals while effortlessly handling guitar duties throughout the set. Backed by an excellent live band, Mammoth powered through a collection of songs that balanced soaring melodies with crushing riffs, keeping the Cardiff crowd engaged from beginning to end.

A particular highlight came with Same Old Song, another track from the band's latest album. During the song, the audience opened up the day's first circle pit, prompting Wolfgang to remark afterwards that it was the first one Mammoth had ever received. The comment was met with a huge cheer from the Cardiff faithful, who clearly appreciated the band's reaction as much as the music itself.

The energy continued to build as Mammoth tore through the remainder of their set, seamlessly shifting between melodic rock anthems and heavier, foot-stomping moments that had the crowd bouncing throughout. They rounded things off with the acclaimed Don't Back Down from their self-titled debut album, bringing an excellent performance to a fitting close.

By the end of the set, the audience was fully warmed up for the evening ahead. Mammoth delivered a polished, energetic performance that highlighted exactly why they are regarded as one of the most exciting modern rock acts on the scene today.

I'll do my best not to let my admiration for our next band show too much, but when it comes to Skindred (8), that's easier said than done. I've been following Benji Webbe's career since first seeing Dub War back in 1998 at the legendary TJ's one-off festival in Newport. From Skindred's earliest shows right through to today, I've watched the band grow into one of the UK's most respected live acts. Being from the same city as Benji, I've also seen first-hand what a genuine ambassador he is for Newport and the wider Welsh music scene.

As far as today's performance was concerned, the anticipation had been building long before the band even stepped onto the stage. The moment they appeared, the atmosphere inside Cardiff Castle shifted up another level.

Opening with This Is The Sound from the band's UK Number One album You Got This, Skindred immediately had the crowd bouncing. Looking around the castle grounds, it was almost impossible to find anyone who wasn't either singing along, dancing or grinning from ear to ear. The band's infectious energy spread through the audience within moments, setting the tone for another unforgettable festival performance.

One of Skindred's greatest strengths is the depth of their catalogue. It genuinely doesn't seem to matter what song comes next; the vast majority of the crowd know every lyric and every beat. Benji remains one of the finest frontmen in rock, effortlessly controlling the audience with his trademark humour, charisma and crowd interaction. Whether he's joking between songs or encouraging another wave of bouncing, he has thousands of people in the palm of his hand from start to finish.

The set reached another level when the band rolled back the years with Ratrace from 2007's Roots Rock Riot. Circle pits erupted once again as the relentless energy refused to let up. The balance between older favourites and songs from the latest album was spot on, giving long-time fans and newer listeners plenty to enjoy.

There were also plenty of memorable moments throughout the set, including snippets of tracks by hip-hop legends Pharoahe Monch and Dr. Dre, before the entire castle joined together in a spine-tingling rendition of Queen's Don't Stop Me Now. Hearing thousands of voices singing in unison against the backdrop of Cardiff Castle was one of the standout moments of the entire festival.

To close, the band delivered the formidable trio of Nobody, Gimme That Boom, and, of course, Warning. It simply wouldn't be a Skindred show without the now legendary Newport Helicopter, and the sight of thousands of people waving shirts, hats and anything else they could find above their heads was something to behold. 

Adding to the occasion, Florence Black frontman Tristan Thomas joined the band on stage to perform Jacoby Shaddix's guest vocals, earning one of the biggest cheers of the day.

More than 25 years into their career, Skindred continue to prove why they remain one of the best live bands in Britain. Their ability to unite people through music, positivity and sheer energy is unmatched, and today's performance was another reminder that they have no intention of slowing down anytime soon.

As darkness began to fall over Cardiff Castle, it was finally time for the evening's headliners, Alter Bridge (8). The Florida rock giants took to the stage to a thunderous reception before launching straight into Silent Divide, the opening track from their latest self-titled album. From the very first note, both the band and the crowd were completely locked in, creating an electric atmosphere that would only grow stronger throughout the set.

The band's trademark blend of soaring melodies, crushing riffs and flawless musicianship was on full display. Myles Kennedy was in exceptional form, delivering stunning vocals while effortlessly switching between singing and guitar duties. Alongside him, Mark Tremonti's impeccable guitar work once again proved why he is regarded as one of modern rock's finest players, while bassist Brian Marshall and drummer Scott Phillips provided the rock-solid foundation that gives Alter Bridge their unmistakably huge live sound.

The classics soon followed, with Addicted To Pain and Cry Of Achilles, both taken from the outstanding 2013 album Fortress. Every song was met with an incredible response from the Cardiff crowd, who sang back almost every word while the band delivered one powerful performance after another. Guitar solos came thick and fast, accompanied by the kind of heavy, headbanging riffs that fans had been waiting for all day.

This was my first time seeing Alter Bridge live, and I have to say they exceeded every expectation. The performance was incredibly polished without ever feeling over-rehearsed, and the chemistry between the four musicians was evident throughout the set. As the evening wore on, the backdrop of Cardiff Castle became an increasingly spectacular setting, adding even more atmosphere as darkness settled over the historic venue.

The highlights kept coming with Ghost Of Days Gone By from AB III, a song that united thousands of voices in one unforgettable singalong. It was one of those special festival moments where the connection between band and audience was impossible to ignore.

The atmosphere reached fever pitch when the unmistakable opening riff of Metalingus, from the band's 2004 debut One Day Remains, rang out across the castle grounds. The crowd erupted instantly, with mosh pits opening once again and fans bouncing from the front barrier right to the back of the field.

To close the evening, Alter Bridge delivered the emotional masterpiece Blackbird, a breath-taking seven-minute epic that showcased everything the band do so well. They then signed off with Isolation from AB III, bringing an unforgettable day of music to a perfect conclusion. Even after almost ten hours of live music, the Cardiff crowd still had plenty left in the tank, singing every word and throwing themselves into one last round of bouncing and circle pits.

It was a fitting end to an outstanding inaugural Blackbird Festival. Five excellent bands, a stunning setting and an atmosphere that never dipped made for a truly memorable day. Hearing Myles Kennedy confirm from the stage that the festival will return next year was the icing on the cake.

Bring on Blackbird Festival 2027.

Review: Warning - Rituals Of Shame (Matt Bladen)

Warning - Rituals Of Shame (Relapse Records)



There are few times I remember visibly weeping in front of others. Once was when my grandmother passed away and the other was when I saw Warning playing Watching From A Distance in full at Damnation Festival.

In the latter I wasn't the only one as Patrick Walker's aching vocals and emotional doom sound has a way of touching everyone, even the guy in the corpsepaint, there's just a overwhelming sadness to it all that swallows you, taking you to the point where the only release is tears and an outpouring of emotion where his grief becomes yours, an entire room full of people linked by lost loved ones, indulging in a public display of sadness, holding each other, in that moment all sharing one emotion.

The more important side of this was that many in the audience though Warning was done, starting in 1994, their debut album The Strength To Dream, came out in 1999 and was one that suited the doom scene at the time, but it's with 2006's Watching From A Distance they solidified themselves but thats were it ends in 2009 it seemed that Warning were no more, Walker starting 40 Watt Sun, the band he has been much more prolific with a lean towards alt rock and post-gaze, slow unfolding atmospheric rock, still rooted in the doom world but brighter.

In recent years 40 Watt Sun has been Walker's sole pursuit, but with the reunions to play that seminal second album in full, gaining traction, especially with the performance at Roadburn committed to record as a live album, it was time for Warning to return from the ether with another emotional gut punch that will expose the rawness and pain in the world, setting to work on their first album in 20 years.

The entire studio process put on to celluloid (or more likely digital by filmmaker Geert Braekers who released a short documentary chronicling the recording of the album, capturing every intimate moment, every rewrite, every unscripted moment of a band reconvening again to recapture what made them 20 years ago.

From that last line up only Walker and guitarist Wayne Taylor remain, Marcus Hatfield and Andre Prestidge joining on bass and drums, Rituals Of Shame was written over three months in early 2025 and recorded in a former 140-year-old church with Chris Fullard (Idles, Sunn O))), Ulver), Rituals Of Shame is inspired by a "transformative period" in Walker's life and also from the reflected love and reverence that the people have for the band and their music.

We begin with the title track and any wonder whether this may just be a 40 Watt Sun record under a different moniker is dispelled with the massive opening lament of a echoed drum beat and a glacial moving riff that irks forward until this distinctive vocals from Walker come in. The song builds throughout it's massive run time, the repeated use of "I Can't Close My Eyes, To It" will become a major part of their live show I'm sure, sung with that powerful fragility.

This is definitely Warning, the heaviness, the pathos, the underlying mixture of hope and despair that carries through every song, the title track firmly establishes that this is Warning back to their atmospheric best with long, read very long, form songwriting, the first part of the track shifting into a different groove that comes from the solo section and leads into the last part of the song.

These shifts are subtle never going full prog madness but also acting as a new chapter in these journeying stories Warning create. With the rebirth of Warning begun things get heavier with the downtuned dirge of Stations, another cavernous set of riffs underpinned by the sterling drum work, where fills are used to great effect.

I realise I go on about Patrick Walker's voice but it's so unique, emotionally resonant and heart breaking, somewhere between Sivert Hoyem of Madrugada, Gord Dowie of The Tragically Hip and Steve Hogarth from Marillion, seeing that Walkers took a lot of influence from that band was a very pleasant surprise for me due to my own love of Marillion.

You can hear it, in the choruses, those pace shifts, and the lead guitar breaks that only need a few chords to prove this point, tracks like Night Comes Down, owing as much gratitude to Marillion as they do the likes of Sabbath, it's a shorter piece but still just as effective while with Landing Lights the spirit of Rothery and Hogarth burns brightly, showing that while doom Warning are storytellers with a love of prog, they just make everything heavier.

The chorus on Landing Lights is one of the tracks that if you haven't had a good sob yet, this one will break you, as the transition into Teacher will keep the levels of emotion high, a keening, baring of the soul that closes this return from Warning, even the most stoic, unfeeling of human will be brought to their knees with this one, the last refrain of "And I Can't Count To The Ways I Love You" carrying a deeper meaning to the listeners who have begged and pleaded for this band to return.

Whether Rituals Of Shame will carry the same cult status as Watching From A Distance I don't know, that will all be revealed in time, however it's a magisterial return from Warning after 20 years. 10/10

Reviews: Lauren Lakis, Spread Eagle, Witch Piss, Lockhart (Rich Piva & Matt Bladen)

Lauren Lakis - Deadlights (RidingEasy Records) [Rich Piva]

90’s music is the best. I will die on this hill. Not just the heavy stuff, or the grunge, the punk and hardcore, the indie rock and adjacent, the 1000s of other subgenres that kicked ass, or the fact Duran Duran returned with one of their best songs ever, the 90s ruled. 

In the 2020s more than ever, artists sure are grabbing on to that era; I would argue Alice In Chains is as influential as any rock band ever in what is being put out today. Lauren Lakis, one of the new signings to RidingEasy Records, unabashedly loves the 90s, and you can hear this on her debut record for the label, Deadlights, where she wonderfully straddles the shoegaze-grunge-indie rock line like she has been doing it for decades, over the ten tracks.

It is a trip down 90s memory lane without being any kind of re-tread. Liz Phair, early Radiohead, and Velocity Girl vibes emanate from I Fall Apart. Maybe a little Catherine Wheel and Swerverdriver too. MBV meets the Cocteau Twins come across to me on the opener, There. Pixies or Sonic Youth your thing? Maybe early Hole or Belly? You will certainly dig The Other Side. 

Lakis voice is great on these songs, as she has a familiar voice but really sounds like no one else that immediately comes to mind. Yes, Disintegration came out in 89, but the bassline that opens It’s So Amazing reminds me of something from that classic. Or maybe I am getting Smashing Pumpkins vibes when it gets loud. 

When it does get loud, this controlled wall of sound hits you just right. I love the dissonance on the title track, which goes back to some of those British bands like Ride who mastered this sound. The simple beauty that Lou Barlow got from Sebadoh lies under No One’s Around Here, while I Want You Here sounds like it should be playing at Roadhouse on Twin Peaks. Love Like A Dog is the highlight for me, as she uses all of her influences and highlights her voice for a song that should be on every playlist. The dreamy With That Body floats us to the finish in a beautiful way.

You can worship the 90s while making music and still have it sound like and be your own, just like Lauren Lakis does on Deadlights. Yes, I named dropped a bunch of 90s bands, but she sounds 100% her own thing on this record, of which everyone should check out. 8/10

Spread Eagle - The Brutal Divine (Frontiers Music Srl) [Matt Bladen]

For god sake don't Google them without adding "band" at the end unless safe search is on! Though it is worth it as New York band Spread Eagle have an interesting history and new record that is a real tribute to their legacy and longevity.

Founded in the very, late 80's they like many others released few record and then found themselves on hiatus for a while until the 2000's returning with a new record proper in 2019. The Brutal Divine is only their fourth studio album but it seems them leaning towards their roots in the New York underground as the songs are leaner and rawer than many bands of a similar ilk.

There's a strong vein of NY Punk that runs through it, coming from the vocals of Ray West especially, while the rhythm section of Rob (bass) and Rik (drums) De Luca keeps a pace fit for a runaway train, pure energy and no need for flair or flash just groove. Though guitarist Gianmaria “Jommy” Puledda never pulls his punches, be it with the rough and ready riffs or the sleazy solos.

The Brutal Truth is Spread Eagle staying true to their hard rock image, cultivated over their career but sees these veterans getting leaner and meaner with age, check out their Street Noise if it sound like your thing. 7/10

Witch Piss - The Devil Doesn’t Burn (Ardua Music) [Rich Piva]

Witch Piss. It is an interesting name. The Devil Doesn’t Burn. This is a very interesting album. Also interesting is that there is a California band named Witch Piss. This is not them, this is the band from Mechelen, Belgium, who bring the riffs on their second record. I really dug their first, self titled record. The Devil Doesn’t Burn continues with the heavy stoner doom that had their debut stand out back in 2023.

First, I have to say I love the cover art. Everything about it is great. There is this White Zombie vibe with the art and the use of the old movie clips on the record that really add to the vibe. The record is filled with riffs. Big filthy riffs, like the one on the opener, Black Tongue Driven. There is a sludgy Mastodon vibe lurking under their stoner doom heaviness they bring, which is very cool indeed. 

Bad Juju slows the pace just a bit but still brings the riffs, but leans more towards the proto side of things which is just fine by me. Think Sahg. This is followed by Witch Cries Boy, which has a punk vibe to its delivery and tempo. Cool stuff. Beggars And Horses rips it up with a more straight up heavy stoner vibe and has a nice gallop to it while incorporating a cool tempo change as well. 

The title track is all sorts of sludgy doom goodness, while Catelyn’s Broken Hope speeds up and tears the place apart. Venus Rising and Rubicon River close out the record strong with a killer one-two punch, with the former really reminding me of early White Zombie and the latter is probably my favourite track on the record, and shows the band gets melody along with the heavy.

So yeah, I dig the new Witch Piss record. Is it breaking any new ground? No. Does something have to break new ground to kick ass? Also, no. The Devil Doesn’t Burn is a great listen and has a lot of stuff for us lovers of the heavy stuff to enjoy. 7/10

Lockhart - City Pulse (High Roller Records) [Matt Bladen]

Journey, Toto, Don Henley, Yacht Rock, these are all the words I wrote down when I was listening to City Pulse from Lockhart.

An AOR band from Canada comprised musicians closely associated with the NWOTHM revival. Bassist Jason Junlop as underscored Goat Horn and Cauldron, Devin Kerr (vocal/guitar/keys) shreds in Axxion while drummer Fabio Alessandrini has been in the engine room for Bonfire, Enforcer and Annihilator.

However Lockhart take a much lighter approach than any of those bands, music driven by synthesizers and pop mentality, it's a real 80's throwback but instead of leather and chains we're talking neon and pastels. City Pulse is their first full length album following on from their 2022 EP.

They cite a lot of the bands I mentioned as their influences and in some cases they're obvious, the multi-tracked guitar, the analogue synths, even some electric drumkit all takes it back to when these songs ruled the airwaves and vocal choirs and fluffy keys were de-riguer for any self respecting rock band, hell even Jefferson Starship did away with the psych rock for pop stardom.

Rather than perhaps being shunned by the trad metal set like so many Frontiers releases, the metal pedigree of Lockhart, and guests including Mike from Municipal Waste and Ian from Cauldron, means that although different, there's still that deference to the underground scene and a retro sound of the time.

If you want galloping rhythms and shredding guitars this isn't the album for you, however if bubblegum AOR gets you all fizzy then feel the City Pulse of Lockheart. 7/10

Reviews: Fires In The Distance, Gideon, The Carburetors, David Thrussell & Shinjuku Thief (Mark Young, Matt Bladen, Cherie Curtis & Joe Guatieri)

Fires In The Distance - Circadian Promise (Prosthetic Records) [Mark Young]

Some more of the epic, expansive and atmospheric black metal for you? With some quality influences on their sound – Amorphis, Type O Negative, Paradise Lost to name but three bands which should at least give you an idea of what they are like. 

What they don’t believe in is short songs, and this is simply derived from an unshakable internal belief that in order to remain true to themselves the songs have to be what they have to be. Pretty sure that there was a band Called Earth that had one song that was 50 minutes long, but that’s another story.

Anyway Of Radiance And Levitation is their near 10minute opening statement. Its difficult for me to accurately explain it but if you imagine that they decided that they were going to tell you a story and basically grab you from the opening seconds. I’ve said before that there are some bands that make 3 minutes feel like a lifetime and some that make ten fly past in seconds, that is what this is like. The way it moves, develops from one stop to the next without losing you shows, at least to me that they have something very special happening when they get together in a room. 

Its heavy when it needs to be, soft and gentle elsewhere but never do you look at your watch and think ‘I wish to Christ this would finish’. Its chock full of what I call the good stuff, and then they go and do it again with To You, Author Of My Fade. I’m not quite sure how they made two songs that hit 18 minutes in total seem so brief. They don’t let anything sit, there is a constant sense of movement in place that remains, even in the softer parts. 

I don’t mind the clean singing either, I think because they haven’t tried to do anything to it other than allow it to happen within the song. My fear is that with these grandiose songs that they forget that they need to move you too and that is an accusation that cannot be levelled at them. I’m not suggesting they are setting any records in terms of speed, but they know that to have an opening gambit such as this the material has to be special.

Spoiler – it’s pretty damn good.

As are the songs that follow; Lightless Days Of A Songless Bird has a lighter vibe running through it, which given the title is surprising. I’m not sure if this represents their slow third track moment, and I wouldn’t like to say that it is this album’s stop gap but it feels like that. Now, before fans get all broken up, let me just say it is a good song. Its just that it comes after an opening where anything would pale in its shadow. There are some stunning lead breaks on here, as well as thundering double bass it’s just that I would have loved for them to have made this one a little shorter.

Which is what they do on By This Time Tomorrow (Ft Johan Reinholdz) and despite its lumbering tempo it doesn’t allow itself to drag. That perception of movement is in place, and on reflection this is the palate cleanser/hold-point because once it wraps, they push up the gear again with Once The Silence Takes Your Place, mixing in those belting riffs and now melodic piano lines. A percussive belt is the order of the day here; this simplistic approach gives them space to move at later points and on here those cleans really take flight as the arrangement behind them allows them that space to do so. 

They make the most of the time available to them here, and as it hands over to Agonal Dreaming and that finish line is in sight. Somehow, they have managed to do this number of songs at the lengths they are and make them as interesting and individual as possible. They share a common DNA where there has to be a constant movement, they plainly cannot sit still at any point. This closing track is practically triumphant in its execution; there are some belting riffs on this one that would be fabulous to play. Absolutely stunning stuff from them.

Being honest with you, looking at these run times and based on the fact that I’m not a massive fan of what I consider to be overlong music, this has been a revelation for me. I don’t pretend to assume that other bands are capable of being able to sustain music like this across the album in this way (Maybe there are loads of them and I’ve never heard of them, but for now let’s pretend) and it’s the fact that they have kept me engaged from start to finish. Quality stuff, 10/10

Gideon - 4x4 (Sumerian Records) [Matt Bladen]

Like the big blue legend of the mighty monster truck world Bigfoot, Alabama metalcore band drop a heavy surprise EP that's set to crush your speaker like car under the Ford truck's massive wheels. Daniel McWhorter (vocals), Tyler Riley (guitars), Caleb DeRusha (bass) and Jake Smelley (drums) are the foursome behind Gideon and they've decided to drop another five tracks onto an unsuspecting public.

They use a lot of Southern, country and western in both their imagery and in the samples they put through their music. Their music itself? Well that's ultra aggressive, beatdown heavy metalcore with plenty of low end groove, dirty riffs and rabid vocal screams and growls. With tracks such as Till The Wheels Come Off and Yeehaw, Gideon bring a blistering style of Southern, blue collar metalcore which is designed to pulverise, using samples and soundscapes to make the impression more vivid as they breakdown into chugging crushes for every song.

These new tracks are going to sound massive on stage and they show just why Gideon are quickly climbing the ranks with fans of massive metalcore. 7/10

The Carburetors – We Ride At Night (Fast Forward Records) [Cherie Curtis]

Norwegian heavy rock band The Carburetors have been around for two decades and for their newest album - We Ride At Night, their experience and time spent in the scene really pays off. They have a well-established sound and a hard rocking image that brings to the table a relentless amount of infectious energy. If you’re a fan of hard rock’n’roll with a splash of traditional heavy metal then We Ride At Night is the album you’ve been craving.

This new album has 10 tracks for your ears to feast on, which is the standard and only runs for about 30 minutes in total; it’s on the shorter side, but they play it hard and fast so listening doesn’t feel like chore, it feels like a thrill. This album feels nostalgic and only slightly cheesy in the way that would feel gimmicky if The Carburetors weren’t so damn good at bringing old school to the modern day. They have pure excitement and a reckless demeanor that gives off an interesting vibe that’s a mix between Van Halen and The Ramones, We Ride At Night has the heavy metal instrumental splendour similar to Van Halen with raw and gritty vocals like The Ramones.

My favourites from this album are Shot At Dawn and We Like To Boogie, that's because - and i hate to say it, they make you want to boogie; they’re both sleazy, blood pumping, catchy and will get your foot tapping at the very least. Most of the album follows in this format but track 9 Sharpen The Blades shakes it up slightly and showcases everything the band does well. It’s vocally and emotionally deeper and more anthemic and makes for a real staple as it takes the time to showcase the best of what they have to offer and really drives home the fact that The Carburetors are experts and, in my opinion, this track has the best guitar solo in the album. If you have to listen to just one song from the album, make it Sharpen The Blades.

Overall, We Ride At Night is a safe bet. The album is mixed well and coherent with all the marks of professionalism, and it has everything you’ll like. There's not a dull moment even though there’s nothing too extreme or unique, it’s still a solid album that’s really easy to listen too and will liven up your day. 7/10.

David Thrussell & Shinjuku Thief - The Call of Cthulhu (Metropolis Records) [Joe Guatieri]

Before I start this piece, I would like to present a trigger warning to the potential listener of the project that I’m referring to. This re-telling of H.P. Lovecraft’s The Call Of Cthulhu contains racial slurs. Listener discretion is advised.

Recently I’ve had the task of taking on and reviewing a narrated soundtrack of H.P. Lovecraft’s The Call Of Cthulhu, performed by David Thrussel of Snog and Darrin Verhagen of Shinjuku Thief. I’ve been writing for Musipedia Of Metal since June of 2023 and this so far is without a doubt the strangest thing that I’ve ever done for them. 

I make it no secret that I love weird music and art, my taste is like a sledgehammer ploughing through a TV that has been stuck on a channel with no signal for five hours but this is on another plane even for me. With an experience like this, it’s difficult to even find a place to start.

Everyone has had stories read to them at some point during their lifetime but this strips away the human interaction. You’re being told this through your ear buds or your speakers, you don’t have any guidance as this story insists upon itself and is there to be taken in whether you want it or not.

One of the most famous stories in horror by a legendary writer is read out to you in a gruff manner. David Thrussel’s words are slow and direct, you can follow them for sure but without concentration you will be left alone out at sea very easily. His words are joined by Darrin Verhagen’s creepy stylings which are supported by Matthew Murana. These two instrumentalists paint the skyline as the narrator describes the goings on to you.

The soundscapes erected make your nerves shiver, its at times a barrage of noisy textures riding on top of a horse made out of Industrial Techno that propels you forwards, deeper into unknown territory. As The Call Of Cthulhu reveals itself slowly over time, the sound amps up astronomically and wants to kill you as the narration sounds shocked in every breath.

The language used acts as newspaper clippings, ramblings of a mad man who is trying to make sense of a situation which is impossible to describe. They stick with you but disappear quicker than what you’ve heard of them, nightmare corpse god, we live on a placid island of ignorance. Were they ever really there?

I was on the edge of my seat for the last piece as the volume and sheer attack cut through my person like a chainsaw in reverse. David’s telling's of H.P. Lovecraft’s tale takes on its most brutal form, detailing the personal destruction this monster of the sea Cthulhu has caused. Broken bones, blood spray and lives that were cared about were taken away in an instant.

Again to reiterate, it’s hard to describe a listen such as this, every single person will have a different reaction to this endeavour. I can see people dismissing this as boring and others praising it for the picture that all the moving pieces at play paint. It’s a soundtrack and a reading of a celebrated piece of fiction and it’s there to be digested by members of the public who are patient and open enough to do so.

Overall, with this iteration of The Call Of Cthulhu by H.P. Lovecraft, David Thrussel and Darrin Verhagen have evidently shown their love for this narrative, putting a piece of themselves into it. They’ve taken something established and put a new ear onto it and they have kept me engaged throughout the run time. 

Musically it’s interesting in many ways but with the narration although I’ve given it all my efforts, it’s not quite taken me to that next level. The storytelling has the danger but it doesn’t have much else for me, I needed more emotional weight here. 7/10

Reviews: Exploring Birdsong, Mortiis, B*tthole Surfers, Duir (Matt Bladen, Cherie Curtis, Joe Guatieri & Adz Redpath)

Exploring Birdsong - Every House We Built (Long Branch Records) [Matt Bladen]

The debut from Exploring Birdsong has been long expected and anticipated, so long a brilliant live staple at shows and festivals, they have managed to find enough time to head to the studio to record their first full length record.

Every House We Built is a conceptual metaphor for the creating a relationship, exploring human connections through a particularly intensely emotional and diverse musical style that is cinematic and intimate all at the same time.

This thematic tether, means these songs are filled with refences to homes, foundations these things that build both places to dwell and relationships, poor quality of either leading to disaster, while the strongest last forever.

Throughout the album, these themes are tested and tried, sense is made, lives changed, hearts broken but somehow there's always a chance for renewal, a feeling feeling of what comes from the ground, goes back to the ground and can always be rebuilt no matter how hard.

Every House We Built opens with beautiful piano balladry of Archipelago that will stop you in your tracks, before we start properly with 42 where the likes of The Dirty Loops is the influence due to the funky slap bass, twinkling keys and lashings of groove.

While Romanticise brings the 80's synthwave vibes of The Midnight, pulsating drum beats, electronic atmosphere and piano before the huge industrial power comes crashing in during the middle eight, the Djent influence of a band that has featured at Radar festival amongst others still a huge part of their sound. This is despite Exploring Birdsong using it like so many artists as a way to make their poppier approach heavier.

With Every House We Built, the complexity of the are arrangements means that the loud metallic riffs are augmentations for other styles of music, here to get you grooving, or indicate catharsis and release. There's a glut of bands that I would call metal adjacent in that the influence is there and the music appears but it's in brief flashes behind something that's ultimately pop.

For instance Sleep Token have been doing this for a long time so it's no wonder that Exploring Birdsong's Lyndsay Ward is part of the live Sleep Token line up, and has taken some of these tricks over into Exploring Birdsong, using them to accompany her fantastic vocal prowess while the impressive instrumental side comes from Jonny Knight (bass/synth) and Matt Harrison (drums/percussion).

Mainstream pop acts are even incorporating these palm muted riffs into their work. However bands like Exploring Birdsong manage to get the mixture just right. Yes they're band driven by piano so with Spy In The House Of Love, where I can hear the Celtic influences of Steeleye Span and the electronic pop of Phil Collins or Mike & The Mechanics, but the heavier end comes on the darker edge of You Like It Best When It Hurts.

I_You is an empowering song about love, while Cartography is another dramatic piano ballad, both of these bring to mind one of my favourite performers Sara Bareilles, while The Warning gives me the ethereal, string driven chills of Kate Bush.

The innovative musical style of Exploring Birdsong means they can create a kaleidoscope of emotions with their music, though it's the title track that hits hardest as a "devastating portrayal of heartbreak and the sudden collapse of something once thought unshakeable" there's layers that build into a crescendo which serves as the collapsing endpoint, leading to Meadowlands where the cycle can start again.

The expectation for this record has been high, personally Exploring Birdsong floored me when I saw them at Radar festival so I've personally been waiting for this for a long time. Every House We Built is the story of every experience, every foundation, every brick that has been built emotionally so far by this brilliant Liverpool act.

This however is their debut and just the beginning, Exploring Birdsong are special, mark my words. 10/10

Mortiis – Ghosts Of Europa (Dark Dungeon Music) [Cherie Curtis]

I’m embarrassed to say that this album is the first I've ever heard of Mortiis and it’s real shame because I've been missing out all these years. I’ve found what I've been looking for and they’ve been under my nose this entire time and now I have a lot to catch up on.

Mortiis has been lurking in the shadows since the 90s and previous albums like The Smell Of Rain has done well so it’s safe to say they know how to put out a great album. Mortiis has an addictive sound, one we never get to hear unless you dig out a dusty gothic rock record from the attic, they melt together an amalgamation of electronic rock and dark wave creating what you may know as dungeon synth.

With their past successes tucked away in their back pockets, Ghosts Of Europa has 8 tracks of stunningly crafted groovy and yet hauntingly bitter and intense tracks to our scorching hot summer heatwave. This album is atmospheric and gloomy much more than their previous work by leaning heavily into their stylised and high fantasy image they’ve spawned in their earlier days. 

This album primarily contains long and textured intros with layers of synths and keyboards that builds steadily before launching into a powerful swell of Ellefsen’s signature tortured vocals; The Faith That Fades Away is a prime example with airy female vocals to knock it out of the park with some energetic bangers like Tundra, Heart Of Hell and which sounds like classic Mortiis for the long-time fans.

Ultimately, Ghosts Of Europa is a very strong album. Its deep and impactful and musically creative that shows a lot of thought went into it. You’re guaranteed to get goose bumps, and all that passion and energy is captured beautifully within an underrated genre that feels more like the score to a cinematic masterpiece, this album somehow makes music visual. 

It comes to no surprise after 32 years, Mortiis gives us a sharp and professional piece of work. The overall mix and layout is great especially in the build ups and as you work your way through, there’s a captivating increase of tension. There’s a track that will make you cry, a track to make you dance, and a track to make cry again all the while feeling like the hottest version of yourself.

As a Mortiis newbie, I have added this album to my favourites as well as all the others – and there’s a good few out there. I can’t recommend these guys enough if you aren't already a fan. 10/10

Butthole Surfers - After The Astronaut (Sunset Blvd) [Joe Guatieri]

The Butthole Surfers are a legendary American rock band who formed in Austin, Texas, all the way back in 1981. They were known for constantly pushing the envelope and challenging audiences both in the studio and live as well, their experimentation lead to a boom of creativity within Punk and in art when it needed it the most. 

Records like Locust Abortion Technician and Hairway To Steven sound like no other, they constructed planets made out of people’s nightmares, developing a catalogue that is both genuinely deranged and terrifying. The most unexpected thing happened as in the 90s as songs of theirs like Pepper from Electriclarryland had chart success and were in constant rotation on MTV, how unfortunate for the general public.

Gibby Haynes and Jeff Pinkus previously had a House project called The Jackofficers where they were indulging in new creative pastures in hopes of progressing their production and experimentation. After that brief fling of an endeavour, the Butthole Surfers were now finding themselves as a crossroads, they were looking at these trends and the rise of outsider music, Industrial, Hip Hop and Nu metal and seeing if they could grow big wings from that sphere and attempt to try and fly high to gain admiration again.

Continuing on from that, today I’ll be having a look at an album of theirs that was never released until now, originally scheduled for 1998, After The Astronaut sees the Butthole Surfers playing catch up with their contemporaries and bands that were inspired by them like Ween, The Flaming Lips and Nine Inch Nails. They were flying the freak flag high and going even further than what the Butthole Surfers ever did, amplifying weirdness to an extreme volume which is hard to describe. 

To provide some context, After the Astronaut was originally going to come out after Electriclarryland but due to a strained relationship with Capitol Records and splitting off from their manager Tom Bunch, the LP was shelved. The songs were later repurposed for Weird Revolution which came out a few years later. Now with After The Astronaut seeing the light of day, what will I say?

The record opens with Weird Revolution, a four minute song where Gibby Haynes leads a political rally with a big Martin Luther King Jr.-esque speech about the weirdo’s of the world wanting complete separation from normality and freedom of self. The instrumentation is represented by an electronic Hip Hop beat which is the basis for most of the album, its paired Paul Leary’s classic guitar stabs which put impact upon the statement being made, it's anything but easy listening, it makes me want to get off my seat and take charge of my life.

The following track Intelligent Guy (Astronaut Version) presents a more Boom bap flavour style of Hip Hop which is very much in the vein of the band's unexpected hit in Pepper. The guitar follows this click clack approach in a thick and fuzzy style, trying to give this song more of a soul. I can see what Intelligent Guy (Astronaut Version) is trying to do, it’s going for a more hypnotic feel, something for the listener to get lost in but unfortunately, with Gibby’s Run-D.M.C style rhymes, it doesn’t make it all the way there.

Moving on we get track four with Mexico where a Pungi Flute becomes the star of the show. It makes for a beautiful melody in which the listener can finally tune in too. Gibby’s lyrics take the form of religious experiences, feeling like they were being dropped in a subconscious state, completely spontaneously. The instrumental sweeps me off my feet and just makes me want to dance like a cobra answering a snake charmer.

Getting deeper into the track listing we get track seven with The Last Astronaut. Maybe the most unique song on this album, it’s glitchier than anything else here and feels both makeshift and broken at once as a result. There are heavenly pianos which stretch across the background like a comforting hug, finding a place of solace. 

Those are at odds in battle to the death against buzzing synthesizers and noise throughout the duration of the piece. It all puts the song on red-alert, it has its guard up and is ready to evacuate spectators when problems escalate. It’s a tightrope of emotions between joy and anger. Much like the narrator at the end of the song, I’m only left with questions, “Control, are you there?”, “Is there anyone left?”, “It killed all of them”. Your sleep paralysis demon has come to life.

Later on we get track ten with They Came In. Out of everything shown on After The Astronaut, this is definitely the most complete song here. Every element at play from King Coffey’s live busy drums, synths of all shapes and sizes that add colour to the mix and the groovy forever moving guitar, it’s not only got a pulse but it’s own style too. There are beat changes also which keeps the listener guessing from spacey psychedelics to the all out assault of guitar fuckery. They Came In is without a doubt my favourite song on After The Astronaut!

Overall, the Butthole Surfers have seen a gap in the market that they didn’t need to feel. Some of the songs presented here feel so demo quality and primitive, like a ready-made template for Hip Hop beats but they all have that special Butthole Surfers sauce which makes them stick out like a sore thumb. 

At its best After The Astronaut provides jams for people to get lost in and at worst the record is an afterthought. No matter what the Butthole Surfers do, they can’t avoid being themselves which has always been their best quality. They’ve never sold out! 7/10

Duir - Catarsi (AOP Records) [Adz Redpath]

Duir seem like a driven and focused group having toured extensively since their formation in 2013 they have shared stages with names like Darkend, Garea & Elvenking amongst many others they have evolved their image from the more classic black metal style to a more modern masked style in keeping with the likes of Batushka and aforementioned Gaerea which might not set them apart but certainly looks badass in the promo shots if seen. This is their second full length release after 2022's T.S.N.R.I - Impermanenza and a new chapter for the band it would seem.

At over 45 minutes for 6 songs this is quite the opus, clearly recorded in a studio with zero programming and with a feel and production harking back to true early Scandinavian black metal in the most positive way this release has a refreshingly live and real feel to it. 

Well layered vocally and with clear musical expression throughout incorporating eclectic traditional instrumentation ( Flute, bagpipes, hurdy gurdy ) in a way that adds and doesn't distract from the music and compliments and thankfully doesn't have any "cheesy" aspects at all. This may not be the most progressive black metal or musically adventurous having clear styling and feel that is consistent throughout, this has the vibes any true fan of the genre would gravitate towards all day long With solid playing and vocals from start to finish.

My main critiques would be that the songs really are a touch too long, they have several repetitive riff ideas although despite this It does feel that it is represented more as a theme throughout the release similar to early Emperor or Immortal just not to such a captivating standard as the aforementioned. 

The tracks Impeto and Oltre l'Alba are particular standouts with a great feel that truly takes you down that old school nostalgic black metal road where I almost wish I was listening to this on a cassette back in my teens in the best possible way. I would personally recommend these guys massively and would love to catch them live at some point and recommend you do also. 7/10