Reviews: Rob Harrison, Lili Refrain, Akem Manah, Mines (Matt Bladen & Mark Young)

Rob Harrison - Overflow (Ragged Ocean Records) [Matt Bladen]

I think music always needs to be a bit weird, a bit experimental, bands who are in the prog genre especially have always embraced the oddness.

Be it acts like Gong, Cardiacs, Gentle Giant or the crossover brilliance of Zappa, Captain Beefheart, any Krautrock and of course the proggiest of the prog bands King Crimson. 

Performing and composing music that is experimental and against the norm has always been their raison-d'etre and they have left a legacy behind them of artists who are unafraid to follow in their oddly timed footsteps.

From South Wales Rob Harrison is just that sort of weirdo, when he's not blasting the sax in instrumental prog rockers Z Machine or Mascot Moth, he's making his own left of centre noises as a solo artist. 

His debut Explode My Head was applauded in these pages, but I am a sucker for quirky, prog rock that features, irregular time signatures, jazz percussion, large instrumental sections and of course a brass and wind section.

With his head exploded, the Overflow is next, these creative ideas spilling out on to a Vinyl/CD/Digital Sphere as eight tracks of tightly packed genius where Rob shows off his multi-instrumental artistry as well as his claymation skills with in the visual media aspects of this project that are just important as the music. 

Rob plays sax and flute here but he's also responsible for the throbbing basslines, intricate guitars, synth swirls and even some glass bottle/water percussion just to make sure it's not what you would expect from a prog rock record.

The latter is important as Overflow is a loose concept album about the nature of water, as Bruce Lee once said "be like water my friend" and if there's a record that flows freely and fills any space it comes into contact with it's the freeform nature of this album. 

Tributaries drawing from various streams to make a consistent whole, adding the harp of Rhodri Davies (of Hen Ogledd), glockenspiel of Giordano Maselli and xylophone of Oso G, for a sound I can only liken to that of water.

Elsewhere Bioluminescence feels like those bright blue invertebrates just floating in the sea all the different colours coming on each individual section, like swimming though multicoloured hallucination. 

The constant switching is a kept moving by the drumming of Eliseo Salverri, the groovy, funk-like sections of Upstream and Downstream which are the same song played in reverse of each other, I told you it was weird!

The final trio of Pools Of Glass, featuring violin for Julia of Who Knows Sound, Azure Veins and Delirium, all vary wildly between in approach, connected by the water theme, though on Delirium, I came to the realisation that really the only other person doing this currently is Matt Berry.

Rob Harrison has the same deep love and appreciation of this music and with Overflow he again perfectly pitches the absurd with the divine. 9/10

Lili Refrain - Nagalite (Subsound Records) [Matt Bladen]

Nagalite is the sixth solo album from Rome based musician Lili Refrain and you probably all know how much I like music with layers, especially when they're done without computers using loop stations, building in to huge dynamic pieces of often repeating rhythms that make for hypnotic listening.

It's Mike Oldfield, it's Radiohead, it's David Ford, it's Robert Fripp, Steven Wilson, Peter Gabriel and The Anchoress, if you want to get into the prog side of things which loop artists very quickly do. 

It's music for musos, often the realm of solo multi-instrumentalists who can compose and play everything for a full creative control and a singular vision.

Lili Refrain fits that bill, a solo multi-instrumentalist who blends genres in real time creating songs that are extensions of her technical wizardry. 

Pulsating synths, real and electronic drums/percussion pads, electric guitar shimmers, bass thumps, keyboards bringing melody and shamanic vocals, these are expressions of raw emotion that are shaped through music.

She's performed at Roaburn (obviously) Desertfest and more, joining a wide range of artists such as Mehsuggah, Napalm Death, Lingua Ignota, Author And Punisher, Gojira and The Cult on stage and this sixth record is inspired by a stone totem of rebirth, it's a record about metamorphosis, reflecting the times with live in with resilience.

Nagalite is an album that words can only do so much for. It's an existential piece that you need to listen to fully and be consumed by, the highest level of skill formed into a dense journey of hypnotic rhythms. 9/10

Akem Manah - Threnodies (Black Lion Records) [Mark Young]

There are often albums that for one reason or another slip through the net when it comes to having a review ready for the day of release. 

I have a few this month, starting here with the Doom/Death/Gothic metal Akem Manah, who drop their latest via Black Lion Records for your perusal. I hope the band forgives me for quoting their own words here, but in terms of providing a description its way better than I could conjure up:

‘Threnodies is a cycle of human unravelling in ten dirges for those who sought the truth behind the world and found only the abyssal chaos staring back’.

So, taking that statement to heart and having that as this albums letter of intent they start off with The Inevitable Fate Of Francis Cobb (Intro) a short instrumental that acts to settle us in for the tales to be told. 

Suitably gothic, it does exactly what you expect it would do prior to The End Of Earnest Hollow arriving in that slow and unhurried manner. 

Straight away, it nails its colour to the mast by announcing that they are going to take their time with this, moving in different directions within the song in a way that attempts to keep you unbalanced whilst staying true to itself. 

If they can find a way of shoehorning strings into this, they do in an effort to make this as expansive as possible. I don’t have a problem with bands that try this, but for it to work it needs something that grabs the listener and keeps them with you. 

The song itself, the singing style develops as expected, from the cleans into the harsh and back again. You can see what they are trying here, but it feels overlong. 

As noted, it lays the groundwork for how the rest of the songs will unfold, each of them a specific tale of woe; The Mystery Of Mosef Mehul uses the strings to great effect, here they add a certain gravitas to proceedings and aren’t reduced to being a bit player. 

The riffs here are on it, and there is a feeling of malevolence about it and as a piece of work it’s a belter. The shorter runtime gives it a more focused energy to get from A – B and there is less repetition of ideas. The thing is that from my perspective, they look to make every song an epic, and this doesn’t always work.

I’m not against them doing it, it’s their art and only they can decide how these songs should sound, but Christ they should be aware of the golden rule of metal: Make it exciting. 

This is at the core of every classic metal album ever. It has to excite you, even in a doom setting. Let me confirm that the songs here are massive, all chock full of ideas that fit this style to a tee. The trouble is that they are dull. 

The Burning Of John Briggs, is too long, and it drags to the point I want to skip forward. I’m using that as an example because it fits for each song on here and yet each song is a masterwork in how to approach this genre. 

There is a disconnect between them and me, because I know that if someone else was reviewing this, they would be giving this all the plaudits but I can’t find it within me. I appreciate it for how it sounds, and I appreciate it for the way they have approached it for telling a story but I cannot forgive it for being so boring.

From a scoring standpoint, it sounds amazing, it really does. Its crisp, clear and they have a clear vision of what they wanted it to sound like. However, from an emotional one, it left me cold and I believe that those who love this genre will champion this, but for me it’s a 6/10

Mines - Nous (Mosaic Music) [Mark Young]

And now a short blaster of an EP from Mines with Nous and it’s the weirdest thing. Its like Matt Bellamy has taken leave of absence from Museand decided to go heavier. Which, according to my lad is not to far from the truth. 

From That Which Lies Beneath leads us off, and it sits in that space where heavy guitars and traditional clean singing lives, as a starting point its heading in the right direction and engages you in staying with them.

It succeeds in achieving what its needs to in a short space of time, there aren’t any elongated introductions or swelling instrumentals, its straight in and is refreshing because of this. 

The Doctrine, once the narrative wraps drops in, and once again I’m drawn to comparisons with Muse (I’m apologising now for the capitals, and I’d like to point out that this is a positive comparison, just in case) in the way its built.

Its interesting and you feel that played live it has that snap to it that will make people move. Thrones, Asunder acts as the palate cleanser into Vice Of Kings which has a storming riff set to it, its technical with heart as opposed to just an empty display of talent. 

Like The Doctrine, it has that build where there is so much happening and from a guitar standpoint it’s the kind of song you would have a lot of fun playing. This is the key here, they write music that you want to play, isn’t that the reason we get in bands in the first place? From that perspective if they can do that now, its surely puts them in a great position for the future. 

Design Divide is the closer and behaves in the same way that From That Which Lies Beneath does, it concludes this EP on a strong footing, four tracks that are pretty strong and show that there is a quite a bit to come from them, based on this. 

I appreciate that as an EP, you get to put your best on it and in that case, Nous works incredibly well. There was no skipping forward here, each song came in and built on the one before and in the case of Design Divide, it provides that classic end song that every release needs.

It’s a release that I would recommend to those who love a little bit of the technical whilst having the emotional heft behind it. If you can, get hold of this and support what could be your next favourite band 8/10

A View From The Back Of The Room: Fury & King Kraken (Debby Myatt & Tony Gaskin)

Fury, King Kraken & Rites To Ruin, KK's Steelmill Wolverhampton, 24.04.26

After a short hiatus with gigs, we’re back at KK’s tonight for the first of three gigs in quick succession.

Tonight's entertainment is courtesy of a Fury and King Kraken double header and they’ve bought Welsh metal outfit Rites To Ruin (9) who are promoting their debut album Daughter Of Hatred.

The Anglo-Welsh quintet take to the stage as the early crowd start to fill the smaller room here at the Steel Mill, but it doesn’t take long for them to impress those present with their brand of British Heavy Metal with a Power/Symphonic twist. 

Vocalist Krissie Kirby is well known through her tenure as front woman for Bloodstock veterans Triaxis, a link she’s continued with her current bands appearance there as well. Her powerful voice dominates the room as the band showcases songs from the new album. Stand out songs include the title track plus In Memoriam, For The Love Of Gold and the utterly brilliant Prevail. 

The twin guitar assault of Matt and Lee provides a multi layered epicness to each song. Paul on bass gives the tunes the depth, whilst the drums of Zak drive it all along at pace. By the end of their set the room is packed and an enthusiastic crowd gives you the sense that this band is going on to bigger stages. 

For tonight's show, it’s King Kraken (9) who takes to the stage first and they kick off their 60 minutes with the anthemic Call To War, a rallying cry to the masses, and those masses have surely grown off the back of their triumphant appearances at Stonedead Festival and Bloodstock Winter Gathering.

Front man Mark Donoghue is in fine fettle, orchestrating the crowd. The big hitters are all bought out tonight, El Giganto, Berserker and Man-Made Monster the pick of the bunch, but they’ve taken it up a notch with the killer (no pun intended) new song, Second Skin. An ode to Buffalo Bill, the infamous serial killer from Silence Of The Lambs. The groove is infectious and sits nicely in the bands repertoire.

And before you know it, Donoghue announces the final track, March Of The Gods, the title track off that brilliant album. The Kraken is well and truly awake and ready for world domination in 2026! 

What can we say about Fury (10) that we haven’t already said? The bands on stage chemistry, the fun, the sheer joy of watching a band create something special with consummate ease? Yeah, we’ve said it all before, but we never get tired of saying it.

 JJ is a superb musician, vocalist, song writer etc and years of hard work and bloody mindedness have resulted in this boss level of Fury. Everything just gels, from JJ’s wit and banter, Nyah’s infectious fun through to the incredible skills of Becky and Matt and the man at the back Tom, you don't see many bands these days who work so hard but just love doing it.

They open up with the title track of last years 10/10 album, Interceptor followed by the epic Prince Of Darkness and the rock n roll anthem “It’s Rock “n” Roll three punches from the top drawer. Dipping into their extensive back catalogue, this headline set enables them to play some great tunes like Star Trippin , Burnout and Road Warrior but as fun as they can be, JJ can bring it down a notch when required and tonight he was visibly emotional as he paid tribute to the late Phil Campbell and dedicated the song Walk Away to him, a real goose bump moment.

 They end their set with the epic If You Get To Hell First and once again we are sat there with a big grin on our faces. If you’ve never seen Fury live, then I encourage you to do so as soon as possible, surely one of the finest live bands on the UK circuit at the moment, and definitely one of the hardest working. Proper rock “n” roll by a band that loves what they do.

Reviews: Throwing Bricks & Ontaard, Powerrage, Olympus, Avon (Spike, Matt Bladen, Cherie Curtis & Joe Guatieri)

Throwing Bricks And Ontaard – Something To Lose (Live at Roadburn 2025) (Independent/Roadburn Records) [Spike]

You can practically feel the condensation dripping from the ceiling of the Engine Room before the first chord even tears through the static. It’s almost possible to think of that moment where the crowd’s collective breath holds just long enough for the needle to find the groove and drop you headfirst into the front-row of this experience. 

When Walter (Roadburn’s creative director) commissioned Utrecht’s Throwing Bricks and Ontaard to collaborate for the 2025 edition, he wasn't just asking for a shared set; he was inviting a collision. The result, Something to Lose, is a live document that sounds like a collective panic attack being slowly converted into a desperate, beautiful act of resistance.

I’ve been spinning this recording on repeat, and the sense of "fragility" the bands talk about is nearly palpable. It’s a sound built in the shadow of a world that feels like it’s breaking apart, rising fascism, climate collapse, the general weight of existence and you can hear that anxiety vibrating in the plumbing of the music. It’s a marriage of sludge-heavy grit and blackened post-metal despair that feels entirely earned, recorded on a Friday afternoon that clearly pushed both units to their absolute limit.

The set opens with Basal Hope, a seven-minute slow-burn that establishes the atmospheric threshold. It’s dense, claustrophobic, and moves with a tectonic weight that reminds me of that specific, early Neurosis trick of making a riff feel like a physical burden you're forced to carry. By the time they hit On The Verge Of Something Unnerving, the friction between the two bands has fused into a singular, massive engine of noise.

The absolute pivot point of the performance for me is Acid To Fascists. That spoken word intro is a masterstroke; it provides a moment of chilling, intellectual clarity amidst the gloom, acting as a fuse that slowly burns toward an inevitable explosion. 

When the band finally cuts loose into that wall of rage, it’s not just "heavy", it’s a visceral, seriously angry confrontation with the "never-ending despair" mentioned in their manifesto. It’s a masterclass in the build-up, proving that a scream only carries its full weight if the audience understands exactly why the lungs are being emptied in the first place.

The back half, Solitude and Mislay, allows the record to stretch into more cinematic, eleven-minute territory. The production avoids the "bootleg" pitfalls of many live releases, maintaining a level of clarity that lets you hear the distinct voices of the collaborators while keeping the "live" grit of being their to witness this.

When the final screech of feedback on Mislay eventually dissolves into the roar of the Tilburg crowd, you don’t feel like you’ve just finished a record; you feel like you’ve survived a wake. Something to Lose is a pained, honest jolt of reality that proves fragility isn't a flaw, it's the fuel. It’s the sound of a group of friends holding onto each other while the world outside burns, and honestly, it’s one of the most vital, properly noisy bits of live music I’ve ever had the pleasure of listening to. 

I mean why speak truth to power when you can scream into their face? 9/10

Powerrage - Beast (High Roller Records) [Matt Bladen]

Two former members of Canadian speed metal veterans Exciter? Yeah count me in! Guitarist John Ricci and vocalist Jacques Bélanger have both been members of Exciter, Ricci on the first three albums, then more recently when the original line up reformed, while Jacques sang on albums between 1997 and 2004.

However both now are back with Powerrage adding bassist Todd Pilon (ex-Witchkiller) and drummer Lucas Dery for some classic, dare I say exciting? Heavy metal riffage. Get the leather and chains out for this one as Beast is 34 minutes of heavy metal but it's not a clone of Exciter, everything has been built from the ground up, new riffs, new attitude, never trying to rehash what's come before.

Rather descending down a darker route favoured by Mercyful Fate, Accept and even Celtic Frost in parts, that supreme riff writing of Ricci still there but now distorted and gnarled through death and doom phrases, resulting in some of the heaviest music he's been a part of with tracks like Haunted Hell, The Devil Is Screaming, I Torture I Kill and Damned And Cursed all have evil intentions, sinister, rusty guitar riffs and vocals that snarl and shriek.

It's probably why Dan Swanö was tapped to give it his mix and master treatment, resulting in a extremely nasty sounding record. If you're expecting Exciter think again, this is heavier, and more bloodsoaked than they ever were. 8/10

Olympus – Knowing It Shall Wake (Self Released) [Cherie Curits]

Olympus brings us their magnetic debut EP; Knowing It Shall Wake. Though there are only 4 tracks to speak of, each is gloomy and mysterious and crammed full of glorious texture. The instrumentals are powerful and gripping from the start, creating a loud and passionate atmosphere. It’s rushing, melodramatic and the harsh, raspy metal vocals contrast the radiant pitch of the riffs and pulls the narrative into a more pacing and oppressive feel that makes an impact.

There’s a lot being conveyed in this one, which is great for a debut. Emperor And Revenant is downright neck breaking and would undoubtedly liven up a venue, which is juxtaposed by Out Of Reach and self-titled Knowing It Shall Wake. These two are stunning tracks leaning towards melancholy and gentle with a focus on tension building before a breakdown utilising snappy pre - choruses and backing vocals which is a unique spin on genre norms. We are being shown a dynamic range of skill both instrumentally and in the vocal range and delivery. 

After years of planning and refinement as well as gigs around the south of England and Wales, Olympus has a well-established style and a firm stamp within Melodeath and local scenes which makes for a great set up for bigger things to come.

Overall, it's a great listen its very well thought out and the energy is relentless and I'm a sucker for a sickening build over a breakdown. It’s well produced and each track other than the outro runs on the longer side without dragging. It's a good fit for your everyday rotation, long drives and moody Sunday afternoons but perhaps it’s best not to play it at your Nan’s birthday BBQ. 7/10

Avon - Black On Sunshine (Go Down Records) [Joe Guatieri]

Avon are a Stoner Rock band from California that formed in 2015. The three-piece are made up out of James Childs on guitar and vocals, formerly in Airbus, bassist June Kato, who played with Black On Sunshine and the legendary drummer Alfredo Hernandez who was in Kyuss and Queens Of The Stone Age. They’ve released two albums and some singles, their last release was Dave’s Dungeon which came out in 2018.

I’ve previously seen them live in Bristol before, at The Louisiana on the 28th November 2023. They played a fantastic set, moving flawlessly from their own material into covers of Kyuss and Queens Of The Stone Age deep cuts. I remember screaming loudly when they started playing The Bronze, I was in awe as I never thought in a million years that I would see one of my favourite songs get played live. Now in 2026 they bring us their third album, Black On Sunshine. How does their new material look, we’ll find out now.

The record opens with the self-titled track and immediately we’re introduced to Alfredo’s classic gigantic pounding. The guitar and bass slide in so smoothly into a bright groove, making me feel like summer has just begun. The vocals sound natural and chilled out, having incredibly catchy moments, you can tell that the band are enjoying what they’re doing. There is also a great tapping solo which is calling out to the altar of Van Halen.

Directly following on from that we have Awkwardness, a song presents something that is way more busy in its style, shown by the start stop riffing. The instrumental starts off by feeling very separated and evident ghost notes are played by the bass, feeling spontaneous, it leaves a lot of room to play with and jam on in a live setting. Going into the chorus the song comes together like a puzzle, connecting with the guitar playing this lovely single note rhythm, it feels resolved.

Spacebar is next, which puts a smile on my face as it amps up the weirdness factor considerably with an alien-like approach to its flow. The song is a flower in bloom and opens up to reveal more of itself more as it shows the record at its heaviest point. The instruments going from sounding calm to angry, it’s a fantastic dynamic change and I’m left wondering how Avon achieved that. 

Spacebar has more experimentation going on for it with synths colouring in pockets towards the end of the song, a welcome surprise. All of this combined with joyful doo-ops that come out of nowhere are a big salute to the self-titled Queens Of The Stone Age debut. Robot Rock is taken in a more melodic direction, this is no doubt my favourite song on Black On Sunshine.

It’s very unfortunate that frolicking through flowers in the heat comes to an end by track six with Nineteen Bruises. The riff in the song attempts to emulate Black Sabbath but it has no weight or bite behind it. The choruses here are more subdued and are too much of a departure from what the track is trying to do, it’s uneven and at worst generic.

This annoyance the deeper we get into the album with track eight, Doorway. It’s such a bore as the guitar meanders through the song, yeah it might be fuzzy but it just lacks personality. It’s odd for such a talented band, it’s as if they’re painting by numbers through the lens of Garage Rock, sadly it’s nothing but filler.

With Black On Sunshine, Avon goes from headbanging in the sun to complaining about them sweating in one fell swoop. The first three tracks are brilliant and fun but that is outweighed by a few songs which are directionless and a handful that are teeth-grindingly dull, they make me want to take a long nap midday.

Black On Sunshine speaks to me like the band rolled out the boat on the record and tried to get it out quickly because as they had a tour booked, more time was needed at the drawing board. Maybe a live album to keep fans engaged would have been a better choice.

Overall, Avon have delivered some wonderful albums over the years but this new release isn’t a part of that same esteemed class. Black On Sunshine is all over the place in terms of quality and flow and feels unfocused as a result. You’ll get some enjoyment out of this but I think that more often than not people will end up scratching their heads thinking is that it? 

I was very excited for this album but sadly I’m left with being disappointed by it. 5/10

Reviews: At The Gates, Sepultura, Draken, White Tundra (Mark Young & Matt Bladen)

At The Gates - The Ghost Of A Future Dead (Century Media) [Mark Young]

The Ghost Of A Future Dead is the kind of album where the sum of its parts come together and just click. Returning members and a renewed sense of energy meant that this had so much going for it. And then, life does something unexpected and incredibly wicked, Tomas Lindbergh was taken prior to its release.

Now, please bear in mind that At The Gates wrote the book on what melodic death metal should sound like. In the same way that The Bleeding by Cannibal Corpse is considered a pinnacle that others aspire to, Slaughter Of The Soul is the same and I don’t think its ever been topped. Can I say that this is my truth, and if you want to tell me I’m wrong, go right ahead.

This is a tightly wrapped 42 minute belter, where they have come together and wrote music that lives up to their legacy whilst not copying their past endeavours. This isn’t something that is governed by the laws of diminishing returns. They bounce through these songs with a vigour and energy that is true to them. The Fever Mask kicks off in grand style, unmistakable in its arrangement and its sound. In all of the melodic death I’ve reviewed, all have tried to write like these without getting what makes it tick and sets the rest of the album up nicely. 

Its backed up by The Dissonant Void, it follows that ATG blueprint of staying on the front foot at all times and we are two for two. It’s the kind of start that I love, give me the energy, take those risks and go for the throat. Its not all brutality as they bring the melodic arms to bear, and rightly so. Its that attention to what made them the way they are, it’s the tools at their disposal and the way that they put things together. Its heavy, but doesn’t rely on one method to beat you up.

What’s more, they don’t take forever to do it neither, with one eye on the clock as they charge through the tracks, and as noted they do switch things around, such as In Dark Distortion which takes a restrained path before it gets loud. I appreciate that is an old trick, but in doing it places Tomas’s vocals in the centre, and why not? The album is paced tremendously; latter tracks come in and whip you up to ensure that you aren’t skipping forward (clue – you don’t) with Tomb Of Heaven deploying that patented sound to great effect. Other bands should look to this as the way to go, and it’s the kind of music that inspires you to pick up a guitar and play.

Unfortunately, it has to end. Black Hole Emission pulls the curtain down on the album, and on this incarnation of At The Gates. It reminds me of their back catalogue, bringing the melodic touches into play with a restrained lead break. And then that’s it, all done. I’ve no idea of what the future holds now for them, but if this is their last album then they should be rightfully proud of it because this is not a nostalgia release of a band desperately seeking past glories. 

This is a band who shows they can still do, are still valid and worthy of your attention. 9/10

Sepultura - The Cloud Of Unknowing (Nuclear Blast) [Mark Young]

Sepultura sign off with a 4 track EP, one that sums up their material post Max. I think its only fair to consider this material against their music released since that parting of the ways because it would be far too easy to hold this up against Beneath The Remains or Arise and then dismiss it out of hand. Too easy, and unfair.

I think if you have stayed with them, culminating in Machine Messiah and Quadra as their most recent long players, the material here won’t bring any surprises to you. In some ways, its for the best they dropped an EP this way, there is no expectation on them now to deliver a world beater and just think how outraged you would have been if it had been a live release of Max material. 

All Souls Rising is blistering enough, a punch to the face delivered over 3 and half minutes, it’s a welcome start, all venom and fury with some A-Level fretwork courtesy of Mr Kisser. Like the rest of the songs here, its played to suit them, no longer having to live up to something they have no hope of doing. Beyond The Dream, is fine, coming through as a version of classic rock played through a number of distorted filters. You can’t fault their endeavours, and it’s the sort of song that live would miss a second guitar to fill out that sound. 

Sacred Books reverts back to an abrasive edge, and then almost halts itself as a chunky beast. It’s ok as a makeweight, with The Place bringing the EP to an end. If there was ever a song which has an attitude of ‘we will do whatever we want’ its this. Had this band just been Derrick’s I think we would be kinder to them. As their last will and testament, it is in keeping with what Sepultura sounds like now. A band that tried to push itself forward and was desperate not to be shackled to those classic albums. The Place ends with a frenzied attack, one that they could have done with more of.

In any respect, its incredible to think that this is it from them, and I hope that once this mammoth goodbye tour wraps then that is it. Personally, I think that it’s a suitable adios from them with this and your enjoyment will mostly derive from where you sit on the whole ‘No Max, No Sepultura’ fence. For me, I never cared for Roots, sorry and whilst the studio stuff since then had some crackers, live they missed that second guitar and nothing will change my mind on that. Check this out so you can make comments about it online, and in doing so you might actually like their final transmission. 7/10

Draken - Here Be Draken (Dark Essence Records) [Matt Bladen]

The Great Deceiver, the opening track from Draken's album Here Be Draken, can be described as Ozzy Worship over Sabbath Worship as it has more than hint of Perry Mason about it. But you know if you're going to borrow someone then why not The Prince Of Darkness.

Formed in Oslo in 2019, Draken call themselves True Norwegian Hard Rock and with influences from Grand Magus, High On Fire and Motorhead (on Wrath and Shit Show), I'm not going to correct them.

This is their third album, debut on Dark Essence Records and the trio of Even Hermansen (guitars/vocals), Hallvard Gaardløs (bass/vocals), and André Drage (drums), are belting out the biggest riffs yet on Here Be Draken.

Well biggest and most volatile as Jólablót adds some harsh shouts and grooves as Saturday Night Head Removal bows at the altar of Dimebag (though Damageplan over Pantera), the acoustics begin Crimson Sun as the crushing sludge continues to punish.

Then without warning there's some power rocking on It Serves You Right that gets the fist pumping again, Draken moving between the myriad of genres with ease; as they bring organs on Shirts Of Black (F.O.A.D), hardcore bounce on Demise And Men while Endtyme brings more apocalyptic doom.

Heavy, groovy, rocky and raging, Here Be Draken . 7/10

White Tundra - Stories From The Dark (Octopus Rising/Argonauta Records) [Matt Bladen]

Over to Norway again for the fat riffs of White Tundra, inspired by their native folklore and the huge stoner doom grooves of Red Fang, The Sword, 1000mods, the band have been to levelling ice covered mountains since 2023, driven by fuzzy grooves and psychedelic atmosphere, their second album Stories From The Dark is the sound of a band who have had to rebuild.

However with lead guitarist Kjell Andres Nilsen and bassist Øyvind Persvik joining the band and giving White Tundra a more sprawling sound, as the bass grooves locking everything down with the drums, guitar bringing the desert rock chops, sung by a vocalist with rawness in his throat.

It's a record linked to their debut with lyrics a about exploring the unknown, going into the wilds away from the rat race and their music has enough heads down determination and wide-screen escapism to reflect the inspirations in the lyrics. The double opener of Healer and Huset crank up the volume early as the psychedelic doom lumbers in on Riderless Horse.

Slowing things down in the middle works well as it means that a track like The Lake which is a bluesy and grungy doesn't feel odd as the pace has shifted, towards the epic closer White Tundra where all the skills are on display. If you wondered what The Sword would sound like with Andrew W.K on vocals, or if your just a fan of big Scandi riffs then check out Stories From The Dark. 7/10

Reviews: John Corabi, Degreed, Creye, Generation Radio (Matt Bladen)

John Corabi - New Day (Frontiers Music s.r.l.)

I'll have to admit I really thought in such a long career that John Corabi would have released a solo album but apparently not, the rock n roll journeyman has featured on a lot of albums with a lot of big bands but New Day is his first solo record ever.

Recorded in Nashville with Marti Frederiksen, it's an album inspired by Corabi's musical diet growing up, as well as the heritage of Nashville's incredible music scene. Perhaps unsurprisingly it's swaddled in 70s rock, soul, and blues. Inspired by bands like CCR (1969), Free (That Memory), Tom Petty (Laurel) and any of those that blend honest blue collar lyrics with the American music traditions, plus a Sly & The Family Stone cover to close the album.

Featuring two previous released singles and another 9 original tracks, New Day is Corabi delivering rock n roll that is authentic, soulful and steeped in bright retro vibes. Corabi's vocals are warm and feel like this is the type of music he should have always been making and while I've never been a fan of Dead Daisies or his time in Crue, I do love The Scream and Union and I love this record too.

Behind Corabi's great vocals which blend Paul Stanley with Gene Simmons, Martin and Evan Fredriksen who play guitar, piano, drums, bass, B3 and mandolin between them, perfectly capturing that 70's rock vibe this album needs. The addition of Richard Fortus (Guns N’ Roses) on lead guitar and Charlie Starr (Blackberry Smoke) with guitar solos, are also a perfect fit for the overall down-home, southern/blues style of the record, with Paul Taylor (Winger, Steve Perry) playing most of keys based instruments.

Track wise Faith, Hope And Love, is exactly what you expect it to be, similarly with the nostalgic When I Was Young, but there's some gospel coming through Good To Be Back Here, as Cosi' Bella takes on some power pop

New Day moves Corabi into 'elder statesman' territory, the years of rebel rousing are behind him, he's got a good thing going on in Dead Daisies, however this album is the music he wants to make, influenced by his nautical loves but all of his own. 8/10

Degreed - Curtain Calls (Frontiers Music s.r.l.)

Frontman Robin Eriksson says that Broken Dreams, the dramatic first single from Curtain Calls shows "a darker and deeper side of Degreed", as they bring more personal elements to this album than any previously. Robin especially highlights his journey away from addiction. It's these personal stories that make Curtain Calls a vital new entry into Degreed's discography, the maturity of the anthemic songwriting and the emotive nature of the lyrics.

Curtain Calls has got some arena ready slickness (Matter Of The Heart) with big backing vocals on the choruses, some driving rocking (One Helluva Ride), plenty of polish and energetic performances that draw from more than just AOR heroes, as Degreed have always courted the heavier edge.

The modern production and approach means that heavier side is more pronounced in the riffs (Guiding Light), aiming for the classic and modern rock charts with this album, armed with 10 tracks that can easily compete with any bands on a similar ilk European melodic metal on the title track, a nod to country and Johnny Cash on The Rambler.

Curtain Calls adds a flair for the theatrical, you can trace some of these songs to the likes of Kamelot and while melodic rock or heavy rock is still the foundation, there's much more to Degreed than that on album eight. 7/10

Creye - IV Aftermath (Frontiers Music s.r.l.)

IV Aftermath is conveniently the fourth album from Swedish hard rockers Creye, you could call it 'retro future AOR' driven by Andreas Gullstrand's guitar/songwriting. IV Aftermath gives the sounds of 80's rock a modern overhaul that sits right there with the contemporary melodic rock bands that come from their home country.

Tracks like Don't Want To Talk About It are probably too modern for some ears, but then who wants a band rehashing old ideas from 40 years ago right, even if this song does sound like a Eurovision entry. Again Andreas is joined by Fredrik Joakimsson on rhythm guitars, Denny Karlsson on bass, and Vidar Savbrant on drums, the band not changed since the last record. Though there's a new voice behind the mic as Simon Böös infuses the album with a new soul, his voice reminding me of Joseph Williams on Through The Window and Only You. 

From the ballads, to the heavy riffers and pop rockers, Creye have come back with an album that sees their creative fingers in a lot of different pies, but what they've done well is successfully blend the old melodic rock style of the 80's with what the genre is in 2026. 7/10

Generation Radio - Take Two (Frontiers Music s.r.l.)

Generation Radio are your classic Frontiers 'supergroup' and if you've ever wanted to hear the duo of Jay DeMarcus of Rascal Flatts and Jason Scheff, ex-Chicago and their 'all-star' band, play a covers of Whitesnake's Here I Go Again, Kenny Loggins I'm Alright?

Then you are in luck as all of these feature on Take Two the follow up from Generation Radio. The band is comprised of made up of drummer Steve Ferrone (Tom Petty & the Heartbreakers), Tom Yankton (guitar, vocals) and Chris Rodriguez (guitar, vocals) and they also throw in Chicago's You're The Inspiration and Rascal Flatts' These Days as extras if you're really missing out on covers.

Which to be honest are the best bits about this record for me as Generation Radio is called "AOR/West Coast rock infused with the Nashville sound" but I'd call most of the originals here modern country, all about lost love and drinking whiskey and sleepy small towns.

Now ok there's brief moments of slick AOR (Hate This Heart), but unless you're a fan of modern country you won't get much out the album. The production especially is extremely modern and destroys any soul these overly saccharine songs may have gained. It even makes Here I Go Again feel more 80's than it ever did (and it is the 80's version they cover).

You may like Take Two, I found it to be lifeless, sappy, modern country that doesn't have enough AOR to be classed as such. 4/10

Reviews: Spirit Adrift, Slomosa, Demons My Friends, Occult Hand Order (Rich Piva)

Spirit Adrift - Infinite Illumination (20 Buck Spin)

I can be certain that I am reviewing the final album from a band with this one…

Spirit Adrift “surprised” dropped their sixth and final record, Infinite Illumination, confirming that it will be the last trek in the journey of the beloved Texas metal band. Let’s not get into why, let’s just bask in the glory that is the swansong for a band who has pretty much done no wrong in their recording career. This continues with the eight killer tracks that make up Infinite Illumination.

There is both an urgency and a sadness to Infinite Illumination. Those who know some of the stuff surrounding Nathan Garrett may have some idea why. There is also a light of hope as well that comes through on these songs, creating a contrast that puts this record on another plane. Of course the riffs are there, like on the opening title track, which also has a killer mid tempo gallop to it, seemingly referencing all of the classics in under eight minutes. 

The layered vocals when the pace slows stops you in your tracks, as the emotion coming from this one is palpable. More riffs start Widow Within, keeping the tempo the same but bringing more ferocity in the guitar and the vocals. There is a grungy feel to this one, paired with the dual metal guitars, creating this excellent mash up of genres that does not always work, but sure does here. 

The vocals stand out on You Will Never Hold The Key, as the urgency/anguish comes through hard. We know Garrett is a big Type O fan, and it is pretty evident with this song. Riffs come spilling out of Born In A Bad Way, a three minute stomp that may be my favourite track on the record. Buried In The Shadow Of The Cross has my favourite riff on the record and is the most trad doom track on her, executed perfectly. 

White Death has this cool, old school thrash metal feel to it, in vibe if not in velocity, while I Am Sustained continues the Type O/trad doom approach that works so well on Infinite Illumination. Then there is Where Once There Was An Ocean to close out the journey of Spirit Adrift. Big, heavy, emotional, and exactly the way this record and this band should have come to an end.

A lot of people will miss Spirit Adrift. I know I will. Sometimes life brings things more important than what us fans care about, but for Garrett and company to go out giving us the gift of Infinite Illumination is more than anyone could ask for. 9/10

Slomosa - Live In Bergen (Apollon Records) [Rich Piva]

We don’t get enough good live records these days. Norwegian Tundra Rock band Slomosa is here to change that, with an exclusive Record Store Day release of Live In Bergren, a double live album capturing the band’s sold-out hometown show in December 2024 at Verftet in all of their wonderful, heavy, and harmonious glory.

Slomosa is one of the real breakout bands in the “heavy underground rock” arena, which here in the USA is not so easy to do for “stoner rock” or whatever you want to call it. But some cool opening tour spots, like the trek they did with Helmet, gave the band some next level exposure that has them quite the trendy name to mention in certain circles. They deserve it too, because their two studio records are both awesome, and they sure do bring the energy live if Live In Bergen is what they deliver in that setting.

We get 15 great songs from Slomosa, which is most of their catalog, considering they have only been a band for a short amount of time, relatively speaking. The band sounds great, seem happy to be playing to their hometown crowd, and really brings it across the 15 tracks. Highlights include Psykonaut, Red Thundra, and a seven-plus minute version of Scavengers, which closes out the set perfectly, but really the whole thing is killer and absolutely worth your time.

I have not been lucky enough to see Slomosa live, but if Live In Bergen is any indication, I really need to figure out a way to ASAP. Go order the limited vinyl and blast some live Tundra Rock to keep cool during the upcoming summer months. Don’t tell me there are no good live albums when we have Live In Bergen. 8/10

Demons My Friends - Survive/Yourself (Ripple Music)

Ripple Music picked up the debut record from Austin/Mexico City band Demons My Friends and gave it a much warranted and appreciated wider release, given the debut from the band is a killer blend of stoner, grunge, doom, and some other heavy surprises, Todd was left with no choice but to bring it to more ears. Not long after, we get the new record from DMF, titled Survive/Yourself, where the band doubles down on leveraging the 90s Seattle sound combined with their own interpretation of heavy, which comes across great over the eight tracks.

The opener, The Theory Of Change, has all of that above including the riffs, the layered, AIC styled vocals, and even a creepy child at the end of the track to keep up the Demon vibe. There is a messy quality to DMF which is meant as a complement. They seem to not strive for the perfect sound or take, but for the one that feels the best. I hear that on Last Dance, where you get some 90s, dark alt rock with harmonized vocals and a big Rain When I Die kind of bridge. Cool stuff. 

 The opening riff rules on Star Child, and I love the addition of the aggressive vocals to the mix. There is an STP but heavier vibe to this one. Kalorma doubles down on the layered, harmonized vocals, creating their biggest sounding song on the album, and probably my favourite. Starting off slow then getting chunky, We All End Up Here is another stand out on this one. 

Brain Holographics is an interesting one, that shows you can be heavy, catchy, have harmonized whoos, then break into a black mental scream from hell while the band rips it up around you. Smile is Soundgarden worship to start, think Face Pollution, until you get dragged to hell, then pop your head back up. This one is all over the place and that is fine by me. Isolate closes with another killer riff and is a dark heavy rocker that fits its name and closes out the record nicely.

Demons My Friends seem to really be starting to get their sound, Big riffs, harmonized vocals, Seattle worship, and some parts that bring the ultra heavy when you least expect it. Survive/Yourself is an excellent sophomore effort that shows even more promise from the band. 8/10

Occult Hand Order - Meaningless Monuments (Totem Cat Records)

Heavy, atmospheric post rock psych is what the new record from Occult Hand Order is about. There are stoner and grunge elements as well, but the first word I think of when I hear Meaningless Monuments is big. The Second is atmospheric. The third is excellent.

Over the five tracks, you get excellent vocals, killer, wall of sound, heavy shoegaze guitar, and a super tight rhythm section that drives the songs. Błędów, the opener, is all of this, and even some screams from hell about half way through, before everything chills out again. This one goes in a bunch of directions, with surprises around every turn. 

Brno starts out menacingly, like a horror movie where, at some point, someone is getting murdered, but just not yet. The vocals are great and the build up to the heavy is excellent. OHO understands the build, that is for sure. Lots of twists and turns in the one too, which is a theme for Meaningless Monuments. I like how it gets chunky at the end and that post rock guitar kicks in. 

The quiet to loud build rules the day on Mollerussa, and they certainly get it, saving that killer psych guitar and heaviest parts for the back end of the track. Novo Mesto continues the overall vibe, but the post rock heaviness and screams are a bit more prevalent. Also when they almost go all black metal on us, just for a minute though. Gerlach is the closer, and the most straightforward (for them) track on the record, but there is nothing predictable about Occult Hand Order, so you know it still has some cool twists and turns.

The songs are long and not so straight forward, so be in for a journey on the new Occult Hand Order album. If you do, you will be rewarded with a tight sounding, soft to heavy, quiet to loud and back again experience driven by great vocals and killer psych/shoegaze guitar work. Meaningless Monuments takes you all over but never anywhere you don’t want to be. 8/10

A View From The Back Of The Room: Creeper (Alex Swift)

Creeper - The Globe, Cardiff, 14.04.2026

Creeper have been on an intriguing journey over their ten year existence. The tongue-in-cheek metal aesthetics of the musicians on stage tonight at the Globe are unrecognizable, from those of the band that broke on to the scene in the mid-2010’s!

For the uninitiated, Will Gould, Hannah Greenwood and co. first emerged onto the scene with Eternity, In Your Arms - an excellent album that combined raucous punk energy and bombastic glam-rock swagger! They have always drawn from an incredibly wide array of influences from My Chemical Romance to Bowie, yet have altered their sound with each subsequent release. 

Creeper's relentless appeal comes from their skill as songwriters, and their ability to inject humour into deeply respectful homages to the genres they tackle! Whether you see Creeper's albums as pieces of parody, or love letters, they are always expertly crafted, and lots of fun!

This brings us to the Sangui-Tour. A series of shows drawing to a close the band's “vampire” era! The two Sanguivore albums were an ambitious feat, chronicling the history of Satan-inspired metal. Consequently, there are a wide array of sounds represented tonight from the vaudeville theatrics of Razor Wire, to the Jim Steinmen-esque ambitiousness of Further Than Forever. 

This is testament to the versatility of the band's sound, and their skill as musicians. Few acts could make the folk-adjacent Ballad Of Spook And Mercy sound completely natural when placed against the raucous theatrics of anthems in the vein of Lovers Led Astray, but then few punk bands have made the leap to metal quite so convincingly!

Vital to what makes this show so enticing is the band's stage presence. Will Gould struts around the stage, as if he's in command of a ritual! Moments such as Parasite and Cry To Heaven inspire everyone in the crowd to sing the words back at our performers, whilst Chapel Gates and Headstones cause circle pits to ensue!

Observed from my position on the balcony of The Globe, the concert seemed to become a celebration both of our vampiric performers, and of the many decades of gothic rock music that has given life to their songs!

With this era of Creeper at an end, (as inferred by the closing narration on Sanguivore II) I am curious where they progress from here. On the one hand it's tempting to say they won't be in any rush to give up the fans they have made in the metal sphere. However, it's through daring stylistic leaps that they have achieved their current level of notoriety. In that sense, whether the future for them looks familiar or distinct, shows like this will surely ensure their longevity for many years to come! 10/10

A View From Rosklide: EpicFest 2026 (Nick Hewitt, Stief Illingworth & Lee Burnell)

EpicFest, Rosklide, Denmark 10-11.04.26

Friday 10.04.26

Lee: Going into a power metal festival with about a 1% awareness of the bands on the bill is always going to be a risk but as soon as Angus McSix (10) hit the stage and I saw a prince, an Ork, a Dwarf, an Archdemon, I knew I was going to be just fine. 

Starting out with the entry track of 2023's Angus McSix And The Sword Of Power; Master Of The Universe, the sudden urge to cosplay as He-Man was apparent. Everything about this was fantastic, from the performance itself through to the production/sound crew. Angus McSix looked and sounded phenomenal and at that point I was only 1 song in.

Sam Nyman (Prince Adam McSix) showed just how much of a talented vocalist he is as they began The Fire Of Yore. The band play so extremely well together and seem to just radiate genuine chemistry with each other, they were a joy to watch. So, given that their set time was 3pm, I wondered how much energy the crowd would give during the set and both the crowd and the band gave each other exactly what they needed. 

Everyone seemed to bounce off each other and it felt so wholesome that I was just happy to be there. We continued to be treated with songs from March's Angus McSix And The All-Seeing Astral Eye with the super catchy 6666, Dig Down featuring super-cool shovel dancing, Ork Zero and the power metal party anthem Techno Men. 

The setlist was a lovely balance of both albums as Angus McSix continued with Starlord Of The Sixtus Stellar System and Eternal Warrior from Angus McSix And The Sword Of Power. With Rhapsody Of Fire playing later that day, we were still treated with Giacomo Voli joining the band for I Am Adam McSix which was absolutely superb. Two fantastic vocalists backed by a very tight band, this set was flawless.

The set was finished off with Lazer-Shooting Dinosaur and Ride To Hell. A phenomenal hour to kick off the festival, a sublime performance and a new fan was born. 

Nick: Opening the Gimle stage on Friday morning was Denmark’s own Ipomonia (7). A band I had only encountered in passing over the past few years, I was keen to give them some of my time. Blending progressive metal with near-death metal riffing, Ipomonia’s greatest strength undoubtedly lies in their musicianship. Their instrumental passages and tracks move effortlessly from crushing breakdowns into intricate, technical riffs that feel both ominous and immersive, close your eyes and it’s hard not to smile.

The one oddity comes in the form of Maja’s vocals. High-pitched and distinctly nasal, they differ quite noticeably from the smoother, lighter vocals showcased on the band’s EP. Initially these proved slightly jarring, but the emotion of the songs still translated well. I found myself disappointed when the band vacated the stage after just 30 minutes, which, is usually a good sign. Ipomonia are definitely a band worth watching.

Stief: While Nick went on his epic (5 minute) journey to Gimle, me and Lee made the slightly less epic shuffle to Kings Roar Hall to catch Dragony (8) with the rest of their fans, or Dragoons as they're fondly known. 

Opening with Twilight Of The Gods, the band's synth-laden tune gave a good idea of what was to come. With most of their set coming from 2024's Hic Svnt Dracones, it was nice to also hear hits from across their catalogue; Gods Of War (2021), Lords Of The Hunt (2017) and even Wolves Of the North from 2015's Shadowplay. 

Siegfried Samer's (The Dragonslayer to you) vocals work perfectly with the band's symphonic style, supported by Manuel Hartleb's keyboards and Chris Auckenthaler's machine-gun drumming. Matt Plekhanov and Simon Saito's guitars weave in and out of each other wonderfully. Maria Nesh's vocals, both clean and vicious, show she has settled into her role as a full time member of the band following her guest stints in songs such as The Dead Queen's Race. A brilliant start to a great weekend.

Nick: Norwegian gothic metal royalty Sirenia (9) were one of the main draws of Epic Fest for me. Having never had the opportunity to see them live, my expectations were high; and they were certainly met. Some bands demonstrate that they are a step up live, and Sirenia did exactly that. Initially concealed behind imposing silhouettes created by clever lighting, opening tracks Meridian and Sister Nightfall served as a thunderous introduction.

Both songs sounded darker, more menacing, and significantly heavier compared to the studio offerings. Combined with the harsh vocals and growls from founder Morten Veland and guitarist Nils Courbaron, the openers leaned less toward power metal and more into death metal territory, a shift that was warmly received by the audience.

One of Sirenia’s enduring strengths is their ability to remain relevant. Each album introduces subtle changes and occasional experimentation, yet never strays too far from the sound that defines them. Central to this balance is the powerhouse that is vocalist Emmanuelle Zoltan. Effortlessly delivering operatic highs, smooth, honeyed cleans, and even visceral growls, Zoltan is a commanding presence. Backed by crunching guitars, pounding drums, and the abrasive vocal interplay of Veland and Courbaron, Sirenia delivered an eclectic set drawing from across their back catalogue, alongside several newer tracks.

Their movement on stage was confident and fluid without feeling overly choreographed, reinforcing the sense that Sirenia are seasoned professionals. Unfortunately, they did not receive the level of respect they deserved, with many in the crowd inexplicably drifting away mid-set, leaving the room half empty, their loss. What remained was an hour of metal presented exactly as it should be: powerful, dark, professional, and impressive.

Lee: Having been advised that I'd be a fan of melo-death legends Mercenary (10), I was very much looking forward to checking them out. Celebrating 20 years of The Hours That Remain, the setlist comprised mainly of that album with 2 from the 2023 Soundtrack For The End Times. Another surprising performance for a number of reasons. 

The first being that despite being on the second stage, they still sounded phenomenal. I can't give the sound technicians enough credit, they did a superb job so far. The second was the amount of pyro they had. On a noticeably smaller stage, I was surprised with just how much fire they used throughout their set and the third, just how flawless The Hours That Remain is. Even though they were only able to play 8 out 10 songs from that album (with This Eternal Instant and Obscure Indiscretion not making the cut), each song was an absolute banger. I'd suggest that if you check them out (which I strongly advise you do), start with The Hours That Remain and you'll be absolutely sucked in. 

For a band that has had many variations since their Inception in 1991, the current line up are a force to be reckoned with, the technical prowess combined with brutal riffs. I was in awe throughout that entire hour set. I suppose it would be a difficult decision to try and pick another two songs from a huge backlog of albums and EPs but they picked two fantastic choices from the Soundtrack For The End Times album in Where Darkened Souls Belong and Beyond The Waves before they finished off with the title track of the album. 

Definitely a band of the weekend contender and considering how relatively early they were on, they still got a full show and it's been another band that delivered on performance and put on a show.

Nick: True titans of symphonic power metal, Rhapsody Of Fire's (7) legacy alone commands attention, and the crowd in attendance made it clear just how respected they remain. Led by founding member Alex Staropoli on keyboards and fronted by Giacomo Voli, joined by guitarist Roby De Micheli anchoring the lineup, Rhapsody performed with confidence.

Technically, there is little to fault. The performance was exceptionally tight and professional, with Voli, in particular on form; his lead vocals were excellent, powerful and controlled, effortlessly soaring over Staropoli’s usual almost bombastic musical backing. Voli had the crowd completely under his thumb, directing chants and participation with ease as the audience duly obeyed his every command.

Nonetheless the presentation felt noticeably static. Stage movement was minimal, and the set itself leaned heavily into a familiar seemingly t rigid formula. Songs merged into one another, resulting in a performance that, while impressive, lacked dynamic variety, it felt formulaic.

The formulaic nature is not necessarily a flaw; Rhapsody are one of the sounds that helped shape the genre. But very little has changed since the last time I saw Rhapsody of Fire nearly ten years ago. The same dramatic builds, the same symphonic crescendos, the same heroic structures were all present and correct, but I was left feeling underwhelmed; particularly in contrast to bands such as Sirenia. 

While Rhapsody Of Fire understandably received rapturous applause and love from the crown, they felt stuck where I left them ten years ago. Bands like Sirenia, for me, represent a band evolving with the times while maintaining their identity. How Rhapsody command substantially more love and attention despite changing very little over such a long time makes me question how much weight legacy should carry versus artistic progression. 

Ultimately, you'll never be let down by Rhapsody Of Fire, it is always going to be a great night out.

Saturday 11.04.26

Stief: Another trip to Gimle, but a worthy one to catch the brilliant Fury (9). Though, by their own admission, the band aren't strictly a power metal band, they weren't going to let that stop them putting on a brilliant show. Going full pelt with opener Interceptor, Nyah Ifil's vocals are more than enough to blow the cobwebs off us. I mean, sure it was 3pm but there were still cobwebs. Julian Jenkins' voice is a perfect match for Nyah's, both of them managing a soulful touch with that extra kick of heavy metal grit that gives Fury their signature sound. 

Following on with Prince Of Darkness, the band then satiate the power metal crowd with the apt Dragon's Song from 2016's Lost In Space. Becky Baldwin's basswork shows why she's in such high demand from bands such as Mercyful Fate, Tom Fenn's drums blast everyone away and Matt Fletcher's guitarwork is brilliant, backed up by Julian's own fretwork. Valhalla halfway through gives the crowd a moment to catch their breath before the band speed right back into it with Star Trippin'. 

By the end of Road Warrior, it's clear from the crowd's reaction that Fury definitely belong here. Here's hoping to seeing them again soon.

Back up to the Roskilde Kongrescenter to catch Twilight Force (8) who are the living embodiment of what makes epic metal so good; the cheese. Twilight Force know exactly what they are, and from the outset, they transform the stage into an epic landscape both with their outfits and with Twilight Force. 

Alessandro 'Allyon' Conti's vocals ring through the music, and although it takes a few songs for him to get into it, by Valley Of The Vale, he's got the crowd dancing and prancing. Throughout their set, keyboardist, backing singer and co-founder Daniel 'Blackwald' Beckman uses his wise words (sounding like a 'friendly voldemort' according to Nick) as well as his keys to tell the story he's crafted over the years. 

The band play crowd favourites such as Flight Of The Sapphire Dragon, Gates Of Glory, and The Power Of The Ancient Force. Backed up by singer Kristin Starkey and guitarists Galen Stapley and Bradley Hall, Twilight Force weave a wonderful story, like watching a live D&D game unravel. Isak Olsson's blast beats work perfectly with Alex 'Xandor' Miles' bass. One highlight of their set is the live debut of Magic Of A New Dawn, which is exactly what the festival feels like. Magic.

Nick: Moonlight Haze's (8) reputation in symphonic metal is quickly on the rise, and it's understandable to see why. Interestingly their live performance proved to be considerably heavier than their albums would have you think. Led by the always impressive Chiara Tricarico on vocals and supported by songwriter and guitarist Federico Mondelli, the band delivered a set that was tighter and more forceful than expected, adding real edge to their atmospheric sound.

Vocally, Tricarico is always a joy and and the highlight. Her operatic passages and soaring high notes were brilliant throughout, sewn perfectly through the heavier tracks. Her ability at the higher register was commanding and confident, highlighting why she is held in such high regard. The occasional deeper vocal sections were less convincing early on, drifting off‑pitch at times, but noticeably improved as the set progressed.

Instrumentally, Moonlight Haze are solid and work well together, it's easy to see they love what they do, with smiles notable across the stage. This was reflected in their obvious cohesion, with Mondelli’s guitar work adding both melody and crunch, while the rhythm kept everything grounded and driven. Collectively, the performance was impressively tight, which explains why they are rising through the ranks of the genre with pace.

That said, a big frustration throughout the set was the constant encouragement for crowd participation. Whilst I welcome participation, in this case the demand for it felt excessive, particularly as the crowd was clearly already on side. The persistence broke the immersion of what was otherwise a dark and atmospheric show, at times pulling focus away from what Moonlight Haze do best... the music itself. A prime example of this being during To The Moon And Back, where the inclusion of a light‑hearted bunny‑hop dance, though funny, took the edge off the dark mood Moonlight Haze were working to establish.

Overall, Moonlight Haze delivered a strong and professional performance that showcased heavier instincts than their albums might suggest. Lifted by excellent lead vocals and tight musicianship. With slightly less dependence on crowd prompts and a firmer commitment to their atmospheric identity, they could grow a very good live set into a truly immersive one.

Stief: Though many of the bands over the weekend were great, unfortunately Sonata Arctica (5) didn't stand among them in my personal view. Having seen the band before, I was disappointed to hear Tony Kakko's vocals not hitting anywhere near the quality I had seen. Whether or not it was fatigue, an illness or something else, the normally vibrant band as a whole seemed very static. It took us until halfway through Paid In Full to realise that was the song being sung. By Closer To An Animal, the fourth song of their set, we had seen enough. A minor disappointment in an otherwise great weekend.

Nick: Some gigs are more important than others, and InnerWish (10) was always going to be that gig for me. I’ve followed InnerWish since around 2008, lived with their albums for nearly two decades, and slowly made peace with the idea that actually seeing them live might never happen, simply because InnerWish so rarely perform outside Greece. So ,standing in Roskilde on Saturday night, watching them walk onstage at Gimle late in the evening, genuinely felt a little surreal.

From the opening moments, InnerWish played with confidence and intent, a band fully aware of their catalogue and their strengths. It felt as though this was something special, both for them and for a lot of people in the room who’d waited years for this opportunity.

The setlist stretched back throughout the back catalogue satisfying any fan. Tracks like The Enemy Inside, Inner Strength, Modern Babylon, Silent Faces and Sea Of Lies translated effortlessly to the stage. Big anthemic choruses, strong hooks, and enough weight behind them to hit hard without hiding the melody and the foundations that make power metal what it is. These are songs that invite fists in the air, and that they did.

InnerWish take classic power metal foundations and add depth through well-placed breakdowns, tempo shifts, and technically astute passages that feel smooth like honey. The guitar work from Thimios Krikos and Manolis Tsigkos was especially impressive, melodic when it needed to be, intricate when the songs required it, with solos that slid easily into the anthemic choruses or heavy breakdowns.

Vocally, the performance was impressive. George Eikosipentakis delivered a powerful and controlled set, effortlessly handling the soaring highs while giving the lower, more dramatic passages depth. Even during the quicker transitions where and tempo changes George didn't notably slip.

What stood out overall was how natural the whole set felt. This was technical, polished power metal, but never stiff, again the band looked as though they were having fun, which after being around for so long is a testament to their passion. The fact that so many people made the trip down the road so close to the much-anticipated return of Roy Khan is an equal testament to the fanbase they have built.

On a personal level, this set meant a lot. Finally seeing a band I’ve followed since 2008, a band I genuinely thought I might only ever experience through albums. InnerWish didn’t play like outsiders; they played like a band that deserved their place. I hope that other festivals and promoters take note and entice them into Europe and beyond in the future, please don't let it be another 18 years! An unsurprising, if not slightly biased, but well deserved full marks.

Roy Khan’s (10) return to a European stage at Epic Fest 2026 felt like one of those moments that could become part of metal folklore. More than 20 years after last standing regularly on European stages with Kamelot, seeing him walk out in Roskilde as a solo artist was emotional before he even sang a note. This didn't feel like a comeback grab for nostalgia points, it felt personal and necessary.

From the opening moments of When The Lights Are Down, it was obvious that that voice the famously warm, dark, smooth “chocolate” like voice had barely changed, if at all. Songs like Moonlight, Center Of The Universe, The Haunting, and Soul Society landed with the same power they always had, but now carried an extra emotional edge. Memento Mori, Rule The World, Karma, and Forever were all selected from the Kamelot archives as offerings.

The most touching aspect of the night was how openly emotional Khan seemed about being there. He took time between songs, visibly moved by the crowd response, letting the moments breathe rather than rushing on. The love from the audience was loud, cheers that took a while to settle, applause that took time to end. Khan has spoke about how fans and his family encouraged him back onto the stage, and standing there watching him soak it in, that connection clearly meant a lot to him.

It was really pleasing to see how physical Khan's performance still is. He almost slithers and stalks around the stage, moving with an unmistakable presence he’s always had. He crouched low during the darker passages, straightened up as the drama built, and uses his trademark facial expressions to completely sell the emotion of each song. Every raised eyebrow, clenched jaw, and distant stare took me back to the days of watching Khan with Kamelot.

Khan wasn't alone on stage, the band consisting of members of Seven Spires, were expectedly tight and respectful of the material while adding a heavier edge to them, possibly moving them a little away from the power genre. Adding another layer was the Roskilde Cathedral Girls’ Choir, whose presence lifted key moments particularly the opening and closing sections into something a little magical. Their harmonies added scale without overpowering Khan's voice, turning already epic songs into something edging cinema.

A massive highlight of the set was the series of duets with Adrienne Cowan. Their shared moments during songs like The Haunting were beautiful emotionally charged and dynamic. The chemistry between them felt natural, and the quality of those duets wasn’t far off the legendary performances Khan once shared with Simone Simons. One gripe would be that both the choir and Cowan could have been elevated a little more in the mix.

Soon came the encore. When Roy returned wearing his old Kamelot floor-length coat, the crowd exploded, is this a hint? I doubt it, but you never know. Closing with Ghost Opera and March Of Mephisto felt like the perfect full-circle ending: dramatic, theatrical, and stereotypically Roy Khan.

This felt like more than a standard return. Roy Khan didn’t come back to prove he could still do it. He came back because people wanted him, supported him, and believed in him, and I think the packed arena of Epic Fest was the proverbial proof. Welcome back Roy Khan, we’ve missed you.

Stief: Sadly, it was time for the final band of the night and the weekend itself, Hagane (7). Though it was the band's first international show outside of Japan, you wouldn't think it at all, considering the rapturous applause they receive as they take to the stage. 

Immediately breaking into the aptly named Start Our Journey, it's clear why the band were brought here; vocalist Nagi's voice is clear yet powerful, backed up by guitarist Sakura (who could rival plenty of the other guitarists at the festival) and bassist Sakaya, all working together like a well-oiled machine. Drummer JUNNA is a machine in herself, blasting away at the drums the entire time we watched them, despite just being able to see over them. 

Though we didn't remain for the entire set, (on account of being over 30 and having the knees of an OAP), the band's frenetic sound as we left to Black Cult was a perfect cherry on top of the cake that was Epic Fest: Chapter Four. Til next year!

Review: Plini, Gus G, Konquest, Since The Death (Matt Bladen)

Plini - An Unnameable Desire (Self Released)

Plini is at the top of the instrumental pile for me, inspired by the legends of shred like Satch and Vai but also jazz fusion greats like Allan Holdsworth and even acoustic tappers like fellow Australian Tommy Emmanuel, his crossover/fusion/at this point unclassifiable sound has been gracing our ears and stages for many years now.

What makes Plini great is that he manages to make instrumental music interesting, the tonality and shifts in style, pace, genre always means his record are engaging and captivate in a way that is rare.

Whether you're in love with the Djent grooves of Now/Then, the more intimate style of the title track or the full on heaviness meets ambience of the brilliant Manala. Or perhaps the sweeping Ciel (which features additional production from Devesh Dayal and a guitar solo by Jakub Zytecki), there's something here for any taste and musical love.

An Unnameable Desire is his third full length and the man himself describes the record as a "playful" he spent time tinkering with them like always but when it came to refine them he wanted to take them to places maybe he's been afraid to visit before, as he's now an established name and composer in the prog/Djent/whatever world he wanted to push his playing further.

This gives a dynamic record with the heaviest metallic parts, the dreamiest ambience, the most technical fusion playing and more, just pushing further out of his comfort zone to make these tracks his most diverse and at times most complex yet.

Mixed by Simon Grove, who also chimes in with bass, auxiliary guitar, engineering and co production, and mastered by Adam "Nolly" Getgood, everything sounds big and clean and cinematic, from the crushing metal tracks (The Time Will Pass Anyway), through the dystopian Ruin to the joyous groove of the epic penultimate track After Everything.

Plini's incredible playing and composing is brought to life with Chris Allison (drums/percussion, engineering/co-production), Dave Mckay (piano/keys/synths) and John Waugh (flutes/sax). While the strings of Misha Vayman (violin) and Yoshi Masuda (cello) and arranged and produced by A.J. Minette, there's a strong cast of supporting artists to make this album and these tracks the most versatile, vibrant and ultimately best so far from the Australian Alchemist. 10/10

Gus G - Steel Burner (Metal Department Records)

While his work with Firewind, is always pretty consistent, virtuoso axeman Gus G's solo output is a bit more experimental, not only with genres but with approach too.

Starting out with two records that featured a glut of guest vocalists and only a few instrumental tracks, Fearless and Quantum Leap saw the band take the form of a power trio with Dennis Ward on production/bass and vocals, again it was a mix, though Quantum Leap was all instrumental.

Five years later and Gus returns to having that balance between sung cuts and instrumental ones, however there are fewer singers than in his first two records. Again having Dennis Ward behind the desk, he also plays bass on Nothing Can Break Me while Andrea Arcangeli adds four strings flourishes to Frenemy and Confession.

Other than those two Gus plays everything else, keys, bass, drums and especially guitar, shredding and soloing like the superstar he is as the genres move between Metal, Rock and AOR. The composition all show his skill as a musician though it's the instrumentals that are the true measuring sticks for his guitar prowess.

Born after a period of heavy touring as a soloist and part of Firewind, these songs have been sculpted to have the right impact, meaning that the vocalists have been handpicked to fit the songs, be it tour mate Ronnie Romero who wraps his pipes around a heavy rocker and a Mr Big-like ballad or the grit of Dino Jelusick who goes metal on No One Has To Know.

Perhaps the higher profile additions of Doro Pesch on Nothing Can Break Me is worth more column inches but for me getting Matt Barlow on the dramatic Dancing With Death makes me want a full album of this. (A collaboration that would sell out arenas in Greece).

Steel Burner then is Gus G going back to where he began his solo career, with a record of music that may not work for Firewind, but shows of his skill as a player and a songwriter, aided by some high level vocals talent from his professional address book. Also the title track was written for a metal cutting machine company which is pretty niche! 8/10

Konquest - Dark Waters (No Remorse Records)

Konquest is the project of Alex Rossi, across two previous albums, and on this one he is the loan creator of all the NWOBHM inspired music you get from Konquest.

Playing everything means that like Haunt and Spirit Adrfit, he has full creative control over the music he makes and with this third record Dark Waters, Rossi is writing songs that link to the theme of overthinking, a brain that is in constant motion, thinking about everything all the time even alive and firing while sleeping causing dreams of other worlds and escape.

It's a musical voyage through an exhausted psyche, longing for peace but pushing further into fantasy and delusion with dreams of giants, previous lives and "To stand within The Pleasure Dome, Decreed by Kubla Khan" as Rush once put it. Though Konquest also have a song about the mighty Mongols summer retreat, drawing inspiration from Coleridge's poem as much as the Canadian legends do, but Konquest stick it plainly in the style of a Maiden epic.

It also feels like the title track borrows atmosphere from Coleridge's The Rhime Of The Ancient Mariner, though not the Maiden song of the same name. Opener Turn The Lights Off however does sound a bit like Fear Of The Dark at the beginning, One Ticket For One Right brings NWOBHM gang vocals and those bass gallops, The Giant and Man With A Stone flesh out the classic metal sound with 80's inspired synths.

That's the main take away for Dark Waters, if you're not a big NWOBHM/Iron Maiden guy then these Dark Waters won't be for you, however if you are one of those guys you'll love this record. 7/10

Since The Death - Entangled (Nordic Mission Records)

Swedish. Death. Metal. Oddly yes it does sound like what you'd think. Begun as studio project by Oscar Rask as a way of playing extreme music which is lyrically inspired by his Christian faith, Since The Death has transitioned now towards a live band to take their glut of work on the road.

Still in the studio Rask supplies drums, synths, samples, bass and vocals, as the guitars come from Richard Adolfsson, but Rask is determined to take the band and their three previous albums, on the road, which is probably why Entangled is a bit rawer, written to be performed live.

The themes of entrapment, resilience and belief are cocooned in a mixture of death, black and thrash metal where the speed is relentless but there's mid-pace grooves, atmospheric meandering and proggy switches in tone. It's extremity that's not focussed on paganism or anything Satanic, but retains the same sonic power.

The distinction between dissonance and clarity is pronounced with a track like Hearts Are Getting Darker and the more deliberate slowness coming on As A Beloved Brother. There's plenty of references to other Swedish bands here, not just death but black and thrash as well and chances are, if you like them you'll probably like this one. 7/10

Reviews: Einar Solberg, VLMV, TONS, The Medea Project (Matt Bladen & Spike)

Einar Solberg - Vox Occulta (InsideOut Music) [Matt Bladen]

I don't want to alarm anyone but Einar Solberg uses growls on his second solo record. Something many long time Leprous fans have been crying out for since Coal, while that band have now moved past the point of needing the harsher side of their sound. With Vox Occulta, Solberg creates much heavier, symphonically dense music.

Recorded with the much lauded Norwegian Radio Orchestra, it has a different feel to his debut solo record 16 which was a collaborative project with various musicians, involved and the synths/electronics much more prominent. Vox Occulta on the other hand is more focused in it's direction, and more organic due to the orchestra, though there's a lot of thematic similarities, it's an overall darker piece, evoking the earlier work of Leprous along with Solberg's collaborations with Ihsahn, you won't find any rapping like on 16.

The debut dealt with the death of his father while this one is his world view writ large against a stunning musical backdrop inspired by film scores and soundtracks, the anger and frustration coming through with the very heavy crush and scream vocals as counterpoint to his more familiar soaring cleans, featured perfectly on the dreamy yet epic Setenitas.

Medulla sweeps in first with what you may expect, big choruses but that darker edge, however the title track brings orchestral Djent as the strings mirrors the palm muted riffs of guitarists, Pierre Danel, Ben Levin and John Browne, this heavy crush the first appearance of the harsh vocals. The undulating melodic swells of the orchestra and the keys are joined by with violinist Chris Baum on Liberatio, dramatic and striking, bassist Jed Lingat and drummer Keli Guðjónsson give the thick bottom end for when they break out the metal.

Trading introspection for gravitas, Einar Solberg enters his Hand Zimmer period with Vox Occulta, massive compositions with the power of an orchestra, the return of harsh vocals, but with moments that can still feel intimate. This second solo album is a much more intense and yet focussed affair than the debut, a tribute to the skill of Einar Solberg as a songwriter/composer. 9/10

VLMV – There Will Come Soft Rains (Pelagic Records) [Spike]

Sometimes, the best thing you can do for your ears after a week of blackened metal and high-velocity vitriol is to let the light in. Hailing from London, VLMV have returned with There Will Come Soft Rains, and it sits at the complete opposite end of the sound spectrum from the "angry stuff" I’ve been dissecting lately. It’s a record that understands that you don't need a wall of Marshall stacks to be heavy; sometimes, the most crushing weight comes from the quietest moments.

The experience begins with Tribal (A Heart, Self-Taught) which is a lush, cinematic landscape of shimmering synths and fragile, soaring vocals. It’s a masterclass in the "ear-cleanse", a track that demands you slow down your heart rate and actually listen to the space between the notes. By the time you hit We Are All Explorers Now and The Pilot, it’s clear that VLMV aren't just making "ambient" music; they are constructing intricate, emotional architectures that feel properly, painfully human.

What makes this record so compelling is the way it handles its own scale. There’s a deceptive simplicity to tracks like Bodies Grown, Pt.1 and In Absentia, but the layers of production, which are handled with a level of professional clarity that puts many "pro" labels to shame, reveal new depths with every spin. It’s a sound that reminds me of that specific, late-night melancholy I’ve always loved, when it feels like a record was recorded in the small hours when the rest of the world has finally gone quiet.

The absolute pinnacle of the record, at least for me, arrives with Bodies Grown, Pt.2. As I’ve noted before, this is the kind of songwriting that makes the "genre" tag feel irrelevant. It’s just a voice, a piano, and a swell of strings, yet the result is nothing short of EPIC. It’s a visceral, emotional gut-punch, delivered almost at a whisper, that stays with you long after the track ends, proving sometimes there isn’t a need for a single distortion pedal. It’s the record's tectonic heart, a sprawling study in vulnerability and beauty.

The back half, featuring I Am An Officer and the haunting Somnolence In Reverse, maintains that sustained, heavy-set tension. The songwriting is knotty and unpredictable, moving through movements that feel like they’re constantly expanding until the room feels too small to hold the emotion. This is the "soft rains" of the title delivering the quiet moments of survival that define us just as much as the storms.

By the time the final notes of Somnolence In Reverse eventually dissolve into the quiet, you realize that this is exactly why we bother looking in the first place. VLMV have managed to bottle a very specific kind of modern ache, proving that the most interesting things in the underground happen when you dare to be delicate. It’s a lush, dark-edged triumph that’s going to be added to my physical collection by the time this review is published. It’s a heavy, shimmering reminder that even when the world feels too loud, there is still a massive amount of power to be found in the silence. 9/10

TONS- Stoned Villains (Heavy Psych Sounds) [Matt Bladen]

Sludge now from Turin and this is the blackest, thickest, most acrid sludge you're probably going to get this year as Stoned Villains, invites you to light up a bowl of your dankest and get really loud.

Released on 4/20 (obviously) Stoned Villains is the fourth album from these weed smoking hardcore dudes who traded speed and aggression for building levelling heaviness and buckets of fuzz, however they don't fully slow down as Rollercoaster Dier Bombo blasts and there's some bluesy grooves on Lost In Plantation. Vocally there's still anguished shouts from the hardcore scene but the instrumentals are headache inducing, hypnotic grooves, thick like tar as they bleed through your speakers like the ooze in Ghostbusters II, turning everything it touches into desolation.

Like many bands in the doom/sludge scene, TONS like to play with synths and samples both used as an accompaniment and counterpoint to the fat fuzzing riffage and tonal distortion of the guitars and bass. You can play spot the sample here if your brain works that way, I got Robert Underdunk "Bob" Terwilliger doing his acceptance speech laugh from The Simpsons episode Sideshow Bob Roberts, Peter Finch's Oscar winning role as Howard Beale in The Network (probably the most sampled speech ever?) and also Zucker comedy Top Secret but some of the others I had a bit of difficulty.

These samples are there to add to the hallucinatory nature of this record, with Duncan McCrapper (named for his father perhaps?) the sample master and lead guitarist who carves leads and solos through the mire of fuzzy heaviness. Stoned Villains features new drummer Oreste Pennarelli, who brings a renewed force to the bottom end, locked into the crushing grooves with Stewart J Tanuki on rhythm guitar and Gingerzilla who is bassist, synthist and screecher.

Combined together this foursome create filthy sludge noises that will rattle your skull. 7/10

The Medea Project – Akkadian Artefacts (BDB Studios) [Spike]

Handing your songs over to a remixer is often less of a collaboration and more of an exorcism. You’re essentially inviting a stranger to strip the flesh off your work and see if the skeleton can still stand on its own. For The Medea Project, that stranger is Lucifer X, and the result is Akkadian Artefacts, a five-track document that trades the raw, untrammelled majesty of their live presence for a lightless, electronic mausoleum. It’s an ambitious, atmospheric shadow world, but it’s one where the various components seem to be in a constant, uneasy tug-of-war for the listener’s attention.

The EP opens with Babylon (The Fall Of Akkadia), and the shift from their previous work is jarring. Gone is the immediate "shove" of the rhythm section, replaced by a dense, industrial fog that feels like walking through scarred ruins at sunset. Brett Minnie’s vocals are pushed into a new kind of isolation here, and while the lyrics gain a certain fragmented power, the musical backdrop occasionally feels like it's trying to be too many things at once. It’s a sophisticated bit of dark ambient, but the transition into the hard electronics of Cave Dweller highlights the record’s primary friction: it’s a sound that is technically spellbinding but emotionally elusive.

What’s clear throughout the record, particularly on Ghosts In The Shell is the sheer level of talent involved. Pauline Silver’s percussion and Minnie’s guitars are reconfigured into these haunted, melancholic dream states that demand a high level of concentration. However, I find myself feeling that the record is "out of focus." By the time we hit The Drone Song (Desertion), the genre-blending between doom and electronica feels like it’s pulling in opposite directions. It creates a flickering light in the void, but it lacks the cohesive emotional "gut-punch" that anchored their Live At Dingwalls release.

The finale, Redacted, is perhaps the most successful moment of the experiment. It’s a quiet, atmospheric fading of the light that refuses to offer a tidy resolution. It’s here that the "quiet world ending" aesthetic truly takes hold, avoiding the clutter of the earlier tracks in favour of a still magic that actually allows the listener to breathe.

Ultimately, Akkadian Artefacts feels like a record for the scholars rather than the seekers. It’s an honest, unvarnished look at what happens when you deconstruct a band’s DNA and reassemble it in the dark. While the talent on display is undeniable, the experience remains a series of entrancing strangers rather than a unified voice. It’s a challenging, occasionally brilliant bit of survivalism that proves The Medea Project are fearless in their exploration, even if this particular mirror doesn't always show a clear reflection. 7/10